title: Lithuanian mythology

text: Stories, songs, and legends of this kind describe laws of nature and such natural processes as the change of seasons of the year, their connections with each other and with the existence of human beings. Nature is often described in terms of the human family; in one central example (found in many songs and stories), the sun is called the mother, the moon the father, and stars the sisters of human beings. Lithuanian mythology is rich in gods and minor gods of water, sky and earth. Holy groves were worshipped, especially beautiful and distinctive places – "alka" were selected for sacrifices for gods.


title: Lithuanian mythology

text: Fire is very often mentioned by chroniclers, when they were describing Lithuanian rituals. The Lithuanian king Algirdas was even addressed as a "fire worshiper King of Lithuania" (τῷ πυρσολάτρῃ ῥηγὶ τῶν Λιτβῶν) in the documents of a patriarch Nilus of Constantinople.


title: Lithuanian mythology

text: Water was considered a primary element - legends describing the creation of the world, usually state that "at first there was nothing but water".


title: Lithuanian mythology

text: Springs were worshiped - they were considered holy. The river was seen as separating the areas of alive and death. If the settlement was placed at the river, then the deceased were buried in another side of the river. Water sources were highly respected and was tradition to keep any water - spring, well, river, lake clean. Cleanliness was associated with holiness.


title: Lithuanian mythology

text: Holy groves were considered not holy in itself, but as a home of gods. Jerome of Prague was an ardent missionary in Lithuania, leading the chopping of the holy groves and desecration of Lithuanian sacred heathen places. Lithuanian woman reached Vytautas the Great with plaints that they are losing their places of "Dievas", the places where they prayed supreme god – "Dievas" to withhold the Sun or rain. Now, when the holy groves are destroyed they do not know where to search for "Dievas" since it lost its home. Jerome of Prague was finally sent out of the country.


title: Lithuanian mythology

text: Celestial bodies – planets were seen as a family. "Mėnulis" (Moon) married "Saulė" (Sun) and they had seven daughters: "Aušrinė" (Morning Star – Venus), "Vakarinė" (Evening Star – Venus), "Indraja" (Jupiter), "Vaivora" or son "Pažarinis" in some versions (Mercury), "Žiezdrė" (Mars), "Sėlija" (Saturn), "Žemė" (Earth). Three daughters lived close to their mother Saulė, another three were traveling.


title: Lithuanian mythology

text: "Grįžulo Ratai" (also – "Grigo Ratai", "Perkūno Ratai", "Vežimas") (Ursa Major) was imagined as a carriage for the Sun which was travelling through the sky, "Mažieji Grįžulo Ratai" (Ursa Minor) – a carriage for the daughter of Sun.


title: Lithuanian mythology

text: Zodiac or Astrological signs were known as liberators of the Saulė (Sun) from the tower in which it was locked by the powerful king – the legend recorded by Jerome of Prague in 14-15th century.


title: Lithuanian mythology

text: Legends ("padavimai", "sakmės") are a short stories explaining the local names, appearance of the lakes and rivers, other notable places like mounds or big stones.


title: Lithuanian mythology

text: Lithuanian mythology serves as a constant inspiration for Lithuanian artists. Many interpretations of "Eglė – the Queen of Serpents" were made in poetry and visual art. In modern Lithuanian music polytheistic rituals and sutartinės songs were source of inspiration for Bronius Kutavičius. Old Lithuanian names, related to nature and mythology are often given to the children. Many pagan traditions slightly transformed were adopted by the Christian religion in Lithuania. Oaks are still considered a special tree, and grass snakes are treated with care. Old songs and pagan culture serve as inspiration for rock and pop musicians.


title: You Got the Love

text: "You Got the Love" is a song by British songwriting team The Source featuring American singer-songwriter Candi Staton. Originally released in 1986, the song was remixed and re-released in 1991, 1997, and 2006. It reached number three on the UK Singles Chart, number two on the UK Dance Singles Chart and number one on the UK Club Chart.


title: You Got the Love

text: The song has been covered by other artists, including a version by English indie rock band Florence and the Machine in 2009, which reached number five on the UK chart. The Now Voyager Remix of the song was used for the theme tune of live Football League coverage on Sky Sports until the start of the 2014–15 season.


title: You Got the Love

text: The original version is a soul/disco/gospel track, written by Anthony B. Stephens, Arnecia Michelle Harris and John Bellamy. British DJ Simon Harris was the first person to discover and license the song in 1986 when he was looking for tracks to release on his newly formed Music of Life label with DJ Froggy, Harris then took the track to Morgan Khan, the distributor of the new label, the track was licensed and released on Khan's StreetSounds Streetwave label. The original Candi Staton track had been recorded for a direct-to-video 1980s documentary about an obese man who was trying to lose weight. Staton said she couldn't remember having recorded a song called "You Got the Love". It was only later that she realised she had performed the song years earlier for the documentary. The producers of the video had selected the song for her to sing, but as they had no funds to pay her, they donated half of the copyright and publishing to Staton. It featured an a cappella version utilised by Paul Simpson for a remix of the Adeva song "Musical Freedom" in 1989.


title: You Got the Love

text: The Candi Staton a cappella was originally mixed over an instrumental version of the Frankie Knuckles/Jamie Principle house song "Your Love". This bootleg release was a studio recording of Eren Abdullah mixing the two pieces of vinyl together. The DJ Eren "Original Bootleg" mix was released by John Truelove's record label in 1991 and reached number four in the UK Singles Chart. It was re-issued in 1997 by React Music Limited in a new remixed version called the "Now Voyager Mix". This time the record reached number three, the song's highest position, and then was remixed again in 2006 with new mixes by the Shapeshifters amongst others. This time the rights to the record were picked up by EMI's Positiva label (also the label the Shapeshifters were signed to), who scored another top ten hit, when the track reached number seven. The 2006 mix also featured more lyrics than the first two versions.


title: You Got the Love

text: The "Original Bootleg Radio Mix" of the track was featured in the film "Layer Cake" in the club where Sidney talks to the film's protagonist as he looks on at Sidney's girlfriend. The "Now Voyager Mix" (released in 1997) was used on the series finale of the HBO comedy dramedy series "Sex and the City".


title: You Got the Love

text: Alan Jones from "Music Week" wrote in 1997, "A brilliant marriage of two different records, the Source featuring Candi Staton's You GotThe Love was a truly inspired amalgam, well deserving its top five status in 1991. Six years on, it has been extensively remixed by the Rhythm Masters and David Morales & Frankie Knuckles. The new mixes work well, although the 1991 mixes remain the best. Well worth another outing." James Hyman from the magazine's "RM" Dance Update rated the 1997 remix five out of five, adding, "Now 'Voyager's Epic' (which is managing to gain considerable airplay) borrows from Elgar's 'Enigma Variations' and, with the vocal, creates a parallel to Massive Attack's 'Unfinished Sympathy' via an uplifting and spinetingling surge."


title: You Got the Love

text: The planned 1986 video was supposed to feature a man wanting to lose weight. The filming was shelved when the actor portraying the character lost his weight to around .


title: You Got the Love

text: The 1991 video shows silhouettes of men and women dancing on a white background, sometimes as individuals, couples or in groups, intercut with a sequence of close-ups of different faces miming to the lyrics. Grainy footage of a Northern line London Underground train entering a station also appears.


title: You Got the Love

text: The 1997 video features the "Now Voyager mix" and portrays a man dressed like a friar carrying a cross being guided by an angel and tempted by the Devil.


title: You Got the Love

text: The 2006 version features the "New Voyager mix" in a black and white video. Set in London, it portrays an angelic young man (played by broadcaster Gary Newbon's son Neil) watching over the poor, lonely and vulnerable in the streets, subways and gardens. (Referencing the Wim Wenders film "Wings of Desire")


title: You Got the Love

text: "Mixmag" ranked the song number 33 in its "100 Greatest Dance Singles of All Time" list in 1996, adding:


title: You Got the Love

text: English house music DJ, DJ Paulette picked the song as one of her favourites in 1996, saying, "This is one of my desert island discs. It came out in about 1991/1992 and it's just fantastic, so strong. I remember the video being shown on TOTP, it charted really highly. The energy of the track is inspirational."


title: You Got the Love

text: The song was covered by English indie rock band Florence and the Machine as "You've Got the Love" and released as the fifth single from their debut album, "Lungs" (2009). It was first released on 1 December 2008 as the B-side to their second single "Dog Days Are Over". It was then later released as a digital download only single on 5 January 2009 in the United Kingdom only, after the mass praise it received during the release of "Dog Days Are Over". After being released before "Lungs" was finally recorded and released, it was later featured on the album as its bonus track.


title: You Got the Love

text: The single was given a re-release on physical format on 16 November 2009 in the United Kingdom. For the reissue a music video was shot.


title: You Got the Love

text: The track, which is significantly shorter than the original, was produced by Charlie Hugall, who also produced three other tracks on "Lungs". Hugall was also involved in the bass and percussion development of the song. The track features Isabella Summers on piano, Christopher Lloyd Hayden on drums, Tom Moth on harp, Rob Ackroyd on guitar and Florence Welch on vocals.


title: You Got the Love

text: As a kid, going to clubs and raves, this song made me feel love. At Bestival last year we were top of the bill on that stage, so we were thinking of an amazing cover we could do, and I thought of Candi Staton. Even in rehearsals, playing it was just the most euphoric feeling. Then playing it live and seeing everyone's arms in the air, and the faces – it was the best feeling ever! I was dressed as a genie sea-monster, and I remember looking at my guitarist as we played the first chords, and then there was the reaction and it was like tearing ourselves open and just exploding on the crowd, and then all did it back. It's a feeling you couldn't express. I'm really excited that now in our live shows I'm going to be playing one of my favourite songs ever, loads.


title: You Got the Love

text: "You've Got the Love" is a fan favourite of the band and has been played at numerous festivals around the United Kingdom during 2008 and 2009. Including the Bestival, Glastonbury, Way Out West, Brighton, Electric Picnic, Leeds, Smash & Grab and with an acoustic version being performed at a festival in Reading. It's also been performed Live In Ibiza on BBC Radio 1 and at the BBC Live Big Weekend. Florence also made a guest appearance during The xx's 2010 Glastonbury Festival performance, where they played their remix of the track. In 2013, a children's choir rendition of the song was used in TV spots for Coca-Cola.


