triplets list | passage stringlengths 0 32.9k | label stringlengths 4 48 ⌀ | label_id int64 0 1k ⌀ | synonyms list | __index_level_1__ int64 312 64.1k ⌀ | __index_level_0__ int64 0 2.4k ⌀ |
|---|---|---|---|---|---|---|
[
"Caffeic acid",
"subject has role",
"antioxidant"
] | Glycosides
3-O-caffeoylshikimic acid (dactylifric acid) and its isomers, are enzymic browning substrates found in dates (Phoenix dactylifera fruits).Pharmacology
Caffeic acid has a variety of potential pharmacological effects in in vitro studies and in animal models, and the inhibitory effect of caffeic acid on cancer cell proliferation by an oxidative mechanism in the human HT-1080 fibrosarcoma cell line has recently been established.Caffeic acid is an antioxidant in vitro and also in vivo. Caffeic acid also shows immunomodulatory and anti-inflammatory activity. Caffeic acid outperformed the other antioxidants, reducing aflatoxin production by more than 95 percent. The studies are the first to show that oxidative stress that would otherwise trigger or enhance Aspergillus flavus aflatoxin production can be stymied by caffeic acid. This opens the door to use as a natural fungicide by supplementing trees with antioxidants.Studies of the carcinogenicity of caffeic acid have mixed results. Some studies have shown that it inhibits carcinogenesis, and other experiments show carcinogenic effects. Oral administration of high doses of caffeic acid in rats has caused stomach papillomas. In the same study, high doses of combined antioxidants, including caffeic acid, showed a significant decrease in growth of colon tumors in those same rats. No significant effect was noted otherwise. Caffeic acid is listed under some Hazard Data sheets as a potential carcinogen, as has been listed by the International Agency for Research on Cancer as a Group 2B carcinogen ("possibly carcinogenic to humans"). More recent data show that bacteria in the rats' guts may alter the formation of metabolites of caffeic acid. Other than caffeic acid being a thiamine antagonist (antithiamine factor), there have been no known ill effects of caffeic acid in humans.
Also, caffeic acid treatment attenuated lipopolysaccharide (LPS)-induced sickness behaviour in experimental animals by decreasing both peripheral and central cytokine levels along with oxidative stress inflicted by LPS. | subject has role | 116 | [
"subject plays the role of",
"subject acts as",
"subject fulfills the role of",
"subject is a",
"subject serves as"
] | null | null |
[
"Catechin",
"has part(s)",
"carbon"
] | Chemistry
Catechin possesses two benzene rings (called the A and B rings) and a dihydropyran heterocycle (the C ring) with a hydroxyl group on carbon 3. The A ring is similar to a resorcinol moiety while the B ring is similar to a catechol moiety. There are two chiral centers on the molecule on carbons 2 and 3. Therefore, it has four diastereoisomers. Two of the isomers are in trans configration and are called catechin and the other two are in cis configuration and are called epicatechin.
The most common catechin isomer is (+)-catechin. The other stereoisomer is (−)-catechin or ent-catechin. The most common epicatechin isomer is (−)-epicatechin (also known under the names L-epicatechin, epicatechol, (−)-epicatechol, L-acacatechin, L-epicatechol, epicatechin, 2,3-cis-epicatechin or (2R,3R)-(−)-epicatechin).
The different epimers can be separated using chiral column chromatography.Making reference to no particular isomer, the molecule can just be called catechin. Mixtures of the different enantiomers can be called (±)-catechin or DL-catechin and (±)-epicatechin or DL-epicatechin.
Catechin and epicatechin are the building blocks of the proanthocyanidins, a type of condensed tannin. | has part(s) | 19 | [
"contains",
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] | null | null |
[
"Catechin",
"instance of",
"chemical compound"
] | Chemistry
Catechin possesses two benzene rings (called the A and B rings) and a dihydropyran heterocycle (the C ring) with a hydroxyl group on carbon 3. The A ring is similar to a resorcinol moiety while the B ring is similar to a catechol moiety. There are two chiral centers on the molecule on carbons 2 and 3. Therefore, it has four diastereoisomers. Two of the isomers are in trans configration and are called catechin and the other two are in cis configuration and are called epicatechin.
The most common catechin isomer is (+)-catechin. The other stereoisomer is (−)-catechin or ent-catechin. The most common epicatechin isomer is (−)-epicatechin (also known under the names L-epicatechin, epicatechol, (−)-epicatechol, L-acacatechin, L-epicatechol, epicatechin, 2,3-cis-epicatechin or (2R,3R)-(−)-epicatechin).
The different epimers can be separated using chiral column chromatography.Making reference to no particular isomer, the molecule can just be called catechin. Mixtures of the different enantiomers can be called (±)-catechin or DL-catechin and (±)-epicatechin or DL-epicatechin.
Catechin and epicatechin are the building blocks of the proanthocyanidins, a type of condensed tannin. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Catechin",
"instance of",
"catechin"
] | Chemistry
Catechin possesses two benzene rings (called the A and B rings) and a dihydropyran heterocycle (the C ring) with a hydroxyl group on carbon 3. The A ring is similar to a resorcinol moiety while the B ring is similar to a catechol moiety. There are two chiral centers on the molecule on carbons 2 and 3. Therefore, it has four diastereoisomers. Two of the isomers are in trans configration and are called catechin and the other two are in cis configuration and are called epicatechin.
The most common catechin isomer is (+)-catechin. The other stereoisomer is (−)-catechin or ent-catechin. The most common epicatechin isomer is (−)-epicatechin (also known under the names L-epicatechin, epicatechol, (−)-epicatechol, L-acacatechin, L-epicatechol, epicatechin, 2,3-cis-epicatechin or (2R,3R)-(−)-epicatechin).
The different epimers can be separated using chiral column chromatography.Making reference to no particular isomer, the molecule can just be called catechin. Mixtures of the different enantiomers can be called (±)-catechin or DL-catechin and (±)-epicatechin or DL-epicatechin.
Catechin and epicatechin are the building blocks of the proanthocyanidins, a type of condensed tannin. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Catechin",
"instance of",
"flavan"
] | Catechin is a flavan-3-ol, a type of secondary metabolite providing antioxidant roles in plants. It belongs to the subgroup of polyphenols called flavonoids.
The name of the catechin chemical family derives from catechu, which is the tannic juice or boiled extract of Mimosa catechu (Acacia catechu L.f). | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Catechin",
"instance of",
"type of chemical entity"
] | Catechin is a flavan-3-ol, a type of secondary metabolite providing antioxidant roles in plants. It belongs to the subgroup of polyphenols called flavonoids.
The name of the catechin chemical family derives from catechu, which is the tannic juice or boiled extract of Mimosa catechu (Acacia catechu L.f). | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Isobutyric acid",
"instance of",
"type of chemical entity"
] | Isobutyric acid, also known as 2-methylpropanoic acid or isobutanoic acid, is a carboxylic acid with structural formula (CH3)2CHCOOH. It is an isomer of n-butyric acid. It is classified as a short-chain fatty acid. Deprotonation or esterification gives derivatives called isobutyrates.
Isobutyric acid is a colorless liquid with a somewhat unpleasant odor. It is soluble in water and organic solvents. It is found naturally in carobs (Ceratonia siliqua), in vanilla, and in the root of Arnica dulcis, and as an ethyl ester in croton oil. | instance of | 5 | [
"type of",
"example of",
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] | null | null |
[
"3-Methylbutanoic acid",
"instance of",
"chemical compound"
] | 3-Methylbutanoic acid, also known as β-methylbutyric acid or more commonly isovaleric acid, is a branched-chain alkyl carboxylic acid with the chemical formula (CH3)2CHCH2CO2H. It is classified as a short-chain fatty acid. Like other low-molecular-weight carboxylic acids, it has an unpleasant odor. The compound occurs naturally and can be found in many foods, such as cheese, soy milk, and apple juice.History
3-Methylbutanoic acid is a minor constituent of the perennial flowering plant valerian (Valeriana officinalis), from which it got its trivial name isovaleric acid: an isomer of valeric acid which shares its unpleasant odor. The dried root of this plant has been used medicinally since antiquity. Their chemical identity was first investigated in the 19th century by oxidation of the components of fusel alcohol, which includes the five-carbon amyl alcohols.Manufacture
In industry, 3-methylbutanoic acid is produced by the hydroformylation of isobutylene with syngas, forming isovaleraldehyde, which is oxidised to the final product.
