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Measure for Measure

Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. Published in the First Folio of 1623, where it was listed as a comedy, the play's first recorded performance occurred in 1604; the play's main themes include justice, "morality and mercy in Vienna", the dichotomy between corruption and purity: "some rise by sin, some by virtue fall". Mercy and virtue prevail, as the play does not end tragically, with virtues such as compassion and forgiveness being exercised at the end of the production. While the play focuses on justice overall, the final scene illustrates that Shakespeare intended for moral justice to temper strict civil justice: a number of the characters receive understanding and leniency, instead of the harsh punishment to which they, according to the law, could have been sentenced. Measure for Measure is called one of Shakespeare's problem plays, it continues to be classified as a comedy, albeit a dark one, though its tone may defy those expectations.

Vincentio, the Duke of Vienna, makes it known that he intends to leave the city on a diplomatic mission. He leaves the government in the hands of Angelo. In the next scene, we find a group of soldiers on a Vienna street, expressing their hopes, in irreverent banter, that a war with Hungary is afoot, that they will be able to take part. Mistress Overdone, the operator of a brothel frequented by these same soldiers and tells them "there's one yonder arrested and carried to prison was worth five thousand of you all", she tells them that it is "Signor Claudio", that "within these three days his head to be chopped off" as punishment for "getting Madam Julietta with child". Lucio, one of the soldiers, revealed to be Claudio's friend, is astonished at this news and rushes off. Comes Pompey Bum, who works for Mistress Overdone as a pimp, but disguises his profession by describing himself as a mere'tapster', avers to the imprisonment of Claudio and outrageously explains his crime as "Groping for trouts in a peculiar river".

He informs Mistress Overdone of Angelo's new proclamation, that "All houses in the suburbs of Vienna must be plucked down". The brothels in the city "shall stand for seed: they had gone down too, but that a wise burgher put in for them". Mistress Overdone is distraught. "What shall become of me?" she asks. Pompey replies with a characteristic mixture of bawdy humor and folk-wisdom, "fear you not: good counselors lack no clients: though you change your place, you need not change your trade... Courage! There will be pity taken on you: you that have worn your eyes out in the service, you will be considered". Claudio is led past Pompey and Overdone on his way to prison, explains what has happened to him. Claudio married Juliet, but, as they have not completed all the strict legal technicalities, they were still considered to be unmarried when Juliet became pregnant. Angelo, as the interim ruler of the city, decides to enforce a law that fornication is punishable by death, so Claudio is sentenced to be executed.

Claudio's friend, visits Claudio's sister, Isabella, a novice nun, asks her to intercede with Angelo on Claudio's behalf. Isabella obtains an audience with Angelo, pleads for mercy for Claudio. Over the course of two scenes between Angelo and Isabella, it becomes clear that he lusts after her, he offers her a deal: Angelo will spare Claudio's life if Isabella yields him her virginity. Isabella refuses, but when she threatens to publicly expose his lechery, he tells her that no one will believe her because his reputation is too austere, she visits her brother in prison and counsels him to prepare himself for death. Claudio begs Isabella to save his life, but Isabella refuses, she believes that it would be wrong for her to sacrifice her own immortal soul to save Claudio's transient earthly life. The Duke has not in fact left the city, but remains there disguised as a friar in order to secretly view the city's affairs the effects of Angelo's strict enforcement of the law. In his guise as a friar, he befriends Isabella and arranges two tricks to thwart Angelo's evil intentions: First, a "bed trick" is arranged.

Angelo has refused to fulfill the betrothal binding him to Mariana, because her dowry had been lost at sea. Isabella sends word to Angelo that she has decided to submit to him, but making it a condition of their meeting that it occur in perfect darkness and in silence. Mariana agrees to take Isabella's place, she has sex with Angelo, although he continues to believe he has enjoyed Isabella. After having sex with Mariana, Angelo goes back on his word, sending a message to the prison that he wishes to see Claudio's head, necessitating the "head trick"; the Duke first attempts to arrange the execution of another prisoner whose head can be sent instead of Claudio's. However, the villain Barnardine refuses to be executed in his drunken state; as luck would have it, a pirate named Ragozine, of similar appearance to Claudio, has died of a fever, so his head is sent to Angelo instead. This main plot concludes with the'return' to Vienna of the Duke as himself. Isabella and Mariana publicly petition him, he hears their claims against Angelo, which Angelo smoothly denies.