title: You Got the Love

text: "You've Got the Love" received positive reviews who notably commented on the song in reviews of "Dog Days Are Over". MusicOMH commented on the song by saying that "Following with her tradition of some finely chosen cover versions, there's even an excellent rendition of The Source's You Got the Love." Altsounds.com reviewed the track, writing, "You've Got the Love" is a standard pop number that does something in a non-standard fashion – it isn't afraid of looking at its simplistic melodic hooks and accepting it with a touch of lyrical honesty and contemplative imprint."


title: You Got the Love

text: Contactmusic.com also commented on the song by saying that "The B-side cover of The Source ft. Candi Staton's "You Got the Love" is equally strong." Dailymusicguide.com also positively reviewed the single, writing, "Florence + The Machine have used the format of the original remix but have certainly breathed new life into this old classic. With Florence Welch's distinctive voice she makes this song her own. The inclusion of a harp only adds to the gentle sway effect produced by the track, bursting gently in without malice at around eighteen seconds in. The song's lyrics are empowering: Florence's heavenly voice has a vulnerable quality which, as it has with relatively short career so far, grows stronger through You've Got The Love's verse and chorus. It's empowering, liberating and moving all at the same time, not least conveyed by the emotion in Welch's vocals. Rating: 4/5"


title: You Got the Love

text: Upon its original release, "You've Got the Love" reached number 158 on the UK Singles Chart. The song later re-entered the chart at number 124 and moved up to number 68 in the next week's chart. The following week it fell to number 75 before dropping out of the top 100.


title: You Got the Love

text: It then re-entered the chart, two weeks later on 22 August 2009 at number 59, where it peaked before dropping out the top 100 again. Its re-entry pattern then continued when it re-entered three weeks later on 12 September 2009 at number 88. The song peaked at number 16, after the single's actual release in 2009. It spent a total of eight weeks within the top 100, longer than both previous singles "Kiss with a Fist" and "Dog Days Are Over".


title: You Got the Love

text: In November 2009, BBC Sport used the song at the end of the Formula 1 coverage of the 2009 Abu Dhabi Grand Prix (and the whole 2009 season) for a season review video which covered highlights of all 17 races that were held that year.


title: You Got the Love

text: On 3 January 2010, "You've Got the Love" climbed 18 places to a new peak of number 13 on the UK Singles Chart after its use in the last episode of "Gavin & Stacey" on 1 January 2010. One week later, on 10 January 2010, the song peaked at number five in its 34th week on the chart, becoming the band's first top-10 single. Following their Brit performance in February 2010, "You've Got the Love" climbed to number 12, just missing out on the Top 10. It has spent 30 weeks on the UK Singles Chart. As of June 2018, the song has sold over 1.8 million combined sales/streams in that country.


title: You Got the Love

text: On 8 January 2010, "You've Got the Love" climbed up the Irish Singles Chart, reaching a peak of number 21, whereas before it had only reached number 30. After falling out of the chart, on 26 February 2010, "You've Got the Love" re-entered the Irish chart, reaching a new peak of number 16.


title: You Got the Love

text: In January, "You've got the Love" entered the Australian singles ARIA Charts at number 50, and remained within the top 50 for a large amount of time. In February and March, it was consistently increasing positions, where it eventually reached a peak of number 30. Due to popular television shows like "Domestic Blitz" and "MasterChef Australia" using it in commercials, the song rapidly climbed to number 17, on 4 April, and to its highest peak of number nine on 11 April. It hasn't been released as a physical single, and has relied solely on digital sales, where it has peaked at number five.


title: You Got the Love

text: In New Zealand the single began receiving mainstream radio airplay causing it to rise to 50 on the airplay chart, however, the airplay has since dropped.


title: You Got the Love

text: Despite originally being released as a single almost nine months earlier, the band announced on 18 September 2009 that a music video would be made for the song and would be shot on 21 September 2009 in London. It features Welch in a white, sparkly leotard dancing on a large moon-shaped platform suspended over a nightclub, an homage to Studio 54. The video later shows many people beneath her dancing to the song. The video that aired on United Kingdom television has a different version of the song to the one on the album.


title: You Got the Love

text: At the 2010 BRIT Awards on 16 February 2010, Florence and the Machine and Dizzee Rascal performed a mashup of "You Got the Love" and Dizzee's song "Dirtee Cash", entitled "You Got the Dirtee Love".


title: You Got the Love

text: The single was released on 17 February 2010 exclusively to iTunes, one day after the BRITs performance. On 21 February 2010, the single entered the UK Singles Chart at number two. As of May 2010, the single had sold more than 280,000 copies in the UK. "You Got the Dirtee Love" is featured on the "Dirtee Deluxe Edition" of Dizzee Rascal's "Tongue n' Cheek" album; the track charted in Ireland and Australia following the album's release. It also appears on the "Between Two Lungs" reissue of Florence and the Machine's album "Lungs".


title: You Got the Love

text: The song was performed at Radio 1's Big Weekend in North Wales on 22 May 2010, and again at the Glastonbury Festival 2010 on 25 June. The song was also performed at Capital's Summertime Ball 2010, where Florence Welch appeared as a special guest during Dizzee's set.


title: You Got the Love

text: The song was covered by English singer and songwriter Joss Stone for her fourth studio album, "Colour Me Free!", released in October 2009.


title: Oskar Kokoschka

text: Oskar Kokoschka (1 March 1886 – 22 February 1980) was an Austrian artist, poet, playwright, and teacher best known for his intense expressionistic portraits and landscapes, as well as his theories on vision that influenced the Viennese Expressionist movement.


title: Oskar Kokoschka

text: The second child of Gustav Josef Kokoschka, a Bohemian goldsmith, and Maria Romana Kokoschka (née Loidl), Oskar Kokoschka was born in Pöchlarn. He had a sister, Berta, born in 1889; a brother, Bohuslav, born in 1892; and an elder brother who died in infancy. Oskar had a strong belief in omens, spurred by a story of a fire breaking out in Pöchlarn shortly after his mother gave birth to him. The family's life was not easy, largely due to a lack of financial stability of his father. They constantly moved into smaller flats, farther and farther from the thriving centre of the town. Concluding that his father was inadequate, Kokoschka drew closer to his mother; and seeing himself as the head of the household, he continued to support his family when he gained financial independence. Kokoschka entered a "Realschule" in 1897, a type of secondary school, where emphasis was placed on the study of modern subjects such as the sciences and language. Despite his intent of continuing a formal education in chemistry, Kokoschka was not interested in such subjects, as he only excelled in art, and spent most of his time reading classic literature during his lessons. Like many of Kokoschka's French and German contemporaries, he was interested in the primitive and exotic art featured in the ethnographical exhibits around Europe.


title: Oskar Kokoschka

text: One of Kokoschka's teachers suggested he pursue a career in the fine arts after being impressed by some of his drawings. Against his father's will, Kokoschka applied to the Kunstgewerbeschule in Vienna, now the University of Applied Arts Vienna. He received a scholarship and was one of few applicants to be accepted. The Vienna Kunstgewerbeschule was a progressive school of applied arts that focused mainly on architecture, furniture, crafts, and modern design. Unlike the more prestigious and traditional Academy of Fine Arts Vienna, the Kunstgewerbeschule was dominated by instructors of the Vienna Secession. Kokoschka studied there from 1904 to 1909 and was influenced by his teacher Carl Otto Czeschka in developing an original style.


title: Oskar Kokoschka

text: Among Kokoschka's early works were gesture drawings of children, which portrayed them as awkward and corpse-like. Kokoschka had no formal training in painting and so approached the medium without regard to the "traditional" or "correct" way to paint. The teachers at the Kunstgewerbeschule helped Kokoschka gain opportunities through the Wiener Werkstätte or Viennese Workshops. Kokoschka's first commissions were postcards and drawings for children. Later, Kokoschka said that this exercise provided "the basis of [his] artistic training". His early career was marked by portraits of Viennese celebrities, painted in a nervously animated style.


title: Oskar Kokoschka

text: Following his own artistic training, Kokoschka dedicated years of his life thereafter teaching art and writing articles and speeches documenting his views and practices as an educator. 17th-century Czech humanist and education reformer, Jan Amos Comenius, was Kokoschka’s primary influence in terms of how to approach education. From Comenius’s theories, Kokoschka adopted the belief that students benefit most from using their five senses to facilitate reasoning. Kokoschka taught in Vienna from 1911 to 1913 and then again in Dresden from 1919 to 1923. While his efforts as a teacher were noted in various publications, they generally focused on his personality captured within his own art rather than his classroom practices. Kokoschka neglected the conventional structured methodologies and theories assumed by art educators, and instead taught through storytelling infused with mythological themes and dramatic emotion. In 1912, Kokoschka delivered his essay “Von der Natur der Gesichte” (“On the Nature of Visions”) at the Akademischen Verband für Literatur und Musik in Vienna. This essay outlined Kokoschka’s artistic conceptualization about the relationship between inner vision and optical sight. In considering his own art, Kokoschka expressed that inspiration stemmed from daily observations that he collected optically while engaging with his contemporary surroundings. Kokoschka’s ability to acknowledge how these stimulations manifested within his inner imagination resulted in works that draw upon the subconscious rather than optical vision. Further, Kokoschka granted the viewer with the task of interpreting the image based upon how they experience the vision within their own realm of consciousness. This concept, in congruency with Wassily Kandinsky’s theory pertaining to spirituality in art, has become the basis for which art historians understand Viennese Expressionism.


