davidanugraha/M4-RAG huggingface dataset:
Ioana Bassarab

Ioana Bassarab, cunoscută și ca Ioana Bassarab-Starostescu (n. 1907 – d. 1967) a fost o pictoriță, sculptoriță, gravoare și creatoare de păpuși română, considerată una dintre fondatoarele teatrului modern de păpuși din România. Stilul său influențat de cubism, Art Deco și de principiile Școlii Bauhaus, a contribuit la scenografia românească modernă și în artele vizuale.
Născută într-o familie de artiști, Ioana Bassarab era fiica Mariei (născută Bonachi) și a pictorului și gravorului Ludovic Bassarab, cunoscut și pentru realizarea unor timbre românești. Fratele ei, sculptorul Mircea Bassarab, a lucrat o mare parte a vieții sale în Franța. Pe linie paternă, familia Bassarab își are originile în rândul aristocrației moldovenești din Hotin și al ofițerilor finlandezi care au servit în armata țaristă rusă. A fost căsătorită cu Nicolae Starostescu, ofițer în marina comercială.
După ce a studiat sculptura la Paris, Ioana Bassarab s-a întors în România, unde și-a extins activitatea artistică în diverse domenii – de la sculptură și desen la arte decorative, scenografie și chiar proiectarea de timbre. A expus în numeroase expoziții, inclusiv la Salon d'Automne din Paris în 1923 și 1929, iar lucrările sale au fost premiate la Expoziția Națională din București în 1929.
Între 1929 și 1930, Bassarab a creat păpuși și decoruri pentru teatrul lui Theodor Nastasi, adaptând două piese: Motanul încălțat a dramaturgului german Franz von Pocci și Ion Păpușarul de Vasile Alecsandri. Designul său inovator a adus modernismul în teatrul de păpuși românesc, demonstrând abilitatea ei de a combina elemente tradiționale cu stiluri de avangardă.
În afara teatrului, Bassarab a contribuit și în domeniul gravurii de medalii și monede.
În 1938 a lucrat aversul medaliei Campionatele naționale de atletism, iar în 1940 medalia Eminescu, cu ocazia aniversării a 90 de ani de la nașterea acestuia.
Dupa ce România a recuperat Basarabia și Nordul Bucovinei prin Operațiunea München, în 1941, Ioana Bassarab a realizat designul monedei comemorative de 500 de lei din argint, emisă pentru a amrca acest eveniment.
În 1944, după eliberarea Transilvaniei de nord, a realizat reversul medaliei jubiliare „Ardealul nostru” în 1944, în colaborare cu gravorul Ștefan Iordan, apoi, în 1946, aversul unui proiect monetar pentru moneda de 25000 de lei.
Între 1936 și 1947, Ioana Bassarab a fost membră asociată a societății Tinerimea Artistică, care promova tinerii artiști români.
După instaurarea regimului comunist în România, Bassarab a refuzat orice colaborare cu noua conducere, fapt ce a dus la marginalizarea sa din sfera publică. În lipsa unor mijloace de subzistență, a recurs la diverse metode pentru a supraviețui. O mărturie a acestei perioade arată că Bassarab mergea periodic la Institutul Pasteur din București, unde era folosită în cadrul unui experiment biologic: i se atașau plase pe pulpe pentru a hrăni puricii din crescătoria institutului, utilizați în scopuri științifice.
SimsalaGrimm

SimsalaGrimm este un serial de animație germană din anul 1999. Episoadele seriei sunt bazate pe basmele fraților Grimm. De asemenea, din al treilea sezon, sunt și episoade din poveștile lui Hans Christian Andersen sau alți autori. În România desenul a fost difuzat pe Minimax.
Basmele sunt spuse de 2 personaje principale, care asistă la evenimente și participă la acțiuni alături de eroii din carte. Cele 2 personaje sunt YoYo, cel mai mare aventurier din totdeauna, și Doc Croc, om de știință, doctor si filosof. Cei 2 se pun pe cartea de povești și sunt aruncați direct în poveste.
În fiecare episod, basmul respectiv se petrece într-un tărâm magic. Cele 2 personaje principale, ajută,sau cel puțin inspiră eroii din basme. Yoyo și Doc Croc sunt inițial jucării, dar sunt aduși la viață de către cartea magică.
Clanu' Sprânceană

Clanu' Sprânceană este un serial de televiziune difuzat de postul Antena 1. Acțiunea serialului planează asupra a două familii: familia română Pop și familia rromă Sprânceană. Cele două familii sunt nevoite să se suporte reciproc, fiind lucrul care declanșează o comedie bazată pe situații care țin de realitățile vieții cotidiene. Țiganii și românii sunt puși în situația suportării zilnice a obiceiurilor și tradițiilor specifice. Vecinătatea familiilor naște situații comice a problemelor oricărui român din zilele noastre. Acțiunea începe când inginerul constructor Lucian Pop (Adrian Păduraru) se mută cu familia într-un nou cartier de vile construite "în oglindă", adică lipite două câte două. După doar câteva zile, înainte instalării propriu-zise în casă, în vila de alături se mută un întreg clan de țigani, condus de cunoscutul interlop Toni Sprânceană (Marius Bodochi). Soția lui Lucian, Lia Pop (Nicole Duțu), e psiholog, fiind mult mai înțeleaptă și mai tolerantă decât soțul ei, mai ales că a copilărit într-un cartier rău famat. Ea este prima care inițiază contactul cu noii vecini și tot ea e cea care încearcă să țină în frâu impulsurile războinice ale soțului ei, care recurge la tot felul de tertipuri ridicole pentru a-i alunga pe noii vecini. Fiul ei, Mihai Pop (Călin Stănculeț) se transformă dintr-un adolescent cuminte, pasionat de pianul clasic, într-un adept al stilului "gangsta", iar fiica ei, Ana Pop (Ana Odagiu) în vârstă de 18 ani, începe să privească galeș peste gard.
Dan Voiculescu, magnatul Antenei 1, a dorit să stopeze serialul , pe motivul că difuzarea acestuia ar fi înrăutățit relațiile dintre români și rromi.
Redarea cât mai veridică a îmbinării comediei și dramei tipice vieții reale a fost realizată de distribuția aleasă "pe sprânceană":
Coloana sonoră a serialului o reprezintă melodia "Muro shavo kiki", cântată de Mărgineanu și TerniPe!. Totodată, mai pot fi auzite piese ale lui Mărgineanu, cum ar fi Paraschiva.
Antena 1 acuzase postul de televiziune Pro TV că ar fi luat melodia, folosind-o zile în șir fără drepturi legale, utilizând-o chiar și la un promo la Dansez pentru tine; Pro TV nu a răspuns acuzațiilor aduse de către Antena 1.
Opanak