As the scene develops, it appears that Friar Lodowick will be blamed for the'false' accusations leveled against Ange

Medea (Benda)

Medea is a melodrama in one act with five scenes by Czech composer Jiří Antonín Benda with a German libretto by Friedrich Wilhelm Gotter. The work was first performed in Leipzig at the Theater am Rannstädtertor on 1 May 1775. Medea is considered to be one of Benda's best works and the composition had a significant impact on other composers of the late 18th century by popularizing the emerging genre of melodrama. Among those inspired by the work are Carl Philipp Emanuel Bach and Wolfgang Amadeus Mozart. Mozart in a letter to his father dated November 12, 1778 wrote, "The piece was Benda's Medea, he has composed another one, Ariadne auf Naxos, both are excellent. You know that of all the Lutheran Kapellmeisters Benda has always been my favorite, I like those two works of his so much that I carry them about with me." Although Mozart never wrote a full melodrama, he did create a miniature melodrama within his unfinished operetta, reminiscent of the style of Benda's Medea. Mozart’s imagination was much fired by Benda’s new vehicle for dramatic expression, in 1778 he wrote to his father with the greatest enthusiasm about a project for composing a duodrama on the model of Benda’s Ariadne auf Naxos and Medea, both of which he considered excellent.

Medea with conductor Christian Benda and the Prague Chamber Orchestra. Cast includes: Brigitte Quadlbauer, Hertha Schell, Peter Uray. Released on the Naxos label in 1996. Synopsis in German

Columbia Road–Devon Street Historic District

The Columbia Road–Devon Street Historic District encompasses a collection of brick residential apartment houses on Columbia Road in the Dorchester neighborhood of Boston, Massachusetts. Arrayed on the southeast side of the road near its junction with Devon Street are seven multistory buildings, constructed in the first two decades of the 20th century, when the area was developed as a streetcar suburb. An eighth building from the same period is located on the northwest side at the junction with Stanwood Street; these apartment blocks are typical of the speculative housing built at the time, with most of them built out of red brick laid in Flemish bond, with cast stone trim. The district was listed on the National Register of Historic Places in 2017. National Register of Historic Places listings in southern Boston, Massachusetts

Bhupen Khakhar

Bhupen Khakhar Bhupen Khakhar was a leading artist in Indian contemporary art. He gained international recognition for his work. Khakhar was a self-trained artist, started his career as a painter late in his life, his works were figurative in nature, concerned with its identity. An gay artist, the problem of gender definitions and gender identity were major themes of his work, his paintings contained references to Indian mythology and mythological themes. Bhupen Khakhar was born in Bombay and spent his boyhood in the area called Khetwadi with his parents and three siblings, he was the youngest of four children, his father, was an engineer and was an external examiner at VJTI matunga, Mumbai. Parmanand drank and died when Bhupen was only four years old, his mother Mahalaxmi was a housewife, she soon invested all of her hopes in her youngest child. The Khakhars were artisans who came from the Portuguese colony of Diu. At home they spoke Gujarati and Hindi, but not much English. Bhupen was the first of his family to attend the University of Bombay, where he took a B.

A. with Economics and Political Sciences as his special subjects. At his family's insistence he went on to take a Bachelor of Commerce and qualified as a Chartered Accountant. Khakhar worked as an accountant for many years partnering with Bharat Parikh & Associates in Baroda Gujarat India. Pursuing his artistic inclinations in his free time, he became well versed in Hindi mythology and literature, well informed about the visual arts. In 1958, Khakhar met the young Gujarati poet and painter Ghulam Mohammed Sheikh, who encouraged Khakhar's latent interest in art and encouraged him to come to the newly founded Faculty of Fine Arts in Baroda. Khakhar's oil paintings were narrative and autobiographical, his first exhibited works presented deities cut from popular prints, glued onto mirrors, supplemented by graffiti and gestural marks. He began to mount solo exhibitions as early as 1965. Though the artist had been self-taught, his work soon garnered attention and critical praise. By the 1980s Khakhar was enjoying solo shows in places as far away as London, Berlin and Tokyo.

