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Dancer in the Dark

Dancer In The Dark is a 2000 musical psychological tragedy film written and directed by Lars von Trier. It stars Icelandic musician Björk as a factory worker who suffers from a degenerative eye condition and is saving for an operation to prevent her young son from suffering the same fate. Catherine Deneuve, David Morse, Cara Seymour, Peter Stormare, Siobhan Fallon Hogan and Joel Grey also star. The soundtrack for the film, Selmasongs, was written mainly by Björk, but a number of songs featured contributions from Mark Bell and some of the lyrics were written by von Trier and Sjón.

Dancer in the Dark is the third and final installment in von Trier's second trilogy "Golden Heart", following Breaking the Waves (1996) and The Idiots (1998). It was an international co-production among companies based in thirteen European and North American countries and regions. Like the first installment, it was shot with a handheld camera inspired by Dogme 95.

Dancer in the Dark premiered at the 2000 Cannes Film Festival and won the Palme d'Or, along with the Best Actress Award for Björk. The film received generally positive reviews, with Björk's performance being widely praised.

The song "I've Seen It All" performed and co-written by Björk, with Sjón and von Trier, was nominated for an Academy Award for Best Original Song, but lost to "Things Have Changed" by Bob Dylan from Wonder Boys.

Plot
In Washington state in 1964, Selma Ježková, a Czech immigrant, has moved to the United States with her 12-year-old son, Gene Ježek. They live a life of poverty as Selma works at a factory with her good friend Kathy, whom she nicknames Cvalda. She rents a trailer home on the property of local police officer Bill Houston and his wife, Linda. She is romantically pursued by the shy but persistent Jeff, who also works at the factory.

Selma is gradually losing her vision due to a degenerative eye condition, but still is saving money to pay for an operation that will prevent Gene from sharing her fate. She also takes part in rehearsals for a production of The Sound of Music and accompanies Kathy to the local cinema, where together they watch Hollywood musicals, as Kathy describes them to her.

In her day-to-day life, Selma slips into daydreams, imagining herself in a musical ("Cvalda"). Jeff and Kathy begin to realize that Selma's vision is worse than they thought, and that she has been memorizing eye charts in order to pass vision tests and keep her job. Bill reveals to Selma that Linda's excessive spending has put the couple's house in danger of foreclosure by their bank. He has contemplated suicide but cannot bring himself to carry out the act. Selma promises to keep his secret and confides in him about her advancing vision loss. Bill quietly stays without knowing that Selma still sees him and watches her hide her money in a tin.

The next day, Selma's boss Norman believes that her eye condition has deteriorated; he accepts her resignation and pays her final wages, but promises to re-hire her once her sight has improved. However, Kathy accuses him of firing her. Not willing to get her job back, Jeff tries to escort her home by car, but she goes home by train ("I've Seen It All"). Opening the tin to add her money it it, Selma finds it empty. Realizing that Bill has robbed her, she goes to his house to confront him. Linda accuses Selma of trying to seduce her husband, explaining that Bill told her Selma wanted him for his money. Not wanting to reveal her knowledge of the impending foreclosure, Selma ignores Linda and confronts Bill about the theft. They fight over the money, with Bill drawing a gun only to be accidentally shot by Selma.

Bill yells for Linda to call the police, saying that Selma has tried to rob him, then begs Selma to kill him, telling her it is the only way she will ever reclaim her stolen money. Selma shoots Bill several times, but only wounds him further due to her poor vision, and finally beats him to death with a safe deposit box once the gun runs out of ammunition. She slips into a trance and imagines that Bill's corpse stands up and slow dances with her ("Smith & Wesson"). Taking her money back, she flees the house and pays for Gene's operation in advance.

Not knowing about the murder, Jeff takes Selma to rehearsal, where her director calls the police to have her arrested ("In the Musicals, Part 1"). In court, she is accused of being a Communist sympathizer and of pretending to be blind to exploit the American healthcare system. Although she tells as much truth about the situation as she can, she refuses to reveal Bill's secret, saying that she had promised not to. When her claim of sending all her money to her father in Czechoslovakia is proven false, she is convicted of murder and sentenced to death ("In the Musicals, Part 2"). Kathy and Jeff eventually figure out what happened and recover Selma's money, using it instead to pay for a trial lawyer who can free her. Selma refuses the lawyer, opting to face execution by hanging rather than let her son go blind, but she is deeply distraught as she awaits her death ("107 Steps"). As Selma reaches the gallows, she begins to panic and the guards strap her to a board. Kathy runs in with news that the operation has saved Gene's vision and gives his glasses to Selma. Relieved, Selma sings a final song on the gallows with no musical accompaniment, but is hanged before she can finish the last verse; the final lines are displayed as the proceedings conclude ("Next to Last Song").

Production
The film's title suggests the Fred Astaire/Cyd Charisse duet "Dancing in the Dark" from the 1953 film The Band Wagon, which ties in with the film's musical theatre theme.

Actress Björk, who is known primarily as a contemporary musician, had rarely acted before, and described the process of making this film as so emotionally taxing that she would not act in any film ever again (although she appeared in Matthew Barney's film installation Drawing Restraint 9 in 2005, and in Robert Eggers' The Northman). Trier and others have described her performance as feeling rather than acting. Björk has said that it is a misunderstanding that she was put off acting by this film; rather, she never wanted to act but made an exception for Lars von Trier.

The musical sequences were filmed simultaneously with over 100 digital cameras so that multiple angles of the performance could be captured and cut together later, thus shortening the filming schedule.

Björk lies down on a stack of birch logs during the "Scatterheart" sequence. In Icelandic and Swedish, björk means "birch".

A Danish MY class locomotive and one T43 (both owned by Swedish train operator TÅGAB) were painted in the American Great Northern scheme for the film, and not repainted afterward.

Style
Much of the film has a similar look to von Trier's earlier Dogme 95-influenced films: it is filmed on low-end, hand-held digital cameras to create a documentary-style appearance. It is not a true Dogme 95 film, however, because the Dogme rules stipulate that violence, non-diegetic music, and period pieces are not permitted. Trier differentiates the musical sequences from the rest of the film by using static cameras and by brightening the colours.

Music

 * Original music: Björk
 * Singers: Björk, Catherine Deneuve, Siobhan Fallon, David Morse, Cara Seymour, Edward Ross (for Vladica Kostic), Joel Grey, Peter Stormare (In the soundtrack Selmasongs, Thom Yorke sings instead of Stormare)
 * Lyrics: Björk, Lars von Trier and Sjón
 * Non-original music: Richard Rodgers (from The Sound of Music)
 * Non-original lyrics: Oscar Hammerstein II (from The Sound of Music)
 * Choreographer: Vincent Paterson

Controversy
In October 2017, Björk, in the wake of dozens of sexual abuse cases brought against film producer Harvey Weinstein, posted on her Facebook page that she had been sexually harassed by a "Danish film director she worked with". She commented: "It was extremely clear to me when I walked into the actresses profession that my humiliation and role as a lesser sexually harassed being was the norm and set in stone with the director and a staff of dozens who enabled it and encouraged it. I became aware of that it is a universal thing that a director can touch and harass his actresses at will and the institution of film allows it. When I turned the director down repeatedly he sulked and punished me and created for his team an impressive net of illusion where I was framed as the difficult one. ... and in my opinion he had a more fair and meaningful relationship with his actresses after my confrontation so there is hope. Let's hope this statement supports the actresses and actors all over. Let's stop this. There is a wave of change in the world." The Los Angeles Times found evidence identifying him as Lars von Trier. Von Trier has rejected Björk's allegation that he sexually harassed her during the making of the film Dancer in the Dark, and said "That was not the case. But that we were definitely not friends, that's a fact", to Danish daily Jyllands-Posten in its online edition. Peter Aalbæk Jensen, the producer of Dancer in the Dark, told Jyllands-Posten that "as far as I remember we [Lars von Trier and I] were the victims. That woman was stronger than both Lars von Trier and me and our company put together. She dictated everything and was about to close a movie of 100m kroner [$16m]". After von Trier's statement, Björk explained the details about this incident: In the spirit of #metoo I would like to lend women around the world a hand with a more detailed description of my experience with a Danish director. It feels extremely difficult to come out with something of this nature into the public, especially when immediately ridiculed by offenders. I fully sympathise with everyone who hesitates, even for years. But I feel it is the right time especially now when it could make a change. Here comes a list of the encounters that I think count as sexual harassment:

 * 1) After each take the director ran up to me and wrapped his arms around me for a long time in front of all crew or alone and stroked me sometimes for minutes against my wishes.
 * 2) When after 2 months of this i said he had to stop the touching, he exploded and broke a chair in front of everyone on set. Like someone who has always been allowed to fondle his actresses. Then we all got sent home.
 * 3) During the whole filming process there were constant awkward paralysing unwanted whispered sexual offers from him with graphic descriptions, sometimes with his wife standing next to us.
 * 4) While filming in Sweden, he threatened to climb from his room's balcony over to mine in the middle of the night with a clear sexual intention, while his wife was in the room next door. I escaped to my friends room. This was what finally woke me up to the severity of all this and made me stand my ground.
 * 5) Fabricated stories in the press about me being difficult by his producer. This matches beautifully the Weinstein methods and bullying. I have never eaten a shirt. Not sure that is even possible.
 * 6) I didn't comply or agree on being sexually harassed. That was then portrayed as me being difficult. If being difficult is standing up to being treated like that, i'll own it.

Hope

Let's break this curse.

Warmth

Björk Björk's manager, Derek Birkett, has also accused von Trier's actions in the past: "I have worked with Björk for over 30 years and have never made a single statement or interview regarding our work together. This time is different. I have read the lies written by Lars and his producer Peter about Björk – and feel compelled to speak out and put the record straight. Over the last 30 years, the Dancer in the Dark project is the one and only time she has fallen out with a collaborator. This was a result of the directors ongoing, disrespectful verbal and physical abuse which continued after both Björk and myself demanded that he stop behaving this way. Björk completed the film out of respect for the cast and everyone involved. I feel compelled to publicly speak out in fierce support of Björk in regards to her terrible experiences working with Lars Von Trier, and I back what she has said 110%."

The Guardian later found that Jensen's studio, Zentropa, with which von Trier frequently collaborated, had an endemic culture of sexual harassment. Jensen stepped down from CEO position of Zentropa as further harassment allegations came to light in 2017.

Critical response
At the review aggregator Rotten Tomatoes, Dancer in the Dark earned positive reviews from 70% of 122 critics, with an average rating of 6.8/10. The critics consensus on the website reads, "Dancer in Dark can be grim, dull, and difficult to watch, but even so, it has a powerful and moving performance from Björk and is something quite new and visionary". According to Metacritic, which assigned the film a weighted average score of 63/100 based on 33 critic reviews, the film received "generally favorable reviews".

On The Movie Show, Margaret Pomeranz gave it five stars while David Stratton gave it a zero, a score shared only by Geoffrey Wright's Romper Stomper (1992). Stratton later described it as his "favourite horror film". Peter Bradshaw of The Guardian dubbed Dancer in the Dark the "most shallow and crudely manipulative" film of 2000, and in 2009 he described it as "one of the worst films, one of the worst artworks and perhaps one of the worst things in the history of the world".

