title: Winston Marshall

text: The group Mumford & Sons came together in December 2007 after its four members had already been performing together in various configurations. Co-founder Mumford started songwriting after seeing Marshall's band Captain Kick, and other similar artists, perform while Mumford was at university in Edinburgh; Mumford was struggling at the time and found Marshall's music "a glimpse of salvation", especially as Marshall encouraged him to join them on-stage. The first Mumford & Sons performances took place in 2005 at Marshall's Bosun's Locker jam nights as informal performances of the musicians "like a hoedown". Mumford began performing here, and was joined by Marshall as well as other musician friends with whom he had previously performed, including Ben Lovett and Ted Dwane. As well as together, Dwane, Marshall, and Mumford all performed with Marling's band during the jam sessions. Mumford said that "eventually, Ted [Dwane], Ben [Lovett], and Winston [Marshall] stuck. It wasn't until [they] started writing songs together that [they] realized this was an actual band and not just a singer/songwriter with a couple of mates." Marshall played the banjo, guitars, dobro, and provided backing vocals, for the group, and was often identified as the comic relief of the line-up.


title: Winston Marshall

text: The band performed at Glastonbury Festival in 2008 and released their debut EP later the same year. Marshall and Mumford took jobs in the antique shop run by Marshall's mother in order to save money to produce and record music with Mumford & Sons. They toured with Marling and Johnny Flynn from 2008 to 2009; Marshall was nervous to perform in the United States, knowing that banjo is more common there than in the United Kingdom and their audience would know if he was good or not. In 2009, they cut their tour songs as their first album. The album, "Sigh No More", on which Marshall is credited as "Country Winston", was released that year along with the single "Little Lion Man"; written by Mumford, the song was nominated at the 2011 Grammy Awards as Best Rock Song. The band was nominated for the Grammy for Best New Artist, and performed at the ceremony with Bob Dylan and the Avett Brothers. "Sigh No More" won the Brit Award for British Album of the Year in 2011.


title: Winston Marshall

text: The album was influenced by the music of Fleet Foxes, the Avett Brothers, Kings of Leon and Gomez; for "Pitchfork", Stephen Deusner wrote that the band made this clear by pushing their musical references "with a salesman's insistence." It was released to minimal attention but steadily garnered more positive reviews, and while Deusner criticized the album as derivative, he was impressed that "there are some unexpected textures, mostly courtesy of some guy calling himself Country Winston playing banjo and dobro." The success of the bluegrass banjo-led album placed Mumford & Sons as the breakout of nu-folk music. They followed the album with near-constant touring, cementing their presence, though concert reviews were also mixed, criticizing the repetitiveness of the samey setlist while acknowledging the crowd's enjoyment. Chris Richards of "The Washington Post" added that the musicians' stage presence, particularly Marshall "thrusting his pelvis like a bluegrass Rick James", was irritating.


title: Winston Marshall

text: In 2010, Mumford & Sons were the band and back-up for Marling's album "I Speak Because I Can" and released a joint EP with Marling and Indian group Dharohar Project. Self-titled with all three acts' names, it saw generally warm reviews that praised Marshall's dueling-banjo additions to songs. The group continued to tour extensively, and released their second album, "Babel", which had a more rock sound, in 2012 to mixed reviews. Marshall provided lead vocals for the song "For Those Below". In the same year, Mumford & Sons contributed songs to two films: "The Enemy" for "Wuthering Heights" and "Learn Me Right" with Birdy for the soundtrack of the Pixar film "Brave".


title: Winston Marshall

text: "Babel" became the quickest-selling album of the year, and the growing success of Mumford & Sons led to more detraction, with the band, and its banjo specifically, often criticized as inauthentic; Marshall told "The Guardian" that he disagreed, saying they are authentic because they play music that they enjoy and at which they are good. The band embraced other criticisms, creating a tongue-in-cheek music video for single "Hopeless Wanderer", parodying their own image. In it, Marshall was portrayed by Jason Bateman. With "Babel", Marshall shed his "Country Winston" name, saying he had outgrown it (as a holdover from Captain Kick) and had become disillusioned towards country music; when he began playing the genre he associated it with bluegrass music, and then found that he did not like the country music he heard in the United States. At the same time, he expressed distaste towards the banjo and said that he does not really know how to play it and had been told by his hero Jerry Douglas to not learn, quoting Douglas saying: "The reason that it's interesting what you do is that you have no f***ing idea what you're doing!" "Babel" won the Grammy for Album of the Year in 2013, with the band being awarded the Brit Award for British Group the same year. They were also honored with the Ivor Novello Award for International Achievement in 2014.


title: Winston Marshall

text: The band went on hiatus in 2013, but contributed to a compilation album by Idris Elba released in 2014, re-recording their song "Home" with Thandiswa Mazwai. They returned in 2015 with the album "Wilder Mind", on which Marshall was credited as "WN5TN". There is no banjo on "Wilder Mind", an electronic rock album that was influenced by the National; Aaron Dessner was a producer. Though his bandmates disagreed, Marshall said that they changed the sound because they did not enjoy touring so much with a limited repertoire. However, he also said that he had warmed to the banjo again after time away from having to play it, and used it on the band's 2015 tour. The album received mediocre reviews, with critics in disagreement on whether losing the banjos improved the band or not; "The Guardian" wrote that it "was far less polarising" than their first two albums, due to being "numbingly boring" and lacking the band's USP. The next year they released an EP, "Johannesburg", with African artists Baaba Maal, Beatenberg and the Very Best; they had been approached to do the project after Marshall worked with Maal on other music. The EP does not use the banjo. Marshall sang lead vocals on the song "Fool You've Landed", which he co-wrote with then-girlfriend Dianna Agron and Beatenberg's Matthew Field.


title: Winston Marshall

text: Mumford & Sons then worked on their fourth album, "Delta", which was released in 2018. The album uses banjo again, but in non-folk ways. Marshall said that "Delta": "does sound to me like the culmination of 10 years' work. I'm proud of it for that". The music draws more on their adult life experiences than their previous work, with the "Evening Standard" noting that during its creation Marshall got married but also experienced depression. Marshall said that since the album was not their first and wouldn't be their last, they felt freedom to branch out in sound. He started writing some of the songs on "Delta" in Nashville, where Agron was filming a movie and they became engaged. Lovett said Marshall "was throwing these pretty left-field sounds out of these writing sessions in Nashville"; Marshall was encouraged by sound engineer Garrett Miller to try more synthesized music, resulting in "Picture You", and composed the first verse and the falsetto hook of "Woman" there. He also wrote "Wild Heart", which was recorded so quickly he didn't actually perform on the track on the album. "Spin" noted the three songs were the more powerful of the album's stripped-back songs.


title: Winston Marshall

text: Marshall took the early components of "Woman" to his bandmates in Brooklyn, and Lovett said of the moment: "[it] just felt like something that was very, very different, but also felt really good. Maybe that was a moment that we felt unshackled by anything that we had done previously." Marshall said that despite the song title, "Woman" is about the love shared by the couple. It is an R&B indie song, with Mumford saying they were influenced by Jai Paul; Marshall used a five-string cello banjo on it, disguising the banjo sound, with three banjo tracks layered. "Rolling Stone" felt that "Picture You" and "Woman" sounded like Khalid songs; "The Observer" compared them to Coldplay songs. The album received sub-par reviews.


title: Winston Marshall

text: In March 2021, Marshall faced criticism for lauding "Unmasked: Inside Antifa's Radical Plan to Destroy Democracy", a book written by conservative American journalist and social media personality Andy Ngo. Later that month, Marshall apologised for praising the book and stated that he would be taking a break from the band "to examine [his] blindspots"; in June 2021, he wrote an essay defending his support for Ngo, discussing the reaction to his apology for the tweet, and announcing that he would be permanently leaving Mumford & Sons so that he could exercise free speech about politics without involving his former bandmates. In a 2022 interview with "The Sunday Times Magazine" he said that what made it hard to leave the band was that he had thought they would still be playing together in their sixties.


title: Winston Marshall

text: In 2010, Marshall was involved with a supergroup called Mt. Desolation, recording music and performing shows with Ronnie Vannucci Jr. of The Killers; Tom Hobden of Noah and the Whale; and Jesse Quin and Tim Rice-Oxley of Keane. They released a free download single, "State of Affairs", as well as the self-titled album "Mt. Desolation". In 2012, Marshall played the banjo for the Dropkick Murphys song "Rose Tattoo"; the band joked that they "kidnapped" him after playing the same festival, adding that his banjo part is "subtle, but with that rolling finger-picking style, you know it's him when you hear it". Marshall then joined a different, temporary, supergroup called Salvador Dalí Parton in October 2013, with fellow musicians Gill Landry of Old Crow Medicine Show; Mike Harris of Apache Relay; Jake Orrall of JEFF the Brotherhood; and Justin Hayward-Young of the Vaccines. The band, intended as a joke from the start, wrote six songs in 20 minutes on their first day together, held a rehearsal the next day, and performed six shows around Nashville, Tennessee, that night before breaking up.


title: Winston Marshall

text: He has also pursued stand-up comedy, taking improv classes at the Upright Citizens Brigade (UCB) prior to 2013, and planning a comedy web series in 2015. He said that he wanted to take the concept of UCB to England, because they "don't have anything like it", and was invited to perform a monologue there; "Vulture" wrote that the monologue, about "condoms and being Jewish", "didn't go well." When asked if he is Jewish, Marshall laughingly replied "ish".


title: Winston Marshall

text: In 2015, Marshall became interested in techno music and electronic dance music after he attended every night of a James Ford residency at London club XOYO. Ford had been working with Mumford & Sons on their album "Wilder Mind" through his group, Simian Mobile Disco, and, inspired, Marshall began working on an individual electronic side-project that went nowhere. In 2017, he collaborated with electronic duo HVOB. Marshall approached HVOB by sending an email that they initially thought was fake. When they began working together, Marshall sent samples to HVOB, who are based in Vienna. Together they released the single "The Blame Game", on which Marshall contributes vocals, and the album "Silk". They had only planned to release an EP, but quickly chose to extend this to a full album despite needing to meet the same deadline. The album is darker than HVOB's other music, with the duo saying that Marshall took their sound and styled it for a concert rather than club. Marshall and HVOB toured Europe in April 2017 on the fifteen-city Silk Tour. The single and album were positively reviewed.