The artist's work celebrated. Khakhar's early paintings depicted average people, such as the barber, the watch repairman, an assistant accountant with whom he worked; the painter took special care to reproduce the environments of small Indian shops in these paintings, revealed a talent for seeing the intriguing within the mundane. His work has been compared to that of David Hockney, he was a long standing personal friend of Howard Hodgkin who came to stay with him after meeting in 1975. Though he was influenced by the British Pop movement, Khakhar understood that western versions of Pop Art would not have the same resonance in India. Khakhar's openly homosexual themes attracted special notice. Homosexuality was something that at the time was addressed in India; the artist explored his own homosexuality in personal ways, touching upon both its cultural implications and its amorous and erotic manifestations. Khakhar painted homosexual love and encounters from a distinctively Indian perspective. In the 1990s Khakhar began experimenting more with watercolours and grew confident in both expression and technique.

He found. Khakhar returned the favour by making a portrait of the author that he called The Moor, and, now housed within the National Portrait Gallery, London. In You Can't Please All a life-size naked figure, a self-portrait, watches from a balcony, as father and donkey enact an ancient fable, winding through the townscape in continuous narration. In the year 2000, Khakhar was honoured with the Prince Claus Award at the Royal Palace of Amsterdam. Among other honours, he won the Asian Council's Starr Foundation Fellowship, 1986, the prestigious Padma Shri in 1984, his works can be found in the collections of the British Museum, The Tate Gallery, The Museum of Modern Art, New York, among others. Bhupen Khakhar, Timothy Hyman, Chemould Publications and Mapin Publishing, 1998, ISBN 81-85822-55-7 Bhupen Khakhar, A Retrospective, Timothy Hyman, The National Gallery of Modern Art and the Fine Art Resource, 2003 Desai, Mahendra. A Man Labelled Bhupen Khakhar Branded As Painter. Bombay: Identity People.

OCLC 19123585. M. F. Hussain Ghulam Mohammed Sheikh Vivan Sundaram "Bhupen Khakhar Profile,Interview and Artworks" Contemporary Indian Art International Artists' Database Prince Klaus Fund

Ariton, Alabama

Ariton is a town in Dale County, United States. At the 2010 census the population was 764, it was incorporated in April 1906. The name is a blend of its two predecessor town names: Charlton. Ariton is part of the Ozark Micropolitan Statistical Area. Ariton is located in northwestern Dale County at 31°35′54″N 85°43′8″W. Alabama State Routes 123 pass through the center of town as Main Street. AL 51 leads northeast 11 miles to Clio and southwest 3.5 miles to U. S. Route 231, while AL 123 leads west 3.5 miles to US 231 and southeast 12 miles to Ozark, the Dale County seat. According to the U. S. Census Bureau, the town has a total area of all land. Ariton first appeared on the 1910 U. S. Census as an incorporated town; as of the census of 2000, there were 772 people, 306 households, 220 families residing in the town. The population density was 152.3 people per square mile. There were 335 housing units at an average density of 66.1 per square mile. The racial makeup of the town was 69.30% White, 29.27% Black or African American, 0.13% Native American, 1.30% from two or more races.

0.78% of the population were Hispanic or Latino of any race. There were 306 households out of which 39.2% had children under the age of 18 living with them, 47.1% were married couples living together, 20.6% had a female householder with no husband present, 27.8% were non-families. 26.5% of all households were made up of individuals and 15.7% had someone living alone, 65 years of age or older. The average household size was 2.52 and the average family size was 3.02. In the town, the population was spread out with 28.5% under the age of 18, 8.4% from 18 to 24, 27.7% from 25 to 44, 18.4% from 45 to 64, 17.0% who were 65 years of age or older. The median age was 36 years. For every 100 females, there were 84.2 males. For every 100 females age 18 and over, there were 72.0 males. The median income for a household in the town was $21,083, the median income for a family was $25,781. Males had a median income of $27,250 versus $17,639 for females; the per capita income for the town was $11,502. About 25.1% of families and 25.9% 55 of the population were below the poverty line, including 34.5% of those under age 18 and 22.2% of those age 65 or over.

