davidanugraha/M4-RAG huggingface dataset:
Frank Laing

Frank Laing (born Francis James Laing; 1862–1907) was a Scottish painter and etcher. He is best known for his watercolours and etchings of European landscapes and architectural subjects. Born in Tayport, Fife, Laing lived and worked throughout Europe, producing a portfolio of notable work from Spain, Paris, Chartres, Antwerp and Venice before returning to Scotland.
An elected Associate of the Royal Society of Painter-Etchers and Engravers, his etchings were commended by noted American artist and etcher, James Abbott McNeill Whistler, who he was a follower of. He exhibited widely, including at the Royal Academy (RA), Royal Scottish Academy (RSA) and the Paris Salon. In 1900 he won a jury commendation at the Paris Exposition Universelle.
While most of his work is held in private collections, there are examples to be found in the Fitzwilliam Museum, Cambridge, Dundee Art Galleries and Museums Collection, the Aberdeen Art Gallery, and the University of Dundee’s Fine Art collection.
Along with Alec Grieve, Laing founded the Tayport Artists’ Circle in 1905. Its other members included noted Scottish painters David Foggie, Stewart Carmichael and James Douglas. Laing was active in promoting the cause of local Scottish artists and arts groups before dying at the relatively young age of 45.
Woman with a Parasol – Madame Monet and Her Son

Woman with a Parasol – Madame Monet and Her Son, sometimes known as The Stroll (French: La Promenade) is an oil-on-canvas painting by Claude Monet from 1875. The Impressionist work depicts his wife Camille Monet and their son Jean Monet in the period from 1871 to 1877 while they were living in Argenteuil, capturing a moment on a stroll on a windy summer's day.
Monet's light, spontaneous brushwork creates splashes of colour. Mrs Monet's veil is blown by the wind, as is her billowing white dress; the waving grass of the meadow is echoed by the green underside of her parasol. She is seen as if from below, with a strong upward perspective, against fluffy white clouds in an azure sky. A boy, Monet's seven-year-old son Jean, is placed further away, concealed behind a rise in the ground and visible only from the waist up, creating a sense of depth, the moment using animated brush strokes full of vibrant color.
The work is a genre painting of an everyday family scene, not a formal portrait. The work was painted outdoors, en plein air, and quickly, probably in a single period of a few hours. It measures 100 × 81 centimetres (39 × 32 in), Monet's largest work in the 1870s, and is signed "Claude Monet 75" in the lower right corner.
The painting was one of 18 works by Monet exhibited at the second Impressionist exhibition in April 1876, at the gallery of Paul Durand-Ruel. Ten years later, Monet returned to a similar subject, painting a pair of scenes featuring his second wife's daughter Suzanne Monet in 1886 with a parasol in a meadow at Giverny; they are in the Musée d'Orsay. John Singer Sargent saw the painting at the exhibition in 1876 and was later inspired to create a similar painting, Two Girls with Parasols at Fladbury, in 1889.
The painting is one of Monet's most recognizable and revered works and of impressionism as a whole. Mary Mathews Gedo, in Monet and His Muse: Camille Monet in the Artist's Life, said that it was of "high quality" and had a "powerful impact." artchive.com described it as a "masterpiece" that "triumphs wonderfully in conveying the sensation of a snapshot in time." Mary Tompkins Lewis, in Critical Readings in Impressionism and Post-Impressionism: An Anthology, said it was "his largest and most imposing" painting of the decade, as well as "haunting, deeply introspective." cmonetgallery.com viewed it as "representative of Monet and impressionism in many ways" and that "Monet was looking at the world and depicting it in way that had not been done before."
Monet sold the painting in November 1876 to Georges de Bellio, Monet's Homeopath, who was regularly paid in Monet's paintings. It was inherited by de Bellio's daughter Victorine and her husband Ernest Donop de Monchy, acquired by Georges Menier in Paris, and sold in 1965 to Paul Mellon and his wife Bunny Mellon. He donated the painting to the National Gallery of Art in Washington, DC, in 1983.
The Parasol

The Parasol (also known as El Quitasol) is one of a cartoon series of oil on linen paintings made by the painter Francisco Goya. This series of paintings was specifically made in order to be transformed into tapestries that would be hung on the walls of the Royal Palace of El Pardo in Madrid, Spain. The tapestries showed serene events in everyday life, which made them a nice addition to the dining room of Prince and Princess of Asturias—the future King Charles IV and Maria Luisa of Parma. The queen called on Goya because she wanted to decorate the dining room with cheerful scenes; The Parasol and the other tapestry paintings were Goya's response to this request. The painting is now in the Museo del Prado in Madrid as is another in the series, Blind man's bluff.
In his paintings, Goya often joins French fashion to the Spanish one. The woman in this particular painting is sitting on the ground, possibly resting from a long walk. She is dressed in French style, according to the time period. She is holding a fan in her right hand, while a little dog is cuddled in her lap. The young man is holding the parasol in order to shade the woman's face. He is dressed in the so-called majo style, meaning he is dressed like a poor person for the time period. His hair gathered in a net, and his belt is made of colorful silk. In the background we can see dark clouds in the sky and the trees swaying in the wind, possibly signaling a storm coming. The painting emits a very calm warmth, which is then offset by the tree that seems to be blowing in pretty strong wind. The way the boy is standing, with one foot on the rock and one not, he seems to be triumphantly shading the woman from the harmful rays of the sun, and the possible storm.
From 1775 to 1792 Goya painted his cartoons (designs) for the tapestries. This was his first genre of paintings and possibly the most important period in his artistic development. Painting the tapestries helped Goya become a keen observer of human behavior, which helped him paint his future paintings. Goya was influenced by Neoclassicism, which was gaining favor over the Rococo style at the time. This particular painting is considered classicism for its relation to everyday life. Around this same time, Goya began painting portraits for many of the Spanish Monarchs. This was his first popular success that ultimately changed his career. He was then elected to the Royal Academy of San Fernando in 1780, named painter to the king in 1786, and made a court painter in 1789.
Fruit hat