title: Oskar Kokoschka

text: In 1908 Kokoschka was offered the opportunity of submitting works to the first Vienna "Kunstschau." This government funded exhibition was established to both bring in tourists and affirm Vienna's prominence within the art world. Kokoschka received a commission from the Director of the Wiener Werkstätte, Fritz Wärndorfer, for color images that would supplement a children’s book and be displayed at the exhibition. Kokoschka, however, took the liberty of producing images that would serve as illustrations to the poem he wrote a year earlier, "Die träumenden Knaben (The Dreaming Youths)", which took on the form of an autobiographical adolescent fantasy that was inappropriate for a young audience. In his autobiography, Kokoschka explained the origins of the poem, which follow his personal experience as a young student who was in love with his Swedish classmate, Lilith. "Die träumenden Knaben" consists of introductory pages with two small black and white lithographs, in addition to eight larger color lithographs with a vertical column of text positioned beside each image. Influenced by the compositions found in medieval art, Kokoschka depicted various moments in time simultaneously within each individual image. Kokoschka also adopted the bold lines and expressive colors of traditional European folk art and juxtaposed them with the stylized ornamentation and two-dimensional bodies of Jugendstil. The final page, titled "Das Mädchen Li und ich" (the Girl Li and I), features the angular forms of the young boy (Kokoschka) and girl (Lilith), taking on the style of the Belgian sculptor George Minne. This work, which Kokoschka dedicated to his former teacher Gustav Klimt, demonstrates the transition from Jugendstil to Expressionism.


title: Oskar Kokoschka

text: "Die träumenden Knaben" along with the tapestry titled "The Dream Bearers", which is now lost, were the first works ever to be exhibited by Kokoschka. Like the book illustrations, Kokoschka’s tapestry was considered disturbing due to its depiction of youthful, exotic and sexualized fantasies. Upon showing these two works, Kokoschka was subject to a backlash from conservative officials and only a small proportion of the five hundred copies of "Die träumenden Knaben" were actually bound and sold. As a result, he was expelled from the Kunstgewerbeschule and found his place within the Viennese avant-garde. Austrian architect Adolf Loos befriended Kokoschka and introduced him to other avant-garde members who then became his subjects in a series of portrait paintings.


title: Oskar Kokoschka

text: Kokoschka painted a bulk of his portraiture between 1909 and 1914. Unlike many of his contemporaries who were also receiving portrait commissions, such as Edvard Munch, Kokoschka maintained complete artistic freedom because they were generally not ordered directly by the sitter. A majority of Kokoschka’s subjects were clients of the architect Loos, and it was Loos who ordered the portraits and agreed to purchase them if the sitter chose not to. Other portraits by Kokoschka feature friends and advocates within his circle who supported the modern art of this period. Prominent members of this group who had their portraits painted include the art dealer Herwarth Walden, art supporter Lotte Franzos, poet Peter Altenberg, and art historians Hans and Erica Tietze.


title: Oskar Kokoschka

text: Kokoschka’s portraits demonstrate the conventions of traditional portraiture, primarily regarding the perspective in which he captures the sitters. However, Kokoschka also adopted elements of the modern style which involved incorporating hands within the composition to further capture the emotion expressed through an individual's gestures. These portraits also utilize the unconscious positioning of the sitter’s body, which Kokoschka believed would unveil the inner tensions of their subconscious.


title: Oskar Kokoschka

text: Kokoschka’s portraits incorporate an expressive color palette similar to those featured in the works of German Die Brücke artists at the time. Kokoschka’s use of shrill, harsh colors that make the subjects appear as rotting corpses is not meant to be understood as a portrayal of their individual physical conditions, but rather an overarching indication of a decomposing age. The bold lines and patches of bright color juxtaposed against an otherwise solid, dull background were visual interpretations of the anxieties felt by Kokoschka and those in circle. Kokoschka’s portraits, however, differed from those of his contemporaries due to his belief in the symbolic importance of the act of painting itself, which is emphasized by visible brushstrokes and areas of exposed canvas. Kokoschka integrated painterly techniques with those used in drawing, as seen in his use of vibrant and contrasting colors, rapid brushstrokes, anxious scratch marks, and uneven handling.


title: Oskar Kokoschka

text: In a letter from 1909, Kokoschka noted that he “would like to do a nervously disordered portrait.” With no additional elements to establish a narrative for the sitter, Kokoschka stressed that the essence of the individual comes out through the means of creating their image. Patrick Werkner, an art historian, describes Kokoschka’s portraits by suggesting that it is as if the skin becomes separated from the body, allowing the viewer to see through the physiognomy like a veil only to make visible the means of depiction. Kokoschka’s portraits as a whole comment on the overwhelming feelings of uncertainty felt by those who were aware of the shifting cultural milieu leading up the end of the old order of the Austrian Empire in 1918.


title: Oskar Kokoschka

text: Kokoschka’s portrait, "Hans Tietze and Erica Tietze-Conrat", was painted in 1909 in the library of the couple’s home. Aside from being close friends of the artist, the couple were also prominent art historians of the time. Erica Tietze-Conrat explained that while Kokoschka was creating their portrait, he encouraged them to move freely and continue their work at the two desks that were situated adjacent to one another by a window. After painting her husband in profile, Kokoschka asked Erica to position herself so that he could paint her frontally. Shortly after beginning the painting, Kokoschka set down his paintbrush and began using only his fingers. Kokoschka used his fingernails to scratch thin lines into the paint, which appear in outlines and areas of hatching and crosshatching, as well as throughout the background. Although painted in their library, the figures appear to be existing in a surreal, subliminal space. Kokoschka blends vibrant tones of blue and red upon an otherwise muted green background. In the portrait, the couple do not face each other, but their hands reach out as if they are about to touch. Their hands then become the means of communication, symbolizing the bridge for which their inner energies may flow back and forth. The couple was forced to flee Austria in 1938 as a result of their Jewish heritage, but were able to take with them this portrait that they refused to exhibit until it was purchased by the Museum of Modern Art in 1939.


title: Oskar Kokoschka

text: Kokoschka moved to Berlin in 1910, the same year the Neue Secession was established in Berlin. The group, composed of artists and philosophers such as Emil Nolde, Ernst Ludwig Kirchner, Erich Heckel and Max Pechstein, formed as a rebellion against the older Secession group. While Kokoschka refrained from adopting the group's techniques and ideologies, he did admire the sense of community established between its members. Berlin art dealer Paul Cassirer saw promise in Kokoschka's works and launched the artist into the international circle. Around the same time, Herwarth Walden, a publisher and art critic who was introduced to Kokoschka by Loos, employed Kokoschka as an illustrator for his magazine "Der Sturm". Twenty-eight drawings by Kokoschka were published in the magazine during its first year; and although he was featured significantly less, Kokoschka remained a contributor to the periodical. Kokoschka's first piece for "Der Sturm," a drawing from the series "Menschenköpfe (People's Heads)," was dedicated to Karl Kraus. The twentieth Issue of the periodical featured both Kokoschka's first cover illustration, which supplemented "Mörder, Hoffnung der Frauen", as well as the artist's first literary contribution. Kokoschka continued to travel back and forth between Vienna and Berlin over the next four years.


title: Oskar Kokoschka

text: Kokoschka had a passionate, often stormy affair with Alma Mahler. It began in 1912, five years after the death of her four-year-old daughter Maria Mahler and two years before her affair with Walter Gropius, later a celebrated architect in Berlin. But after two years together, Alma rejected him, explaining that she was afraid of being too overcome with passion. She married Walter Gropius in 1915 and lived with him until their divorce in 1920. Kokoschka continued to love Alma Mahler his entire life, and one of his most acclaimed works, "The Bride of the Wind" ("The Tempest"; 1913), is expressive of their relationship. The poet Georg Trakl visited the studio while Kokoschka was painting this masterpiece. Kokoschka's poem "Allos Makar" was inspired by this relationship.


title: Oskar Kokoschka

text: He volunteered for service as a cavalryman in the Austrian army in World War I, and in 1915 was seriously wounded. At the hospital, the doctors decided that he was mentally unstable. Nevertheless, he continued to develop his career as an artist, traveling across Europe and painting the landscape.


title: Oskar Kokoschka

text: He commissioned a life-sized female doll in 1918. Although intended to simulate Alma and receive his affection, the 'Alma doll' did not satisfy Kokoschka and he destroyed it during a party.


title: Oskar Kokoschka

text: In 1919, Kokoschka began teaching at the Kunstakademie Dresden. In an open letter addressed to the inhabitants of Dresden from 1920, Kokoschka argued that the civil war battles between the revolutionary parties should be moved outside of the city’s borders in order to protect the art which could not escape the crossfire. This letter was penned after an incident on 15 March 1920 when a bullet damaged "Bathsheba at the Fountain", a painting by Peter Paul Rubens. As a result of his letter, Kokoschka received backlash from the Communist artists George Grosz and John Heartfield in what was referred to as the "Kunstlump" debate, or Art Scoundrel Debate. Many other artists, however, continued to support the work of Kokoschka.


title: Oskar Kokoschka

text: In May 1922 he attended the International Congress of Progressive Artists and signed the "Founding Proclamation of the Union of Progressive International Artists".


title: Oskar Kokoschka

text: Kokoschka returned to Vienna in the Autumn of 1931, where he spent six months in the home he had purchased for his parents eleven years earlier. Located in Vienna’s 16th District known as Liebharstal, the house, now functioning as the artist’s studio, provided a view of Schloss Wilhelminenberg which had been converted into a Kinderheim, or orphanage, by the City Council. During this time, Kokoschka accepted a commission by the Social Democratic City Council, ‘Red Vienna,’ for a painting that would be hung inside the Rathaus, or City Hall. Kokoschka, along with other Austrian artists, was asked to create an artwork depicting Vienna in contribution to this project managed by the Historisches Museum der Stadt (Wien Museum). In honor of the humanitarian efforts of the City Counsel, Kokoschka decided to illustrate children playing outside of the palace in the foreground of the composition which otherwise consisted of a cityscape. Other identifiable Viennese architecture within the painting includes the City Hall and St. Stephen's Cathedral.


title: Oskar Kokoschka

text: Deemed a "degenerate" by the Nazis, Kokoschka fled Austria in 1934 for Prague. In Prague his name was adopted by a group of other expatriate artists, the Oskar-Kokoschka-Bund (OKB), though Kokoschka declined participation with their group. He obtained Czechoslovak citizenship in 1935. In 1938, when the Czechs began to mobilize for the expected invasion by the Wehrmacht, he fled to the United Kingdom and remained there during the war. With the help of the British Committee for Refugees from Czechoslovakia (later the "Czech Refugee Trust Fund"), all members of the OKB were able to escape through Poland and Sweden.


