title: Augmented Dickey–Fuller test

text: By including lags of the order "p" the ADF formulation allows for higher-order autoregressive processes. This means that the lag length "p" has to be determined when applying the test. One possible approach is to test down from high orders and examine the "t"-values on coefficients. An alternative approach is to examine information criteria such as the Akaike information criterion, Bayesian information criterion or the Hannan–Quinn information criterion.


title: Augmented Dickey–Fuller test

text: The unit root test is then carried out under the null hypothesis formula_8 against the alternative hypothesis of formula_9 Once a value for the test statistic


title: Augmented Dickey–Fuller test

text: is computed it can be compared to the relevant critical value for the Dickey–Fuller test. As this test is asymmetrical, we are only concerned with negative values of our test statistic formula_11. If the calculated test statistic is less (more negative) than the critical value, then the null hypothesis of formula_8 is rejected and no unit root is present.


title: Augmented Dickey–Fuller test

text: The intuition behind the test is that if the series is characterised by a unit root process then the lagged level of the series (formula_13) will provide no relevant information in predicting the change in formula_14 besides the one obtained in the lagged changes (formula_15). In this case the formula_8 and null hypothesis is not rejected. In contrast, when the process has no unit root, it is stationary and hence exhibits reversion to the mean - so the lagged level will provide relevant information in predicting the change of the series and the null hypothesis of a unit root will be rejected.


title: Augmented Dickey–Fuller test

text: A model that includes a constant and a time trend is estimated using sample of 50 observations and yields the formula_11 statistic of −4.57. This is more negative than the tabulated critical value of −3.50, so at the 95 percent level the null hypothesis of a unit root will be rejected.


title: Augmented Dickey–Fuller test

text: There are alternative unit root tests such as the Phillips–Perron test (PP) or the ADF-GLS test procedure (ERS) developed by Elliott, Rothenberg and Stock (1996).


title: Augustus III of Poland

text: Augustus III (, ; 17 October 1696 5 October 1763) was King of Poland and Grand Duke of Lithuania from 1733 until 1763, as well as Elector of Saxony in the Holy Roman Empire where he was known as Frederick Augustus II ().


title: Augustus III of Poland

text: He was the only legitimate son of Augustus II the Strong, and converted to Roman Catholicism in 1712 to secure his candidacy for the Polish throne. In 1719 he married Maria Josepha, daughter of Joseph I, Holy Roman Emperor, and became Elector of Saxony following his father's death in 1733. Augustus was able to gain the support of Charles VI by agreeing to the Pragmatic Sanction of 1713 and also gained recognition from Russian Empress Anna by supporting Russia's claim to the region of Courland. He was elected king of Poland by a small minority on 5 October 1733 and subsequently banished the former Polish king Stanisław I. He was crowned in Kraków on 17 January 1734.


title: Augustus III of Poland

text: Augustus was supportive of Austria against Prussia in the War of the Austrian Succession (1742) and again in the Seven Years' War (1756), both of which resulted in Saxony being defeated and occupied by Prussia. In Poland, his rule was marked by the increasing influence of the Czartoryski and Poniatowski families, and by the intervention of Catherine the Great in Polish affairs. His rule deepened the social anarchy in Poland and increased the country's dependence on its neighbours, notably Prussia, Austria, and Russia. The Russian Empire prevented him from installing his family on the Polish throne, supporting instead the aristocrat Stanisław August Poniatowski, the lover of Catherine the Great. Throughout his reign, Augustus was known to be more interested in ease and pleasure than in the affairs of state; this notable patron of the arts left the administration of Saxony and Poland to his chief adviser, Heinrich von Brühl, who in turn left Polish administration chiefly to the powerful Czartoryski family.


title: Augustus III of Poland

text: English translation: "August III, by the grace of God, King of Poland, Grand Duke of Lithuania, Ruthenia, Prussia, Masovia, Samogitia, Kiev, Volhynia, Podolia, Podlachia, Livonia, Smolensk, Severia, Chernihiv, and also hereditary Duke of Saxony and Prince-Elector, etc."


title: Augustus III of Poland

text: Augustus was born 17 October 1696 in Dresden, the only legitimate son of Augustus II the Strong, Prince-Elector of Saxony and ruler of the Polish–Lithuanian Commonwealth who belonged to the Albertine line of the House of Wettin. His mother was Christiane Eberhardine of Brandenburg-Bayreuth, daughter of Christian Ernst, Margrave of Brandenburg-Bayreuth. Unlike his father, Christiane remained a fervent Protestant throughout her life and never set foot in Catholic Poland during her 30-year service as queen consort. Despite the pressure from Augustus II, she was never crowned at Wawel in Kraków and purely held a titular title of queen. This move was viewed by the Polish nobility as a provocation and from the beginning the prince was treated with prejudice in Poland.


title: Augustus III of Poland

text: From his early years, Augustus was groomed to succeed as king of Poland-Lithuania; best tutors were hired from across the continent and the prince studied Polish, German, French and Latin. He was taught Russian, but was unable to speak it fluently, as well as exact sciences including mathematics, chemistry and geography. He also practiced equestrianism in his youth. While his father spent time in Poland, the young Augustus was left in the care of his grandmother, Princess Anna Sophie of Denmark, who initially raised him Lutheran. This was particularly unfavourable for the Poles, who wouldn't accept or tolerate a Protestant monarch. As a consequence, troubled Augustus II organized a tour of Catholic countries in Europe for his son which he hoped would bring him closer to Catholicism and break the bond between him and his controlling grandmother. In Venice, the Polish entourage thwarted a kidnapping attempt organized by British agents of Queen Anne in order to prevent him from converting. He also witnessed the coronation of Charles VI in 1711 after the death of his brother and predecessor, Joseph I.


title: Augustus III of Poland

text: Augustus eventually converted to Roman Catholicism in November 1712 while extensively touring Italy, and its cultural and religious heritage. He was then under the supervision of the Jesuits, who certainly contributed to the cause. The public announcement of conversion in 1717 triggered discontent among the Protestant Saxon aristocracy. Faced with a hereditary Catholic succession for Saxony, Prussia and Hanover attempted to oust Saxony from the directorship of the Protestant body in the Reichstag of the Holy Roman Empire, but Saxony managed to retain the directorship.


title: Augustus III of Poland

text: On 26 September 1714, Augustus was warmly welcomed by Louis XIV of France at Versailles. Louis rejoiced when he heard that Augustus converted to Catholicism and permitted him to stay at the royal court and in Paris. The young prince participated in balls, masquerades and private parties that were hosted by the Sun King himself. During this time, Augustus improved his knowledge of the French language and learnt how to approach politics and diplomacy. In June 1715, he departed Versailles and travelled across France, visiting Bordeaux, Moissac, Toulouse, Carcassonne, Marseille and Lyon. Apart from sightseeing, the purpose of this trip was to understand how cities and villages function. Being brought up in great wealth, Augustus was not entirely aware of how extensive poverty and poor living conditions can be in the countryside.


title: Augustus III of Poland

text: On 20 August 1719, Augustus married Maria Josepha of Austria in Vienna. She was the daughter of the deceased Emperor Joseph I and niece of Charles VI of the Holy Roman Empire, whose coronation young Augustus attended. This marriage wasn't coincidental; Augustus II the Strong orchestrated it to maintain the might of the Saxons within the Holy Roman Empire. The alliance with Catholic Charles would prove fruitful in case of hostile or armed opposition from the Protestant states within the Empire. Ten days earlier, on 10 August 1719, Maria Josepha was forced to renounce her claim to the throne of Austria in favour of her uncle's daughter, Maria Theresa. In accordance with the Pragmatic Sanction of 1713 issued by Charles, a female heir or the eldest daughter would be permitted to inherit the throne of Austria. Augustus II also hoped to place Saxony in a better position should there arise a war of succession to the Austrian territories.


title: Augustus III of Poland

text: The wedding celebration in Dresden was one of the most splendorous and expensive of the Baroque era in Europe. Over 800 guests were invited for a 2-week celebration. The main banquet was held in a chamber that was transformed into an artificial silver mine to astound the invitees. Apart from exotic dishes, over 500 deer were brought in from the Białowieża Forest for the feast. Approximately 4 million thalers were spent for this occasion.


title: Augustus III of Poland

text: Augustus II died suddenly on 1 February 1733, following a Sejm (Polish parliament) session in Warsaw. Augustus III inherited the Saxon electorate without any problems, but his election to the Polish throne was much more complicated. Shortly before the ailing king died, Prussia, Austria and Russia signed a pact known as the Treaty of the Three Black Eagles, which would prevent Augustus III and Stanisław Leszczyński from inheriting the Polish throne. The royal elections in Poland and the elective monarchy, in general, weakened the country and allowed other powers to meddle in Polish affairs. The neighbouring countries that signed the treaty preferred a neutral monarch like Infante Manuel, Count of Ourém, brother of John V of Portugal, or any living relative of the Piast dynasty. The agreement had provisions for all three powers to agree that it was in their best interest that their common neighbour, the Polish–Lithuanian Commonwealth, did not undertake any reforms that might strengthen it and trigger expansionism. The new king would also have to maintain friendly relations with these countries.


title: Augustus III of Poland

text: The treaty quickly became ineffective as Prussia began to support Leszczyński and allowed him safe passage from France to Poland through German lands. As a result, Austria and Russia signed on 19 August 1733 the Löwenwolde's Treaty, named after Karl Gustav von Löwenwolde. The terms of Löwenwolde's Treaty were direct; Russia opted for a "quid pro quo" – they would provide troops to ensure Augustus III is elected king and in turn, Augustus would recognise Anna Ivanovna as Empress of Russia, thus relinquishing Polish claims to Livonia and Courland. Austria received a promise that as king, Augustus would both renounce any claim to the Austrian succession and continue respecting the Pragmatic Sanction of 1713.


title: Augustus III of Poland

text: Augustus on his candidacy to the Polish throne was opposed by Stanisław I Leszczyński (Stanislaus I), who had usurped the throne with Swedish support during the Great Northern War. Reigning from 1706 until 1709, Stanisław was overthrown after the Swedish defeat at Poltava. Returning from exile in 1733 with the support of Louis XV of France and Spain, Stanisław sparked the War of the Polish Succession.


title: Augustus III of Poland

text: Throughout the spring and summer of 1733, France began mobilizing and stationing forces along its northern and eastern borders, while Austria massed troops on the Polish frontier, reducing garrisons in the Duchy of Milan for the purpose. Prince Eugene of Savoy recommended to the emperor a more warlike posture against its longtime rival, France. He suggested that the Rhine valley and northern Italy should be strengthened with more troops, however only minimal steps were taken to improve imperial defences on the Rhine. In July 1733, Augustus agreed to Austria's and Russia's terms per Löwenwolde's Treaty. During the election sejm in August, Russian troops counting 30,000 men under the command of Peter Lacy entered Poland to secure Augustus' succession. The election was "de jure" won by Stanisław, with 12,000 votes. Augustus received 3,000, however, he had the support of Poland's influential, wealthiest and most corrupt magnates, such as Michael Servacy Wiśniowiecki.


