davidanugraha/M4-RAG huggingface dataset:
Oileán an Órchiste

Úrscéal eachtraíochta leis an údar Albanach Robert Louis Stevenson is ea Oileán an Órchiste (nó Treasure Island i mBéarla). In 1883 a foilsíodh an leabhar, cé gur foilsíodh sraith idir 1881 agus 1882 san iris Young Folks faoin ainm cleite Captain George North.
Scéal scleondrach atmaisféarach é seo faoi fhoghlaithe mara ar an bhfarraige mhór, faoi mhapa órchiste, agus faoi Jim Hawkins, buachaill sna déaga a chuireann chun farraige agus é meallta ag draíocht an bhithiúnaigh Long John Silver.
Tá sé ar cheann de na húrscéala is mó riamh a bhfuil athchóiriú déanta air. Is mar scéal theacht in inmhe a aithnítear go coitianta é, agus tá cáil ar leith ar Oileán an Órchiste mar gheall ar an atmaisféar, na carachtair, agus ar an léiriú ann ar dhébhríochas na moráltachta — i bpearsa Long John Silver — rud neamhchoitianta i litríocht na n-óg.
Pléann Oileán an Órchiste le scéal an ógánaigh, Jim Hawkins, a théann chun farraige lena chomharsana, an Dochtúir Livesey agus Squire Trelawney, ar thóir órchiste an Chaptaein Flint — foghlaí mara básaithe a d’fhág léarscáil dá chreach ina dhiaidh.
Gan fhios dóibh, i measc an chriú a earcaítear don long, tá an cócaire mara, Long John Silver agus iarbhaill eile de chriú an Chaptaein Flint a éiríonn amach in aghaidh chaptaein na loinge chun seilbh a ghlacadh ar an órchiste.
In ainneoin a óige, is é Jim Hawkins laoch an scéil.
Chuaigh an leabhar i bhfeidhm go mór ar thuiscintí an phobail ar fhoghlaithe mara, le híomhánna den léarscáil d’órchiste marcáilte le crosóga, den scúnar, den Spota Dubh, d’oileáin throipiceacha, agus den mhairnéalach ar leathchois agus pearóid ar a ngualainn aige.
Ar na fíorfhoghlaithe mara a luaitear san úrscéal tá William Kidd (a bhí i réim in 1696–99), Blackbeard (1716–18), Edward England (1717–20), Howell Davis (1718–19), agus Bartholomew Roberts (1718–22).
Cosúil le Captaen Flint an úrscéil, chuir Kidd órchiste i bhfolach ar Gardiners Island, cé gur tháinig na húdaráis air go gairid ina dhiaidh sin.
Rinneadh os cionn 50 scannán agus clár teilifísec den leabhar agus aistríodh é go mórchuid teangacha.
Aistríodh go Gaeilge é sa bhliain 2014 faoin teideal ‘’Oileán an Órchiste’’. San aistriúchán seo le Darach Ó Scolaí, tá an t-úrscéal curtha in oiriúint do léitheoirí an lae inniu, agus maisithe le pictiúir ó eagrán 1911 den leabhar le N.C. Wyeth.
Treasure Island, 1911 Ginn and Company, réamhrá fada agus nótaí le Frank Wilson Cheney Hersey (Harvard University).
Robert Louis Stevenson

Úrscéalaí, file, agus scríbhneoir taistil ab ea Robert Louis Stevenson (13 Samhain 1850 inDún Éideann na hAlban - 3 Nollaig 1894 in Vailima, Samó). Aithnítear leabhair dá chuid go coitianta i measc chlasaicí na litríochta domhanda. Scríobh Stevenson dhá cheann de na leabhair is cáiliúla do pháistí riamh – Treasure Island agus Kidnapped.
Oileáin agus longa báite na téamaí atá sna leabhair de chuid Stevenson. Baineann na scéalta le háiteanna ina ndeachaigh sé lena mhuintir agus é óg. Ba iad a sheanathair, a athair, a uncailí agus a chol ceathracha a dhear agus a thóg formhór na dteach solais in Albain. Choimeád siad na mílte mairnéalach slán. Ceapadóir ab ea athair Robert Stevenson, Thomas Stevenson (1818 - 1887); d'fhionn sé an "scáthlán Stevenson".
Ach bhí níos mó suime ag Robert Louis Stevenson i scríbhneoireacht a dhéanamh ar théamaí na farraige agus na long ná mar a bhí aige i gcúrsaí tógála nó na haireagáin.
Bhain Robert Louis Stevenson cáil amach mar scríbhneoir lena bheo. Áirítear anois é ar dhuine de na scríbhneoirí is mó a bhfuil aistriúcháin déanta ar a chuid saothair.
Bhásaigh Stevenson ar an 3 Nollaig 1894 in Vailima, Samó. Bhuail rith fola san inchinn é, is cosúil, in aois 44 dó.
I measc roinnt dá shaothar tá
Tá ceithre mhórshaothar dá chuid ar fáil inniu as Gaeilge: Cás Aduain an Dr Jekyll agus Mhr Hyde, agus Máistir Bhaile na Trá san áireamh. Rinne Leabhar Breac aistriúchán den leabhar Oileán an Órchiste sa bhliain 2014 agus Kidnapped / An Fuadach in 2016.
Fiabhras deinge