title: Winston Marshall

text: Marshall collaborated individually with Baaba Maal between 2013 and 2015, at the 2013 and 2014 editions of the Blues du Fleuve festival and playing banjo on Maal's 2015 album "The Traveller". He experimented with more music in 2019 when he remixed the Maggie Rogers song "Light On" and Kevin Garrett song "Don't Rush".


title: Winston Marshall

text: In January 2021, Marshall created a group that aims to connect Hong Kongers encouraged to immigrate to the UK with British residents, following the implementation of the Hong Kong national security law,


title: Winston Marshall

text: In January 2022 launched the "Marshall Matters" podcast. It is hosted by British magazine "The Spectator", which Marshall became a contributor to in 2021, and will see him interview people working in creative industries "to find out what indeed is the state of the arts". Of his career move into being a "culture warrior", he said that "Having made all this huge sacrifice so that [he could] speak [his] mind, [he] might as well fucking do it then. It would seem stupid not to."


title: Winston Marshall

text: The existence of the British nu-folk scene has been credited to Marshall, as its most successful acts – Marling, Flynn, Hayward-Young, Noah and the Whale, Alan Pownall, King Charles, Alessi's Ark, Peggy Sue – all "graduated" from performing at Bosun's Locker on the folk jam nights that he ran, reportedly starting them as a way to play banjo. One musician who played there said: "I don't think you could pin the craze on anyone else."


title: Winston Marshall

text: Marshall's banjo playing in Mumford & Sons has also impacted the popularity and credibility of the instrument. Emmylou Harris said that the band made banjo respectable, and their music is deemed responsible for a banjo revival both in Europe and the United States. The band's identity is said to be synonymous with the banjo, and Marshall has a Deering banjo named after him, the Winston Marshall Signature Model.


title: Winston Marshall

text: Marshall dated Irish stylist Susan Cooney, who dressed Mumford & Sons and Haim, and in March 2012 attended the White House British State dinner with her. In 2015 he was linked with American singer Katy Perry, and reportedly "hooked up" with her while she was dating John Mayer. It was first reported that Marshall was dating American actress Dianna Agron in July 2015, and the couple got engaged in late 2015. They were married on 15 October 2016, in Morocco, and kept their relationship private, including not posting about each other on social media. They separated in 2019 and divorced in 2020.


title: Winston Marshall

text: In 2022, Marshall said that after several album tours, the lifestyle negatively affected him, leading him to start self-medicating with alcohol and to regularly take a mix of hard drugs, describing the time as "all a bit of a blur"; he got sober in 2019, saying this gave him clarity and energy. He then had a "painful separation" from Agron and, when they divorced, returned to his Christian faith.


title: Winston Marshall

text: He is an avid supporter of Manchester United. He was described as enthusiastic about fashion in 2010, comparing his style to that of the "Brideshead Revisited" character Sebastian Flyte, though has since expressed regret for choosing to wear this fashion for photoshoots rather than clothes he would personally wear. In 2011, he was said to look like "the Appalachian hillbilly version of an Appalachian hillbilly, in shitkicker boots and a ratty semi-mohawk that he appears to have given himself with a whittling knife"; he became more interested in style and grooming in 2012 after "GQ" named him the sixth-worst-dressed man in the world. In 2018 he was introduced to dance by Agron, and has taken several classes at Kristen Sudeikis' Forward Space dance studio. Other Forward Space dancers are featured in the music video for "Woman".


title: Winston Marshall

text: Marshall is interested in the books of the Canadian professor of psychology Jordan Peterson, and invited Peterson to Mumford & Sons' studio in 2018, with Peterson sharing a photograph of them together on social media. When asked about his involvement with Peterson, who has been a controversial figure, Marshall told CBC Radio: "I don't think [Peterson's] psychology is controversial, but the quasi-political stuff... I think it's a conversation we're having a little bit as a band and, do we want to get into the political stuff?" Later in 2018, Marshall told "NME" that he "[thinks] everyone should read widely. If you read something, work out who's got the opposite opinion and read that guy so you can form your own ideas." In the same interview, both Marshall and Mumford opined that musicians should not talk about politics, and said that they did not like being asked about politics, with Marshall telling the magazine:


title: Favela

text: Favela () is an umbrella name for several types of working-class neighborhoods in Brazil. The term was first used in the Providência neighborhood in the center of Rio de Janeiro in the late 19th century, which was built by soldiers who had lived under the favela trees in Bahia and had nowhere to live following the Canudos War. Some of the first settlements were called "bairros africanos" (African neighborhoods). Over the years, many former enslaved Africans moved in. Even before the first favela came into being, poor citizens were pushed away from the city and forced to live in the far suburbs.


title: Favela

text: Most modern favelas appeared in the 1970s due to rural exodus, when many people left rural areas of Brazil and moved to cities. Unable to find places to live, many people found themselves in favelas. Census data released in December 2011 by the Brazilian Institute of Geography and Statistics (IBGE) showed that in 2010, about 6 percent of the Brazilian population lived in favelas and other slums. Favelas are located in 323 of the 5,565 Brazilian municipalities.


title: Favela

text: The term favela dates back to the late 1800s. At the time, soldiers were brought from the War of Canudos, in the northeastern state of Bahia, to Rio de Janeiro and left with no place to live. When they served in Bahia, those soldiers had been familiar with Canudos' "Morro da Favela" ("Favela Hill") – a name referring to "favela", a skin-irritating tree in the spurge family ("Cnidoscolus quercifolius") indigenous to Bahia. When they settled on the Providência [Providence] hill in Rio de Janeiro, they nicknamed the place "Favela hill".


title: Favela

text: The favelas were formed prior to the dense occupation of cities and the domination of real estate interests. Following the end of slavery and increased urbanization into Brazilian cities, a lot of people from the Brazilian countryside moved to Rio. These new migrants sought work in the city but with little to no money, they could not afford urban housing.


title: Favela

text: During the 1920s, the favelas grew to such an extent that they were perceived as a problem for the whole society. At the same time the term favela underwent a first institutionalization by becoming a local category for the settlements of the urban poor on hills. However, it was not until 1937 that the favela actually became central to public attention, when the Building Code (Código de Obras) first recognized their very existence in an official document and thus marked the beginning of explicit favela policies.


title: Favela

text: The housing crisis of the 1940s forced the urban poor to erect hundreds of shantytowns in the suburbs, when favelas replaced tenements as the main type of residence for destitute Cariocas (residents of Rio). The explosive era of favela growth dates from the 1940s, when Getúlio Vargas's industrialization drive pulled hundreds of thousands of migrants into the former Federal District, to the 1970s, when shantytowns expanded beyond urban Rio and into the metropolitan periphery.


title: Favela

text: Urbanization in the 1950s provoked mass migration from the countryside to the cities throughout Brazil by those hoping to take advantage of the economic opportunities urban life provided. Those who moved to Rio de Janeiro chose an inopportune time. The change of Brazil's capital from Rio to Brasília in 1960 marked a slow but steady decline for the former, as industry and employment options began to dry up. Unable to find work, and therefore unable to afford housing within the city limits, these new migrants remained in the favelas. Despite their proximity to urban Rio de Janeiro, the city did not extend sanitation, electricity, or other services to the favelas. They soon became associated with extreme poverty and were considered a headache to many citizens and politicians within Rio.


title: Favela

text: In the 1970s, Brazil's military dictatorship pioneered a favela eradication policy, which forced the displacement of hundreds of thousands of residents. During Carlos Lacerda's administration, many were moved to public housing projects such as Cidade de Deus ("City of God"), later popularized in a widely popular feature film of the same name. Poor public planning and insufficient investment by the government led to the disintegration of these projects into new favelas.


title: Favela

text: By the 1980s, worries about eviction and eradication were beginning to give way to violence associated with the burgeoning drug trade. Changing routes of production and consumption meant that Rio de Janeiro found itself as a transit point for cocaine destined for Europe. Although drugs brought in money, they also accompanied the rise of the small arms trade and of gangs competing for dominance.


title: Favela

text: While there are Rio favelas which are still essentially ruled by organized crime groups like drug traffickers or by organized crime groups called "milícias" (Brazilian police militias), all of the favelas in Rio's South Zone and key favelas in the North Zone are now managed by Pacifying Police Units, known as UPPs. While drug dealing, sporadic gun fights, and residual control from drug lords remain in certain areas, Rio's political leaders point out that the UPP is a new paradigm after decades without a government presence in these areas.


title: Favela

text: Most of the current favelas really expanded in the 1970s, as a construction boom in the more affluent districts of Rio de Janeiro initiated a rural exodus of workers from poorer states in Brazil. Since then, favelas have been created under different terms but with similar results.


title: Favela

text: Communities form in favelas over time and often develop an array of social and religious organizations and forming associations to obtain such services as running water and electricity. Sometimes the residents manage to gain title to the land and then are able to improve their homes. Because of crowding, unsanitary conditions, poor nutrition and pollution, disease is rampant in the poorer favelas and infant mortality rates are high. In addition, favelas situated on hillsides are often at risk from flooding and landslides.


title: Favela

text: In the late 19th century, the state gave regulatory impetus for the creation of Rio de Janeiro's first squatter settlement. The soldiers from the War of Canudos (1896-7) were granted permission by Ministry of War to settle on the Providência hill, located between the seaside and centre of the city (Pino 1997). The arrival of former black slaves expanded this settlement and the hill became known as Morro de Providência (Pino 1997). The first wave of formal government intervention was in direct response to the overcrowding and outbreak of disease in Providência and the surrounding slums that had begun to appear through internal migration (Oliveira 1996). The simultaneous immigration of White Europeans to the city in this period generated strong demand for housing near the water and the government responded by "razing" the slums and relocating the slum dwellers to Rio's north and south zones (Oliveira 1996, pp. 74). This was the beginning of almost a century of state-sanctioned interventions marked by aggressive eradication policies.


title: Favela

text: Favelas in the early twentieth century were considered breeding grounds for antisocial behavior and spread of disease. The issue of honor pertaining to legal issues was not even considered for residents of the favelas. After a series of comments and events in the neighborhood of Morro da Cyprianna, during which a local woman Elvira Rodrigues Marques was slandered, the Marques family took it to court. This is a significant change in what the public considered the norm for favela residents, who the upper classes considered devoid of honor all together.