The film was praised for its stylistic innovations. Roger Ebert of the Chicago Sun-Times wrote: "It smashes down the walls of habit that surround so many movies. It returns to the wellsprings. It is a bold, reckless gesture". Edward Guthmann from the San Francisco Chronicle wrote: "It's great to see a movie so courageous and affecting, so committed to its own differentness". However, criticism was directed at its storyline. Jonathan Foreman of the New York Post described the film as "meretricious fakery" and called it "so unrelenting in its manipulative sentimentality that, if it had been made by an American and shot in a more conventional manner, it would be seen as a bad joke". Fiachra Gibbons, writing for The Guardian, considered the film to be "the most unusual, extraordinary feel-good musical ever made".

In 2016, David Ehrlich ranked Dancer in the Dark as one of the best films of the 21st century, hailing Björk's performance as the "single greatest feat of film acting" since 2000. Björk's performance is also ranked in the "25 Best Performances Not Nominated for an Oscar of the 21st Century" list. Mia Goth credited the performance as one of her main influences, dubbing it "perfect" and "faultless".

Box office
The film previewed on 12 screens in Denmark where it grossed 1,562,965 Danish krone ($180,223). It officially opened in Scandinavia on 8 September 2000 where it grossed a disappointing $288,723 in its opening weekend. It grossed $103,102 (kr. 0.9 million) from 49 screens in Denmark, finishing in second place behind X-Men. In Sweden, it opened in fifth place with a gross of 928,621 Swedish krona ($96,330) from 34 screens. It also opened in fifth place in Norway with a gross of 587,495 Norwegian krone ($63,858). In Finland, it came sixth with a gross of 152,598 Finnish markka ($25,433) from six screens. Overall, it grossed $45.6 million worldwide, including $4.2 million in the United States and Canada. It was number one at the Japanese box office for three weeks.

Accolades
Dancer in the Dark premiered at the 2000 Cannes Film Festival and was awarded the Palme d'Or, along with the Best Actress award for Björk. The song "I've Seen It All" was nominated for an Academy Award for Best Original Song, at the performance of which Björk wore her famous swan dress.

Sight & Sound magazine conducts a poll every ten years of the world's finest film directors to find out the Ten Greatest Films of All Time. This poll has been going since 1952, and has become the most recognised poll of its kind in the world. In 2012, Cyrus Frisch was one of the four directors who voted for Dancer in the Dark. Frisch commented: "A superbly imaginative film that leaves conformity in shambles". Director Oliver Schmitz also lauded the work as "relentless, claustrophobic, the best movie about capital punishment as far as I'm concerned".

title: Dancer in the Dark


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Talk:Henry Handel Richardson

Untitled
This is direct from http://www.middlemiss.org/lit/authors/richardsonhh.html, so unless the anon contributor is Perry Middlemiss (perry@middlemiss.org), this is a copyvio. Stan 15:42 2 Jul 2003 (UTC)

I've written to Perry and pointed this out. His response was to the effect that he didn't mind if people used his stuff. He's going to take a look, and I hope might be inspired to add some more of his work to Wikipedia. Pamplemousse 23:32, 18 Sep 2003 (UTC)

For the record, only a minor portion of the contents of the article at this point (June 3, 2005) is borrowed from Mr. Middlemiss.

See the German version of this article as corrected and expanded by me at a stage when I did not know either that there was an English Wikipedia or that the signatory of the German article had done nothing more than make a sketchy summary of this one. Pamino 15:51, 27 May 2006 (CEST)

theAge article
Just wanted to mention there is an image of Ms. Richardson during her time at PLC Melbourne from 1885 here. --Jh12 (talk) 15:46, 29 July 2008 (UTC)

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title: Talk:Henry Handel Richardson


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Liverpool (disambiguation)

Liverpool is a city in Merseyside, England, historically in Lancashire.

Liverpool may also refer to:

Antarctica

 * Liverpool Beach

Australia

 * Liverpool, New South Wales
 * City of Liverpool (New South Wales)
 * Electoral district of Liverpool
 * Liverpool Plains, an agricultural area of New South Wales
 * Liverpool Plains Shire, a local government area of New South Wales
 * Liverpool River

Canada

 * Liverpool, Nova Scotia

United Kingdom

 * Liverpool (European Parliament constituency)

United States

 * Liverpool, Illinois
 * Liverpool, Lake County, Indiana
 * Liverpool, New York
 * Liverpool, Pennsylvania
 * Liverpool, Texas
 * East Liverpool, Ohio

Sports

 * A.F.C. Liverpool, a semi-professional football club based in Liverpool, England
 * City of Liverpool F.C., a football club based in Liverpool, England, in the Northern Premier League
 * Liverpool City (1906), a defunct rugby league team based in Liverpool that played from 1906 to 1907
 * Liverpool Football Club, the name of the Liverpool-based rugby union club until it merged with another club to form Liverpool St Helens F.C.
 * Liverpool F.C., a Premier League football club based in Liverpool, England
 * Liverpool F.C. (Montevideo), a football club based in Montevideo, Uruguay
 * Liverpool Stanley, defunct rugby league team playing from 1951 to 1968
 * Liverpool, a type of horse jumping obstacle
 * South Liverpool F.C., a football club based in Liverpool, England

Arts and entertainment

 * Liverpool (2008 film), an Argentine film set in Tierra del Fuego
 * Liverpool (2012 film), a Canadian film set in Montreal
 * Liverpool (album), a 1986 album by Frankie Goes To Hollywood
 * Liverpool, a Brazilian band later renamed as Bixo da Seda
 * "Liverpool (We're Never Gonna...)", a 1983 song by Liverpool F.C.
 * Liverpool (video game), a game based on the Liverpool F.C. team

Other uses

 * Liverpool (department store), a chain of department stores in Mexico, owned by the El Puerto de Liverpool group
 * Liverpool rummy, a card game
 * Liverpool-class lifeboat operated by the Royal National Lifeboat Institution (RNLI) 1931-1974
 * Liverpool (privateer), an 18th-century British privateer
 * Earl of Liverpool, a title in the British Peerage
 * HMS Liverpool, seven ships of the Royal Navy
 * El Puerto de Liverpool, a Mexican retail and commercial real estate group with origins in and which owns the Liverpool department stores
 * University of Liverpool

title: Liverpool (disambiguation)


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Hilandar

The Hilandar Monastery (Манастир Хиландар,, Μονή Χιλανδαρίου) is one of the twenty Eastern Orthodox monasteries in Mount Athos in Greece and the only Serbian monastery there. It was founded in 1198 by Stefan Nemanja (Saint Symeon) and his son Saint Sava. St. Symeon was the former Grand Prince of Serbia (1166–1196) who upon relinquishing his throne took monastic vows and became an ordinary monk. He joined his son Saint Sava who was already in Mount Athos and who later became the first Archbishop of Serbia. Upon its foundation, the monastery became a focal point of the Serbian religious and cultural life, as well as assumed the role of "the first Serbian university". It is ranked fourth in the Athonite hierarchy of 20 sovereign monasteries. The Mother of God through her Icon of the Three Hands (Trojeručica) is considered the monastery's abbess.

The monastery contains about 45 working monks.

Etymology
The etymological meaning of "Hilandar" is probably derived from the Greek word chelandion, which is a type of Byzantine transport ship, whose skipper was called "helandaris".

Founding
The monastery was founded in 1198; prompted by the Mount Athos monastic community, Byzantine Emperor Alexios III Angelos (1195–1203) issued a golden sealed chrysobulls donating the ancient monastery Helandaris, "to the Serbs as an eternal gift...," thereby designating it, "to serve the purpose of accepting the people of Serbian descent, who seek to pursue the monastic way of life, as monasteries belonging to Iberia and Amalfi endure on the Mount, exempt from any authority, including the authority of Protos." Hilandar was thereby handed over to Saint Sava and Saint Symeon with the mission of establishing and endowing a new monastery, elevated to the imperial rank. Since then, the monastery became a cornerstone of the religious, educational and cultural life of Serbian people.

Upon securing Serbian authority within the monastery, Saint Sava and Saint Symeon jointly constructed the monastery's Church of the Entry of the Lady Theotokos into the Temple between 1198-1200, while also adding Saint Sava's Tower, the Kambanski Tower, and Saint Symeon's monastic chambers - cells. Saint Symeon's middle son and Saint Sava's older brother, Serbian Grand Prince Stefan "the First-Crowned" King provided financial resources for this restoration. As Hilandar's founder, Saint Symeon issued a special founding charter or chrysobulls, which survived until World War II, when it was destroyed as a result of the Operation Retribution and the notorious April 6, 1941 German bombing of Belgrade that leveled to the ground the National Library of Serbia building in Kosancicev Venac. Following 1199, hundreds of monks from Serbia moved to the monastery, while large pieces of land, metochions and tax proceeds from numerous villages were provided to the monastery, especially from the Metohija region of Serbia.

Saint Symeon died in the monastery on February 13, 1200 where he was buried next to the main church of the Entry of the Lady Theotokos into the Temple. His body remained in Hilandar until 1208 when his myrrh-flowing remains were transferred to Serbia and interred into the mother-church of all Serbian churches the Studenica Monastery according to his original desire, which he previously completed in 1196. Following the relocation of Saint Symeon's remains, what would eventually become world-famous grapevines began growing on the spot of his old tomb, which gives to this day miraculous grapes and seeds that are shipped all over as a form of blessing to childless married couples. Following his father's death, Saint Sava moved to his Karyes hermitage cell, where he finished the writing of the Karyes Typikon, a book of directives, which shaped the eremitical monasticism all across the Serbian lands. He also wrote the Hilandar Typikon regulating spiritual life in monasteries, organization of services and duties of monastic communities. The Hilandar Typikon was modeled in part after the typikon of the Monastery of Theotokos Evergetis in Constantinople.

The Nemanjić period and late Byzantine Empire
After the Fourth Crusade and Crusaders' sack of Constantinople in 1204, the whole Athos came under the Latin Occupation which exposed the Athonite monasteries to an unprecedented pillage. As a result, Saint Sava travelled to Serbia to secure more resources and support for the monastery. He also undertook a voyage to the Holy Land where he visited The Holy Lavra of Saint Sabbas the Sanctified in Palestine. There he received Hilandar's most revered relic, the miraculous icon of the Three-handed Theotokos (Trojeručica) painted by St. John of Damascus. According to St. John of Damascus' last will, he ordered the Mar Saba monastery brethren to add this miraculous icon to the old prophesy made by the monastery's founder Saint Sabbas the Sanctified. Saint Sabbas the Sanctified adjured his monks centuries earlier to donate the icon of the Milk-feeding Theotokos and his hegumen cane to the "namesake monk of royal blood from a faraway land" who would experience, during his pilgrimage to the monastery, the fall of his hegumen cane to the floor, previously affixed above his grave, while venerating icons and praying on that spot.

Serbian kings Stefan Radoslav and Stefan Vladislav, who were Saint Sava's nephews, significantly endowed the monastery with new land possessions and proceeds. In order to effectively deal with consequences of the Crusader Latin plunder, King Uroš the Great constructed a large fortification surrounding the monastery with the protective tower named after the Transfiguration of Christ. King Dragutin also expanded proceeds to the monastery and land or metochion income. He participated in improving and reinforcing defensive fortifications. Following the end of the Latin Occupation of this part of Byzantium, a new wave of raids hit the monastic republic. In the early 14th century, pirate mercenaries of the Catalan Grand Company repeatedly raided the Holy Mountain, while looting and sacking numerous monasteries, stealing treasures and Christian relics, and terrorizing monks. Of the 300 monasteries and monastic communities on Athos, Hilandar was among only 35 that survived the violence of the first decade of the 14th century. The monastery owes this fortune to its very experienced and skillful deputy hegumen at the time Danilo, who later became the Serbian Archbishop Danilo II.