Galar víreasach trom a tharchuireann muiscítí. Bhíodh sí teorannaithe do na trópaicí, ach le himeacht ama is scaipeadh na muiscítí, tá an galar ag scaipeadh freisin. Faigheann cuid de na daoine ionfhabhtaithe na siomptóim chlasaiceacha: fiabhras deinge, tinneas cinn, pianta sna hailt, gríos ar an gcraiceann, agus ina dhiaidh sin marbhántacht is dúlagar. Faigheann cuid eile foirm fhuilreatha den ghalar, le hurlacan, pianta sa bholg, cliseadh an imshruthaithe, agus i gcuid mhaith cásanna, bás.
Tá ceithre shéiritíopa deimhnithe ag víreas deinge; de ghnáth tugann ionfhabhtú le cineál amháin díolúine ar feadh an tsaoil don chineál sin, ach ní thugann sé ach díolúine ghearrthéarmach do na chineál eile. Méadaíonn ionfhabhtú ina dhiaidh sin le cineál difriúil an baol go mbeidh aimhréidheanna tromchúiseacha ann. Tá siomptóim deinge cosúil le go leor galar eile lena n- áirítear maláire, fliú, agus Zika. Tá tástálacha fola ar fáil chun an diagnóis a dheimhniú lena n-áirítear Aigéad ARN víreasach a bhrath, nó antasubstaintí don víreas.
Wiki Loves Folklore

Is comórtas idirnáisiúnta grianghrafadóireachta bliantúil é Wiki Loves Folklore ( WLF ) (Gaeilge;Is breá le Vici an Béaloideas) a reáchtáiltear i rith mhí Feabhra, eagraithe ar fud an domhain ag baill phobail Wikimedia, le cabhair ó chleamhnaithe áitiúla Wikimedia agus Vicimeánoirí ar fud na cruinne. Tógann na rannpháirtithe pictiúir de chultúr na ndaoine áitiúla agus den oidhreacht dholáimhsithe ina réigiún, agus uaslódálann siad iad chuig Cómhaoin Wikimedia. Is é aidhm na hócáide ná traidisiúin an bhéaloidis ar fud an domhain a dhoiciméadú agus é mar sprioc daoine a spreagadh chun na meáin chumarsáide a ghabháil dá gcultúr Dúchais áitiúil, agus iad a chur faoi cheadúnas saor in aisce ionas gur féidir iad a athúsáid ansin, ní hamháin sa Vicipéid ach i ngach áit ag gach duine.
Folklore (físchluiche)

Is cluiche ríomhaire PlayStation 3 é Folklore, a eisíodh sa bhliain 2007. Is iad Keats agus Ellen na príomhcharachtair sa chluiche. In Éirinn atá an scéal suite, i mbaile Dúlainn i gContae an Chláir agus nuair a bhí Ellen agus Keats ansin, chuaigh siad isteach sa domhan thíos. Tá go leor ainmhithe draíochtúil ansin, mar shampla: an Púca, an tsíog, an kilmoulis, an cait sidhe, an bhean sí, an ogma, an barghest, an gruagach, an bugaboo, an henky, an imp agus an boobrie.
Folklore (albam Taylor Swift)

Is é Folklore (stílithe i gcás gach litreacha beaga) an t-ochtú halbam stiúideo leis an amhránaí is cumadóir Meiriceánach Taylor Swift. Albam iontasach a bhí ann, a eisíodh ar 24 Iúil 2020. Fuair an t-albam moladh forleathan ó na criticeoirí. Bhuaigh sé Albam na Bliana ag an 63ú Gradaim Grammy Bliantúla, rud a fhágann gurb í Swift an chéad bhean sa stair a bhuaigh an onóir trí huaire, tar éis di buaite a fháil do Fearless (2008) agus 1989 (2014). Phléigh sí folklore agus rinne sí é beo sa chlár faisnéise ceolchoirme Disney+ Folklore: The Long Pond Studio Sessions, a craoladh den chéad uair ar 25 Samhain 2020, agus d’eisigh sí taifead seicheamhach Folklore, Evermore (2020), coicís ina dhiaidh sin. Luann roinnt ealaíontóirí an t-albam Folklore mar fhoinse inspioráide. Agus an t-uaigneas i bhfeidhm uirthi le linn coraintín, déanann Swift iniúchadh ar théamaí éalaithe, comhbhá, cumha agus rómánsachas san albam, ag baint úsáide as sraith carachtair, inste ficseanúla, agus stuanna scéalta, i gcodarsnacht le ton dírbheathaisnéiseach a cuid tionscadal roimhe seo. Is iad na hamhrán is coitianta ón albam seo ná 'Cardigan', 'August', 'Mirrorball', 'Exile', 'Betty' agus 'The 1' Nuair a eisíodh é, bhris Béaloideas an taifead don lá oscailte is mó ar Spotify d'albam le gníomh baineann.Shroich trí cinn dá rianta, "Cardigan", "The 1", agus "Exile" le Bon Iver, an 10 barr ar chairteacha ceoil in ocht dtír, agus ba é an chéad cheann an séú singil uimhir a haon Swift ar Billboard Hot 100 na Stát Aontaithe. Is é stíl an albam den cuid is mó ná Pop.
Leipreachán

Gréasaí sí is ea an leipreachán. Is iomaí leagan malartach de ‘leipreachán’ a thugtar i bhFoclóir Uí Dhomhnaill: ‘lucharachán, lucharbán, luchargán, lucharpán, luchramán, luipreachán’ agus araile. Ach ‘leipreachán’ amháin atá i bhFoclóir Uí Mhianáin, agus sin atá in úsáid go coitianta anois.
Tá an leipreachán ar méid páiste óig, cé go bhfuil na céadta blianta slánaithe aige ar nós na sióg eile. Bíonn dúil mhór ag an leipreachán in airgead, agus deirtear go bhfuil pota mór óir i bhfolach aige. Is féidir iallach a chur ar an leipreachán an pota óir a thabhairt don té a bheireann ar an leipreachán, cé go n-éalóidh an leipreachán múna gcoinneofar amharc air an t-am ar fad.
Tréithe seo an leipreacháin, taispeánann siad meas an tseansochaí ar fhir cheirde, is dócha. I dtuairim na muintire tuaithe, bhí na ceardaithe (ar nós gréasaithe, gaibhne, srl.) glic, saibhir, seachantach ar a gcuid maoine a roinnt le daoine eile.
Tá siombail d'Éirinn ar fad déanta den leipreachán i Meiriceá Thuaidh. Tá an siombail ceangailte le stéiréitíopáilte eile Éireannacha, mar shampla cairdiúlacht, ólachán, agus Lá Fhéile Pádraig.
Ní cairdiúil ar chor ar bith a bhí na leipreacháin i bhfíorseanchas na hÉireann.
Ar Gaois.ie tá 53 shampla de ‘leipreachán’ in úsáid i dtéacsanna Gaeilge agus gan ach trí shampla den iomaitheoir is gaire dó, ‘lucharachán’.
The Weakest Link (RA)