title: Augustus III of Poland

text: The Franco-Spanish coalition declared war on Austria and Saxony on 10 October. The Italian states of Savoy-Sardinia and Parma also joined the struggle against Austrian rule in northern Italy. Most of the battles took place outside of Poland and the main focus of the war was personal interests and demonstration of superiority. The Russian-Saxon forces chased Stanisław until he was besieged at Gdańsk (Danzig) on 22 February 1734. In June, when the garrisons at Gdańsk surrendered, Stanisław fled to Königsberg and then back to France. The Pacification Sejm in 1736 "de facto" confirmed Augustus III as King of Poland and Grand Duke of Lithuania.


title: Augustus III of Poland

text: To this day, the aphorism and phrase "od Sasa do Lasa" (lit. from the Saxon to Leszczyński) exists in the Polish language and is used when describing two completely opposite things in everyday life.


title: Augustus III of Poland

text: As King, Augustus was uninterested in the affairs of his Polish–Lithuanian dominion, focusing instead on hunting, the opera, and the collection of artwork at the Gemäldegalerie Alte Meister. He spent less than three years of his thirty-year reign in Poland, where political feuding between the House of Czartoryski and the Potocki paralyzed the Sejm (Liberum veto), fostering internal political anarchy and weakening the Commonwealth. Augustus delegated most of his powers and responsibilities in the Commonwealth to Heinrich von Brühl, who served in effect as the viceroy of Poland. Brühl in turn left the politics in Poland to the most powerful magnates and nobles, which resulted in widespread corruption. Under Augustus, Poland was not involved in any major conflicts which further lessened its position in Europe and allowed the neighbouring countries to take advantage of the disorder. Any opposition was violently crushed by Brühl, who used either Saxon or Russian forces that permanently stationed in the country.


title: Augustus III of Poland

text: Brühl was a skillful diplomat and strategist; Augustus could only be reached through him if an important political feud arose. He was also the head of the Saxon court in Dresden and was fond of collectibles, such as gadgets, jewellery and Meissen porcelain, the most famous being the Swan Service composed of 2,200 individual pieces made between 1737 and 1741. It has been described as possibly "the finest table service ever produced" and part of it are exhibited at the National Museum in Warsaw. He also owned the largest collections of watches, vests, wigs and hats in Europe, though this cannot be accurately assessed. Brühl was depicted by his rivals as a nouveau-riche materialist, who used his wealth to gain support. His lavish spending was immortalized by Augustus' reported question to the viceroy "Brühl, do I have money?"


title: Augustus III of Poland

text: By 1748 Augustus III completed extending the Saxon Palace in Warsaw and made significant contributions in remodelling the Royal Castle. In 1750, von Brühl purchased a residence adjacent to the larger Saxon Palace and transformed it into a rococo masterpiece, which later became known as the Brühl Palace. Both buildings were completely destroyed by the Nazis during World War II.


title: Augustus III of Poland

text: With the marriage to the Austrian princess Maria Josepha, Augustus was bound to accept the succession of her cousin, Maria Theresa, as Holy Roman Empress. Saxony mediated between the friendly French faction and the Habsburg faction of Maria Theresa. Between 1741 and 1742 Saxony was allied with France, but changed sides with the help of Austrian diplomats.


title: Augustus III of Poland

text: In the first days of December 1740, the Prussians assembled along the Oder river and on 16 December, Frederick invaded Silesia without a formal declaration of war. The Austrian troops which then stationed in Silesia were poorly supplied and outnumbered as the Habsburgs concentrated their supreme force on Hungary and Italy. They held onto the fortresses of Glogau, Breslau, and Brieg, but abandoned the rest of the region and withdrew into Moravia. This campaign gave Prussia control of most of the richest provinces in the Habsburg Empire, with the commercial centre of Breslau as well as mining, weaving and dyeing industries. Silesia was also rich in natural resources such as coal, chalk, copper and gold.


title: Augustus III of Poland

text: Saxony joined Austria in the Second Silesian War, which erupted after Prussia proclaimed to keep Charles VII as Holy Roman Emperor and invaded Bohemia on 15 August 1744. The true cause behind the invasion was Frederick's personal expansionist ideas and goals. On 8 January 1745, the Treaty of Warsaw united Great Britain, the Habsburg Monarchy, the Dutch Republic and Saxony into what became known as the "Quadruple Alliance", which was aimed at securing the Austrian throne for Maria Theresa. Soon-after Charles VII died of gout in Munich, which weakened the Prussians. However, Prussia still maintained military superiority; the successful battles of Hennersdorf and Kesselsdorf opened the way to Dresden, which Frederick occupied on 18 December. The Treaty of Dresden was eventually completed on Christmas Day (25 December) and Saxony was obliged to pay one million rixdollars in reparations to the Prussian state. The treaty ended the Second Silesian War with a "status quo ante bellum".


title: Augustus III of Poland

text: Maria Theresa was finally recognized as Empress with the Treaty of Aix-la-Chapelle in 1748, which proved a Pyrrhic victory for Augustus III, however, the conflict nearly bankrupted Saxony. Meanwhile, the affairs in Poland remained highly neglected.


title: Augustus III of Poland

text: The Electorate of Saxony was involved in the Seven Years' War from 1756 to 1763. The Saxons were allied with Austria and Russia against Frederick the Great of Prussia, who saw Saxony as another potential field for expansion. Saxony was then merely a buffer zone between Prussia and Austrian Bohemia as well as Silesia, which Frederick attempted to annex in their entirety. Moreover, Saxony and Poland were separated by a strip of land in Silesia and Lusatia which made the movement of troops even more difficult. Frederick's plans also entailed annexing Duchy of Hanover, but joining France would trigger an Austro-Russian attack and occupation. On 29 August 1756, the Prussian army preemptively invaded Saxony, beginning the Third Silesian War, a theatre of the Seven Years' War. Saxony was bled dry and exploited at the maximum extent to support Prussia's war effort. The Treaty of Hubertusburg signed on 15 February 1763 ended the conflict with Frederick's victory and Saxony renounced its claim to Silesia.


title: Augustus III of Poland

text: In April 1763, Augustus returned ill and frail from Poland to Dresden with his closest advisors, leaving Primate Władysław Aleksander Łubieński behind to take care of the affairs in the Commonwealth. He died suddenly on 5 October 1763 in Dresden from apoplexy (stroke). Unlike his father who rests at Wawel in Kraków, Augustus III was buried at Dresden Cathedral and remains one of the few Polish monarchs who were buried outside of Poland.


title: Augustus III of Poland

text: Augustus's eldest surviving son, Frederick Christian of Saxony, succeeded his father as Elector but died two and a half months later.


title: Augustus III of Poland

text: In the Commonwealth, on September 7, 1764, with the small participation of the szlachta initiated by the Czartoryski's and the strong support of Russia, Stanisław August Poniatowski was elected king of Poland and Grand Duke of Lithuania. Reigning under the name Stanisław II Augustus, Poniatowski was the son of the elder Stanisław Poniatowski, a powerful Polish noble and a onetime agent of Stanisław I; in youth he was a lover of Catherine II of Russia and as such enjoyed strong support from that Empress's court.


title: Augustus III of Poland

text: Augustus III was a great patron of the arts and architecture. During his reign the Baroque Catholic Church of the Royal Court in Dresden (present-day Dresden Cathedral) was built, in which he was later buried as one of the few Polish kings buried outside the Wawel Cathedral in Kraków. He greatly expanded the Dresden art gallery, to the extent that in 1747 it was placed in a new location at the present-day Johanneum, where it remained until 1855 when it was moved to the newly built Semper Gallery. In 1748 he founded the Opera House ("Operalnia") in Warsaw and the "Collegium medico-chirurgicum", the first medical school in Dresden. During his reign, the extension of the Saxon Palace in Warsaw, begun by his father Augustus II, was completed, and the reconstruction of the eastern façade of the Royal Castle was ordered, thus creating the so-called Saxon Facade, an iconic part of the Vistula panorama of the Warsaw Old Town.


title: Augustus III of Poland

text: In 1733, the composer Johann Sebastian Bach dedicated the Kyrie–Gloria Mass in B minor, (early version), to Augustus in honor of his succession to the Saxon electorate, with the hope of appointment as Court Composer, a title Bach received three years later. Bach's title of "Koeniglicher Pohlnischer Hoff Compositeur" ("Royal Polish Court Composer", and court composer to the Elector of Saxony) is engraved on the title page of Bach's famous Goldberg Variations. Augustus III was also the patron of composer Johann Adolph Hasse, who was granted the title of the Royal-Polish and Electoral-Saxon Kapellmeister by his father, Augustus II, in 1731, and thanks to Augustus III the same title was obtained in 1716 by composer Johann David Heinichen.


title: Augustus III of Poland

text: In 1732, a French priest named Gabriel Piotr Baudouin founded the first orphanage in Poland, situated in Warsaw's Old Town. The facility was later moved to the nearby Warecki Square (now Warsaw Uprising Square), and in 1758 Augustus III decreed that the new institution be called "Szpital Generalny Dzieciątka Jezus" (The General Hospital of Infant Jesus). The newly established hospital expanded its operations into treating not only orphans but also the sick and the poor. Augustus remained a charitable man throughout his life and donated to the hospital. His successor, Stanisław Augustus, also contributed to the cause.


title: Augustus III of Poland

text: Despite his charitable manner, Augustus was viewed in Poland as an impotent monarch, obese, plump, ugly and lazy sybarite with no interest in the affairs of the state. Such harsh critique and opinion continues to this day. On the other hand, historian Jacek Staszewski was able to find a description of Augustus' character in the Dresden archives in the late 1980s; he was considered an honest and affectionate man, who was widely respected during his reign by both the Saxons and the Poles. In his personal life, Augustus was a devoted husband to Maria Josepha, with whom he had sixteen children. Unlike his father who was a notorious womanizer, he was never unfaithful and enjoyed spending time with his spouse, uncommon among the royalty in those days. He also favoured hunting.


title: Augustus III of Poland

text: On 20 August 1719, Augustus married Archduchess Maria Josepha of Austria, the eldest child of Joseph I, the Holy Roman Emperor. They had sixteen children, but only fourteen or fifteen are recognized by historians:


title: Bambi, a Life in the Woods

text: Bambi, a Life in the Woods (German title: Bambi: Eine Lebensgeschichte aus dem Walde) is a 1923 Austrian coming-of-age novel written by Felix Salten and originally published in Berlin by Ullstein Verlag. The novel traces the life of Bambi, a male roe deer, from his birth through childhood, the loss of his mother, the finding of a mate, the lessons he learns from his father, and the experience he gains about the dangers posed by human hunters in the forest.