(CH3)2C=CH2 + H2 + CO → (CH3)2CHCH2CHO → 3-methylbutanoic acidSalts and esters
An isovalerate or 3-methylbutanoate ion is (CH3)2CHCH2COO−, the conjugate base of the acid. It is the form found in biological systems at physiological pH. An isovalerate or 3-methylbutanoate compound is a salt or ester of the acid.See also
2-Methylbutanoic acid, an isomer
Valeric acid, an isomer | instance of | 5 | [
"type of",
"example of",
"manifestation of",
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] | null | null |
[
"3-Methylbutanoic acid",
"instance of",
"metabolite"
] | 3-Methylbutanoic acid, also known as β-methylbutyric acid or more commonly isovaleric acid, is a branched-chain alkyl carboxylic acid with the chemical formula (CH3)2CHCH2CO2H. It is classified as a short-chain fatty acid. Like other low-molecular-weight carboxylic acids, it has an unpleasant odor. The compound occurs naturally and can be found in many foods, such as cheese, soy milk, and apple juice.History
3-Methylbutanoic acid is a minor constituent of the perennial flowering plant valerian (Valeriana officinalis), from which it got its trivial name isovaleric acid: an isomer of valeric acid which shares its unpleasant odor. The dried root of this plant has been used medicinally since antiquity. Their chemical identity was first investigated in the 19th century by oxidation of the components of fusel alcohol, which includes the five-carbon amyl alcohols.Salts and esters
An isovalerate or 3-methylbutanoate ion is (CH3)2CHCH2COO−, the conjugate base of the acid. It is the form found in biological systems at physiological pH. An isovalerate or 3-methylbutanoate compound is a salt or ester of the acid. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"3-Methylbutanoic acid",
"instance of",
"short-chain fatty acid"
] | 3-Methylbutanoic acid, also known as β-methylbutyric acid or more commonly isovaleric acid, is a branched-chain alkyl carboxylic acid with the chemical formula (CH3)2CHCH2CO2H. It is classified as a short-chain fatty acid. Like other low-molecular-weight carboxylic acids, it has an unpleasant odor. The compound occurs naturally and can be found in many foods, such as cheese, soy milk, and apple juice.History
3-Methylbutanoic acid is a minor constituent of the perennial flowering plant valerian (Valeriana officinalis), from which it got its trivial name isovaleric acid: an isomer of valeric acid which shares its unpleasant odor. The dried root of this plant has been used medicinally since antiquity. Their chemical identity was first investigated in the 19th century by oxidation of the components of fusel alcohol, which includes the five-carbon amyl alcohols. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"3-Methylbutanoic acid",
"instance of",
"branched chain fatty acids"
] | 3-Methylbutanoic acid, also known as β-methylbutyric acid or more commonly isovaleric acid, is a branched-chain alkyl carboxylic acid with the chemical formula (CH3)2CHCH2CO2H. It is classified as a short-chain fatty acid. Like other low-molecular-weight carboxylic acids, it has an unpleasant odor. The compound occurs naturally and can be found in many foods, such as cheese, soy milk, and apple juice. | instance of | 5 | [
"type of",
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"manifestation of",
"representation of"
] | null | null |
[
"3-Methylbutanoic acid",
"instance of",
"type of chemical entity"
] | 3-Methylbutanoic acid, also known as β-methylbutyric acid or more commonly isovaleric acid, is a branched-chain alkyl carboxylic acid with the chemical formula (CH3)2CHCH2CO2H. It is classified as a short-chain fatty acid. Like other low-molecular-weight carboxylic acids, it has an unpleasant odor. The compound occurs naturally and can be found in many foods, such as cheese, soy milk, and apple juice.Salts and esters
An isovalerate or 3-methylbutanoate ion is (CH3)2CHCH2COO−, the conjugate base of the acid. It is the form found in biological systems at physiological pH. An isovalerate or 3-methylbutanoate compound is a salt or ester of the acid. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
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] | null | null |
[
"Ferulic acid",
"has part(s)",
"carbon"
] | Ferulic acid is a hydroxycinnamic acid, is an organic compound and a polyphenol with the formula (CH3O)HOC6H3CH=CHCO2H. The name is derived from the genus Ferula, referring to the giant fennel (Ferula communis). Classified as a phenolic phytochemical, ferulic acid is an amber colored solid. Esters of ferulic acid are found in plant cell walls, covalently bonded to hemicellulose such as arabinoxylans.Occurrence in nature
As a building block of lignocelluloses, such as pectin and lignin, ferulic acid is ubiquitous in the plant kingdom, including a number of vegetable sources. It occurs in particularly high concentrations in popcorn and bamboo shoots. It is a major metabolite of chlorogenic acids in humans along with caffeic and isoferulic acid, and is absorbed in the small intestine, whereas other metabolites such as dihydroferulic acid, feruloylglycine and dihydroferulic acid sulfate are produced from chlorogenic acid in the large intestine by the action of gut flora.In cereals, ferulic acid is localized in the bran – the hard outer layer of grain. In wheat, phenolic compounds are mainly found in the form of insoluble bound ferulic acid and may be relevant to resistance to wheat fungal diseases. The highest known concentration of ferulic acid glucoside has been found in flaxseed (4.1±0.2 g/kg). It is also found in barley grain.Asterid eudicot plants can also produce ferulic acid. The tea brewed from the leaves of yacón (Smallanthus sonchifolius), a plant traditionally grown in the northern and central Andes, contains quantities of ferulic acid. In legumes, the white bean variety navy bean is the richest source of ferulic acid among the common bean (Phaseolus vulgaris) varieties. It is also found in horse grams (Macrotyloma uniflorum).Although there are many sources of ferulic acid in nature, its bioavailability depends on the form in which it is present: free ferulic acid has limited solubility in water, and hence poor bioavailability. In wheat grain, ferulic acid is found bound to cell wall polysaccharides, allowing it to be released and absorbed in the small intestine. | has part(s) | 19 | [
"contains",
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] | null | null |
[
"Ferulic acid",
"has part(s)",
"oxygen"
] | Ferulic acid is a hydroxycinnamic acid, is an organic compound and a polyphenol with the formula (CH3O)HOC6H3CH=CHCO2H. The name is derived from the genus Ferula, referring to the giant fennel (Ferula communis). Classified as a phenolic phytochemical, ferulic acid is an amber colored solid. Esters of ferulic acid are found in plant cell walls, covalently bonded to hemicellulose such as arabinoxylans. | has part(s) | 19 | [
"contains",
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"includes",
"consists of",
"has components"
] | null | null |
[
"Ferulic acid",
"instance of",
"chemical compound"
] | Ferulic acid is a hydroxycinnamic acid, is an organic compound and a polyphenol with the formula (CH3O)HOC6H3CH=CHCO2H. The name is derived from the genus Ferula, referring to the giant fennel (Ferula communis). Classified as a phenolic phytochemical, ferulic acid is an amber colored solid. Esters of ferulic acid are found in plant cell walls, covalently bonded to hemicellulose such as arabinoxylans.Occurrence in nature
As a building block of lignocelluloses, such as pectin and lignin, ferulic acid is ubiquitous in the plant kingdom, including a number of vegetable sources. It occurs in particularly high concentrations in popcorn and bamboo shoots. It is a major metabolite of chlorogenic acids in humans along with caffeic and isoferulic acid, and is absorbed in the small intestine, whereas other metabolites such as dihydroferulic acid, feruloylglycine and dihydroferulic acid sulfate are produced from chlorogenic acid in the large intestine by the action of gut flora.In cereals, ferulic acid is localized in the bran – the hard outer layer of grain. In wheat, phenolic compounds are mainly found in the form of insoluble bound ferulic acid and may be relevant to resistance to wheat fungal diseases. The highest known concentration of ferulic acid glucoside has been found in flaxseed (4.1±0.2 g/kg). It is also found in barley grain.Asterid eudicot plants can also produce ferulic acid. The tea brewed from the leaves of yacón (Smallanthus sonchifolius), a plant traditionally grown in the northern and central Andes, contains quantities of ferulic acid. In legumes, the white bean variety navy bean is the richest source of ferulic acid among the common bean (Phaseolus vulgaris) varieties. It is also found in horse grams (Macrotyloma uniflorum).Although there are many sources of ferulic acid in nature, its bioavailability depends on the form in which it is present: free ferulic acid has limited solubility in water, and hence poor bioavailability. In wheat grain, ferulic acid is found bound to cell wall polysaccharides, allowing it to be released and absorbed in the small intestine. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Ferulic acid",
"instance of",
"type of chemical entity"
] | Ferulic acid is a hydroxycinnamic acid, is an organic compound and a polyphenol with the formula (CH3O)HOC6H3CH=CHCO2H. The name is derived from the genus Ferula, referring to the giant fennel (Ferula communis). Classified as a phenolic phytochemical, ferulic acid is an amber colored solid. Esters of ferulic acid are found in plant cell walls, covalently bonded to hemicellulose such as arabinoxylans.Occurrence in nature
As a building block of lignocelluloses, such as pectin and lignin, ferulic acid is ubiquitous in the plant kingdom, including a number of vegetable sources. It occurs in particularly high concentrations in popcorn and bamboo shoots. It is a major metabolite of chlorogenic acids in humans along with caffeic and isoferulic acid, and is absorbed in the small intestine, whereas other metabolites such as dihydroferulic acid, feruloylglycine and dihydroferulic acid sulfate are produced from chlorogenic acid in the large intestine by the action of gut flora.In cereals, ferulic acid is localized in the bran – the hard outer layer of grain. In wheat, phenolic compounds are mainly found in the form of insoluble bound ferulic acid and may be relevant to resistance to wheat fungal diseases. The highest known concentration of ferulic acid glucoside has been found in flaxseed (4.1±0.2 g/kg). It is also found in barley grain.Asterid eudicot plants can also produce ferulic acid. The tea brewed from the leaves of yacón (Smallanthus sonchifolius), a plant traditionally grown in the northern and central Andes, contains quantities of ferulic acid. In legumes, the white bean variety navy bean is the richest source of ferulic acid among the common bean (Phaseolus vulgaris) varieties. It is also found in horse grams (Macrotyloma uniflorum).Although there are many sources of ferulic acid in nature, its bioavailability depends on the form in which it is present: free ferulic acid has limited solubility in water, and hence poor bioavailability. In wheat grain, ferulic acid is found bound to cell wall polysaccharides, allowing it to be released and absorbed in the small intestine. | instance of | 5 | [
"type of",
"example of",
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] | null | null |
[
"Naringenin",
"instance of",
"chemical compound"
] | Naringenin is a flavorless, colorless flavanone, a type of flavonoid. It is the predominant flavanone in grapefruit, and is found in a variety of fruits and herbs.Structure
Naringenin has the skeleton structure of a flavanone with three hydroxy groups at the 4', 5, and 7 carbons. It may be found both in the aglycol form, naringenin, or in its glycosidic form, naringin, which has the addition of the disaccharide neohesperidose attached via a glycosidic linkage at carbon 7.
Like the majority of flavanones, naringenin has a single chiral center at carbon 2, although the optical purity is variable. Racemization of S(-)-naringenin has been shown to occur fairly quickly. | instance of | 5 | [
"type of",
"example of",
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] | null | null |
[
"Naringenin",
"subclass of",
"flavanone"
] | Naringenin is a flavorless, colorless flavanone, a type of flavonoid. It is the predominant flavanone in grapefruit, and is found in a variety of fruits and herbs.Structure
Naringenin has the skeleton structure of a flavanone with three hydroxy groups at the 4', 5, and 7 carbons. It may be found both in the aglycol form, naringenin, or in its glycosidic form, naringin, which has the addition of the disaccharide neohesperidose attached via a glycosidic linkage at carbon 7.
Like the majority of flavanones, naringenin has a single chiral center at carbon 2, although the optical purity is variable. Racemization of S(-)-naringenin has been shown to occur fairly quickly. | subclass of | 109 | [
"is a type of",
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] | null | null |
[
"Naringenin",
"instance of",
"type of chemical entity"
] | Naringenin is a flavorless, colorless flavanone, a type of flavonoid. It is the predominant flavanone in grapefruit, and is found in a variety of fruits and herbs.Structure
Naringenin has the skeleton structure of a flavanone with three hydroxy groups at the 4', 5, and 7 carbons. It may be found both in the aglycol form, naringenin, or in its glycosidic form, naringin, which has the addition of the disaccharide neohesperidose attached via a glycosidic linkage at carbon 7.