Opanci are traditional peasant shoes worn in Southeastern Europe (specifically Bosnia and Herzegovina, Bulgaria, Croatia, Montenegro, North Macedonia, Serbia, and also Romania and Albania). The attributes of the opanci (name in plural) are a construction of leather, lack of laces, durable, and various endings on toes. In Serbia, the design of the horn-like ending on toes indicates the region of origin, though this specific design is not exclusive to Serbia. The opanci are also considered as the traditional peasant footwear for people in the Balkan region. In Bulgaria they are referred to as "tsarvuli".
Serbo-Croatian òpanak/о̀панак, as well as Bulgarian and Macedonian opinok/опинок, ultimately derive from Proto-Slavic word *opьnъkъ. Proto-Slavic *opьnъkъ is composed from the following parts:
So literally, òpanak would roughly mean "climbing footwear" or "footwear made from stretched (animal hide)".
Trajan's Column in Rome features Dacians wearing this type of leather shoes. Archeological findings show that the local population was hunting wild game: foxes, deer, badgers, wolves, bears, whose skins were later manufactured. The nobility would wear game skin shoes, the poorer ones would wear calf or swine skin. According to Wilkes, opanci were originally a leather moccasin worn by paleo-Balkan peoples as Illyrians, Dacians, Thracians, etc., and later adopted by Slavs. In the past the traditional shoes were handcrafted out of leather processed at home. The piece of leather had to be larger than the sole, with holes on the side so that a thin string of leather can be filled in and it wraps the piece of leather around the foot, giving it the form of some footwear. The puckered form gave it a sharp tip. They would be worn over wool stockings or white pieces of clothing. Nowadays they are often used as part of the traditional costume by folk dance groups and folk artists.
Until 50 years ago, they were usually worn in rural areas of Bosnia and Herzegovina, Bulgaria, Croatia, North Macedonia, Romania and Serbia. Nowadays, they are only used in folk costume, for folkloric dance ensembles, festivals, feast days or other cultural events.
The largest Opanak in the world, in the Guinness World Book since 2006, is the 3.2m shoe, size 450, weighing 222 kg, made by opančar Slavko Strugarević, from Vrnjačka Banja, Serbia.
The opanci are part of some variations of the Croatian national costume.
Opanci are known as national symbol of Serbia, and part of national costume of Serbia.
Ioan Popovici-Bănățeanul

Ioan Popovici-Bănățeanul (born Ioan Popovici; April 17, 1869 – September 9, 1893) was an Austro-Hungarian-born Romanian prose writer and poet.
Born in Lugoj into a family of small-scale craftsmen, his father Nicolae Popovici made opinci, while his mother Susana (née Dobrin) sold produce at the market. In 1884, he was expelled from the local Hungarian Catholic gymnasium, and he continued his schooling at Brașov and Beiuș from 1884 to 1889. He then entered the theological and pedagogical institute of Caransebeș, which he attended from 1889 to 1892 but did not complete. In 1886, in Familia, he published a cycle of folk poems that he gathered in the Lugoj area. His original poetry debut came in 1888, in Tribuna. He moved to Bucharest, the capital of the Romanian Old Kingdom, in search of a social and literary position; from 1892 to 1893, he worked as an accountant at the League for the Cultural Unity of All Romanians [ro].
He won the admiration and support of Titu Maiorescu, who brought him to the attention of both contemporaries and posterity. In 1893, Maiorescu published his most representative verses and short stories (such as "În lume" and "După un an de jale") in Convorbiri Literare. He also wrote the preface to Popovici's only published book, which arrived posthumously, the 1895 short story collection Din viața meseriașilor. It was also Maiorescu who gave him the name Bănățeanul. Popovici sometimes used the pen names Niță de la Lugoj and Oreste. Working from German texts, he translated Henrik Ibsen, Bjørnstjerne Bjørnson and Ivan Turgenev. Afflicted by lung disease, he returned to Lugoj to die at home; his premature death cut short what appeared to be a promising career.
Moroi

A moroi (sometimes moroii in modern fiction; pl. moroi) or morák in Hungarian is a type of vampire or ghost in Hungarian and Romanian folklore. A female moroi is called a moroaică (pl. moroaice). In some versions, a moroi is a phantom of a dead person which leaves the grave to draw energy from the living.
Moroi are often associated with other figures in Romanian folklore, such as strigoi (another type of vampire), vârcolac (werewolf), or pricolici (werewolf). As with most concepts in folklore, the exact characteristics ascribed to moroi are variable from source to source. Wlislocki reported a belief that the child of a woman impregnated by a nosferat (a sort of incubus-vampire) would be extremely ugly and covered with thick hair, very quickly becoming a moroi.
They are also sometimes referred to in modern stories as the living offspring of two strigoi. It may also signify an infant who died before being baptized. The origins of the term "moroi" are unclear, but it is thought by the Romanian Academy to have possibly originated from the Old Slavonic word mora ("nightmare") – cf. Russian kikimora. Otila Hedeşan notes that moroi is formed using the same augmentative suffix as strigoi (along with the related bosorcoi) and considers this parallel derivation to indicate membership in the same "mythological micro-system." The "-oi" suffix notably converts feminine terms to the masculine gender as well as often investing it with a complex mixture of augmentation and pejoration. According to Éva Pócs, the word itself is related to the mare and is most likely of Proto-Indo-European origin as similarly named malevolent creatures appear in the culture of several Eastern, Central and Western European countries, although they differ in description, which was later transmutated into the creatures found in Hungary and Romania. Further west, it appears more as a shape shifter.
In Hungarian culture the morák or norák is present in Transylvania and Hungary as a bogeyman like figure. The children scared each other by saying "the Morák is coming". They were imagined as witch-like creatures born from dead unbaptised babies. It is often used interchangeably with the boszorkány. A related creature, specific to Hungary, is the nora, which in turn has a different circle of superstitions.
Viljandi Folk Music Festival