A fruit hat is a festive and colorful hat type popularized by Carmen Miranda and associated with warm locales. This type of hat has been worn by fashionistas, in films, by comic strip characters, and for Halloween. The fruit used tends to sit on the top or around the head, and varies in type, e.g. bananas, berries, cherries, pineapples.
A fashion report in Los Angeles Times from 1895 called the use of mendiant the "newest trimming" for hats, and noted that hats were "tipped far over the eyes". The Chicago Tribune reported on fruit ribbons, along with feathers, flowers, and frills, as trim for Easter hats. A report on artificial fruit used on hats was in a 1918 edition of The New York Times. Fruit and vegetable trim on "gay hats" featured in the first millinery show of the season at New York's Saks Fifth Avenue in 1941, and overshadowed flowers. Lil Picard, a millinery designer for the custom-made department of Bloomingdale's, sought inspiration from nature for her hats and while on vacation "listening to the birds, gazing through the lacy outlines of foliage and watching the ripening fruits, she dreamed of trimmings."
Brazilian "bombshell" Carmen Miranda, who "made a habit of wearing exotic headdresses/hats often adorned with fruit", appears as a singer named Dorita in the 1943 film The Gang's All Here. The movie includes a musical number called "The Lady in the Tutti Frutti Hat" with barefoot chorus girls dressed in yellow turbans, black crop tops, and ruffled yellow miniskirts who manipulated giant papier-mâché bananas and bounced inflatable strawberries off their toes at the whims of legendary choreographer Busby Berkeley.
Inspired by Carmen Miranda's costumes, the Chiquita Banana logo featured a cartoon image of an anthropomorphic banana with a human face and a selection of fruit adorning its hat. The logo was created for United Fruit Company in 1944 by Dik Browne, who is perhaps best known for his Hägar the Horrible comic strip. In advertising of the 1940s, the logo character's voice was supplied by vocalist Patti Clayton followed by Elsa Miranda, June Valli and Monica Lewis. The concept was created by a BBDO advertising team headed by Robert Foreman with the song lyrics written by Garth Montgomery and music composed by Len MacKenzie. The original Chiquita Banana advertisement was produced by Disney Studios and ran in movie theaters.
The company later became Chiquita Brands International and would use a banana wearing a fruit hat headdress on its logo for decades. In 1987 the banana character was replaced with a woman by artist Oscar Grillo, creator of the Pink Panther, to reflect "the image the public had of Miss Chiquita as a real person."
Ratibida columnifera

Ratibida columnifera, commonly known as upright prairie coneflower, rocketflower, Mexican hat, and longhead prairie coneflower, is a perennial species of flowering plant in the genus Ratibida in the family Asteraceae. It is native to much of North America and inhabits prairies, plains, roadsides, and disturbed areas.
R. columnifera has medium green, hairy stems that branch occasionally, growing to 30–91 cm (1–3 ft) tall. Leaves are also hairy and are deeply pinnate with 5 to 11 lobes. They are alternate and measure up to 15 cm (6 in) long and 5 cm (2 in) across. The petioles are up to 5 cm (2 in) long.
The inflorescence at the top of the stem consists of 4 to 12 drooping, sterile ray florets that are yellow, brownish red, or brown with yellow borders, surrounding a central column which is up to 5 cm (2 in) long. The column is made up of numerous purplish disk florets, which open in bands starting at the base of the column and moving upwards. Flowers appear June to September.
It is similar to Ratibida tagetes, but the leaves of R. tagetes are closer to the flower, while the leaves of R. columnifera are further below on the stem.
R. columnifera is native from southern Canada to northern Mexico. In Canada, it is native in Alberta, British Columbia, Saskatchewan, and Manitoba. In the United States, it is native as far as Idaho to the west and north, Texas to the south, and Massachusetts to the east. Habitats include sunny sites with well-drained soil, such as upland prairies, pastures, roadsides, and open disturbed areas.
The Zuni people use an infusion of the whole plant as an emetic.
Prairie coneflower is valued by gardeners for xeriscaping and native plant gardens for its color and rich fragrance. Grown in garden settings plants are often biennial, growing the first year and dying after blooming in the second year. The prairie coneflower requires dry to medium soil moisture and rarely has serious disease or pest problems. It is hardy in USDA zones 4–9.
Chiang Mai Flower Festival

The Chiang Mai Flower Festival (Thai: มหกรรม ไม้ ดอกไม้ ประดับ จังหวัด เชียงใหม่) is an annual celebration held in Chiang Mai, Thailand, that showcases a variety of flowers and ornamental plants. The event marks the transition from the cool season, over three days on the first weekend of February. It features prominent displays of yellow and white chrysanthemums and damask roses, which are unique to the region.
The Flower Festival Parade is an event that takes place annually on a Saturday morning and continues into the afternoon or evening. The parade begins at Charoen Muang Road, stretching from Nawarat Bridge to the train station, and at 16:00, it moves along Tha Phae Road towards Tha Phae Gate. Subsequently, the parade route veers left, following the perimeter of the city moat to Suan Buak Hat Park. Characterized by its leisurely pace and regular pauses, the parade features floats adorned with flowers. These floats are accompanied by marching bands from local schools, adopting a Western-style format, as well as local drumming ensembles and dancers in traditional Thai attire. These participants also engage in performances and distribute flowers to the spectators.
A part of the festival is the Miss Chiang Mai Flower Festival competition. Participants, often atop the decorated floats and carriages within the parade, compete for the title. The selection process begins in the late afternoon at a party featuring rock music and refreshments, culminating in the evening with the crowning of the Flower Festival Queen.
18°47′06″N 98°58′41″E﻿ / ﻿18.785026°N 98.978020°E﻿ / 18.785026; 98.978020
Go, Dog. Go!

