Prince Lev Nikolayevich Myshkin is the protagonist of Fyodor Dostoevsky's novel The Idiot. Dostoevsky wanted to create a character, "entirely positive... with an beautiful nature", someone, truly'Christian'. According to Joseph Frank, the character of Prince Myshkin approaches "the extremest incarnation of the Christian ideal of love that humanity can reach in its present form, but he is torn apart by the conflict between the contradictory imperatives of his apocalyptic aspirations and his earthly limitations."Prince Myshkin has been in Switzerland for the last four years, at a sanatorium for treatment of his epilepsy. At age 26, having recovered his health, in possession of a legal document suggesting entitlement to a significant inheritance, he returns to Russia. In St. Petersburg, his purity and guilelessness lead many to the false conclusion that he is an "idiot". In fact, he possesses an incisive intellect, deep emotional intelligence, a wisdom that surpasses all the other characters in the novel.
As a polyphonic novel each character in The Idiot has a unique voice and perspective in relation to the action and the other actors. As such every scene is a dramatic convergence of multiple independent voices and perspectives rather than being a monological recounting of the event by a narrator. Dostoevsky makes Prince Myshkin a character whose voice is capable of "actively and confidently interfering in the interior dialogue of the other person." He is thus significant not to the plot, but to the consciousness of the individual characters. His insight, sincerity, disinclination to judge and lack of normal social egoism awaken a responsive consciousness in most of the people with whom he engages, serve to disrupt the habitual flow of their self-centred thoughts and actions. —Nastásya Filíppovna Baráshkova It is in the character of Nastasya Filippovna that the capacity of the Prince to affect an other's interior dialogue is most marked. Viewed by both society and herself as a'fallen woman' because of years of sexual exploitation by Totsky, Nastasya Filippovna embraces the sharp-tongued, destructive persona of a cynical courtesan.
Myshkin understands that this persona grows out of an internalisation of the abuse she suffered and the unjust moral condemnation consequent upon it, from their first meeting lets her know that it is not who she is, that she is guilty of nothing. In the scene at the Ivolgins' apartment, Nastasya Filippovna mocks Ganya's family and intentionally provokes a scandalous scene, but "Myshkin's voice, intersecting with her internal dialogue in another direction, forces her to abruptly change that tone", she acknowledges the truth of Myshkin's reproach. In the subsequent scandal scene at Nastasya Filippovna's apartment, Myshkin again directly addresses her true, innocent self, prompting her once more to abandon the self-destructive course of the'fallen woman'. Although it is only temporary, Nastasya Filippovna persistently reasserts the negative voice of her guilt in her words and actions, Myshkin remains in her consciousness as the voice of her innocence. Near the end of the novel, when Aglaya Ivanovna has become Nastasya Filippovna's accuser, Myshkin again defends her, telling Aglaya that the accusations are unjust.
According to the narrator, Nastasya Filippovna "—though she sometimes behaved with such cynicism and impudence—was far more modest and trustful than might have been believed... Myshkin understood this." —Parfyón Semyónovich Rogózhin After meeting Myshkin on the train to Petersburg in the opening scene of the book, Rogozhin labels him a yurodivy. In the Eastern Orthodox tradition the yurodivy was a respected figure. According to Frank, "though the gentlemanly and educated Prince bears no external resemblance to these eccentric figures, he does possess their traditional gift of spiritual insight." Rogozhin, sensing the Prince's unique qualities makes him his confidant and tells him the story of his obsession with Nastasya Filippovna. In the novel when, out of jealousy, Rogozhin has developed a hatred for him, Myshkin continues to treat Rogozhin as his friend and brother and, as with Nastasya Filippovna, is able to temporarily draw him out of his darkness and into a space of light and hope, but like Nastasya Filippovna, the negative voice of his obsession always reasserts itself in Myshkin's absence, provokes him to violence.