Like the majority of flavanones, naringenin has a single chiral center at carbon 2, although the optical purity is variable. Racemization of S(-)-naringenin has been shown to occur fairly quickly. | instance of | 5 | [
"type of",
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] | null | null |
[
"Protocatechuic acid",
"instance of",
"chemical compound"
] | Protocatechuic acid (PCA) is a dihydroxybenzoic acid, a type of phenolic acid. It is a major metabolite of antioxidant polyphenols found in green tea. It has mixed effects on normal and cancer cells in in vitro and in vivo studies. | instance of | 5 | [
"type of",
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] | null | null |
[
"Protocatechuic acid",
"instance of",
"type of chemical entity"
] | Protocatechuic acid (PCA) is a dihydroxybenzoic acid, a type of phenolic acid. It is a major metabolite of antioxidant polyphenols found in green tea. It has mixed effects on normal and cancer cells in in vitro and in vivo studies. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Chlorogenic acid",
"instance of",
"chemical compound"
] | Chlorogenic acid (CGA) is the ester of caffeic acid and (−)-quinic acid, functioning as an intermediate in lignin biosynthesis. The term "chlorogenic acids" refers to a related polyphenol family of esters, including hydroxycinnamic acids (caffeic acid, ferulic acid and p-coumaric acid) with quinic acid.Despite the "chloro" of the name, chlorogenic acids contain no chlorine. Instead, the name comes from the Greek χλωρός (khloros, light green) and -γένος (ghenos, a suffix meaning "giving rise to"), pertaining to the green color produced when chlorogenic acids are oxidized. | instance of | 5 | [
"type of",
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[
"Chlorogenic acid",
"instance of",
"type of chemical entity"
] | Chlorogenic acid (CGA) is the ester of caffeic acid and (−)-quinic acid, functioning as an intermediate in lignin biosynthesis. The term "chlorogenic acids" refers to a related polyphenol family of esters, including hydroxycinnamic acids (caffeic acid, ferulic acid and p-coumaric acid) with quinic acid.Despite the "chloro" of the name, chlorogenic acids contain no chlorine. Instead, the name comes from the Greek χλωρός (khloros, light green) and -γένος (ghenos, a suffix meaning "giving rise to"), pertaining to the green color produced when chlorogenic acids are oxidized. | instance of | 5 | [
"type of",
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] | null | null |
[
"Ellagic acid",
"instance of",
"type of chemical entity"
] | Ellagic acid is a polyphenol found in numerous fruits and vegetables. It is the dilactone of hexahydroxydiphenic acid.Name
The name comes from the French term acide ellagique, from the word galle spelled backwards because it can be obtained from noix de galle (galls), and to distinguish it from acide gallique (gallic acid). The molecule structure resembles to that of two gallic acid molecules being assembled "head to tail" and bound together by a C–C bond (as in biphenyl, or in diphenic acid) and two lactone links (cyclic carboxylic esters).Metabolism
Biosynthesis
Plants produce ellagic acid from hydrolysis of tannins such as ellagitannin and geraniin. | instance of | 5 | [
"type of",
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] | null | null |
[
"Capric acid",
"subclass of",
"medium-chain fatty acid"
] | Capric acid, also known as decanoic acid or decylic acid, is a saturated fatty acid, medium-chain fatty acid (MCFA), and carboxylic acid. Its formula is CH3(CH2)8COOH. Salts and esters of decanoic acid are called caprates or decanoates. The term capric acid is derived from the Latin "caper / capra" (goat) because the sweaty, unpleasant smell of the compound is reminiscent of goats.Occurrence
Capric acid occurs naturally in coconut oil (about 10%) and palm kernel oil (about 4%), otherwise it is uncommon in typical seed oils. It is found in the milk of various mammals and to a lesser extent in other animal fats.Two other acids are named after goats: caproic acid (a C6:0 fatty acid) and caprylic acid (a C8:0 fatty acid). Along with capric acid, these total 15% in goat milk fat. | subclass of | 109 | [
"is a type of",
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"is classified as"
] | null | null |
[
"Capric acid",
"instance of",
"chemical compound"
] | Uses
Capric acid is used in the manufacture of esters for artificial fruit flavors and perfumes. It is also used as an intermediate in chemical syntheses. It is used in organic synthesis and industrially in the manufacture of perfumes, lubricants, greases, rubber, dyes, plastics, food additives and pharmaceuticals.Pharmaceuticals
Caprate ester prodrugs of various pharmaceuticals are available. Since capric acid is a fatty acid, forming a salt or ester with a drug will increase its lipophilicity and its affinity for adipose tissue. Since distribution of a drug from fatty tissue is usually slow, one may develop a long-acting injectable form of a drug (called a depot injection) by using its caprate form. Some examples of drugs available as a caprate ester include nandrolone, fluphenazine, bromperidol, and haloperidol. | instance of | 5 | [
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[
"The Village of Stepanchikovo",
"place of publication",
"Russia"
] | The Village of Stepanchikovo and Its Inhabitants: From the Notes of an Unknown (Russian: Село Степанчиково и его обитатели. Из записок неизвестного, Selo Stepanchikovo i ego obitateli. Iz zapisok neizvestnogo), also known as The Friend of the Family, is a novel written by Fyodor Dostoevsky and first published in 1859. | place of publication | 123 | [
"location of publication",
"publishing location",
"place published",
"publication location",
"publishing place"
] | null | null |
[
"The Village of Stepanchikovo",
"country of origin",
"Russia"
] | The Village of Stepanchikovo and Its Inhabitants: From the Notes of an Unknown (Russian: Село Степанчиково и его обитатели. Из записок неизвестного, Selo Stepanchikovo i ego obitateli. Iz zapisok neizvestnogo), also known as The Friend of the Family, is a novel written by Fyodor Dostoevsky and first published in 1859. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"The Village of Stepanchikovo",
"author",
"Fyodor Dostoyevsky"
] | The Village of Stepanchikovo and Its Inhabitants: From the Notes of an Unknown (Russian: Село Степанчиково и его обитатели. Из записок неизвестного, Selo Stepanchikovo i ego obitateli. Iz zapisok neizvestnogo), also known as The Friend of the Family, is a novel written by Fyodor Dostoevsky and first published in 1859. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"The Village of Stepanchikovo",
"language of work or name",
"Russian"
] | The Village of Stepanchikovo and Its Inhabitants: From the Notes of an Unknown (Russian: Село Степанчиково и его обитатели. Из записок неизвестного, Selo Stepanchikovo i ego obitateli. Iz zapisok neizvestnogo), also known as The Friend of the Family, is a novel written by Fyodor Dostoevsky and first published in 1859. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"The Village of Stepanchikovo",
"form of creative work",
"novel"
] | The Village of Stepanchikovo and Its Inhabitants: From the Notes of an Unknown (Russian: Село Степанчиково и его обитатели. Из записок неизвестного, Selo Stepanchikovo i ego obitateli. Iz zapisok neizvestnogo), also known as The Friend of the Family, is a novel written by Fyodor Dostoevsky and first published in 1859.Characters
Foma Fomich Opiskin: fifty years old
Sergey Alexandrovich - Seryozha: the narrator, nephew of the colonel, twenty-two years old
Yegor Ilyich Rostanev: the colonel, forty years old, retired
Ilyusha: Rostanev's son, eight years old
Sasha or Sashenka: Rostanev's daughter, fifteen years old
Nastasya Yevgrafovna - Nastenka: the children's governess
Yevgraf Larionych Yezhevikin: a serf, Nastenka's father
Krakhotkin the General's lady: Rostanev's mother
Miss Perepelitsyna: confidante of the General's lady
Praskovya Ilyinichna: Rostanev's sister
Stepan Alekseyich Bakhcheyev: Rostanev's friend
Ivan Ivanych Mizinchikov: Rostanev's distant cousin, twenty-eight years old
Pavel Semyonych Obnoskin: a guest of Rostanev's, twenty-five years old
Anfisa Petrovna: Obnoskin's mother, fifty years old
Tatyana Ivanovna: an old maid, thirty-five years old
Korovkin: Rostanev's friend
Gavrila Ignatych: a valet
Grigory Vidoplyasov: a valet
Falaley: a house-boy, sixteen years oldBackground
Foma Opiskin was based on Nikolai Gogol in his last years. Foma's speeches are parodies of Gogol's Selected Passages from Correspondence with Friends, Opiskin's mannerisms, appearance and even personality are also based on Gogol.The story has the structure of a comedy; it was originally intended as a play.Dostoevsky wrote this novel for Mikhail Katkov, main editor of The Russian Messenger. In a letter to his brother Mikhail, Dostoevsky wrote: "The long story that I am writing for Katkov displeases me very much and goes against the grain. But I have already written a great deal, it's impossible to throw it away in order to begin another, and I have to pay back a debt."In a later letter he sounded more optimistic: "I am convinced that there are many weak and bad things in my novel; but I am convinced - I stake my life on it! - that there are very fine things. They sprang from the heart. There are scenes of high comedy that Gogol would have signed without hesitation."He submitted the novel to The Russian Messenger, but Katkov rejected it. Next he submitted it to The Contemporary, which accepted the novel, but at what Dostoevsky considered a humiliatingly low price. The editor of The Contemporary, Nekrasov, was very negative: "Dostoevsky is finished. He will no longer write anything important." The novel was ultimately published in Krayevsky's National Annals. | form of creative work | 126 | [
"artistic creation",
"creative composition",
"artistic production",
"work of art",
"creative piece"
] | null | null |
[
"The Village of Stepanchikovo",
"genre",
"satirical fiction"
] | The Village of Stepanchikovo and Its Inhabitants: From the Notes of an Unknown (Russian: Село Степанчиково и его обитатели. Из записок неизвестного, Selo Stepanchikovo i ego obitateli. Iz zapisok neizvestnogo), also known as The Friend of the Family, is a novel written by Fyodor Dostoevsky and first published in 1859. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"The Village of Stepanchikovo",
"instance of",
"literary work"
] | The Village of Stepanchikovo and Its Inhabitants: From the Notes of an Unknown (Russian: Село Степанчиково и его обитатели. Из записок неизвестного, Selo Stepanchikovo i ego obitateli. Iz zapisok neizvestnogo), also known as The Friend of the Family, is a novel written by Fyodor Dostoevsky and first published in 1859.Literary significance
Stepanchikovo also lacks the intellectual passionateness and richness of the essential Dostoyevsky , but in other respects it is one of the most characteristic of his works. All his great novels have a construction that is dramatic rather than narrative. They can easily and without substantial changes in their construction be turned into plays. Stepanchikovo is the most dramatic of all (it was originally planned as a play). Only, of course, it is far too long for the theatre. It is also interesting for the way it displays what Mikhaylovsky called the "cruelty" of Dostoyevsky. Its subject is the intolerable psychological bullying inflicted by the hypocrite and parasite, Foma Opiskin, on his host, Colonel Rostanev. The imbecile meekness with which the Colonel consents to be bullied and allows all around him, his friends and servants, to be bullied by Opiskin, and the perverse inventiveness of Foma in devising various psychological humiliations for his victims produce an impression of intolerable, almost physical, pain. Foma Opiskin is a weird figure of grotesque, gratuitous, irresponsible, petty, and ultimately joyless evil, that together with Saltykov's Porfiri Golovlev and Sologub's Peredonov form a trinity to which probably no foreign literature has anything to compare. | instance of | 5 | [
"type of",
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] | null | null |
[
"Struwwelpeter",
"form of creative work",
"picture book"
] | Background and publication history
Hoffmann wrote Struwwelpeter in reaction to the lack of good books for children. Intending to buy a picture book as a Christmas present for his three-year-old son, Hoffmann instead wrote and illustrated his own book. In 1845 he was persuaded by friends to publish the book anonymously as Lustige Geschichten und drollige Bilder mit 15 schön kolorierten Tafeln für Kinder von 3–6 Jahren ("funny stories and droll pictures with 15 beautifully coloured panels for children of 3–6 years"). The book was one of the first uses of chromolithography (a method of making multi-colored prints) in a children's book.
For the third edition, published in 1858, the title was changed to Struwwelpeter, the name of the character in the first story. The book became popular among children throughout Europe.
Struwwelpeter has been translated into several languages. In 1891 Mark Twain wrote his own translation of the book, but because of copyright issues Twain's "Slovenly Peter" was not published until 1935, 25 years after his death.British twin illustrators Janet and Anne Grahame Johnstone provided new illustrations for an English translation published in 1950. | form of creative work | 126 | [
"artistic creation",
"creative composition",
"artistic production",
"work of art",
"creative piece"
] | null | null |
[
"Struwwelpeter",
"instance of",
"literary work"
] | Background and publication history
Hoffmann wrote Struwwelpeter in reaction to the lack of good books for children. Intending to buy a picture book as a Christmas present for his three-year-old son, Hoffmann instead wrote and illustrated his own book. In 1845 he was persuaded by friends to publish the book anonymously as Lustige Geschichten und drollige Bilder mit 15 schön kolorierten Tafeln für Kinder von 3–6 Jahren ("funny stories and droll pictures with 15 beautifully coloured panels for children of 3–6 years"). The book was one of the first uses of chromolithography (a method of making multi-colored prints) in a children's book.
For the third edition, published in 1858, the title was changed to Struwwelpeter, the name of the character in the first story. The book became popular among children throughout Europe.