title: Oskar Kokoschka

text: During World War II, Kokoschka painted anti-Fascist works such as the allegory "What We Are Fighting For" (1943). Kokoschka left the bustling city center of London and settled in Polperro, in Cornwall. While residing in this seaside village, Kokoschka made paintings depicting landscapes of the harbor, along with "The Crab", which began a series of works embedded with political allegories resisting the Nazi regime. Kokoschka’s "The Crab" was painted between 1939 and 1940, and captures the view of the harbor from the artist’s house in Polperro. This work functions as a self-portrait of the artist, where Kokoschka is the swimmer representing Czechoslovakia. The large crab is symbolic of Neville Chamberlain, the British Prime Minister at the time the painting was created. In explaining this painting, Kokoschka said the crab “would only have to put out one claw to save him from drowning, but remains aloof.” Further, this painting demonstrates the instability he felt as a result of German occupation forcing him to seek refuge in other countries across Europe. This landscape painting, amongst others by Kokoschka, were brought with him to London unfinished where they were transformed into political allegories. While in London, Kokoschka also painted "The Red Egg," another political painting referencing the destruction of Czechoslovakia. In this satirical painting, Kokoschka comments on the Munich Agreement of 1938 with grotesque caricatures of Benito Mussolini and Adolf Hitler.


title: Oskar Kokoschka

text: During several summer months, he and his young Czech wife, Oldřiška “Olda” Palkovská Kokoschka (1915–2009), lived in Ullapool, a village in Wester Ross, Scotland. There he drew with coloured pencil (a technique he developed in Scotland), and painted many local landscape views in watercolour. While in Ullapool, Kokoschka painted a portrait of his friend, the wealthy industrialist Ferdinand Bloch-Bauer, Uncle of Maria Altmann. The painting hangs at the Kunsthaus Museum in Zurich. Between 1941–1946 he and Olda spent several weeks each summer with the Czech Professor Emil Korner at his home The House of Elrig in Wigtownshire.


title: Oskar Kokoschka

text: Kokoschka naturalised as a British subject on 21 February 1947 and would only regain Austrian citizenship in 1978. He travelled briefly to the United States in 1947 before settling in Villeneuve, Switzerland in 1953, where he lived the rest of his life. Kokoschka spent these years as an educator at the Internationale Sommer Akademie für Bildenden Künste, (Ricarda Jacobi being one of his pupils) while also working on stage designs and publishing a collection of his writings. A retrospective of Kokoschka's work was exhibited at the Tate Gallery in London in 1962. As a member of the Deutscher Künstlerbund, Oskar Kokoschka took part in its annual exhibitions from 1952 to 1955.[16] He took part in documenta 1 (1955), documenta II (1959), and also documenta III in 1964 in Kassel. In 1966 he won the competition for the commissioned portrait of Konrad Adenauer for the German Bundestag against his competitor Eugen Denzel.


title: Oskar Kokoschka

text: Kokoschka died on 22 February 1980 in Montreux, at the age of 93, eight days before his 94th birthday, of complications after contracting influenza. He was interred in the Montreux Central Cemetery.


title: Oskar Kokoschka

text: Kokoschka had much in common with his contemporary Max Beckmann. Both maintained their independence from German Expressionism, yet are now regarded as textbook examples of the style. Nonetheless, their individualism set both apart from the main movements of twentieth-century modernism. Both wrote eloquently of the need to develop the art of "seeing" (Kokoschka emphasized depth perception while Beckmann was concerned with mystical insight into the invisible realm), and both were masters of innovative oil-painting techniques anchored in earlier traditions.


title: Oskar Kokoschka

text: Kokoschka was appointed Commander of the Order of the British Empire in the 1959 New Year Honours. He also received the Erasmus Prize in 1960 together with Marc Chagall.


title: Oskar Kokoschka

text: Kokoschka's literary works are as peculiar and interesting as his art. His memoir, "A Sea Ringed with Visions", details his theories of both corporeal and visceral vision and how they shape consciousness, art, and realities. His short play "Murderer, the Hope of Women" (1909, set ten years later by Paul Hindemith as "Mörder, Hoffnung der Frauen") is often called the first Expressionist drama. His "Orpheus und Eurydike" (1918) became an opera by Ernst Krenek, who was first approached for incidental music.


title: Missing in Action (film)

text: Missing in Action is a 1984 American action film directed by Joseph Zito and starring Chuck Norris. It is set in the context of the Vietnam War POW/MIA issue. Colonel Braddock, who escaped a Vietnamese prisoner of war camp 10 years earlier, returns to Vietnam to find American soldiers listed as missing in action during the Vietnam War. The film was followed by a prequel, "" (1985), and a sequel, "" (1988). It is the first installment in the "Missing in Action" film series. "Missing In Action" was actually intended to be a sequel to "Missing in Action 2", but when it became clear that "Missing in Action" was a much better film with stronger commercial prospects, "Missing in Action 2" was turned into both a sequel and a prequel that detailed events before those in "Missing in Action."


title: Missing in Action (film)

text: It is the first of a series of films themed around the Vietnam War POW/MIA issue that were produced by Menahem Golan and Yoram Globus and released under their Cannon Films banner, with whom Norris would have a long professional relationship. Norris later dedicated these films to his younger brother Wieland. Wieland, a private in the 101st Airborne Division, had been killed in June 1970 in Vietnam while on patrol in the defense of Firebase Ripcord. The film, however, was criticized heavily as being a preemptive cash-in on the "Rambo" franchise.


title: Missing in Action (film)

text: Despite the overwhelmingly negative reception from critics, the film was a commercial success and has become one of Chuck Norris's most popular films. It was also Chuck Norris's first film with The Cannon Group.


title: Missing in Action (film)

text: Colonel James Braddock is a US military officer who spent seven years in a North Vietnamese POW camp, which he escaped 10 years ago. After the war, Braddock accompanies a government investigation team that travels to Ho Chi Minh City to investigate reports of US soldiers still held prisoner. Braddock obtains the evidence then travels to Thailand, where he meets Jack "Tuck" Tucker, an old Army friend turned black market kingpin. Together, they launch a mission deep into the jungle to free the US POW's from General Tran.


title: Missing in Action (film)

text: The name of Braddock was inspired by "The Graduate" character, Benjamin Braddock, played by Dustin Hoffman. The producers' idea was to create a Vietnam War hero with the name of a lazy Californian student.


title: Missing in Action (film)

text: The concept for the film originated from a treatment, written by James Cameron in 1983, for the film "" that was floating around Hollywood at the time. This explains the similar plotlines between "Rambo" franchise and the "Missing in Action" film series. Representatives from Cannon Group said Cameron's script served as inspiration to the film and subsequently produced and released the first two "Missing in Action" films two months before the release of "Rambo: First Blood Part II", in order to avoid copyright violation lawsuits.


title: Missing in Action (film)

text: Norris says he was approached to make the film by Lance Hool, who had a script about American POWs in Vietnam. Norris was enthusiastic as he wanted to pay tribute to his brother Wieland. Vietnam films were not popular at the time however and Norris and Hool received numerous rejections.


title: Missing in Action (film)

text: Norris said he tried "to instill a positive attitude" about the Vietnam War by making the film. He did say "Vietnam was a tragic mistake. If you don't want to win the battle, don't get involved."


title: Missing in Action (film)

text: He added, "I am a conservative, a real flag waver, a big Ronald Reagan fan. I'm not so much a Republican or Democrat; I go more for the man himself. Ronald Reagan says what he thinks, he's not afraid to speak his mind, even if he may be unpopular. I want a strong leader and he is a strong leader. And ever since he has been in office there has been a more positive, patriotic feeling in this country."


title: Missing in Action (film)

text: Hool and Norris took the project to Cannon Films, who liked the project. They already had a script in development about the rescue of American POWS in Vietnam, and signed Norris to make both films. The first, "Missing in Action", would be about Braddock's rescue of POWS. The second, "Missing in Action 2", would be a prequel about Braddock's years as a POW. The two films were shot back-to-back. Joseph Zito directed the first, Hool the second.


title: Missing in Action (film)

text: Filming was to have started in Saint Kitts in January 1984. However the films ended up being shot in the Philippines.


title: Missing in Action (film)

text: "I'm not quite as anti-government as Rambo is", said Norris. "When the helicopter comes to rescue Rambo and the American MIA (missing in action), and then leaves them stranded, I found that unrealistic. There is not an American pilot alive who would leave them there. They'd have to shoot me to stop me from picking them up, because I'd be dead inside if I didn't."


title: Missing in Action (film)

text: The film was popular at the box office, one of the most successful ever made by Cannon. It made $6 million in its first weekend and earned over $10 million in rentals in the US. It resulted in a profit to Cannon of $6.5 million on the basis of its US release alone.


title: Missing in Action (film)

text: Norris said "One of the biggest thrills of my life came when I went to a theatre to see "Missing in Action", and all the people stood up and applauded at the end. That's when my character brings some POWs he's just rescued to a conference in Saigon, where the politicians are saying there aren't any more prisoners of war."


title: Missing in Action (film)

text: Janet Maslin of "The New York Times" wrote that it's possible from watching the film "to come away with the misimpression that Mr. Norris has not said a word. He does talk, of course, but his real eloquence is exclusively physical. There's not quite enough of it to explain why someone of Mr. Norris's taciturn manner and unprepossessing blond looks has managed to become an international B-movie star. But there "is" enough to carry a simple, bullet-riddled, crowd-pleasing action movie like this one." "Variety" noted, "With the Philippines filling in for Vietnam jungles, with Norris kicking and firing away, with a likable sidekick in the black marketeering figure of M. Emmet Walsh, and with a touch of nudity in sordid Bangkok bars; writer James Bruner and director Joseph Zito have marshalled a formula pic with a particularly jingoistic slant; the Commies in Vietnam still deserve the smack of the bullet." Kevin Thomas of the "Los Angeles Times" wrote, "'Missing in Action' (citywide) is so shrewdly tailored to Norris' stoic persona and physical skills that it's one of his best films to date ... The only problem is its lack of suspense: You just know that Norris is going to succeed in his mission. Come to think of it, why did it take the invincible Norris eight years to make good his own escape?" Richard Christiansen of the "Chicago Tribune" gave the film 2 stars out of 4 and wrote that "Norris stolidly delivers as the strong, silent loner who cuts through government red tape to nail the villains and rescue the oppressed, and the fact that any American soldier beats the Vietnamese (shown to be slimy, sadistic brutes) may bring cheer to many people. Overall, however, this is standard war action, not very energetically filmed but zipped up with a little female nudity and much technological trickery." Paul Attanasio of "The Washington Post" wrote, "Chuck Norris fans will not be disappointed by 'Missing in Action,' a bang-bang you're dead exploitation flick from the Cannon Group in which the action is rarely missing ... Norris doesn't do much acting—he's the poor man's Clint Eastwood—but his karate is crackerjack. And Walsh is hammily engaging as Braddock's sidekick."