title: Favela

text: Following the initial forced relocation, favelas were left largely untouched by the government until the 1940s. During this period politicians, under the auspice of national industrialization and poverty alleviation, pushed for high density public housing as an alternative to the favelas (Skidmore 2010). The "Parque Proletário" program relocated favelados to nearby temporary housing while land was cleared for the construction of permanent housing units (Skidmore 2010). In spite of the political assertions of Rio's Mayor Henrique Dodsworth, the new public housing estates were never built and the once-temporary housing alternatives began to grow into new and larger favelas (Oliveira 1996). Skidmore (2010) argues that "Parque Proletário" was the basis for the intensified eradication policy of the 1960s and 1970s.


title: Favela

text: The mass urban migration to Rio de Janeiro in the 1950s resulted in the proliferation of favelas across the urban terrain. In order to deal with the "favela problem" (Portes 1979, pp. 5), the state implemented a full-scale favela removal program in the 1960s and 1970s that resettled favelados to the periphery of the city (Oliveira 1996). According to Anthony (2013), some of the most brutal favela removals in Rio de Janeiro's history occurred during this period. The military regime of the time provided limited resources to support the transition and favelados struggled to adapt to their new environments that were effectively ostracized communities of poorly built housing, inadequate infrastructure and lacking in public transport connections (Portes 1979). Perlman (2006) points to the state's failure in appropriately managing the favelas as the main reason for the rampant violence, drugs and gang problems that ensued in the communities in the following years. The creation of BOPE (Special Police Operations Battalion) in 1978 was the government's response to this violence (Pino 1997). BOPE, in their all black military ensemble and weaponry, was Rio's attempt to confront violence with an equally opposing entity.


title: Favela

text: In the 1980s and early 1990s, public policy shifted from eradication to preservation and upgrading of the favelas. The "Favela-Bairro" program, launched in 1993, sought to improve living standards for the favelados (Pamuk and Cavallieri 1998). The program provided basic sanitation services and social services, connected favelas to the formal urban community through a series of street connections and public spaces and legalized land tenure (Pamuk and Cavallieri 1998). Aggressive intervention, however, did not entirely disappear from the public agenda. Stray-bullet killings, drug gangs and general violence were escalating in the favelas and from 1995 to mid-1995, the state approved a joint army-police intervention called "Operação Rio" (Human Rights Watch 1996). "Operação Rio" was the state's attempt to regain control of the favelas from the drug factions that were consolidating the social and political vacuum left by previously unsuccessful state policies and interventions (Perlman 2006).


title: Favela

text: Since 2009, Rio de Janeiro has had walls separating the rich neighborhoods from the favelas, officially to protect the natural environment, but critics charge that the barriers are for economic segregation.


title: Favela

text: Beginning in 2008, Pacifying Police Units (, also translated as Police Pacification Unit), abbreviated UPP, began to be implemented within various favelas in the city of Rio de Janeiro. The UPP is a law enforcement and social services program aimed at reclaiming territories controlled by drug traffickers. The program was spearheaded by State Public Security Secretary José Mariano Beltrame with the backing of Rio Governor Sérgio Cabral.


title: Favela

text: Rio de Janeiro's state governor, Sérgio Cabral, traveled to Colombia in 2007 in order to observe public security improvements enacted in the country under Colombian President Álvaro Uribe since 2000. Following his return, he secured US$1.7 billion for the express purpose of security improvement in Rio, particularly in the favelas. In 2008, the state government unveiled a new police force whose rough translation is Pacifying Police Unit (UPP). Recruits receive special training as well as a US$300 monthly bonus. By October 2012, UPPs have been established in 28 favelas, with the stated goal of Rio's government to install 40 UPPs by 2014.


title: Favela

text: The establishment of a UPP within a favela is initially spearheaded by Rio de Janeiro's elite police battalion, BOPE, in order to arrest or drive out gang leaders. After generally securing an area of heavy weapons and large drug caches, and establishing a presence over several weeks to several months, the BOPE are then replaced by a new Pacifying Police Unit composed of hundreds of newly trained policemen, who work within a given favela as a permanent presence aimed at community policing.


title: Favela

text: Suspicion toward the police force is widespread in the favelas, so working from within is a more effective and efficient means of enacting change. Rio's Security Chief, José Mariano Beltrame, has stated that the main purpose of the UPPs is more toward stopping armed men from ruling the streets than to put an end to drug trafficking. A 2010 report by the World Organization Against Torture (OMCT) did note the drop in the homicide rate within Rio de Janeiro's favelas. The report also pointed to the importance of initiatives that combine public security with intra-favela initiatives.


title: Favela

text: Journalists within Rio studying ballot results from the 2012 municipal elections observed that those living within favelas administered by UPPs distributed their votes among a wider spectrum of candidates compared to areas controlled by drug lords or other organized crime groups such as "milícias".


title: Favela

text: More recent rounds of state policy break with the past, as community policing and participatory planning are now cornerstones of Brazilian public policy. Seeking to build on ‘Favela-Bairro’, the informally coined ‘Favela Chic’ program was aimed at bringing favelas into the formal social fabric of the city while simultaneously empowering favelados to act as key agents in their communities (Navarro-Sertich 2011). Media outlets have been critical of this change in policy and believe its only reflective of the government's concerns of the large media attention Rio attracted during the 2014 FIFA World Cup (McLoughlin 2011) and the 2016 Olympic Games (Griffin 2016). Anthony (2013) was equally as critical of the policy and said that while rhetoric asserted the government's best intention, the reality was more in line with aggressive policies of the past. He points to the announcement in 2010 from Rio's Mayor Eduardo Paes concerning the removal of two inner city favelas, Morro de Prazeres and Laboriaux, and the forced relocation of its residents.


title: Favela

text: There have been significant shifts in favela policy in the last century. In 2013, there were an estimated 600 favelas in Rio de Janeiro, all of variable sizes (Anthony 2013). Due to the large scale and complexities of these informal settlements, academic interest into this field remains high.


title: Favela

text: The people who live in favelas are known as "favelados" ("inhabitants of favela"). Favelas are associated with poverty. Brazil's favelas are thought to be the result of the unequal distribution of wealth in the country. Brazil is one of the most economically unequal countries in the world, with the top 10 percent of its population earning 50 percent of the national income and about 8.5 percent of all people living below the poverty line. As a result, residents of favelas are often discriminated against for living in these communities and often experience inequality and exploitation. This stigma that is associated with people living in favelas can lead to difficulty finding jobs.


title: Favela

text: The Brazilian government has made several attempts in the 20th century to improve the nation's problem of urban poverty. One way was by the eradication of the favelas and favela dwellers that occurred during the 1970s while Brazil was under military governance. These favela eradication programs forcibly removed over 100,000 residents and placed them in public housing projects or back to the rural areas that many emigrated from. Another attempt to deal with urban poverty came by way of gentrification. The government sought to upgrade the favelas and integrate them into the inner city with the newly urbanized upper-middle class. As these "upgraded favelas" became more stable, they began to attract members of the lower-middle class pushing the former favela dwellers onto the streets or outside of the urban center and into the suburbs further away from opportunity and economic advancement. For example: in Rio de Janeiro, the vast majority of the homeless population is black, and part of that can be attributed to favela gentrification and displacement of those in extreme poverty.


title: Favela

text: The cocaine trade has affected Brazil and in turn its favelas, which tend to be ruled by drug lords. Regular shoot-outs between traffickers and police and other criminals, as well as assorted illegal activities, lead to murder rates in excess of 40 per 100,000 inhabitants in the city of Rio and much higher rates in some Rio favelas. Traffickers ensure that individual residents can guarantee their own safety through their actions and political connections to them. They do this by maintaining order in the favela and giving and receiving reciprocity and respect, thus creating an environment in which critical segments of the local population feel safe despite continuing high levels of violence.


title: Favela

text: Drug use is highly concentrated in these areas run by local gangs in each highly populated favela. Drug sales run rampant at night when many favelas host their own "baile", or dance party, where many different social classes can be found. These drug sales make up a business that in some of the occupied areas rakes in as much as US$150 million per month, according to official estimates released by the Rio media.


title: Favela

text: Despite attempts to remove favelas from Brazil's major cities like Rio de Janeiro and São Paulo, the poor population grew at a rapid pace as well as the modern favelas that house them in the end of last century. This is a phenomenon called "favelização" ("favela growth" or "favelisation"). In 1969, there were approximately 300 favelas in Rio de Janeiro; today there are twice as many.


title: Favela

text: In 1950, only 7 percent of Rio de Janeiro's population lived in favelas; in the present day this number has grown to 19 percent or about one in five people living in a favela. According to national census data, from 1980 to 1990, the overall growth rate of Rio de Janeiro dropped by 8 percent, but the favela population increased by 41 percent. After 1990, the city's growth rate leveled off at 7 percent, but the favela population increased by 24 percent. A report released in 2010 by the United Nations, however, shows that Brazil has reduced its slum population by 16%, now corresponding to about 6% of the overall population of the nation.


title: Favela

text: A number of religious traditions exist in the favelas. Historically, Catholicism was the most prominent religion of the area, but over the past few decades there has been a shift toward Evangelicalism, including Pentecostalism. While there has been an increase in the number of converts to Evangelicalism, there are also an increasing number of people who claim to be non-religious.


title: Favela

text: Popular types of music in favelas include funk, hip-hop, and Samba. Recently, funk carioca, a type of music popularized in the favelas has also become popular in other parts of the world. This type of music often features samples from other songs. Popular funk artists include and "Bailes funk" are forms of dance parties that play this type of funk music and were popularized in favelas. Popular hip hop artist MV Bill is from Cidade de Deus in Rio de Janeiro. Favela Brass is a free music school set up in Pereirão in Rio, which aims to give children opportunities through musical performance.


title: Favela

text: Media representations of favelas also serve to spread knowledge of favelas, contributing to the growing interest in favelas as tourist locations. In recent years, favela culture has gained popularity as inspiration for art in other parts of the world. Fascination with favela life can be seen in many paintings, photography, and reproductions of favela dwellings. There have also been instances of European nightclubs inspired by favelas.


title: Favela

text: Since the mid-1990s, a new form of tourism has emerged in globalizing cities of several so-called developing countries or emerging nations. Visits to the most disadvantaged parts of the city are essential features of this form of tourism. It is mainly composed of guided tours, marketed and operated by professional companies, through these disadvantaged areas. This new form of tourism has often been referred to as slum tourism which can also be seen in areas of South Africa and India.