Is sraith Tráth na gCeist ina bhféachfaidh 9 n-iomaitheoir leis an bpota óir a thabhairt abhaile leo é The Weakest Link. Cuirfear an t-iomaitheoir is measa, dar leis na hiomaitheoirí eile, abhaile ag deireadh gach babhta go dtí nach mbeidh ach duine amháin fanta chun an t-airgead a bhuachan. Á chur i láthair ag Anne Robinson.
National Leprechaun Museum

The National Leprechaun Museum is a privately owned museum dedicated to Irish folklore and mythology, through the oral tradition of storytelling. It is located on Jervis Street in Dublin, Ireland, since 10 March 2010. It claims to be the first leprechaun museum in the world.
Tom O'Rahilly designed the museum (with the collaboration of two Italian designers, Elena Micheli and Walter Scipioni) and is its director. O'Rahilly began working on his museum in 2003. He views it as a "story-telling" tourist attraction designed to give visitors "the leprechaun experience" and introduce visitors to Ireland's history of storytelling.
Visitors to the museum follow a guided tour involving several different rooms; each serving as sets for the stories and information. The basics of Leprechaun folklore are explained, including what it is that defines a leprechaun. A history of leprechaun references in popular culture is included, such as Walt Disney's visit to Ireland which led to his 1959 film Darby O'Gill and the Little People. There is a tunnel full of optical illusions, a wooden replica of the Giant's Causeway in County Antrim, Northern Ireland, and a room with oversized items such as furniture to create the effect that the visitor has become smaller in size.
References to other creatures are included in the tour such as the púca, fairies, and banshee, among others. The museum also has a souvenir shop.
The National Leprechaun Museum has received mixed reception. In 2010, The Irish Times referred to it as the "Louvre of leprechauns". In 2024, however, the website solitaired.com published a list of the 100 "most boring" tourist attractions on earth based on data from over 66 million Google reviews, with the National Leprechaun Museum ranking in 38th place. It was the only attraction in Ireland to feature on the list, causing media to describe it as "Ireland's most boring tourist attraction".
Knocker (folklore)

The Knocker, Knacker, or Tommyknocker (US) is a mythical, subterranean, gnome-like creature in Cornish and Devon folklore. The Welsh counterpart is the coblyn. It is closely related to the Irish leprechaun, Kentish kloker and the English and Scottish brownie. The Cornish describe the creature as a little person 2 ft 0 in (0.61 m) tall, with a disproportionately large head, long arms, wrinkled skin, and white whiskers. It wears a tiny version of standard miner's garb and commits random mischief, such as stealing miners' unattended tools and food.
Cornish miners believed that the diminutive Knockers beckoned them toward finding rich veins of tin. As miners changed from independent, family-owned operators to hired laborers for large industrialized companies, there was an increased concern for safety, reflected in the knockers new role. They knocked on the mine walls to warn of impending collapse.
Generally considered benevolent, they were also tricksters who would hide tools and extinguish candles. They are similar to the coblynau of Welsh miners.
One interpretation holds that they are mine-spirits, believed to be the ghosts of the Jews who worked the mines in the 11th and 12th centuries; another view is that they are the spirits of those killed in a mine. To show appreciation, and to avoid future peril, the miners cast the last bite of their tasty pasties into the mines for the Knockers.
In the 1820s, immigrant Welsh and Cornish miners brought tales of the Tommyknockers and their theft of unwatched items and warning knocks to western Pennsylvania. Cornish miners, much sought after in the years following the gold and silver rushes, brought them to Colorado, Nevada, and California. The underground elves became part of the folklore of miners throughout the American West, not just those of Cornish background.
When asked if they had relatives who would come to work the mines, the Cornish miners always said something along the lines of "Well, me cousin Jack over in Cornwall wouldst come, could ye pay 'is boat ride", and so these immigrant miners came to be called Cousin Jacks. The Cousin Jacks refused to enter new mines until assured by the management that the knockers were already on duty. Even non-Cornish miners, who worked deep in the earth where the noisy support timbers creaked and groaned, came to respect the Tommyknockers. The American interpretation of knockers seemed to be more ghostly than elfish.
Belief in the knockers in America remained well into the 20th century. When one large mine closed in 1956 and the owners sealed the entrance, fourth, fifth, and sixth generation Cousin Jacks circulated a petition calling on the mineowners to set the knockers free so that they could move on to other mines. The owners complied. Belief among Nevadan miners persisted amongst its miners as late as the 1930s.
Tommyknocker Brewery in Idaho Springs, Colorado owes its namesake to the mythical creature, and began serving in 1994 to meet the needs of the large number of prospectors, as part of the Colorado Silver Boom.
Knocker also appeared as a name for the same phenomena, in the folklore of Staffordshire miners.
Leprechaun trap

A leprechaun trap is a children's craft project used to celebrate Saint Patrick's Day in the United States. The traps are traditionally made by young children and set out the night before St. Patrick's Day. The following morning, the children awaken to discover signs that leprechauns (mythical creatures from Irish legends) have visited the trap. After the children go to sleep, parents add signs of a leprechaun visiting, such as chocolate coins or treasure left in their bottom drawers, and pretend that a leprechaun did it.
The traps are typically made out of common, inexpensive household items, such as cardboard boxes, tin cans, or paper. The traps are typically green and gold and decorated with stereotypical leprechaun items: gold coins, rainbows, a top hat and shamrocks.
Leprechaun traps can also be run as a school project, where kindergarten and first grade pupils construct traps at school and arrive on St Patrick's Day to find that the leprechaun has "sprung" them but escaped, leaving behind chocolate coins and glitter.
The tradition is largely unknown in Ireland.
Leprechaun trapping has been compared to the modern US tradition of leaving cookies out for Santa Claus on Christmas Eve. Similar to The Elf on the Shelf, the project is coordinated by parents or caregivers.
Basketball at the 2024 Summer Olympics – Men's tournament