title: Bambi, a Life in the Woods

text: An English translation by Whittaker Chambers was published in North America by Simon & Schuster in 1928, and the novel has since been translated and published in over thirty languages around the world. Salten published a sequel, "Bambi's Children", in 1939.


title: Bambi, a Life in the Woods

text: The novel was well received by critics and is considered a classic, as well as one of the first environmental novels. It was adapted into a theatrical animated film, "Bambi", by Walt Disney Productions in 1942, as well as two Russian live-action adaptations in 1985 and 1986, a ballet in 1987, and a stage production in 1998. Another ballet adaptation was created by an Oregon troupe, but never premiered. Janet Schulman published a children's picture book adaptation in 2000 that featured realistic oil paintings and many of Salten's original words.


title: Bambi, a Life in the Woods

text: Bambi is a roe deer fawn born in a thicket in late spring one year. Over the course of the summer, his mother teaches him about the various inhabitants of the forest and the ways deer live. When she feels he is old enough, she takes him to the meadow, which he learns is both a wonderful but also dangerous place as it leaves the deer exposed and in the open. After some initial fear over his mother's caution, Bambi enjoys the experience. On a subsequent trip Bambi meets his Aunt Ena and her twin fawns Faline and Gobo. They quickly become friends and share what they have learned about the forest. While they are playing, they encounter princes, male deer, for the first time. After the stags leave, the fawns learn that those were their fathers, but that the fathers rarely stay with or speak to the females and young.


title: Bambi, a Life in the Woods

text: As Bambi grows older, his mother begins to leave him alone. While searching for her one day, Bambi has his first encounter with "He" the animals' term for humans – which terrifies him. The man raises a firearm and aims at him; Bambi flees at top speed, joined by his mother. After he is scolded by a stag for crying for his mother, Bambi gets used to being alone at times. He later learns the stag is called the "Old Prince", the oldest and largest stag in the forest, who is known for his cunning and aloof nature. During the winter, Bambi meets Marena, a young doe, Nettla, an old doe who no longer bears young, and two princes, Ronno and Karus. Mid-winter, hunters enter the forest, killing many animals including Bambi's mother. Gobo also disappears and is presumed dead.


title: Bambi, a Life in the Woods

text: After this, the novel skips ahead a year, noting that Bambi, now a young adult, was cared for by Nettla and that when he got his first set of antlers he was abused and harassed by the other males. It is summer and Bambi is now sporting his second set of antlers. He is reunited with his cousin Faline. After he battles and defeats first Karus then Ronno, Bambi and Faline fall in love with each other. They spend a great deal of time together. During this time, the Old Prince saves Bambi's life when he nearly runs towards a hunter imitating a doe's call. This teaches the young buck to be cautious about blindly rushing toward any deer's call. During the summer, Gobo returns to the forest, having been raised by a man who found him collapsed in the snow during the hunt where Bambi's mother was killed. While his mother and Marena welcome him and celebrate him as a "friend" of man, the Old Prince and Bambi pity him. Marena becomes his mate, but several weeks later Gobo is killed when he approaches a hunter in the meadow, falsely believing the halter he wore would keep him safe from all men.


title: Bambi, a Life in the Woods

text: As Bambi continues to age, he begins spending most of his time alone, including avoiding Faline though he still loves her in a melancholic way. Several times he meets with the Old Prince, who teaches him about snares, shows him how to free another animal from one, and encourages him not to use trails, to avoid the traps of men. When Bambi is later shot by a hunter, the Prince shows him how to walk in circles to confuse the man and his dogs until the bleeding stops, then takes him to a safe place to recover. They remain together until Bambi is strong enough to leave the safe haven again. When Bambi has grown gray and is "old", the Old Prince shows him that man is not all-powerful by showing him the dead body of a man who was shot and killed by another man. When Bambi confirms that he now understands that "He" is not all-powerful, and that there is "Another" over all creatures, the stag tells him that he has always loved him and calls him "my son" before leaving.


title: Bambi, a Life in the Woods

text: At the end of the novel, Bambi meets with twin fawns who are calling for their mother and he scolds them for not being able to stay alone. After leaving them, he thinks to himself that the girl fawn reminded him of Faline, and that the male was promising and that Bambi hoped to meet him again when he was grown.


title: Bambi, a Life in the Woods

text: Felix Salten, himself an avid hunter, penned "Bambi: Eine Lebensgeschichte aus dem Walde" after World War I, targeting an adult audience. The novel was first published in Vienna in serialized form in the newspaper the "Neue Freie Presse" from 15 August to 21 October 1922, and as a book in Germany by Ullstein Verlag in 1923, and republished in 1926 in Vienna.


title: Bambi, a Life in the Woods

text: Max Schuster, a German Jewish émigré and co-founder of Simon & Schuster, led the effort to publish "Bambi" in English. Clifton Fadiman, an editor there, engaged his Columbia University classmate Whittaker Chambers to translate it. Simon & Schuster published this first English edition in 1928, with illustrations by Kurt Wiese, under the title "Bambi: A Life in the Woods". "The New York Times" Book Review praised the prose as "admirably translated" that made the book "literature of a high order." The translation immediately became "a Book-of-the-Month Club hit." Simon & Schuster printed a first-run of 75,000 copies and sold more than 650,000 copies between 1928 and 1942. (Jonathan Cape published the book in the UK starting in 1928 as well.) Chambers’ translation has been reprinted repeatedly with different illustrations. "Bambi", along with Salten's "Fifteen Rabbits" and "The City Jungle", all translated by Chambers, remain in print from Simon & Schuster. In 2015, an Austrian scholar voiced objections to Simon & Schuster's "publication strategies" and "marketing strategy," as well as Chambers' translation for "opening the possibility for the story to be understood less as a human story about persecution, expulsion or assimilation and more as an animal story conveying a strong message about the protection of animals and the necessity of conservation."


title: Bambi, a Life in the Woods

text: A translation by Hannah Correll was published in 2019 by Clydesdale Press. A translation by Jack Zipes was published in 2022 by Princeton University Press. Zipes commented the conversation between animals is "reminiscent of Austrian German you'd hear in cafes around Vienna. The original translation didn't capture that and I hope mine does," while a grandson of Chambers countered that the 1928 translation is more poetic. One reviewer wrote: "Chambers and Zipes differ moderately in style, with Zipes cleaving more faithfully to the German ("polecat") and Chambers privileging his American audience ("ferret"). An aim of Zipes’ translation is to restore Salten's more overt anthropomorphism, which Chambers softened. To a reader familiar with the 1928 translation, some of Zipes' more faithful anthropomorphic choices are jarring; it feels odd to read that a fawn "yelled," for example. And Zipes occasionally increases the anthropomorphism beyond that suggested by Salten, as when he uses the pronouns "he" and "she" in a conversation between two autumn leaves, which are genderless in the original text. The Zipes translation is also not quite complete: one reviewer noted omissions ranging from short phrases and individual sentences to an entire passage recounting Bambi's first meeting with the old roebucks. A translation by Damion Searls was published in 2022 by "The New York Review of Books". The translations have been reviewed in various newspapers and magazines.


title: Bambi, a Life in the Woods

text: Over 200 editions of the novel have been published, with almost 100 German and English editions alone, and numerous translations and reprintings in over 30 languages. It has also been published in a variety of formats, including printed medium, audiobook, Braille, and E-book formats.


title: Bambi, a Life in the Woods

text: When Salten originally published "Bambi" in 1923, he did so under Germany's copyright laws, which required no statement that the novel was copyrighted. In the 1926 republication, he did include a United States copyright notice, so the work is considered to have been copyrighted in the United States in 1926. In 1936, Salten sold some film rights to the novel to MGM producer Sidney Franklin who passed them on to Walt Disney for the creation of a film adaptation. After Salten's death in 1945, his daughter Anna Wyler inherited the copyright and renewed the novel's copyrighted status in 1954 (U.S. copyright law in effect at the time provided for an initial term of 28 years from the date of first publication in the U.S., which could be extended for an additional 28 years provided the copyright holder filed for renewal before the expiration of the initial copyr|ight). In 1958, she formulated three agreements with Disney regarding the novel's rights. Upon her death in 1977, the rights passed to her husband, Veit Wyler, and her children, who held on to them until 1993 when he sold the rights to the publishing house Twin Books. Twin Books and Disney disagreed on the terms and validity of Disney's original contract with Anna Wyler and Disney's continued use of the Bambi name.


title: Bambi, a Life in the Woods

text: When the two companies were unable to reach a solution, Twin Books filed suit against Disney for copyright infringement. Disney argued that because Salten's original 1923 publication of the novel did not include a copyright notice, by American law it was immediately considered a public domain work. It also argued that as the novel was published in 1923, Anna Wyler's 1954 renewal occurred after the deadline and was invalid. The case was reviewed by the U.S. District Court for the Northern District of California, which ruled that the novel was copyrighted upon its publication in 1923, and not a public domain work then. However, in validating 1923 as the publication date, this confirmed Disney's claim that the copyright renewal was filed too late and the novel became a public domain work in 1951.


title: Bambi, a Life in the Woods

text: Twin Books appealed the decision, and in March 1996 the U.S. Court of Appeals for the Ninth Circuit reversed the original decision, stating that the novel was a foreign work in 1923 that was not in its home country's public domain when published, therefore the original publication date could not be used in arguing American copyright law. Instead, the 1926 publication date, the first in which it specifically declared itself to be copyrighted in the United States, is considered the year when the novel was copyrighted in America. Anna Wyler's renewal was therefore timely and valid, and Twin Books' ownership of the copyright was upheld.


title: Bambi, a Life in the Woods

text: The "Twin Books" decision is still regarded as controversial by many copyright experts. David Nimmer, in a 1998 article, argued that the "Twin Books" ruling meant that an ancient Greek epic, if only published outside the U.S. without the required formalities, would be eligible for copyright protection. Although Nimmer concluded that "Twin Books" required this finding (within the Ninth Circuit), he characterized the result as "patently absurd."


title: Bambi, a Life in the Woods

text: The American copyright of the novel expired on January 1, 2022, while in Austria and other countries of the European Union it entered the public domain on January 1, 2016.


