Portal:The arts

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T H E   A R T S   P O R T A L

The arts are a very wide range of human practices of creative expression, storytelling and cultural participation. They encompass multiple diverse and plural modes of thinking, doing and being, in an extremely broad range of media. Both highly dynamic and a characteristically constant feature of human life, they have developed into innovative, stylized and sometimes intricate forms. This is often achieved through sustained and deliberate study, training and/or theorizing within a particular tradition, across generations and even between civilizations. The arts are a vehicle through which human beings cultivate distinct social, cultural and individual identities, while transmitting values, impressions, judgments, ideas, visions, spiritual meanings, patterns of life and experiences across time and space.

Prominent examples of the arts include:

They can employ skill and imagination to produce objects, performances, convey insights and experiences, and construct new environments and spaces.

The arts can refer to common, popular or everyday practices as well as more sophisticated and systematic, or institutionalized ones. They can be discrete and self-contained, or combine and interweave with other art forms, such as the combination of artwork with the written word in comics. They can also develop or contribute to some particular aspect of a more complex art form, as in cinematography. By definition, the arts themselves are open to being continually re-defined. The practice of modern art, for example, is a testament to the shifting boundaries, improvisation and experimentation, reflexive nature, and self-criticism or questioning that art and its conditions of production, reception, and possibility can undergo.

As both a means of developing capacities of attention and sensitivity, and as ends in themselves, the arts can simultaneously be a form of response to the world, and a way that our responses, and what we deem worthwhile goals or pursuits, are transformed. From prehistoric cave paintings, to ancient and contemporary forms of ritual, to modern-day films, art has served to register, embody and preserve our ever shifting relationships to each other and to the world. (Full article...)

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Cscr-featured.png  Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 Ravel in 1925 Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the conservatoire, Ravel found his own way as a composer, developing a style of great clarity and incorporating elements of modernism, baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of development. Renowned for his abilities in orchestration, Ravel made some orchestral arrangements of other composers' piano music, of which his 1922 version of Mussorgsky's Pictures at an Exhibition is the best known. (Full article...)
    slender, middle-aged man, clean-shaven with full head of hair, seen in profile
    Ravel in 1925


    Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer.

    Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the conservatoire, Ravel found his own way as a composer, developing a style of great clarity and incorporating elements of modernism, baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of development. Renowned for his abilities in orchestration, Ravel made some orchestral arrangements of other composers' piano music, of which his 1922 version of Mussorgsky's Pictures at an Exhibition is the best known. (Full article...)
  • Image 2 The Royal Opera House, home of The Royal Opera The Royal Opera is a British opera company based in central London, resident at the Royal Opera House in Covent Garden. Along with the English National Opera, it is one of the two principal opera companies in London. Founded in 1946 as the Covent Garden Opera Company, the company had that title until 1968. It brought a long annual season and consistent management to a house that had previously hosted short seasons under a series of impresarios. Since its inception, it has shared the Royal Opera House with the dance company now known as The Royal Ballet. When the company was formed, its policy was to perform all works in English, but since the late 1950s most operas have been performed in their original language. From the outset, performers have comprised a mixture of British and Commonwealth singers and international guest stars, but fostering the careers of singers from within the company was a consistent policy of the early years. Among the many guest performers have been Maria Callas, Plácido Domingo, Kirsten Flagstad, Hans Hotter, Birgit Nilsson, Luciano Pavarotti and Elisabeth Schwarzkopf. Among those who have risen to international prominence from the ranks of the company are Geraint Evans, Joan Sutherland, Kiri Te Kanawa and Jon Vickers. (Full article...)
    exterior of a neo-classical theatre
    The Royal Opera House, home of The Royal Opera

    The Royal Opera is a British opera company based in central London, resident at the Royal Opera House in Covent Garden. Along with the English National Opera, it is one of the two principal opera companies in London. Founded in 1946 as the Covent Garden Opera Company, the company had that title until 1968. It brought a long annual season and consistent management to a house that had previously hosted short seasons under a series of impresarios. Since its inception, it has shared the Royal Opera House with the dance company now known as The Royal Ballet.