The Viljandi Folk Music Festival is a music festival in Estonia with a central focus on European folk music. It is traditionally held during the last weekend of July, when the otherwise quiet city of Viljandi is completely transformed as the small city center is suddenly flooded with people. The main attraction of the festival is the friendly atmosphere. Over 25,000 people attend the concerts every year, but many more just come to take part in the festivities. As such, it is the largest annual music festival in Estonia, and one of the largest folk music festivals in Europe.
58°21′32.84″N 25°35′43.16″E﻿ / ﻿58.3591222°N 25.5953222°E﻿ / 58.3591222; 25.5953222
Lost in the City

Lost in the City is a 1992 collection of short stories about African-American life in Washington, D.C., by Pulitzer Prize-winning author Edward P. Jones.
Lost in the City is a collection of 14 stories. The author, a native of Washington, writes about the ordinary residents of the city: "I had read James Joyce's Dubliners, and I was quite taken with what he had done and I set out to give a better picture of what the city is like—the other city."
The book starts with the youngest character and ends with the oldest character.
The structure of Lost in the City mirrors that of All Aunt Hagar's Children, another collection of short stories written by Jones:
In Lost in the City, the story of “The First Day” chronicles a young girl's first day of school. The story is told from the young girl's point of view. The story opens with her describing how she gets ready by drawing a picture of the style of her hair and the outfit she wears including her new shoes that she loves. As the story progresses we learn that the narrator and her mom went to the wrong school and now have to travel and register for the new school in town. Unlike the old school, which was a familiar structure of their community but run-down, the new school was shiny and new and represents the unknown. The young girl's mom doesn't know how to read so she pays someone to help fill the paperwork out and the mom gives the helper 50 cents for her help. The story ends with the five-year-old girl listening to her mother's footsteps as she walks away. When reading the story, the author stresses the value of education through the amount of effort the family and the community put into the first day of school. It also provides commentary on how the community uses school to judge families. Before the mom and the girl left, they made sure the young girl was fed and well dressed.
Lost in the City won the Hemingway Foundation/PEN Award in 1993 and was a finalist for the National Book Award for Fiction.
5. Jones, E. P. (1993). The First Day. In Lost in the city: Stories. New York, NY: HarperPerennial.
Opinga

Opinga (Gheg Albanian: Apânga) are traditional shoes worn by Albanians in Albania, Kosovo, North Macedonia (opinci), Montenegro, Greece (by the Klephts), and the Arbëresh villages of Italy. They were also worn by countrymen in Romania (opinca), Serbia, Croatia, Bosnia and Herzegovina (opanak), Bulgaria (opinka), and other countries. They are made of a single leather skin, formed to the feet with leather or wool strips. A southern Albanian variety of opinga are the typical turned up leather shoes with red and black wool pompoms on the ends, which are often used for folk dances.
According to the most recent statement on Albanology by Matzinger, the word "opingë" derives from Proto-Albanian "*api + *ga", *api also giving rise to hap (“step”). Related to hap (“open”).
The earliest archaeological evidence for opinga dates back to the 5-4th centuries BC, indicating they were an element in Illyrian culture. Later evidence of their use in Albania is apparent in the works of the 16th century iconographic painter Onufri.
It has been suggested that the etymology of the word comes from Proto-Albanian *api (modern Albanian: hapi), meaning "step".
In 1610, Marino Bizzi, a Venetian patrician in Dalmatia and Archbishop of Antivari, noted that the men of Mirdita wore opinga, made of cow skin, prepared by the men themselves.
The artisans of the kaza of Përmet held the monopoly in the trade of opinga in the vilayets of Shkodër and Janina until 1841, when that privilege was revoked under the Tanzimat reforms.
Theodor Mommsen

Staraí Gearmánach ab ea Christian Matthias Theodor Mommsen (1817 - 1903). Fathach de chuid an aois eagna sa naoú haois déag ab ea é. Rinne a scoláireacht tairbhe don léann clasaiceach, don tseanstair, don tseandálaíocht agus don dlí (don dlí Rómhánach agus don dlí dá thréimhse féin araon). Tá an-tionchar ag cuid mhór dá obair sna réimsí sin fós.
Rugadh Mommsen ar an 30ú lá de Shamhain i nGarding sa Dhiúcacht Schleswig.
Rinne Mommsen staidéir ar an dlí i Kiel ó 1838 go dtí 1843 agus ina ollamh le stair Rómhánach i mBeirlín ar an ó 1861 go 1887.
Bhí Mommsen ina pholaiteoir náisiúnach liobrálach, a bhí go láidir in éadan réimeas Bismarck, an fhrith-Sheimíteachais agus na héilimh de chuid na Slavach gach uair ar tháinig siad salach ar leas lucht labhartha na Gearmáinise.
Bhí tionchar láidir ag a scoláireacht sa dlí ar an Bürgerliches Gesetzbuch, Cód Sibhialta na Gearmáine, a achtaíodh sa bhliain 1896 agus a tháinig i bhfeidhm sa bhliain 1900.
Bronnadh Duais Nobel na Litríochta ar Mommsen sa bhliain 1902, mar aitheantas ar a shárshaothar il-imleabhrach Römische Geschichte (Gaeilge: 'Stair Rómhánach').
Fuair Mommsen bás ar an 1ú lá de Shamhain i gCharlottenburg na Gearmáine.
Hugo Freund & Co

