Meary James Thurairajah Tambimuttu was a Tamil poet, editor and publisher, who for many years played a significant part on the literary scenes of London and New York City. He founded in 1939 the respected literary magazine Poetry London, which "soon became the best known poetry periodical in England, Tambimuttu became known as a skillful editor." Four issues of Poetry London–New York were published in the 1950s. Among those published by Tambimuttu were Lawrence Durrell, Kathleen Raine, W. H. Auden, Gavin Ewart, Jack Kerouac, Gregory Corso, Allen Ginsberg, Roy Campbell, Robin Skelton, Keith Douglas, many other notable writers. In 1955 Tambimuttu was described by The New York Times as "probably the best-known contemporary Sri Lankan Tamil poet", he created two publishing houses, Editions Poetry London and Lyrebird Press, both of which published major works. Tambimuttu was born in Ceylon, had his primary education at the premier Catholic institution St. Joseph's College and attended university in Colombo before leaving for London at the age of 22.
He arrived in 1938, a year he began to publish Poetry London, a small magazine, to be important in the next decade, in particular during the war years. Tambi, as he was called by his friends, met Lawrence Durrell at this time in connection with the small magazine that Durrell published in Paris, Delta; as well as editing 14 volumes of Poetry London, Tambi was involved in book publishing, writing his own poetry and short fiction, as well as being a regular participant in the BBC radio broadcasts Talking To India during World War II. In July 1943 he set up the publishing house Editions Poetry London, which published Elizabeth Smart's By Grand Central Station I Sat Down and Wept, David Gascoyne Poems 1937-1942, Lawrence Durrell's Cefalu, Henry Miller's The Cosmological Eye and Sunday After the War, Vladimir Nabokov's The Real Life of Sebastian Knight, Keith Douglas' Alamein to Zem Zem, Cleanth Brooks' Modern Poetry and the Tradition. Other poets published in Poetry London" of late modernist poetry.
In 1943, Tambimuttu commissioned the young artist Lucian Freud to illustrate a book of poems by Nicholas Moore entitled The Glass Tower. It was published the following year by Editions Poetry London and comprised, among other drawings, a stuffed zebra and a palm tree. Tambimuttu returned to Ceylon in 1949, in 1952 moved to the United States, where he worked as an editor, launching Poetry London – New York, the last issue 5 including American Beat poets, he founded the Lyrebird Press. He died in London, aged 67. Archives of Tambimuttu's correspondence and papers are dispersed, but the largest collections are at Northwestern University and the British Library. Most of Tambimuttu's own works are difficult to access, his earliest works published before he came to London are lost, his greatest influence was as an editor and publisher during the 1940s. T. S. Eliot, Lawrence Durrell, Dylan Thomas count among his influences, while he influenced Lawrence Durrell, Elizabeth Smart, Nicholas Moore, Kathleen Raine, George Barker.
Natarajah: A Poem for Mr. T. S. Eliot's Sixtieth Birthday, PL Pamphlets Out of this War, The Fortune Press T. S. Eliot: A Symposium compiled by Richard March and Tambimuttu, Editions P L Poetry in Wartime: An Anthology and Faber India Love Poems, Editions P L Page at One Hundred Tamils Tamil studies Now published in the collection: T. Wignesan. Rama and Ravana at the Altar of Hanuman: On Tamils, Tamil Literature & Tamil Culture. Allahabad:Cyberwit.net, 2008, 750p. & at Chennai: Institute of Asian Studies, 2007, 439p. Tambimuttu Archive at Northwestern University Library Tambimuttu and the Poetry London Papers at the British Library: Reputation and Evidence Tambimuttu: Re-inventing the Art of Poetry Illustration at the British Libraryhttp://www.open.ac.uk/researchprojects/makingbritain/content/meary-james-tambimuttu
The villainous or shadowy group and or organization is a long-standing trope in adventure fiction, from Professor Moriarty's band of villains, to the sinister Mole Men that bedeviled Superman in his 1951 television show. This page will attempt to provide a somewhat complete list and history of the many criminal and terrorist organizations present in comic books; the Individual Eleven is a fictional terrorist group dealt with by Public Security Section 9 from the Ghost in the Shell manga series. The Individual Eleven's motive for terror is an essay entitled "The Individual Eleven", which was, in reality, a fake essay implanted with a computer virus that infected everyone who read it; the virus itself does not cause the members of the Individual Eleven to commit their acts of terror, it is their own political views which cause them to do so. The virus only seems to make them unwilling martyrs; the Wallenquist Organization is a criminal organization in the fictional universe of Frank Miller's Sin City.