Aglaya Ivanovna's noble and passionate nature leads her to idealise the Prince, turning him into a Don Quixote-like figure in relation to his attempts to'save' Nastasya Filippovna. Although the Prince is fascinated by Aglaya and falls in love with her, at no time is he influenced by this idealisation or by any of her other misguided opinions. Aglaya's illusions and the Prince's real motivations are juxtaposed in a number of scenes or consecutive scenes. For example, in a scene from Part II Aglaya reads aloud Pushkin's poem "The Poor Knight", unambiguously indicating to the assembled company that she is identifying the Prince with the poem's subject, a noble Knight who goes off to fight heroically in the Crusades; when this scene is interrupted by the arrival of the group of Nihilists who are seeking to slander the Prince and exploit his wealth, Aglaya is ecstatic that he will have the opportunity to "defend himself triumphantly". Instead the Prince humbly tries to make peace with the young
Sweet Freedom is a compilation album by American singer and songwriter Michael McDonald, released in 1986 on the Warner Bros. label. The album includes singles and album tracks from McDonald's first two solo albums, If That's What It Takes and No Lookin' Back, along with duets with James Ingram, Patti LaBelle and one song from when McDonald was lead singer of the rock band The Doobie Brothers; the album's title track, "Sweet Freedom", was a newly recorded song and featured on the soundtrack to the 1986 film Running Scared. The album reached No. 6 in the UK Albums Chart and is McDonald's most successful album in that country. "Sweet Freedom" – 4:04 " Angel" – 3:48 "Yah Mo B There" – with James Ingram – 4:29 "I Gotta Try" – 3:49 "I Keep Forgettin’" – 3:39 "Our Love" – 4:18 "On My Own" – with Patti LaBelle - 4:39 "No Looking Back" – 3:54 "Any Foolish Thing" – 4:22 "That’s Why" – 4:22 "What a Fool Believes" – with The Doobie Brothers – 3:40 "I Can Let Go Now" – 2:53 Track 1 produced by Rod Temperton, Dick Rudolph and Bruce Swedien Tracks 2, 6, 8 & 9 produced by Michael McDonald and Ted Templeman.
The Mesa Arts Center is a performing and visual arts complex in downtown Mesa, Arizona. At more than 210,000 square feet square feet, the $95 million facility, completed in 2005, is the largest comprehensive arts campus in the state; the Mesa Arts Center encompasses four performance venues, from the intimate 99-seat Farnsworth Studio Theater to the 1,600-seat Ikeda Theater. The center is home to the Mesa Contemporary Arts, which houses five art galleries with 5,500 sq ft of exhibition space; the facility features 14 unique visual and performing art classroom studios. Multi-use areas throughout the campus provide both indoor and outdoor gathering and presentation spaces; the architecture of the entire complex is post-modern, with sharp, jagged angles, canted walls, sloping roofs, glass walls, a reflection of the local vernacular in both colors and materials. The introverted campus is inspired by a geode, guides pedestrians from the outer concrete walls to a central space of glass and color; the complex was designed by Boora Architects of Portland, Oregon in associations with DWL Architects + Planners, Inc. of Phoenix, Arizona.
Martha Schwartz Inc. served as landscape architect for the project. American Society of Landscape Architects: 2007 Professional General Design Honor Award; the movement to construct the Mesa Arts Center was championed by Wayne Brown, who served as the Mayor of Mesa from 1996 to 2000. Under Brown, the city passed a quality-of-life bond issue in 1998 to help pay for the center. Though he left office in 2000, Brown and his wife, continued a private fundraising campaign for the arts center; the couple raised more than $4.5 million from the private sector beginning in 2000. The Mesa Arts Center's sculpture courtyard is named for Wayne Brown. Media related to Mesa Arts Center at Wikimedia Commons Mesa Arts Center website Mesa Arts Center project a Boora Architects website
Hiram na Anak is a 2019 Philippine television drama family series broadcast by GMA Network. Directed by Gil Tejada Jr. it stars Yasmien Kurdi, Dion Ignacio and Leanne Bautista in the title role. It premiered on February 2019 on the network's noontime line up replacing Don't Dare to Dream; the series concluded on May 2019, with a total of 48 episodes. Lead castYasmien Kurdi as Miren Alonta-Sandejo Dion Ignacio as Adrian Sandejo Leanne Bautista as Bernadette "Duday" A. SandejoSupporting castPaolo Contis as Benjo Alvarez Lauren Young as Odessa "Dessa" Saint-Alvarez Empress Schuck as Rowena "Wena" Barrion-Alvarez Vaness del Moral as Alma Alonta Sef Cadayona as Vince Urbanez Maey Bautista as Engke Magpugay Rita Avila as Hilda SandejoGuest castKim Belles as Janice Marnie Lapus as Maggie Tony Mabesa as Pedro Tonio Quiazon as Renato Kiel Rodriguez as Alex Lao Rodriguez as Pabs Brylle Mondejar as Martinez John Philip Koch as Rigor According to AGB Nielsen Philippines' Nationwide Urban Television Audience Measurement People in television homes, the pilot episode of Hiram na Anak earned a 5.4% rating.