The men's 5x5 basketball tournament at the 2024 Summer Olympics was the 21st edition of the event for men at the Summer Olympic Games. It was held from 27 July to 10 August 2024. Preliminary games occurred at Stade Pierre-Mauroy in Villeneuve d'Ascq, with the final phase staged at the Accor Arena (referred to as the Bercy Arena due to IOC rules disallowing Olympic host venues to be named after corporate sponsors) in Paris.
The United States went unbeaten to win a seventeenth overall and fifth consecutive gold medal, after defeating France 98–87 in a rematch of the previous final. Serbia won the bronze with a 93–83 victory over World Champions Germany, winning its third Olympic medal and first bronze in men's basketball since breakup of Yugoslavia.
The twelve teams were split into three groups of four teams, and a single round-robin was held within each group. The first- and second-placed teams of each group advanced to the quarterfinals, as well as the two best third-placed teams. After the preliminary round, the teams were grouped according to their results, and a draw paired teams between the groups for the quarterfinals. For the draw, the teams were seeded in four pots, with the top two-ranked teams (Pot D), 3rd–4th ranked teams (Pot E), 5–6th ranked teams (Pot F) and 7–8th ranked teams (Pot G). Teams from Pot D faced a team from Pot G and teams from Pot E a team from Pot F. Teams from the same group could not face each other again. If both teams from Pot D qualified for the semifinals, they could not play against each other.
The schedule of the tournament was as follows.
Each roster consisted of 12 players.
The draw was held on 19 March 2024.
The 12 teams were divided into four pots of three teams based on their FIBA World Ranking. The three groups were formed by drawing one team from each pot. Two teams from the same continent could not be placed into the same group, with the exception of European teams, where each group had to contain a minimum of two and a maximum of three European teams.
For broadcast purposes, defending champions the United States were allocated to Group C, while hosts France could only be drawn into Group A or B.
The seeding was announced on 15 March 2024. As the four winners of the 2024 FIBA Men's Olympic Qualifying Tournaments (OQTs) were yet to be decided at the time of the draw, they were assigned placeholders. Each of the four placeholders were seeded based on the highest-ranked team in each tournament.
The following 30 referees were selected for the tournament.
All times are local (UTC+2).
A draw after the preliminary round decided the pairings, where a seeded team played an unseeded team. Teams qualified were divided into four pots:
Draw principles:
Source:
Source:
The awards were announced by FIBA on 10 August 2024, following the conclusion of the tournament.
Rankings were determined by:
Ray Scott (angler)

Ray Scott (1933 – May 8, 2022) was an American outdoorsman who founded the Bass Anglers Sportsman Society (B.A.S.S.) in 1967 after a vision of "building the sport of bass fishing to its rightful place in the first rank of American sports." As the "godfather" of modern bass fishing, he created the first national bass tournament trail (the Bassmaster Tournament Trail), Bassmaster Magazine, The Bassmasters television show and the BASS Federation. He was also well known for his contributions to conservation and boating safety.
He died of natural causes on May 8, 2022.
Basketball at the 2024 Summer Olympics – Women's tournament

The women's 5x5 basketball tournament at the 2024 Summer Olympics was the 21st edition of the event for women at the Summer Olympic Games. It was held from 28 July to 11 August 2024. Preliminary games occurred at Stade Pierre-Mauroy in Lille, with the final phase staged at the Accor Arena (referred to as the Bercy Arena due to IOC rules disallowing Olympic host venues to be named after corporate sponsors) in Paris.
The United States won the gold medal after defeating France in the final. Australia captured the bronze medal with a win over Belgium. Diana Taurasi of the victorious American women's national team became the only basketball player with six Olympic gold medals, joining dressage equestrian Isabell Werth of Germany and Hungarian sabre fencer Aladar Gerevich as the only Olympians to win six gold medals in the same event.
The twelve teams were split into three groups of four teams, and a single round-robin was held within each group. The first- and second-placed teams of each group advanced to the quarterfinals as well as the two best third-placed teams. After the preliminary round, the teams were grouped according to their results, and a draw paired teams between the groups for the quarterfinals. For the draw the teams were seeded in four pots, with the top two-ranked teams (Pot D), 3rd–4th ranked teams (Pot E), 5–6th ranked teams (Pot F) and 7–8th ranked teams (Pot G). Teams from Pot D faced a team from Pot G and teams from Pot E a team from Pot F. Teams from the same group could not face each other again. If both teams from Pot D qualified for the semifinals, they could not play against each other.
The schedule of the tournament was as follows.
Each roster consisted of 12 players.
The draw was held on 19 March 2024.
The 12 teams were divided into four pots of three teams based on their FIBA World Ranking. The three groups were formed by drawing one team from each pot. Two teams from the same continent could not be placed into the same group, with the exception of European teams, where up to two teams could be in the same group.
For broadcast purposes, defending champions the United States and hosts France were both to be drawn into either Group B or C.
The seeding was announced on 15 March 2024.
The following 30 referees were selected for the tournament.
All times are local (UTC+2).
A draw after the preliminary round decided the pairings, where a seeded team plays an unseeded team. Teams qualified were divided into four pots:
Draw principles:
Source:
Source:
The awards were announced by FIBA on 11 August 2024, following the conclusion of the tournament.
Крестецкая строчка