Consequently, Serbian King Milutin played a major role in building the Hilandar monastery complex by reconstructing and expanding it. In 1320 he completely reconstructed the main church of the Entry of the Lady Theotokos into the Temple which finally took its present shape as it became a symbol of Hilandar. The monastery complex was expended further north to encompass new monastic cells and fortifications. During his reign, several towers were completed, notably the Milutin Tower, located between monastery's docks and its eastern wall, and the Hrussiya or Basil's Tower situated on the shore. Milutin also added a new main entrance gate which a chapel dedicated to Saint Nicholas built in, in addition to the newly erected monastery dining chamber. An unmatched iconographic work took place during Milutin's era starting from the main church, through the dining chamber, to the cemetery church. At that time the number of Serbian monks skyrocketed and monasticism flourished even further as Byzantine Emperor Andronikos II Palaiologos donated large pieces of land to the monastery's estate in Greece.

At the time of Serbian King and Emperor Dusan, the whole Mount Athos came under his sovereign power. This is the period of Hilandar's greatest prosperity. The Emperor significantly supported the monastery and bequeathed a number of land possessions in Serbia and Greece to it. Ever since his reign (14th century) and until today, Hilandar owns one fifth of the entire landmass on Athos. In addition to the Emperor himself, Dusan's aristocracy also supported the monastery. In 1347 Emperor Dusan sought refuge in Hilandar while escaping the plague pandemics that devastated Europe. He also took his wife Empress Jelena with him, thus creating a precedent and violating the strict tradition of "avaton" that bars women from stepping into Mount Athos. Oral tradition holds that during her stay in Hilandar, the Empress was not allowed to plant her foot on the Athos ground as she was carried around by her escort. In memory of Emperor Dusan's visit, the Hilandar monks erected big cross and planted the "imperial olive tree" on the spot where they welcomed him. Serbian Emperor also built the Church of St. Archangels and expanded the monastery's hospital around 1350, while Empress Jelena endowed the Karyes monastic cell dedicated to St. Sava which belongs to Hilandar. Both Hilandar and Mount Athos already enjoyed tremendous reverence in Serbia as the monastery's deputy hegumen Sava became Serbian Patriarch Sava IV. Following Emperor Dusan's death in 1355, the monastery prospered even further. In addition to Dusan's son Serbian Emperor Uros V, powerful noblemen also supported Hilandar, such as Prince Lazar Hrebeljanovic who constructed the narthex along the west side of the main Entry of the Lady Theotokos into the Temple Church in 1380. By the end of the 14th century, Hilandar served as a refuge to numerous members of Serbian nobility.

Ottoman and modern period
The Byzantine Empire was conquered in the 15th century by the Ottoman Turks and their newly established Ottoman Empire. The Athonite monks tried to maintain functioning relations with the Ottoman sultans and following Murad II's occupation of Thessaloniki in 1430 they pledged their obedience to him. Murad II left Mount Athos its self-rule and allocated for some remaining privileges. Hilandar retained its property rights and autonomy in the hinterland. This was additionally confirmed and secured in 1457 by Sultan Mehmed II following the 1453 Fall of Constantinople. Thus, the Athonite independence was somewhat ensured.

In the second half of the 15th century, Hilandar moved to third place in the hierarchy of Athionite monasteries. It also became a refuge for Serbian monks seeking to evade the conflicts of the time. Following the fall of the Serbian Despotate to the Ottoman Turks in 1459, Hilandar lost major guardians and benefactors as its brotherhood looked for support from other sources. For a period of time, the Wallachians provided patronage to the monastery, initiated by Mara Branković, daughter of the Serbian despot Đurađ Branković. In 1503, the wife of Serbian Despot Stefan Brankovic, Angelina Brankovic asked for the first time Grand Prince of Moscow Vasili III Ivanovich to protect the monastery. Deputy hegumen Paisios with three other monks visited Moscow in 1550 and inquired about help and protection at High Porte in Istanbul from Russian Tsar Ivan IV, also known as Ivan the Terrible. He took Hilandar under his personal protection and built the new monastic cells. In March 1556, Tsar Ivan IV Vasilyevich, whose maternal grandmother Ana Jakšić was by birth member the Serbian Jakšić noble family and paternal great-great-grandmother Helena, Empress Consort of Byzantium was also Serbian, also granted the Hilandar Monastery a plot of land with all necessary buildings in Moscow within a short walking distance from the Kremlin. The 16th century saw the monastery acquire significant estate in the area, cementing their presence in the Mount Athos region.

In the 17th century the number of Serbian monks dwindled, and the disastrous fire in 1722 saw a decline: in his account of 1745, Russian pilgrim Vasily Barsky wrote that Hilandar was headed by Bulgarian monks, even though the presence of Serbian monks was also noted. Ilarion Makariopolski, Sophronius of Vratsa and Matey Preobrazhenski had all lived there, and it was in this monastery that Saint Paisius of Hilendar began his revolutionary Slavonic-Bulgarian History. The monastery was dominated by Bulgarians until the late 19th century.

However, in 1913, Serbian presence on Athos was quite big and the Athonite protos was the Serbian representative of Hilandar.

Contemporary
In the 1970s, the Greek government offered power grid installation to all of the monasteries on Mount Athos. The Holy Council of Mount Athos refused, and since then every monastery generates its own power, which is gained mostly from renewable energy sources. During the 1980s, electrification of the monastery of Hilandar took place, generating power mostly for lights and heating.

In 1990, Hilandar was converted from an idiorrhythmic monastery into a cenobitic one.

On March 4, 2004, there was a devastating fire at the Hilandar monastery, which destroyed much of the walled complex and all the wooden elements. The library and the monastery's many historic icons were saved or otherwise untouched by the fire. Vast reconstruction efforts to restore Hilandar are underway.

Sacred objects

Among the numerous relics and other holy objects treasured at the monastery is the Wonderworking Icon of the Theotokos "Of the Akathist", the feast day of which is celebrated on January 12. Since Mount Athos uses the traditional Julian Calendar, the day they name as January 12 currently falls on January 25 of the modern Gregorian Calendar.

The monastery also possesses the Wonderworking Icon of the Theotokos "Of the Three Hands" (Greek: Tricherusa, Serbian: Тројеручицa), traditionally associated with a miraculous healing of St. John Damascene. Around the year 717, St. John became a monk at Mar Sabbas monastery outside of Jerusalem and gave the icon to the monastic community there. Later the icon was offered to St. Sava of Serbia, who gave it to the Hilandar. A copy of the icon was sent to Russia in 1661, from which time it has been highly venerated in the Russian Orthodox Church. This icon has two feast days: June 28 (July 11) and July 12 (July 25). Also Emperor Stefan Dušan's sword is in the monastery treasure.

There are some 1200 Slavic manuscripts. Archives include 172 Greek and 154 Serbian documents from the medieval era, which provides a glimpse into the economic and social structure of the period. The Serbian variant of Old Church Slavonic developed at the monastery thanks to its scriptorium.

title: Hilandar


text:
Louisa

Louisa may refer to:

Places

 * Australia
 * Louisa Island (Tasmania)

 * Canada
 * Louisa or Lac-Louisa, a community in Wentworth, Quebec

 * Malaysia
 * Louisa Reef, Sabah

 * United States
 * Louisa, Kentucky
 * Louisa, Missouri
 * Louisa, Virginia
 * Louisa County, Iowa
 * Louisa County, Virginia

 * Belgium

 * Louisa - Square in Brussels and metro station, next to Palace de Justice, see Avenue Louise

Other

 * HMS Louisa, the name of four ships of the Royal Navy
 * Louisa (ship), United States ship of the 1800s
 * Louisa (film), 1950 film starring Ronald Reagan

People with the given name

 * Louisa of Great Britain (1749–1768)
 * Louisa, Countess of Craven, originally Louisa Brunton (1785?–1860), English actress
 * Louisa Adams (1775–1852), First Lady of the United States from 1825 to 1829
 * Louisa May Alcott (1832–1888), American novelist, short story writer and poet
 * Louisa Rose Allen, English singer and songwriter known as Foxes
 * Louisa Beaufort (1781–1863), Irish antiquarian, author and artist
 * Louisa Dow Benton (1831–1895), American linguist and letter writer
 * Louisa Bertman, Jewish American illustrator, animator, visual narrative artist specializing in social and political advocacy
 * Louisa Briggs (1818 or 1836- 1925), Aboriginal Australian rights activist, dormitory matron, midwife and nurse
 * Louisa Burns (c.1869–1958), American osteopathic physician
 * Louisa Cavendish, Duchess of Devonshire
 * Louisa Cavendish-Bentinck (1832–1918)
 * Louisa Chafee (born 1991), American competitive sailor
 * Louisa Clein (born 1979), English actress
 * Lady Louisa Conolly (1743–1821), Irish noblewoman
 * Louisa Knapp Curtis (1851–1910), Columnist and first editor of the Ladies Home Journal
 * Louisa Emily Dobrée (fl. ca. 1877–1917), French writer
 * Louisa Lane Drew (1820–1897), English-born American actress
 * Louisa Durrell (1886–1964)
 * Louisa Frederici (1844–1921)
 * Louisa Morton Greene, American social reformer
 * Louisa Gould, Jewish activist
 * Louisa Jane Hall (1802–1892), American poet, essayist, literary critic
 * Louisa Harland, Irish actress
 * Louisa Horton (1920–2008), American film, television, and stage actress
 * Louisa Jacobson (born 1991), American actress
 * Louisa Vesterager Jespersen (died 2018), Danish female murder victim
 * Louisa Johnson, English singer
 * Louisa Krause (born 1986), American film, stage, and television actress
 * Louisa Lawson (1848–1920), Australian poet, writer, publisher, suffragist, and feminist
 * Louisa Lytton (born 1989), English actress
 * Louisa Susannah Cheves McCord (1810–1879), American writer
 * Louisa Moritz (1936–2019), Cuban-American actress and lawyer
 * Louisa Starr (1845–25 May 1909), British painter
 * Louisa Maria Stuart (1692–1712), Princess Royal
 * Louisa Swain (1801–1880)
 * Louisa Thomas (born 1981), American writer and sports journalist
 * Louisa Caroline Huggins Tuthill (1799–1879), American children's book author
 * Louisa Wisseling, former member of Australian folk-influenced pop quartet The Seekers
 * Louisa Young, British writer

Fictional characters

 * Louisa Clarke, a character in the film Me Before You
 * Louisa Musgrove, character in Jane Austen's novel Persuasion.
 * Louisa is the pen name of the eighteenth century English writer Elizabeth Boyd (1710–1745)
 * Louisa Loops, a character in the American-Canadian animated series Lyla in the Loop

title: Louisa


text:
Hilandar Research Library

The Hilandar Research Library (HRL), located in the Thompson Library on the campus of Ohio State University, has the largest collection of medieval Slavic manuscripts on microform in the world.