Official website Hiram na Anak on IMDb
The Municipal Conservatory of Barcelona is a teaching institution, devoted to music education. The present ownership belongs to the Barcelona City Hall; the beginnings took place in 1886. Other cities that had a band had made the same thing; the first director was ca:Josep Rodoreda, until in 1896 Antoni Nicolau replaced him. In 1911 the position of assistant director was created; the first assistant director was Enric Morera until 1935. In 1930, when a new director was needed for the band, Lluís Millet was elected, he was more conservative and he was preferred by the Barcelona City Hall. His election for this position created some polemics. In the meantime, in 1928 the conservatory building was placed in the corner between Bruc and València streets. Millet left the position in the year; the next year, ca:Joan Baptista Lambert replaced him until 1945. During this time, the institution was transformed from a music school into a conservatory. In 1945 a new studies plan was introduced, based on the 1942 decree that unified the studies in all the conservatories of Spain.
When Lambert died Joaquim Zamacois was the new director until 1965. During this period, contacts with other European conservatories were made, important musicians from all Europe were invited, a new department for ancient music was created, it was created the Barcelona Music Museum. In 1952 Joan Pich i Santasusana was appointed assistant director, first provisionally until 1968 and appointed until 1977. According to the arrival of democracy to Spain, important efforts were made in order to update this institution, to decentralize it, since it was during that time the only public educational music institution of the city. Moreover, during Pich's term of office a new studies plan was introduced, according to a 1966 decree; this studies plan ruled the professional music education for four decades. So that the students could perform concerts during their formation, the construction of an auditorium was envisaged, but Xavier Turull inaugurated it. During this period, the students orchestra had a certain stability, the Music Museum was moved to the Quadras house, the first steps in order to create the Library of the Conservatory were made.
He resigned in 1982 due to disagreements with the City Hall, first Maria Cateura and afterwards ca:Marçal Gols succeeded him. He made important reforms, decentralizing the institution, limiting the registration in certain instruments, reducing the teachers in certain specialities, promoting the registration in string instruments, but not everyone in the institution understood these reforms, he resigned. He was replaced by Pilar Figueras and Francesca Ruiz and Carme Vilà. In 2001, when the Education Department of the Generalitat de Catalunya opened the Superior School of Music of Catalonia, the Municipal Superior Conservatory of Music of Barcelona did not teach superior music studies any more, thus it changed its name. At the same time, many teachers began to teach in the new institution. Since the Conservatory has adapted its task to the new situation, inside the Municipal Institute of Education of Barcelona. In this context, many municipal schools of music have been created as well. Conxita Badia i Millàs ca:Antoni Besses i Bonet Miquel Farré i Mallofré ca:Francesc Xavier Joaquín Planes Joan Massià i Prats ca:Manuel Oltra i Ferrer Eduard Toldrà i Soler ca:Montserrat Torrent i Serra Joan Dotras i Vila Gran Enciclopèdia de la Música.