Hugo Freund & Co cuideachta seodra, a bunaíodh i 1908 i bPrág I ar chomhoibriú Ovocný. 15. Ba é an tUasal Hugo Freund a bhunaigh an chuideachta sin.
Bhí brainsí ag Hugo Freund & Co i Vín, Pforzheim, Antwerp agus san Eilvéis, a choinnigh teagmháil leanúnach leis an PBX i bPrág agus ní hamháin gur cheannaigh siad ach a onnmhairíodh agus a chuir an PBX ar an eolas faoi nuálaíochtaí tábhachtacha eachtracha agus staid an mhargaidh.
Nuair a tháinig sé chun ama nuair a bhí sé níos deacra earraí eachtracha a allmhairiú agus nuair a bhí sé riachtanach soláthraithe príobháideacha agus a phlandaí eachtracha a bhriseadh amach, chinn an tUasal Freund táillí arda custaim agus malairte eachtraí a shábháil.
Ag deireadh an Dara Cogadh Domhanda, rinneadh náisiúnú ar gach gnólacht phríobháideach, ina measc an chuideachta “Hugo Freund & Co”.
Philip Roth

Scríbhneoir Meiriceánach ab ea Philip Milton Roth, a rugadh 19 Márta 1933 agus d'éag 22 Bealtaine 2018 agus a bhuaigh an duais Pulitzer le American Pastoral i 1997. Foilsíodh a chéad úrscéal Goodbye, Columbus i 1959 agus bronnadh an National Book Award (1960) air dá bharr. Bronnadh céim sa bhéarla air agus é ag freastal ar Bucknell University. Bronnadh an WH Smith Literary Award ar Roth i 2001 don úrscéal Zuckerman, The Human Stain, ainmníodh é mar leabhar na bliana.
Mícheál W. Ó Murchú

Saolaíodh agus tógadh Mícheál W. Ó Murchú i Ráth Chormaic, Co. Chorcaí, áit a bhfuair sé oideachas bunscoile. D’fhreastail ar Choláiste Cholmáin Naofa, Mainistir Fhear Maí agus ar ollscoileanna éagsúla in Éirinn.
Mhúin sé sa Cheardscoil i Maigh Chromtha. Ina dhiaidh sin bhí sé ina léachtóir sa Roinn Oideachais, Coláiste Ollscoile Chorcaí, ina Stiúrthóir Náisiúnta ar Aontas – An Cumann Náisiúnta um Oideachas Aosach, agus ina Bhainisteoir Oideachais i mBord na Gaeilge. Bhain sé amach M.Litt. ar an oideachas comparáideach ó Choláiste na Tríonóide agus Ph.D. ar an oideachas aosach ó Choláiste Ollscoile Bhaile Átha Cliath.
Le blianta beaga is Oifigeach na Gaeilge é i gColáiste na Tríonóide agus Teagascóir Gaeilge i gColáiste Phádraig, Droim Conrach, Ollscoil Chathair Bhaile Átha Cliath.
Foilsíodh cnuasach aistí dá chuid den teideal "Páirc na hImeartha" (Coiscéim) sa bhliain 2005.
Strix (géineas)

Is géineas d'ulchabháin é Strix i bhfine na Strigidae, ceann den dá fhine bheo a nglactar leo go ginearálta, agus is é an ceann eile na Tytonidae. Uaireanta cuirtear éin nuathrópaiceacha sa ghéineas Ciccaba san áireamh i Strix.
Is ulchabháin mheánmhéide go mhóra iad, tógtha go breá láidir agus cumhachtach. Níl coirníní cluaise acu agus is éin choillearnaí an- oíche iad a bhformhór. Itheann an chuid is mó díobh mamaigh bheaga, éin agus reiptílí.
Guthaíonn an chuid is mó de na hulchabháin sa ghéineas Strix trí scréacha a ligint agus níl cluasa infheicthe acu - seo an chaoi a ndéantar idirdhealú orthu ó ghéinte eile ulchabhán.
Thagair an t-ainm ghéineas Laidineach Strix d'ollphéist fhinscéalaíoch, vaimpíreach a chreidtear a tarraingíonn fuil na naíonán. Cé gur bhunaigh Linnaeus an géineas Strix do na h-ulchabháin gan chluas sa bhliain 1758, go dtí deireadh an 19ú haois, chuir go leor údar é i bhfeidhm ar ulchabháin eile - eadhon ulchabháin Tyto.
Uaireanta cuirtear an méid seo a leanas san áireamh sa ghéineas Ciccaba.
Tá ionadaíocht mhaith ag an ngéineas Strix sa taifead iontaise. Toisc gur cineál ulchubhán measartha cineálacha iad, is dócha gurbh iad na chéad Strigidae fíor-nua-aimseartha a tháinig chun cinn. Mar sin féin, níl sé cinnte an mbaineann cuid de na speicis a chuirtear sa ghéineas seo anseo ceart.
Strix a nglactar leis go ginearálta:
Sotar rua

Cineál madra is ea an sotar rua.Taobh amuigh d’Éirinn glaotar an sotar Éireannach air.
Tá cáil ar an madra seo toisc go bhfuil sé mar shuaiteantas ag Bus Éireann.
Bhí sotar rua ag Uachtarán na Stát Aontaithe Richard Nixon nuair a bhí sé sa Teach Bán, agus bhí scannán de chuid Disney dar teideal Big Red ina raibh sotar rua.
Dún Lúiche

Baile beag i gContae Dhún na nGall in Éirinn is ea Dún Lúiche. De réir an Staidéar Cuimsitheach Teangeolaíoch ar Úsáid na Gaeilge sa Ghaeltacht, bhí 665 daoine os cionn trí bliana d'aois ina gcónaí i nDún Lúiche. Labhraíonn 486 (73%) Gaeilge go laethúil taobh amuigh den chóras oideachais.
John Millington Synge