Крестецкая строчка (или крестецкая вышивка, крестецкая белая строчка) — русский народный промысел, развивавшийся с 1860-х годов в Крестецком уезде, вид русского народного шитья, сквозной вышивки.
Родиной крестецкой строчки считается деревня Старое Рахино. С 1860-х годов местные крестьянки стали наносить особенные узоры на домотканое льняное полотно. Нити основы и утка подрезались и выдёргивались из ткани, образуя просветы, наподобие сетки. Помимо льняной, вышивка выполнялась также и на ткани из хлопка или шёлка. Она отличается строгими композициями ажурных и плотных геометрических орнаментальных форм (напр., кружки, квадраты, звёзды) на сквозном фоне, с чётким рисунком, что достигается за счёт плотного перевивания нитей основы катушечными нитками. Крестецкой вышивкой украшались предметы одежды, занавески, полотенца.
Недорогие и изящные изделия пользовались большим спросом у скупщиков, которые перепродавали их в больших городах. Надомный промысел крестецкая строчка распространился за пределы Рахинской волости только после 1890 года. Ныне стилизованная крестецкая строчка изображена на флаге Крестецкого муниципального района Новгородской области.
В СССР изделия с крестецкой вышивкой — скатерти, салфетки, покрывала, накидки и т. п. — изготовлялись на фабрике «Крестецкая строчка», ведущими художниками которой на то время были Н. М. Жигунова, С. А. Власова, А. И. Тиханова и другие мастера. Главным художником фабрики долгие годы являлась Мария Евгеньевна Афанасьева.
С 2015 года на предприятии «Крестецкая Строчка» реализуется масштабный проект по возрождению и популяризации традиционного промысла в России и за рубежом. На фабрике в Жостово можно увидеть весь процесс создания изделий в традициях Крестецкой строчки. Также существует возможность посетить лекции об истории и традициях этого старинного ремесла.
Мстёрская вышивка

Мстёрская вы́шивка — русский народный промысел, развивающийся с XVIII века в слободе Мстёре Вязниковского уезда Владимирской губернии. Вид русского народного шитья. Зародилась в монастыре Иоанна Милостивого. Монахини украшали предметы церковного ритуала золотым и серебряным шитьем по бархату и атласу.
К середине XIX века вышивкой занимались почти все жительницы села. Сложилась своя техника — вышивка белой гладью с миниатюрными растительными узорами по маркизету и батисту, тонким белым хлопчатобумажным тканям. К концу века промысел достигает своего расцвета. В этот период произведения местных вышивальщиц находили сбыт в Петербурге, Москве, других городах России, а также за границей.
После 1917 года в Мстёре были организованы пункты по приему вышитых изделий, а в 1923 году была организована строчевышивальная артель им. Н. К. Крупской, которая в 1961 году была преобразована в строчевышивальную фабрику.
Тюль

Тюль (фр. tulle, от названия французского города Тюль, Tulle) — лёгкая прозрачная сетчатая гладкая или узорчатая ткань (хлопчатобумажная, полушёлковая и др.).
Гладкий тюль вырабатывается из двух систем нитей на тюлевых машинах; он используется для изготовления и отделки женского платья и белья, а также штучных изделий (сеток, вышивок и т. д.).
Тюль узорчатый, или гардинный, вырабатывается на гардинных или кружевных машинах (см. Кружево) и применяется для занавесей, покрывал, накидок и др.
Занавеси и шторы из тюля требуют бережного отношения и грамотного ухода, стирать тюль необходимо в щадящем режиме при температуре не выше 40 градусов.
Слово «тюль» — мужского рода. Однако в разговорном языке его часто ошибочно употребляют в женском по аналогии со словами «моль», «боль» и другими. Этому способствует также аналогия со словом «ткань». Ещё со времён Лескова «в народе» тюль нередко употреблялся в женском роде.
Муар (ткань)

Муар (муаре́, моа́р, фр. moire) — плотная шёлковая или полушёлковая гладкокрашеная ткань с рубчатой поверхностью тиснёного муарового узора. Муар шёл на пошив женских вечерних платьев, украшавших платья отделочных лент, нарядных головных уборов, изготовление орденских лент, отделку мужских костюмов и на подкладку.
Традиционный муар производится методом каландрирования — обработки ткани нагретыми медными цилиндрами. Муар с крупными разводами назывался муар-антик, муар из шёлка высшего качества носил название громуар. Муар-антик пользовался большой популярностью в XIX веке и довольно дорого стоил.
В XX веке муар вошёл в моду с начала 1950-х годов. Как и все виды тиснёных узоров, рисунок муара пропадает при намачивании, поэтому муар не подвергают мокрой чистке.
Как материал для вечерних платьев, муар конкурировал со множеством других дорогих тканей, но как материал для изготовления орденских лент он был незаменим. Чрезплечные орденские ленты, на которых носились знаки ордена высших степеней, в Российской империи и современных ей странах изготовлялись исключительно из муара (а в западных странах нередко изготовляются до сих пор).
The Spanish Dancers