title: Favela

text: In Brazil, this new growing market of tourism has evolved in a few particular favelas mostly in Rio de Janeiro and São Paulo, with the largest and most visited favela being Rocinha. This new touristic phenomena has developed into a major segment of touristic exploration.


title: Favela

text: There are conflicting views on whether or not favela tourism is an ethical practice. These tours draw awareness to the needs of the underprivileged population living in these favelas, while giving tourists access to a side of Rio that often lurks in the shadows. The tours are viewed as a spectacular alternative to mainstream Rio de Janeiro attractions, such as Sugarloaf Mountain and Christ the Redeemer. They offer a brief portrayal of Rio's hillside communities that are far more than the habitats often misrepresented by drug lords and criminals. For instance there are tours of the large favela of Rocinha. Directed by trained guides, tourists are driven up the favela in vans, and then explore the community's hillside by foot. Guides walk their groups down main streets and point out local hot spots. Most tours stop by a community center or school, which are often funded in part by the tour's profits. Tourists are given the opportunity to interact with local members of the community, leaders, and area officials, adding to their impressions of favela life. Depending on the tour, some companies will allow pictures to be taken in predetermined areas, while others prohibit picture-taking completely.


title: Favela

text: The Brazilian federal government views favela tourism with high regard. The administration of Luiz Inácio Lula da Silva initiated a program to further implement tourism into the structure of favela economies. The Rio Top Tour Project, inaugurated in August 2010, promotes tourism throughout the favelas of Rio de Janeiro. Beginning in Santa Marta, a favela of approximately 5,000 Cariocas, federal aid was administered in order to invigorate the tourism industry. The federal government has dedicated 230 thousand Reais (US$145 thousand) to the project efforts in Santa Marta. English signs indicating the location of attractions are posted throughout the community, samba schools are open, and viewing stations have been constructed so tourists can take advantage of Rio de Janeiro's vista. Federal and state officials are carrying out marketing strategies and constructing information booths for visitors. Residents have also been trained to serve as tour guides, following the lead of pre-existing favela tour programs. Recently, favelas have been featured in multiple forms of media including movies and video games. The media representation of favelas has increased peoples' interest in favelas as tourist locations.


title: Malavika Mohanan

text: Malavika Mohanan (born 4 August 1993) is an Indian actress who works predominantly in Tamil and Malayalam films. The daughter of cinematographer K. U. Mohanan, she made her acting debut in the Malayalam film "Pattam Pole" (2013). She gained praise for her starring role in Majid Majidi's Hindi film "Beyond the Clouds" (2017). She has since played the leading lady in the Malayalam thriller film "The Great Father" (2017), and the Tamil action films "Petta" (2019) and "Master" (2021).


title: Malavika Mohanan

text: Malavika Mohanan was born 4 August 1993 and is the daughter of cinematographer K. U. Mohanan. She was born in the town of Payyanur in Kannur district of Kerala and grew up in Mumbai.


title: Malavika Mohanan

text: Malavika completed a degree in Mass Media at Wilson College, Mumbai, hoping to emulate her father as a cinematographer or as a director. Post her graduation, while she was contemplating taking up higher studies, she accompanied her father to a commercial shoot for a fairness cream, starring veteran Malayalam actor Mammootty. The actor subsequently enquired about Malavika's interest in acting, before offering her a role opposite his son, Dulquer Salmaan, in an upcoming Malayalam film. She took time to consider the proposal before passing an audition and accepting terms to star in "Pattam Pole" (2013), and gradually learned about the process of acting as the shoot progressed. Owing to the original costume designer's illness, she also worked as her own designer for the project. The romantic drama film, which narrated the relationship between a Tamil Brahmin youth and a Christian girl, received mixed reviews and did not perform well at the box office. A critic from Rediff.com noted that Malavika's "peppy girl act is far from being perfect but shows promise", while the Times of India's reviewers suggested that she did a "decent job". During the period, she continued having an interest in fashion, setting up an Indian ethnic fusion clothing brand called "The Scarlet Window".


title: Malavika Mohanan

text: In her second film, "Nirnayakam" (2015), she portrayed as a ballet dancer, won good reviews but also met with a tepid response commercially. Another film during the period, "Naale" opposite Fahadh Faasil, saw her portray a tribal girl but was later dropped midway through production. In 2016, Mohanan worked on her first Kannada film, "Naanu Mattu Varalakshmi" (2016) opposite a debutant actor, Prithvi. Despite having a low-key release at the box office, the film won good reviews with Malavika's portrayal of the titular role of Varalakshmi being praised by critics. She then featured in the role of a police officer in the crime thriller "The Great Father" (2017), where she starred alongside an ensemble cast including Mammootty, Arya and Sneha. The film opened to positive reviews and performed well at the box office.


title: Malavika Mohanan

text: Malavika's breakthrough as an actress came through her role as Tara, a poor girl from Mumbai's Dhobi Ghat area, in Majid Majidi's drama film, "Beyond the Clouds" (2017). Following her successful audition, Majidi selected her ahead of renowned actresses Deepika Padukone and Kangana Ranaut for the role, which saw her portray the older sister of debutant Ishaan Khatter. She expressed her delight at working with Majidi so early in her career, especially considering that she regularly had to study and write essays on his films during her undergraduate course. For the film, she lost eight kilograms in fifteen days to film for a jail sequence, and opted not to wash her hair for several days on end to get the look of the slum dweller correct. The film was screened across several international festivals, before being released worldwide in April 2018. Malavika won positive reviews for her portrayal, with Filmfare's critic stating "Malavika Mohanan is a natural in front of the camera". A reviewer from The Times of India stated she was "captivating in her honest portrayal" and "skilfully walks the fine line between passionate and melodramatic", while The Hollywood Reporter called her "solid".


title: Malavika Mohanan

text: In mid-2018, she signed on to appear in a role in Karthik Subbaraj's "Petta" (2019), which would feature her alongside an ensemble cast including Rajinikanth, Vijay Sethupathi and Nawazuddin Siddiqui. For the film, which marked her first project in the Tamil language, Malavika hired a Tamil-speaking tutor to help her practice her lines. She then went on to appear in the Tamil action thriller film "Master" (2021) alongside Vijay, in which she played the role of Charulatha, a college lecturer. The film was a huge commercial success, and became the highest-grossing film in her career.


title: Malavika Mohanan

text: In 2022, her first release was "Maaran", opposite Dhanush. The film opt a theatrical release, with released via directly on Disney+Hotstar, with received negative reviews from critics and audience. She is currently shootings for her upcoming Hindi film "Yudhra" opposite Siddhant Chaturvedi. The latter is scheduled to release in Summer 2022.


title: Android 11

text: Android 11 is the eleventh major release and 18th version of Android, the mobile operating system developed by the Open Handset Alliance led by Google. It was released on September 8, 2020. The first phone launched in Europe with Android 11 was the Vivo X51 5G and after its full stable release, the first phone in the world which came with Android 11 after Google Pixel 5 was OnePlus 8T. According to 9to5Google, , Android 11 has become the most popular version of the OS with a share of 28.3 percent. This was up 4 percent since November 2021 (both on smartphones and tablets).


title: Android 11

text: Android 11 (internally codenamed Red Velvet Cake) was intended for three monthly developer preview builds to be released before the first beta release, initially due in May, with a total of three monthly beta releases before the actual release. A state of "platform stability" was planned for July 2020, and the final release occurred on September 8, 2020.


title: Android 11

text: The first developer preview build of Android 11 was released on February 19, 2020 as a factory image for supported Google Pixel smartphones (excluding the first-generation Pixel and Pixel XL). Developer Preview 2 was then released on March 18, followed by Developer Preview 3 on April 23. On May 6, Google released an unexpected Developer Preview 4, as they pushed the whole roadmap for Android 11 forward a month, setting the date for the first beta for June 3.


title: Android 11

text: The release of the first public beta was originally set to take place on June 3 at Google I/O, which was ultimately canceled due to the COVID-19 pandemic, an online release event being planned instead. Following the George Floyd protests, Google announced that the release of the first Android 11 beta would be postponed. Beta 1 was finally released on June 10, 2020, followed by Beta 2 on July 8. A hotfix Beta 2.5 was then released on July 22, with Beta 3 released on August 6. It was released on September 8, 2020.


title: Android 11

text: Android 11 introduces "conversations" notifications; they are designed for chat and messaging, and can be presented in pop-up overlays known as "bubbles" when supported by apps. Conversations can also be marked as "priority" to give them greater prominence (pushing them to the top of notifications, and allowing them to bypass do not disturb mode). Notification history over the past 24 hours can also be displayed. Bubbles is designed to replace the existing overlay permission, which is being deprecated in the future due to security (due to its use by clickjacking malware) and performance concerns.


title: Android 11

text: The menu displayed when holding the power button now includes an area devoted to controlling smart home devices (only on Pixel devices). Media controls are displayed as part of the quick settings area and no longer as a persistent notification. The screenshot button is moved to the recents screen (only on Pixel devices). Apps can be pinned on the share menu.


title: Android 11

text: Android 11 includes a built-in screen recorder. The media player is now separate from the notifications. And if the user is running 2 or more media apps, the user can swipe from either side to switch between the media players.


title: Android 11

text: Android 11 contains various APIs designed for detecting the presence of 5G network connectivity in order to provide enhanced in-app experiences. Android 11 contains new APIs for handling devices with hinged displays (such as foldable smartphones) and ultra-curved "waterfall" displays.


title: Android 11

text: A new API can be used to monitor a device's temperature and adjust application operations accordingly. OpenSL ES is deprecated in favor of Oboe. Android 11 supports wireless debugging. Android 11 Go Edition has performance improvements, privacy enhancement, increasing storage, upgraded RAM storage and new app features, with Google stating that apps would launch 20% quicker than on Android 10.


title: Android 11

text: If automatically rebooting after a system update, apps can automatically resume and regain access to credential-encrypted storage without authentication. Android 11 introduces "one-time" permissions for camera, microphone, and location; when requested by an app, the user must choose whether to grant access whenever they are using the app, only once, or deny. Repeatedly denying permission will imply an indefinite rejection. Apps must require users to go to the system settings menu in order to enable background location tracking, and all "sensitive" permissions are automatically reset if the user has not used an app for several months.