It is led by Herr Wallenquist, a German-American mobster shrouded in mystery. The organization has a broad base of criminal enterprise to its name, including drug smuggling, organ harvesting and human trafficking for the purpose of illegal adoption and slavery, as well as having many city officials on their payroll at one time or the other; the Magliozzi Crime Family control the Cosa Nostra in Sin City. Led by Don Giacco Magliozzi and based at the Magliozzi Mansion, they were wiped out in Family Values; the Hwalbindang is a criminal organization featured in the Korean anime and manhwa series Shin Angyo Onshi. The Hwalbindang is a seven-member group of powerful martial arts specialists who began working as bandits, taking money from the rich so that they could provide help for the poor. At some point their ideals become corrupted by a desire for vengeance harbored by their leader Hong Gildong. Despite being more powerful than him, half of the group died fighting the Angyo Onshi; the other half died fighting his sometimes ally Wonsul of the Formless Sword and Munsu's sworn enemy the mad sorcerer known as Aji Tae.
With the exception of their leader Hong Gildong, the individual members of Hwalbindang are the most powerful in the Shin Angyo Onshi universe. The Akatsuki is a criminal organization featured in manga series Naruto, it is first introduced midway into the first part Naruto, its members gain significance as the main antagonists during the second part Naruto Shippuuden. Despite being composed of only ten members, Akatsuki is arguably the most powerful organization in the Naruto universe; each member of Akatsuki is an S-class criminal. Fanzing #49: Criminal Organizations of the DCU DCU Guide DC Cosmic Teams The Marvel Directory Marvel Universe The Firestorm Index
Ruslan Sabirly is the first Azerbaijani mentalist, producer, songwriter and director of Booktrailer Festival. Ruslan Sabirly was born on September 1979 in Sumgayit city, he studied in general education schools No.13, No.36 and No.41. At school, Ruslan performed in various events as a mentalist. After school, he entered Sumgayit State University and during his education performed as a musician-arranger and event hoster on the university stage and in various city events. After graduating Bachelor's and master's degree, he gets PhD degree and defends his thesis on “Multicontrolling Neural Networks”, he studied Project Management in Ukraine and became International Certified Project Manager of Level C by International Project Management Association. In 2009, he became a co-founder of the Azerbaijan office of the International Organization for the Exchange of Schoolchildren - Youth For Understanding - YFU. Ruslan Sabirly, has began his career by playing in various TV commercials, his first role was in TV series “Mother-in-law”.
In 2013-2014, he established a news site dedicated to cinema - www.cinemanews.az In 2013-2014, he established the CNC Film School. In 2014, he left for Germany to study acting and producing filmsSince 2016, he is a member of the jury of the Booktrailer Festival, held annually with the support of the Ministry of Culture of the Azerbaijan Republic. Ruslan Sabirly began studying music, he has a secondary music education, graduated from the classes of the national musical instrument tar. Parallel to this, he performed on the school stage as a keyboard-musician, he wrote his first musical composition - “Forgive me, if I leave” at the age of 17. Getsəm, bağışla Yaz Xatirələri Mələklə bir gün Zirvə 2018 — III Booktrailer Festival Award Ceremony. Co-host — Leyla Aliyeva. 2018 — "Azerbaijan Golden Kids Awards 2018". Co-host — Letafet Alekperova 2019 — IV Booktrailer Festival Award Ceremony. Co-host — Leyla Aliyeva. 2019 — "Azerbaijan Golden Kids Awards 2019". Co-host — Leyla Aliyeva. 1997-1999 - Awarded the honorary scholarship for the honorary student named after Jeykhun Vakhabov during his education.