    When the company was formed, its policy was to perform all works in English, but since the late 1950s most operas have been performed in their original language. From the outset, performers have comprised a mixture of British and Commonwealth singers and international guest stars, but fostering the careers of singers from within the company was a consistent policy of the early years. Among the many guest performers have been Maria Callas, Plácido Domingo, Kirsten Flagstad, Hans Hotter, Birgit Nilsson, Luciano Pavarotti and Elisabeth Schwarzkopf. Among those who have risen to international prominence from the ranks of the company are Geraint Evans, Joan Sutherland, Kiri Te Kanawa and Jon Vickers. (Full article...)
  • Image 3 Portrait by Johann Georg Ziesenis, 1763. Frederick II (German: Friedrich II.; 24 January 1712 – 17 August 1786) was King in Prussia from 1740 until 1772, and King of Prussia from 1772 until his death in 1786. His most significant accomplishments include his military successes in the Silesian wars, his re-organisation of the Prussian Army, the First Partition of Poland, and his patronage of the arts and the Enlightenment. Frederick was the last Hohenzollern monarch titled King in Prussia, declaring himself King of Prussia after annexing Royal Prussia from the Polish–Lithuanian Commonwealth in 1772. Prussia greatly increased its territories and became a major military power in Europe under his rule. He became known as Frederick the Great (German: Friedrich der Große) and was nicknamed "Old Fritz" (German: "Der Alte Fritz"). In his youth, Frederick was more interested in music and philosophy than in the art of war, which led to clashes with his authoritarian father, Frederick William I of Prussia. However, upon ascending to the Prussian throne, he attacked and annexed the rich Austrian province of Silesia in 1742, winning military acclaim for himself and Prussia. He became an influential military theorist whose analyses emerged from his extensive personal battlefield experience and covered issues of strategy, tactics, mobility and logistics. (Full article...)
    Friedrich der Große - Johann Georg Ziesenis - Google Cultural Institute (cropped 2).jpg
    Portrait by Johann Georg Ziesenis, 1763.

    Frederick II (German: Friedrich II.; 24 January 1712 – 17 August 1786) was King in Prussia from 1740 until 1772, and King of Prussia from 1772 until his death in 1786. His most significant accomplishments include his military successes in the Silesian wars, his re-organisation of the Prussian Army, the First Partition of Poland, and his patronage of the arts and the Enlightenment. Frederick was the last Hohenzollern monarch titled King in Prussia, declaring himself King of Prussia after annexing Royal Prussia from the Polish–Lithuanian Commonwealth in 1772. Prussia greatly increased its territories and became a major military power in Europe under his rule. He became known as Frederick the Great (German: Friedrich der Große) and was nicknamed "Old Fritz" (German: "Der Alte Fritz").

    In his youth, Frederick was more interested in music and philosophy than in the art of war, which led to clashes with his authoritarian father, Frederick William I of Prussia. However, upon ascending to the Prussian throne, he attacked and annexed the rich Austrian province of Silesia in 1742, winning military acclaim for himself and Prussia. He became an influential military theorist whose analyses emerged from his extensive personal battlefield experience and covered issues of strategy, tactics, mobility and logistics. (Full article...)
  • Image 4 Kaze to Ki no Uta (Japanese: 風と木の詩, lit. "The Poem of Wind and Trees" or "The Song of Wind and Trees") is a Japanese manga series written and illustrated by Keiko Takemiya. It was serialized in the manga magazine Shūkan Shōjo Comic from 1976 to 1980, and in the manga magazine Petit Flower from 1981 to 1984. One of the earliest works in the shōnen-ai (male–male romance) genre, Kaze to Ki no Uta follows the tragic romance between Gilbert Cocteau and Serge Battour, two students at an all-boys boarding school in late 19th-century France. The series was developed and published amid a significant transitional period for shōjo manga (manga for girls), as the medium shifted from an audience composed primarily of children to an audience of adolescents and young adults. This shift was characterized by the emergence of narratively more complex stories focused on politics, psychology, and sexuality, and came to be embodied by a new generation of shōjo manga artists collectively referred to as the Year 24 Group, of which Takemiya was a member. The mature subject material of Kaze to Ki no Uta and its focus on themes of sadomasochism, incest, and rape were controversial for shōjo manga of the 1970s; it took nearly seven years from Takemiya's initial conceptualization of the story for her editors at the publishing company Shogakukan to agree to publish it. (Full article...)
    Kaze to Ki no Uta (Japanese: 風と木の詩, lit. "The Poem of Wind and Trees" or "The Song of Wind and Trees") is a Japanese manga series written and illustrated by Keiko Takemiya. It was serialized in the manga magazine Shūkan Shōjo Comic from 1976 to 1980, and in the manga magazine Petit Flower from 1981 to 1984. One of the earliest works in the shōnen-ai (male–male romance) genre, Kaze to Ki no Uta follows the tragic romance between Gilbert Cocteau and Serge Battour, two students at an all-boys boarding school in late 19th-century France.