title: Android 11

text: Apps targeting Android 11 are only allowed to access files in external storage that they have created themselves ("scoped storage"), preferably contained within an app-specific directory, and audio, image, and video files contained within the Music, Pictures, or Videos directories. Any other file may only be accessed via user intervention through the Storage Access Framework. To "ensure that the EXIF location metadata is correctly processed based on the location permissions defined within the app", Android 11 restricts image and video capture Intents to system camera apps only. This does not affect cameras built into apps (such as, for example, Instagram or Snapchat).


title: Oregano

text: Oregano (, ; Origanum vulgare) is a species of flowering plant in the mint family Lamiaceae. It was native to the Mediterranean region, but widely naturalised elsewhere in the temperate Northern Hemisphere.


title: Oregano

text: Oregano is a woody perennial plant, growing tall, with opposite leaves long. The flowers are purple, long, produced in erect spikes in summer. It is sometimes called wild marjoram, and its close relative, "O. majorana", is known as sweet marjoram. Both are widely used as culinary herbs, especially in Turkish, Greek, Spanish, Italian, Mexican, and French cuisine. Oregano is also an ornamental plant, with numerous cultivars bred for varying leaf colour, flower colour and habit.


title: Oregano

text: Used since the middle 18th century, the Spanish word "orégano" is derived from the Latin "orīganum" and ultimately from the Classical Greek ("orī́ganon"). This is a compound Greek term that consists of ("óros") meaning "mountain", and ("gános") meaning "brightness", thus, "brightness of the mountain".


title: Oregano

text: Oregano is related to the herb marjoram, sometimes being referred to as wild marjoram. It has purple flowers and spade-shaped, olive-green leaves. It is a perennial, although it is grown as an annual in colder climates, as it often does not survive the winter.


title: Oregano

text: Oregano is planted in early spring, the plants being spaced apart in fairly dry soil, with full sun. It will grow in a pH range between 6.0 (mildly acidic) and 9.0 (strongly alkaline), with a preferred range between 6.0 and 8.0. It prefers a hot, relatively dry climate, but does well in other environments.


title: Oregano

text: Many subspecies and strains of oregano have been developed by humans over centuries for their unique flavours or other characteristics. Tastes range from spicy or astringent to more complicated and sweet. Simple oregano sold in garden stores as "Origanum vulgare" may have a bland taste and larger, less-dense leaves, and is not considered the best for culinary use, with a taste less remarkable and pungent. It can pollinate other more sophisticated strains, but the offspring are rarely better in quality.


title: Oregano

text: The related species "Origanum onites" (Greece, Turkey) and "O. syriacum" (West Asia) have similar flavours. A closely related plant is marjoram from Turkey, which differs significantly in taste because phenolic compounds are missing from its essential oil. Some varieties show a flavour intermediate between oregano and marjoram.


title: Oregano

text: Cultivars traded as Italian, Sicilian, etc. are usually hardy sweet marjoram ("O." ×"majoricum"), a hybrid between the southern Adriatic "O. v." subsp. "hirtum" and sweet marjoram ("O. majorana"). They have a reputation for sweet and spicy tones, with little bitterness, and are prized for their flavor and compatibility with various recipes and sauces.


title: Oregano

text: Oregano is a culinary herb, used for the flavour of its leaves, which can be more intense when dried than fresh. It has an earthy, warm, and slightly bitter taste, which can vary in intensity. Good-quality oregano may be strong enough almost to numb the tongue, but cultivars adapted to colder climates may have a lesser flavour. Factors such as climate, season, and soil composition may affect the aromatic oils present, and this effect may be greater than the differences between the various species of plants. Among the chemical compounds contributing to the flavour are carvacrol, thymol, limonene, pinene, ocimene, and caryophyllene.


title: Oregano

text: Oregano is the staple herb of Italian cuisine, most frequently used with roasted, fried, or grilled vegetables, meat, and fish. Oregano combines well with spicy foods popular in southern Italy. It is less commonly used in the north of the country, as marjoram is generally preferred. Its popularity in the U.S. began when soldiers returning from World War II brought back with them a taste for the "pizza herb", which had probably been eaten in southern Italy for centuries.


title: Oregano

text: Oregano is widely used in cuisines of the Mediterranean Basin and Latin America, especially in Mexican cuisine and Argentine cuisine. In Turkish cuisine, oregano is mostly used for flavouring meat, especially mutton and lamb. In barbecue and kebab restaurants, it can be usually found as a condiment, together with paprika, salt, and pepper.


title: Oregano

text: During the summer, generous amounts of dried oregano are often added as a topping to a tomato and cucumber salad in Portugal, but it can be used to season meat and fish dishes as well. The dried and ground leaves are most often used in Greece to add flavour to Greek salad, and is usually added to the lemon-olive oil sauce that accompanies fish or meat grills and casseroles. In Albania, dried oregano is often used to make herbal tea which is especially popular in the northern part of Albania.


title: Oregano

text: Oregano oil has been used in folk medicine over centuries. Oregano essential oil is extracted from the leaves of the oregano plant. Although oregano or its oil may be used as a dietary supplement, there is no clinical evidence to indicate that either has any effect on human health.


title: Oregano

text: In 2014, the US Food and Drug Administration (FDA) warned a Utah company, Young Living, that its herbal products, including oregano essential oil, were being promoted to have numerous unproven anti-disease effects, and so were being sold as unauthorized misbranded drugs subject to seizure and federal penalties. Similar FDA warning letters for false advertising and unproven health claims about oregano essential oil products were published in 2017 and 2018.


title: Oregano

text: The essential oil of oregano is composed primarily of monoterpenoids and monoterpenes, with the relative concentration of each compound varying widely across geographic origin and other factors. Over 60 different compounds have been identified, with the primary ones being carvacrol and thymol ranging to over 80%, while lesser abundant compounds include "p"-cymene, γ-terpinene, caryophyllene, spathulenol, germacrene D, β-fenchyl alcohol and δ-terpineol.


title: Oregano

text: Drying of the plant material affects both quantity and distribution of volatile compounds, with methods using higher heat and longer drying times having greater negative impact. A sample of fresh whole plant material found to contain 33 g/kg dry weight (3.1 g/kg wet) decreased to below a third after warm-air convection drying. Much higher concentrations of volatile compounds are achieved towards the end of the growing season.


title: Colm Feore

text: Colm Joseph Feore (; born August 22, 1958) is a Canadian actor. A 15-year veteran of the Stratford Festival, he is known for his Gemini-winning turn as Prime Minister Pierre Trudeau in the CBC miniseries "Trudeau" (2002), his portrayal of Glenn Gould in "Thirty Two Short Films About Glenn Gould" (1993), and for playing Detective Martin Ward in "Bon Cop, Bad Cop" (2006) and its 2017 sequel.


title: Colm Feore

text: His other roles include Martin Harrison in "Chicago" (2002), Lord Marshal Zhylaw in "The Chronicles of Riddick" (2004)"," First Gentleman Henry Taylor on "24" (2009), Cardinal Della Rovere on "The Borgias" (2011–2013)"," Laufey in "Thor" (2011), General Ted Brockhart on "House of Cards" (2016–2017), Declan Gallard on "21 Thunder" (2017), Wernher von Braun in "For All Mankind" (2019), and Sir Reginald Hargreeves on "The Umbrella Academy" (2019–present). Feore is also a Prix Iris and Screen Actors Guild Award winner and a Genie Award nominee.


title: Colm Feore

text: Feore was born on August 22, 1958, in Boston, Massachusetts. His parents were Irish immigrants, and the family moved back to Ireland shortly after Colm was born, remaining there for several years before immigrating to Windsor, Ontario. After graduating from Ridley College in St. Catharines, Ontario, he attended the National Theatre School of Canada in Montreal, Quebec.


title: Colm Feore

text: Feore honed his acting skills as a member of the Acting Company of the Stratford Festival of Canada, North America's largest classical repertory theatre. He spent 17 seasons at Stratford where he rose from bit parts to leading roles, including Romeo, Hamlet, Richard III, and Cyrano. He returned in 2006 to star in four productions, including "Don Juan" in both English and French and as Fagin in "Oliver!" More recently, in 2009 he played the main role of Macbeth in the play "Macbeth", the main role of Cyrano in "Cyrano de Bergerac", and Lear in "King Lear" in 2014, all performed at the Stratford Festival Theatre. He also has appeared on Broadway as Cassius in the production of "Julius Caesar" starring Denzel Washington as Brutus. Off-Broadway, for the Public Theater, he was Claudius in a "Hamlet" production that starred Liev Schreiber.


title: Colm Feore

text: In Canada, Feore's most famous roles were as Prime Minister Pierre Trudeau in the critically acclaimed television mini-series "Trudeau", a role for which he won a Gemini Award for Best Performance by an Actor in a Leading Role in a Dramatic Program or Mini-Series, as classical pianist Glenn Gould in the 1993 film "Thirty-Two Short Films About Glenn Gould", and as by-the-book English Canadian detective Martin Ward in the box-office hit "Bon Cop, Bad Cop". He also played a crazed marketing executive imposter in the second season of the Canadian TV series, "Slings and Arrows", a role that continued for several episodes. The show has run in the United States on the Sundance Channel.


title: Colm Feore

text: Outside Canada, Feore has appeared in numerous film, theatre and television roles. He is perhaps most famous in the United States for his supporting roles in such Hollywood films as "Pearl Harbor", "The Sum of All Fears", "Paycheck", and "The Chronicles of Riddick". In 1999, he appeared in Stephen King's "Storm of the Century" as the powerful ancient wizard Andre Linoge. He was the crooked Los Angeles Police Chief James E. Davis in 2008's "Changeling". In 2011, he appeared as Laufey, King of the Frost Giants, in the live-action superhero film "Thor". In 2014, he portrayed Dr. Francis Dulmacher in "Gotham". He portrayed the First Gentleman Henry Taylor on the seventh season of "24", appeared as Tad Whitney in "The West Wing" second-season episode titled "Galileo" and played the billionaire suspect Jordan Hayes in the 2011 "" episode "Flight". He played supernatural murderers in two episodes of "".


title: Colm Feore

text: On June 8, 2002, Feore received an honorary Doctor of Humanities degree (D.Hum.) from the University of Windsor in Windsor. In October 2012, he was awarded an honorary Doctor of Letters degree (D.Litt.) by Wilfrid Laurier University in Waterloo, Ontario, in recognition of his contributions to Canadian theatre and film.