Struwwelpeter has been translated into several languages. In 1891 Mark Twain wrote his own translation of the book, but because of copyright issues Twain's "Slovenly Peter" was not published until 1935, 25 years after his death.British twin illustrators Janet and Anne Grahame Johnstone provided new illustrations for an English translation published in 1950. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Struwwelpeter",
"instance of",
"children's book"
] | Background and publication history
Hoffmann wrote Struwwelpeter in reaction to the lack of good books for children. Intending to buy a picture book as a Christmas present for his three-year-old son, Hoffmann instead wrote and illustrated his own book. In 1845 he was persuaded by friends to publish the book anonymously as Lustige Geschichten und drollige Bilder mit 15 schön kolorierten Tafeln für Kinder von 3–6 Jahren ("funny stories and droll pictures with 15 beautifully coloured panels for children of 3–6 years"). The book was one of the first uses of chromolithography (a method of making multi-colored prints) in a children's book.
For the third edition, published in 1858, the title was changed to Struwwelpeter, the name of the character in the first story. The book became popular among children throughout Europe.
Struwwelpeter has been translated into several languages. In 1891 Mark Twain wrote his own translation of the book, but because of copyright issues Twain's "Slovenly Peter" was not published until 1935, 25 years after his death.British twin illustrators Janet and Anne Grahame Johnstone provided new illustrations for an English translation published in 1950.The stories
Struwwelpeter describes a boy who does not groom himself properly and is consequently unpopular.
Die Geschichte vom bösen Friederich ("The Story of Wicked Frederick"): A violent boy terrorizes animals and people. Eventually he is bitten by a dog, who goes on to eat the boy's food while Frederick is bedridden.
Die gar traurige Geschichte mit dem Feuerzeug ("The Very Sad Tale with the Matches"): A girl plays with matches, accidentally ignites herself and burns to death. Only her cats mourn her.
Die Geschichte von den schwarzen Buben ("The Story of the Inky Boys"): Nikolas (or "Agrippa" in some translations) catches three boys teasing a dark-skinned boy. To teach them a lesson, he dips them in black ink.
Die Geschichte von dem wilden Jäger ("The Story of the Wild Huntsman") is the only story not primarily focused on children. In it, a hare steals a hunter's musket and eyeglasses and begins to hunt the hunter. In the ensuing chaos, the hare's child is burned by hot coffee and the hunter jumps into a well.
Die Geschichte vom Daumenlutscher ("The Story of the Thumb-Sucker"): A mother warns her son Konrad not to suck his thumbs. However, when she goes out of the house he resumes his thumb-sucking, until a roving tailor appears and cuts off his thumbs with giant scissors.
Die Geschichte vom Suppen-Kaspar ("The Story of Soup-Kaspar") begins as Kaspar (or "Augustus" in some translations), a healthy, strong boy, proclaims that he will no longer eat his soup. Over the next five days, he wastes away and dies. The last illustration shown is of his grave, which has a soup tureen atop it.
Die Geschichte vom Zappel-Philipp ("The Story of Fidgety Philip"): A boy who won't sit still at dinner accidentally knocks all of the food onto the floor, to his parents' great displeasure.
Die Geschichte von Hans Guck-in-die-Luft ("The Story of Johnny Look-In-The-Air") concerns a boy who habitually fails to watch where he's walking. One day he walks into a river; he is soon rescued, but his briefcase drifts away.
Die Geschichte vom fliegenden Robert ("The Story of Flying Robert"): A boy goes outside during a storm. The wind catches his umbrella and lifts him high into the air. The story ends with the boy sailing into the distance. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Struwwelpeter",
"author",
"Heinrich Hoffmann"
] | Background and publication history
Hoffmann wrote Struwwelpeter in reaction to the lack of good books for children. Intending to buy a picture book as a Christmas present for his three-year-old son, Hoffmann instead wrote and illustrated his own book. In 1845 he was persuaded by friends to publish the book anonymously as Lustige Geschichten und drollige Bilder mit 15 schön kolorierten Tafeln für Kinder von 3–6 Jahren ("funny stories and droll pictures with 15 beautifully coloured panels for children of 3–6 years"). The book was one of the first uses of chromolithography (a method of making multi-colored prints) in a children's book.
For the third edition, published in 1858, the title was changed to Struwwelpeter, the name of the character in the first story. The book became popular among children throughout Europe.
Struwwelpeter has been translated into several languages. In 1891 Mark Twain wrote his own translation of the book, but because of copyright issues Twain's "Slovenly Peter" was not published until 1935, 25 years after his death.British twin illustrators Janet and Anne Grahame Johnstone provided new illustrations for an English translation published in 1950. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"The Betrothed (Manzoni novel)",
"country of origin",
"Italy"
] | Writing and publication
Manzoni hatched the basis for his novel in 1821 when he read a 1627 Italian edict that specified penalties for any priest who refused to perform a marriage when requested to do so. More material for his story came from Giuseppe Ripamonti's Milanese Chronicles.The first version, Fermo e Lucia, was written between April 1821 and September 1823. He then heavily revised it, finishing in August 1825; it was published on 15 June 1827, after two years of corrections and proof-checking. Manzoni's chosen title, Gli sposi promessi, was changed for the sake of euphony shortly before its final commitment to printing.
In the early 19th century, there was still controversy as to what form the standard literary language of Italy should take. Manzoni was firmly in favour of the dialect of Florence and, as he himself put it, after "washing his clothes in the Arno [the river passing through Florence]", he revised the novel's language for its republication in 1842, cleansing it of many Lombard regionalisms. The original name of one of the protagonists, Fermo, was changed for the same reason to Lorenzo. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"The Betrothed (Manzoni novel)",
"language of work or name",
"Italian"
] | Writing and publication
Manzoni hatched the basis for his novel in 1821 when he read a 1627 Italian edict that specified penalties for any priest who refused to perform a marriage when requested to do so. More material for his story came from Giuseppe Ripamonti's Milanese Chronicles.The first version, Fermo e Lucia, was written between April 1821 and September 1823. He then heavily revised it, finishing in August 1825; it was published on 15 June 1827, after two years of corrections and proof-checking. Manzoni's chosen title, Gli sposi promessi, was changed for the sake of euphony shortly before its final commitment to printing.
In the early 19th century, there was still controversy as to what form the standard literary language of Italy should take. Manzoni was firmly in favour of the dialect of Florence and, as he himself put it, after "washing his clothes in the Arno [the river passing through Florence]", he revised the novel's language for its republication in 1842, cleansing it of many Lombard regionalisms. The original name of one of the protagonists, Fermo, was changed for the same reason to Lorenzo. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"The Betrothed (Manzoni novel)",
"characters",
"Renzo Tramaglino"
] | Characters
Lorenzo Tramaglino, or in short form Renzo, is a young silk-weaver of humble origins, engaged to Lucia, whom he loves deeply. Initially rather naïve, he becomes more worldly wise during the story as he is confronted with many difficulties: he is separated from Lucia and then unjustly accused of being a criminal. Renzo is somewhat hot-tempered, but also gentle and honest.
Lucia Mondella is a kind young woman who loves Renzo; she is pious and devoted, but also very shy and demure. She is forced to flee from her village to escape from Don Rodrigo in one of the most famous scenes of Italian literature, the Addio ai Monti or "Farewell to the mountains".
Don Abbondio is the priest who refuses to marry Renzo and Lucia because he has been threatened by Don Rodrigo's men; he meets the two protagonists several times during the novel. The cowardly, morally mediocre Don Abbondio provides most of the book's comic relief; however, he is not merely a stock character, as his moral failings are portrayed by Manzoni with a mixture of irony, sadness and pity, as has been noted by Luigi Pirandello in his essay "On Humour" (Saggio sull'Umorismo).
Fra Cristoforo is a brave and generous friar who helps Renzo and Lucia, acting as a sort of "father figure" to both and as the moral compass of the novel. Fra Cristoforo was the son of a wealthy family, and joined the Capuchin Order after killing a man.
Don Rodrigo is a cruel and despicable Spanish nobleman and the novel's main villain. As overbearing local baron, he decides to forcibly prevent the marriage of Renzo and Lucia, threatens to kill Don Abbondio if he marries the two and tries to kidnap Lucia. He is a clear reference to the foreign domination and oppression in Lombardy, first dominated by Spain and later by the Austrian Empire.
L'Innominato (literally: the Unnamed) is probably the novel's most complex character, a powerful and feared criminal of very high family who is torn between his ferocious past and the increasing disgust that he feels for his life. Based on the historical character of Francesco Bernardino Visconti, who was really converted by a visit of Federigo Borromeo.
Agnese Mondella is Lucia's mother: goodhearted and sagacious but often indiscreet.
Federico Borromeo (Federigo in the book) is a virtuous and zealous cardinal; an actual historical character, younger cousin of Saint Charles Borromeo.
Perpetua is Don Abbondio's loquacious servant.
La monaca di Monza (The Nun of Monza) is a tragic figure, a bitter, frustrated, sexually deprived and ambiguous woman. She befriends Lucia and becomes genuinely fond of her, but her dark past haunts her. This character is based on an actual woman, Marianna de Leyva.
Griso is one of Don Rodrigo's henchmen, a silent and treacherous man.
Dr. Azzeccagarbugli ("Quibbleweaver") is a corrupt lawyer.
Count Attilio is Don Rodrigo's malevolent cousin.
Nibbio (Kite - the bird) is the Innominato's right-hand man, who precedes and then happily follows his master's way of redemption.
Don Ferrante is a phony intellectual and erudite scholar who believes the plague is caused by astrological forces.
Donna Prassede is Don Ferrante's wife, who is willing to help Lucia but is also an opinionated busybody. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"The Betrothed (Manzoni novel)",
"instance of",
"literary work"
] | Writing and publication
Manzoni hatched the basis for his novel in 1821 when he read a 1627 Italian edict that specified penalties for any priest who refused to perform a marriage when requested to do so. More material for his story came from Giuseppe Ripamonti's Milanese Chronicles.The first version, Fermo e Lucia, was written between April 1821 and September 1823. He then heavily revised it, finishing in August 1825; it was published on 15 June 1827, after two years of corrections and proof-checking. Manzoni's chosen title, Gli sposi promessi, was changed for the sake of euphony shortly before its final commitment to printing.
In the early 19th century, there was still controversy as to what form the standard literary language of Italy should take. Manzoni was firmly in favour of the dialect of Florence and, as he himself put it, after "washing his clothes in the Arno [the river passing through Florence]", he revised the novel's language for its republication in 1842, cleansing it of many Lombard regionalisms. The original name of one of the protagonists, Fermo, was changed for the same reason to Lorenzo. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"The Stonebreaker",
"creator",
"Henry Wallis"
] | The Stonebreaker is an 1857 oil-on-canvas painting by Henry Wallis. It depicts a manual labourer who appears to be asleep, worn out by his work, but may have been worked to death.
The painting was first exhibited in 1858 at the Royal Academy in London and was highly acclaimed. Many viewers assumed the man was sleeping, worn out by his day of hard but honest labour. Wallis gave no outright statement that the man depicted was dead, but there are many suggestions to this effect. The frame was inscribed with a line paraphrased from Tennyson's A Dirge (1830): "Now is thy long day's work done"; the muted colours and setting sun give a feeling of finality; the man's posture indicates that his hammer has slipped from his grasp as he was working rather than being laid aside while he rests, and his body is so still that a stoat, only visible on close examination, has climbed onto his right foot. The painting's listing in the catalogue was accompanied by a long passage from Thomas Carlyle's "Helotage", a chapter in his Sartor Resartus, which extols the virtues of the working man and laments that "thy body like thy soul was not to know freedom".