title: Bambi, a Life in the Woods

text: While living in exile in Switzerland, after being forced to flee Nazi-occupied Austria, Salten wrote a sequel to "Bambi" that follows the birth and lives of Bambi's twin offspring, Geno and Gurri. The young fawns interact with other deer, and are educated and watched over by Bambi and Faline as they grow. They also learn more about the ways of man, including both hunters and the gamekeeper seeking to protect the deer. Due to Salten's exiled status — he had lost his Austrian publisher Paul Zsolnay Verlag — the English translation of the novel was published first, in the United States in 1939 by Bobbs-Merrill; it would take a year before the sequel was published in the original German language in Switzerland by his new publisher.


title: Bambi, a Life in the Woods

text: In the United States, the 1928 translation of "Bambi" was "hugely popular," selling 650,000 copies by 1942. When Felix Salten visited the United States as a member of a European delegation of journalists in May–July 1930, he was greeted warmly because of "Bambi" wherever the delegation went, as was testified by the Finnish member of the delegation, Urho Toivola. In his own travel book, Salten did not boast about this; only when describing his visit to a “Negro college” of Atlanta, he mentions passingly that the children praised his books.


title: Bambi, a Life in the Woods

text: In 1936 Nazi Germany however, the government banned the original as "political allegory on the treatment of Jews in Europe." Many copies of the novel were burned, making original first editions rare and difficult to find.


title: Bambi, a Life in the Woods

text: In his foreword of the novel, John Galsworthy called it a "delicious book - delicious not only for children but for those who are no longer so fortunate" and a "little masterpiece" that shows a "delicacy of perception and essential truth". He observed that while reading the galley proof of the novel while crossing the English Channel, he, his wife, and his nephew read each page in turn over the course of three hours in "silent absorption."


title: Bambi, a Life in the Woods

text: Among US reviewers, "New York Times" reviewer John Chamberlain praised Salten's "tender, lucid style" that "takes you out of yourself". He felt that Salten captured the essence of each of the creatures as they talked, catching the "rhythm of the different beings who people his forest world" and showed particular "comprehension" in detailing the various stages of Bambi's life. He also considered the English translation "admirably" done. A reviewer for "Catholic World" praised the approach of the subject, noting that it was "marked by poetry and sympathy [with] charming reminders of German folklore and fairy tale" but disliked the "transference of certain human ideals to the animal mind" and the vague references to religious allegory. The "Boston Transcript" called it a "sensitive allegory of life". The "Saturday Review" considered it "beautiful and graceful" piece that showed a rare "individuality". Isabel Ely Lord, reviewing the novel for the "American Journal of Nursing", called the novel a "delightful animal story" and Salten a "poet" whose "picture of the woods and its people is an unforgettable one." In comparing "Bambi" to Salten's later work "Perri"—in which Bambi makes a brief cameo—Louise Long of the "Dallas Morning News" considered both to be stories that "quietly and completely [captivate] the heart". Long felt the prose was "poised and mobile and beautiful as poetry" and praises Salten for his ability to give the animals seemingly human speech while not "[violating] their essential natures." Vicky Smith of "Horn Book Magazine" felt the novel was gory compared to the later Disney adaptation and called it a "weeper". While criticizing it as one of the most esteemable anti-hunting novels available, she concedes the novel is not easily forgettable and praises the "linchpin scene" where Bambi's mother dies, stating "the understated conclusion of that scene, 'Bambi never saw his mother again,' masterfully evokes an uncomplicated emotional response". She questions Galsworthy's recommendation of the novel to sportsmen in the foreword, wondering "how many budding sportsmen might have had conversion experiences in the face of Salten's unrelieved harangue and how many might have instead become alienated." In comparing the novel to the Disney film, Steve Chapple of "Sports Afield" felt that Salten viewed Bambi's forest as a "pretty scary place" and the novel as a whole had a "lot of dark adult undertones." Interpreting it as an allegory for Salten's own life, Chapple felt Salten came across as "a little morbid, a bleeding heart of a European intellectual." A half century later,"The Wall Street Journal"s James P. Sterba also considered it an "antifascist allegory" and sarcastically notes that "you'll find it in the children's section at the library, a perfect place for this 293-page volume, packed as it is with blood-and-guts action, sexual conquest and betrayal" and "a forest full of cutthroats and miscreants. I count at least six murderers (including three child-killers) among Bambi's associates."


title: Bambi, a Life in the Woods

text: Among UK reviews, the "Times Literary Supplement" stated that the novel is a "tale of exceptional charm, though untrustworthy of some of the facts of animal life."


title: Bambi, a Life in the Woods

text: With World War II looming, Max Schuster aided the Jewish Salten's flight from Nazi controlled Austria and Nazi Germany and helped introduce him, and "Bambi", to Walt Disney Productions. Sidney Franklin, a producer and director at Metro-Goldwyn-Mayer, purchased the film rights in 1933, initially desiring to make a live-action adaptation of the work. Deciding such a film would be too difficult to make, he sold the rights to Walt Disney in April 1937 in hopes of it being adapted into an animated film instead. Disney began working on the film immediately, intending it to be the company's second feature-length animated film and his first to be based on a specific, recent work.


title: Bambi, a Life in the Woods

text: The original novel, written for an adult audience, was considered too "grim" and "somber" for the young audience Disney was targeting, and with the work required to adapt the novel, Disney put production on hold while it worked on several other projects. In 1938, Disney assigned Perce Pearce and Carl Fallberg to develop the film's storyboards, but attention was soon drawn away as the studio began working on "Fantasia". Finally, on 17 August 1939, production on "Bambi" began in earnest, although it progressed slowly due to changes in the studio personnel, location and the methodology of handling animation at the time. The writing was completed in July 1940, by which time the film's budget had swelled to $858,000. Disney was later forced to slash 12 minutes from the film before final animation, to save costs on production.


title: Bambi, a Life in the Woods

text: Heavily modified from the original novel, "Bambi" was released to theaters in the United States on 8 August 1942. Disney's version severely downplays the naturalistic and environmental elements found in the novel, giving it a lighter, friendlier feeling. The addition of two new characters, Thumper the Rabbit and Flower the Skunk, two sweet and gentle forest creatures, contributed to giving the film the desired levity. Considered a classic, the film has been called "the crowning achievement of Walt Disney's animation studio" and was named as the third best film in the animation genre of the AFI's 10 Top 10 "classic" American film genres.


title: Bambi, a Life in the Woods

text: In 1985, a Russian-language live-action adaptation, ("Detstvo Bembi", lit. "Bambi's Childhood"), was produced and released in VHS format in the Soviet Union by Gorky Film Studios. It was directed by Natalya Bondarchuk, who also co-wrote the script with Yuri Nagibin, and featured music by Boris Petrov. Natalya 's son Ivan Burlyayev and her husband Nikolay Burlyaev starred as the young and adolescent Bambi, respectively, while Faline (renamed Falina) was portrayed by Yekaterina Lychyova as a child and Galina Belyayeva as an adult. In this adaptation, the film starts using animals, changes to using human actors, then returns to using animals for the ending.


title: Bambi, a Life in the Woods

text: A sequel, ("Yunost Bembi"), lit. "Bambi's Youth", followed in 1986 with Nikolay and Galina reprising their voice roles as Bambi and Falina. Featuring over 100 species of live animals and filmed in various locations in Crimea, Mount Elbrus, Latvia and Czechoslovakia, the film follows new lovers Bambi and Felina as they go on a journey in search of a life-giving flower. Both films were released to Region 2 DVD with Russian and English subtitle options by the Russian Cinema Council in 2000. The first film's DVD also included a French audio soundtrack, while the second contained French subtitles instead.


title: Bambi, a Life in the Woods

text: On January 28, 2020, a computer-animated remake of the Disney film was announced to be in development with a script co-written by Geneva Robertson-Dworet and Lindsey Beer while Paul Weitz, Chris Weitz, and Andrew Miano will produce the film.


title: Bambi, a Life in the Woods

text: On November 21, 2022, a live-action horror film, titled "Bambi: The Reckoning", was announced to be in development for ITN Studios and Jagged Edge Productions with Scott Jeffrey directing and Rhys Frake-Waterfield producing. The film will be about the titular character getting revenge after the death of his mother. The film is expected to begin principal photography on January 31, 2023 in London, UK.


title: Bambi, a Life in the Woods

text: The Estonian composer Lydia Auster composed the ballet "Bambi" in 1986 which was premièred in Tartu, Vanemuine theater, in 1987.


title: Bambi, a Life in the Woods

text: The Oregon Ballet Theatre adapted "Bambi" into an evening-length ballet entitled "Bambi: Lord of the Forest". It was slated to premiere in March 2000 as the main production for the company's 2000–2001 season. A collaboration between artistic director James Canfield and composer Thomas Lauderdale, the ballet's production was to be an interpretation of the novel rather than the Disney film. In discussing the adaptation, Canfield stated that he was given a copy of the novel as a Christmas present and found it to be a "classic story about coming of age and a life cycle." He went on to note that the play was inspired solely by the novel and not the Disney film. After the initial announcements, the pair began calling the work "The Collaboration", as Disney owns the licensing rights for the name "Bambi" and they did not wish to fight for usage rights. The local press began calling the ballet alternative titles, including "Not-Bambi" which Canfield noted to be his favorite, out of derision at Disney. Its premiere was delayed for unexplained reasons, and it has yet to be performed.


title: Bambi, a Life in the Woods

text: Playwright James DeVita, of the First Stage Children's Theater, created a stage adaptation of the novel. The script was published by Anchorage Press Plays on 1 June 1997. Crafted for young adults and teenagers and retaining the title "Bambi—A Life in the Woods", it has been produced around the United States at various venues. The script calls for an open-stage setup, and utilizes at least nine actors: five male and four female, to cover the thirteen roles. The American Alliance Theatre and Education awarded the work its "Distinguished Play Award" for an adaptation.


title: Bambi, a Life in the Woods

text: In 1999, the novel was adapted into an illustrated hardback children's book by Janet Schulman, illustrated by Steve Johnson and Lou Fancher, and published by Simon & Schuster as part of its "Atheneum Books for Young Readers" imprint. In the adaptation, Schulman attempted to retain some of the lyrical feel of the original novel. She notes that rather than rewrite the novel, she "replicated Salten's language almost completely. I reread the novel a number of times and then I went through and highlighted the dialogue and poignant sentences Salten had written." Doing so retained much of the novel's original lyrical feel, though the book's brevity did result in a sacrifice of some of the "majesty and mystery" found in the novel. The illustrations were created to appear as realistic as possible, using painted images rather than sketches. In 2002, the Schulman adaptation was released in audiobook format by Audio Bookshelf, with Frank Dolan as the reader.


title: Buta Kola

text: Būta Kōlā, also referred to as daiva kōlā or nēmā, is a ritual dance performance prevalent among the Hindus of Tulu Nadu and parts of Kasargod in northern Karnataka, India. The dance is highly stylized and performed as part of 'Bhootaradhana' or worship of the local deities worshipped by the Tulu speaking population. It has influenced Yakshagana folk theatre. Būta kōlā is closely related to Theyyam of neighbouring Malayalam-speaking populations.