Drámadóir Éireannach ab ea John Millington Synge (16 Aibreán 1871 - 24 Márta 1909). B'é an dráma ba cháiliúla a bhí ag Synge ná The Playboy of the Western World. Bhí ruaille buaille sa chathair ar oíche na hoscailte i 1907, ach d'éirigh go geal leis ina ainneoin sin. I measc a chuid drámaí eile, tá Riders to the Sea, Shadow of the Glen, The Well of the Saints, The Tinker's Wedding srl.
Tógadh Synge i Ráth Fearnáin lámh le Baile Átha Cliath.
Bhain sé céim (Baitsiléir Ealaíon) amach sna teangacha i gColáiste na Tríonóide sa bhliain 1892.
Chuaigh Synge go dtí an Fhrainc sa bhliain 1896. Chas sé le W. B. Yeats, a thug comhairle do Synge cuairt a thabhairt ar Oileáin Árann.
Chaith Synge tréimhsí fada ar Inis Meáin in oileáin Árann ag foghlaim na Gaeilge agus ag scríobh a chuid leabhair agus drámaí faoi dhraíocht agus áilleacht an oileáin agus na farraige.
Thug Synge cuairt go h-Inis Meáin don chéad uair i 1898. D'fhan sé le muintir Uí Dhonnacha ar feadh tréimhsí fada agus mhair cosúil leo féin. Bhíodh sé ina shuí cois na tine/sa gclúid ag seinm an fhidil agus go minic ag bogadh an chliabháin ina mbíodh páiste le muintir an tí.
Chaith Synge go leor dá chuid ama ar an oileán ina shuí i bpúirín cloiche gan aon díon air, suite ar bharr na haille ar an taobh thiar den oileán. Ainmníodh 'Cathaoir Synge' ar an áit seo dá bharr. Tá radharc draíochtúil as an áit seo ar Inis Mór trasna an chuain, ar Chonamara ó thuaidh agus siar san Aigéan Atlantach.
Ní h-ionadh go bhfuair Synge inspioráid chun scríbhneoireacht a dhéanamh in Inis Meáin. Tar éis do Synge Inis Meáin a fhágáil, bhíodh sé ag scríobh chuig duine de chlann Uí Dhonnacha darbh ainm Máirtín. Bhíodh Synge ag scríobh litreacha i mBéarla chuig Máirtín agus bhíodh Máirtín ag scríobh ar ais i nGaeilge. Sa gcaoi sin bhí an bheirt acu ag foghlaim óna chéile.
Fuair John Millington Synge bás ar an 24 Márta 1909 ó liomfóma Hodgkin, aois 37.
Is féidir cóipeanna de na litreacha a scríobh Synge a fheiceáil in Inis Meáin anois. Tá an teach céanna faoi sheilbh duine de shliocht mhuintir Uí Dhonnacha, Treasa Ní Fhátharta ar thaobh a máthar. D'fhág a máthair an teach seo ag Treasa. Tar éis roinnt ath-chóirithe le cabhair urraíochta sna 2000idí, d'oscail an teach don phobal.
Tá an teach sa stíl traidisiúnta, ceann tuí taobh istigh agus taobh amuigh. Tá stór breá troscáin agus uirlisí le feiceáil san teach; mar shampla an tuirne lín, an drisiúr agus dorú a bhíodh in úsáid ag iascaireacht, a thugann léargas ar an saol sna sean-laethanta. Tá leabharlann agus ionad cónaithe do scríbhneoirí béal dorais.
Infant Jesus Church, Bengaluru

Infant Jesus Church is a Roman Catholic church in Bangalore. Established in 1971, in Neelasandra near Vivek Nagar area of Bangalore, the church is dedicated to Infant Jesus. It is known as the Infant Jesus Shrine and was built to commemorate the historic Infant Jesus of Prague; since then numerous miracles have been attributed to the shrine leading to its increasing popularity. A new church building adjacent to the old building was added in 2005.
The foundation of the Infant Jesus Church was laid on 18 April 1969, by Rev. Duraisamy Simon Lourdusamy, the then Archbishop of Bangalore. Thereafter, in May 1971, Rev. Fr. L. Peter after being appointed the first parish priest, brought the statue of Infant Jesus from Sacred Heart Church, Bangalore and started a tent church at the site. The congregation continued thus for the next eight years, and finally the church building was inaugurated on 29 June 1979, by Rev. Dr. D. S. Lourduswamy, who had then become Secretary of the Congregation for the Evangelization of Peoples in Rome.
The present church building was inaugurated on 9 June 2005, by Rev. Dr. Bernard Moras, Archbishop of Bangalore, and dedicated by Rev. Dr. Pedro López Quintana, Apostolic Nuncio to India. It has a fan shaped hall, which seats 2500 people, and was designed by K. Thomas and Associates, Bangalore. The central mural of the church replicates the nativity scene at the Church of the Nativity in Bethlehem.
The popularity of the church grew sharply after the miracles of the shrine. The prayer to Infant Jesus is recited during hardships. They took the Tamil film, Kuzhanthai Yesu (1984), starring Saritha, Rajesh, Vijayakanth and comedian Senthil. Over the years, the Thursday Mass at the church has grown in audience and today it is frequented by 10,000 people from various religions, and on the day, the church holds seven Masses in different languages.
Each year on 14 January, the annual feast day at the Church, being celebrated since 1971 sees thousands of people visit the church, while hundreds more gather around it, to watch the ceremonies.
Holy Infant of Good Health

The Holy Infant of Good Health (Santo Niño de la Salud) is a statue of the Christ Child regarded by many to be miraculous, which was found in 1939, in Morelia, Michoacán State, Mexico. The statue is eleven inches tall. A number of healings have been attributed to the Child Jesus through veneration of this image.
Devotion to the Holy Infant began in 1939, when Rosa María Guadalupe Calderón (Lupita) was given the statue by her godmother, María de Jesús Magana, who had a small store attached to her home in Morelia. Shortly afterwards, cures were attributed to the Holy Child.
On April 21, 1942, the image of the Holy Infant was placed in Saint Augustine Church in Morelia and officially blessed and given the title of the Santo Niño de la Salud (“Holy Infant of Good Health”). Many came to know the Holy Infant under this title and the devotion spread throughout Mexico. People from Laredo, Texas, and other parts of the United States also became aware of this devotion. On December 15, 1957, the statue was transferred to the Church of Our Lady of Mount Carmel.
In January 1959, a replica of the Holy Infant was presented to Pope John XXIII. On September 9, 1966, an order of religious sisters, the Missionaries of the Holy Infant of Good Health, was founded in Morelia. Among devotions attached to this title is a chaplet.
The little statue is dressed "with symbols of the power of Christ, wearing a royal mantle, trimmed in ermine, a golden scepter in the left hand while the right is raised in blessing, and on the head an imperial crown of precious stones." The feast day of the Holy Infant of Good Health is celebrated on April 21, the anniversary of the image receiving its title.
Big Fat Gypsy Weddings