Wallis is believed to have painted The Stonebreaker as a commentary on the Poor Law Amendment Act of 1834 which had formalised the workhouse system for paupers and discouraged other forms of relief for the poor. The able-bodied poor were forced into long hours of manual labour in order to qualify for the lodgings and food provided by the workhouse and the gruelling work sometimes resulted in the death of the workers. Carlyle's accompanying passage also has strong words for supporters of the workhouses: | creator | 76 | [
"author",
"originator",
"designer",
"founder",
"producer"
] | null | null |
[
"The Stonebreaker",
"instance of",
"painting"
] | Perhaps in the most thickly-peopled country, some three days annually might suffice to shoot all the able-bodied Paupers that had accumulated during the year.
It was later claimed that by this painting, Wallis moved away from the Pre-Raphaelite principles towards those of an early Victorian Social Realism. However, for Wallis' contemporaries, The Stonebreaker consolidated his reputation as a true Pre-Raphaelite.The dead man wears the smock of an agricultural labourer which suggests that in former times he would have been employed year-round on a farm. Changing social conditions have robbed him of his employment and forced him instead to accept the charity of the workhouse and the arduous job of flint-knapping to produce material for the roads. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Paradise Lost",
"country of origin",
"England"
] | Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton (1608–1674). The first version, published in 1667, consists of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered to be Milton's masterpiece, and it helped solidify his reputation as one of the greatest English poets of all time. The poem concerns the biblical story of the fall of man; the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"Paradise Lost",
"instance of",
"literary work"
] | Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton (1608–1674). The first version, published in 1667, consists of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered to be Milton's masterpiece, and it helped solidify his reputation as one of the greatest English poets of all time. The poem concerns the biblical story of the fall of man; the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Systema Naturae",
"author",
"Carl Linnaeus"
] | Linnaeus's work had a huge impact on science; it was indispensable as a foundation for biological nomenclature, now regulated by the Nomenclature Codes. Two of his works, the first edition of the Species Plantarum (1753) for plants and the 10th edition of the Systema Naturæ (1758), are accepted to be among the starting points of nomenclature. Most of his names for species and genera were published at very early dates, and thus take priority over those of other, later authors. In zoology there is one exception, which is a monograph on Swedish spiders, Svenska Spindlar, published by Carl Clerck in 1757, so the names established there take priority over the Linnean names. His exceptional importance to science was less in the value of his taxonomy, more his deployment of skilful young students abroad to collect specimens. At the close of the 18th century, his system had effectively become the standard for biological classification. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Systema Naturae",
"country of origin",
"Sweden"
] | Systema Naturae (originally in Latin written Systema Naturæ with the ligature æ) is one of the major works of the Swedish botanist, zoologist and physician Carl Linnaeus (1707–1778) and introduced the Linnaean taxonomy. Although the system, now known as binomial nomenclature, was partially developed by the Bauhin brothers, Gaspard and Johann, Linnaeus was first to use it consistently throughout his book. The first edition was published in 1735. The full title of the 10th edition (1758), which was the most important one, was Systema naturæ per regna tria naturæ, secundum classes, ordines, genera, species, cum characteribus, differentiis, synonymis, locis or translated: "System of nature through the three kingdoms of nature, according to classes, orders, genera and species, with characters, differences, synonyms, places".
The tenth edition of this book (1758) is considered the starting point of zoological nomenclature. In 1766–1768 Linnaeus published the much enhanced 12th edition, the last under his authorship. Another again enhanced work in the same style and titled "Systema Naturae" was published by Johann Friedrich Gmelin between 1788 and 1793. Since at least the early 20th century, zoologists have commonly recognized this as the last edition belonging to this series. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"Systema Naturae",
"language of work or name",
"Latin"
] | Systema Naturae (originally in Latin written Systema Naturæ with the ligature æ) is one of the major works of the Swedish botanist, zoologist and physician Carl Linnaeus (1707–1778) and introduced the Linnaean taxonomy. Although the system, now known as binomial nomenclature, was partially developed by the Bauhin brothers, Gaspard and Johann, Linnaeus was first to use it consistently throughout his book. The first edition was published in 1735. The full title of the 10th edition (1758), which was the most important one, was Systema naturæ per regna tria naturæ, secundum classes, ordines, genera, species, cum characteribus, differentiis, synonymis, locis or translated: "System of nature through the three kingdoms of nature, according to classes, orders, genera and species, with characters, differences, synonyms, places".
The tenth edition of this book (1758) is considered the starting point of zoological nomenclature. In 1766–1768 Linnaeus published the much enhanced 12th edition, the last under his authorship. Another again enhanced work in the same style and titled "Systema Naturae" was published by Johann Friedrich Gmelin between 1788 and 1793. Since at least the early 20th century, zoologists have commonly recognized this as the last edition belonging to this series. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"Systema Naturae",
"instance of",
"written work"
] | Systema Naturae (originally in Latin written Systema Naturæ with the ligature æ) is one of the major works of the Swedish botanist, zoologist and physician Carl Linnaeus (1707–1778) and introduced the Linnaean taxonomy. Although the system, now known as binomial nomenclature, was partially developed by the Bauhin brothers, Gaspard and Johann, Linnaeus was first to use it consistently throughout his book. The first edition was published in 1735. The full title of the 10th edition (1758), which was the most important one, was Systema naturæ per regna tria naturæ, secundum classes, ordines, genera, species, cum characteribus, differentiis, synonymis, locis or translated: "System of nature through the three kingdoms of nature, according to classes, orders, genera and species, with characters, differences, synonyms, places".
The tenth edition of this book (1758) is considered the starting point of zoological nomenclature. In 1766–1768 Linnaeus published the much enhanced 12th edition, the last under his authorship. Another again enhanced work in the same style and titled "Systema Naturae" was published by Johann Friedrich Gmelin between 1788 and 1793. Since at least the early 20th century, zoologists have commonly recognized this as the last edition belonging to this series.Linnaeus's work had a huge impact on science; it was indispensable as a foundation for biological nomenclature, now regulated by the Nomenclature Codes. Two of his works, the first edition of the Species Plantarum (1753) for plants and the 10th edition of the Systema Naturæ (1758), are accepted to be among the starting points of nomenclature. Most of his names for species and genera were published at very early dates, and thus take priority over those of other, later authors. In zoology there is one exception, which is a monograph on Swedish spiders, Svenska Spindlar, published by Carl Clerck in 1757, so the names established there take priority over the Linnean names. His exceptional importance to science was less in the value of his taxonomy, more his deployment of skilful young students abroad to collect specimens. At the close of the 18th century, his system had effectively become the standard for biological classification. | instance of | 5 | [
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] | null | null |
[
"Systema Naturae",
"main subject",
"taxonomy"
] | Systema Naturae (originally in Latin written Systema Naturæ with the ligature æ) is one of the major works of the Swedish botanist, zoologist and physician Carl Linnaeus (1707–1778) and introduced the Linnaean taxonomy. Although the system, now known as binomial nomenclature, was partially developed by the Bauhin brothers, Gaspard and Johann, Linnaeus was first to use it consistently throughout his book. The first edition was published in 1735. The full title of the 10th edition (1758), which was the most important one, was Systema naturæ per regna tria naturæ, secundum classes, ordines, genera, species, cum characteribus, differentiis, synonymis, locis or translated: "System of nature through the three kingdoms of nature, according to classes, orders, genera and species, with characters, differences, synonyms, places".
The tenth edition of this book (1758) is considered the starting point of zoological nomenclature. In 1766–1768 Linnaeus published the much enhanced 12th edition, the last under his authorship. Another again enhanced work in the same style and titled "Systema Naturae" was published by Johann Friedrich Gmelin between 1788 and 1793. Since at least the early 20th century, zoologists have commonly recognized this as the last edition belonging to this series.Overview
Linnaeus (later known as "Carl von Linné", after his ennoblement in 1761) published the first edition of Systema Naturae in the year 1735, during his stay in the Netherlands. As was customary for the scientific literature of its day, the book was published in Latin. In it, he outlined his ideas for the hierarchical classification of the natural world, dividing it into the animal kingdom (regnum animale), the plant kingdom (regnum vegetabile), and the "mineral kingdom" (regnum lapideum).
Linnaeus's Systema Naturae lists only about 10,000 species of organisms, of which about 6,000 are plants and 4,236 are animals. According to the historian of botany William T. Stearn, "Even in 1753 he believed that the number of species of plants in the whole world would hardly reach 10,000; in his whole career he named about 7,700 species of flowering plants."Linnaeus developed his classification of the plant kingdom in an attempt to describe and understand the natural world as a reflection of the logic of God's creation. His sexual system, where species with the same number of stamens were treated in the same group, was convenient but in his view artificial. Linnaeus believed in God's creation, and that there were no deeper relationships to be expressed. He is frequently quoted to have said: "God created, Linnaeus organized" (Latin: Deus creavit, Linnaeus disposuit). The classification of animals was more natural. For instance, humans were for the first time placed together with other primates, as Anthropomorpha.
As a result of the popularity of the work, and the number of new specimens sent to him from around the world, Linnaeus kept publishing new and ever-expanding editions of his work. It grew from eleven very large pages in the first edition (1735) to 2,400 pages in the 12th edition (1766–1768). Also, as the work progressed, he made changes: in the first edition, whales were classified as fishes, following the work of Linnaeus' friend and "father of ichthyology" Peter Artedi; in the 10th edition, published in 1758, whales were moved into the mammal class. In this same edition, he introduced two-part names (see binomen) for animal species, something that he had done for plant species (see binary name) in the 1753 publication of Species Plantarum. The system eventually developed into modern Linnaean taxonomy, a hierarchically organized biological classification.
After Linnaeus' health declined in the early 1770s, publication of editions of Systema Naturae went in two directions. Another Swedish scientist, Johan Andreas Murray issued the Regnum Vegetabile section separately in 1774 as the Systema Vegetabilium, rather confusingly labelled the 13th edition. Meanwhile, a 13th edition of the entire Systema appeared in parts between 1788 and 1793. It was as the Systema Vegetabilium that Linnaeus' work became widely known in England following translation from the Latin by the Lichfield Botanical Society, as A System of Vegetables (1783–1785). | main subject | 130 | [
"focus",
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] | null | null |
[
"Fathers and Sons (novel)",
"country of origin",
"Russia"
] | Fathers and Sons (Russian: «Отцы и дети»; Otcy i deti, IPA: [ɐˈtsɨ i ˈdʲetʲi]; pre-1918 spelling Отцы и дѣти), literally Fathers and Children, is an 1862 novel by Ivan Turgenev, published in Moscow by Grachev & Co. It is one of the most acclaimed Russian novels of the 19th century.Plot
Arkady Kirsanov has just graduated from the University of Petersburg. He returns with a friend, Bazarov, to his father's modest estate in an outlying province of Russia. His father, Nikolay, gladly receives the two young men at his estate, called Marino, but Nikolay's brother, Pavel, soon becomes upset by the strange new philosophy called "nihilism" which the young men, especially Bazarov, advocate.
Nikolay, initially delighted to have his son return home, slowly begins to feel uneasy. A certain awkwardness develops in his regard toward his son, as Arkady's radical views, much influenced by Bazarov, make Nikolay’s own beliefs feel dated. Nikolay has always tried to stay as current as possible, by doing things such as visiting his son at school so the two can stay as close as they can, but this in Nikolay's eyes has failed. To complicate this, the father has taken a servant, Fenechka, into his house to live with him and has already had a son by her, named Mitya. Arkady, however, is not troubled by the relationship; on the contrary, he is delighted by the addition of a younger brother.