title: Buta Kola

text: Panjurli, a boar spirit that is worshipped to ward off the menace of wild boars in order to protect the crops.


title: Buta Kola

text: The word is derived from "būta" (Tulu for ‘spirit’, ‘deity’; in turn derived from Sanskrit भूत for ‘free elements’, 'which is purified', 'fit', 'proper', ‘true’, 'past', 'creatures'; Anglicized: "‘bhūta’, ‘bhoota’, ‘bootha’") and "kōla" (Tulu for ‘play, performance, festival’, or 'shape/form').


title: Buta Kola

text: A "bhūta kōlā" or "nēmā" is typically an annual ritual performance where local spirits or deities ("bhūtas, daivas") are being channelised by ritual specialists from certain scheduled castes such as the Nalike, Pambada, or Parawa communities. The "bhūta" cult is prevalent among the


title: Buta Kola

text: Tuluvas of Tulu Nadu region . The word "kōla" is conventionally reserved for the worship of a single spirit whereas a "nēma" involves the channelising of several spirits in hierarchical order. In "kōlas" and "nēmas" family and village disputes are referred to the spirit for mediation and adjudication. In feudal times, the justice aspect of the ritual included matters of political justice, such as the legitimation of political authority, as well as aspects of distributive justice. The produce of land directly owned by the "būta" (commons) as well as certain contributions from the leading manors was redistributed among the villagers.


title: Buta Kola

text: The ritual performance at a "būta kōla" or "daiva nēma" involves music, dance, recital, and elaborate costumes. Recitals in Old Tulu recount the origins of the deity and tell the story of how it came to the present location. These epics are known as "pāḍdanas."


title: Buta Kola

text: Thurston counts among the best known deities "Brahmeru, Kodamanitaya, Kukkintaya, Jumadi, Sarala Jumadi, Pancha Jumadi, Lekkesiri, Panjurli (a divine boar), Kuppe Panjurli, Rakta Panjurli, Jarandaya, Urundarayya, Hosadēvata (or Hosa Bhūta or Posa appe), Dēvanajiri, Kalkuḍa, Tukkateri, Guliga, Babbariya (or Bobbarāyā), Neecha, Duggalaya, Mahisandaya, Varte, Koragajja, Chāmundi, Baiderukulu, Ukkatiri, Kallurti, Shiraadi, Ullalthi, Okkuballala, Korddabbu, Ullaya, Korathi, Siri, Mantridevathe, Rakteshwari, Istadevathe and Odityay. According to some, Jumadi is the small-pox goddess Māri. The Bhūtas are supposed to belong to different castes. For example Okkuballala and Dēvanajiri are Jains, Kodamanitaya and Kukkinataya are Bunts, Kalkuḍa is a smith, Bobbariya is a Māppilla, and Nicha a Koraga." Some of them are ancestral spirits such as "Bobbariya", "Kalkuḍa", "Kallurti", "Siri", "Kumār" Koti and Chennayya. Some are deified wild animals such as the boar - "Paňjurli" (the female counterpart is "Varte Paňjurli") or the tiger - "Pilichaṇḍi."


title: Buta Kola

text: Some "būtas" are Androgynous such as some instances of Jumadi who is represented as female below the neck (breasts), but with a male head sporting a mustache. There are anthropomorphic "būtas", zoomorphic ones, and mixed forms (such as the Malarāya of Kodlamogaru, Kasargod, who has the head of a wild boar and the body of a woman).


title: Buta Kola

text: Depending on the significance of the people who worship them, "būtas" or "daivas" can be family deities ("kuṭuṃbada būta"), local or village deities ("jāgeda būta", "ūrada būta"), or deities associated with administrative units such as manorial estates ("guțțus"), groups of estates ("māgane"), districts ("sīme") or even small kingdoms (royal "būta"s or "rājandaivā"s).


title: Buta Kola

text: According to the ethnographer Peter Claus, the Tulu "pāḍdanas" reveal a cosmology which is distinctly Dravidian and thus different from the Puranic Hindu cosmology. Importantly, priesthood is not the preserve of a caste learned in scriptures but is shared between the ruling aristocracy on one hand and ritual specialists from the lower strata of society on the other hand. The world is divided in two three realms: firstly, the realm of cultivated lands (grāmya), secondly the realm of wastelands and forests (jāṅgala/āraṇya), and thirdly the realm of spirits (būta-loka). Grāmya and jāṅgala/āraṇya form part of the tangible world, whereas būta-loka is their intangible counterpart. As grāmya is constantly threatened by encroachment, disease, hunger and death form jāṅgala and āraṇya, so is the tangible world under constant threat from the intangible world of the spirits. The world of the forest is the "world of the wild, unordered, uncontrolled, hungry beings of destruction".


title: Buta Kola

text: The world of the forest and the world of the spirits are therefore seen as mirror images of each other. The wild animals threatening the human cultivator and his fields such as the tiger, the snake, the wild-boar, and the bison, find their mirror images in their corresponding būtas "Pilli, Naga, Paňjurli" and "Maisandaya".


title: Buta Kola

text: The relationship between these three worlds is one of balance and moral order. If this order is upset by the humans, it is believed that the spirits become vicious. If the order is maintained, the spirits are believed to be supportive and benevolent. Thus, the spirits of Tulu culture are neither "good" nor "bad" as such; they are "neither cruel nor capricious. They methodically and persistently remind a lax humanity of the need for morality and the value of solidarity". Nobody is believed to be above the moral and cosmological norms of this threefold universe, not even the spirits or the gods. Thus the "būta"s are not whimsical or arbitrary in their judgement. The "būta"s are their patron's protectors with regard to a system of moral norms, not despite them.


title: Buta Kola

text: Feudal relations of tribute and fealty mark the relations among the humans in the tangible world, among spirits in the intangible world and between humans and spirits across tangible and intangible worlds. While the world of humans is ruled by a mortal king, the world of the spirits is ruled by Bermeru, the lord of the forest and of the būtas. And just as the landed aristocracy depended on protection and support from their king, the world of humans depends on protection and support from the spirits. Thus once in a year at the time of "kōla" or "nēma", the lord of the human world (patriarch, landlord, king) has to be reconfirmed in his authority by reporting to the spirit to which he is accountable. While the temporal lord's authority is dependent on the spirit";" the authority of the spirit is guaranteed by the active participation of the villagers in the ritual. Thereby a certain degree of political legitimacy is upheld by the active participation of the villagers. Their withdrawal from the ritual can seriously affect the authority of the landlord.


title: Buta Kola

text: As Claus observes, the principal mediators in this network of feudal transactions are communities who once upon a time may have led a liminal life between grāmya and jāṅgala/āraṇya. Tribal communities living in and off the forest and trading in forest products were predestined to serve as spirit impersonators as their life world, the forest, is only the tangible side of the world of the spirits. In pursuit of their livelihood they regularly transgress structural boundaries between village and forest. They live on the margins of the village, in the wasteland between forest and field, thus they are themselves, in a sense, liminal. That such liminal people should be mediums for the spirits seems entirely apt. Today communities like Nalike, Parava or Pambada who impersonate different kinds of "būtas" and "daivas" can no longer be characterised as tribal. They are mostly landless agricultural labourers in the wet season and spirit impersonators in the dry season.


title: Buta Kola

text: Today feudal relations no longer obtain and thus former ruling families no longer hold any political or judicial office. But still the village demands that they sponsor their annual "kōla" or "nēma" to honour the village deity. The people believe that the neglect of the spirits will make their life miserable. Even though they may have changed, "būta kōla" and "daiva" "nēma" still serve secular as well as religious purposes. In fact the two cannot be separated in a world where the tangible is suffused with the intangible. As the cosmology underlying the "pāḍdanas" suggests, the very order of the human world and the order of the spirit world are interdependent.


title: Buta Kola

text: "Būtas" and "daivas" are not worshipped on a daily basis like mainstream Hindu gods. Their worship is restricted to annual ritual festivals, though daily "pūjās" may be conducted for the ritual objects, ornaments, and other paraphernalia of the būta. Unlike with the better-known Hindu gods of the "purāṇic" variety, "būta" worship is congregational.


title: Buta Kola

text: The secular function of the "kōla" or "nēma" has been described as a "sacred court of justice" where traditional (feudal) moral ideals are brought to bear on difficult real-life situations. "Būta kōlas" and "daiva" "nēmas" are assemblies of the entire village. Thus they become an occasion to resolve conflicts in the village. The royal "daiva" ("rājan-daiva)" rules over a former small kingdom or large feudal estate. He or she is mostly the family deity of rich land-owning patrons of the "Baṇṭ" caste whose position and power they reflect, confirm and renew. The relationship between the "būtas", manor heads, and the villagers forms a transactional network which reaffirms the caste hierarchy and power relations in a village. The duty assigned to every category is differential but based on mutuality. The manor head by staging the "nēma" seeks to symbolically proclaim himself to be the natural leader of the community.


title: Buta Kola

text: The villagers offer "sēva" during the "nēma" in the form of service and prostrations and in doing so also offer their support to the "nēma" and their recognition of the leader's status. In return, the villagers expect justice and resolution of disputes by the "daiva" during the "nēma." In the "nēma", the leading manors offer a part of their farm products to the "daiva", which are then redistributed to the villagers. The "nēma" thereby underlines the mutuality on which feudal relations used to be based and, in a limited way, takes care of the problem of social (distributive) justice. The "būta"s receive these offerings and in return give oracles and blessings to ensure the future prosperity of the village (humans, animals, fields). Finally, a part of these offerings will be distributed as "prasāda" among the heads of the "guṭṭus" and other villagers according to their ranks. The system of entitlements is constituted in, or embodied by, the mutual gifting activity between the "būta"s, as the ultimate owner of the land, and people in rituals, creating a transactional network among them.