title: Missing in Action (film)

text: Scott Weinberg of eFilmCritic.com gave the film 2 stars out of 5, writing that "Norris does Stallone... badly" in his review. In a 2003 BBC article entitled "Rambo: Pretenders to the Throne", Almar Haflidason wrote "the runaway success of the "Rambo" trilogy inspired dozens of rip-offs", citing that the "Missing in Action" series was the most famous of the "Rambo" clones.


title: Missing in Action (film)

text: Derek Adams of "Time Out" wrote that the film was "so bad that it defies belief. It's xenophobic, amateurish and extraordinarily dull". He also labeled it as "all-gooks-are-baddies propaganda". On AMC's movie guide, Jeremy Beday of Rovi described the film as a "crass, dopey "Rambo"-esque film that ultimately fails to connect with anything interesting in the realm of fact or fiction" and that its "chop-socky, shoot-em-up, explosion-a-minute action quickly wears thin". Steve Crum of Video-Reviewmaster.com wrote that "MIA" was "Chuck Norris' best film, and that isn't saying much". Earl Cressey of DVD Talk reported in 2000, "I found Missing in Action to be fairly enjoyable with great action sequences and a pretty good plot. However, only Braddock's character is developed at all; the other characters make an appearance to move the story along, and then disappear." On Rotten Tomatoes the film has an approval rating of 20% based on 15 reviews.


title: An Enemy of the People

text: An Enemy of the People (original Norwegian title: "En folkefiende"), an 1882 play by Norwegian playwright Henrik Ibsen, followed his previous play, "Ghosts", which criticized the hypocrisy of his society's moral code. That response included accusations of both "Ghosts" and its author being "scandalous," "degenerate," and "immoral." In "An Enemy of the People", a man dares to expose an unpalatable truth publicly and is punished for it.


title: An Enemy of the People

text: However, Ibsen took a somewhat skeptical view of his protagonist, suggesting that he may have gone too far in his zeal to tell the truth. Ibsen wrote to his publisher: "I am still uncertain as to whether I should call ["An Enemy of the People"] a comedy or a straight drama. It may [have] many traits of comedy, but it also is based on a serious idea."


title: An Enemy of the People

text: Dr. Thomas Stockmann is the medical officer of a recently opened spa in a small town. The play begins with a dinner party hosted by Dr. Stockmann and his wife, Katrine. The dinner guests include Dr. Stockmann's brother Peter (the mayor) and Hovstad (the editor of the newspaper). Peter asks Stockmann about a rumor that Hovstad is about to print an article the doctor wrote regarding the spa baths. Dr. Stockmann is evasive about the nature of this article, and Peter leaves. Petra, Dr. Stockmann's daughter, brings in a letter containing lab test results confirming Dr. Stockmann's suspicions that the spa water is contaminated with bacteria, and Hovstad agrees to print Dr. Stockmann's article, although revealing the truth may force the baths to shut down, with negative repercussions for the town's economy. Dr. Stockmann has mixed reactions to these events but ultimately rejoices about preventing harm through the contaminated water.


title: An Enemy of the People

text: The next morning Morten Kiil, Dr. Stockmann's father-in-law, stops by to congratulate him on what Kiil believes is an elaborate prank, since Kiil thinks the notion that the baths are tainted is too ridiculous to be believed, especially not by the mayor. Hovstad and the printer Aslaksen visit to reinforce their commitment to the doctor and extend their gratitude; the newspaper wants to confront the government of the town and expose its corruption, and this opportunity is a good start.


title: An Enemy of the People

text: Peter arrives and tells Dr. Stockmann that if he selfishly proceeds to publish this article, he will be partially culpable for the town's ruin. Peter urges Dr. Stockmann to think of the bigger picture, retract the article, and solve the problem in a quieter way. Dr. Stockmann refuses; Peter warns of terrible consequences for him and his family.


title: An Enemy of the People

text: In the newspaper office, Hovstad and Billing discuss the pros and cons of running Dr. Stockmann's article. Dr. Stockmann arrives and tells them to print the article, but they begin questioning how valuable it is to expose the government in this way, concluding that printing this article will do more harm than good, because of its likely effect on the town's economy. Peter Stockmann appears with a statement of his own, intended to reassure the public about the safety of the spa baths, and the newspaper agrees to print it. Desperate, Dr. Stockmann decides that he does not need the paper to print anything and that he can fight this battle on his own. He decides to call a town meeting and spread the information that way. Although Katrine Stockmann realizes that her husband is risking his reputation, she stands by him.


title: An Enemy of the People

text: At a town meeting in Captain Horster's house, Dr. Stockmann is about to read his water report to the townspeople. Billing, the family, the mayor, Aslaksen, and Hovstad are there. Aslaksen, a respected citizen, is elected Chairman of the meeting. Permission for Dr. Stockmann's being allowed to speak is about to be voted on, when Dr. Stockmann says he has a different subject. He then winds up into a passionate oration about social evolution. He says that new, truthful ideas are always condemned, due to the "colossal stupidity of the authorities" and the small-mindedness of "the compact liberal majority" of the people, who may as well "be exterminated." The audience feels insulted by these accusations and anger rises. By the end of the meeting the audience has rebelled, repeatedly shouting, "He is an enemy of the people!" Dr. Stockmann tells his father-in-law, Kiil, that it is his tannery that is leaking most of the poisons into the baths. As the crowd is leaving, voices are heard threatening to break Stockmann's windows.


title: An Enemy of the People

text: By the next morning, Dr. Stockmann's house, especially his study, has been badly damaged, for the town has turned against him and his family. The landlord is evicting them from their house; Petra has been fired from her job as a schoolteacher for having progressive opinions; Peter comes to the house with a letter from the board of directors of the baths that terminates his contract along with a resolution from the homeowners' association stating that no one should hire Dr. Stockmann in this town again.


title: An Enemy of the People

text: Dr. Stockmann's father-in-law, Morton Kiil, arrives to say that he has just bought shares in the Baths with the money that he had intended to leave to his daughter and grandchildren. He expects that will cause his son-in-law to stop his crusade, to ensure that the spa does not go bankrupt and his family will have a secure future. Dr. Stockmann rebuffs Kiil's threat and also ignores Peter's advice to leave town for a few months. Katrine tells Dr. Stockmann she is afraid that the people will drive him out of town. But Dr. Stockmann replies that he intends to stay and make them understand "that considerations of expediency turn morality and justice upside down." He ends by proclaiming himself the strongest man in town because he is able to stand alone.


title: An Enemy of the People

text: In "An Enemy of the People", speaking the language of comic exaggeration through the mouth of his spokesman, the idealist Doctor Thomas Stockmann, Ibsen puts into very literal terms the theme of the play: It is true that ideas grow stale and platitudinous, but one may go one step further and say flatly that truths die. According to Stockmann, there are no absolute principles of either wisdom or morality. In this Ibsen is referring indirectly to the reception of his previous plays. For example, the commandment "honor thy father and thy mother" referred to in "Ghosts" is not simply either true or false. It may have been a truth once and a falsehood today. As Stockmann states in his excited harangue to his political enemies:


title: An Enemy of the People

text: Yet, Ibsen addresses in an engaging manner a number of challenges that remain highly relevant today, such as environmental issues (versus economic interests), professional responsibilities (of experts in policy debates) and, last but not least, the moral dilemmas and tensions involved in whistle blowing.


title: An Enemy of the People

text: As in any other plays, Ibsen derived names and traits from his relatives, including the name Stockmann, a real family in Telemark from which lbsen himself was descended; Ibsen was also born in Stockmanngarden in Skien. Peter Stockmann, who in the Norwegian original holds the offices of byfoged (city judge/magistrate) and politimester (chief of police), was based on lbsen's uncle, Christian Corneliys Paus, who held the same two offices in Skien and who was also a descendant of the Stockmann family.


title: An Enemy of the People

text: Scottish drama critic William Archer, an early and contemporary advocate of Ibsen's plays, said the play was less sensational than some of Ibsen's earlier efforts, but was a strong drama with excellent dialogue and characters.


title: An Enemy of the People

text: This classic play was adapted by Arthur Miller in the 1950s in a production that opened at the Broadhurst Theater on December 28, 1950. It starred Academy Award winner Fredric March and his wife Florence Eldridge as well as Morris Carnovsky; future Oscar winner Rod Steiger was a "townsperson." Miller's adaptation was presented on National Educational Television in 1966, in a production starring James Daly. It was also made into a movie of the same name in 1978, starring Steve McQueen. The BBC then cast Robert Urquhart as "Tom Stockman" in their 1980 TV version, adapting the story and the cast names to reflect it now being set in a Scottish town. In the creation of his adaptation of Ibsen's work, several changes were made by Miller to make the play more accessible and accepting to a 1950s audience, as opposed to Ibsen's late 1800s audience. Many major edits not only included the transformation of speech and language, but changes were made to the character of Dr. Stockmann to avoid having him champion eugenics. Throughout the play, Dr. Stockmann acts as a Christ figure. Miller found it necessary therefore to change Ibsen's use of genetic and racial theories from the late 1800s to further Dr. Stockmann's standing as a champion of the lower classes as opposed to a scientist with a belief in racial determinism and the importance of eugenics for "improving" people. For example, in Ibsen's original, a portion of Dr. Stockmann's speech to the people contained:


title: An Enemy of the People

text: In Miller's adaptation, no such eugenics-positive screed is read. Miller keeps Dr. Stockmann's ideals as a character, and his dedication to facing down the hypocrisy of the aristocracy and governmental bureaucrats, but portrays him as more of a democratic thinker and socialist, while retaining some of the original character's ideas about the evolution of animals and humans, and the need to cultivate humane qualities in order to bring the masses to a more rational and educated level, so that they can fully participate in a democracy. In Miller's adaptation, part of the doctor's speech reads:


title: An Enemy of the People

text: The 1972 Greek film "O ehthros tou laou" (An Enemy of the Society) is an adaptation of the play, taking place in Greece during the mid-1930s.