1999 - Elected representative to the II Youth Forum. 2002 - Elected representative to the III Youth Forum. 2002 - Awarded with an honorary diploma of the Committee of Free Trade Union Workers of Education of the Azerbaijan Republic for fruitful work in the trade union bodies. 2013 - Awarded "TOP 20 most stylish Azerbaijani actors and actresses" Official website
The Lambeth Choirbook - known as the Arundel Choirbook - is an illuminated choirbook dating to the sixteenth century. It contains music for 7 Masses, 4 Magnificats, 8 motets. Much of the music is by Tudor-period composers; the major contributors are Nicholas Ludford. Only three of Fayrfax's works have his name attached to them, but five other pieces are known as his. Seven anonymous pieces exist in the book: Ave Dei Patris filia Ave mundi spes Maria Gaude flore virginali Salve regina two Magnificats Vidi aquam egredientem de templo. No concordances for any of these have been traced, it seems possible that further works by Fayrfax and Ludford might exist among them; the book contains music by older composers, such as Edmund Stourton and Walter Lambe, whose music may be found in the Eton Choirbook. The book is now housed in Lambeth Palace Library under the reference MS 1. HOASM.org Skinner, David: The Arundel Choirbook: a Facsimile and Introduction Curtis, Gareth. 1460-1575, 22-4, passim Chew, Geoffrey:'The Provenance and Date of the Caius and Lambeth Choir-Books' Music and Letters LI, 107-17 Bray, Roger W: The Interpretation of Musica Ficta in English Music, C.
1490-C. 1580, Unpublished Ph. D. dissertation, Oxford University, I, 115ff. Jahrhunderts, 145 Todd, Henry J: A Catalogue of the Archiépiscopal Manuscripts in the Library at Lambeth Palace. London, 1812, I Bergsagel, John D: Nicholas Ludford: Collected Works, Corpus mensurabilis musicae Vol. 27, Il,xiv-xv,1-38,130-79 Harrison, Frank L L: Early English Church Music, IV, 1-48,130-1 Harrison, Frank Ll: Music in Medieval Britain, 263-9,307,329-30,335 Warren, Edwin B: Robert Fayrfax: Collected Works, Corpus mensurabilis musicae Vol. 17, I-II Lyon, Margaret Elizabeth: Early Tudor Church Music: The Lambeth and Caius Manuscripts, Unpublished Ph. D. dissertation, University of California at Berkeley, I-II Westrup, J A.
Blues in Orbit is an album by American pianist and bandleader Duke Ellington recorded for the Columbia label in 1959 and released in 1960. The original liner notes by Teo Macero call this album a blues album; the album was re-released on CD in 2004 with bonus tracks including alternate takes and tracks from earlier sessions. The Allmusic review by Bruce Eder awarded the album 3 stars and stated "Blues in Orbit lacks the intellectual cachet of the suites and concept pieces that loomed large in Ellington's recordings of this period, but it's an album worth tracking down, if only to hear the band run through a lighter side of its sound. Indeed, it captures the essence of a late-night recording date, as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter".:All compositions by Duke Ellington except as indicated "Three J's Blues" - 2:54 "Smada" - 2:38 "Pie Eye's Blues" - 3:27 "Sweet and Pungent" - 4:03 "C Jam Blues" - 4:52 "In a Mellow Tone" - 2:43 "Blues in Blueprint" - 3:43 "The Swingers Get the Blues, Too" - 3:09 "The Swinger's Jump" - 3:53 "Blues in Orbit" - 2:29 "Villes Ville Is the Place, Man" - 2:33 "Track 360" - 2:03 Bonus track on CD reissue "Sentimental Lady" - 4:02 Bonus track on CD reissue "Brown Penny" - 3:02 Bonus track on CD reissue "Pie Eye's Blues" - 3:32 Bonus track on CD reissue "Sweet and Pungent" - 3:52 Bonus track on CD reissue "The Swinger's Jump" - 3:51 Bonus track on CD reissue "Blues in Orbit" - 2:39 Bonus track on CD reissue "Track 360" - 2:01 Bonus track on CD reissueRecorded at Radio Recorders, Los Angeles on February 4, 1958 and February 12, 1958 and at Columbia 30th Street Studio, New York on February 25, 1959, December 2, 1959 and December 3, 1959.
Duke Ellington – piano Billy Strayhorn - piano Ray Nance - trumpet, violin Cat Anderson, Shorty Baker, Clark Terry - trumpet Fats Ford - trumpet Britt Woodman - trombone Matthew Gee, Booty Wood - trombone Quentin Jackson - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Jimmy Woode - bass Jimmy Johnson - drums Sam Woodyard - drums
Comedy is entertainment consisting of jokes intended to make an audience laugh. For ancient Greeks and Romans a comedy was a stage-play with a happy ending. In the Middle Ages, the term expanded to include narrative poems with happy endings and a lighter tone. In this sense Dante used the term in the title of the Divine Comedy; the phenomena connected with laughter and that which provokes it has been investigated by psychologists and agreed upon the predominating characteristics are incongruity or contrast in the object, shock or emotional seizure on the part of the subject. It has been held that the feeling of superiority is an essential factor: thus Thomas Hobbes speaks of laughter as a "sudden glory." Modern investigators have paid much attention to the origin both of laughter and of smiling, as well as the development of the "play instinct" and its emotional expression. Much comedy contains variations on the elements of surprise, conflict and the effect of opposite expectations, but there are many recognized genres of comedy.