The Spanish Dancers (French: Danseuses Espagnoles) was a piece created in 1921 by Cubist artist Marie Laurencin.
While in Spain she was homesick, unhappy and did very little work. She had also recently ended her long-term relationship with Cubist art critique Guillaume Apollinaire (1907–1912) and married German artist Baron Otto von Waëtjen. Thus freeing Laurencin of Cubist influence, but isolating herself in the process. By marrying a foreign German she had forfeited her French citizenship making her feel alone and exiled from her own country. Despite her exiled sentiments while in Spain, upon returning to Paris in 1921 she felt some nostalgia for her adopted Spanish culture. After only a year of marriage, Waëtjen and Laurencin divorced and she returned to Paris where she created The Spanish Dancers.
The Spanish Dancers features three women in the foreground of the painting. The woman standing to the far left is wearing a light blue dress. While the woman in the center is kneeling wearing a pink ballerina dress, as the woman to the far right is hunched down and is wearing a light grey dress with a light blue headscarf. The background of the composition is a dark grey and contrasts the light colors of the three women's skin and clothing. And upon closer inspection, you can see there is the head of a horse and a dog overlapping within the image.
Laurencin also adopts a completely new and mature style after she returns from Spain. No longer was she painting in strictly soft and feminine tones with delicate and soft pastel palettes. Instead she developed a darker style incorporating greys, blues and pinks. However, her female subjects remains the same. But there is something more expressive and dynamic about The Spanish Dancers compared to the rest of her work. The faces of the women have more shadow and depth. While the background is dark and sharply contrasts her earlier work of delicate interior scenes. The angularity of the figures and their dynamic body poses move the eye through the composition and create a sense of dimension that is often lacking in many of her other works.
There is an influence from Cubism that did not exist before her time in Spain. The lines of her figures and the angles that outline the composition are all classic Cubist troupes. The new contrasting color scheme is also a technique found in Cubism and is reminiscent of Picasso’s blue period. Also, the noticeable use of shading and shadow in the background and on the figures faces is also a technique influenced by Cubism. The work is also a “Parisian” depiction of Spanish dancers. The women are very aristocratic with ambiguous expressions that are difficult to interpret. These characters are a part of the feminine and decorative images Laurencin creates but in a new and elevated style. Yet, this unique style Laurencin developed after her time in Spain is short-lived. And is promptly followed by a stylistic shift that incorporates the more refined style of The Spanish Dancers and her usual feminine portraits.
Dart (sewing)

Darts are folds (tucks coming to a point) sewn into fabric to take in ease and provide shape to a garment, especially for a woman's bust. They are used frequently in all sorts of clothing to tailor the garment to the wearer's shape, or to make an innovative shape in the garment. Fabric may be thought of as flat, and a dart has the effect of removing a wedge shaped piece and pulling the edges of that wedge together to create a shallow cone. This effect can be seen quite easily with a paper pattern by pulling together the edges of a dart intake as it would be sewn. Since fabric is generally more flexible than paper, the fabric will shift around the apex of the cone and form a softer, but still curved, shape. In a garment, a dart ends in a point at a full area of the body.
A dart in a flat pattern has two important properties: its point, or the point in the pattern at which the dart aims or converges, and the intake, or the amount of fabric taken in or removed. Since the dart can extend toward any edge of the pattern without affecting fit, the length of the dart intake at the edge of the fabric is not a good measure of dart intake. Rather, the angle subtracted from the pattern by the dart is what determines the dart's intake.
As long as the focal point of a dart and its intake remain the same, a dart can be rotated around its focal point, or stylized in one of several ways without affecting the fit of the garment.
An easy way to rotate a dart on a flat pattern is to slice a straight line from the dart point to another edge of the pattern (the slash). The two pieces thus created can then be pivoted (spread) at the dart point to shift the dart to the position of the slash.
The pin and pivot dart rotation technique requires tracing a new pattern from the original. First, the pattern with the dart to be rotated is set on top of another piece of paper on which the new pattern will be traced. A pin is pressed into the dart point to hold that point in place. Then one leg of the original dart and an arbitrary part of the original pattern is traced onto the paper. This tracing starts from the one dart leg and continues from there to the new point where the dart will reach the outside of the pattern piece. The pattern is then rotated around the pinned dart point until the other dart leg lines up with the traced dart leg. Tracing can then continue from the same spot on the original pattern. The pattern is then removed and the new dart legs drawn between the dart point (marked by the pin hole) and the gap in the pattern created during rotation.
Pleats or gathers in the fabric can be used for the same purpose as a normal stitched dart. These are called dart equivalents. Darts can also be worked into style lines.
Two kinds of darts are common in blouses for women:
In the early 1950s, the New York City firm of Evan-Picone pioneered the use of darts in the pockets of women's clothing. The darts help keep the pocket open and thus more easily accessed, reducing the chance of rips or tears.
Saunavuoro

Saunavuoro (meaning "sauna turn" or "time for sauna") is a Finnish TV comedy show, similar to The Fast Show or Smack the Pony in the UK. It was shown on YLE TV1 from 2004 to 2005.
Saunavuoro is themed to look like it was filmed in the 1960s. Its most famous character is Finnish president Urho Kekkonen and his adjutant, but there are some other regular characters as well.
Some of the sketches include:
Walda Heywat

Walda Heywat (Amharic: ወልደ ሕይወት; 1633–1710), also called Mitku, was an Ethiopian philosopher. He was the beloved disciple of Zara Yacob, who wrote a well regarded work on the nature of truth and reason. Heywat took his mentor’s work and expanded upon it, addressing issues encountered by Ethiopians of that time.
Walda Heywat was one of the sons of Habtu, a rich Ethiopian merchant from Emfraz, and the student of Zera Yacob, whose work he continued in his Treatise of Walda Heywat, written in Geʽez. Walda Heywat was the son of Habta Egziabher (called Habtu), a friend of Zera Yacob in the town of Emfraz, where Zera Yacob spent the second part of his life. Zera Yacob was the teacher of the sons of Habtu and introduced Walda Heywat to his philosophy.
It was Walda Heywat who encouraged Zera Yacob to write his Treatise of Zera Yacob, describing both his life and his thoughts.
The personality of Walda Heywat comes out clearly from the analysis of his social ethics. Being a disciple of Zera Yacob and heavily influenced by his master's thought, he wrote his Treatise to explore and explain the ideas of his teacher. Although Zara Yacob's ideas were relatively individualistic, Walda Heywat was a social ethicist. In his writing, Walda Heywat states, "God did not create me only for myself, but placed me in the midst of other created [men] who are equal to me." He also adds, “Man cannot come to existence, grow, and serve by himself without the help of other men."
Gillardeau oysters

Gillardeau oysters are a brand of edible oysters that are produced by the Gillardeau family and their small private company, which was founded in 1898 in Bourcefranc-le-Chapus near La Rochelle and the Île d'Oléron in western France.
Gillardeau now produces roughly half its oysters in Normandy, near Utah Beach, and half in County Cork, Ireland. He also gets his oysters from P. Sugrue, one of the world's top growers from County Kerry, Ireland, where the waters are cleaner, there are fewer parasites and less agricultural runoff, and the area is easier to farm with tractors.
Cocktail sauce