title: Buta Kola

text: The script of the ritual changes from one n"ēmā" to another, thus the following description is somewhat ideal-typical. The ritual begins with the paraphernalia of the "būta" being brought to the shrine which serves as a venue for the festival. They are placed on an altar or on a swinging cot, which is the insignium of a royal būta ("rajan-daiva"). The Nalike, Parava or Pambada medium prepares for the impersonation of the spirit with a recital of from the "pāḍdana" of the "būta" or "daiva". After this, the medium starts putting on make-up and dressing up in his costume which may include an elaborate "ani" (a giant halo stringed to the back of the dancer). Finally, the medium is given the ornaments from the hoard of the shrine. As he enters the arena, the attendant of the spirit ("pātri") gives him his sword, his bell and other paraphernalia and the patron ("jajmān") gives him one or several burning torches. As the medium begins to dance, the spirit enters his body. Two people hold the torches along with the medium at all times. Thus, the entrance of spirit into this world is restrained. The medium's dance gains more force as the possession continues. He brings the torches dangerously close to his body. The "jajmān" now stands in a ritualistic circle on the ground with his assistants and offerings are made to the "būta". These offerings often include the sacrifice of a chicken whose blood is sprinkled on the ground to enhance the fertility of the land. These sacrificial acts are followed by offerings of puffed rice, beaten rice, coconut pieces, bananas, ghee, betel leaf, and areca nut. In the subsequent court of justice the spirit is approached by the villagers for blessings or asked to help resolve conflicts. The judicial program typically starts once the initial rituals are finished. Complaints and judgements are made orally. The "būta" issues the judgement after hearing the sides of the plaintiff as well as the defendant, if both are present. The "būta's" justice must be referrable to general principles. "He may take a stand, he cannot take sides". While the "būta" may take the opinions of the village headman and other eminent persons into consideration, the ultimate judgement rests with the "būta". Sometimes judgements are also issued by the tossing of betel leaves and the counting of flower petals (usually areca flower). Particularly difficult cases may also be adjourned to the next year by the "būta". Some common disputes that come up are related to land issues, family feuds, questions of honour, robbery, debt, mortgage, breach of contract etc. In cases of theft where the offender is unknown, the "būta" may ask for a certain offering before finding the thief. At times the victim offers the entire value of the stolen goods to the "būta". If the thief is found and penalised, the person is made to pay to the plaintiff a sum that is more than the value of the goods stolen. If the "būta" feels that the thief shows repentance, the gravity of the penalty could be reduced.


title: Buta Kola

text: The art of being a channel/medium is learned. Young boys belonging to the "Pambada, Parava," "Nalike" castes attend rituals where their kin is performing; and they help out with shredding the coconut leaves for the garment of the channel/medium, holding the mirror while the channel/medium is putting on the make up etc. They learn the art of the performance by observing the performance of their kin and trying to mimic it. Along with being able to mimic the way their kin performed, what is essential to be a successful channel/medium is also the aptitude of being possessed by the deity. There are certain rules the channel/medium needs to follow to prepare his body for the possession. This may include being a vegetarian and not drinking alcohol. The channel/medium feels the sudden spirit possession only for a few seconds but after that he is filled with the deity's energy that lets him behave as the deity for the entire ritual.


title: Buta Kola

text: There are two types of mediators between the spirits and the humans. The first type of mediator is known as the "pātri." These are members of middle castes such as "Billava" (toddy tappers, formerly also bow-men). The second type of mediator ("channels/mediums") typically belong to scheduled castes such as "Pambada, Parava or Nalike." While the "pātri" has only a sword and a bell as ritual tools, the channel/medium uses makeup, ornaments, masks etc. Both mediums are believed to channelise the deity from an altered state of consciousness. But while the channel/medium may speak as the "būta" (in the first person) and about the "būta" (in the third person, i.e. when he recounts his/her "pāḍdana"), the pātri only speaks as the būta in the first person.


title: Buta Kola

text: "Pāḍdanas" are songs that form a major part of Tuluva oral literature. Much of the body of this literature has been built on the legends of the "būtas" and "daivas". "Pāḍdanas" have numerous variations for the same narrative. As in other epic traditions, there is no single author. "Pāḍdanas" are orally transmitted and recited. The language of the "pāḍdanas" is old Tulu. Some famous examples are the "Siri-Kumar Pāḍdanas" and the Koti and Chennayya "Pāḍdanas." The "pāḍdanas" sung by women while planting paddy are referred to as "field songs".


title: Buta Kola

text: The "pāḍdanas" recite the origins of the spirits and deities. This is one way for the rituals to reconstruct the past and render a legitimization to it. The singers act as the indigenous narrators of the history of the native land. The "pāḍdanas" also stand in opposition to the "puranic," male based principles as they highlight the feminine principles of mother earth. The "pāḍdanas" also reflect multi-socio-cultural background shifts (for example, the move from Matrilineal system to Patrilineal system). The older sense of cosmology is retained through the "pāḍdanas". The "pāḍdanas" also reflect processes of Hinduisation and Sanskritization.


title: Buta Kola

text: Bhuta Kola is portrayed in the main storyline of the 2022 Kannada film "Kantara". The Karnataka Government announced a monthly allowance for Bhuta kola performers over 60 years of age due to the movie.


"Don't throw the baby out with the bathwater" is an idiomatic expression for an avoidable error in which something good or of value is eliminated when trying to get rid of something unwanted.


title: Don't throw the baby out with the bathwater

text: A slightly different explanation suggests this flexible catchphrase has to do with discarding the essential while retaining the superfluous because of excessive zeal.


text: This idiom derives from a German proverb, "das Kind mit dem Bade ausschütten". The earliest record of this phrase is in 1512, in "Narrenbeschwörung" ("Appeal to Fools") by Thomas Murner, which includes a woodcut illustration showing a woman tossing a baby out with waste water. It is a common catchphrase in German, with examples of its use in work by Martin Luther, Johannes Kepler, Johann Wolfgang von Goethe, Otto von Bismarck, Thomas Mann, and Günter Grass.


text: Carlyle is urging his readers to join in the struggle to end slavery, but he also encourages them to be mindful of the need to try to avoid harming the slaves in the process.


text: The meaning and intent of the English idiomatic expression is sometimes presented in different terms.


title: Michael Eklund

text: Michael Eklund is a Canadian television and film actor who is known for playing the role of the villain or antihero. His characters are often described as being "creepy".


title: Michael Eklund

text: His roles include a kidnapper who terrorizes characters played by Halle Berry and Abigail Breslin in the 2013 psychological thriller "The Call", serial killer Barton Mathis in the second season of the superhero TV series "Arrow", drug trafficker Zane Morgan in the second season of the psychological horror drama series "Bates Motel" (2014), Martin, the leader of a hedonist group called "The Rowdy 3" on the sci-fi TV series "Dirk Gently’s Holistic Detective Agency" (2016–2017) and demon Bobo Del Rey on the sci-fi TV series "Wynonna Earp" (2016–2021).


title: Michael Eklund

text: Eklund won the 2008 Leo Award for Best Performance in a Supporting Role for his work on the 2007 Canadian crime drama and thriller film "Walk All Over Me".


title: Michael Eklund

text: In 2012 Eklund won the Best Actor award at Fantastic Fest for his role as Dr. Geoff Burton in the psychological thriller "Errors of the Human Body". He also won the 2013 Leo Award for Best Performance by a Male in a Feature Length Drama for the same role.


title: Michael Eklund

text: In 2015 Eklund won the Best Actor award presented by the Union of British Columbia Performers and Alliance of Canadian Cinema, Television and Radio Artists (UBCPA/ACTRA) for his portrayal of English photographer Eadweard Muybridge in the biographical film "Eadweard".


title: Michael Eklund

text: Born in Saskatoon, Saskatchewan, Eklund fell in love with the movies at five years of age when his mother took him to see his first movie. He participated in school theatre then later decided to study painting at the Alberta College of Art in Calgary before dropping-out and moving to Vancouver in order to pursue an acting career.


title: Michael Eklund

text: As an actor living in Vancouver (aka Hollywood North) Eklund has appeared on several Canadian and American television series filmed in the area.


title: Michael Eklund

text: His first television role was in 2000 as a police officer in an episode of the sci-fi series "Dark Angel". Eklund appeared on an episode of "Stargate SG-1" in 2002, and appeared in 2 episodes of "Battlestar Galactica" the following year. In 2005 he appeared on the Canadian series "Da Vinci's Inquest" and "Cold Squad". He also had a recurring role on the Canadian mini-series "Terminal City" that same year.


title: Michael Eklund

text: Eklund appeared in 2 episodes of "Smallville" in different roles in 2001 and 2007. From 2005–2007 he played narcotics detective Rene Desjardins on the Canadian crime drama series "Intelligence". In 2007 Eklund also had a recurring role on the Canadian series "Blood Ties".


title: Michael Eklund

text: In 2008 Eklund appeared on an episode of "Supernatural". In 2009 and 2010 he appeared on episodes of the Canadian series "Flashpoint" . In 2010 he also appeared on episodes of the sci-fi series "Caprica" and "Fringe". He also had a recurring role on the Canadian series "Shattered" that same year. In 2012 Eklund appeared in 2 episodes of the sci-fi thriller series "Alcatraz". He also appeared in an episode of "Arrow" in 2013.


title: Michael Eklund

text: In 2014 Eklund played Zane Morgan, a recurring character in the second season of the psychological horror drama "Bates Motel". In 2015 he also played recurring character Robert Zorin on the Canadian sci-fi series "Continuum".


title: Michael Eklund

text: From 2016–2017 Eklund played Martin, the punk energy vampire on the series "Dirk Gently's Holistic Detective Agency" In 2018 he also appeared in 3 episodes of the sci-fi series "Altered Carbon" as Dimi 2, an illegal copy of character Dimitri Kadmin.


title: Michael Eklund

text: In 2016 he also joined the cast of "Wynonna Earp", a series filmed in Calgary, Alberta and surrounding rural areas. On the series Eklund plays Bobo Del Rey, a fur-coat wearing Revenant.


title: Michael Eklund

text: In 2007 Eklund appeared in the Al Pacino thriller film "88 Minutes". In 2009, he had a small role in Terry Gilliam's "The Imaginarium of Doctor Parnassus".


title: Michael Eklund

text: He played Larry in the 2010 comedy-western film "Gunless" with Paul Gross That same year Eklund appeared in the British-Canadian comedy film "The Making of Plus One", a film that also played at Cannes in 2009.


title: Michael Eklund

text: In 2011 he starred alongside Michael Biehn in the Xavier Gens thriller "The Divide" He also played the character of Father in the apocalyptic siege warfare film "The Day" with Dominic Monaghan and Shawn Ashmore that same year.


title: Michael Eklund

text: In 2013 Eklund played Michael Foster, a serial killer who kidnaps Abigail Breslin's character and terrorizes Halle Berry in the film "The Call".


title: Michael Eklund

text: Eklund has also collaborated three times with Calgary-based film director Robert Cuffley: In 2007, he played a crime boss’s enforcer in Cuffley’s dark comedy "Walk All Over Me". In 2012, he played a desperate bartender in the violent thriller "Ferocious" and in 2016 he starred in "Chokeslam" as Luke Petrie, a friend of the film's protagonist.