Go, Dog. Go! is a 1961 children's book written and illustrated by P. D. Eastman. It describes the actions and interactions of a group of highly mobile dogs, who operate cars and other conveyances in pursuit of work, play, and a final mysterious goal: a dog party.
The book introduces concepts such as color and relative position with simple language and humor. ("The blue dog is in. The red dog is out.") The book helps children learn basic concepts and actions such as playing, working, going up, going down. The book also teaches children colors and conveys emotion.
The dogs featured in the book use their cars to help them get their work done and get to places. Throughout the book, details in Eastman's illustrations seem to invite the reader to notice the deeper significance of small things.
In their first appearance, a pink dog asks a yellow dog if he likes her hat with its little flower. He does not, so they part. Several pages later, they are met again as they are riding scooters. She has a hat with a feather, and again he does not like her hat. But as they part, he has made off with the feather. When they are next seen together, they are skiing. The yellow dog does not like the long ski cap the pink dog is wearing. As they leave, she bids him farewell. In their final meeting, her hat — now even more elaborate — finally meets the approval of the yellow dog. In this way, a relationship development is shown between the characters despite the simplicity of the text. It shows interaction when the dogs meet. Throughout the book, the conclusion is elusive, but at the end all the dogs have a wild party.
Ranked lists of Spanish autonomous communities

This article includes several ranked indicators for Spain's 17 autonomous communities, as well as for the autonomous cities of Ceuta and Melilla.
The following table shows the difference in average income for each of the 17 autonomous communities of Spain. The data was provided by the INE.
The list below shows all of the autonomous communities and two autonomous cities of Spain. The list shown is from 2023 and is in euros. The nominal GDP in Spain in 2023 was 1.5 trillion euros.
This is a list of Spain's 17 autonomous communities and the 2 autonomous cities of Ceuta and Melilla by their Human Development Index as of 2024 with data for the year 2022.
Asyenda

Ang asyenda (Kastila: ha·cien·da) ay isang pinagkaloob na lupain sa mga dating-kolonya ng Espanya. Ang may-ari ay tinatawag na asendero, asendado (Kastila: ha·cen·da·do), o patron. Katulad ito ng Romanong latifundium. Kasama ang pinagmulan sa Andalusia, ang mga asyenda ay iba't ibang plantasyon (marahil na kabilang ang mga hayop o halamanan), mga minahan o paggawaan, na may maraming asyenda na pinagsasama ang mga aktibidad. Hinango ang salitang asyenda mula sa Kastilang hacer (gumawa, mula sa Latin na facere) at haciendo (gumagawa), na tumutukoy sa mga produktibong negosyo.
Hindi tumpak ang katawagang asyenda, subalit kadalasang tumutukoy ito sa mga ari-ariang may lupain ng mahalagang laki, habang ang mga mas maliit na pag-aari ay tinatawag mga "estansya" o "rantso". Lahat ng mga kolonyal na asyenda ay halos ekslusibong pagmamay-ari ng mga Kastila at kriyolos, o bihira sa mga indibiduwal halo ang lahi. Sa Arhentina, ang katawagang "estansya" ay ginagamit para sa malaking lupain na tinatawag na "asyenda" sa Mehiko.
Ang sistemang asyenda ng Arhentina, Bolivia, Chile, Colombia, Guatemala, El Salvador, Mehiko, Bagong Granada, at Peru ay isang sistemang ekonomiko ng malaking ari-arian. Ganito din ang sistema sa Pilipinas at Puerto Rico subalit mas maliit na sakop.
Sa Pilipinas, ang pamumuhay at sistemang asyenda ay naimpluwensyuhan ng kolonisasyong Kastila na naganap sa pamamagitan ng Mehiko sa loob ng higit na 300 taon, subalit tinanggap noong dekada 1850 sa utos ni Nicholas Loney, isang negosyanteng Ingles at bise-konsul ng Imperyong Britaniko sa lungsod ng Iloílo. Ang layunin ni Loney, ayon kay Alfred W. McCoy, ay ang sistematikong deindustralisasyon ng Iloílo.
Panghuli ng pangarap