Big Fat Gypsy Weddings is a British documentary series broadcast on Channel 4, that explored the lives and traditions of several British Traveller families as they prepared to unite one of their members in marriage. The series also featured Romanichal (British Gypsies) in several episodes, and has been criticised by some Romani for not accurately representing England’s Romani and Travelling community. It was first broadcast in February 2010 as a one-off documentary called My Big Fat Gypsy Wedding, filmed as part of the Cutting Edge series and voted Most Groundbreaking Show in the Cultural Diversity Awards 2010. A series of 5 episodes were later commissioned, and the series first aired in January 2011. A second series began airing in February 2012. A third series was not commissioned, rather the show ended with eleven stand-alone specials.
In North America, the show airs on TLC under the title My Big Fat Gypsy Wedding, with the original narration by Barbara Flynn replaced by Ellen K., while the TLC network started airing a spin-off featuring American Roma called My Big Fat American Gypsy Wedding.
The show has been criticised mainly by the Irish Traveller & British Gypsy/Traveller communities for misrepresenting them. Jane Jackson of the Rural Media Company (publishers the Travellers' Times) said:
Executive Producer Jes Wilkins said:
Billy Welch, a spokesman for Romani Gypsies, said:
During the episode No Place Like Home, Big Fat Gypsy Weddings had 4 of the top 10 trending topics worldwide on social networking website Twitter.
In June 2011, TLC rebroadcast the show and was filming a U.S. version.
Big Fat Gypsy Weddings opened in 2011. The second episode got 7.4m viewers at its peak. It was the eighth highest rating in Channel 4's history. The final episode was watched by 6.5 million viewers, easily beating the 2011 BRIT Awards which had an average viewership of 4.8 million.
The series has faced a number of controversies, including allegations of racism in its advertising and instigating a rise in the rate of racially motivated bullying.
The episode "No Place Like Home" caused controversy after it showed young girls provocatively dancing and wearing full make-up.
Broadcast readers voted the series' progenitor, My Big Fat Gypsy Wedding, the 'Most Groundbreaking Programme' at the Cultural Diversity Awards 2010. Executive producer Jes Wilkins and creator and Producer Jenny Popplewell were in attendance to accept the award.
Big Fat Gypsy Wedding Series 1 was nominated for a BAFTA in the YouTube Audience Vote category.
Channel 4 confirmed there would not be a third series of Big Fat Gypsy Weddings but instead would end the show with six stand-alone specials that were to be aired throughout 2013. Despite this, eleven specials have aired to date.
The eighth special, called Big Fat Gypsy Christmas: Carols and Caravans on the website's official episode guide, features the same title card and animation as My Big Fat Gypsy Christmas, the last episode of the first season. This often leads to confusion between the two.
The latest special to air was titled My Big Fat Gypsy Grand National, this was shown on 6 April 2015.
Religious influence on Korean art

Korean art has always been heavily influenced by its contemporaries like Buddhism, Shamanism, Taoism, and later, Christianity. This impact is quite visible when it comes to analysing some major Korean art forms such as landscape painting and sculpture. Korean culture and art have always been heavily influenced by ample religious elements that further shaped people's behaviour and thought process. While during the early stages of Korean history, religious and political functions were one and the same, but they gradually separated.
Landscape painting gradually became one of the most prominent and integral aspects of Korean art and culture. Due to the heavy influence of the Confucianism and neo-Confucianism philosophy that attaches superior values to Nature than human activities. As per this belief, Nature or landscape paintings act as a cultivation of intellect and humility, something beyond the realm of the human beings.
During the Koryo period (918–1392) in Korea, landscape painting emerged as an important art form. As a result of the cultural exchange between the Koryo dynasty and Song dynasty (960–1279) from China, the landscape paintings containing colossal mountains against the serene natural background slowly became popular in Korea. Two of the major schools of landscape painting were led by the 15th century court artist An Gyeon and master artist Chong Son. While Gyeon's masterpieces such as, "Dream Journey to the Peach Blossom Land", tend to offer a perspective of how the artists visualized the scenery in their minds rather than how it actually was, Chong Son specialized in "true-view" or realistic and intimate depiction of scenery.
From the 7th century till the 14th century, due to its significant influence on the Korean elite class, Buddhism remained the national religion of Korea. It was first introduced from China during the 4th century of the Three Kingdoms period (57 BC – 668 AD).
While the earlier Buddha and other deity statues from the 5th or 6th centuries reflect clear influence of Chinese stylistic features like the elongated face, strong facial features, folds of the garment, stiff, central poses, the usage of the lotus as a primary decoration on this wedding robe reflects the overall incorporation of Buddhist symbols in Korean art and the coexistence of Buddhist, Daoist, Shamanist, and Confucian motifs. During the 7th and 8th centuries, Korean Buddhist statues transformed both stylistically and conceptually. Later, as Jon Carter Covell pointed out, the figure of Bodhisattva, from the 13th and 14th centuries Korean art, popularly known as "Quan-Yin", can be seen as a harmony between East and West – Christianity and Buddhism, reflected in her healing willow branches in vase and a child on bended knee on the other side. This can be considered as one of the classic examples of influence of religion in Korean art.
Buddhist art represented both the religious intensity and the political motives of the ruling class of the time.
Something old