title: UFL (video game)

text: UFL is an upcoming free-to-play association football video game developed and published by Strikerz Inc. It was initially set to be released on PlayStation 4, PlayStation 5, Xbox One, Xbox Series X and Series S in 2022, but on 30 August 2022, it was announced by Eugene Nashilov, CEO of Strikerz Inc., that the game's release date would be "moved to 2023". The developers describe their model as "fair-to-play" with "a skill-first approach and zero pay-to-win options". They also declare this being their "core principle" with Strikerz Inc. CEO stating that "players’ success should not depend on the number of in-game purchases or the value of donations they make".


title: UFL (video game)

text: "UFL" was first revealed with a teaser trailer on 25 August 2021 during Gamescom 2021. Strikerz Inc. have been developing the project since 2016. Built using the Unreal Engine 4, the game is set to be released on PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X and Series S.


title: UFL (video game)

text: The game has partnered with FIFPro, a worldwide representative organisation for over 65,000 professional footballers, as well as InStat, a sports performance analysis company, who will provide up-to-date statistics for each player.<br>West Ham United, Sporting CP, Shakhtar Donetsk, Borussia Mönchengladbach, Monaco, Besiktas, Celtic, and Rangers have been announced as some of the licensed clubs. On January 27, UFL released it's gameplay trailer, which included ambassadors Oleksandr Zinchenko, Romelu Lukaku, Kevin De Bruyne, Roberto Firmino, and Cristiano Ronaldo.


title: Hard Skool

text: Hard Skool is a single and the fourth extended play by the American hard rock band Guns N' Roses. The single was released on September 24, 2021, with the EP following on February 25, 2022. The EP consists of two recent singles and two live tracks, and is their first EP release with guitarist Slash and bassist Duff McKagan since they rejoined the band in 2016.


title: Hard Skool

text: The tracks "Absurd" and "Hard Skool" were initially written during the "Chinese Democracy" sessions. "Absurd" (known previously as "Silkworms") was performed live four times in 2001, before leaking online in 2018. A snippet of "Hard Skool" was posted online in 2006, with the full version leaking in 2019, under the working title "Jackie Chan".


title: Hard Skool

text: A reworked version of "Absurd" was performed live for the first time on August 3, 2021. It was released as a single three days later, marking the group's first release of new material since the release of "Chinese Democracy" in 2008. It was also the first new Guns N' Roses track to feature guitarist Slash and bassist Duff McKagan since the release of 1994's "Sympathy for the Devil". "Hard Skool" was performed at soundcheck by members of the band on September 16, 2021. It was then released as a single on September 24. The track peaked at number 9 on the "Billboard" Mainstream Rock Airplay chart. The official lyric video of the song debuted on "Good Morning Football" on December 3, 2021.


title: Hard Skool

text: The "Hard Skool" EP was announced on September 25, 2021. Exclusive to the band's online store, it features live versions of "You're Crazy" and "Don't Cry", songs originally released on 1987's "Appetite for Destruction" and 1991's "Use Your Illusion I", respectively. The EP became available on CD, vinyl and cassette on February 25, 2022. A second 7-inch vinyl version was released June 2022 to the Nightrain fan club. It features "Hard Skool" and a new live version of "Shadow of Your Love".


title: Hard Skool

text: "Classic Rock"s Stephen Hill gave "Absurd" a positive review, noting how the track makes the band "sound genuinely pumped up, aggressive and full of boisterous energy". However, "Loudwire" noted a divide among audiences, with some "digging the track" while others "don't seem so into it". "Hard Skool" was more well received, with several publications describing it as "vintage" Guns N' Roses.


title: Pneuma

text: Pneuma () is an ancient Greek word for "breath", and in a religious context for "spirit" or "soul". It has various technical meanings for medical writers and philosophers of classical antiquity, particularly in regard to physiology, and is also used in Greek translations of "ruach" רוח in the Hebrew Bible, and in the Greek New Testament.


title: Pneuma

text: In classical philosophy, it is distinguishable from "psyche" (), which originally meant "breath of life", but is regularly translated as "spirit" or most often "soul".


title: Pneuma

text: , "air in motion, breath, wind", is equivalent in the material monism of Anaximenes to (, "air") as the element from which all else originated. This usage is the earliest extant occurrence of the term in philosophy. A quotation from Anaximenes observes that "just as our soul ("psyche"), being air (), holds us together, so do breath () and air () encompass the whole world." In this early usage, and are synonymous.


title: Pneuma

text: In ancient Greek medicine, "pneuma" is the form of circulating air necessary for the systemic functioning of vital organs. It is the material that sustains consciousness in a body. According to Diocles and Praxagoras, the psychic pneuma mediates between the heart, regarded as the seat of Mind in some physiological theories of ancient medicine, and the brain.


title: Pneuma

text: The disciples of Hippocrates explained the maintenance of vital heat to be the function of the breath within the organism. Around 300 BC, Praxagoras discovered the distinction between the arteries and the veins, although close studies of vascular anatomy had been ongoing since at least Diogenes of Apollonia. In the corpse arteries are empty; hence, in the light of these preconceptions they were declared to be vessels for conveying "pneuma" to the different parts of the body. A generation afterwards, Erasistratus made this the basis of a new theory of diseases and their treatment. The "pneuma", inhaled from the outside air, rushes through the arteries till it reaches the various centres, especially the brain and the heart, and there causes thought and organic movement.


title: Pneuma

text: The "connate pneuma" ("symphuton pneuma") of Aristotle is the warm mobile "air" that plays many roles in Aristotle's biological texts. It is in sperm and is responsible for transmitting the capacity for locomotion and certain sensations to the offspring. These movements derive from the soul of the parent and are embodied by the "pneuma" as a material substance in semen.


title: Pneuma

text: "Pneuma" is necessary for life, and as in medical theory is involved with preserving the "vital heat," but some commentators think the Aristotelian "pneuma" is less precisely and thoroughly defined than that of the Stoics.


title: Pneuma

text: Movement of Animals explains the activity of desire ("orexis") as an expansion and contraction of "pneuma." The innate spirit ("symphuton pneuma") is the power of the soul ("psychiken") to be mobile ("kinetikon") and exercise strength.


title: Pneuma

text: All animals "possess an inborn spirit ("pneuma sumphuton") and exercise their strength in virtue of it." (703a10). This inborn spirit is used to explain desire ("orexis"), which is classified as the "central origin ("to meson"), which moves by being itself moved." (703a56). Aristotle furthers this idea of being a "middle cause" by furnishing the metaphor of the movement of the elbow, as it relates to the immobility of the shoulder (703a13). The inborn "pneuma" is, likewise, tethered to the soul, or as he says here, "tēn" "arche tēn psuchikēn, ""the origin of the soul," the soul as the center of causality. This "spirit" is not the soul itself but a limb of the soul that helps it move.


title: Pneuma

text: The inborn spirit causes movement in the body by expanding and contracting. Each of these implies not only a movement but also a change in the degree of power and strength of the animal. "when it contracts it is without force, and one and the same cause gives it force and enables it to thrust." (703a23).


title: Pneuma

text: He also explained this in "On Sleeping and Waking" "In another place it has been laid down that sense-perception originates in the same part of an animal's body as movement does...In sanguineous animals this is the region about the heart; for all sanguineous animals possess a heart, and both movement and the dominant sense-perception originate there. As for movement, it is clear that breathing and in general the process of cooling takes its rise here, and that nature has supplied both breathing and the power of cooling by moisture with a view to the conservation of the heat in that part. We will discuss this later on. In bloodless animals and insects and creatures which do not respire, the naturally inherent breath is seen expanding and contraction in the part which corresponds to the heart in other animals." 456a1–13.


title: Pneuma

text: "Since it is impossible to make any movement, or do any action without strength, and the holding of the breath produces strength" 456a17.


title: Pneuma

text: Pneuma also played an important role in respiration. Respiration is the process by which breathing helps to cool and moderate the inner vital heat ("thermotēta psychikēs") held in the heart.


title: Pneuma

text: "We have said before that life and the possession of heat depend upon some degree of heat; for digestion, by which animals assimilate their food, cannot take place apart from the soul and heat; for all food is rendered digestible by fire." 474a25–27.


title: Pneuma

text: Aristotle explains that if there is an excess of heat created in the heart the animal will "burn out" by excessively consuming the power sustaining its life (474b10–24). Its heat must be kindled (474b13) and in order to preserve (sōtērias) life, a cooling must take place ("katapsyxis") (474b23).


title: Pneuma

text: In Stoic philosophy, "pneuma" is the concept of the "breath of life," a mixture of the elements air (in motion) and fire (as warmth). For the Stoics, "pneuma" is the active, generative principle that organizes both the individual and the cosmos. In its highest form, "pneuma" constitutes the human soul ("psychê"), which is a fragment of the "pneuma" that is the soul of God (Zeus). As a force that structures matter, it exists even in inanimate objects. In the foreword to his 1964 translation of Marcus Aurelius' "Meditations", Maxwell Staniforth writes:


title: Pneuma

text: Cleanthes, wishing to give more explicit meaning to Zeno's 'creative fire', had been the first to hit upon the term "pneuma", or 'spirit', to describe it. Like fire, this intelligent 'spirit' was imagined as a tenuous substance akin to a current of air or breath, but essentially possessing the quality of warmth; it was immanent in the universe as God, and in man as the soul and life-giving principle.


title: Pneuma

text: "Pneuma" is a common word for "spirit" in the Septuagint and the Greek New Testament. At John 3:5, for example, "pneuma" is the Greek word translated into English as "spirit": "Verily, verily, I say unto thee, Except a man be born of water and of the Spirit (pneuma), he cannot enter into the kingdom of God." In some translations such as the King James version, however, "pneuma" is then translated as "wind" in verse eight, followed by the rendering "Spirit": "The wind (pneuma) bloweth where it listeth, and thou hearest the sound thereof, but canst not tell whence it cometh, and whither it goeth: so is every one that is born of the Spirit (pneuma)."


title: Pneuma

text: Philo, a 1st-century Hellenistic Jewish philosopher, commented on the use of , rather than , in the Septuagint translation of . Philo explains that, in his view, "pneuma" is for the light breathing of human men while the stronger "pnoē" was used for the divine Spirit.


title: Shatru (actor)

text: M. Ramakrishna, known professionally as Shatru, is an Indian actor who appears and works predominantly in Telugu and Tamil films. He is best known for his roles in the films "Krishna Gaadi Veera Prema Gaadha" (2016), "Rangasthalam" (2018), "Kadaikutty Singam" (2018), and "" (2021).