Sa kalinangang Ojibwa (Chippewa), ang panghuli ng pangarap o tagahuli ng panaginip (Ojibwe: asabikeshiinh, ang inanimado, hindi gumagalaw, o walang buhay na anyo para sa salitang "gagamba", o bawaajige nagwaagan na may ibig sabihing "panilo ng pangarap") ay isang gawang-kamay na bagay na may bilog na yari sa puno o palumpong na mula sa saring Salix (mga willow), kung saan nakahabi ang isang maluwag na lambat o sapot. Nilalagyan ang manghuhuli ng pangarap na ito ng mga pansarili o personal at mga banal na mga bagay-bagay katulad ng mga balahibo ng ibon at mga butil.
Bagaman nagbuhat ang mga panghuli ng pangarap sa Nasyong Ojibwa, sa panahon ng Kilusang Pan-Indiyano ng mga dekada ng 1960 at 1970, inampon sila ng mga katutubong Amerikano ng Estados Unidos mula sa isang bilang ng iba't ibang mga Nasyon. May ilang tumuring sa panghuli ng pangarap bilang sagisag ng pagkakaisa sa piling ng sari-saring mga Nasyong Indiyano, at isang pangkalahatang tanda ng katauhan ng Katutubong Amerikano o kalinangan ng mga Unang Nasyon. Subalit may ibang mga Katutubong Amerikano ang tumanaw sa mga panghuli ng pangarap bilang napabayaan at labis na ginagamit pangkomersiyo, partikular na dahil karamihan sa mga ito ang ginagawa at ipinagbibili ng hindi mga Katutubong Amerikano.
Sa kinaugalian, ginagawa ng mga Ojibwa ang mga panghuli ng pangarap sa pamamagitan ng pagtatali ng mga tali upang maging sapot sa paligid ng isang maliit na bilog o hugis-luhang balangkas ng Salix. Isinasabit ang nabuong panghuli ng pangarap sa ibabaw ng higaan upang gamitin bilang agimat na pangsanggalang o pangtanggol ng natutulog na mga bata laban sa mga bangungot. Naniniwala ang mga Ojibwa na nakapagpapabago ng mga panaginip ng isang tao ang panghuli ng pangarap. Ayon kay Terri J. Andrews, "Tanging mga mabubuting mga panaginip lamang ang pahihintulutang makapasok... Mananatili ang masasamang mga panaginip sa lambat, na maglalaho sa liwanag ng araw." Makararaan ang mabubuting mga panaginip at dadausdos o dudulas sa mga balahibo ng ibon patungo sa nahihimbing na tao.
Ayon sa isa pang bersyon ng kaparehong lathalain, "Nagdaraan ang mabubuting mga pangarap sa gitnang butas papunta sa natutulog na tao. Nasisilo ang masasamang mga pangarap sa sapot, kung saan maglalaho sila sa sinag ng bukang-liwayway."
Sa kahabaan ng pagiging bantog sa labas ng Nasyong Ojibwa, at sumunod sa labas ng pamayanang Pan-Indiyano, ginagawa na ngayon ang mga panghuli ng pangarap, itinatanghal, at ipinagbibili ng mga pangkat at mga indibidwal ng Bagong Panahon. Ayon kay Philip Jenkins, itinuturing ito ng pinakatradisyunal na katutubong mga tao at ng kanilang mga tagapagtangkilik bilang isang hindi kaaya-ayang anyo ng paglalaang pangkalinangan o apropriyasyong kultural.
Bangungot

Ang bangungot, sindroma ng biglaang hindi inaasahang kamatayan, sindroma ng biglaang hindi inaasahang kamatayan sa gabi, o sindroma ng biglaang hindi nalalamang pagkamatay (Ingles: sudden unexpected death syndrome, dinadaglat bilang SUDS, at tinatawag ding sudden unexpected nocturnal death syndrome o SUNDS, o sudden unknown death syndrome na dinadaglat ding bilang SUDS; karaniwang katawagan: nightmare, bagaman hindi sapat ang pagtutumbas na ito; maaaring katumbas din ng Taylandes na lai tai o ng Biyetnames na tsob tsuang) ay isang biglaang hindi inaasahang kamatayan sa mga adolesente at matanda habang natutulog. Ang sindromang ito ay unang napansin noong 1977 sa mga repuhiyadong Hmong sa Estados Unidos. Ito ay napansin din sa Singapore kung saan ang isang retrospektibong pagsisiyasat ng mga rekord ay nagpakitang ang mga malulusog na lalakeng Thai ay biglaang namatay sa hindi maipaliwanag na dahilan sa pagitan ng 1982 at 1990. Sa Pilipinas, umaapekto sa 43 kada 100,000 lalakeng kabataan kada taon.
Ang ganitong bangungot, na tinatawag o nilalarawan din bilang masamang panaginip o masamang pangarap, ay itinuturing na isang karamdaman na kinasasangkutan ng ganitong mga katangian: pagiging nagigising sa gabi, pag-ungol, pananaginip ng masama, pagkakaroon ng pakiramdam na mayroong nakadagan sa dibdib. Bilang sakit, ang bangungot ay isang uri ng karamdaman na wala tiyak na katumbas na katawagan sa wikang Ingles at sa modernong panggagamot. Ang bangungot, bilang isang sakit, ay itinuturing na isang emerhensiyang medikal, na kinakailangan ng dagliang pagtulong, pagdadala sa ospital, at pag-usisa sa katayuan ng puso.
Ang kalalakihan may gulang na 17 hanggang 30 ang karaniwang dinadapuan ng bangungot (bagaman maaari ring dapuan ang mga babae), partikular na iyong mga nalalayo sa kanilang mga mag-anak.
Ayon sa karaniwang paniniwala ang mga matatanda, ang bangungot ay dulot ng kaagad na pagtulog pagkaraan ng pagkain nang marami, o kaya pagkaraan ng pag-inom ng maraming alak o serbesa. Maaaring may kaugnayan ang bangungot sa acute pancreatitis, o sa sindromang Brugada (isang uri ng sakit sa puso na partikular sa mga lalaking Asyano) Maaari rin na ang sakit na bangungot ay dahil sa tambalan ng iba't ibang mga kondisyon.
Ayon sa mga matatanda, kailangang gisingin kaagad ang taong binabangungot, at subukang pagalawin ang anumang mga bahagi ng katawan (katulad ng mga daliri) ng taong binabangungot. Ang mga gawain ito ay pinaniniwalaang nakakatulong sa taong binabangungot upang "makawala sa bangungot".
Ayon sa nakaugalian ng mga matatanda, maiiwasan ng isang tao ang bangungutin kapag hindi kumakain ng marami at hindi pag-inom ng marami bago matulog. Kapag nakaranas naman ng bangungot ang isang tao, ang taong ito ay kailangan kumonsulta sa manggagamot upang tiyakin na malusog ang taong ito at walang ibang mga karamdaman na makakapagpalubha sa pagkakaroon ng bangungot. Kailangan uminom ng marami para hindi bangungotin.
Aklat ni Ester