title: An Enemy of the People

text: Satyajit Ray's 1989 film "Ganashatru" was based on this play. In 1990, PBS produced the play for their show "American Playhouse", starring William Anton and John Glover.


title: An Enemy of the People

text: In 2007 Ouriel Zohar's troupe Compagnie Ouriel Zohar performed an adaptation for two actors only of "An Enemy of the People", performed first in Paris, then Fréjus, Besançon (2008), Liège, Minsk, Valleyfield (Canada, 2009), and Porto Heli (Greece, 2010).


title: An Enemy of the People

text: "An Enemy of the People" (with the subtitle "The strongest one is the one who stands alone")—a Norwegian film issued in 2004 and directed by Erik Skjoldbjærg—is an adaptation of Ibsen's play.


title: An Enemy of the People

text: In early 2013, a stage adaptation entitled "عدو الشعب" (Arabic: "Enemy of the people" or "A Public Enemy") was organized and directed by Nora Amin (who played Doctor Stockmann's wife, with Tarek El-Dewiri as Doctor Stockmann) in Cairo. It was translated into colloquial Arabic and featured a rock-themed soundtrack played live on-set. Jointly sponsored by the Norwegian Embassy in Cairo and the Ibsen Studies Center in Norway, it received various positive reviews at a time when Egypt was plunged into deep political turmoil.


title: An Enemy of the People

text: A new adaptation by Robert Falls, based on a 19th-century translation by Eleanor Marx, was staged at Chicago's Goodman Theatre from March - April 2018.


title: An Enemy of the People

text: In Autumn 2021, a new National Theatre of Scotland adaptation entitled simply "Enemy", authored by Keiran Hurley and directed by Finn den Hertog, toured Scotland. The play is set in a fictional Scottish town, is written using contemporary language and makes use of innovative technical effects such as overhead projected Twitter feeds, social media comments, and video live streams. https://www.nationaltheatrescotland.com/events/the-enemy


title: An Enemy of the People

text: In 2000 an adaptation of the play called "Paragon Springs" written by Steven Dietz premiered at Milwaukee Repertory theatre in Milwaukee Wisconsin, U.S.A. The play is set in "a small town in the American Midwest" in 1926.


title: An Enemy of the People

text: "An Enemy of the People", produced by Berlin's Schaubühne theater, was performed in Beijing from September 6 to September 8, 2018, but the subsequent touring of the show was cancelled due to its themes. The audience in Beijing reportedly showed overwhelming support for Dr. Stockmann, and allegedly shouted criticism of the Chinese regime during interaction parts. Even in subsequent censored performances, audiences yelled "for personal freedom!" The regime's censorship officers would not agree to any more touring unless the script was doctored in favor of the regime's thought on what a play should be.


title: Cycle of poverty

text: In economics, a cycle of poverty or poverty trap is caused by self-reinforcing mechanisms that cause poverty, once it exists, to persist unless there is outside intervention. It can persist across generations, and when applied to developing countries, is also known as a development trap.


title: Cycle of poverty

text: Families trapped in the cycle of poverty have few to no resources. There are many self-reinforcing disadvantages that make it virtually impossible for individuals to break the cycle. This occurs when poor people do not have the resources necessary to escape poverty, such as financial capital, education, or connections. Impoverished individuals do not have access to economic and social resources as a result of their poverty. This lack may increase their poverty. This could mean that the poor remain poor throughout their lives.


title: Cycle of poverty

text: Controversial educational psychologist Ruby K. Payne, author of "A Framework for Understanding Poverty", distinguishes between situational poverty, which can generally be traced to a specific incident within the lifetimes of the person or family members in poverty, and generational poverty, which is a cycle that passes from generation to generation, and goes on to argue that generational poverty has its own distinct culture and belief patterns.


title: Cycle of poverty

text: Measures of social mobility examine how frequently poor people become wealthier, and how often children are wealthier or achieve higher income than their parents.


title: Cycle of poverty

text: Poverty can be created or sustained for large numbers of people through general economic conditions, which tend to be self-sustaining. Metrics for these conditions include:


title: Cycle of poverty

text: There are also various poverty metrics that directly indicate its extent, generally involving income, wealth, or both. It can be measured on an absolute scale (which might put almost an entire country's population below the poverty line) or in a relative way, identifying people who are poor compared to others in the same country.


title: Cycle of poverty

text: Countries with chronically low levels of economic development fail to provide opportunities for many individuals to leave poverty. These may be caused by:


title: Cycle of poverty

text: Generally poor economic conditions can also be due to temporary causes, which might not result in a "cycle of poverty" if the economy recovers thereafter. Temporary economic problems can be caused by:


title: Cycle of poverty

text: A one-time event, whether affecting the economy in general or personal in nature, can push a given person or family into poverty, after which they enter the "cycle of poverty" which is difficult to escape. Examples of personal events that can have a negative economic impact include:


title: Cycle of poverty

text: Once poor, people can experience difficulty escaping poverty because many changes that would allow them to do so require money they don't have, such as:


title: Cycle of poverty

text: According to the United States Census, in 2012 people aged 18–64 living in poverty in the country gave the reason they did not work, by category:


title: Cycle of poverty

text: Government policy, government funding, and access to financial services can play a large role in preventing one-time events from pushing people into poverty, and in overcoming barriers to escaping poverty. People who cannot work due to a disability often rely on government assistance, family members, or charities, but may also have personal savings. Many governments have programs to support the elderly, given that many have not saved enough money to last throughout their planned retirement, and that many will experience health problems that prevent them from working. Inability to work can present an insurmountable barrier to exiting poverty if external assistance is insufficient.


title: Cycle of poverty

text: Donald Curtis (2006), a researcher at the School of Public Policy in the United Kingdom, identified that governments regard the welfare system as an enabling task. Curtis (2006) maintained, however, that the system lacks cohesiveness, and is not designed to be an empowerment tool.


title: Cycle of poverty

text: For example, outside parties are funded to manage the effort without much oversight creating a disconnected system, for which no one leads (Curtis, 2006). The result is mismanagement of budget without forwarding progress, and those that remain in the poverty loophole are accused of draining the system (Curtis, 2006).


title: Cycle of poverty

text: Jill Suttie (2018), wrote that implicit bias, which can be transferred nonverbally to children with no more than a look or a gesture, and as such is a learned behavior. Critical thinking skills can ward off implicit bias, but without education and practice, habitual thoughts can cloud judgment and poorly affect future decisions.


title: Cycle of poverty

text: A Dartmouth College (2016) study reported that probabilistic decision-making follows prior-based knowledge of failure in similar situations. Rather than choose success, people respond as if the failure has already taken place. Those who have experienced intergenerational poverty are most susceptible to this kind of learned behavior (Wagmiller & Adelman, 2009).


title: Cycle of poverty

text: Professors of Sociology Wagmiller and Adelman (2009) asserted that roughly 35–46% of people who have experienced hardship in young and middle adulthood also experienced moderate to severe poverty in childhood. As of 2018, 7.5 million people experienced poverty in California alone (Downs, 2018).


title: Cycle of poverty

text: In a qualitative study, Rudnick et al., (2014), studied people living in poverty with mental illness and determined that participants felt that wellness care, nutrition, housing, and jobs were severely lacking. Respondents asserted that the most significant problem was access to quality services; bureaucratic systems appear to be devoid of logic and treatment by providers were often unaccommodating and uncooperative (Rudnick et al., 2014).


title: Cycle of poverty

text: The stress of worrying about one's personal finances can cause lower productivity. One study on factory workers in India found payment earlier in the work period increased average worker output by 6.2%.


title: Cycle of poverty

text: According to the Brookings Institution, people who follow all three of the following steps end up with a poverty rate of only 2%, whereas people who follow none of the steps end up with a poverty rate of 76%.


title: Cycle of poverty

text: Correlation does not imply causation and these statistics could also indicate these three milestones are completely unavailable to 76% of the populations in poverty, and only 2% of the poor manage all three.


title: Cycle of poverty

text: Discrimination can make it more difficult to access government programs, to find work, and to access resources and social networks that could help. For a variety of reasons, it is more difficult to escape poverty in areas of concentrated poverty, where poor people may be forced to live by economic circumstance. Racial segregation can represent a combination of both discrimination and concentration.


title: Cycle of poverty

text: A 2002 research paper titled "The Changing Effect of Family Background on the Incomes of American Adults" analyzed changes in the determinants of family income between 1961 and 1999,


title: Cycle of poverty

text: focusing on the effect of parental education, occupational rank, income, marital status, family size, region of residence, race, and ethnicity. The paper (1) outlines a simple framework for thinking about how family background affects children's family and income, (2) summarizes previous research on trends in intergenerational inheritance in the United States, (3) describes the data used as a basis for the research which it describes, (4) discusses trends in inequality among parents, (5) describes how the effects of parental inequality changed between 1961 and 1999, (6) contrasts effects at the top and bottom of the distribution, and (7) discusses whether intergenerational correlations of zero would be desirable. The paper concludes by posing the question of whether reducing the intergenerational correlation is an efficient strategy for reducing poverty or inequality.


title: Cycle of poverty

text: Because improving the skills of disadvantaged children seems relatively easy, it is an attractive strategy. However, judging by American experience since the 1960s, improving the skills of disadvantaged children has proved difficult. As a result, the paper suggests, there are probably cheaper and easier ways to reduce poverty and inequality, such as supplementing the wages of the poor or changing immigration policy so that it drives down the relative wages of skilled rather than unskilled workers. These alternative strategies would not reduce intergenerational correlations, but they would reduce the economic gap between children who started life with all the disadvantages instead of all the advantages.