Hilandar Research Library Collection
The collection is composed of microform material from more than 100 different private, museum, and library collections in dozens of countries. It includes many Cyrillic manuscripts on microform, the majority from various monasteries on Mount Athos, Greece, including the entire Slavic collection of the Hilandar Monastery. The library also contains a 100,000 volume reference collection. The entire collection can be viewed in the Jack and Jan Creighton Special Collections Reading Room (Thompson Library). The HRL shares its space with the Resource Center for Medieval Slavic Studies (RCMSS). Both the Hilandar Library and the Resource Center for Medieval Slavic Studies were developed as an outgrowth of the original Hilandar Research Project, which ran from 1969 to 1982.

Resource Center for Medieval Slavic Studies
Founded in 1984, the Resource Center for Medieval Slavic Studies (RCMSS) is an independent center of the Ohio State University College of Humanities and is dedicated to the promotion of medieval Slavic Studies. The Resource Center for Medieval Slavic Studies fosters and supports research and collaboration in medieval Slavic languages, linguistics, history, and culture.

title: Hilandar Research Library


text:
Lewisville

Lewisville may refer to the following places:

Canada

 * Lewisville, New Brunswick, a former village, now part of the cities of Moncton and Dieppe

United States

 * Lewisville, Arkansas
 * Lewisville, Idaho
 * Lewisville, Indiana
 * Lewisville, Minnesota
 * Lewisville, New Jersey
 * Lewisville, North Carolina
 * Lewisville, Oregon
 * Lewisville, Texas
 * Lewisville, Virginia
 * Lewisville, Washington

title: Lewisville


text:
Talk:Data General

"Data General Corp. v. Digital Computer Controls, Inc." WP article as a source
WP:RSPRIMARY ''...although Wikipedia articles are tertiary sources, Wikipedia employs no systematic mechanism for fact checking or accuracy. Thus, Wikipedia articles (and Wikipedia mirrors) in themselves are not reliable sources for any purpose...'' Jamplevia (talk) 19:35, 7 February 2022 (UTC)
 * The Data General Corp. v. Digital Computer Controls, Inc. article was being used to support a statement which did not involve Digital Computer Controls, Inc. directly and the DG article text does not explain that in any way. Jamplevia (talk) 19:48, 7 February 2022 (UTC)

Unix servers, not PCs, killed off mini computers
the introduction of the IBM PC in 1981 marked the beginning of the end for minicomputers, and by the end of the decade, the entire market had largely disappeared.

So you are saying that few mini computers were sold in 1989????????????????????

were you there? I was and maybe unix replaced a lot of minis by 1999.

2001:558:6033:16B:FD14:7C5E:5609:A367 (talk) 22:56, 11 June 2023 (UTC)

title: Talk:Data General


text:
Sopranist

A sopranist (also known as male soprano) is a male singer who is able to sing in vocal tessitura of a soprano, usually through falsetto or head voice technique. This voice type is a specific kind of countertenor. In rare cases an adult man may be able to sing in the soprano range using his normal or modal voice (high chest voice) and not falsetto due to endocrinological reasons, like Radu Marian, or as a result of a larynx that has not completely developed as is allegedly the case of Michael Maniaci.

Voice
A sopranist is able to sing in the soprano vocal range which is approximately between C4 and C6, though at times may expand somewhat higher or lower. Men of all voice types can possess the wide-ranged and effective falsetto or head voice needed to produce the contralto, mezzo-soprano and soprano vocal ranges. Some countertenors can sing up into the female vocal tessituras using the modal register (normal singing production) and need not employ any falsetto.

Controversy over the term male soprano
Typically, the term "soprano" refers to female singers but at times the term "male soprano" has been used by men who sing in the soprano vocal range using falsetto vocal production instead of the modal voice. This practice is most commonly found in the context of choral music in England. However, these men are more commonly referred to as countertenors or sopranists. The practice of referring to countertenors as "male sopranos" is somewhat controversial within vocal pedagogical circles as these men do not produce sound in the same physiological way that female sopranos do. Radu Marian can refer to himself as a true male soprano because he is able to sing in the soprano vocal range using the modal voice.

Repertoire
There is a large body of music for the male soprano that was written when it was common to use a castrato – a voice type which, for all intents and purposes, no longer exists, as the practice of castrating trebles was abolished before the end of the 19th century. Sopranists are very rare, since most countertenors are altos and mezzos. In fact, probably because early famous countertenors were altos (like Alfred Deller), it was believed for a long time that countertenors can only be altos (and later, mezzo countertenors, like David Daniels or Jochen Kowalski were recognized). While there is some modern repertoire written for countertenors (sometimes written specifically for certain singers, like Britten's Death in Venice, which has a part that was written specifically for James Bowman), at present there are only a small number of modern pieces written specifically for the sopranist vocal type. An exception is Alfred Schnittke's 1995 opera Historia von D. Johann Fausten which calls for both a female alto and a male soprano Mephistopheles.

Notable sopranists
Present day notable sopranists include:

 * Simone Bartolini
 * Aris Christofellis
 * Edson Cordeiro (opera, pop, gospel)
 * Robert Crowe
 * David Hansen
 * Russell Hitchcock
 * Vyatcheslav Kagan-Paley
 * Adam Lopez (pop, opera, Latin)
 * Michael Maniaci
 * Angelo Manzotti
 * Radu Marian
 * Samuel Mariño
 * Tomotaka Okamoto
 * Dariusz Paradowski
 * Brian Charles Rooney (musical theatre)
 * Tonex (gospel)
 * Jihoon Moon
 * Bruno de Sá
 * Vince Yi
 * Zhou Shen
 * Patrick Husson
 * Dennis Orellana
 * André Vásáry (opera, pop)
 * Vitas
 * Cem Adrian
 * Dimash Kudaibergen

title: Sopranist


text:
Simon Fraser of Balnain

Simon Fraser (1729 – 7 October 1777) was a British general during the American War of Independence. He was killed in the Battle of Bemis Heights during the Saratoga Campaign. The shot that killed Fraser is often attributed to Timothy Murphy, of Daniel Morgan's Rifle Corps, which was assigned to the Left and under the command of Benedict Arnold, who was leading Morgan's men as well as Dearborn, Cilley, Poor, and the rest of the American left wing, which was attempting to push back the reconnaissance in force led by Simon Fraser on the Barber Wheatfield.

Early life and military service
Simon was born 26 May 1729, the son of Alexander Fraser of Balnain, son of Hugh Fraser of Balnain by his wife Katherine Chisholm, daughter of Alexander Chisholm 19th of Chisholm by his wife, eldest daughter of Roderick Mackenzie I of Applecross. Simon Fraser's mother was his father's second wife, Jean Mackintosh, daughter of Angus Mackintosh 10th of Kyllachy by his wife Lucy, daughter of Sir Alexander Mackenzie, 2nd baronet of Coul. Simon's brother Thomas Fraser (born 8 June 1726), M.D. of Antigua's daughter Jean married Charles Grant, parents of Charles Grant, 1st Baron Glenelg

Apparently seeking to atone for the participation of Simon Fraser, 11th Lord Lovat in the Jacobite rising of 1745, he fought with the Dutch army at Siege of Bergen-op-Zoom in 1747, and joined the British Army as a lieutenant in 1755.

Fraser went to Canada with the British forces in the French and Indian War and took part in the Siege of Louisbourg. He was promoted to captain before taking part in the Battle of Quebec in 1759. At that battle, he was in James Wolfe's boat crossing St Lawrence. It was his reply, in French through the fog, that enabled the party to sneak ashore before ascending to the Plains of Abraham. He is not the Simon Fraser depicted in the famous painting The Death of General Wolfe.

Fraser served in Germany, Ireland, and Gibraltar between wars. In 1768, he became the Lt. Colonel of the 24th Regiment of Foot.

American War of Independence
In 1776, the 24th was transferred to Quebec in response to the American invasion, and Governor Guy Carleton promoted him to Brigadier General. When John Burgoyne organized his Saratoga campaign in 1777, Fraser was chosen to command the advance unit.

Ticonderoga
At the start of the campaign, the advance corps had about 1,000 men. Besides his own 24th Regiment of Foot, he had the grenadier battalion, the light infantry battalion, and a company of marksmen, along with some Canadian militia and First Nations auxiliaries. Fraser's command was in the vanguard during the taking of Fort Ticonderoga, and Fraser helped dislodge the retreating Americans.

Hubbardton
On 7 July 1777, Fraser's corps caught up with the American rear guard at the town of Hubbardton in the newly formed Republic of Vermont. At the Battle of Hubbardton in a sharp skirmish he drove off the enemy but with the loss of many men.

Freeman's Farm
At the Freeman's farm on 19 September he commanded the right wing and led four companies in a successful attack on Daniel Morgan's riflemen.

Bemis Heights
Early in the Battle of Bemis Heights on 7 October 1777, Fraser fell to rifle fire from Daniel Morgan's rifle brigade. Legend has it that a rifleman named Timothy Murphy was specifically ordered by Benedict Arnold to target Fraser, as he was vigorously directing and supporting his troops. He was carried to a nearby house and placed in the care of Baroness Riedesel, where he died that evening. He was reportedly buried in a nearby redoubt, but the exact location is uncertain. In her diary, the Baroness noted that he was "...buried at six o'clock in the evening, on a hill, which was a sort of redoubt."

The depiction by the artist John Graham in 1792 shows Fraser being wrapped for burial on the battlefield, surrounded by grieving officers and soldiers under his command. Also killed during the action was Francis Clerke (1748–1777), the aide-de-camp to General Burgoyne. Clerke was also shot and killed by Morgan's riflemen as he rode upon the field to deliver orders to Fraser from Burgoyne to fall back, orders that never reached him.

Fraser's death is noted by a memorial plaque in the Saratoga Battlefield National Park.

Portrayal in historical fiction
Fraser is a character in Diana Gabaldon's historical fiction novel An Echo in the Bone in which she portrays him as a kinsman to several of the major characters in the book, most notably Jamie Fraser, who is fighting on the side of the revolutionaries and William Ransom, Jamie's son, who is fighting for the British under Simon Fraser's command. The book diverts from the historical events when Gabaldon uses a request by Horatio Gates as an excuse for three main characters, Jamie and Claire and Jamie's nephew Ian Murray, to return to Scotland under the auspices of escorting Fraser's disinterred body back to his homeland.

title: Simon Fraser of Balnain


text:
Eccleshall Castle

Eccleshall Castle is located in Eccleshall, Staffordshire, England. It was originally built in the 13th century. It is a Scheduled Ancient Monument and a Grade II* listed building.

Origins
The land was reputedly granted to St Chad, the medieval bishop of Lichfield. In 1200 Bishop Geoffrey de Muschamp was granted by King John a ‘licence to crenellate’ a castle. As Eccleshall was conveniently situated on the main road between the centres of the Lichfield diocese in Chester, Lichfield and Coventry it was an ideal location as a diocesan base. This original castle was replaced by a larger castle in 1305 by Bishop Walter Langton, Chancellor of England.

War of the Roses
At the outbreak of the Wars of the Roses, Margaret of Anjou, Queen consort of Henry VI, took refuge within the castle after the Battle of Blore Heath in 1459.

In June 1643 the castle was besieged by Sir William Brereton and his Parliamentary forces encamped around the church. Their guns caused considerable damage to the walls but the castle held out, with Bishop Robert Wright sheltering within. When the Parliamentary forces finally took the castle on August 30 they found that the bishop had died of a heart attack during the siege and most of the defenders were either drunk or had gone into town drinking in the taverns. The castle was slighted to prevent future use as a stronghold but enough of the building, including an unusual nine-sided tower, together with the moat walls and medieval bridge, remained to be used as a prison for Royalist gentry. The castle and its grounds were confiscated and sold, but bought back again by the diocese.