Ang Aklat ni Ester o Aklat ni Esther ay isang aklat sa Lumang Tipan ng Bibliya. Isa rin ito sa mga aklat na isinalin ni San Jeronimo at kabilang sa Deuterokanoniko. Ito ang batayan ng Purim, isang pagdiriwang ng mga Hudyo.
Hinango ang pangalan ng aklat mula kay Ester, isang bayaning babae ng mga Israelita. Iniligtas ni Ester ang mga taga-Israel mula sa tiyak na kamatayan, isang masamang balak ni Aman (o Haman), isang punong ministro ng Persiya. Sa ika-3 taon ng paghahari ni Ahasuerus ng Persiya(hindi umiral sa kasaysayan), ipinatapon ng hari ang reynang si Vashti at naghanap ng bagong reyna. Ang mga magagandang dalaga at nagtipon sa harem sa citadel ng Susa . Si Ester na isang Hudyo ay binihag mula sa Herusalem ar pinsan ng Benjaminitang su Mordecai. Sa payo ni Mordecai, itinago ni Ester ang kanyang pagiging Hudyo sa hari na gumawa sa kanyang Reyna nf Persiya.
Dahil sa pagtanggi ni Mordecai na isang Hudyo na lumuhod kay Haman, binayaran ni Haman ang hari ng 10,000 talenting pilak para sa karapatan na patayin ang mga Hudyo. Itinakda ni Haman sa pahintulot ng hari ang pagpatay kay Mordecai at mga Hudyo sa pamamagitan ng palabunutan na bumagsak sa ika-13 ng buwan ng Adar.
Naalala ng hari ang pagkabigo sa pagtatangka sa kanyang buhay ng mga eunukong sina Bigthan at Teresh dahil ito ay natuklasan ni Mordecai at siya ay pinarangalan. Ang balak ni Haman ay nabigo sa pagpatay sa mga Hudyo dahil ito ay sinabi ni Ester na isang Hudyo na naging Reyna at asawa ni Ahasuerus at pinsan ni Mordecai. Sa utos ng hari, si Haman ay binitay mula sa 50 kubit na horka na itinayo ni Haman para pagbitayan ni Mordecai. Ang mga katawan ng mga anak ni Haman ay binitay rin pagkatapos patayin ng mga Hudyo sa digmaan. Pinatay din ng mga Hudyo ang 75,000 nilang kalabanan bilang pagtatanggol sa sarili.
Ang mga Karagdagan sa Esther ay anim na kabanata (107 mga bersikulo) na nagkalat sa saling Septuagint ng Aklat ni Ester ngunit wala sa Tekstong Masoretiko na Bibliya ng Hudaismo. Ito ay nilagay ni Jeronimo ng kanyang salin na Latinong Vulgata. Ang mga ito ay kinabibilangan ng:
Naging layunin ng nilalamang kasaysayan ng Aklat ni Ester ang patotohanan ang pangangalaga at paglingong may pagkalinga ng Diyos sa Israel.
Sigmund Freud

Si Sigmund Freud, ipinanganak bilang Sigismund Schlomo Freud (6 Mayo 1856 – 23 Setyembre 1939), ay isang neurologo at sikyatrist ng Austria na nagtatag ng paaralang sikolohiyang siko-analisis. Ang mga magulang ni Freud ay mahirap ngunit kanilang siniguro ang kanyang edukasyon. Pinili ni Freud ang medisina bilang karera at naging kwalipikado bilang isang doktor sa University of Vienna. Kalaunan ay nagsagawa siya ng pagsasaliksik sa cerebral palsy, aphasia at mikroskopikong neuroanatomiya sa Vienna General Hospital. Ito ay humantong sa gantimpala ng isang pagtuturo ng Unibersidad sa neuropatolohiya na isang posisyong kanyang binitiwan matapos pumasok sa pribadong pagsasanay. Sa basehan ng kanyang pagsasanay, si Freud ay bumuo ng mga teoriya tungkol sa walang kamalayang pag-iisip at mekanismo ng represyong sikolohikal. Kanyang nilikha ang sikoanalisis na isang paraang klinikal sa paggamot ng sikopatolohiya sa pamamagitan ng pakikipag-usap ng isang pasyente at sikoanalista. Iminungkahi ni Freud ang pag-iral ng libido na isang enerhiy kung saan ang prosesong pangisipan at mga istruktura ay inilaan. Kanyang binuo ang mga paraang terapeutiko gaya ng malayang asosiasyon kung saan inuulat ng mga pasyente ang kanilang mga pag-iisip nang walang reserbasyon at sa alinmang pagkakasunod na kusang loob itong nangyayari, tinuklas ang transperensiya kung saan inilipat ng mga pasyente sa kanilang mga analista ang mga saloobin batay sa karanasan ng mga mas naunang pigura sa kanilang buhay at itinatag ng sentral na papel nito sa analitikong proseso. Kanyang iminungkahi na ang mga panaginip ay nakakatulong na panatlihin ang panaginip sa pamamagitan ng pagkakatawan ng mga stimuli na pangpandama bilang mga natupad na kahilingan na kundi ay gigising sa nanaginip. Siya ay isa ring mananaysay na humuhugot sa sikoanalisis upang mag-ambag sa interpretasyon at critique ng kultura. Ang sikoanalisis ay nanatiling maimpluwensiya (influential) sa loob ng sikayatriya at sa buong mga humanidad. Sa gayon, ito ay patuloy na lumilikha ng mga malawakang debate na ang pinakakilala ay tungkol sa katayuang siyentipiko nito at kung ito ay nagsusulong o pumipinsala sa mga layuning peminista. Anuman ang nilalamang pang-agham ng mga teoriya ni Freud, ang gawain ni Freud ay nakapagpuno ng isipang intelektuwal at kulturang popular hanggang sa noong 1939 ay isinulat ni W.H. Auden sa isang tulang handog para kay Freud ang mga katagang Ingles na: "to us he is no more a person / now but a whole climate of opinion / under whom we conduct our different lives" ("para sa atin, siya ay hindi na isang tao / ngayon, bagkus ay isang kabuoan ng klima ng opinyon / na sa ilalim niya ay isinasagawa natin ang ating iba't ibang mga buhay").
Inabel