    The series was developed and published amid a significant transitional period for shōjo manga (manga for girls), as the medium shifted from an audience composed primarily of children to an audience of adolescents and young adults. This shift was characterized by the emergence of narratively more complex stories focused on politics, psychology, and sexuality, and came to be embodied by a new generation of shōjo manga artists collectively referred to as the Year 24 Group, of which Takemiya was a member. The mature subject material of Kaze to Ki no Uta and its focus on themes of sadomasochism, incest, and rape were controversial for shōjo manga of the 1970s; it took nearly seven years from Takemiya's initial conceptualization of the story for her editors at the publishing company Shogakukan to agree to publish it. (Full article...)
  • Image 5 "Faces" is an episode of the American science fiction television series Star Trek: Voyager. Set in the 24th century, the series follows the adventures of the Starfleet and Maquis crew of the starship USS Voyager after they are stranded in the Delta Quadrant, far from the rest of the Federation. The 14th episode of the first season, first broadcast by UPN on May 8, 1995, "Faces", was developed from a story by Jonathan Glassner and Kenneth Biller. Biller also wrote the teleplay, which was directed by Winrich Kolbe. In this episode, a Vidiian scientist named Sulan (Brian Markinson) captures and performs medical experiments on the half-Klingon, half-human B'Elanna Torres (Roxann Dawson). He separates her into a full-blooded Klingon and a full-blooded human to find a cure for a disease, known as the Phage. The Voyager crew rescues Torres and restores her to her original state, while she attempts to reconcile with her identity as a half-human half-Klingon. The episode guest stars Rob LaBelle as an unnamed Talaxian prisoner. Actress Joy Kilpatrick was cast as Dawson's photo double to avoid a reliance on split screen. (Full article...)
    "Faces" is an episode of the American science fiction television series Star Trek: Voyager. Set in the 24th century, the series follows the adventures of the Starfleet and Maquis crew of the starship USS Voyager after they are stranded in the Delta Quadrant, far from the rest of the Federation. The 14th episode of the first season, first broadcast by UPN on May 8, 1995, "Faces", was developed from a story by Jonathan Glassner and Kenneth Biller. Biller also wrote the teleplay, which was directed by Winrich Kolbe.

    In this episode, a Vidiian scientist named Sulan (Brian Markinson) captures and performs medical experiments on the half-Klingon, half-human B'Elanna Torres (Roxann Dawson). He separates her into a full-blooded Klingon and a full-blooded human to find a cure for a disease, known as the Phage. The Voyager crew rescues Torres and restores her to her original state, while she attempts to reconcile with her identity as a half-human half-Klingon. The episode guest stars Rob LaBelle as an unnamed Talaxian prisoner. Actress Joy Kilpatrick was cast as Dawson's photo double to avoid a reliance on split screen. (Full article...)
  • Image 6 Title page of the first edition, volume 1 Seventy-Six is a historical fiction novel by American writer John Neal. Published in Baltimore in 1823, it is the fourth novel written about the American Revolutionary War. Historically distinguished for its pioneering use of colloquial language, Yankee dialect, battle scene realism, high characterization, stream of consciousness narrative, profanity, and depictions of sex and romance, the novel foreshadowed and influenced later American writers. The narrative prose resembles spoken American English more than any other literature of its period. It was the first work of American fiction to use the phrase son-of-a-bitch. The story is told by Continental Army soldier Jonathan Oadley and follows multiple love stories that interweave with battle scenes and the overall progress of the war. It explores male pain and self-loathing resulting from violent acts committed in war and duels. A response to James Fenimore Cooper's The Spy (1821) and inspired by Neal's work on A History of the American Revolution (1819), the novel was written over twenty-seven days in early 1822. It was generally well received at publication, raised Neal's national status as an author, and is considered by some scholars and the author himself to be his best novel, though consensus among scholars is that the book is more of a failure in construction than it is a success in style. It was largely forgotten by the 20th century. (Full article...)
    Seventy-Six by John Neal volume 1 first edition (1823) Title Page.jpg
    Title page of the first edition, volume 1