Barcelona: Gran Enciclopèdia Catalana. Vol. 2. AVIÑOA, Xosé: Cent anys de Conservatori. Barcelona: Ajuntament de Barcelona. Conservatory website
Montgomeryshire known as Maldwyn is one of thirteen historic counties and a former administrative county of Wales. It is named after its county town, which in turn is named after one of William the Conqueror's main counsellors, Roger de Montgomerie, the 1st Earl of Shrewsbury. Montgomeryshire today constitutes the northern part of the principal area of Powys; the population of Montgomeryshire was 63,779 according to the 2011 census, with a low population density of 29 people per square km. The current area is 2,174 square km; the largest town is Newtown, followed by Llanidloes. The Treaty of Montgomery was signed on 29 September 1267, in the town of Montgomery, established as an English incursion on the Welsh side of the border, to control a strategic border crossing; the surrounding region otherwise comprised the mediaeval principality of Powys Wenwynwyn, the southern of the two states into which the Kingdom of Powys had been divided a century before. Attacks by Gwynedd on Powys Wenwynwyn led the latter to seek the assistance of the English.
This led them to convert their territory into a marcher lordship, via surrender and regrant, as a way to strengthen their position. The prince took an English-style surname - Owen de-la Pole - after Pool. With the introduction of the Laws in Wales Acts 1535–1542 the marcher lordships were converted into English counties; the Lordship of Powys - the former Powys Wenwynwyn - became Montgomeryshire. Montgomeryshire was thus formed from the cantrefi of Powys Wenwynwyn: Y Fyrnwy Llyswynaf Ystlyg Cedewain Arwystli In addition, for practical reasons, Montgomeryshire gained the commote of Ceri, which had formed a northwards spur of the less organised Region Between the Wye and Severn. Montgomeryshire was bordered, to the north, by Denbighshire, to the east and south east by Shropshire, to the south by Radnorshire, to the south west by Cardiganshire, to the west and north west by Merionethshire. When, in subsequent centuries, the concept of Wales was once again distinguished from England, all of these counties were deemed Welsh, except for Shropshire.
Montgomeryshire was the birthplace of Welsh Catholic martyr Saint Richard Gwyn. From 1889 to 1974 the county became an administrative county with a county council. Montgomery, the traditional county town, held the assizes and became the meeting place of the new County Council. However, the administration continued to be based at Welshpool, which prior to the reforms had been regarded as the county town. Local government reforms in 1974 combined the administrative areas of Montgomeryshire and Breconshire together to form a new administrative Powys county. Montgomeryshire became a district of Powys, with its administrative headquarters in Newtown. Further local government reform in 1996 abolished district councils in Wales, making Powys a unitary authority; the Montgomeryshire area continued to have an administrative/political function as one of the three committee areas used by Powys Council to denote Powys's three historic counties, but these were abolished in 2018. In September 2019, The Brexit Party announced they would hold a referendum on restoring a County Council for Montgomeryshire, were they to enter Government in the Welsh Assembly.
This would result in Montgomeryshire leaving Powys, Powys being re-named Brecon and Radnor Council. The few communities that were added to northern Powys in 1996 now form part of the modern-day Montgomeryshire area. Montgomeryshire is a Welsh Assembly constituency; the shire is wholly mountainous, although there are some fertile valleys in the east. The highest point is Cadair Berwyn at 832 metres, its main rivers are the River Dyfi. Lake Vyrnwy is a reservoir supplying Liverpool; the main towns are Machynlleth, Montgomery and Welshpool. The main industries are agriculture and tourism, though there is some forestry and light manufacturing; the population density is highest near the border along the Severn valley. The county is linked to Shropshire, with many essential services for Montgomeryshire residents being located in the more densely populated town of Shrewsbury, such as acute health services at the Royal Shrewsbury Hospital; the county flower of Montgomeryshire is Spergula arvensis. The shire forms a vice-county for wildlife recording.
Montgomeryshire is crossed from East to West by the Cambrian Line, a mainline passenger railway which runs between Shrewsbury and Aberystwyth as well as Pwllheli with stations at Welshpool, Newtown and Machynlleth. As of 2018 services are provided by Transport for Wales; the Welshpool and Llanfair Light Railway links Welshpool to Llanfair Caereinion. B