Inabel, sometimes referred to as Abel Iloco or simply Abel, is a weaving tradition native to the Ilocano people of Northern Luzon in the Philippines. The textile it produces is sought after in the fashion and interior design industries due to its softness, durability, suitability in tropical climates, and for its austere design patterns.
Due to the rarity of skilled weavers and the rarity of raw materials such as handspun cotton thread, the textile has become rare, although weaving communities still persist in the towns of Bangar in La Union; Santiago, Santa, Bantay, and Vigan in Ilocos Sur; and Pinili, Paoay, and Sarrat in Ilocos Norte.
The term is derived from the local verb for "weave", "abel" and the Ilocano noun "inabel," describing any kind of woven fabric. It has since been adapted to refer to the specific kind of textile indigenous to the Ilocos region.
Binakael

Binakael (binakel, binakol, binakul) (transliterated, "to do a sphere") is a type of weaving pattern traditional in the Philippines. Patterns consisting entirely of straight lines are woven so as to create the illusion of curves and volumes. A sense of motion is also sought. Designs are geometric, but often representational. The techniques create illusionistic designs similar to op art patterns and were popular by the late 19th century, when the United States colonized the Philippines and American museums collected many traditional Philippine textiles.
Binakael patterns may use a two-block rep weave, making them double-sided, but with colour reversal.
Mara Coson's novel "Aliasing" was inspired by binakael weave.
Cebu Pacific introduced its QR Flight codes pattered after traditional weaving of nature-inspired design of Ilocos Norte's Binakol to promote local tourism.
The binakael weave is also featured on the official branding of the FIFA Futsal Women's World Cup 2025 which will be held in the Philippines.
Flag of ASEAN

The Flag of the Association of Southeast Asian Nations or the ASEAN Flag is one of the official symbols of the Association of Southeast Asian Nations (ASEAN). It consists of the official emblem of ASEAN on a blue background.
Set upon a blue background, ten paddy or rice stalks are drawn in the middle of a red circle with white circumference.
The colours of the flag are specified as follows:
The ratio of width to length of the flag is 2:3. The ASEAN Charter includes size specifications for usage of the flag:
The official symbolism of the flag is detailed in the ASEAN Charter.
The colours of the flag – blue, red, white, and yellow – represent the main colours of the national flags of all ten ASEAN member states. Blue represents peace and stability, red represents courage and dynamism, white represents purity, and yellow represents prosperity.
The stalks of rice represent the dream of ASEAN's Founding Fathers for an ASEAN comprising all the countries in Southeast Asia bound together in friendship and solidarity. The number of stalks symbolize ASEAN's ten members.
The circle represents the unity of ASEAN.
ASEAN's first flag was similar to the current one – it had six paddy stalks representing the five founding members (Indonesia, Malaysia, Philippines, Singapore, and Thailand), plus Brunei Darussalam (joined on 7 January 1984) and the word ASEAN written under the stalks. The background was white instead of blue, the border of the circle along with the word ASEAN was cyan, and the circle was bright yellow. The stalks themselves were golden brownish in colour.
Walang utang na loob

"Walang utang na loob" is a Filipino expression used to describe ungratefulness or the act of disregarding a "debt of gratitude". It is related to the Filipino cultural trait utang na loob, which literally means "debt of one's inner self (loob)" and is often translated to "debt of gratitude".
The expression in relation to the cultural trait literally means "without debt inside". The phrase usually implies that an individual has "acted in an extremely ungrateful fashion or has refused to honor an important obligation," which indicates "a serious point of social conflict between two individuals." Previous studies on Philippine values point to the expression as one of three "evil characters" in interpersonal relations, characterizing it as ineptness in reciprocating through gratitude.
"Walang utang na loob" carries an especially heavy connotation and is used to describe an individual who is "ungrateful". It is generally used to say that someone does not know how to show gratitude in return for a sort of service or kindness shown to them. Its usage carries serious implications that the individual being referred to is lacking in respect, honor, and gratitude.
Most of the time, the expression is used in a familial context, which is heavily influenced by cultural factors. This is largely rooted in the concept of birth being a gift from parents. Utang na loob is initiated from the expectation that children are born "to provide for their parents in their old age since they owe not only their life but also their entire education to their parents." As such, children are born into existing obligations and "obligation relationships" with their parents (and other elders), which is further reinforced by the care these children are shown by the elders later in life. In some cases, the obligational relationship extends to older siblings who helped provide the needs and education of the child. In showing this sense of utang na loob, one is expected to respect elders and to honor the obligations of the family. Inability to do so entails being labelled as someone who has "no honor or gratitude - signifying that one is not a "good" child, much less a decent person."
Aside from the desire to fulfill an utang na loob being a driving force in the lives of Filipinos, the desire not to be called "walang utang na loob", due to its negative implications, also serves a similar purpose. Gratitude and the desire to fulfill one's obligations go hand in hand with the fear of being called ungrateful and disrespectful. For instance, college students apply to their chosen studies in order to avoid being labelled as someone who is "walang utang na loob". Rather than choosing their own interests, they choose to fulfill the wishes of their parents.
Other examples of situations that incur utang na loob are being loaned money during financial difficulty, receiving emotional support during difficult phases in life, and receiving other forms of support during serious situations. These actions, when not appropriately reciprocated based on cultural standards, can also give rise to walang utang na loob.
Common Side Effects