    Seventy-Six is a historical fiction novel by American writer John Neal. Published in Baltimore in 1823, it is the fourth novel written about the American Revolutionary War. Historically distinguished for its pioneering use of colloquial language, Yankee dialect, battle scene realism, high characterization, stream of consciousness narrative, profanity, and depictions of sex and romance, the novel foreshadowed and influenced later American writers. The narrative prose resembles spoken American English more than any other literature of its period. It was the first work of American fiction to use the phrase son-of-a-bitch.

    The story is told by Continental Army soldier Jonathan Oadley and follows multiple love stories that interweave with battle scenes and the overall progress of the war. It explores male pain and self-loathing resulting from violent acts committed in war and duels. A response to James Fenimore Cooper's The Spy (1821) and inspired by Neal's work on A History of the American Revolution (1819), the novel was written over twenty-seven days in early 1822. It was generally well received at publication, raised Neal's national status as an author, and is considered by some scholars and the author himself to be his best novel, though consensus among scholars is that the book is more of a failure in construction than it is a success in style. It was largely forgotten by the 20th century. (Full article...)
  • Image 7 The ruins of Santa María de Óvila in Spain, shown more than 75 years after the most striking architectural features were removed by agents of William Randolph Hearst Santa María de Óvila is a former Cistercian monastery built in Spain beginning in 1181 on the Tagus River near Trillo, Guadalajara, about 90 miles (140 km) northeast of Madrid. During prosperous times over the next four centuries, construction projects expanded and improved the small monastery. Its fortunes declined significantly in the 18th century, and in 1835 it was confiscated by the Spanish government and sold to private owners who used its buildings to shelter farm animals. American publisher William Randolph Hearst bought parts of the monastery in 1931 with the intention of using its stones in the construction of a grand and fanciful castle at Wyntoon, California, but after some 10,000 stones were removed and shipped, they were abandoned in San Francisco for decades. These stones are now in various locations around California: the old church portal was erected at the University of San Francisco, and the chapter house was reassembled by Trappist monks at the Abbey of New Clairvaux in Vina, California. Other stones are serving as simple decorative elements in Golden Gate Park's botanical garden. To support the chapter house project, a line of Belgian-style beers was produced by Sierra Nevada Brewing Company under the Ovila Abbey brand. (Full article...)
    Santa Maria de Ovila actualidad.jpg
    The ruins of Santa María de Óvila in Spain, shown more than 75 years after the most striking architectural features were removed by agents of William Randolph Hearst

    Santa María de Óvila is a former Cistercian monastery built in Spain beginning in 1181 on the Tagus River near Trillo, Guadalajara, about 90 miles (140 km) northeast of Madrid. During prosperous times over the next four centuries, construction projects expanded and improved the small monastery. Its fortunes declined significantly in the 18th century, and in 1835 it was confiscated by the Spanish government and sold to private owners who used its buildings to shelter farm animals.

    American publisher William Randolph Hearst bought parts of the monastery in 1931 with the intention of using its stones in the construction of a grand and fanciful castle at Wyntoon, California, but after some 10,000 stones were removed and shipped, they were abandoned in San Francisco for decades. These stones are now in various locations around California: the old church portal was erected at the University of San Francisco, and the chapter house was reassembled by Trappist monks at the Abbey of New Clairvaux in Vina, California. Other stones are serving as simple decorative elements in Golden Gate Park's botanical garden. To support the chapter house project, a line of Belgian-style beers was produced by Sierra Nevada Brewing Company under the Ovila Abbey brand. (Full article...)
  • Image 8 Grainger in 1919 Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms. (Full article...)
    Percygraingercrop.jpg
    Grainger in 1919

    Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".

    Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms. (Full article...)
  • Image 9 "Did You Hear What Happened to Charlotte King?" is the seventh episode of the fourth season of the American television medical drama Private Practice and the show's 61st episode overall. Written by Shonda Rhimes and directed by Allison Liddi-Brown, the episode was originally broadcast on ABC in the United States on November 4, 2010. Private Practice centers on a group of young doctors working in a private medical practice, and this episode deals with the immediate aftermath of Charlotte King's rape. The episode, written in collaboration with the Rape, Abuse & Incest National Network (RAINN), revolved around KaDee Strickland's character, Charlotte, and was intended to accurately portray a victim's recovery from rape. Nicholas Brendon guest-starred as Lee McHenry, and Blue Deckert appeared as detective Joe Price. "Did You Hear What Happened to Charlotte King?" earned Rhimes, Strickland, and the series several awards and nominations and was well received by critics, with Strickland's character and performance praised. The initial broadcast was viewed by 10.18 million people, received a 3.9/11 Nielsen rating/share in the 18–49 demographic, and had the fifth-highest number of viewers that night. (Full article...)
    "Did You Hear What Happened to Charlotte King?" is the seventh episode of the fourth season of the American television medical drama Private Practice and the show's 61st episode overall. Written by Shonda Rhimes and directed by Allison Liddi-Brown, the episode was originally broadcast on ABC in the United States on November 4, 2010. Private Practice centers on a group of young doctors working in a private medical practice, and this episode deals with the immediate aftermath of Charlotte King's rape.

    The episode, written in collaboration with the Rape, Abuse & Incest National Network (RAINN), revolved around KaDee Strickland's character, Charlotte, and was intended to accurately portray a victim's recovery from rape. Nicholas Brendon guest-starred as Lee McHenry, and Blue Deckert appeared as detective Joe Price. "Did You Hear What Happened to Charlotte King?" earned Rhimes, Strickland, and the series several awards and nominations and was well received by critics, with Strickland's character and performance praised. The initial broadcast was viewed by 10.18 million people, received a 3.9/11 Nielsen rating/share in the 18–49 demographic, and had the fifth-highest number of viewers that night. (Full article...)
  • Image 10 1922 self-portrait George Joseph Herriman III (August 22, 1880 – April 25, 1944) was an American cartoonist best known for the comic strip Krazy Kat (1913–1944). More influential than popular, Krazy Kat had an appreciative audience among those in the arts. Gilbert Seldes' article "The Krazy Kat Who Walks by Himself" was the earliest example of a critic from the high arts giving serious attention to a comic strip. The Comics Journal placed the strip first on its list of the greatest comics of the 20th century. Herriman's work has been a primary influence on cartoonists such as Elzie C. Segar, Will Eisner, Charles M. Schulz, Robert Crumb, Art Spiegelman, Bill Watterson, and Chris Ware. Herriman was born in New Orleans, Louisiana, to mixed-race Creole parents, and grew up in Los Angeles. After he graduated from high school in 1897, he worked in the newspaper industry as an illustrator and engraver. He moved on to cartooning and comic strips—a medium then in its infancy—and drew a variety of strips until he introduced his most famous character, Krazy Kat, in his strip The Dingbat Family in 1910. A Krazy Kat daily strip began in 1913, and from 1916 the strip also appeared on Sundays. It was noted for its poetic, dialect-heavy dialogue; its fantastic, shifting backgrounds; and its bold, experimental page layouts. (Full article...)
    George Herriman 1922-10-21 self portrait.jpg
    1922 self-portrait

    George Joseph Herriman III (August 22, 1880 – April 25, 1944) was an American cartoonist best known for the comic strip Krazy Kat (1913–1944). More influential than popular, Krazy Kat had an appreciative audience among those in the arts. Gilbert Seldes' article "The Krazy Kat Who Walks by Himself" was the earliest example of a critic from the high arts giving serious attention to a comic strip. The Comics Journal placed the strip first on its list of the greatest comics of the 20th century. Herriman's work has been a primary influence on cartoonists such as Elzie C. Segar, Will Eisner, Charles M. Schulz, Robert Crumb, Art Spiegelman, Bill Watterson, and Chris Ware.