The two young men stay over at Marino for some weeks, then decide to visit a relative of Arkady's in a neighboring province. There, they observe the local gentry and meet Madame Anna Sergevna Odintsova, an elegant woman of independent means, who cuts a seductively different figure from the pretentious and conventional types of the local provincial society. Both are attracted to her, and she, intrigued by Bazarov's singular manner, invites them to spend a few days at her estate, Nikolskoye. While Bazarov at first feels nothing for Anna, Arkady falls head over heels in love with her.
At Nikolskoye, they also meet Katya, Anna Sergevna's sister. Although they stay for just a short time, Arkady begins to find himself and become more independent of Bazarov's influence. Bazarov, in particular, finds falling in love distressing because it runs counter to his nihilist beliefs. Eventually, prompted by Odintsova's own cautious expressions of attraction to him, he announces that he loves her. She does not respond overtly to his declaration, though she is drawn to Bazarov; she finds his devaluation of feelings and of the aesthetic side of existence unattractive. Anna cannot open herself to him because she does not see the possibility of a good future with him. After his avowal of love, and her failure to make a similar declaration, Bazarov proceeds to his parents' home, and Arkady decides to accompany him.
At Bazarov's home, they are received enthusiastically by his parents, and the traditional mores of both father and mother, who adulate their son, are portrayed with a nostalgic, idealistic description of humble people and their fast disappearing world of simple values and virtues. Bazarov's social cynicism, invariably on display with outsiders, is still on display as he settles back into his own family's ambience. He interrupts his father as the latter speaks to Arkady, still claiming the center of attention. Arkady, who has delighted Bazarov's father by assuring him that his son has a brilliant future in store, reproves his friend for his brusqueness. Later, Bazarov almost comes to blows with Arkady after the latter makes a joke about fighting over Bazarov's cynicism. Arkady becomes more openly skeptical of Bazarov's ideals. After a brief stay, much to the parents' disappointment, they decide to return to Marino, stopping on the way to see Madame Odintsova, who receives them coolly. They leave almost immediately and return to Arkady's home.
Arkady remains for only a few days and makes an excuse to leave in order to go to Nikolskoye again. Once there, he realizes he is not in love with Odintsova, but instead with her sister Katya. Bazarov stays at Marino to do some scientific research, and tension between him and Pavel increases. Bazarov enjoys talking with Fenechka and playing with her child, and one day he kisses her, against her will. Pavel observes this kiss and, secretly in love with Fenechka himself and in protection of both Fenechka and Nikolay's feelings for her, challenges Bazarov to a duel. Pavel is wounded in the leg, and Bazarov must leave Marino. He stops for an hour or so at Madame Odintsova's, then continues on to his parents' home. Meanwhile, Arkady and Katya have fallen in love and have become engaged. Anna Sergevna Odinstova is hesitant to accept Arkady's request to marry her sister, but Bazarov convinces her to allow the marriage.
While back at home, Bazarov ceases to pursue his experiments, turning to help his father's work as a country doctor. He cannot keep his mind on his work, though, and while performing an autopsy fails to take proper precautions. He cuts himself and contracts blood poisoning. On his deathbed, he sends for Madame Odintsova, who arrives just in time to hear Bazarov tell her how beautiful she is. She kisses him on the forehead and leaves; Bazarov dies from his illness the following day.
Arkady marries Katya and assumes the management of his father's estate. His father marries Fenechka and is delighted to have Arkady home with him. Pavel leaves the country and lives the rest of his life as a "noble" in Dresden, Germany. | country of origin | 80 | [
"place of origin",
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"motherland",
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] | null | null |
[
"Fathers and Sons (novel)",
"author",
"Ivan Turgenev"
] | Fathers and Sons (Russian: «Отцы и дети»; Otcy i deti, IPA: [ɐˈtsɨ i ˈdʲetʲi]; pre-1918 spelling Отцы и дѣти), literally Fathers and Children, is an 1862 novel by Ivan Turgenev, published in Moscow by Grachev & Co. It is one of the most acclaimed Russian novels of the 19th century. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Fathers and Sons (novel)",
"movement",
"literary realism"
] | Fathers and Sons (Russian: «Отцы и дети»; Otcy i deti, IPA: [ɐˈtsɨ i ˈdʲetʲi]; pre-1918 spelling Отцы и дѣти), literally Fathers and Children, is an 1862 novel by Ivan Turgenev, published in Moscow by Grachev & Co. It is one of the most acclaimed Russian novels of the 19th century. | movement | 87 | [
"motion",
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"progression",
"advancement",
"mobility"
] | null | null |
[
"Fathers and Sons (novel)",
"genre",
"philosophical fiction"
] | Fathers and Sons (Russian: «Отцы и дети»; Otcy i deti, IPA: [ɐˈtsɨ i ˈdʲetʲi]; pre-1918 spelling Отцы и дѣти), literally Fathers and Children, is an 1862 novel by Ivan Turgenev, published in Moscow by Grachev & Co. It is one of the most acclaimed Russian novels of the 19th century. | genre | 85 | [
"category",
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] | null | null |
[
"Fathers and Sons (novel)",
"instance of",
"literary work"
] | Fathers and Sons (Russian: «Отцы и дети»; Otcy i deti, IPA: [ɐˈtsɨ i ˈdʲetʲi]; pre-1918 spelling Отцы и дѣти), literally Fathers and Children, is an 1862 novel by Ivan Turgenev, published in Moscow by Grachev & Co. It is one of the most acclaimed Russian novels of the 19th century. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Fathers and Sons (novel)",
"form of creative work",
"novel"
] | Fathers and Sons (Russian: «Отцы и дети»; Otcy i deti, IPA: [ɐˈtsɨ i ˈdʲetʲi]; pre-1918 spelling Отцы и дѣти), literally Fathers and Children, is an 1862 novel by Ivan Turgenev, published in Moscow by Grachev & Co. It is one of the most acclaimed Russian novels of the 19th century.Plot
Arkady Kirsanov has just graduated from the University of Petersburg. He returns with a friend, Bazarov, to his father's modest estate in an outlying province of Russia. His father, Nikolay, gladly receives the two young men at his estate, called Marino, but Nikolay's brother, Pavel, soon becomes upset by the strange new philosophy called "nihilism" which the young men, especially Bazarov, advocate.
Nikolay, initially delighted to have his son return home, slowly begins to feel uneasy. A certain awkwardness develops in his regard toward his son, as Arkady's radical views, much influenced by Bazarov, make Nikolay’s own beliefs feel dated. Nikolay has always tried to stay as current as possible, by doing things such as visiting his son at school so the two can stay as close as they can, but this in Nikolay's eyes has failed. To complicate this, the father has taken a servant, Fenechka, into his house to live with him and has already had a son by her, named Mitya. Arkady, however, is not troubled by the relationship; on the contrary, he is delighted by the addition of a younger brother.
The two young men stay over at Marino for some weeks, then decide to visit a relative of Arkady's in a neighboring province. There, they observe the local gentry and meet Madame Anna Sergevna Odintsova, an elegant woman of independent means, who cuts a seductively different figure from the pretentious and conventional types of the local provincial society. Both are attracted to her, and she, intrigued by Bazarov's singular manner, invites them to spend a few days at her estate, Nikolskoye. While Bazarov at first feels nothing for Anna, Arkady falls head over heels in love with her.
At Nikolskoye, they also meet Katya, Anna Sergevna's sister. Although they stay for just a short time, Arkady begins to find himself and become more independent of Bazarov's influence. Bazarov, in particular, finds falling in love distressing because it runs counter to his nihilist beliefs. Eventually, prompted by Odintsova's own cautious expressions of attraction to him, he announces that he loves her. She does not respond overtly to his declaration, though she is drawn to Bazarov; she finds his devaluation of feelings and of the aesthetic side of existence unattractive. Anna cannot open herself to him because she does not see the possibility of a good future with him. After his avowal of love, and her failure to make a similar declaration, Bazarov proceeds to his parents' home, and Arkady decides to accompany him.
At Bazarov's home, they are received enthusiastically by his parents, and the traditional mores of both father and mother, who adulate their son, are portrayed with a nostalgic, idealistic description of humble people and their fast disappearing world of simple values and virtues. Bazarov's social cynicism, invariably on display with outsiders, is still on display as he settles back into his own family's ambience. He interrupts his father as the latter speaks to Arkady, still claiming the center of attention. Arkady, who has delighted Bazarov's father by assuring him that his son has a brilliant future in store, reproves his friend for his brusqueness. Later, Bazarov almost comes to blows with Arkady after the latter makes a joke about fighting over Bazarov's cynicism. Arkady becomes more openly skeptical of Bazarov's ideals. After a brief stay, much to the parents' disappointment, they decide to return to Marino, stopping on the way to see Madame Odintsova, who receives them coolly. They leave almost immediately and return to Arkady's home.
Arkady remains for only a few days and makes an excuse to leave in order to go to Nikolskoye again. Once there, he realizes he is not in love with Odintsova, but instead with her sister Katya. Bazarov stays at Marino to do some scientific research, and tension between him and Pavel increases. Bazarov enjoys talking with Fenechka and playing with her child, and one day he kisses her, against her will. Pavel observes this kiss and, secretly in love with Fenechka himself and in protection of both Fenechka and Nikolay's feelings for her, challenges Bazarov to a duel. Pavel is wounded in the leg, and Bazarov must leave Marino. He stops for an hour or so at Madame Odintsova's, then continues on to his parents' home. Meanwhile, Arkady and Katya have fallen in love and have become engaged. Anna Sergevna Odinstova is hesitant to accept Arkady's request to marry her sister, but Bazarov convinces her to allow the marriage.
While back at home, Bazarov ceases to pursue his experiments, turning to help his father's work as a country doctor. He cannot keep his mind on his work, though, and while performing an autopsy fails to take proper precautions. He cuts himself and contracts blood poisoning. On his deathbed, he sends for Madame Odintsova, who arrives just in time to hear Bazarov tell her how beautiful she is. She kisses him on the forehead and leaves; Bazarov dies from his illness the following day.
Arkady marries Katya and assumes the management of his father's estate. His father marries Fenechka and is delighted to have Arkady home with him. Pavel leaves the country and lives the rest of his life as a "noble" in Dresden, Germany. | form of creative work | 126 | [
"artistic creation",
"creative composition",
"artistic production",
"work of art",
"creative piece"
] | null | null |
[
"Fathers and Sons (novel)",
"characters",
"Yevgeni Bazarov"
] | Arkády Nikoláyevich Kirsánov – Son of Nikoláy Petróvich; having recently graduated from St. Petersburg University, he brings his friend of Bazarov home to Maryino. He has become a nihilist more from Bazarov's influence than from conviction. He becomes enamored of Anna Sergeyevna Odinisov, but cannot compete for her affections with his fascinating friend Bazarov. Later he falls in love with Anna Sergeyevna's quiet, modest young sister Katya and marries her.