"Something old" is the first line of a traditional rhyme that details what a bride should wear at her wedding for good luck:
The old item provides protection for the baby to come. The new item offers optimism for the future. The item borrowed from another happily married couple provides good luck. The colour blue is a sign of purity and fidelity. The sixpence — a British silver coin — is a symbol of prosperity or acts as a ward against evil done by frustrated suitors.
An 1898 compilation of English folklore recounted that:
The earliest recorded version of the first two lines is in 1871 in the short story, "Marriage Superstitions, and the Miseries of a Bride Elect" in St James' Magazine, when the female narrator states, "On the wedding day I must 'wear something new, something borrowed, something blue.'"
The first recorded version of the rhyme as we now know it (the so-called Lancashire version) was in a 1876 newspaper, which reported a wedding where the bride "wore, according to ancient custom, something old and something new, something borrowed and blue."
Another compilation of the era frames this poem as "a Lancashire version", as contrast against a Leicestershire recitation that "a bride on her wedding day should wear—'Something new, Something blue, Something borrowed'...", and so omits the "something old". The authors note that this counters other regional folklore warning against the wearing of blue on the wedding day, but relates the use of the colour to phrases like "true blue" which make positive associations with the colour.
The final line "and a sixpence in her shoe" is a later Victorian addition; the coin should be worn in the left shoe.
In 1894, the saying was recorded in Ireland, in the Annual Report and Proceedings of the Belfast Naturalists' Field Club, where it was attributed to County Monaghan folklore.
The wearing of the five items detailed in the rhyme is still popular in the UK and US.
In 1981, at the wedding of Prince Charles and Lady Diana Spencer, the bride wore:
In 2011, at the wedding of Prince William and Catherine Middleton, the bride wore:
In 2011, at the wedding of Zara Phillips and Mike Tindall, the bride wore:
In 2018, at the wedding of Prince Harry and Meghan Markle, the bride wore:
In 2018, at the wedding of Princess Eugenie and Jack Brooksbank, the bride wore:
In 2020, at the wedding of Princess Beatrice and Edoardo Mapelli Mozzi, the bride wore:
Polyxena of Lobkowicz

Polyxena of Lobkowicz (1566 – 24 May 1642) was a politically active Czech noble and styled Princess of the House of Lobkowicz. She played an important role as the channel between the noble families of Bohemia and the imperial court in Vienna through her connection with the Spanish envoy during the counter-reformation in Bohemia after 1618.
Born into an ancient House of Pernšejn, she was the daughter of the Imperial High Chancellor of Bohemia, Vratislav II of Pernštejn (1530–1582), and his wife, Maria Maximiliana Manrique de Lara y Mendoza (1538-1608), a Spanish noblewoman. Maria brought with her from Spain a statue of the Child Jesus, which she had received as a wedding present. It became well known for its purported miraculous healing powers.
Maria Pernštejn presented the statue to her daughter, upon Polyxena's marriage to the High Burgrave Wilhelm von Rosenberg in 1587. William died in 1592. In 1603, the widowed Polyxena remarried the Imperial High Chancellor Zdeněk Vojtěch Popel of Lobkowicz (1568-1628). This marriage produced only one son, Wenzel Eusebius von Lobkowicz, whom she gave birth to in 1609 at the age of 42.
In 1618, the aging Emperor Matthias named his cousin Ferdinand of Styria his heir, and had him crowned King of Bohemia. Tensions increased between the Catholic Ferdinand and the Protestant nobles. The application of the Letter of Majesty was controversial in Bohemia. The Protestants argued that it allowed them to build churches on Crown and Catholic prelates' lands, but the Catholics did not accept their interpretation. In 1618 two of the Emperor's royal governors were thrown from the windows of Hradčany Castle by Protestant nobles. They survived the fall and took refuge from a mob in the Lobkowicz Palace below the castle, protected by Polyxena Lobkowicz. The Defenestration in Prague contributed to the subsequent Bohemian Revolt.
In 1628, Polyxena Pernštejn von Lobkowicz donated the statue to the Discalced Carmelites of the Carmelite Church of Our Lady Victorious. It became known as the Infant of Prague.
She is the ancestor of several royal families, including that of the Russian Emperors, the Kings of Denmark, Greece, Norway and Great Britain, and others.
The Outside

The Outside (1917) is the shortest play by Susan Glaspell. It is a play in one act. She uses symbolism to convey the emptiness of Mrs. Patrick’s life on the outside. Glaspell uses the imagery of the station and the areas beyond to show that Mrs. Patrick is keeping herself away from the things she once knew. Glaspell’s use of symbolism aides the characters onstage as well as the audience in realizing the situation the women are facing.
The play was first performed by the Provincetown Players at the Playwrights' Theatre, December 28, 1917. It was revived in 1997 and 2008 by the Orange Tree Theatre in Richmond, London. The Outside was directed by Svetlana Dimcovic in 2008, a graduate of the trainee director bursary at the Orange Tree Theatre 2001-2002.
The plot centers on two women, Mrs. Patrick and Allie Mayo, who have exiled themselves from the world because of emotional pain caused by their husbands. Allie Mayo has refused to say an “unnecessary word” since the death of her husband. Mrs. Patrick has returned to the place that she and her husband used to visit and had talked of buying to bury the things that hurt her. The main action of the play takes place in an abandoned life-saving station that Mrs. Patrick has recently bought, on the cape, in Provincetown, Massachusetts. Three men, Bradford, Tony, and the Captain, fight to save a man who has drowned at their old station, now the house of Mrs. Patrick. The men have brought the victim to this place because of convenience, since the body was found only forty feet from the house, and out of habit, since they used to work from this location. At the end, it is Allie who tries to save Mrs. Patrick from the life that she wants.
List of White House security breaches