    Herriman was born in New Orleans, Louisiana, to mixed-race Creole parents, and grew up in Los Angeles. After he graduated from high school in 1897, he worked in the newspaper industry as an illustrator and engraver. He moved on to cartooning and comic strips—a medium then in its infancy—and drew a variety of strips until he introduced his most famous character, Krazy Kat, in his strip The Dingbat Family in 1910. A Krazy Kat daily strip began in 1913, and from 1916 the strip also appeared on Sundays. It was noted for its poetic, dialect-heavy dialogue; its fantastic, shifting backgrounds; and its bold, experimental page layouts. (Full article...)
  • Image 11 Title page from the first edition of Locke's Some Thoughts Concerning Education (1693) Some Thoughts Concerning Education is a 1693 treatise on the education of gentlemen written by the English philosopher John Locke. For over a century, it was the most important philosophical work on education in England. It was translated into almost all of the major written European languages during the eighteenth century, and nearly every European writer on education after Locke, including Jean-Jacques Rousseau, acknowledged its influence. In his Essay Concerning Human Understanding (1690), Locke outlined a new theory of mind, contending that the mind is originally a tabula rasa or "blank slate"; that is, it did not contain any innate ideas at birth. Some Thoughts Concerning Education explains how to educate that mind using three distinct methods: the development of a healthy body; the formation of a virtuous character; and the choice of an appropriate academic curriculum. (Full article...)
    Page reads "Some Thoughts Concerning Education. London, Printed for A. and J. Churchill, at the Black Swan in Pater-noster-row, 1693."
    Title page from the first edition of Locke's Some Thoughts Concerning Education (1693)

    Some Thoughts Concerning Education is a 1693 treatise on the education of gentlemen written by the English philosopher John Locke. For over a century, it was the most important philosophical work on education in England. It was translated into almost all of the major written European languages during the eighteenth century, and nearly every European writer on education after Locke, including Jean-Jacques Rousseau, acknowledged its influence.

    In his Essay Concerning Human Understanding (1690), Locke outlined a new theory of mind, contending that the mind is originally a tabula rasa or "blank slate"; that is, it did not contain any innate ideas at birth. Some Thoughts Concerning Education explains how to educate that mind using three distinct methods: the development of a healthy body; the formation of a virtuous character; and the choice of an appropriate academic curriculum. (Full article...)
  • Image 12 Pod is the debut studio album by American alternative rock band the Breeders, released by 4AD records on May 29, 1990. Engineered by Steve Albini, the album features band leader Kim Deal on vocals and guitar, Josephine Wiggs on bass, Britt Walford on drums, and Tanya Donelly on guitar. Albini's production prioritized sound over technical accomplishment; the final takes favor the band's spontaneous live "in studio" performances. The Breeders formed in 1988 when Deal, bass player for the Pixies, befriended Donelly of Throwing Muses during a European tour. They recorded a country-infused demo in 1989, leading to 4AD co-founder Ivo Watts-Russell funding an album, Pod, recorded that year at the Palladium studio in Edinburgh, Scotland. (Full article...)
    Pod is the debut studio album by American alternative rock band the Breeders, released by 4AD records on May 29, 1990. Engineered by Steve Albini, the album features band leader Kim Deal on vocals and guitar, Josephine Wiggs on bass, Britt Walford on drums, and Tanya Donelly on guitar. Albini's production prioritized sound over technical accomplishment; the final takes favor the band's spontaneous live "in studio" performances.

    The Breeders formed in 1988 when Deal, bass player for the Pixies, befriended Donelly of Throwing Muses during a European tour. They recorded a country-infused demo in 1989, leading to 4AD co-founder Ivo Watts-Russell funding an album, Pod, recorded that year at the Palladium studio in Edinburgh, Scotland. (Full article...)
  • Image 13 Portrait of Princess Albert de Broglie The Princesse de Broglie (French: La Princesse de Broglie [la pʁɛ̃.sɛs də bʁɔj]) is an oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It was painted between 1851 and 1853, and shows Pauline de Broglie [fr], who adopted the courtesy title 'Princesse'. Born Pauline de Galard de Brassac de Béarn, she married Albert de Broglie, the future 28th Prime Minister of France, in 1845. Pauline was 28 at the time of the painting's completion. She was highly intelligent and widely known for her beauty, but she suffered from profound shyness and the painting captures her melancholia. Pauline contracted tuberculosis in her early 30s and died in 1860 aged 35. Although Albert lived until 1901, he was heartbroken and did not remarry. Ingres undertook a number of preparatory pencil sketches for the commission, each of which captures her personality and taste. They show her in various poses, including standing, and in differently styled dresses. The final painting is considered one of Ingres's finest later-period portraits of women, along with the Portraits of Comtesse d'Haussonville, Baronne de Rothschild and Madame Moitessier. As with many of Ingres's portraits of women, details of the costume and setting are rendered with precision while the body seems to lack a solid bone structure. The painting is held in the collection of the Metropolitan Museum of Art, New York, and is signed and dated 1853. (Full article...)
    Jean auguste dominique ingres princesse albert de broglieFXD.jpg
    Portrait of Princess Albert de Broglie