Yevgény Vasílevich Bazárov – A medical student and nihilist, in which role he serves as a mentor to Arkady, and as a challenger to the liberal ideas of the Kirsanov brothers and the traditional Russian Orthodox feelings of his own parents. "A long thin face with a broad forehead...large greenish eyes and drooping, sandy whiskers — the whole animated by a tranquil smile betokening self-assurance and intelligence." He eventually dies of pyaemia carelessly contracted during a medical examination, accepting his fate with calm resignation.Chapter 4 | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Fathers and Sons (novel)",
"characters",
"Arkady Nikolayevitch Kirsanov"
] | Fathers and Sons (Russian: «Отцы и дети»; Otcy i deti, IPA: [ɐˈtsɨ i ˈdʲetʲi]; pre-1918 spelling Отцы и дѣти), literally Fathers and Children, is an 1862 novel by Ivan Turgenev, published in Moscow by Grachev & Co. It is one of the most acclaimed Russian novels of the 19th century.Plot
Arkady Kirsanov has just graduated from the University of Petersburg. He returns with a friend, Bazarov, to his father's modest estate in an outlying province of Russia. His father, Nikolay, gladly receives the two young men at his estate, called Marino, but Nikolay's brother, Pavel, soon becomes upset by the strange new philosophy called "nihilism" which the young men, especially Bazarov, advocate.
Nikolay, initially delighted to have his son return home, slowly begins to feel uneasy. A certain awkwardness develops in his regard toward his son, as Arkady's radical views, much influenced by Bazarov, make Nikolay’s own beliefs feel dated. Nikolay has always tried to stay as current as possible, by doing things such as visiting his son at school so the two can stay as close as they can, but this in Nikolay's eyes has failed. To complicate this, the father has taken a servant, Fenechka, into his house to live with him and has already had a son by her, named Mitya. Arkady, however, is not troubled by the relationship; on the contrary, he is delighted by the addition of a younger brother.
The two young men stay over at Marino for some weeks, then decide to visit a relative of Arkady's in a neighboring province. There, they observe the local gentry and meet Madame Anna Sergevna Odintsova, an elegant woman of independent means, who cuts a seductively different figure from the pretentious and conventional types of the local provincial society. Both are attracted to her, and she, intrigued by Bazarov's singular manner, invites them to spend a few days at her estate, Nikolskoye. While Bazarov at first feels nothing for Anna, Arkady falls head over heels in love with her.
At Nikolskoye, they also meet Katya, Anna Sergevna's sister. Although they stay for just a short time, Arkady begins to find himself and become more independent of Bazarov's influence. Bazarov, in particular, finds falling in love distressing because it runs counter to his nihilist beliefs. Eventually, prompted by Odintsova's own cautious expressions of attraction to him, he announces that he loves her. She does not respond overtly to his declaration, though she is drawn to Bazarov; she finds his devaluation of feelings and of the aesthetic side of existence unattractive. Anna cannot open herself to him because she does not see the possibility of a good future with him. After his avowal of love, and her failure to make a similar declaration, Bazarov proceeds to his parents' home, and Arkady decides to accompany him.
At Bazarov's home, they are received enthusiastically by his parents, and the traditional mores of both father and mother, who adulate their son, are portrayed with a nostalgic, idealistic description of humble people and their fast disappearing world of simple values and virtues. Bazarov's social cynicism, invariably on display with outsiders, is still on display as he settles back into his own family's ambience. He interrupts his father as the latter speaks to Arkady, still claiming the center of attention. Arkady, who has delighted Bazarov's father by assuring him that his son has a brilliant future in store, reproves his friend for his brusqueness. Later, Bazarov almost comes to blows with Arkady after the latter makes a joke about fighting over Bazarov's cynicism. Arkady becomes more openly skeptical of Bazarov's ideals. After a brief stay, much to the parents' disappointment, they decide to return to Marino, stopping on the way to see Madame Odintsova, who receives them coolly. They leave almost immediately and return to Arkady's home.
Arkady remains for only a few days and makes an excuse to leave in order to go to Nikolskoye again. Once there, he realizes he is not in love with Odintsova, but instead with her sister Katya. Bazarov stays at Marino to do some scientific research, and tension between him and Pavel increases. Bazarov enjoys talking with Fenechka and playing with her child, and one day he kisses her, against her will. Pavel observes this kiss and, secretly in love with Fenechka himself and in protection of both Fenechka and Nikolay's feelings for her, challenges Bazarov to a duel. Pavel is wounded in the leg, and Bazarov must leave Marino. He stops for an hour or so at Madame Odintsova's, then continues on to his parents' home. Meanwhile, Arkady and Katya have fallen in love and have become engaged. Anna Sergevna Odinstova is hesitant to accept Arkady's request to marry her sister, but Bazarov convinces her to allow the marriage.
While back at home, Bazarov ceases to pursue his experiments, turning to help his father's work as a country doctor. He cannot keep his mind on his work, though, and while performing an autopsy fails to take proper precautions. He cuts himself and contracts blood poisoning. On his deathbed, he sends for Madame Odintsova, who arrives just in time to hear Bazarov tell her how beautiful she is. She kisses him on the forehead and leaves; Bazarov dies from his illness the following day.
Arkady marries Katya and assumes the management of his father's estate. His father marries Fenechka and is delighted to have Arkady home with him. Pavel leaves the country and lives the rest of his life as a "noble" in Dresden, Germany.Arkády Nikoláyevich Kirsánov – Son of Nikoláy Petróvich; having recently graduated from St. Petersburg University, he brings his friend of Bazarov home to Maryino. He has become a nihilist more from Bazarov's influence than from conviction. He becomes enamored of Anna Sergeyevna Odinisov, but cannot compete for her affections with his fascinating friend Bazarov. Later he falls in love with Anna Sergeyevna's quiet, modest young sister Katya and marries her.
Yevgény Vasílevich Bazárov – A medical student and nihilist, in which role he serves as a mentor to Arkady, and as a challenger to the liberal ideas of the Kirsanov brothers and the traditional Russian Orthodox feelings of his own parents. "A long thin face with a broad forehead...large greenish eyes and drooping, sandy whiskers — the whole animated by a tranquil smile betokening self-assurance and intelligence." He eventually dies of pyaemia carelessly contracted during a medical examination, accepting his fate with calm resignation.Chapter 4 | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Goethe's Faust",
"characters",
"Heinrich Faust"
] | Heinrich Faust, a scholar, sometimes said to be based on Johann Georg Faust, or on Jacob Bidermann's dramatized account of the Legend of the Doctor of Paris, Cenodoxus; see also Faust
Mephistopheles, the Devil
Gretchen, Faust's love (short for Margarete; Goethe uses both forms)
Marthe Schwerdtlein, Gretchen's neighbour
Valentin, Gretchen's brother
Wagner, Faust's attendantFaust, Part One takes place in multiple settings, the first of which is Heaven. Mephistopheles (Satan) makes a bet with God: he says that he can lure God's favorite human (Faust), who is striving to learn everything that can be known, away from righteous pursuits. The next scene takes place in Faust's study where the aging scholar, struggling with what he considers the vanity and uselessness of scientific, humanistic, and religious learning, turns to magic for the showering of infinite knowledge. He suspects, however, that his attempts are failing. Frustrated, he ponders suicide, but rejects it as he hears the echo of nearby Easter celebrations begin. He goes for a walk with his assistant Wagner and is followed home by a stray poodle.
In Faust's study, the poodle transforms into Mephistopheles. He reveals to Faust that although the misshapen pentagram carved into Faust's doorway has allowed him to enter, he cannot leave. Faust is surprised that Mephistopheles is bound by mystical laws, and from this reasons that he could make a pact. Mephistopheles says that he is willing to make a deal but wishes to leave for the night. Faust refuses to release him because he believes it would be impossible for him to catch Mephistopheles again. Mephistopheles then tricks him into permitting a demonstration of his power; Faust falls asleep listening to the song of the spirits, allowing Mephistopheles to escape by calling upon rats to chew away the pentagram.
The next morning Mephistopheles returns. He tells Faust that he wishes to serve him in life, and in return Faust must serve him in the afterlife. Faust is willing to accept but is concerned that accepting the services of Mephistopheles will bring him to ruin. To avoid this fate, Faust makes a wager: If Mephistopheles can grant Faust an experience of transcendence on Earth - a moment so blissful that he wishes to remain in it forever - then he will instantly die and serve the Devil in Hell. Mephistopheles accepts the wager.
When Mephistopheles tells Faust to sign the pact with blood, Faust complains that Mephistopheles does not trust Faust's word of honor. In the end, Mephistopheles wins the argument and Faust signs the contract with a drop of his own blood. Faust has a few excursions and then meets Margaret (also known as Gretchen). He is attracted to her and with jewelry and with help from a neighbor, Marthe, Mephistopheles draws Gretchen into Faust's arms. With Mephistopheles' aid, Faust seduces Gretchen. Gretchen's mother dies from a sleeping potion, administered by Gretchen to obtain privacy so that Faust could visit her. Gretchen discovers she is pregnant. Gretchen's brother condemns Faust, challenges him and falls dead at the hands of Faust and Mephistopheles. Gretchen drowns her illegitimate child and is convicted of the murder. Faust tries to save Gretchen from death by attempting to free her from prison. Finding that she refuses to escape, Faust and Mephistopheles flee the dungeon, while voices from Heaven announce that Gretchen shall be saved – "Sie ist gerettet" – this differs from the harsher ending of Urfaust – "Sie ist gerichtet!" – "she is condemned." | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Goethe's Faust",
"characters",
"Mephistopheles"
] | Heinrich Faust, a scholar, sometimes said to be based on Johann Georg Faust, or on Jacob Bidermann's dramatized account of the Legend of the Doctor of Paris, Cenodoxus; see also Faust
Mephistopheles, the Devil
Gretchen, Faust's love (short for Margarete; Goethe uses both forms)
Marthe Schwerdtlein, Gretchen's neighbour
Valentin, Gretchen's brother
Wagner, Faust's attendantFaust, Part One takes place in multiple settings, the first of which is Heaven. Mephistopheles (Satan) makes a bet with God: he says that he can lure God's favorite human (Faust), who is striving to learn everything that can be known, away from righteous pursuits. The next scene takes place in Faust's study where the aging scholar, struggling with what he considers the vanity and uselessness of scientific, humanistic, and religious learning, turns to magic for the showering of infinite knowledge. He suspects, however, that his attempts are failing. Frustrated, he ponders suicide, but rejects it as he hears the echo of nearby Easter celebrations begin. He goes for a walk with his assistant Wagner and is followed home by a stray poodle.
In Faust's study, the poodle transforms into Mephistopheles. He reveals to Faust that although the misshapen pentagram carved into Faust's doorway has allowed him to enter, he cannot leave. Faust is surprised that Mephistopheles is bound by mystical laws, and from this reasons that he could make a pact. Mephistopheles says that he is willing to make a deal but wishes to leave for the night. Faust refuses to release him because he believes it would be impossible for him to catch Mephistopheles again. Mephistopheles then tricks him into permitting a demonstration of his power; Faust falls asleep listening to the song of the spirits, allowing Mephistopheles to escape by calling upon rats to chew away the pentagram.
The next morning Mephistopheles returns. He tells Faust that he wishes to serve him in life, and in return Faust must serve him in the afterlife. Faust is willing to accept but is concerned that accepting the services of Mephistopheles will bring him to ruin. To avoid this fate, Faust makes a wager: If Mephistopheles can grant Faust an experience of transcendence on Earth - a moment so blissful that he wishes to remain in it forever - then he will instantly die and serve the Devil in Hell. Mephistopheles accepts the wager.