title: Colm Feore

text: Feore was honoured with Gascon-Thomas Award from the National Theatre School of Canada in 2013, the award is given annually to an actor that makes an exceptional contribution to the growth of theatre. In the same year, he was made an Officer of the Order of Canada (OC) "for his contributions as an actor of the stage and screen, notably by bridging Anglophone and Francophone cultures as a fluently bilingual performer."


title: Colm Feore

text: In 2019, Feore received the Lifetime Artistic Achievement Award in Film from the Governor General's Performing Arts Awards. He won the Canadian Screen Award for Best Supporting Actor at the 9th Canadian Screen Awards in 2021, for the film "Sugar Daddy".


title: Colm Feore

text: Feore has been married to Donna Feore (née Starnes), a choreographer and theatre director associated with the National Arts Centre and the Stratford Festival, since 1994. He was previously married to actress Sidonie Boll, whom he met at the National Theatre School, from 1983 to 1994. Feore has three children: son Jack with Boll, and son Thomas and daughter Anna with Donna Feore.


title: Finnegans Wake

text: Finnegans Wake is a novel by Irish writer James Joyce. It is well known for its experimental style and reputation as one of the most difficult works of fiction in the Western canon. It has been called "a work of fiction which combines a body of fables ... with the work of analysis and deconstruction". Written in Paris over a period of seventeen years and published in 1939, "Finnegans Wake" was Joyce's final work. The entire book is written in a largely idiosyncratic language, which blends standard English words with neologistic portmanteau words, Irish mannerisms and puns in multiple languages to unique effect. Many critics believe the technique was Joyce's attempt to recreate the experience of sleep and dreams, reproducing the way concepts, people and places become amalgamated in dreaming. It is an attempt by Joyce to combine many of his aesthetic ideas, with references to other works and outside ideas woven into the text; Joyce declared that "Every syllable can be justified". Due to its linguistic experiments, stream of consciousness writing style, literary allusions, free dream associations, and abandonment of narrative conventions, "Finnegans Wake" remains largely unread by the general public.


title: Finnegans Wake

text: Despite the obstacles, readers and commentators have reached a broad consensus about the book's central cast of characters and, to a lesser degree, its plot, but key details remain elusive. The book discusses, in an unorthodox fashion, the Earwicker family, comprising the father HCE, the mother ALP, and their three children Shem the Penman, Shaun the Postman, and Issy. Following an unspecified rumour about HCE, the book, in a nonlinear dream narrative, follows his wife's attempts to exonerate him with a letter, his sons' struggle to replace him, Shaun's rise to prominence, and a final monologue by ALP at the break of dawn. The opening line of the book is a sentence fragment which continues from the book's unfinished closing line, making the work a never-ending cycle. Many noted Joycean scholars such as Samuel Beckett and Donald Phillip Verene link this cyclical structure to Giambattista Vico's seminal text "La Scienza Nuova" ("The New Science"), upon which they argue "Finnegans Wake" is structured.


title: Finnegans Wake

text: Joyce began working on "Finnegans Wake" shortly after the 1922 publication of "Ulysses". By 1928 installments of Joyce's new avant-garde work began to appear, in serialized form, in Parisian literary journals "The Transatlantic Review" and "transition" ("sic"), under the title "fragments from "Work in Progress"". The actual title of the work remained a secret until the book was published in its entirety, on 4 May 1939. Initial reaction to "Finnegans Wake", both in its serialized and final published form, was largely negative, ranging from bafflement at its radical reworking of the English language to open hostility towards its lack of respect for the conventions of the genre.


title: Finnegans Wake

text: The work has since come to assume a preeminent place in English literature. Anthony Burgess has lauded "Finnegans Wake" as "a great comic vision, one of the few books of the world that can make us laugh aloud on nearly every page". The prominent literary academic Harold Bloom called it Joyce's masterpiece, and, in "" (1994), wrote that "if aesthetic merit were ever again to center the canon, ["Finnegans Wake"] would be as close as our chaos could come to the heights of Shakespeare and Dante".


title: Finnegans Wake

text: Having completed work on "Ulysses", Joyce was so exhausted that he did not write a line of prose for a year. On 10 March 1923, he wrote a letter to his patron, Harriet Weaver: "Yesterday I wrote two pages—the first I have since the final "Yes" of "Ulysses". Having found a pen, with some difficulty I copied them out in a large handwriting on a double sheet of foolscap so that I could read them." This is the earliest reference to what would become "Finnegans Wake".


title: Finnegans Wake

text: The two pages in question consisted of the short sketch "Roderick O'Conor", concerning the historic last king of Ireland cleaning up after guests by drinking the dregs of their dirty glasses. Joyce completed another four short sketches in July and August 1923, while holidaying in Bognor. The sketches, which dealt with different aspects of Irish history, are commonly known as "Tristan and Isolde", "Saint Patrick and the Druid", "Kevin's Orisons", and "Mamalujo". While these sketches would eventually be incorporated into "Finnegans Wake" in one form or another, they did not contain any of the main characters or plot points which would later come to constitute the backbone of the book. The first signs of what would eventually become "Finnegans Wake" came in August 1923 when Joyce wrote the sketch "Here Comes Everybody", which dealt for the first time with the book's protagonist HCE.


title: Finnegans Wake

text: Over the next few years, Joyce's method became one of "increasingly obsessional concern with note-taking, since [he] obviously felt that any word he wrote had first to have been recorded in some notebook." As Joyce continued to incorporate these notes into his work, the text became increasingly dense and obscure.


title: Finnegans Wake

text: By 1926 Joyce had largely completed both Parts I and III. Geert Lernout asserts that Part I had, at this early stage, "a real focus that had developed out of the HCE ["Here Comes Everybody"] sketch: the story of HCE, of his wife and children. There were the adventures of Humphrey Chimpden Earwicker himself and the rumours about them in chapters 2–4, a description of his wife ALP's letter in chapter 5, a denunciation of his son Shem in chapter 7, and a dialogue about ALP in chapter 8. These texts [...] formed a unity." In the same year, Joyce met Maria and Eugène Jolas in Paris, just as his new work was generating an increasingly negative reaction from readers and critics, culminating in "The Dial"'s refusal to publish the four chapters of Part III in September 1926. The Jolases gave Joyce valuable encouragement and material support throughout the long process of writing "Finnegans Wake", and published sections of the book in serial form in their literary magazine "transition", under the title "Work in Progress". For the next few years, Joyce worked rapidly on the book, adding what would become chapters I.1 and I.6, and revising the already written segments to make them more lexically complex.


title: Finnegans Wake

text: By this time some early supporters of Joyce's work, such as Ezra Pound and the author's brother Stanislaus Joyce, had grown increasingly unsympathetic to his new writing. In order to create a more favourable critical climate, a group of Joyce's supporters (including Samuel Beckett, William Carlos Williams, Rebecca West, and others) put together a collection of critical essays on the new work. It was published in 1929 under the title "Our Exagmination Round His Factification for Incamination of Work in Progress". In July 1929, increasingly demoralised by the poor reception his new work was receiving, Joyce approached his friend James Stephens about the possibility of his completing the book. Joyce wrote to Weaver in late 1929 that he had "explained to [Stephens] all about the book, at least a great deal, and he promised me that if I found it madness to continue, in my condition, and saw no other way out, that he would devote himself, heart and soul, to the completion of it, that is the second part and the epilogue or fourth." Apparently Joyce chose Stephens on superstitious grounds, as he had been born in the same hospital as Joyce, exactly one week later, and shared both the first names of Joyce himself and his fictional alter-ego Stephen Dedalus. In the end, Stephens was not asked to finish the book.


title: Finnegans Wake

text: In the 1930s, as he was writing Parts II and IV, Joyce's progress slowed considerably. This was due to a number of factors including the death of his father John Stanislaus Joyce in 1931; concern over the mental health of his daughter Lucia; and his own health problems, chiefly his failing eyesight.


title: Finnegans Wake

text: "Finnegans Wake" was published in book form, after seventeen years of composition, on 4 May 1939. Joyce died twenty months later in Zürich, on 13 January 1941.


title: Finnegans Wake

text: "Finnegans Wake" consists of seventeen chapters, divided into four Parts or Books. Part I contains eight chapters, Parts II and III each contain four, and Part IV consists of only one short chapter. The chapters appear without titles, and while Joyce never provided possible chapter titles as he had done for "Ulysses", he did title various sections published separately (see "Publication history" below). The standard critical practice is to indicate part number in Roman numerals, and chapter title in Arabic, so that III.2, for example, indicates the second chapter of the third part.


title: Finnegans Wake

text: Given the book's fluid and changeable approach to plot and characters, a definitive, critically agreed-upon plot synopsis remains elusive (see "Critical response and themes: Difficulties of plot summary" below). Therefore, the following synopsis attempts to summarise events in the book, which find general, although inevitably not universal, consensus among critics.


title: Finnegans Wake

text: The entire work forms a cycle: the last sentence—a fragment—recirculates to the beginning sentence: "a way a lone a last a loved a long the / riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodious vicus of recirculation back to Howth Castle and Environs." Joyce himself revealed that the book "ends in the middle of a sentence and begins in the middle of the same sentence." The introductory chapter (I.1) establishes the book's setting as "Howth Castle and Environs" (i.e. the Dublin area), and introduces Dublin hod carrier "Finnegan", who falls to his death from a ladder while constructing a wall. Finnegan's wife Annie puts out his corpse as a meal spread for the mourners at his wake, but he vanishes before they can eat him. A series of episodic vignettes follows, loosely related to the dead Finnegan, most commonly referred to as "The Willingdone Museyroom", "Mutt and Jute", and "The Prankquean". At the chapter's close a fight breaks out, whiskey splashes on Finnegan's corpse, and "the dead Finnegan rises from his coffin bawling for whiskey and his mourners put him back to rest", persuading him that he is better off where he is. The chapter ends with the image of the HCE character sailing into Dublin Bay to take a central role in the story.