Ariton Census Division was created in 1960 after the merger/reorganization of county precincts into census divisions. In 1980, it was consolidated into the Ozark Census Division; the climate in this area is characterized by hot, humid summers and mild to cool winters. According to the Köppen Climate Classification system, Ariton has a humid subtropical climate, abbreviated "Cfa" on climate maps. Eunice Hutto Morelock, pioneer faculty member at Bob Jones College and the first female chief academic officer of a coeducational college in the United States Willie Mae "Big Mama" Thornton, American rhythm and blues singer and songwriter

The Jungle Book (video game)

Disney's The Jungle Book is a series of platform video games based on the 1967 Disney animated film of the same name. The game was released by Virgin Interactive Entertainment in 1994 for the Game Boy, NES, Master System, Sega Genesis/Mega Drive, Sega Game Gear, Super NES, PC, a remake for the Game Boy Advance was released in 2003 to celebrate the film's sequel, The Jungle Book 2. While gameplay is the same on all versions, technological differences between the systems forced changes – in some case drastic – in level design, resulting in six different versions of the'same' game; this article is based upon the Genesis version. The player controls Mowgli, a young boy, raised by wolves. Mowgli must leave his home in the jungle and go back to the human village because Shere Khan, a tiger, is now hunting him. Mowgli must fight jungle wildlife and Shere Khan himself to reach his village. During the journey he meets Bagheera, King Louie, the hypnotist snake Kaa as well as the evil Shere Khan; the player controls a young Mowgli through various side-scrolling levels in a similar mold of Pitfall!.

The Mowgli character must shoot or avoid enemies and negotiate platformed levels and enemies by running, climbing vines and using the various weapons and powerups available during the game. Mowgli starts the game with a banana projectile, but may collect invincibility masks, double banana shots, boomerang bananas during the game. Levels are completed by collecting a sufficient number of gems finding a specific character placed in the level, with a boss character being encountered every other level; the player scores points by obtaining gems along with having fruits and other items that contribute to the player’s in-game score. Stages are divided into chapters which, comprise the plot; each chapter opens with a description of the objective of the stage. The player has six minutes. Depending on difficulty, the number of gems the player must collect to progress is either eight, ten, or twelve, of a total of fifteen gems spread throughout the level; the game was remade for Game Boy Advance in 2003 by Ubisoft.

It follows the plot of the 1967 movie. It is puzzle-based, rather than a platform game, it was used to promote the film's sequel, The Jungle Book 2. Development of the Genesis/Mega Drive version started in 1993 at Virgin Games USA and with programming duties taken by David Perry, but the game, intended to be released within that year along with the Master System version, wasn't finished at time because of David Perry and most of the team moving away to form Shiny Entertainment; the Genesis version was subsequently finished by Eurocom in 1994, keeping in the game most of the substantial work done by Virgin Games USA. The levels were designed and put together using the application "The Universal Map Editor"; the soundtrack features tunes from the Disney cartoon that it is based on, including "The Bare Necessities", "I Wan'na Be Like You", "Colonel Hathi's March". The game's original music was written by Mark Miller, Tommy Tallarico, Donald Griffin. GamePro gave the Super NES version a mixed review.

They remarked that "Mowgli's adventures are pretty repetitious, centering around his ability to swing on vines." They criticized the limited use of Baloo, who they felt to be the film's best character. However, they asserted that animation make the game worth playing. Electronic Gaming Monthly praised the graphics and animation, were complimentary of the controls and huge levels, they scored it a 7.8 out of 10. The NES version received mixed reviews. GamePro criticized the "meandering game play, which plods along at a pace much slower than the rollicking movie", but assessed the animations and variety of moves to be impressive by NES standards; the four reviewers of Electronic Gaming Monthly felt the game "contains some of the best animation seen on the NES", but criticized the overt precision required in jumping over pits. They gave the game a 6.75 out of 10. GamePro rated the Genesis version as superior to the SNES and NES versions due to its faster and more varied gameplay and brighter graphics, though they criticized the lack of continues and sometimes imprecise controls.

Electronic Gaming Monthly gave the Genesis version a 7 out of 10, citing "fantastic" animation, sharp controls, huge levels. They gave the Game Gear version a 6.2 out of 10, commenting that it "holds up pretty well here, although the control needs some fine-tuning." In contrast, GamePro argued that the Game Gear version has the sharpest controls of any version of the game. They remarked that the gameplay is simplified like the NES version, but concluded, "Aided by unlimited continues, younger gamers in particular will enjoy Mowgli's charming antics."The Jungle Book was named the Best Mega Drive/Genesis Movie to Game Translation of the Year in GameFan's 1994 "Megawards". Mega placed the game at number 21 in their Top Mega Drive Games of All Time. List of Disney video games The Jungle Book at MobyGames Disney's Jungle Book at Eurocom