title: Cycle of poverty

text: Another paper, titled "Do poor children become poor adults?", which was originally presented at a 2004 symposium on the future of children from disadvantaged families in France, and was later included in a 2006 collection of papers related to the theme of the dynamics of inequality and poverty, discusses generational income mobility in North America and Europe. The paper opens by observing that in the United States almost one half of children born to low income parents become low income adults, four in ten in the United Kingdom, and one-third in Canada. The paper goes on to observe that rich children also tend to become rich adults—four in ten in the U.S. and the U.K., and as many as one-third in Canada. The paper argues, however, that money is not the only or even the most important factor influencing intergenerational income mobility. The rewards to higher skilled and/or higher educated individuals in the labor market and the opportunities for children to obtain the required skills and credentials are two important factors. Conclusions that income transfers to lower income individuals may be important to children but they should not be counted on to strongly promote generational mobility. The paper recommends that governments focus on investments in children to ensure that they have the skills and opportunities to succeed in the labor market, and observes that though this has historically meant promoting access to higher and higher levels of education, it is becoming increasingly important that attention be paid to preschool and early childhood education.


title: Cycle of poverty

text: Sociologist William Julius Wilson has said that the economic restructuring of changes from manufacturing to a service-based economy has led to a high percentage of joblessness in the inner-cities and with it a loss of skills and inability to find jobs. This "mismatch" of skills to jobs available is said to be the main driver of poverty.


title: Cycle of poverty

text: Research shows that schools with students who perform lower than the norm are also those hiring least-qualified teachers as a result of new teachers generally working in the area that they grew up in. This leads to certain schools not producing many students who enter tertiary education. Graduates who previously attended these schools are not as skilled as they would be if they had gone to a school with higher-qualified instructors. This leads to education perpetuating a cycle of poverty. People who choose to work in the schools close to them do not adequately supply the school with enough teachers. The schools must then outsource their teachers from other areas. Susanna Loeb from the School of Education at Stanford conducted a study and found that teachers who are brought in from the suburbs are 10 times more likely to transfer out of the school after their initial year. The fact that the teachers from the suburbs leave appears to be an influential factor for schools hiring more teachers from that area. The lack of adequate education for children is part of what allows for the cycle of poverty to continue. The problem undergoing this is the lack of updating the knowledge of the staff. Schools have continued to conduct professional development the same way they have for decades.


title: Cycle of poverty

text: Another theory for the perpetual cycle of poverty is that poor people have their own culture with a different set of values and beliefs that keep them trapped within that cycle generation to generation. This theory has been explored by Ruby K. Payne in her book "A Framework for Understanding Poverty". In this book she explains how a social class system in the United States exists, where there is a wealthy upper class, a middle class, and the working poor class. These classes each have their own set of rules and values, which differ from each other. To understand the culture of poverty, Payne describes how these rules affect the poor and tend to keep them trapped in this continual cycle. Time is treated differently by the poor; they generally do not plan ahead but simply live in the moment, which keeps them from saving money that could help their children escape poverty.


title: Cycle of poverty

text: Payne emphasizes how important it is when working with the poor to understand their unique cultural differences so that one does not get frustrated but instead tries to work with them on their ideologies and help them to understand how they can help themselves and their children escape the cycle. One aspect of generational poverty is a learned helplessness that is passed from parents to children; a mentality that there is no way for one to get out of poverty and so in order to make the best of the situation one must enjoy what one can when one can. This leads to such habits as spending money immediately, often on unnecessary goods such as alcohol and cigarettes, thus teaching their children to do the same and trapping them in poverty. Another important point Payne makes is that leaving poverty is not as simple as acquiring money and moving into a higher class but also includes giving up certain relationships in exchange for achievement. A student's peers can have an influence on the child's level of achievement. Coming from a low-income household a child could be teased or expected to fall short academically. This can cause a student to feel discouraged and hold back when it comes to getting involved more with their education because they are scared to be teased if they fail. This helps to explain why the culture of poverty tends to endure from generation to generation as most of the relationships the poor have are within that class.


title: Cycle of poverty

text: The "culture of poverty" theory has been debated and critiqued by many people including Eleanor Burke Leacock (and others) in her book "The Culture of Poverty: A Critique". Leacock claims that people who use the term, "culture of poverty" only "contribute to the distorted characterizations of the poor." In addition, Michael Hannan in an essay argues that the "culture of poverty" is "essentially untestable." This is due to many things including the highly subjective nature of poverty and issues concerning the universal act of classifying only "some" impoverished people as trapped in the culture.


title: Cycle of poverty

text: 2004 research in New Zealand produced a report that showed that "life shocks" can be endured only to a limited extent, after which people are much more likely to be tipped into hardship. The researchers found very little differences in living standards for people who have endured up to 7 negative events in their lifetime. People who had 8 or more life shocks were dramatically more likely to live in poverty than those who had 0 to 7 life shocks. A few of the life shocks studied were:


title: Cycle of poverty

text: The study focused on just a few possible life shocks, but many others are likely as traumatic or more so. Chronic PTSD, complex PTSD, and depression sufferers could have innumerable causes for their mental illness, including those studied above. The study is subject to some criticism.


title: Cycle of poverty

text: History in the United States has shown that Americans saw education as the way to end the perpetual cycle of poverty. In the present, children from low to middle income households are at a disadvantage. They are twice as likely to be held back and more likely not to graduate from high school. Recent studies have shown that the cause for the disparity among academic achievement results from the school's structure where some students succeed from an added advantage and others fail as a result of lacking that advantage. Educational institutions with a learning disparity are causing education to be a sustaining factor for the cycle of poverty. One prominent example of this type of school structures is tracking, which is predominantly used to help organize a classroom so the variability of academic ability in classes is decreased. Students are tracked based on their ability level, generally based on a standardized test after which they are given different course requirements. Some people believe that tracking "enhances academic achievement and improves the self-concept of students by permitting them to progress at their own pace."


title: Cycle of poverty

text: The negative side is that studies have shown that tracking decreases students' opportunity to learn. Tracking also has a disproportionate number of Latinos and African Americans that have low socioeconomic status in the lower learning tracks. Tracking separates social classes putting the poor and minority children in lower tracks where they receive second-rate education, and the students who are better off are placed in upper tracks where they have many opportunities for success. Studies have found that in addition to the higher tracks having more extensive curriculum, there is also a disparity among the teachers and instructional resources provided. There appears to be a race/class bias which results in intelligent children not receiving the skills or opportunities needed for success or social/economic mobility, thus continuing the cycle of poverty. There is an overall perception that American education is failing and research has done nothing to counter this statement, but instead has revealed the reality and severity of the issue of the existence of tracking and other structures that cause the cycle of poverty to continue.


title: Cycle of poverty

text: While many governmental officials are still trying to solve poverty, many states and localities are making an effort to break the cycle. Mayor Bloomberg of New York City has been advocating a plan where parents are paid up to $5,000 a year for meeting certain goals that will better their lives. This policy was modeled after a Mexican initiative that aims to help poor families make better decisions that will help them in the long-term and break cycle of poverty and dependence that have been known to last for generations. In addition, many states also have been making an attempt to help break the cycle. For example, a bill has been proposed in the California Assembly that "would establish an advisory Childhood Poverty Council to develop a plan to reduce child poverty in the state by half by 2017 and eliminate it by 2027". Even when the plan has poverty reduction as the goal, a rise in child poverty might be the reality for many states as it was in Connecticut. States are attempting to not only decrease the number of people in the cycle of poverty, but to also adjust the stringent work requirements that resulted from Congress's welfare reform. The tougher work restrictions have upset many poverty advocates who believe the new regulations prevent individuals who are vulnerable or who lack skills from preparing for work. California Democratic Representative McDermott believes as a result of this and other effects of the new limitations, it has been harder for individuals to escape a life of poverty.


title: Cycle of poverty

text: In his book "Children in Jeopardy: Can We Break the Cycle", Irving B. Harris discusses ways in which children can be helped to begin breaking the cycle of poverty. He stresses the importance of starting early and teaching children the importance of education from a very young age as well as making sure these children get the same educational opportunities as students who are richer. Family values such as nurturing children and encouraging them to do well in school need to be promoted as well as a non-authoritarian approach to parenting. Harris also discusses the importance of discouraging teenage pregnancy and finding ways in which to decrease this phenomenon so that when children are born they are planned and wanted and thus have a better chance at breaking the cycle of poverty.


title: Cycle of poverty

text: It has been suggested by researchers like Lane Kenworthy that increasing welfare benefits and extending them to non-working families can help reduce poverty as nations that have done so have had better results.


title: Cycle of poverty

text: The Harlem Children's Zone is working to end generational poverty within a 100-block section of Harlem using an approach that provides educational support and services for children and their families from birth through college.


title: Cycle of poverty

text: A two-generation poverty alleviation approach focuses on the education, health and social services, and opportunities that parents and children desperately need to lift their families from the depths of the bondage of poverty to a stable and healthy state mentally, physically, and financially. A two-generation approach is a holistic plan for poverty alleviation and "is needed to help low-income parents and children improve their situation". Using a two-generation approach, parents are taught additional career skills, provided leadership training, and given access to job opportunities with higher wages. Children are given access to better educational programs, free preschool, free childcare, and the supplies they'll need to be successful in school. The family unit receives counseling for the current stressors of poverty as well as childhood trauma. All members of the household are given access to full healthcare benefits, food services at home and in school, and financial relief for their bills, clothing, and transportation in the short-term to relieve the basic needs stressors that prevent the family from taking the time to learn and grow. The preschool program Head Start believes that the only system that works for a preschool is one where the child as a whole is considered, which includes their health and their parents' ability to succeed. The two-generation poverty alleviation approach sees each member relieved of the basic needs stressors that plague their minds, ensures that they are physically and mentally healthy, provides them the opportunities to learn the skills needed for higher wage jobs, and gives them access to higher wage jobs without discrimination.


title: Cycle of poverty

text: Children are most vulnerable to the cycle of poverty. Because a child is dependent on their guardian(s), if a child's guardian is in poverty, then they will be also. It is almost impossible for a child to pull themself out of the cycle due to age, lack of experience, lack of a job, etc. Because children are at such a young and impressionable age, the scars they gain from experiencing poverty early in life inevitably carry on into their adult life. "Childhood lays the foundations for adult abilities, interests, and motivation." Therefore, if they learn certain poverty-related behaviors in childhood, the behaviors are more likely to perpetuate.