    The Princesse de Broglie (French: La Princesse de Broglie [la pʁɛ̃.sɛs də bʁɔj]) is an oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It was painted between 1851 and 1853, and shows Pauline de Broglie [fr], who adopted the courtesy title 'Princesse'. Born Pauline de Galard de Brassac de Béarn, she married Albert de Broglie, the future 28th Prime Minister of France, in 1845. Pauline was 28 at the time of the painting's completion. She was highly intelligent and widely known for her beauty, but she suffered from profound shyness and the painting captures her melancholia. Pauline contracted tuberculosis in her early 30s and died in 1860 aged 35. Although Albert lived until 1901, he was heartbroken and did not remarry.
    Ingres undertook a number of preparatory pencil sketches for the commission, each of which captures her personality and taste. They show her in various poses, including standing, and in differently styled dresses. The final painting is considered one of Ingres's finest later-period portraits of women, along with the Portraits of Comtesse d'Haussonville, Baronne de Rothschild and Madame Moitessier. As with many of Ingres's portraits of women, details of the costume and setting are rendered with precision while the body seems to lack a solid bone structure. The painting is held in the collection of the Metropolitan Museum of Art, New York, and is signed and dated 1853. (Full article...)
  • Image 14 Playbill of the Broadway production The Bat is a three-act play by Mary Roberts Rinehart and Avery Hopwood that was first produced by Lincoln Wagenhals and Collin Kemper in 1920. The story combines elements of mystery and comedy as Cornelia Van Gorder and guests spend a stormy night at her rented summer home, searching for stolen money they believe is hidden in the house, while they are stalked by a masked criminal known as "the Bat". The Bat's identity is revealed at the end of the final act. The play originated as an adaptation of Rinehart's 1908 mystery novel The Circular Staircase. Rinehart and Hopwood altered the story to prepare it for Broadway, including adding the titular antagonist. The connection to the novel led to a legal dispute over film rights with the Selig Polyscope Company, producers of a 1915 film adaptation of the novel, also titled The Circular Staircase. After previewing under the title A Thief in the Night, the play opened as The Bat at the Morosco Theatre on Broadway on August 23, 1920. (Full article...)
    The Bat playbill August 1921.jpg
    Playbill of the Broadway production

    The Bat is a three-act play by Mary Roberts Rinehart and Avery Hopwood that was first produced by Lincoln Wagenhals and Collin Kemper in 1920. The story combines elements of mystery and comedy as Cornelia Van Gorder and guests spend a stormy night at her rented summer home, searching for stolen money they believe is hidden in the house, while they are stalked by a masked criminal known as "the Bat". The Bat's identity is revealed at the end of the final act.