Extensive measures are used to protect the White House as the official residence (Executive Residence) and office space (West Wing) of the president of the United States, and grounds. Security is primarily provided by the United States Secret Service. Despite security measures (such as a fence), there have been some people who have still managed to gain unauthorized access to the White House.
Many of the intruders were "pranksters or harmless people with mental illnesses"; however, some have entered with the intention of harming people.
Until the late 19th century, the White House maintained an open door policy with the public having access to the corridors and lobbies of the building. Lobbyists for example could wait in the hallways of the building to petition the president. This became a significant problem by the time of the Lincoln administration, which saw the building regularly filled with people "on all conceivable errands, for all imaginable purposes." Some would gain access by climbing through windows. While Lincoln was, to begin with, adamant about the importance of speaking to regular people, it grew excessive and the White House began to restrict visiting hours for the public to a twice weekly slot. Lincoln had the layout of the building adjusted so he could go for meals without navigating the public hallways. The general open-door policy remained until around the time of the Cleveland administration in the 1880s, and the grounds themselves were open until the Coolidge administration in the 1920s. After World War II, public access to the White House grounds became increasingly restricted, with the visitor office providing scheduled tours to a limited area of the building.
Various barriers to prevent unwanted access to the White House have existed since the time of Thomas Jefferson, who had a wooden barrier constructed in the early 19th century. An iron fence was constructed in 1819, and portions of this early barrier still exist. During the mid-1990s, the fence was expanded by one block to move traffic farther from the White House to prevent damage from any car bomb. Since the September 11 attacks, the restricted airspace above the White House has been expanded and better enforced. Temporary barriers are also regularly installed during inaugurations. During the George Floyd protests and 2020 elections, a new temporary fence was installed, with concrete barriers to prevent vehicles from ramming through. The fence was 13 feet (4.0 m) tall, twice the height of the previous.
Note that the White House maintained a broadly open door policy until the 1880s.
Note that the grounds were usually open to the public until the 1920s.
Grigorie Roșca

Grigorie Roșca (n. anii 1480 – d. 5 februarie 1570) a fost un consilier spiritual și văr al domnului Moldovei Petru Rareș. Egumen al Mănăstirii Probota, devenit mai târziu mitropolit al Moldovei, Grigore Roșca a contribuit substanțial la formarea curentului de opinie antiotoman, de neatârnare și de păstrare a datinilor și credințelor strămoșești. Datorită acestui foarte important sfetnic și a întregii suflări monahale a vremii, a inaugurat Petru Rareș, fiul marelui domn Ștefan cel Mare, ciclul frescelor exterioare moldave, renumite și recunoscute astăzi în întreaga lume.
Văr după mamă cu Petru Rareș, Grigorie Roșca se trăgea din familia boierilor Bârlă de la Hârlău. S-a călugărit de tânăr la Mănăstirea Probota (denumită în vechime „Mănăstirea Pobrata”), unde a devenit egumen. A deținut acest important rang monahal nu mai puțin de douăzeci și trei de ani (1523-1546).
După ce a devenit egumen, s-au început lucrările de refacere a Mănăstirii Probota și de pictare a ei. Ulterior, în biserica mănăstirii, devenită necropolă voievodală, au fost înmormântați Petru Rareș și alți membri ai familiei sale. Mai târziu, în drepta ușii de intrare în biserică, sub pisanie, a fost zugrăvit și Grigorie Roșca.
În 1546 (după 13 mai) a devenit mitropolit al Moldovei. În această calitate s-a îngrijit și de Mănăstirea Voroneț, pictura bisericii, inițiată de mitropolitul Teofan, fiind terminată sub păstorirea lui Grigorie Roșca. Tot acolo a adăugat bisericii un pridvor (în 1547) și a inițiat și a dus la bun sfârșit pictura exterioară a bisericii, vestită pentru culoarea predominantă a frescelor (inconfundabilul „albastru de Voroneț”, considerat de specialiștii în arte plastice ca unic în lume și comparat cu roșul lui Rubens sau verdele lui Veronese). De o parte și de alta a ușii de intrare se află zugrăviți Grigorie Roșca și Daniil Sihastrul, mentorul mitropolitului.
Tot în perioada în care a condus Mitropolia Moldovei, la Mănăstirea Voroneț a fost înființată o școală de copiști, de la care provin manuscrisele „Codicele” și „Psaltirea Voronețeană”.
În 1551 Grigorie Roșca s-a retras din scaunul mitropolitan, probabil din cauza vârstei sau din cauza neînțelegerilor cu urmașul lui Petru Rareș, Iliaș Vodă (același care l-a alungat din scaunul episcopal și pe Macarie al Romanului).
Grigorie Roșca a murit la 5 februarie 1570, la respectabila vârstă (pentru acea perioadă) de 90 de ani. A fost înmormântat la Mănăstirea Voroneț.
Crac des Chevaliers

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Crac des Chevaliers, (arabă قلعة الحصن‎, Qalʿat al-Ḥuṣn) sau Cetatea Cavalerilor Ospitalieri din Siria, este o fortăreță medievală.
Ea a fost construită în mare parte în anul 1031 în timpul Cruciadelor de emirul din Homs fiind denumit Hisn al-Akrād („Cetatea curdă”). În 1099, în prima cruciadă, cavalerii sub conducerea lui Raymond IV de Toulouse, care se îndreptau spre Ierusalim, ocupă cetatea timp de 10 zile, după care se îndreaptă spre orașul Arqa (Irqata) pe care-l asediază, iar cetatea ajunge din nou în stăpânirea musulmanilor. La reîntoarcere, cavalerii lui Raymond IV de Toulouse ocupă portul Tartus, în schimb cetatea Hisn al-Akrād și orașul Tripoli le opun o rezistență puternică. După moartea lui Raymond IV, fiul său Bertrand de Saint-Gilles ocupă în 1109 Tripoli, iar în 1110 oastea cavalerilor normanzi sub conducerea lui Tancred de Hauteville recucerește cetatea Hisn al-Akrād.
Numele „Crac” înseamnă în limba siro-aramaică „Fortăreață”. Crac des Chevaliers este amplasată pe valea care desparte munții Jabal Ansariya din nordul Libanului de Munții Libanului, pe drumul dintre Tripoli, Liban și Homs.
Cetatea este un monument istoric însemnat atât pentru Occident cât și pentru Orient, ea fiind un simbol al cruciadelor care, atât în trecut ca și în prezent, au fost romantizate, ca și un simbol al împăcării între popoare. În 1927 Franța obține în fața Siriei la Liga Națiunilor mandatul de proprietate asupra cetății. Ea va fi renovată; satul și celelalte construcții ulterioare fiind demolate. În 1947 Franța a trebuit să cedeze cetatea în favoarea Siriei.
Fortăreața "Crac des Chevaliers" a fost înscrisă în anul 2006 pe lista patrimoniului cultural mondial UNESCO.