Cocktail sauce, also known as seafood sauce, is one of several types of cold or room temperature sauces often served as part of a dish referred to as a seafood cocktail or as a condiment with other seafoods. The sauce, and the dish for which it is named, are often credited to British celebrity chef Fanny Cradock, but seafood cocktails predate her 1967 recipe by some years (for example, Constance Spry published a seafood cocktail using Dublin Bay Prawns in 1956).
Seafood cocktails originated in the 19th century in the United States, usually made with oysters or shrimp. Seafood with spiced, cold sauces was a well-established part of the 20th century culinary repertoire. While cocktail sauce is most associated with the prawn cocktail, it can be served with any shellfish.
In the United States and Canada it generally consists of, at a minimum, ketchup or chili sauce mixed with prepared horseradish. Lemon juice, Worcestershire sauce and Tabasco sauce are common additives, often all three.
The common form of cocktail sauce in the United Kingdom, Ireland, Iceland, France, Belgium, Italy and The Netherlands, usually consists of mayonnaise mixed with a tomato sauce to the same pink colour as prawns, producing a result that could be compared to fry sauce. It is similar to Thousand Island dressing, but the more usual British name is Marie (or Mary) Rose Sauce. The origins of the name are unclear and it is variously credited to a 1980s dive team cook working at the site of the Tudor ship, the Mary Rose, and Fanny Cradock. However, the term first appeared in the 1920s as a term for a garnish of shrimp, and was in use for cocktail sauce by at least 1963. The name was linked to the colour and Escoffier uses it to describe a pink iced pudding. It was so ubiquitous in the 1960s and 1970s that it has since become something of a joke in Britain, along with its most commonly associated dish, the prawn cocktail.
In Belgium, a dash of whisky is often added to the sauce. It is popularly served with steamed shrimp and seafood on the half shell.
In Australia, it is often provided in fish and chip shops.
In most American oyster bars, cocktail sauce is the standard accompaniment for raw oysters and patrons at an oyster bar expect to be able to mix their own. The standard ingredients (in roughly decreasing proportion) are ketchup, horseradish, hot sauce (e.g., Tabasco, Louisiana, or Crystal), Worcestershire sauce, and lemon juice. A soufflé cup is usually set in the middle of the platter of oysters along with a cocktail fork and a lemon slice. Often, the bottles of ketchup and other sauces are grouped together in stations every couple of feet along the counter, but in some oyster bars, patrons are served with their own ingredients.
Crawfish Monica

Crawfish Monica is a Louisiana food tradition. Ingredients include pasta (often rotini), crawfish tail meat, onion, garlic, creole seasoning, cream, wine, salt, pepper, and butter. The dish was created by chef Pierre Hilzim who is the head of Kajun Kettle Foods. He named it after his wife Monica Davidson. Parsley can be used as a garnish. Shrimp, crabmeat and oysters can be substituted for crawfish.
Crab in oyster sauce

Crab in oyster sauce or oyster sauce crab is a Chinese seafood dish of crab served in savoury oyster sauce. It is a popular dish across Asia.
Crab in oyster sauce can trace its origin to Southern China's Cantonese cuisine, more precisely, after the development of oyster sauce in the late 19th century. The dish then spread across Asia. Known in Indonesia as kepiting saus tiram, it is a popular seafood in Chinese Indonesian cuisine, being one of the two most popular ways of serving crab.
The most popular crab species used in this recipe is mud crab, though blue crab may also be used.
The crabs are cut into pieces and stir-fried shortly in a wok on strong fire in cooking oil and water, garlic, ginger, onion and scallion, mixed with oyster sauce, soy sauce, ang ciu (Chinese cooking wine) and sugar. Then the sauce is thickened with a corn starch and water mixture. The mild umami (savoury) seafood flavour of oyster sauce tends to enhance the natural flavour of the crab.
Prairie oyster

A prairie oyster (sometimes also prairie cocktail) is a traditional beverage consisting of a raw egg (often yolk alone), Worcestershire sauce, vinegar and/or hot sauce, table salt, and ground black pepper. A small amount of tomato juice is sometimes added, reminiscent of a Bloody Mary. Occasionally a spirit such as brandy, vodka, or gin is also included, transforming the drink into a hair of the dog. The egg is broken into a glass so as not to break the yolk. The mixture is quickly swallowed. The unbroken yolk causes the drink to bear a texture similar to that of an oyster. The concoction has been referred to as a traditional cure for hangovers, and has appeared in media for decades.
Though considered a traditional hangover remedy, the prairie oyster has not been scientifically proven to treat hangover symptoms. Headache experts say that a prairie oyster will not work as a remedy for a hangover.
It has been suggested that the raw egg in a prairie oyster may alleviate the symptoms of a hangover since eggs contain cysteine, an amino acid which helps the body break down acetaldehyde, a by-product of processing alcohol. However, there is no reliable evidence showing that consuming foods with this amino acid relieves hangover symptoms.
It has also been suggested that a prairie oyster may seem to relieve hangover symptoms by acting as a distraction and a placebo.
The prairie oyster has appeared in popular media since the early 20th century. Its most notable appearance is in P. G. Wodehouse's Jeeves novels. It first appeared in the 1916 short story "Jeeves Takes Charge", where Jeeves cures Bertie Wooster's hangover with his version of a prairie oyster. The drink is not named in the story but it fits the description of a prairie oyster. As Jeeves says, "It is a little preparation of my own invention. It is the Worcester Sauce that gives it its colour. The raw egg makes it nutritious. The red pepper gives it its bite." Jeeves also serves this hangover cure in other stories. It is very effective, and Bertie suspects that there is more to the drink than the ingredients mentioned by Jeeves.
Pickled oysters