Later history
The present house, still known as Eccleshall Castle, was built amongst the ruins in 1693 by William Lloyd, Bishop of Lichfield and Coventry, incorporating fragments of the slighted 14th-century structure, and was also occupied by successive bishops of Lichfield. Sir Walter Scott often stayed at the castle as guest of then bishop, James Cornwallis. In the 18th century the gatehouse was demolished and the moat drained. The last bishop to live there was John Lonsdale, who died in the house in 1867.

Today
The Castle is now in private hands and closed to the public, although the gardens are occasionally opened to raise money for local Eccleshall charities as well as for occasional weddings. It has been the home of the Carter-Motley family for more than a hundred years.

title: Eccleshall Castle


text:
Talk:Tampopo

Untitled
The camerawork and filmic techniques are sophisticated, story strands transitioning on the fly

 * I don't know if I'd agree with the first clause--it seems as sophisticated as most films I've seen, no more, no less. As for the second part, I think I know what you mean, but I'm not sure.  Are you talking about how the film will suddenly follow different characters entirely?  (e.g. the couple in the hotel; the women in the restaurant learning the "proper" way to eat spaghetti, then abandoning it, etc.)?  Also, parts of the film parody western films, especially in the music and the occasional ... I don't know what the word for it is--the fistfight that takes place offscreen, through sound effects and people being thrown onscreen, but the "hero" loses; and in the framing of some of the shots.  Koyaanis Qatsi 16:40 2 Jul 2003 (UTC)

 * Well that whole stub was kind of impressionistic, just to get the ball rolling. Probably I should have written a much longer; balanced and detailed article, but hey, that is what collaboration is all about, I am probably too close to the movie anyway to write NPOV without someone keeping me honest. -- Cimon Avaro on a pogo-stick 16:48 2 Jul 2003 (UTC)

 * Slaughter it!? Um, I try not to slaughter articles.  :-)  (though I have, in past, been fairly ruthless with a couple.  Humphrey Bogart springs to mind, though by now it may need a revisiting.)  Anyway, I'll take a look at it when I get back.  Best wishes.  Koyaanis Qatsi 16:56 2 Jul 2003 (UTC)

 * Uhm. Please also note that I wrote "sophisticated", not "innovative". There is a distinction between the two, you know? -- Cimon Avaro on a pogo-stick 09:03 3 Jul 2003 (UTC)

Beginning
It doesn't begin with Goro's arrival at the ramen shop, but with the Yakuza's addessing the audience and a neighboring movie goer, regarding talking and eating noisy foods (potato chips). Osakadave 16:30, 6 August 2005 (UTC)

Tampopo → Tanpopo
Shouldn't the name Tampopo be changed to Tanpopo? There is no 'm' in Japanese (unless it's with a syllable like 'mu', 'me', 'mi'... etc.), and the symbol ン means n. Can anyone explain this to me? --BiT (talk) 11:15, 21 January 2009 (UTC)
 * "Tampopo" is how it's generally known in English, so that's the appropriate title for the article. 'Tanpopo' and 'tampopo' are both valid romanizations for the word. Franzeska (talk) 18:47, 24 February 2009 (UTC)

 * See Assimilation_(linguistics)... AnonMoos (talk) 16:01, 2 March 2009 (UTC)

 * "Tampopo" is written in golden letters above the restaurant's entrance near the end of the movie. 178.0.207.196 (talk) 23:15, 27 August 2017 (UTC)

"Lai Lai"
How can it be known as "Lai Lai" when there's no "l" in Japanese? AnonMoos (talk) 18:36, 31 October 2012 (UTC)
 * I don't know why this name was used, but it's not at all important to the plot what the name is, so let's remove this uncited name (probably WP:OR naming anyway). JoshuSasori (talk) 21:54, 31 October 2012 (UTC)
 * "Lai Lai" comes from the subtitles of the DVD release. If that's not the original name of Tampopo's restaurant, then what is it? - Areaseven (talk) 02:19, 1 November 2012 (UTC)
 * You can use the "cite video" template to cite it against the DVD subtitles then, if you want to include it in the article. Personally I think it is not important what the name of the restaurant is and does not need to be included in the plot summary, so why not just delete it. JoshuSasori (talk) 02:22, 1 November 2012 (UTC)

Russian movie influence?
I was recently made aware of this movie: http://ru.wikipedia.org/wiki/Дайте_жалобную_книгу Running that page through google translate revealed a similar basic concept: bad restaurant named Dandelion that gets transformed into a great place. Given that the Russian movie predates this one by about 20 years, one would wonder if there was any influence, but I haven't seen this discussed anywhere. — Preceding unsigned comment added by Rcfa (talk • contribs) 10:38, 17 November 2012 (UTC)
 * It's possible that it was influenced by that, but you need to find a reliable source which says so, otherwise it cannot go in the article. Also, Google translate is not a very reliable source of information. JoshuSasori (talk) 10:55, 17 November 2012 (UTC)

Tanpopo/Tampopo
Repeating a note made on the dap page. Since there are two different transliterations of final -n plus p, English sources are not consistent regarding many of these items. see examples. In ictu oculi (talk) 13:33, 31 December 2016 (UTC)

title: Talk:Tampopo


text:
John Ireland (composer)

John Nicholson Ireland (13 August 1879 – 12 June 1962) was an English composer and teacher of music. The majority of his output consists of piano miniatures and of songs with piano. His best-known works include the short instrumental or orchestral work "The Holy Boy", a setting of the poem "Sea-Fever" by John Masefield, a formerly much-played Piano Concerto, the hymn tune Love Unknown and the choral motet "Greater Love Hath No Man".

Life
John Ireland was born in Bowdon, near Altrincham, Cheshire, into a family of English and Scottish descent and some cultural distinction. His father, Alexander Ireland, a publisher and newspaper proprietor, was aged 69 at John's birth. John was the youngest of the five children from Alexander's second marriage (his first wife had died). His mother, Annie Elizabeth Nicholson Ireland, was a biographer and 30 years younger than Alexander. She died in October 1893, when John was 14, and Alexander died the following year, when John was 15. John Ireland was described as "a self-critical, introspective man, haunted by memories of a sad childhood".

Ireland entered the Royal College of Music in 1893, studying piano with Frederic Cliffe, and organ, his second study, under Walter Parratt. From 1897 he studied composition under Charles Villiers Stanford. In 1896 Ireland was appointed sub-organist at Holy Trinity, Sloane Street, London SW1, and later, from 1904 until 1926, was organist and choirmaster at St Luke's Church, Chelsea.

Ireland began to make his name in the early 1900s as a composer of songs and chamber music. His Violin Sonata No. 1 of 1909 won first prize in the Cobbett Competition. Even more successful was his Violin Sonata No. 2: completed in January 1917, he submitted this to a competition organised to assist musicians in wartime. The jury included the violinist Albert Sammons and the pianist William Murdoch, who together gave the work its first performance at Aeolian Hall in New Bond Street on 6 March that year. As Ireland recalled, "It was probably the first and only occasion when a British composer was lifted from relative obscurity in a single night by a work cast in a chamber-music medium." The work was enthusiastically reviewed, and the publisher Winthrop Rogers offered immediate publication (the first edition was sold out even before it had been processed by the printers). A subsequent performance of the Violin Sonata by Ireland and the violinist Désiré Defauw drew a packed audience to the Wigmore Hall in London.

Ireland frequently visited the Channel Islands and was inspired by the landscape and the ambience. In 1912 he composed the piano piece The Island Spell (the first of the three pieces in his set Decorations) while staying in Jersey, and his set of three pieces for piano Sarnia: An Island Sequence was written while living in Guernsey in 1939 to 1940. He returned from Guernsey to Britain in 1940 just before the German invasion of the Channel Islands during World War II.

From 1923 he taught at the Royal College of Music. His pupils there included Richard Arnell, Ernest John Moeran, Benjamin Britten (who later described Ireland as possessing "a strong personality but a weak character"), composer Alan Bush, Geoffrey Bush (no relation to Alan), who subsequently edited or arranged many of Ireland's works for publication, Anthony Bernard and Percy Turnbull (who became a lifelong friend).

John Ireland was a lifelong bachelor, except for a brief interlude when, in quick succession, he married, separated, and divorced. On 17 December 1926, aged 47, he married a 17-year pupil, Dorothy Phillips. This marriage was dissolved on 18 September 1928, and it is believed not to have been consummated. He took a similar interest in another young student, Helen Perkin, a pianist and composer, to whom he dedicated both the Piano Concerto in E-flat major and the Legend for piano and orchestra (which began life as a second concerto). She gave the premiere performance of both works, but any thoughts he had for a deeper relationship with her came to nothing when she married George Mountford Adie, a disciple of George Gurdjieff, and she later moved with Adie to Australia. Subsequently, Ireland withdrew the dedications. In 1947 Ireland acquired a personal assistant and companion, Mrs Norah Kirkby, who remained with him till his death. Despite these associations with women, it is clear from his private papers that he was a closeted homosexual; several commentators support this view.

On 10 September 1949, his 70th birthday was celebrated in a special Prom concert, at which his Piano Concerto was played by Eileen Joyce, who was also the first pianist to record the concerto, in 1942.

Ireland retired in 1953, settling in the hamlet of Rock in Sussex, where he lived in a converted windmill, Rock Mill, Washington, for the rest of his life. It was there he met the young pianist Alan Rowlands who would be Ireland's choice to record his complete piano music.

He died of heart failure aged 82 at Rock Mill and is buried at St. Mary the Virgin in Shipley, near his home. His epitaph reads "Many waters cannot quench love" and "One of God's noblest works lies here."

Music
From Stanford, Ireland inherited a thorough knowledge of the music of Beethoven, Brahms and other German classical composers, but as a young man he was also strongly influenced by Debussy and Ravel as well as by the earlier works of Stravinsky and Bartók. From these influences, he developed his own brand of "English Impressionism", related more closely to French and Russian models than to the folk-song style then prevailing in English music.

Like most other Impressionist composers, Ireland favoured small forms and wrote neither symphonies nor operas, although his Piano Concerto is considered among the best works composed by an Englishman. His output includes some chamber music and a substantial body of piano works, including his best-known piece The Holy Boy, known in numerous arrangements. He wrote songs to poems by A. E. Housman, Thomas Hardy, Christina Rossetti, John Masefield, Rupert Brooke and others. Due to his job at St Luke's Church, he also wrote hymns, carols, and other sacred choral music; among choirs he is probably best known for the anthem Greater love hath no man, often sung in services that commemorate the victims of war. The hymn tune Love Unknown is sung in churches throughout the English-speaking world, as is his Communion Service in C major.

His works have been recorded and performed by Choir of Westminster Abbey, The Choir of Wells Cathedral and many others.

He appears as pianist in a recording of his Fantasy-Sonata for Clarinet and Piano with Frederick Thurston, his Cello Sonata (1923) with cellist Antoni Sala and his Violin Sonata No. 1 (1909) with Frederick Grinke, who performed and recorded several of his chamber works. His Piano Sonatina (1926–27) and a number from his cycle Songs Sacred and Profane (1929) were dedicated to his friend the conductor and BBC music producer Edward Clark.