Common Side Effects is an American adult animated television series created by Joseph Bennett and Steve Hely for Cartoon Network's Adult Swim block with availability on Max.
The pilot episode premiered privately at the Annecy International Animation Film Festival in June 2024, and publicly a month later at Adult Swim's San Diego Comic-Con panel in July 2024. The series premiered on Adult Swim on February 2, 2025, to critical acclaim. The series has an encore broadcast on the network's Toonami programming block that began on March 2, 2025. On March 28, 2025, it was announced the series was renewed for a second season.
Two high school friends, Marshall and Frances, reconnect after Marshall discovers the Blue Angel Mushroom, a mushroom with healing effects that appears to cure all illnesses. In the process, they also uncover a conspiracy involving Reutical Pharmaceuticals, Inc., one of the largest pharmaceutical companies, and the government, to suppress all knowledge of said mushroom.
Common Side Effects co-creators Joseph Bennett and Steve Hely were brought together and began development of the series in 2019 under production studio Bandera Entertainment founded by Mike Judge and Greg Daniels. Bennett and Hely sought to combine the crime thriller genre with comedy, inspired by the films of the Coen brothers, such as Burn After Reading. Inspiration for the story came from the co-creators' interest in medicine and the work of mycologist Paul Stamets, ethnobotanists Richard Evan Schultes, Terence McKenna and Wade Davis, and the chemist Albert Hofmann. The character Marshall was in part inspired by Stamets and "The Orchid Thief" John Laroche as he was portrayed in the film Adaptation. Another inspiration was the story of R. Gordon Wasson publishing an article about Psilocybin mushroooms and María Sabina in Life magazine and the dramatic consequences for the life of Maria Sabina once the article was published.
Animation for the series was produced by Green Street Pictures employing an international team of artists, including some working remotely from France, Portugal, Spain, and Mexico. Many of these artists worked on Scavengers Reign, a 2023 series also produced by Green Street and co-created by Bennett. Animation was produced in conjunction with Le Cube, a partner studio in Argentina.
The series was first announced in June 2023, at the Annecy International Animation Film Festival. The pilot episode premiered privately at the festival event the following year.
The review aggregator website Rotten Tomatoes reported a 100% approval rating with an average rating of 8.7/10, based on 25 critic reviews. The website's critics consensus reads, "An addictive mix of expressive animation, heady concepts, and an offbeat sense of humor, Common Side Effects is a must-have prescription." Metacritic, which uses a weighted average, assigned a score of 80 out of 100 based on 6 critics, indicating "Generally Favorable" reviews.
Dreams on Toast

Dreams on Toast is the eighth studio album by the English hard rock band the Darkness. It was released on 28 March 2025, through Canary Dwarf and Cooking Vinyl.
On 18 September 2024, the band announced they were set to release the new album Dreams on Toast in March. The album is currently set to be released on 28 March 2025. Along with the announcement, the band announced an extensive list of UK tour dates to take place throughout March 2025 in support of the release of the album. Additional dates were added to play songs from the album for the first time alongside dates in Ireland.
Six singles were released: "The Longest Kiss", "I Hate Myself", "Rock and Roll Party Cowboy", "Walking Through Fire", "The Battle for Gadget Land" (tour edition single) and "Hot on My Tail".
The album received generally favourable reviews by critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album earned an average score of 70, based on 6 reviews.
Bonus Tracks
The Darkness
Additional personnel
Земенски манастир

Земенският манастир „Свети Йоан Богослов“ е български манастир, намиращ се в град Земен.
Манастирът е основан през 11 век, а стенописите му са направени през 11 и 14 век.
Манастирът се намира на един от североизточните склонове на Конявската планина, в началото на Земенския пролом, на левия бряг на река Струма. Разположен е на около 1 км югоизточно от град Земен, община Земен, област Перник – един от най-малките градове в България.
Състои се от църква, камбанария и две сгради. Манастирът не е от най-големите и не се обитава от монаси.
Най-забележителна е най-старата постройка на манастира: църквата, която е паметник на културата. В архитектурно отношение тя заема особено място на Балканите като представител на кръстокуполната архитектура.
Храмът датира от самото основаване на манастира през 11 век и представлява просто кубообразно помещение с размери: дължина 9,18 м; ширина 8,71 м; височина 7 метра (11,20 с купола). Изградена е с добре издялани бигорни блокчета, съединени с хоросанова спойка.
Стенописите от първия живописен слой се отнасят към втората половина на 11 век. Популярността на паметника се дължи не само на интересното архитектурно решение, но и на забележителните стенописи с библейски сцени от 14 век. Олтарът е каменен монолит, а подът е изграден от разноцветни каменни плочи и антични тухли. Куполът е изграден от камък и се издига върху висок цилиндричен барабан.
В югозападния ъгъл на църквата са запазени шест ктиторски портрета, между тях на неизвестен местен феодал и съпругата му Доя – едни от най-ранните портрети на български боляри и с най-голяма художествена стойност след образите на севастократор Калоян и Десислава от Боянската църква.
Забележително е, че манастирската обител е рухвала и отново възстановявана няколко пъти, а църквата със стенописите е оцеляла повече от 9 века. От проучванията на манастирските архиви е видно, че църквата е укрепвана през 1830 и 1860 година. През 1867 година майстор Миленко Велев от село Блатешница построява първата манастирска сграда, осветена на 20 май (деня на Свети Йоан Богослов) от кюстендилския митрополит Игнатий. Оттогава на този ден всяка година се провежда традиционният пролетен събор за прослава на светеца. В началото на 20 век поп Янаки Митов построява новата манастирска сграда, двуетажна и дълга 40 метра.
През 1970-те години се провеждат реставрационни работи.
На 5 март 1966 година Земенската църква е обявена за паметник на българската архитектура и живопис, а Земенският манастир – за национален музей, който става филиал на Националния исторически музей през 2004 г.
Никола Доспевски