Satire and political satire use ironic comedy used to portray persons or social institutions as ridiculous or corrupt, thus alienating their audience from the object of humor. Parody borrows the form of some popular genre, artwork, or text but uses certain ironic changes to critique that form from within. Screwball comedy derives its humor from bizarre, surprising situations or characters. Black comedy is defined by dark humor that makes light of so-called dark or evil elements in human nature. Scatological humor, sexual humor, race humor create comedy by violating social conventions or taboos in comedic ways. A comedy of manners takes as its subject a particular part of society and uses humor to parody or satirize the behavior and mannerisms of its members. Romantic comedy is a popular genre that depicts burgeoning romance in humorous terms, focuses on the foibles of those who are falling in love; the word "comedy" is derived from the Classical Greek κωμῳδία, a compound either of κῶμος or κώμη and ᾠδή: it is possible that κῶμος itself is derived from κώμη, meant a village revel.
The adjective "comic", which means that which relates to comedy is, in modern usage confined to the sense of "laughter-provoking". The word came into modern usage through the Latin comoedia and Italian commedia and has, over time, passed through various shades of meaning. In ancient Greece, comedy seems to have originated in songs or recitations apropos of fertility festivals or gatherings, or in making fun at other people or stereotypes. In the Poetics, Aristotle states that comedy originated in phallic festivals of mirth, it is an imitation of'the ridiculous, a species of the ugly.' However, Aristotle taught. It brings forth happiness, which for Aristotle is the final goal in any activity, he does believe that we humans feel pleasure oftentimes by doing the wrong thing, but he does not believe that comedy and humor is the wrong thing. It is not true for Aristotle that a comedy must involve sexual humor to qualify as a comedy. A comedy is about the fortunate arise of a sympathetic character. A happy ending is all, required in his opinion.
On the contrary, the Greek Philosopher Plato taught. He believed it produces an emotion that overrides rational learning. In The Republic, he says that the Guardians of the state should avoid laughter, "for ordinarily when one abandons himself to violent laughter, his condition provokes a violent reaction." Plato says comedy should be controlled if one wants to achieve the ideal state. Northrop Frye described the comic genre as a drama that pits two societies against each other in an amusing agon or conflict, he depicted these two opposing sides as a "Society of Youth" and a "Society of the Old", The Anatomy of Criticism. 1957, but this dichotomy is described as an satisfactory explanation. A view characterizes the essential agon of comedy as a struggle between a powerless youth and the societal conventions that pose obstacles to his hopes. Ancient Greek comedy, as practiced by Aristophanes and Menander Ancient Roman comedy, as practiced by Plautus and Terence Ancient Indian comedy, as practiced in Sanskrit drama Burlesque, from Music hall and Vaudeville to Performance art Citizen comedy, as practiced by Thomas Dekker, Thomas Middleton and Ben Jonson Clowns such as Richard Tarlton, William Kempe and Robert Armin Comedy of humours, as practiced by Ben Jonson and George Chapman Comedy of intrigue, as practiced by Niccolò Machiavelli and Prince Manuel Comedy of manners, as practiced by Molière, William Wycherley and William Congreve Comedy of menace, as practiced by David Campton and Harold Pinter comédie larmoyante or'tearful comedy', as practiced by Pierre-Claude Nivelle de La Chaussée and Louis-Sébastien Mercier Commedia dell'arte, as practiced in the twentieth century by Dario Fo, Vsevolod Meyerhold and Jacques Copeau Farce, from Georges Feydeau to Joe Orton and Alan Ayckbourn Jester Laughing comedy, as practiced by Oliver Goldsmith and Richard Brinsley Sheridan Restoration comedy, as practiced by George Etherege, Aphra Behn and John Vanbrugh Sentimental comedy, as practiced by Colley Cibber and Richard Steele Shakespearean comedy, as practiced by William Shakespeare Dadaist