Ireland wrote his only film score for the 1946 Australian film The Overlanders, from which an orchestral suite was extracted posthumously by Charles Mackerras. Some of his pieces, such as the popular A Downland Suite and Themes from Julius Caesar, were completed or re-transcribed after his death by his student Geoffrey Bush.

Chamber works

 * A to R
 * Bagatelle for violin and piano (1911)
 * Berceuse for violin and piano (1902)
 * Fantasy-Sonata in E-flat major for clarinet and piano (1943)
 * Cavatina for violin and piano (1904)
 * The Holy Boy: A Carol of the Nativity for cello and piano (arr. 1919)
 * The Holy Boy: A Carol of the Nativity for violin and piano (arr. 1919)
 * The Holy Boy: A Carol of the Nativity for string quartet (arr. 1941)
 * Phantasie, Trio No. 1 in A minor for violin, cello and piano (1906)

 * S to Z
 * Sextet for clarinet, horn and string quartet (1898)
 * Sonata in G minor for cello and piano (1923)
 * Sonata No. 1 in D minor for violin and piano
 * Sonata No. 2 in A minor for violin and piano (1915–1917)
 * String Quartet No. 1 in D minor (1897)
 * String Quartet No. 2 in C minor (1897)
 * Trio No. 2 in One Movement for violin, cello and piano (1917)
 * Trio No. 3 in E for violin, cello and piano (1938)
 * Trio in D minor for clarinet, cello and piano (1912–1914)

Church music

 * A to G
 * Benedictus in F
 * Communion Service in A flat (Treble voices and organ)
 * Communion service in C
 * Evening Service in A (SATB and organ)
 * Evening Service in C (SATB and organ)
 * Evening Service in F
 * Ex Ore Innocentium (treble voices and organ or piano)
 * Greater Love Hath No Man (motet)

 * H to Z
 * The Hills (chorus a capella)
 * Jubilate Deo in F major
 * Magnificat and Nunc Dimittis in C major
 * Magnificat and Nunc Dimittis in F major
 * "My Song Is Love Unknown" (hymn)
 * Te Deum in F major
 * Vexilla Regis (anthem)

Film score

 * The Overlanders (1946)

Orchestra

 * A to L
 * Comedy Overture (1934)
 * Concertino Pastorale (string orchestra) (1939)
 * A Downland Suite (1932)
 * Epic March (1942)
 * The Forgotten Rite (1913, published 1918)
 * The Holy Boy (string orchestra, arr. 1941)
 * London Overture (1936)

 * M to Z
 * Mai-Dun, A Symphonic Rhapsody (1921)
 * Meditation on John Keble's Rogation Hymn (1958)
 * Orchestral Poem
 * Poem
 * Satyricon – Overture (1946)
 * Symphonic Studies
 * Tritons (1899)
 * Two Symphonic Studies

Organ

 * A to G
 * Alla marcia
 * Capriccio
 * Cavatina (arr. of Cavatina for violin and piano, 1904)
 * Elegiac Romance
 * Elegy (from A Downland Suite – arr. Alec Rowley)
 * Epic March (arr. Robert Gower)

 * H to Z
 * The Holy Boy (1913, arr. 1919 by Alec Rowley)
 * Marcia Popolare
 * Meditation on John Keble's Rogation Hymn
 * Miniature Suite
 * Sursum Corda

Piano

 * A to L
 * The Almond Tree (1913)
 * Ballad (1929)
 * Ballade of London Nights (1930)
 * Columbine (1949)
 * The Darkened Valley (1920)
 * Decorations (1912–13)
 * 1) The Island Spell
 * 2) Moonglade
 * 3) The Scarlet Ceremonies
 * Equinox (1922)
 * First Rhapsody (1906)
 * Green Ways – Three Lyric Pieces (1937)
 * 1) The Cherry Tree
 * 2) Cypress
 * 3) The Palm and May
 * In Those Days (1895)
 * 1) Daydream
 * 2) Meridian
 * Indian Summer (1932)
 * Leaves from a Child's Sketchbook (1918)
 * 1) By the Mere
 * 2) In the Meadow
 * 3) The Hunt's Up
 * London Pieces (1917–20)
 * 1) Chelsea Reach
 * 2) Ragamuffin
 * 3) Soho Forenoons

 * M to S
 * Mai-Dun, A Symphonic Rhapsody, arranged for piano four hands (1931)
 * Merry Andrew (1919)
 * Month's Mind (1935)
 * On a Birthday Morning (1922)
 * Prelude in E-flat major (1924)
 * Preludes for Piano (1913–15)
 * 1) The Undertone
 * 2) Obsession
 * 3) The Holy Boy
 * 4) Fire of Spring
 * Rhapsody (1915)
 * Sarnia: An Island Sequence (1940–41)
 * 1) Le Catioroc
 * 2) In a May Morning
 * 3) Song of the Springtides
 * A Sea Idyll (1960)
 * Soliloquy (1922)
 * Sonata in E minor (1920; premiered by Frederic Lamond on 12 June 1920, the only time he ever played it)
 * Sonatina (1926–27)
 * Summer Evening (1920)

 * T to Z
 * The Towing Path (1918)
 * Two Pieces for Piano (1921)
 * 1) For Remembrance
 * 2) Amberley Wild Brooks
 * Two Pieces for Piano (1925)
 * 1) April
 * 2) Bergomask
 * Two Pieces for Piano (1929–30)
 * 1) February's Child
 * 2) Aubade
 * Three Dances (1913)
 * 1) Gypsy Dance
 * 2) Country Dance
 * 3) Reaper's Dance
 * Three Pastels (1941)
 * 1) A Grecian Lad
 * 2) The Boy Bishop
 * 3) Puck's Birthday

Piano and orchestra

 * Legend (1933)
 * Piano Concerto in E-flat major (1930)

Songs

 * A to S
 * "Alpine Song" (James Vila Blake, 1911)
 * "Aubade" (soprano, alto and piano, 1912)
 * "Bed in Summer"
 * "The Bells of San Marie" (John Masefield, 1918)
 * "Earth's Call (A Sylvan Rhapsody)" (1918)
 * Five Poems by Thomas Hardy (song cycle, Thomas Hardy, 1926)
 * 1) "Beckon to me to come"
 * 2) "In my sage moments"
 * 3) "It was what you bore with you, woman"
 * 4) "The tragedy of that moment
 * 5) "Dear, think not that they will forget you"
 * Five Sixteenth Century Poems (song cycle, various poets, 1938)
 * 1) "A Thanksgiving" (William Cornysh)
 * 2) "All in a Garden Green" (Thomas Howell)
 * 3) "An Aside" (Anon.)
 * 4) "A Report Song" (Nicholas Breton)
 * 5) "The Sweet Season" (Richard Edwardes)
 * "Full Fathom Five" (William Shakespeare)
 * "A Garrison Churchyard" (Eric Thirkell Cooper, 1916)
 * "Hawthorn Time" (1919)
 * "The Heart's Desire" (1917)
 * "Hope the Hornblower" (1912)
 * "I Have Twelve Oxen" (1919)
 * "If There Were Dreams to Sell" (1918)
 * "If We Must Part" (1929)
 * "The Journey" (1920)
 * The Land of Lost Content (song cycle, A. E. Housman, 1920–21)
 * 1) "The Lent Lily"
 * 2) "Ladslove" ("Look not in my eyes")
 * 3) "Goal and Wicket" ("Twice a week the winter thorough")
 * 4) "The Vain Desire" ("If truth in hearts that perish")
 * 5) "The Encounter" ("The street sounds to the soldiers' tread")
 * 6) "Epilogue" ("You smile upon your friend today")
 * "Love is a Sickness Full of Woes"
 * Mother and Child (song cycle, Christina Rossetti, 1918)
 * 1) "Newborn"
 * 2) "The Only child"
 * 3) "Hope"
 * 4) "Skylark and Nightingale"
 * 5) "The Blind Boy"
 * 6) "Baby"
 * 7) "Death Parting"
 * 8) "The Garland"
 * "The Sacred Flame"
 * "Santa Chiara" (1925)
 * "Sea-Fever" (John Masefield, 1913)
 * "Song from o'er the Hill" (1913)
 * Songs of a Wayfarer (song cycle, various poets, 1912)
 * 1) "Memory" (William Blake, "Memory, hither come")
 * 2) "When Daffodils Begin to Peer" (William Shakespeare)
 * 3) "English May" (Dante Gabriel Rossetti)
 * 4) "I Was Not Sorrowful" (Ernest Dowson, "Spleen")
 * 5) "I Will Walk on the Earth" (James Vila Blake)
 * Songs Sacred and Profane (song cycle, various poets, 1929–31)
 * 1) "The Advent" (Alice Meynell)
 * 2) "Hymn for a Child" (Sylvia Townsend Warner)
 * 3) "My Fair" (Meynell)
 * 4) "The Salley Gardens" (W. B. Yeats)
 * 5) "The Soldier's Return" (Warner)
 * 6) "The Scapegoat" (Warner)
 * "Spring sorrow" (1918)
 * Spring Will Not Wait

 * T to Z
 * Three Songs (Arthur Symons, 1918–19)
 * 1) "The Adoration"
 * 2) "The Rat"
 * 3) "Rest"
 * Three Songs (various poets, 1926)
 * 1) "Love and Friendship" (Emily Brontë)
 * 2) "Friendship in Misfortune" (poet not identified)
 * 3) "The One Hope" (Dante Gabriel Rossetti)
 * Three Songs to Poems by Thomas Hardy (1925)
 * 1) "Summer Schemes"
 * 2) "Her Song"
 * 3) "Weathers"
 * "The Three Ravens" (1920)
 * "There is a Garden in Her Face" (two voices and piano)
 * "Three Variations on 'Cadet Rousselle'" (1919)
 * Two Songs (Eric Thirkell Cooper, 1916)
 * 1) "Blind"
 * 2) "The Cost"
 * Two Songs (Rupert Brooke, 1917–18)
 * 1) "The Soldier"
 * 2) "Blow Out, You Bugles"
 * Two Songs (various poets, 1920)
 * 1) "The Trellis" (Aldous Huxley)
 * 2) "My True Love Hath My Heart" (Sir Philip Sidney)
 * Two Songs (various poets, 1928)
 * 1) "Tryst" (Arthur Symons)
 * 2) "During Music (Dante Gabriel Rossetti)
 * "The Vagabond" (John Masefield, 1922)
 * We'll to the Woods No More (song cycle, A. E. Housman, 1928)
 * 1) "We'll to the Woods No More"
 * 2) "In Boyhood" ("When I would muse in boyhood")
 * 3) "Spring Will Not Wait" ("'Tis time, I think, by Wenlock town")
 * "What Are You Thinking Of?" (1924)
 * "When I Am Dead, My Dearest" (1924)

Chorus and orchestra

 * These Things Shall Be (1937)

Other (unclassified)

 * Brooks Equinox
 * Elegiac Meditation
 * Scherzo & Cortege (1942)

title: John Ireland (composer)


text:
Rebecka Liljeberg

Rebecka Månstråle Liljeberg (born 13 May 1981) is a Swedish former actress who starred in the Swedish film Show Me Love (Fucking Åmål) (1998).