Никола Доспевски е български художник-живописец, представител на Самоковската художествена школа. Той е втори син на Димитър Зограф, при когото заедно с братята си Захарий, Иван и Станислав учи иконопис и чиракува. Работи съвместно с братята си Захарий
Рисува стенописи и икони: в църквата „Свети Никола“ (Карлово) – 1847 г.; икони за църквите в Горна Джумая – 1854, 1856 г. и за Радомир – 1860 г.; в църквата „Света Богородица“ (Бобошево) – 1861 – 64 г.; икони за църквите в Самоков – 1862 г.; манастирска църква на Лопушански манастир; църква „Свети Николай чудотворец“ (Берковица); Чипровски манастир; Рилски манастир -1878 г., Германски манастир – 1886 г.
Изявява се и в портретната живопис. От него е известен един кавалетен портрет – на архимандрит Дионисий-игумен на Лопушански манастир.
Студеница (манастир)

Студеница е православен манастир на Сръбската православна църква. Разположен е в едноименната местност на река Студеница. Намира се на 39 km югозападно от Кралево в полите на планината Голия в района на Поибрието. Основан през 1190 г. от Стефан Неманя.
Зад укрепените манастирски стени има две основни черкви – на Богородица и Кралска. Манастирът е посветен на Успение Богородично. Първата фаза по изграждането му приключва през 1196 г., когато Стефан Неманя се оттегля в него от властта, след като оставя да управлява Сърбия втория си син Стефан, който е женен за византийската принцеса Евдокия Ангелина. След смъртта на Стефан Неманя в Хилендар, мощите му са пренесени в Студеница. Третият син на Неманя – Растко, който първи оглавява автокефалната сръбска архиепископия превръща Студеница в политическо, културно и духовно средище на средновековната сръбска държава известна още като Рашка. Студеница се радва на вниманието и даренията и на други членове на кралската династия Неманичи, като Стефан Радослав и Милутин. В началото на 17 век пожар и земетресение повреждат част от манастира, а исторически книжовни паметници и фрески са безвъзвратно унищожени и загубени завинаги.
Манастирската църква посветена на Успение Богородично е с един купол и е съградена в рашки стил. С нея се слага началото на т.нар. рашка школа в архитектурата и изкуството на средновековната сръбска държава, който в архитектурата е смес от романски и византийски стил.
Северозападно от манастирската църква е издигната втора от крал Милутин през 1314 г., която е известна като кралска и е посветена на „Св. Йоаким и Анна“. Манастирският комплекс се състои от още една църква с обслужващи помещения. От запазилите се стенописи е този с генеалогията на Неманичите.
Иконостасът на църквата е дело на дебърския майстор Нестор Алексиев.
Манастирът Студеница е включен през 1986 г. в списъка на световното културно и природно наследство на ЮНЕСКО.
Багра Георгиева

Багра Храброва Георгиева е българска архитекта, работила в областта на етнографията.
Родена е на 18 септември 1929 г. в София. През 1953 г. завършва архитектура в Университета по архитектура, строителство и геодезия. От 1954 г. работи в Етнографския институт с музей при БАН. През 1962 г. става научен сътрудник при Етнографския институт с музей при БАН, а от 1981 г. е старши научен-сътрудник II степен. Основните ѝ научни интереси са в областта на българската народна архитектура. Умира през 2016 г.
Курилски манастир

Курилският манастир „Свети Иван Рилски“ е действащ мъжки православен манастир в София, един от най-старите в района. Част е от Софийска епархия на Българската православна църква.
Разположен е в Софийското поле, в квартал „Курило“ на столичния район Нови Искър. Днес се намира в двора на Държавната психиатрична болница „Св. Иван Рилски“.
Манастирът е основан през IX век, като е разрушен през първите години на османската власт. Възстановен е в края на XVI век, като част от стенописите са дело на Пимен Зографски. На западната фасада е изобразен Страшният съд, а над вратата в наоса – Свети Сисой пред гроба на Александър Велики. Иконографията е стилово вплетена в балканска редица от този период, а стиловата линия следва други иконографии като тези в по-старите Подгумерски манастир и Драгалевски манастир.
В началото на XX век е девически манастир, обитаван от 45 монахини, които развиват печатарска дейност за християнска литература.
Днес манастирът е мъжки, като от 2011 година игумен е архимандрит Нектарий. През 2019 година е обновен манастирският комплекс, а през 2021 – иконостасът на манастирския храм.
Софийска Света гора

Софийската (Mала) Света гора или Средецка Мала Света гора е средновековен комплекс от 14 манастирски обители, плюс скитове, постници и параклиси, развил се в околностите на София и заобикалящите я планини в епохата на Второто българско царство в периода 1185 – 1417 г.
За лавра (първи в йерархията) се е приемал Бистришкият манастир „Св. Никола“, напълно разрушен от турците. На негово място е издигнат днешният храм „Св. Георги“ в Бистрица, а най-прочут и днес е царският Драгалевски манастир „Света Богородица Витошка“, издигнат от цар Иван Александър и обгрижван от сина му цар Иван Шишман.
В Софийско до нашествието на турците съществуват над 100 духовни убежища. Много от тях, запазили в добра степен автентичния си вид или възобновени, са действащи православни манастири и днес – общо над 40 манастира в Софийското и околните му полета, във Витоша, Люлин, Лозенската планина, в Софийска планина (южните склонове на Стара планина при София) и съседните им планини – в Плана, в Конявска планина и Голо бърдо, във Вискяр планина, в Бурел и Чепън.
Генезисът на комплекса е спонтанен, около съществуващи черкви.
Общността от първите 14 манастира включва:
Днес към тези 14, по едноименения проект за възражднето и социализирането на обителите и светите места около София от Столичната община, са приобщени и: