The Man'yōshū is the oldest extant collection of Japanese waka, compiled sometime after AD 759 during the Nara period. The anthology is one of the most revered of Japan's poetic compilations; the compiler, or the last in a series of compilers, is today believed to be Ōtomo no Yakamochi, although numerous other theories have been proposed. The chronologically last datable poem in the collection is from AD 759, it contains many poems from much earlier, many of them anonymous or misattributed, but the bulk of the collection represents the period between AD 600 and 759. The precise significance of the title is not known with certainty; the collection is divided into books. The collection contains 265 chōka, 4,207 tanka, one tan-renga, one bussokusekika, four kanshi, 22 Chinese prose passages. Unlike collections, such as the Kokin Wakashū, there is no preface; the Man'yōshū is regarded as being a unique Japanese work. This does not mean that the poems and passages of the collection differed starkly from the scholarly standard of Chinese literature and poetics.
Many entries of the Man'yōshū have a continental tone, earlier poems having Confucian or Taoist themes and poems reflecting on Buddhist teachings. Yet, the Man'yōshū is singular in comparison with works, in choosing Ancient Japanese themes, extolling Shintō virtues of forthrightness and virility. In addition, the language of many entries of the Man'yōshū exerts a powerful sentimental appeal to readers: his early collection has something of the freshness of dawn. There are irregularities not tolerated such as hypometric lines. In other words, the collection contains the appeal of an art at its pristine source with a romantic sense of venerable age and therefore of an ideal order since lost; the literal translation of the kanji that make up the title Man'yōshū is "ten thousand — leaves — collection". The principal interpretations, according to the twentieth-century scholar Sen'ichi Hisamatsu, are a book that collects a great many poems, a book for all generations, a poetry collection that uses a large volume of paper.
Of these, supporters of can be further divided into those who interpret the middle character as "words", thus giving "ten thousand words", i.e. "many waka", including Sengaku, Shimokōbe Chōryū, Kada no Azumamaro and Kamo no Mabuchi, those who interpret the middle character as referring to leaves of a tree, but as a metaphor for poems, including Ueda Akinari, Kimura Masakoto, Masayuki Okada, Torao Suzuki, Kiyotaka Hoshikawa and Susumu Nakanishi. Furthermore, can be divided into: it was meant to express the intention that the work should last for all time; the collection is customarily divided into four periods. The earliest dates to prehistoric or legendary pasts, from the time of Emperor Yūryaku to those of the little documented Emperor Yōmei and Tenji during the Taika Reforms and the time of Fujiwara no Kamatari; the second period covers the end of the seventh century, coinciding with the popularity of Kakinomoto no Hitomaro, one of Japan's greatest poets. The third period spans 700 – c. 730 and covers the works of such poets as Yamabe no Akahito, Ōtomo no Tabito and Yamanoue no Okura.
The fourth period spans 730–760 and includes the work of the last great poet of this collection, the compiler Ōtomo no Yakamochi himself, who not only wrote many original poems but edited and refashioned an unknown number of ancient poems. The vast majority of the poems of the Man'yōshū were composed over a period of a century, with scholars assigning the major poets of the collection to one or another of the four "periods" discussed above. Princess Nukata's poetry is included in that of the first period, while the second period is represented by the poetry of Kakinomoto no Hitomaro regarded as the greatest of Man'yōshū poets and one of the most important poets in Japanese history; the third period includes the poems of Takechi no Kurohito, whom Donald Keene called "he only new poet of importance" of the early part of this period, when Fujiwara no Fuhito promoted the composition of kanshi. Other "third period" poets include: Yamabe no Akahito, a poet, once paired with Hitomaro but whose reputation has suffered in modern times.
Enregistrement Public à l'Olympia 1964 is Jacques Brel's second live album. The original 25 cm LP version only contained track 1-8. Known as Olympia 64, the album was reissued with a total of 15 chansons in 1988 as part of CD Box "Integrale", on 23 September 2003 under the title Enregistrement Public à l'Olympia 1964 as part of the 16-CD box set Boîte à Bonbons by Barclay; the album was included in Robert Dimery's 1001 Albums You Must Hear. On the double CD "Olympia 1964-1966" issued in 2016, a different track sequence is provided, "more resembling the original sequence as performed by Brel", with "Amsterdam" als third chanson. All tracks composed except where noted. "Amsterdam" "Les Timides" "Le Dernier Repas" "Les Jardins du casino" "Les Vieux" "Les Toros" "Tango funèbre" "Le Plat Pays" Bonus tracks on the reissues on CD in 1988, 2003 and 2013: "Les Bonbons" "Mathilde" "Les Bigotes" "Les Bourgeois" "Jef" "Au suivant" "Madeleine" Gérard Jouannest - ensemble leader François Rauber - orchestra conductor
Annabel is a 2010 novel by Canada-based author Kathleen Winter. A baby is born in 1968, in far-from-everywhere Croydon Harbour, Canada, he is intersex – a word unfamiliar to the midwife present at his birth, to his stoic father and his fanciful mother – with both penis and vagina. His is a masculine world of men who trap for a living, a father who decided to name him "Wayne" and raise him as male – but his shadow self, the name his mother and her best friend Thomasina whisper when they are alone, will live within him for two decades. Wayne heads into the bush with his father, but at home he dreams of synchronized swimming and begs for a sequined bathing suit, he is she, they are a fluid, pastel contradiction in a rigid and white world. Puberty sets in and there is a medical emergency – Wayne's abdomen fills with menstrual blood. Lost in his superficial world of being a girl, he begins a friendship with classmate Wally, his father, begins to question whether Wally is a good influence on Wayne and wants him to be more boyish.
Together with his father, Wayne builds a small bridge over a creek. His father thinks of this as a masculine construction project, but the bridge is an expression of Wayne's feminine fantasy life. After Wayne ornaments the bridge with curtains and lights, his father dismantles it, interrupting his friendship with Wally; as Wayne grows into a young adult, he moves to St. John's, where he decides to discontinue his masculinizing medication and allow his body to feminize spontaneously, he learns to accept himself as he is, reconciles with his father, renews his friendship with Wally. The novel was a shortlisted nominee for the 2010 Scotiabank Giller Prize, the 2010 Rogers Writers' Trust Fiction Prize and the 2010 Governor General's Awards, it held the distinction of being the only novel to make the shortlists of all three awards in 2010. In 2011 it was shortlisted for the 2011 Orange Prize for Fiction, won the Thomas Head Raddall Award. In 2014 it was chosen for the Canada Reads competition, where it was championed by actress Sarah Gadon.
Despite critical acclaim, the book has not been welcomed by intersex organizations. Organisation Intersex International Australia described the book as fundamentally flawed and deterministic, based on misconceptions about intersex; the novel was adapted for BBC Radio by Miranda Davies. British pop singer Alison Goldfrapp wrote a song inspired by the novel titled "Annabel", on her 2013 album Tales of Us. Filmmaker Lisa Gunning, who directed the song's music video, has optioned feature film rights to the novel