Early life and career
Rebecka was born in the town of Turinge, Sweden to an 18-year-old Swedish mother Kristina, and a 24-year-old Finnish father, Jyrki. Her parents divorced when she was one year old. As a child, she acted at Vår teater, a children's theatre in Stockholm. At the age of nine, Liljeberg won a role in the series Sunes jul. Between 1993 and 1997, she continued in amateur theatre until landing a role in the film Närkontakt later in 1997. The following year, she got her breakthrough in the Lukas Moodysson film Show Me Love (Fucking Åmål) (1998). She quit high school to make the film, which ultimately won her the 1999 Guldbagge Awards for best actress, together with Alexandra Dahlström.

After her roles in Fucking Åmål and Sherdil, Liljeberg began an adult education course in order to graduate from high school. While studying, she also starred in the relatively successful arthouse film Bear's Kiss which was her first and only English-speaking film and dubbed a character in the Swedish version of the IMAX 3D movie T-Rex: Back to the Cretaceous. In 2002, she completed the adult education course, and went on to study medicine at the Karolinska Institutet in Stockholm, one of the largest medical universities in Europe.

Personal life
Liljeberg stopped acting after her film Bear's Kiss (2002) and now works as a doctor after completing her residency at Södersjukhuset in Stockholm. She lives in Stockholm.

Filmography

 * (1991) Sunes jul (television series)
 * (1997) Närkontakt (short film)
 * (1998) Längtans blåa blomma (television series)
 * (1998) Show Me Love (Fucking Åmål)
 * (1998) Lithivm (only production assistant)
 * (1999) Där regnbågen slutar
 * (1999) Sherdil
 * (1999-2000) Eva & Adam (television series)
 * (2000) Skärgårdsdoktorn (television series)
 * (2000) Födelsedagen
 * (2002) Bear's Kiss

Awards and nominations

 * 1999
 * Guldbagge Awards
 * Best Actress in a Leading Role
 * Rebecka Liljeberg
 * Won
 * Won

title: Rebecka Liljeberg


text:
Ordered exponential

The ordered exponential, also called the path-ordered exponential, is a mathematical operation defined in non-commutative algebras, equivalent to the exponential of the integral in the commutative algebras. In practice the ordered exponential is used in matrix and operator algebras. It is a kind of product integral, or Volterra integral.

Definition
Let $A$ be an algebra over a field $K$, and $a(t)$ be an element of $A$ parameterized by the real numbers,
 * $$a : \R \to A. $$

The parameter $t$ in $a(t)$ is often referred to as the time parameter in this context.

The ordered exponential of $a$ is denoted
 * $$\begin{align}

\operatorname{OE}[a](t) \equiv \mathcal{T} \left\{e^{\int_0^t a(t') \, dt'}\right\} & \equiv \sum_{n = 0}^\infty \frac{1}{n!} \int_0^t dt'_1 \cdots \int_0^t dt'_n \; \mathcal{T} \left\{a(t'_1) \cdots a(t'_n)\right\} \\ & = \sum_{n = 0}^\infty \int_0^t dt'_1 \int_0^{t'_1} dt'_2 \int_0^{t'_2}dt'_3 \cdots \int_0^{t'_{n-1}} dt'_n \; a(t'_n) \cdots a(t'_1) \end{align}$$

where the term $n = 0$ is equal to 1 and where $$\mathcal{T}$$ is the time-ordering operator. It is a higher-order operation that ensures the exponential is time-ordered, so that any product of $a(t)$ that occurs in the expansion of the exponential is ordered such that the value of $t$ is increasing from right to left of the product. For example:
 * $$\mathcal{T} \left\{a(1.2) a(9.5) a(4.1)\right\} = a(9.5) a(4.1) a(1.2).$$

Time ordering is required, as products in the algebra are not necessarily commutative.

The operation maps a parameterized element onto another parameterized element, or symbolically,
 * $$\operatorname{OE} \mathrel{:} (\R \to A) \to (\R \to A). $$

There are various ways to define this integral more rigorously.

Product of exponentials
The ordered exponential can be defined as the left product integral of the infinitesimal exponentials, or equivalently, as an ordered product of exponentials in the limit as the number of terms grows to infinity:
 * $$\operatorname{OE}[a](t) = \prod_0^t e^{a(t') \, dt'} \equiv

\lim_{N \to \infty} \left(     e^{a(t_N) \, \Delta t} e^{a(t_{N-1}) \, \Delta t} \cdots      e^{a(t_1) \, \Delta t} e^{a(t_0) \, \Delta t}    \right) $$

where the time moments $\{t_{0}, ..., t_{N}\}$ are defined as $t_{i} ≡ i Δt$ for $i = 0, ..., N$, and $Δt ≡ t / N$.

The ordered exponential is in fact a geometric integral.

Solution to a differential equation
The ordered exponential is unique solution of the initial value problem:
 * $$\begin{align}

\frac{d}{d t} \operatorname{OE}[a](t) &= a(t) \operatorname{OE}[a](t), \\[5pt] \operatorname{OE}[a](0) &= 1. \end{align}$$

Solution to an integral equation
The ordered exponential is the solution to the integral equation:
 * $$\operatorname{OE}[a](t) = 1 + \int_0^t a(t') \operatorname{OE}[a](t') \, dt'. $$

This equation is equivalent to the previous initial value problem.

Infinite series expansion
The ordered exponential can be defined as an infinite sum,
 * $$\operatorname{OE}[a](t) = 1 + \int_0^t a(t_1) \, dt_1+ \int_0^t dt_1 \int_0^{t_1} dt_2 \; a(t_1) a(t_2) + \cdots.$$

This can be derived by recursively substituting the integral equation into itself.

Example
Given a manifold $$M$$ where for a $$e \in TM$$ with group transformation $$g: e \mapsto g e$$ it holds at a point $$x \in M$$:

 * $$de(x) + \operatorname{J}(x)e(x) = 0.$$

Here, $$d$$ denotes exterior differentiation and $$\operatorname{J}(x)$$ is the connection operator (1-form field) acting on $$e(x)$$. When integrating above equation it holds (now, $$\operatorname{J}(x)$$ is the connection operator expressed in a coordinate basis)

 * $$e(y) = \operatorname{P} \exp \left(- \int_x^y J(\gamma (t)) \gamma '(t) \, dt \right) e(x)$$

with the path-ordering operator $$\operatorname{P}$$ that orders factors in order of the path $$\gamma(t) \in M$$. For the special case that $$\operatorname{J}(x)$$ is an antisymmetric operator and $$\gamma$$ is an infinitesimal rectangle with edge lengths $$|u|,|v|$$ and corners at points $$x,x+u,x+u+v,x+v,$$ above expression simplifies as follows :

\begin{align} & \operatorname{OE}[- \operatorname{J}]e(x) \\[5pt] = {} & \exp [- \operatorname{J}(x+v) (-v)] \exp [- \operatorname{J}(x+u+v) (-u)] \exp [- \operatorname{J}(x+u) v] \exp [- \operatorname{J}(x) u] e(x) \\[5pt] = {} & [1 - \operatorname{J}(x+v) (-v)][1 - \operatorname{J}(x+u+v) (-u)][1 - \operatorname{J}(x+u) v][1 - \operatorname{J}(x) u] e(x). \end{align} $$

Hence, it holds the group transformation identity $$\operatorname{OE}[- \operatorname{J}] \mapsto g \operatorname{OE}[\operatorname{J}] g^{-1}$$. If $$- \operatorname{J}(x)$$ is a smooth connection, expanding above quantity to second order in infinitesimal quantities $$|u|,|v|$$ one obtains for the ordered exponential the identity with a correction term that is proportional to the curvature tensor.

title: Ordered exponential


text:
Tensor field

In mathematics and physics, a tensor field assigns a tensor to each point of a mathematical space (typically a Euclidean space or manifold). Tensor fields are used in differential geometry, algebraic geometry, general relativity, in the analysis of stress and strain in materials, and in numerous applications in the physical sciences. As a tensor is a generalization of a scalar (a pure number representing a value, for example speed) and a vector (a pure number plus a direction, like velocity), a tensor field is a generalization of a scalar field or vector field that assigns, respectively, a scalar or vector to each point of space. If a tensor $A$ is defined on a vector fields set $X(M)$ over a module $M$, we call $A$ a tensor field on $M$.

Many mathematical structures called "tensors" are also tensor fields. For example, the Riemann curvature tensor is a tensor field as it associates a tensor to each point of a Riemannian manifold, which is a topological space.

Definition
Let M be a manifold, for instance the Euclidean plane Rn.

"Definition. A tensor field of type (p, q) is a section

T\ \in\ \Gamma(M, V^{\otimes p}\otimes (V^*)^{\otimes q}) $ where V is a vector bundle on M, V* is its dual and ⊗ is the tensor product of vector bundles."

Equivalently, it is a collection of elements Tx ∈ Vx⊗p ⊗ (Vx*)⊗q for all points x ∈ M, arranging into a smooth map T : M →  V⊗p ⊗ (V*)⊗q. Elements Tx are called tensors.

Often we take V = TM to be the tangent bundle of M.

Geometric introduction
Intuitively, a vector field is best visualized as an "arrow" attached to each point of a region, with variable length and direction. One example of a vector field on a curved space is a weather map showing horizontal wind velocity at each point of the Earth's surface.

Now consider more complicated fields. For example, if the manifold is Riemannian, then it has a metric field $$g$$, such that given any two vectors $$v, w$$ at point $$x$$, their inner product is $$g_x(v, w)$$. The field $$g$$ could be given in matrix form, but it depends on a choice of coordinates. It could instead be given as an ellipsoid of radius 1 at each point, which is coordinate-free. Applied to the Earth's surface, this is Tissot's indicatrix.

In general, we want to specify tensor fields in a coordinate-independent way: It should exist independently of latitude and longitude, or whatever particular "cartographic projection" we are using to introduce numerical coordinates.

Via coordinate transitions
Following and, the concept of a tensor relies on a concept of a reference frame (or coordinate system), which may be fixed (relative to some background reference frame), but in general may be allowed to vary within some class of transformations of these coordinate systems.

For example, coordinates belonging to the n-dimensional real coordinate space $$\R^n$$ may be subjected to arbitrary affine transformations:
 * $$x^k\mapsto A^k_jx^j + a^k$$

(with n-dimensional indices, summation implied). A covariant vector, or covector, is a system of functions $$v_k$$ that transforms under this affine transformation by the rule
 * $$v_k\mapsto v_iA^i_k.$$

The list of Cartesian coordinate basis vectors $$\mathbf e_k$$ transforms as a covector, since under the affine transformation $$\mathbf e_k\mapsto A^i_k\mathbf e_i$$. A contravariant vector is a system of functions $$v^k$$ of the coordinates that, under such an affine transformation undergoes a transformation
 * $$v^k\mapsto (A^{-1})^k_jv^j.$$

This is precisely the requirement needed to ensure that the quantity $$v^k\mathbf e_k$$ is an invariant object that does not depend on the coordinate system chosen. More generally, a tensor of valence (p,q) has p downstairs indices and q upstairs indices, with the transformation law being
 * $${T_{i_1\cdots i_p}}^{j_1\cdots j_q}\mapsto A^{i'_1}_{i_1}\cdots A^{i'_p}_{i_p}{T_{i'_1\cdots i'_p}}^{j'_1\cdots j'_q}(A^{-1})^{j_1}_{j'_1}\cdots (A^{-1})^{j_q}_{j'_q}.$$

The concept of a tensor field may be obtained by specializing the allowed coordinate transformations to be smooth (or differentiable, analytic, etc.). A covector field is a function $$v_k$$ of the coordinates that transforms by the Jacobian of the transition functions (in the given class). Likewise, a contravariant vector field $$v^k$$ transforms by the inverse Jacobian.