Pickled oysters are a traditional way of preserving oysters by pickling or curing. To pickle oysters, they are usually cooked for a short period after removal from the shell, cooled, and placed in glass jars with vinegar and other spices.
In 1646, Humphrey Mill described pickled oysters being served to customers in brothels in England. Another early reference to pickled oysters appears in the writings of Samuel Pepys, who wrote about them as early as 1661.
According to Rowan Jacobsen, pickled oysters were "standard fare in every city on the Eastern Seaboard in that heady pre-canning era when oysters were in demand far and wide." Pickled oysters were a popular dish among both the upper and lower classes. Pickled oysters were also served at the Governor’s Palace in Williamsburg, Virginia. In Colonial America, pickled oysters were a commonly traded commodity as a part of the slave trade. The papers of George Washington indicate that he enjoyed pickled oysters in the 1780s and received them as a gift.
In the 1840s and 1850s, Thomas Downing served pickled oysters at his establishment in New York City.
In 1881, U.S. President James A. Garfield's inauguration dinner included over 100 gallons of pickled oysters. Victorian-era cookbooks often include pickled oyster recipes.
Pickled oysters were a frequent holiday staple in American homes of the 1800s.
The 1903 Le guide culinaire includes a pickled oyster preparation. Pickled oysters are still a common staple in Southern cuisine of the United States, and have been a featured recipe by Mashama Bailey and Thomas Keller.
Zest (ingredient)

Zest is a food ingredient that is prepared by scraping or cutting from the rind of unwaxed citrus fruits such as lemon, orange, citron, and lime. Zest is used to add flavor to many different types of food.
In terms of fruit anatomy, the zest is obtained from the flavedo (exocarp) which is also called zest. The flavedo and white pith (albedo) of a citrus fruit together makes up its peel. The amounts of both flavedo and pith are variable among citrus fruits, and may be adjusted by the manner in which they are prepared. Citrus peel may be used fresh, dried, candied, or pickled in salt.
After any surface wax has been removed, a zester, grater, vegetable peeler, paring knife, or even a surform tool is used to scrape or cut zest from the fruit. Alternatively, the peel is sliced, then excess pith (if any) cut away.
The white portion of the peel under the zest (pith, albedo or mesocarp) may be unpleasantly bitter and is generally avoided by limiting the peeling depth. Some citrus fruits have so little white mesocarp that their peel can be used whole.
The zest and mesocarp vary with the genetics of the fruit. Fruit with peels that are almost all flavedo are generally mandarins; relatives of pomelos and citrons tend to have thicker mesocarp. The mesocarp of pomelo relatives (grapefruit, orange, etc.) is generally more bitter; the mesocarp of citron relatives (Mexican and Persian limes, alemows etc.) is milder. The lemon is a hybrid of pomelo, citron, and mandarin. The mesocarp is also edible, and is used to make succade.
Zest is often used to add flavor to different pastries and sweets, such as pies (e.g., lemon meringue pie), cakes, cookies, biscuits, puddings, confectionery, candy and chocolate. Zest also is added to certain dishes (including ossobuco alla milanese), marmalades, sauces, sorbets and salads.
Zest is a key ingredient in a variety of sweet and sour condiments, including lemon pickle, lime chutney, and marmalade. Lemon liqueurs and liquors such as Licor de oro require zest.
Zest is used in some cocktails not only for flavor and aroma but also for color as a garnish. For use as a cocktail garnish, zest often is cut in a long spiral called a twist. Cocktails featuring a twist include Dry Martini and Horse's Neck. For maximum flavor and aroma, as in mulled wine, zest is simply cut from the fruit with a knife.
Medicinally, lemon peels can allegedly serve as an exfoliate and be used to treat calluses.
Zester

A zester (also citrus zester or lemon zester) is a kitchen utensil for obtaining zest from lemons and other citrus fruit. A kitchen zester is approximately four inches (100 mm) long, with a handle and a curved metal end, the top of which is perforated with a row of round holes with sharpened rims. To operate, the zester is pressed with moderate force against the fruit and drawn across its peel. The rims cut the zest from the pith underneath. The zest is cut into ribbons, one drawn through each hole.
Other tools are also sometimes called zesters because they too are able to separate the zest from a citrus fruit. For example, when Microplane discovered that its surform type wood rasps had become popular as food graters and zesters, it adapted the woodworking tools and marketed them as "zester / graters".
Media related to Zesters at Wikimedia Commons
Carmen Navarrete

Carmen Lucía Navarrete Tudela (Valencia, 1963) es una artista visual, profesora e investigadora feminista española.​
Desarrolla su carrera profesional ejerciendo la enseñanza en la Universidad de Valencia como profesora titular e investigadora en la Facultad de Bellas Artes de Valencia en el departamento de escultura.​​ Paralelamente ha realizado una extensa investigación teórica sobre la identidad, el feminismo y las artes visuales, contribuyendo con sus ensayos a su estudio. Ha compaginado dicha actividad con la realización de su obra artística en el ámbito de la instalación y el arte discursivo.
Su tesis doctoral tituladaː Género y Espacio. Hacia una recontextualización crítica de las prácticas feministas en las artes visuales fue presentada en la Universidad de Valencia en el año 2017.​​
Selección de exposiciones más relevantesː
En la sala Rekalde de Bilbao la titulada Para todos los públicos (2006);​
En el Museo Reina Sofía de Madrid participó en la exposición titulada Cárcel de amor. Relatos culturales sobre la violencia de género (2005) comisariada por Berta Sichel;​
En la Universidad de Valencia Fugas Subversivas. Reflexiones híbridas sobre las identidades (2005);​
En el Arts Council, de Inglaterra y en la Universidad de Castilla-La Mancha de Cuenca (UCLM), con el títuloThe Gendered City. Espacio urbano y construcción de género (2004).​
Se destaca su participación en la extensa y completa exposición colectiva comisariada por Patricia Mayayo y Juan Vicente Aliaga Genealogías feministas en el arte español: 1960˗2010, en el MUSAC de León, España (2012).​​