title: Finnegans Wake

text: I.2 opens with an account of "Harold or Humphrey" Chimpden receiving the nickname "Earwicker" from the Sailor King, who encounters him attempting to catch earwigs with an inverted flowerpot on a stick while manning a tollgate through which the King is passing. This name helps Chimpden, now known by his initials HCE, to rise to prominence in Dublin society as "Here Comes Everybody". He is then brought low by a rumour that begins to spread across Dublin, apparently concerning a sexual trespass involving two girls in the Phoenix Park, although details of HCE's transgression change with each retelling of events.


title: Finnegans Wake

text: Chapters I.2 through I.4 follow the progress of this rumour, starting with HCE's encounter with "a cad with a pipe" in Phoenix Park. The cad greets HCE in Gaelic and asks the time, but HCE misunderstands the question as an accusation, and incriminates himself by denying rumours the cad has not yet heard. These rumours quickly spread across Dublin, gathering momentum until they are turned into a song penned by the character Hosty called "The Ballad of Persse O'Reilly". As a result, HCE goes into hiding, where he is besieged at the closed gate of his pub by a visiting American looking for a drink after hours. HCE remains silent – not responding to the accusations or verbal abuse – dreams, is buried in a coffin at the bottom of Lough Neagh, and is finally brought to trial, under the name Festy King. He is eventually freed, and goes once more into hiding. An important piece of evidence during the trial – a letter about HCE written by his wife ALP – is called for so that it can be examined in closer detail.


title: Finnegans Wake

text: ALP's Letter becomes the focal point as it is analysed in detail in I.5. This letter was dictated by ALP to her son Shem, a writer, and entrusted to her other son Shaun, a postman, for delivery. The letter never reaches its intended destination, ending up in a midden heap where it is unearthed by a hen named Biddy. Chapter I.6 digresses from the narrative in order to present the main and minor characters in more detail, in the form of twelve riddles and answers. In the eleventh question or riddle, Shaun is asked about his relation to his brother Shem, and as part of his response, tells the parable of the Mookse and the Gripes.


title: Finnegans Wake

text: In the final two chapters of Part I, we learn more about the letter's writer Shem the Penman (I.7) and its original author, his mother ALP (I.8). The Shem chapter consists of "Shaun's character assassination of his brother Shem", describing the hermetic artist as a forger and a "sham", before "Shem is protected by his mother [ALP], who appears at the end to come and defend her son." The following chapter concerning Shem's mother, known as "Anna Livia Plurabelle", is interwoven with thousands of river names from all over the globe, and is widely considered the book's most celebrated passage. The chapter was described by Joyce in 1924 as "a chattering dialogue across the river by two washerwomen who as night falls become a tree and a stone." These two washerwomen gossip about ALP's response to the allegations laid against her husband HCE, as they wash clothes in the River Liffey. ALP is said to have written a letter declaring herself tired of her mate. Their gossip then digresses to her youthful affairs and sexual encounters, before returning to the publication of HCE's guilt in the morning newspaper, and his wife's revenge on his enemies: borrowing a "mailsack" from her son Shaun the Post, she delivers presents to her 111 children. At the chapter's close, the washerwomen try to pick up the thread of the story, but their conversation is increasingly difficult as they are on opposite sides of the widening Liffey, and it is getting dark. Finally, as they turn into a tree and a stone, they ask to be told a Tale of Shem or Shaun.


title: Finnegans Wake

text: While Part I of "Finnegans Wake" deals mostly with the parents HCE and ALP, Part II shifts that focus to their children, Shem, Shaun and Issy.


title: Finnegans Wake

text: II.1 opens with a pantomime programme, which outlines, in relatively clear language, the identities and attributes of the book's main characters. The chapter then concerns a guessing game among the children, in which Shem is challenged three times to guess by "gazework" the colour which the girls have chosen. Unable to answer due to his poor eyesight, Shem goes into exile in disgrace, and Shaun wins the affection of the girls. Finally, HCE emerges from the pub and in a thunder-like voice calls the children inside.


title: Finnegans Wake

text: Chapter II.2 follows Shem, Shaun and Issy studying upstairs in the pub, after having been called inside in the previous chapter. The chapter depicts "[Shem] coaching [Shaun] how to do Euclid Bk I, 1", structured as "a reproduction of a schoolboys' (and schoolgirls') old classbook complete with marginalia by the twins, who change sides at half time, and footnotes by the girl (who doesn't)". Once Shem (here called Dolph) has helped Shaun (here called Kev) to draw the Euclid diagram, the latter realises that he has drawn a diagram of ALP's genitalia, and "Kev finally realises the significance of the triangles [..and..] strikes Dolph." After this "Dolph forgives Kev" and the children are given "[e]ssay assignments on 52 famous men." The chapter ends with the children's "nightletter" to HCE and ALP, in which they are "apparently united in a desire to overcome their parents."


title: Finnegans Wake

text: II.3 moves to HCE working in the pub below the studying children. As HCE serves his customers, two narratives are broadcast via the bar's radio and television sets, namely "The Norwegian Captain and the Tailor's Daughter", and "How Buckley Shot the Russian General". The first portrays HCE as a Norwegian Captain succumbing to domestication through his marriage to the Tailor's Daughter. The latter, told by Shem and Shaun ciphers Butt and Taff, casts HCE as a Russian General who is shot by Buckley, an Irish soldier in the British army during the Crimean War. Earwicker has been absent throughout the latter tale, having been summoned upstairs by ALP. He returns and is reviled by his customers, who see Buckley's shooting of the General as symbolic of Shem and Shaun's supplanting their father. This condemnation of his character forces HCE to deliver a general confession of his crimes, including an incestuous desire for young girls. Finally a policeman arrives to send the drunken customers home, the pub is closed up, and the customers disappear singing into the night as a drunken HCE, clearing up the bar and swallowing the dregs of the glasses left behind, morphs into ancient Irish high king Rory O'Connor, and passes out.


title: Finnegans Wake

text: II.4, portraying the drunken and sleeping Earwicker's dream, chronicles the spying of four old men (Matthew, Mark, Luke and John) on Tristan and Iseult's journey. The short chapter portrays "an old man like King Mark being rejected and abandoned by young lovers who sail off into a future without him", while the four old men observe Tristan and Isolde, and offer four intertwining commentaries on the lovers and themselves which are "always repeating themselves".


title: Finnegans Wake

text: Part III concerns itself almost exclusively with Shaun, in his role as postman, having to deliver ALP's letter, which was referred to in Part I but never seen.


title: Finnegans Wake

text: III.1 opens with the Four Masters' ass narrating how he thought, as he was "dropping asleep", he had heard and seen an apparition of Shaun the Post. As a result, Shaun re-awakens and, floating down the Liffey in a barrel, is posed fourteen questions concerning the significance and content of the letter he is carrying. Shaun, "apprehensive about being slighted, is on his guard, and the placating narrators never get a straight answer out of him." Shaun's answers focus on his own boastful personality and his admonishment of the letter's author – his artist brother Shem. The answer to the eighth question contains the story of the Ondt and the Gracehoper, another framing of the Shaun-Shem relationship. After the inquisition Shaun loses his balance and the barrel in which he has been floating careens over and he rolls backwards out of the narrator's earshot, before disappearing completely from view.


title: Finnegans Wake

text: In III.2 Shaun re-appears as "Jaunty Jaun" and delivers a lengthy and sexually suggestive sermon to his sister Issy, and her twenty-eight schoolmates from St. Brigid's School. Throughout this book Shaun is continually regressing, changing from an old man to an overgrown baby lying on his back, and eventually, in III.3, into a vessel through which the voice of HCE speaks again by means of a spiritual medium. This leads to HCE's defence of his life in the passage "Haveth Childers Everywhere". Part III ends in the bedroom of Mr. and Mrs. Porter as they attempt to copulate while their children, Jerry, Kevin and Isobel Porter, are sleeping upstairs and the dawn is rising outside (III.4). Jerry awakes from a nightmare of a scary father figure, and Mrs. Porter interrupts the coitus to go comfort him with the words "You were dreamend, dear. The pawdrag? The fawthrig? Shoe! Hear are no phanthares in the room at all, avikkeen. No bad bold faathern, dear one." She returns to bed, and the rooster crows at the conclusion of their coitus at the Part's culmination.


title: Finnegans Wake

text: Part IV consists of only one chapter, which, like the book's opening chapter, is mostly composed of a series of seemingly unrelated vignettes. After an opening call for dawn to break, the remainder of the chapter consists of the vignettes "Saint Kevin", "Berkely and Patrick" and "The Revered Letter". ALP is given the final word, as the book closes on a version of her Letter and her final long monologue, in which she tries to wake her sleeping husband, declaring "Rise up, man of the hooths, you have slept so long!", and remembers a walk they once took, and hopes for its re-occurrence. At the close of her monologue, ALP – as the river Liffey – disappears at dawn into the ocean. The book's last words are a fragment, but they can be turned into a complete sentence by attaching them to the words that start the book: A way a lone a last a loved a long the / riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.


title: Finnegans Wake

text: Commentators who have summarised the plot of "Finnegans Wake" include Joseph Campbell, John Gordon, Anthony Burgess, William York Tindall, and Philip Kitcher. While no two summaries interpret the plot in the same way, there are a number of central "plot points" upon which they find general agreement. A number of Joyce scholars question the legitimacy of searching for a linear storyline within the complex text. As Bernard Benstock highlights, "in a work where every sentence opens a variety of possible interpretations, any synopsis of a chapter is bound to be incomplete." David Hayman has suggested that "For all the efforts made by critics to establish a plot for the "Wake", it makes little sense to force this prose into a narrative mold." The book's challenges have led some commentators into generalised statements about its content and themes, prompting critic Bernard Benstock to warn against the danger of "boiling down" "Finnegans Wake" into "insipid pap, and leaving the lazy reader with a predigested mess of generalizations and catchphrases." Fritz Senn has also voiced concerns with some plot synopses, saying "we have some traditional summaries, also some put in circulation by Joyce himself. I find them most unsatisfactory and unhelpful, they usually leave out the hard parts and recirculate what we already think we know. I simply cannot believe that FW would be as blandly uninteresting as those summaries suggest."


title: Finnegans Wake

text: The challenge of compiling a definitive synopsis of "Finnegans Wake" lies not only in the opacity of the book's language but also in the radical approach to plot which Joyce employed. Joyce acknowledged this when he wrote to Eugène Jolas that:


title: Finnegans Wake

text: "I might easily have written this story in the traditional manner [...] Every novelist knows the recipe [...] It is not very difficult to follow a simple, chronological scheme which the critics will understand [...] But I, after all, am trying to tell the story of this Chapelizod family in a new way.