Tensor bundles
A tensor bundle is a fiber bundle where the fiber is a tensor product of any number of copies of the tangent space and/or cotangent space of the base space, which is a manifold. As such, the fiber is a vector space and the tensor bundle is a special kind of vector bundle.

The vector bundle is a natural idea of "vector space depending continuously (or smoothly) on parameters" – the parameters being the points of a manifold M. For example, a vector space of one dimension depending on an angle could look like a Möbius strip or alternatively like a cylinder. Given a vector bundle V over M, the corresponding field concept is called a section of the bundle: for m varying over M, a choice of vector

 * vm in Vm,

where Vm is the vector space "at" m.

Since the tensor product concept is independent of any choice of basis, taking the tensor product of two vector bundles on M is routine. Starting with the tangent bundle (the bundle of tangent spaces) the whole apparatus explained at component-free treatment of tensors carries over in a routine way – again independently of coordinates, as mentioned in the introduction.

We therefore can give a definition of tensor field, namely as a section of some tensor bundle. (There are vector bundles that are not tensor bundles: the Möbius band for instance.) This is then guaranteed geometric content, since everything has been done in an intrinsic way. More precisely, a tensor field assigns to any given point of the manifold a tensor in the space

 * $$V \otimes \cdots \otimes V \otimes V^* \otimes \cdots  \otimes V^* ,$$

where V is the tangent space at that point and V∗ is the cotangent space. See also tangent bundle and cotangent bundle.

Given two tensor bundles E → M and F → M, a linear map A: Γ(E) → Γ(F) from the space of sections of E to sections of F can be considered itself as a tensor section of $$\scriptstyle E^*\otimes F$$ if and only if it satisfies A(fs) = fA(s), for each section s in Γ(E) and each smooth function f on M. Thus a tensor section is not only a linear map on the vector space of sections, but a C∞(M)-linear map on the module of sections. This property is used to check, for example, that even though the Lie derivative and covariant derivative are not tensors, the torsion and curvature tensors built from them are.

Notation
The notation for tensor fields can sometimes be confusingly similar to the notation for tensor spaces. Thus, the tangent bundle TM = T(M) might sometimes be written as
 * $$T_0^1(M)=T(M) =TM $$

to emphasize that the tangent bundle is the range space of the (1,0) tensor fields (i.e., vector fields) on the manifold M. This should not be confused with the very similar looking notation

 * $$T_0^1(V)$$;

in the latter case, we just have one tensor space, whereas in the former, we have a tensor space defined for each point in the manifold M.

Curly (script) letters are sometimes used to denote the set of infinitely-differentiable tensor fields on M. Thus,
 * $$\mathcal{T}^m_n(M)$$

are the sections of the (m,n) tensor bundle on M that are infinitely-differentiable. A tensor field is an element of this set.

Tensor fields as multilinear forms
There is another more abstract (but often useful) way of characterizing tensor fields on a manifold M, which makes tensor fields into honest tensors (i.e. single multilinear mappings), though of a different type (although this is not usually why one often says "tensor" when one really means "tensor field"). First, we may consider the set of all smooth (C∞) vector fields on M, $$\mathfrak{X}(M):=\mathcal T^1_0(M)$$ (see the section on notation above) as a single space — a module over the ring of smooth functions, C∞(M), by pointwise scalar multiplication. The notions of multilinearity and tensor products extend easily to the case of modules over any commutative ring.

As a motivating example, consider the space $$\Omega^1(M)=\mathcal{T}^0_1(M)$$ of smooth covector fields (1-forms), also a module over the smooth functions. These act on smooth vector fields to yield smooth functions by pointwise evaluation, namely, given a covector field ω and a vector field X, we define

 * $$\tilde{\omega}(X)(p):=\omega(p)(X(p)).$$

Because of the pointwise nature of everything involved, the action of $$\tilde \omega $$ on X is a C∞(M)-linear map, that is,

 * $$\tilde \omega(fX)(p)=\omega(p)((fX)(p))=\omega(p)(f(p)X(p))=f(p)\omega(p)(X(p))=(f\omega)(p)(X(p))=(f\tilde \omega)(X)(p)$$

for any p in M and smooth function f. Thus we can regard covector fields not just as sections of the cotangent bundle, but also linear mappings of vector fields into functions. By the double-dual construction, vector fields can similarly be expressed as mappings of covector fields into functions (namely, we could start "natively" with covector fields and work up from there).

In a complete parallel to the construction of ordinary single tensors (not tensor fields!) on M as multilinear maps on vectors and covectors, we can regard general (k,l) tensor fields on M  as  C∞(M)-multilinear maps defined on k copies of $$\mathfrak{X}(M)$$ and l copies of $$\Omega^1(M)$$ into C∞(M).

Now, given any arbitrary mapping T from a product of k copies of $$\mathfrak{X}(M)$$ and l copies of $$\Omega^1(M)$$ into C∞(M), it turns out that it arises from a tensor field on M if and only if it is multilinear over C∞(M). Namely $$C^\infty (M)$$-module of tensor fields of type $$(k,l)$$ over M is canonically isomorphic to $$C^\infty (M)$$-module of $$C^\infty (M)$$-multilinear forms
 * $$\underbrace{\Omega^1(M) \times \ldots \times \Omega^1(M)}_{l\ \mathrm{times}} \times \underbrace{ \mathfrak X(M)\times \ldots \times \mathfrak X(M)}_{k\ \mathrm{times}} \to C^ \infty (M).$$

This kind of multilinearity implicitly expresses the fact that we're really dealing with a pointwise-defined object, i.e. a tensor field, as opposed to a function which, even when evaluated at a single point, depends on all the values of vector fields and 1-forms simultaneously.

A frequent example application of this general rule is showing that the Levi-Civita connection, which is a mapping of smooth vector fields $$(X,Y) \mapsto \nabla_{X} Y$$ taking a pair of vector fields to a vector field, does not define a tensor field on M. This is because it is only $$\mathbb R$$-linear in Y (in place of full C∞(M)-linearity, it satisfies the Leibniz rule, $$\nabla_{X}(fY) = (Xf) Y +f \nabla_X Y$$)). Nevertheless, it must be stressed that even though it is not a tensor field, it still qualifies as a geometric object with a component-free interpretation.

Applications
The curvature tensor is discussed in differential geometry and the stress–energy tensor is important in physics, and these two tensors are related by Einstein's theory of general relativity.

In electromagnetism, the electric and magnetic fields are combined into an electromagnetic tensor field.

It is worth noting that differential forms, used in defining integration on manifolds, are a type of tensor field.

Tensor calculus
In theoretical physics and other fields, differential equations posed in terms of tensor fields provide a very general way to express relationships that are both geometric in nature (guaranteed by the tensor nature) and conventionally linked to differential calculus. Even to formulate such equations requires a fresh notion, the covariant derivative. This handles the formulation of variation of a tensor field along a vector field. The original absolute differential calculus notion, which was later called tensor calculus, led to the isolation of the geometric concept of connection.

Twisting by a line bundle
An extension of the tensor field idea incorporates an extra line bundle L on M. If W is the tensor product bundle of V with L, then W is a bundle of vector spaces of just the same dimension as V. This allows one to define the concept of tensor density, a 'twisted' type of tensor field. A tensor density is the special case where L is the bundle of densities on a manifold, namely the determinant bundle of the cotangent bundle. (To be strictly accurate, one should also apply the absolute value to the transition functions – this makes little difference for an orientable manifold.) For a more traditional explanation see the tensor density article.

One feature of the bundle of densities (again assuming orientability) L is that Ls is well-defined for real number values of s; this can be read from the transition functions, which take strictly positive real values. This means for example that we can take a half-density, the case where s = $1⁄2$. In general we can take sections of W, the tensor product of V with Ls, and consider tensor density fields with weight s.

Half-densities are applied in areas such as defining integral operators on manifolds, and geometric quantization.

The flat case
When M is a Euclidean space and all the fields are taken to be invariant by translations by the vectors of M, we get back to a situation where a tensor field is synonymous with a tensor 'sitting at the origin'. This does no great harm, and is often used in applications. As applied to tensor densities, it does make a difference. The bundle of densities cannot seriously be defined 'at a point'; and therefore a limitation of the contemporary mathematical treatment of tensors is that tensor densities are defined in a roundabout fashion.

Cocycles and chain rules
As an advanced explanation of the tensor concept, one can interpret the chain rule in the multivariable case, as applied to coordinate changes, also as the requirement for self-consistent concepts of tensor giving rise to tensor fields.

Abstractly, we can identify the chain rule as a 1-cocycle. It gives the consistency required to define the tangent bundle in an intrinsic way. The other vector bundles of tensors have comparable cocycles, which come from applying functorial properties of tensor constructions to the chain rule itself; this is why they also are intrinsic (read, 'natural') concepts.

What is usually spoken of as the 'classical' approach to tensors tries to read this backwards – and is therefore a heuristic, post hoc approach rather than truly a foundational one. Implicit in defining tensors by how they transform under a coordinate change is the kind of self-consistency the cocycle expresses. The construction of tensor densities is a 'twisting' at the cocycle level. Geometers have not been in any doubt about the geometric nature of tensor quantities; this kind of descent argument justifies abstractly the whole theory.

Tensor densities
The concept of a tensor field can be generalized by considering objects that transform differently. An object that transforms as an ordinary tensor field under coordinate transformations, except that it is also multiplied by the determinant of the Jacobian of the inverse coordinate transformation to the wth power, is called a tensor density with weight w. Invariantly, in the language of multilinear algebra, one can think of tensor densities as multilinear maps taking their values in a density bundle such as the (1-dimensional) space of n-forms (where n is the dimension of the space), as opposed to taking their values in just R. Higher "weights" then just correspond to taking additional tensor products with this space in the range.

A special case are the scalar densities. Scalar 1-densities are especially important because it makes sense to define their integral over a manifold. They appear, for instance, in the Einstein–Hilbert action in general relativity. The most common example of a scalar 1-density is the volume element, which in the presence of a metric tensor g is the square root of its determinant in coordinates, denoted $$\sqrt{\det g}$$. The metric tensor is a covariant tensor of order 2, and so its determinant scales by the square of the coordinate transition:
 * $$\det(g') = \left(\det\frac{\partial x}{\partial x'}\right)^2\det(g),$$

which is the transformation law for a scalar density of weight +2.

More generally, any tensor density is the product of an ordinary tensor with a scalar density of the appropriate weight. In the language of vector bundles, the determinant bundle of the tangent bundle is a line bundle that can be used to 'twist' other bundles w times. While locally the more general transformation law can indeed be used to recognise these tensors, there is a global question that arises, reflecting that in the transformation law one may write either the Jacobian determinant, or its absolute value. Non-integral powers of the (positive) transition functions of the bundle of densities make sense, so that the weight of a density, in that sense, is not restricted to integer values. Restricting to changes of coordinates with positive Jacobian determinant is possible on orientable manifolds, because there is a consistent global way to eliminate the minus signs; but otherwise the line bundle of densities and the line bundle of n-forms are distinct. For more on the intrinsic meaning, see density on a manifold.

title: Tensor field