    The play originated as an adaptation of Rinehart's 1908 mystery novel The Circular Staircase. Rinehart and Hopwood altered the story to prepare it for Broadway, including adding the titular antagonist. The connection to the novel led to a legal dispute over film rights with the Selig Polyscope Company, producers of a 1915 film adaptation of the novel, also titled The Circular Staircase. After previewing under the title A Thief in the Night, the play opened as The Bat at the Morosco Theatre on Broadway on August 23, 1920. (Full article...)
  • Image 15 "SLAPP Suits" is a segment of HBO's news-satire television series Last Week Tonight with John Oliver, focusing on strategic lawsuits against public participation (SLAPP). It first aired on November 10, 2019, as part of the twenty-ninth episode of the series's sixth season. The episode marked British-American comedian and host John Oliver's response to winning a SLAPP defamation lawsuit against him initiated by American mining businessman Robert E. Murray. The lawsuit began in 2017, after Oliver heavily criticized Murray and his company, Murray Energy, in a segment concerning the coal-mining industry in the United States. Murray claimed in his lawsuit that Oliver had carried out a character assassination against him, but the case was dismissed in under a year, and an appeal by Murray Energy was unsuccessful. During the lawsuit, the American Civil Liberties Union filed an amicus brief that was widely covered due to its sarcastic humor. In "SLAPP Suits", Oliver discussed the outcome of the lawsuit and the damaging effects of similar lawsuits, giving an overview of Murray's other SLAPPs and their potential harm to independent journalism. Oliver ended the twenty-six-minute segment with the musical number "Eat Shit, Bob!" in celebration of winning the lawsuit, invoking his right under the First Amendment to the United States Constitution to make negative jokes and comments about people and corporations. The title of the number references a check returned by a Murray Energy miner on the grounds that it incentivized unsafe mining practices, with the words "Eat Shit Bob" written on the check. The segment and musical number were lauded by critics and nominated for six Primetime Emmy Awards, with the episode winning one award for Outstanding Technical Direction, Camerawork, Video Control for a Series, and the musical number winning another for Outstanding Picture Editing for Variety Programming. (Full article...)
    "SLAPP Suits" is a segment of HBO's news-satire television series Last Week Tonight with John Oliver, focusing on strategic lawsuits against public participation (SLAPP). It first aired on November 10, 2019, as part of the twenty-ninth episode of the series's sixth season. The episode marked British-American comedian and host John Oliver's response to winning a SLAPP defamation lawsuit against him initiated by American mining businessman Robert E. Murray. The lawsuit began in 2017, after Oliver heavily criticized Murray and his company, Murray Energy, in a segment concerning the coal-mining industry in the United States. Murray claimed in his lawsuit that Oliver had carried out a character assassination against him, but the case was dismissed in under a year, and an appeal by Murray Energy was unsuccessful. During the lawsuit, the American Civil Liberties Union filed an amicus brief that was widely covered due to its sarcastic humor.

    In "SLAPP Suits", Oliver discussed the outcome of the lawsuit and the damaging effects of similar lawsuits, giving an overview of Murray's other SLAPPs and their potential harm to independent journalism. Oliver ended the twenty-six-minute segment with the musical number "Eat Shit, Bob!" in celebration of winning the lawsuit, invoking his right under the First Amendment to the United States Constitution to make negative jokes and comments about people and corporations. The title of the number references a check returned by a Murray Energy miner on the grounds that it incentivized unsafe mining practices, with the words "Eat Shit Bob" written on the check. The segment and musical number were lauded by critics and nominated for six Primetime Emmy Awards, with the episode winning one award for Outstanding Technical Direction, Camerawork, Video Control for a Series, and the musical number winning another for Outstanding Picture Editing for Variety Programming. (Full article...)
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An illustration depicting an ancient Mexican calendar. The Maya and Aztec calendars are the most common of the Mexican calendars, but similar ones were used by other cultures. Common to all Mesoamerican cultures was the 260-day ritual calendar that had no confirmed correlation to astronomical or agricultural cycles. These were used in combination with a separate 365-day calendar to create a 52-year cycle known as a calendar round.
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Henry Moore in workshop by Allan Warren

Henry Moore was a British artist and sculptor. Born into a poor mining family in the Yorkshire town of Castleford, he became well-known for his large-scale abstract cast bronze and carved marble sculptures; substantially supported by the British art establishment, Moore helped to introduce a particular form of modernism into Britain. His ability to satisfy large-scale commissions made him exceptionally wealthy towards the end of his life. However, he lived frugally and most of his wealth went to endow the Henry Moore Foundation, which continues to support education and promotion of the arts. His signature form is a pierced reclining figure, first influenced by a Toltec-Maya sculpture known as "Chac Mool", which he had seen as a plaster cast in Paris in 1925. Early versions are pierced conventionally as a bent arm reconnects with the body. Later, more abstract versions, are pierced directly through the body in order to explore the concave and convex shapes. These more extreme piercings developed in parallel with Barbara Hepworth's sculptures. Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows. (Full article...)

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