title: Finnegans Wake

text: This "new way" of telling a story in "Finnegans Wake" takes the form of a discontinuous dream-narrative, with abrupt changes to characters, character names, locations and plot details resulting in the absence of a discernible linear narrative, causing Herring to argue that the plot of "Finnegans Wake" "is unstable in that there is no one plot from beginning to end, but rather many recognizable stories and plot types with familiar and unfamiliar twists told from varying perspectives." Patrick A. McCarthy expands on this idea of a non-linear, digressive narrative with the contention that "throughout much of "Finnegans Wake", what appears to be an attempt to tell a story is often diverted, interrupted, or reshaped into something else, for example, a commentary on a narrative with conflicting or unverifiable details." In other words, while crucial plot points – such as HCE's crime or ALP's letter – are endlessly discussed, the reader never encounters or experiences them first hand, and as the details are constantly changing, they remain unknown and perhaps unknowable. Suzette Henke has accordingly described "Finnegans Wake" as an aporia. Joyce himself tacitly acknowledged this radically different approach to language and plot in a 1926 letter to Harriet Weaver, outlining his intentions for the book: "One great part of every human existence is passed in a state which cannot be rendered sensible by the use of wideawake language, cutanddry grammar and goahead plot." Critics have seen a precedent for the book's plot presentation in Laurence Sterne's digressive "The Life and Opinions of Tristram Shandy, Gentleman", with Thomas Keymer stating that "Tristram Shandy was a natural touchstone for James Joyce as he explained his attempt "to build many planes of narrative with a single esthetic purpose" in "Finnegans Wake"".


title: Finnegans Wake

text: Part II is usually considered the book's most opaque section, and hence the most difficult to synopsize. William York Tindall said of Part II's four chapters that "nothing is denser." Similarly, Patrick Parrinder has described Part II as the "worst and most disorienting quagmire [...] in the "Wake"."


title: Finnegans Wake

text: Despite Joyce's revolutionary techniques, the author repeatedly emphasized that the book was neither random nor meaningless; with Richard Ellmann quoting the author as having stated: "I can justify every line of my book." To Sisley Huddleston he stated "critics who were most appreciative of "Ulysses" are complaining about my new work. They cannot understand it. Therefore they say it is meaningless. Now if it were meaningless it could be written quickly without thought, without pains, without erudition; but I assure you that these 20 pages now before us [i.e. chapter I.8] cost me twelve hundred hours and an enormous expense of spirit." When the editor of "Vanity Fair" asked Joyce if the sketches in "Work in Progress" were consecutive and interrelated, Joyce replied "It is all consecutive and interrelated."


title: Finnegans Wake

text: Fargnoli and Gillespie suggest that the book's opening chapter "introduces [the] major themes and concerns of the book", and enumerate these as "Finnegan's fall, the promise of his resurrection, the cyclical structure of time and history (dissolution and renewal), tragic love as embodied in the story of Tristan and Iseult, the motif of the warring brothers, the personification of the landscape and the question of Earwicker's crime in the park, the precise nature of which is left uncertain throughout the "Wake"." Such a view finds general critical consensus, viewing the vignettes as allegorical appropriations of the book's characters and themes; for example, Schwartz argues that "The Willingdone Museyroom" episode represents the book's "archetypal family drama in military-historical terms." Joyce himself referred to the chapter as a "prelude", and as an "air photograph of Irish history, a celebration of the dim past of Dublin." Riquelme finds that "passages near the book's beginning and its ending echo and complement one another", and Fargnoli and Gillespie representatively argue that the book's cyclical structure echoes the themes inherent within, that "the typologies of human experience that Joyce identifies [in "Finnegans Wake"] are [..] essentially cyclical, that is, patterned and recurrent; in particular, the experiences of birth, guilt, judgment, sexuality, family, social ritual and death recur throughout the "Wake". In a similar enumeration of themes, Tindall argues that "rise and fall and rise again, sleeping and waking, death and resurrection, sin and redemption, conflict and appeasement, and, above all, time itself [...] are the matter of Joyce's essay on man."


title: Finnegans Wake

text: Henkes and Bindervoet generally summarise the critical consensus when they argue that, between the thematically indicative opening and closing chapters, the book concerns "two big questions" which are never resolved: what is the nature of protagonist HCE's secret sin, and what was the letter, written by his wife ALP, about? HCE's unidentifiable sin has most generally been interpreted as representing man's original sin as a result of the Fall of Man. Anthony Burgess sees HCE, through his dream, trying "to make the whole of history swallow up his guilt for him" and to this end "HCE has, so deep in his sleep, sunk to a level of dreaming in which he has become a collective being rehearsing the collective guilt of man." Fargnoli and Gillespie argue that although undefined, "Earwicker's alleged crime in the Park" appears to have been of a "voyeuristic, sexual, or scatological nature". ALP's letter appears a number of times throughout the book, in a number of different forms, and as its contents cannot be definitively delineated, it is usually believed to be both an exoneration of HCE, and an indictment of his sin. Herring argues that "[t]he effect of ALP's letter is precisely the opposite of her intent [...] the more ALP defends her husband in her letter, the more scandal attaches to him." Patrick A. McCarthy argues that "it is appropriate that the waters of the Liffey, representing Anna Livia, are washing away the evidence of Earwicker's sins as [the washerwomen speak, in chapter I.8] for (they tell us) she takes on her husband's guilt and redeems him; alternately she is tainted with his crimes and regarded as an accomplice".


title: Finnegans Wake

text: Throughout the book's seventeen-year gestation, Joyce stated that with "Finnegans Wake" he was attempting to "reconstruct the nocturnal life", and that the book was his "experiment in interpreting 'the dark night of the soul'." According to Ellmann, Joyce stated to Edmond Jaloux that "Finnegans Wake" would be written "to suit the esthetic of the dream, where the forms prolong and multiply themselves", and once informed a friend that "he conceived of his book as the dream of old Finn, lying in death beside the river Liffey and watching the history of Ireland and the world – past and future – flow through his mind like flotsam on the river of life." While pondering the generally negative reactions to the book Joyce said: I can't understand some of my critics, like Pound or Miss Weaver, for instance. They say it's "obscure". They compare it, of course, with "Ulysses". But the action of "Ulysses" was chiefly during the daytime, and the action of my new work takes place chiefly at night. It's natural things should not be so clear at night, isn't it now?


title: Finnegans Wake

text: Joyce's claims to be representing the night and dreams have been accepted and questioned with greater and lesser credulity. Supporters of the claim have pointed to Part IV as providing its strongest evidence, as when the narrator asks "You mean to see we have been hadding a sound night’s sleep?", and later concludes that what has gone before has been "a long, very long, a dark, very dark [...] scarce endurable [...] night". Tindall refers to Part IV as "a chapter of resurrection and waking up", and McHugh finds that the chapter contains "particular awareness of events going on offstage, connected with the arrival of dawn and the waking process which terminates the sleeping process of ["Finnegans Wake"]."


title: Finnegans Wake

text: This conceptualisation of the "Wake" as a dream is a point of contention for some. Harry Burrell, representative of this view, argues that "one of the most overworked ideas is that "Finnegans Wake" is about a dream. It is not, and there is no dreamer." Burrell argues that the theory is an easy way out for "critics stymied by the difficulty of comprehending the novel and the search for some kind of understanding of it." The point upon which a number of critics fail to concur with Burrell's argument is its dismissal of the testimony of the book's author on the matter as "misleading... publicity efforts". Parrinder, equally skeptical of the concept of the "Wake" as a dream, argues that Joyce came up with the idea of representing his linguistic experiments as a language of the night around 1927 as a means of battling his many critics, further arguing that "since it cannot be said that neologism is a major feature of the dreaming process, such a justification for the language of "Finnegans Wake" smacks dangerously of expediency."


title: Finnegans Wake

text: While many, if not all, agree that there is at least some sense in which the book can be said to be a "dream", few agree on who the possible dreamer of such a dream might be. Edmund Wilson's early analysis of the book, "The Dream of H. C. Earwicker", made the assumption that Earwicker himself is the dreamer of the dream, an assumption which continued to carry weight with Wakean scholars Harry Levin, Hugh Kenner, and William Troy. Joseph Campbell, in "A Skeleton Key to Finnegans Wake", also believed Earwicker to be the dreamer, but considered the narrative to be the observances of, and a running commentary by, an anonymous pedant on Earwicker's dream in progress, who would interrupt the flow with his own digressions.


title: Finnegans Wake

text: Ruth von Phul was the first to argue that Earwicker was not the dreamer, which triggered a number of similarly minded views on the matter, although her assertion that Shem was the dreamer has found less support.


title: Finnegans Wake

text: J.S.Atherton, in a 1965 lecture, 'The Identity of the Sleeper', suggested that the dreamer of "Finnegans Wake" was the Universal Mind: 'As I see FW it is everyone’s dream, the dream of all the living and the dead. Many puzzling features become clear if this is accepted. Obviously we will hear many foreign languages...To my mind, the most revealing statement Joyce ever made about his work was: 'Really it is not I who am writing this crazy book. It is you, and you, and you, and that man over there, and that girl at the next table.' This is stressed, once you start looking for it, in the "Wake" itself. It is 'us.' who are brought back to 'Howth Castle and Environs' in the third line of the book. The washerwoman says: 'of course, we all know Anna Livia'. It is easy to miss the 'we'. Chapter 2 has 'we are back' in line 3. In fact all the first five chapters use "us" or "we" by the ninth line at the latest—and the sixth chapter ends 'Semus sumus.' We are Shem. All of us...It is the universal mind which Joyce assumes as the identity of the dreamer; he, of course, is writing it all down but everyone else contributes.'


title: Finnegans Wake

text: The assertion that the dream was that of Mr. Porter, whose dream personality personified itself as HCE, came from the critical idea that the dreamer partially wakes during chapter III.4, in which he and his family are referred to by the name Porter. Anthony Burgess representatively summarized this conception of the "dream" thus: "Mr. Porter and his family are asleep for the greater part of the book [...] Mr. Porter dreams hard, and we are permitted to share his dream [...] Sleeping, he becomes a remarkable mixture of guilty man, beast, and crawling thing, and he even takes on a new and dreamily appropriate name – Humphrey Chimpden Earwicker."