title: Cycle of poverty

text: Studies have shown that household structure sometimes has a connection to childhood poverty. Most studies on the subject also show that the children who are in poverty tend to come from single-parent households (most often matriarchal). In 1997, nearly 8.5 million (57%) poor children in the US came from single-parent households. With the rate of divorce increasing and the number of children born out of wedlock increasing, the number of children who are born into or fall into single-parent households is also increasing. However, this does not mean that the child/children will be impoverished because of it.


title: Cycle of poverty

text: According to Ashworth, Hill, & Walker (2004), both urban and rural poor children are more likely to be isolated from the nonpoor in schools, neighborhoods, and their communities. Human nature is to have relationships with others but when a child is isolated due to their socioeconomic status, it's hard to overcome that when the status doesn't improve. Therefore, poor children also have more tense relationships which sometimes results in abnormal, non-constructive, or other unexplained behaviors.


title: Cycle of poverty

text: There have been programs developed to specifically address the needs of poor children. Francis Marion University's Center of Excellence to Prepare Teachers of Children of Poverty has a number of initiatives devoted to equipping teachers to be more effective in raising the achievement of children of poverty. It is located in South Carolina and provides direct teacher training as well as facilitates research in the area of poverty and scholastic achievement. Head Start is a program for low income families who provides early childhood education as well as parent involvement. Results show that attending these programs increases children's academic outcomes. The problem is that in high poverty areas this is supposed to be a helpful resource, but they start to hold lower quality due to lack of funds to keep places updated.


title: Cycle of poverty

text: Often the communities in which impoverished children grow up in are crime ridden areas; examples of these areas in America are Harlem and the Bronx. Crime and maltreatment at a young age may reduce a child's ability to learn by up to 5%. Adopting a criminal lifestyle only worsens the effects of the cycle as they are often incarcerated or killed in many types of gang violence.


title: Cycle of poverty

text: In the developing world, many factors can contribute to a poverty trap, including: limited access to credit and capital markets, extreme environmental degradation (which depletes agricultural production potential), corrupt governance, capital flight, poor education systems, disease ecology, lack of public health care, war and poor infrastructure.


title: Cycle of poverty

text: Jeffrey Sachs, in his book "The End of Poverty", discusses the poverty trap and prescribes a set of policy initiatives intended to end the trap. He recommends that aid agencies behave as venture capitalists funding start-up companies. Venture capitalists, once they choose to invest in a venture, do not give only half or a third of the amount they feel the venture needs in order to become profitable; if they did, their money would be wasted. If all goes as planned, the venture will eventually become profitable and the venture capitalist will experience an adequate rate of return on investment. Likewise, Sachs proposes, developed countries cannot give only a fraction of what is needed in aid and expect to reverse the poverty trap in Africa. Just like any other start-up, developing nations absolutely must receive the amount of aid necessary (and promised at the G-8 Summit in 2005) for them to begin to reverse the poverty trap. The problem is that unlike start-ups, which simply go bankrupt if they fail to receive funding, in Africa people continue to die at a high rate due in large part to lack of sufficient aid.


title: Cycle of poverty

text: Sachs points out that the extreme poor lack six major kinds of capital: human capital, business capital, infrastructure, natural capital, public institutional capital, and knowledge capital. He then details the poverty trap: The poor start with a very low level of capital per person, and then find themselves trapped in poverty because the ratio of capital per person actually falls from generation to generation. The amount of capital per person declines when the population is growing faster than capital is being accumulated ... The question for growth in per capita income is whether the net capital accumulation is large enough to keep up with population growth.


title: Cycle of poverty

text: Sachs argues that sufficient foreign aid can make up for the lack of capital in poor countries, maintaining that, "If the foreign assistance is substantial enough, and lasts long enough, the capital stock rises sufficiently to lift households above subsistence."


title: Cycle of poverty

text: Sachs believes the public sector should focus mainly on investments in human capital (health, education, nutrition), infrastructure (roads, power, water and sanitation, environmental conservation), natural capital (conservation of biodiversity and ecosystems), public institutional capital (a well-run public administration, judicial system, police force), and parts of knowledge capital (scientific research for health, energy, agriculture, climate, ecology). Sachs leaves business capital investments to the private sector, which he claims would more efficiently use funding to develop the profitable enterprises necessary to sustain growth. In this sense, Sachs views public institutions as useful in providing the public goods necessary to begin the Rostovian take-off model, but maintains that private goods are more efficiently produced and distributed by private enterprise. This is a widespread view in neoclassical economics.


title: Cycle of poverty

text: Several other forms of poverty traps are discussed in the literature, including nations being landlocked with bad neighbors; a vicious cycle of violent conflict; subsistence traps in which farmers wait for middlemen before they specialize but middlemen wait for a region to specialize first; working capital traps in which petty sellers have inventories too sparse to earn enough money to get a bigger inventory; low skill traps in which workers wait for jobs using special skill but firms wait for workers to get such skills; nutritional traps in which individuals are too malnourished to work, yet too poor to afford sustainable food; and behavioral traps in which individuals cannot differentiate between temptation and non-temptation goods, and therefore cannot invest in the non-temptation goods which could help them begin to escape poverty.


title: IMac G4

text: The iMac G4 is an all-in-one personal computer designed, manufactured, and sold by Apple Computer from January 2002 to August 2004. It replaced the iMac G3 and was succeeded by the iMac G5.


title: IMac G4

text: The iMac G4 featured an LCD mounted on an adjustable arm above a hemisphere containing a full-size, tray-loading optical drive and a fourth-generation PowerPC G4 74xx-series processor. The internals such as the hard drive and motherboard were placed in the "dome" instead of the LCD panel as it would be too heavy. The arm allowed the display to hold almost any angle around the dome-shaped bottom. The iMac G4 was sold only in white, and was not translucent like the iMac G3. The machine was sold with the ice-white Apple Pro Keyboard and Apple Pro Mouse, which were later redesigned and renamed the Apple Keyboard and Apple Mouse, respectively. Optional Apple Pro Speakers, which were better quality than the internal speakers, were also available. The Apple Pro Speakers used a unique adapter, designed to work only with a select few Apple Macintosh models.


title: IMac G4

text: The iMac G4 originally included both Mac OS 9 and Mac OS X, due to the machine being released in the year Mac OS 9 was discontinued. When running newer versions of Mac OS X (Tiger and Leopard), the iMac G4's GeForce4 MX GPU was not capable of Core Image rendering. This causes some minor graphical issues. One such issue would be the lack of the Dashboard ripple effect when a widget is introduced. Another would be an opaque menu bar in Mac OS X Leopard.


title: IMac G4

text: It was originally known as the New iMac, while the existing iMac G3 continued to be sold for several months. During this time, Apple had all but eliminated CRT displays from its product line. However, the LCD iMacs were unable to match the low price point of the iMac G3, largely due to the higher cost of the LCD technology at the time. The iMac G3 was obsolete by this point, but low-cost machines were particularly important for the education market. Because of this affordability issue, Apple created the eMac in April 2002 and ended production of the iMac G3. The iMac G4 was then marketed as the "iMac" until its discontinuation, then was retroactively labeled iMac G4 to distinguish itself from the succeeding iMac G5 in August 2004.


title: IMac G4

text: Apple advertised the iMac G4 as having the adjustability of a desk lamp. One of the advertisements for the machine featured it sitting in a store window "reacting" to every move made by a passer-by on the street. At the end, when the man sticks out his tongue, the iMac responds by opening its optical drive.


title: IMac G4

text: The internal components are housed in a 10.6" half-sphere, ice white case with a chromed stainless steel neck that supports a 15" TFT active matrix LCD display. Unlike some earlier iMac models that are convection-cooled, the iMac "Flat Panel" series is cooled by a quiet internal fan. The original model from 2002 shipped with Mac OS X 10.1 and Mac OS 9.2.2 preinstalled with Mac OS X selected as the default OS.


title: IMac G4

text: The Gateway Profile was one of the few Wintel competitors to the iMac G4 in the all-in-one LCD computer market. A reviewer noted that the Profile had better processing power, due to its Intel Pentium 4, whereas the iMac was hampered because its G4 chip lacked the 1 MB L2 cache found on the higher-end Power Mac. The iMac had clear advantages in LCD screen quality (it uses a digital LCD as opposed to an analog LCD), ergonomics (particularly the flexible monitor arm), and multimedia. The reviewer concluded that the iMac worked well as an introduction to the Macintosh ecosystem, but noted that their relatively high prices were approaching that of laptops, which were portable and had higher resolution LCD screens.


title: Meadow Williams

text: Melanie Kay "Meadow" Williams (born February 10, 1966) is an American actress and producer. She began her career appearing in small roles in films including "Beverly Hills Cop III" (1994), "The Mask" (1994) and "Apollo 13" (1995). In the 2000s, Williams began working as film producer; her credits include "The Harvest" (2013), "Den of Thieves" (2018), "After" (2019), and "Boss Level" (2020). She played Mildred Gillars in the 2021 drama film "", which she also financed.


title: Meadow Williams

text: Williams' acting talent and professional conduct as a film producer were criticised by her "Axis Sally" co-star, Oscar-winner Al Pacino.


title: Meadow Williams

text: Melanie Kay Williams was born in Miami, Florida and grew up in Tennessee. She began performing in high school and later moved to New York City for work as a model. In New York, Williams studied acting at Larry Moss Studio and later moved to Los Angeles when she began appearing in episodes of television series include "Murder, She Wrote", "Dream On" and "Married... with Children". Williams also had secondary roles in films "Beverly Hills Cop III" (1994), "The Mask" (1994) and "Apollo 13" (1995).


title: Meadow Williams

text: In 2008, Williams began producing and starring in the independent films, include the leading roles in "Skeletons in the Desert" (2008), "Raven" (2010), and "Mysteria" (2011). She produced and co-starred opposite Samantha Morton in the 2013 horror film "The Harvest", and well as action film "Den of Thieves" (2018) and romantic drama "After" (2019). In 2017, she won Daytime Emmy Award for Outstanding Digital Daytime Drama Series as a producer of web-series "The Bay". She starred opposite Sylvester Stallone in the 2018 action film "Backtrace", and alongside Bruce Willis in the 2019 thriller "10 Minutes Gone". She next played the role of Mildred Gillars in the drama film "Axis Sally" opposite Al Pacino.