title: Shatru (actor)

text: Ramakrishna was born into a Telugu-speaking family to M. Satyanarayana and M. Sarojini Devi in the Sarla village of the Bargarh district in Odisha. He completed a Bachelor's degree in microbiology from Ravenshaw University. Ramakrishna later moved to Hyderabad to pursue his acting career. After starring in several films, including "Leader" (2010) in brief roles, Shatru had a breakthrough for his portrayal of Ramaraju in "Krishna Gaadi Veera Prema Gaadha" (2016). Shatru debuted in Tamil films with "Kathakali" (2016) before starring in "Kadaikutty Singam" (2018) where he played the antagonist. In a review of the film by the "Deccan Chronicle", the reviewer wrote that "Telugu actor Shatru plays the villain and is suited for the role".


title: Darna Mana Hai

text: Darna Mana Hai (English: "Fear is Forbidden") is a 2003 Indian Hindi-language anthology Horror film. The film consists of six different short stories. It stars Nana Patekar, Vivek Oberoi, Aftab Shivdasani, Shilpa Shetty, Sameera Reddy, Isha Koppikar, Saif Ali Khan, Sohail Khan, among many others. Upon release it met with extremely negative response, despite that it was a cult classic movie. Later in 2006 Ram Gopal Varma, the producer, spawned "Darna Zaroori Hai", a sequel with a different ensemble cast, six new cinematographers, seven different directors. Only Rajpal Yadav and director Prawaal Raman were back from the previous installment. Darna Mana Hai has been dubbed and released in Telugu with the same title.


title: Darna Mana Hai

text: "Darna Mana Hai" interweaves six stories into one film. Seven friends get stuck in the middle of a forest when their car breaks down, and all of them except Vikas find refuge in an abandoned house. To keep each other amused, they tell each other horror and supernatural stories that they have heard over a bonfire.


title: Darna Mana Hai

text: The first story revolves around a married couple, Karan and Anjali, who get stuck in the middle of a forest. During the trip, Karan is constantly trying to scare Anjali by playing pranks. After their car suddenly stops, Karan gets out to investigate the problem. After his disappearance and his cry for help from the desolated forest, Anjali gets out and runs into the forest to rescue him. She finds Karan's torch covered in blood and is stalked by an unseen person or supernatural being. Panicking, Anjali runs around and finds a hand reaching out of a swamp. She then becomes terrified to find that the hand is wearing a watch identical to her husband's. After failed attempts to rescue him, the hand disappears. Someone creeps up on her and as Anjali screams, the person turns out to be Karan. Karan seems completely normal and fine, while Anjali, whimpering, attempts to tell him that she heard him screaming. However, Karan tells her that he heard her screams from the forest when he went to retrieve water. She looks at the torch that she found, which is suddenly clean of the blood that it was covered in. She then hurries back to the car with Karan, telling him to get them both out of there. After quickly fixing the car's problem with the water, Karan and the panicked Anjali climb into the car and drive off. After seeing Anjali's anxious and worried state, Karan puts his arm around her as she leans on him and closes her eyes. He then smirks and looks into the rearview mirror of the car, in which his reflection doesn't exist and Anjali is leaning on nothing (implying that he is a vampire).


title: Darna Mana Hai

text: The second story is about a photographer, Anil, who checks into an inn while on his way to Mumbai. The manager and owner of the lodge is an eccentric man who insists that smoking is strongly prohibited in his inn. When Anil tries to go outside for a smoke, the man prevents him, telling him about the diseases that come along with smoking. The owner then locks Anil inside the lodge and tells him that in a matter of six months, he can cure his addiction to smoking. He reveals that he had cured 70% of the people from smoking, while 30% had been murdered. The owner takes Anil to a basement and shows him piles of corpses, telling him that he tried to prevent them, but these people would not quit smoking. After six months, Anil is now working at the lodge, having succumbed to madness. When a client walks in smoking and asks him for a room, Anil tells him that smoking is strongly prohibited. The customer displays contempt, and Anil calmly shoots him dead. The story ends with Anil and the owner sitting together, enjoying the Tom and Jerry show airing on the television and watching a commercial about the effects of smoking.


title: Darna Mana Hai

text: After this story, a second friend in the group around the bonfire goes to the car looking for a blanket. When she leaves, the body of the first girl who left the bonfire is shown. The second girl is chased around the forest, caught and stabbed by an unseen assailant.


title: Darna Mana Hai

text: The third story is that of a school teacher named Dayashankar Pandey. He confronts a student named Pramila, who is always punished for not completing her homework. One day, when Pandey asks Pramila to hold out her hand for punishment (assuming that she did not do her homework), Pramila produces her homework instead. However, her homework elicits a strange reaction from Pandey. Following this, the incident repeats itself everyday, making Pandey increasingly anxious. Upon a suggestion from a coworker that she might be receiving help from her parents or a tutor, Pandey calls upon Pramila's mother. She denies helping her daughter. He then asks about the Om sign that Pramila draws on every page of her homework. The mother shrugs it off, which forces Pandey to drop the topic. Later, Pandey decides to go to Pramila's house. He confronts Pramila's mother and tells her that he had an intelligent friend, Varun, who died when he fell off a building while flying kite with him (In reality, he had pushed Varun off the building in jealousy) and that he thinks Pramila is a reincarnation of his friend. He says that Varun used to draw the Om sign to prove it. He realizes that he is deranging and leaves apologizing. On the way back home, he is confronted by Varun's spirit, who warns him, "You are not insane yet. But you will be." By the following morning, Pandey loses his sanity, scribbling basic mathematics on the road.


title: Darna Mana Hai

text: After this story is told, another friend in the group leaves the bonfire, looking for the girls who had left them before. He reaches the car to discover Vikas killed by the knife that he had in his hand. When he attempts to go back to warn his friends, he is also confronted by the mysterious attacker.


title: Darna Mana Hai

text: The fourth story focuses on a housewife named Gayatri. She goes to market and comes across a vendor, who is selling apples for Rs. 20 while everyone else is selling apples at Rs. 60. She buys the apples from the vendor, but his demeanour unsettles her. After returning home, she throws away the apples, but they inexplicably reappear inside the fridge. Gayatri's husband Sanjay eats one of the apples and finds it very tasty. She worries that something might happen to Sanjay after eating the apples, as she harbours suspicions about the vendor. The next morning, when Gayatri wakes up, she is shocked to find an apple next to her instead of her husband. She runs outside and is astonished to see apples everywhere on the ground, seemingly that every person who has eaten an apple has transformed into one. The vendor then appears with an evil look, offering Gayatri his last apple for free.


title: Darna Mana Hai

text: In the fifth story, an elderly man named John Rodrigues is standing at a graveyard. A young man in sunglasses, Amar, drives by and offers John a lift. Amar inquires about John's visit at the graveyard. From John's reply, he assumes that the former might be widowed and so he might have come to visit his wife's grave. However, John says that it is actually he who is dead. Amar dismisses it as a joke. As the conversation progresses, Amar is increasingly exasperated with John's creepy behaviour. Amar halts the car, gets out and demands John to leave. John confesses that he works for MTV Bakra (a program similar to Punk'd) and Amar is the first person not to get scared by his prank. Amar says that he was not scared because he knew beforehand that John was not a ghost. He says that he knew this because he himself is a ghost. John thinks that Amar is now trying to play a prank to get back at him, but Amar takes off his sunglasses, revealing his pitch black eyes, before suddenly vanishing. John dies upon witnessing this.


title: Darna Mana Hai

text: Back in real time, at the end of the fifth story, only two friends are left, as none of the five have returned. The two of them start talking about other things when a bespectacled youth suddenly appears, sitting at a corner. The strange man approaches the two and tells them that he has heard the five stories. He asks the boy out of the two friends to tell a story, who narrates the following.


title: Darna Mana Hai

text: The sixth and final story is about a young student, Purab, who has unrequited feelings for Abhilasha, but is frustrated for being a social pariah. Purab contemplates suicide but vents about not being special in front of an idol. Later, he discovers that he has developed an extraordinary ability – he can immobilize a particular person just by saying "Stop!" to them. Purab uses his ability to freeze Abhilasha, and later demonstrates it to her by immobilizing a number of students in their college. Abhilasha, frightened of Purab's power, agrees to date him. Thereafter, Purab returns home and thinks about megalomaniac fantasies. In his delusion, Purab accidentally immobilizes himself while looking at the mirror. His father finds him like that in his room, with a victorious smile frozen on his face. Purab is immediately rushed to the hospital, but in vain.


title: Darna Mana Hai

text: The strange man tells the two friends that it is now his turn to tell a story. He tells them a story that they are partly familiar with.


title: Darna Mana Hai

text: A group of seven friends are travelling one night when their car breaks down. They seek shelter under a ruined shack and start telling stories to each other to kill time. After each story, one friend in the group (supposedly frightened) goes out into the forest and gets killed, one by one, until only two are left. The two friends that are left stop telling stories to each other and the killer, who is now bored, comes out to them. The killer appears to be the very same strange man that is narrating this story. He says that his only reason for the murders is because he cannot stand fear and would kill anyone who is scared.


title: Darna Mana Hai

text: The man then fatally stabs the boy. The girl, Shruti, runs into the forest as fast as she can, but the killer catches up to her and stabs her. She manages to bludgeon the man to death before fainting.


title: Darna Mana Hai

text: When day breaks, Shruti awakens and walks up to the main road to find that the place is swarming with policemen and her friends' corpses are being taken into ambulances. Then, she sees the killer sitting on a car. Shruti points at the man and tries to tell the police that he is the murderer, but the policemen completely ignore her. The killer then points at a body, which she shockingly discovers to be her own. She realizes that she too is dead and is now a ghost, and watches their corpses being taken away with tears in her eyes. As she watches, she is joined by the ghosts of her friends and the killer.


title: Darna Mana Hai

text: The film was a flop at the box office. Even though the film was a commercial failure at the box office it was praised for Prawaal Raman's direction and the performance of the cast was also praised.


title: Kayamkulam Kochunni (2018 film)

text: Kayamkulam Kochunni is a 2018 Indian Malayalam-language period action film directed by Rosshan Andrrews and written by Bobby & Sanjay. It is based on the life of Kayamkulam Kochunni, a famed highwayman who robbed from the rich and gave to the poor during the British Raj in the early 19th century Central Travancore. The film stars Nivin Pauly in the title role along with Mohanlal, Sunny Wayne and Babu Antony in supporting roles.


title: Kayamkulam Kochunni (2018 film)

text: Principal photography commenced on 30 September 2017 in Udupi, Karnataka and was completed on 1 June 2018. Made on a budget of 50 crore.


title: Kayamkulam Kochunni (2018 film)

text: "Kayamkulam Kochunni" was released on 11 October 2018 met with a positive critical response and was well received at the box office, becoming the highest-grossing Malayalam film of the year.


title: Kayamkulam Kochunni (2018 film)

text: At the start, a messenger tells the people of Kayamkulam that Kayamkulam Kochunni, a famed Mappila highwayman of the area, will be executed by hanging. The story then moves into a flashback.