When Mephistopheles tells Faust to sign the pact with blood, Faust complains that Mephistopheles does not trust Faust's word of honor. In the end, Mephistopheles wins the argument and Faust signs the contract with a drop of his own blood. Faust has a few excursions and then meets Margaret (also known as Gretchen). He is attracted to her and with jewelry and with help from a neighbor, Marthe, Mephistopheles draws Gretchen into Faust's arms. With Mephistopheles' aid, Faust seduces Gretchen. Gretchen's mother dies from a sleeping potion, administered by Gretchen to obtain privacy so that Faust could visit her. Gretchen discovers she is pregnant. Gretchen's brother condemns Faust, challenges him and falls dead at the hands of Faust and Mephistopheles. Gretchen drowns her illegitimate child and is convicted of the murder. Faust tries to save Gretchen from death by attempting to free her from prison. Finding that she refuses to escape, Faust and Mephistopheles flee the dungeon, while voices from Heaven announce that Gretchen shall be saved – "Sie ist gerettet" – this differs from the harsher ending of Urfaust – "Sie ist gerichtet!" – "she is condemned." | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Goethe's Faust",
"characters",
"Margarete"
] | Heinrich Faust, a scholar, sometimes said to be based on Johann Georg Faust, or on Jacob Bidermann's dramatized account of the Legend of the Doctor of Paris, Cenodoxus; see also Faust
Mephistopheles, the Devil
Gretchen, Faust's love (short for Margarete; Goethe uses both forms)
Marthe Schwerdtlein, Gretchen's neighbour
Valentin, Gretchen's brother
Wagner, Faust's attendantFaust, Part One takes place in multiple settings, the first of which is Heaven. Mephistopheles (Satan) makes a bet with God: he says that he can lure God's favorite human (Faust), who is striving to learn everything that can be known, away from righteous pursuits. The next scene takes place in Faust's study where the aging scholar, struggling with what he considers the vanity and uselessness of scientific, humanistic, and religious learning, turns to magic for the showering of infinite knowledge. He suspects, however, that his attempts are failing. Frustrated, he ponders suicide, but rejects it as he hears the echo of nearby Easter celebrations begin. He goes for a walk with his assistant Wagner and is followed home by a stray poodle.
In Faust's study, the poodle transforms into Mephistopheles. He reveals to Faust that although the misshapen pentagram carved into Faust's doorway has allowed him to enter, he cannot leave. Faust is surprised that Mephistopheles is bound by mystical laws, and from this reasons that he could make a pact. Mephistopheles says that he is willing to make a deal but wishes to leave for the night. Faust refuses to release him because he believes it would be impossible for him to catch Mephistopheles again. Mephistopheles then tricks him into permitting a demonstration of his power; Faust falls asleep listening to the song of the spirits, allowing Mephistopheles to escape by calling upon rats to chew away the pentagram.
The next morning Mephistopheles returns. He tells Faust that he wishes to serve him in life, and in return Faust must serve him in the afterlife. Faust is willing to accept but is concerned that accepting the services of Mephistopheles will bring him to ruin. To avoid this fate, Faust makes a wager: If Mephistopheles can grant Faust an experience of transcendence on Earth - a moment so blissful that he wishes to remain in it forever - then he will instantly die and serve the Devil in Hell. Mephistopheles accepts the wager.
When Mephistopheles tells Faust to sign the pact with blood, Faust complains that Mephistopheles does not trust Faust's word of honor. In the end, Mephistopheles wins the argument and Faust signs the contract with a drop of his own blood. Faust has a few excursions and then meets Margaret (also known as Gretchen). He is attracted to her and with jewelry and with help from a neighbor, Marthe, Mephistopheles draws Gretchen into Faust's arms. With Mephistopheles' aid, Faust seduces Gretchen. Gretchen's mother dies from a sleeping potion, administered by Gretchen to obtain privacy so that Faust could visit her. Gretchen discovers she is pregnant. Gretchen's brother condemns Faust, challenges him and falls dead at the hands of Faust and Mephistopheles. Gretchen drowns her illegitimate child and is convicted of the murder. Faust tries to save Gretchen from death by attempting to free her from prison. Finding that she refuses to escape, Faust and Mephistopheles flee the dungeon, while voices from Heaven announce that Gretchen shall be saved – "Sie ist gerettet" – this differs from the harsher ending of Urfaust – "Sie ist gerichtet!" – "she is condemned." | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Liberty Leading the People",
"location of creation",
"Paris"
] | Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.
In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France. The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning. | location of creation | 131 | [
"place of origin",
"birthplace",
"manufacturing location",
"production site",
"source location"
] | null | null |
[
"Liberty Leading the People",
"movement",
"Romanticism"
] | History
By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.
Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831. | movement | 87 | [
"motion",
"activity",
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"advancement",
"mobility"
] | null | null |
[
"Liberty Leading the People",
"exhibition history",
"Tokyo"
] | Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.
In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France. The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning. | exhibition history | 132 | [
"exhibition record",
"exhibition chronology",
"exhibition itinerary",
"exhibition schedule",
"showcase history"
] | null | null |
[
"Liberty Leading the People",
"owned by",
"Eugène Delacroix"
] | Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled King Charles X. A woman of the people with a Phrygian cap personifying the concept of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.
Liberty Leading the People is exhibited in the Louvre in Paris. | owned by | 24 | [
"possessed by",
"belonging to",
"controlled by",
"under ownership of",
"held by"
] | null | null |
[
"Liberty Leading the People",
"creator",
"Eugène Delacroix"
] | Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled King Charles X. A woman of the people with a Phrygian cap personifying the concept of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.
Liberty Leading the People is exhibited in the Louvre in Paris. | creator | 76 | [
"author",
"originator",
"designer",
"founder",
"producer"
] | null | null |
[
"Liberty Leading the People",
"based on",
"July Revolution"
] | Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled King Charles X. A woman of the people with a Phrygian cap personifying the concept of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.
Liberty Leading the People is exhibited in the Louvre in Paris. | based on | 133 | [
"derived from",
"inspired by",
"modeled after",
"constructed from",
"built upon"
] | null | null |
[
"Liberty Leading the People",
"genre",
"history painting"
] | Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled King Charles X. A woman of the people with a Phrygian cap personifying the concept of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.
Liberty Leading the People is exhibited in the Louvre in Paris.History
By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.
Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Liberty Leading the People",
"instance of",
"painting"
] | Purchase and exhibition
The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.
In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France. The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Liberty Leading the People",
"depicts",
"Marianne"
] | Purchase and exhibition
The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.
In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France. The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Liberty Leading the People",
"owned by",
"French State"
] | Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled King Charles X. A woman of the people with a Phrygian cap personifying the concept of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.
Liberty Leading the People is exhibited in the Louvre in Paris.Purchase and exhibition
The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.
In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France. The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning. | owned by | 24 | [
"possessed by",
"belonging to",
"controlled by",
"under ownership of",
"held by"
] | null | null |
[
"Liberty Leading the People",
"exhibition history",
"Delacroix (1798-1863)"
] | History
By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.
Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831. | exhibition history | 132 | [
"exhibition record",
"exhibition chronology",
"exhibition itinerary",
"exhibition schedule",
"showcase history"
] | null | null |
[
"Ten Days That Shook the World",
"main subject",
"Russian Revolution"
] | Background
John Reed was on an assignment for The Masses, a magazine of socialist politics, when he was reporting on the Russian Revolution. Although Reed stated that he had "tried to see events with the eye of a conscientious reporter, interested in setting down the truth" during the time of the event, he stated in the preface that "in the struggle my sympathies were not neutral" (since the book primarily shares the perspective of the Russian working class).Perhaps the most controversial work on our list is the seventh, John Reed’s book, “Ten Days That Shook the World,” reporting on the October revolution in Russia in 1917. Yes, as conservative critics have noted, Reed was a partisan. Yes, historians would do better. But this was probably the most consequential news story of the century, and Reed was there, and Reed could write. The magnitude of the event being reported on and the quality of the writing were other important standards in our considerations.
Not all responses were positive. Joseph Stalin argued in 1924 that Reed was misleading in regards to Leon Trotsky. The book portrays Trotsky (at that time commander of the Red Army) as co-director of the revolution with Lenin, and mentions Stalin only twice, one of those occasions being in a recitation of names. Russian writer Anatoly Rybakov elaborates on the Stalinist USSR’s ban of Ten Days That Shook The World: “The main task was to build a mighty socialist state. For that, mighty power was needed. Stalin was at the head of that power, which means that he stood at its source with Lenin. Together with Lenin he led the October Revolution. John Reed had presented the history of October differently. That wasn’t the John Reed we needed.” After Stalin's death, the book was allowed to recirculate in the USSR.
In contrast to Stalin's objections, Lenin had a different attitude towards the book. At the end of 1919, Lenin had written an Introduction to it (quoted further below).
Stalin remained silent on the topic at the time, and only spoke against it after Lenin's death in 1924. | main subject | 130 | [
"focus",
"central theme",
"central topic",
"main theme",
"primary subject"
] | null | null |
[
"Ten Days That Shook the World",
"main subject",
"October Revolution"
] | Background
John Reed was on an assignment for The Masses, a magazine of socialist politics, when he was reporting on the Russian Revolution. Although Reed stated that he had "tried to see events with the eye of a conscientious reporter, interested in setting down the truth" during the time of the event, he stated in the preface that "in the struggle my sympathies were not neutral" (since the book primarily shares the perspective of the Russian working class).Perhaps the most controversial work on our list is the seventh, John Reed’s book, “Ten Days That Shook the World,” reporting on the October revolution in Russia in 1917. Yes, as conservative critics have noted, Reed was a partisan. Yes, historians would do better. But this was probably the most consequential news story of the century, and Reed was there, and Reed could write. The magnitude of the event being reported on and the quality of the writing were other important standards in our considerations.
Not all responses were positive. Joseph Stalin argued in 1924 that Reed was misleading in regards to Leon Trotsky. The book portrays Trotsky (at that time commander of the Red Army) as co-director of the revolution with Lenin, and mentions Stalin only twice, one of those occasions being in a recitation of names. Russian writer Anatoly Rybakov elaborates on the Stalinist USSR’s ban of Ten Days That Shook The World: “The main task was to build a mighty socialist state. For that, mighty power was needed. Stalin was at the head of that power, which means that he stood at its source with Lenin. Together with Lenin he led the October Revolution. John Reed had presented the history of October differently. That wasn’t the John Reed we needed.” After Stalin's death, the book was allowed to recirculate in the USSR.
In contrast to Stalin's objections, Lenin had a different attitude towards the book. At the end of 1919, Lenin had written an Introduction to it (quoted further below).
Stalin remained silent on the topic at the time, and only spoke against it after Lenin's death in 1924. | main subject | 130 | [
"focus",
"central theme",
"central topic",
"main theme",
"primary subject"
] | null | null |
[
"Ten Days That Shook the World",
"author",
"John Reed"
] | Perhaps the most controversial work on our list is the seventh, John Reed’s book, “Ten Days That Shook the World,” reporting on the October revolution in Russia in 1917. Yes, as conservative critics have noted, Reed was a partisan. Yes, historians would do better. But this was probably the most consequential news story of the century, and Reed was there, and Reed could write. The magnitude of the event being reported on and the quality of the writing were other important standards in our considerations.
Not all responses were positive. Joseph Stalin argued in 1924 that Reed was misleading in regards to Leon Trotsky. The book portrays Trotsky (at that time commander of the Red Army) as co-director of the revolution with Lenin, and mentions Stalin only twice, one of those occasions being in a recitation of names. Russian writer Anatoly Rybakov elaborates on the Stalinist USSR’s ban of Ten Days That Shook The World: “The main task was to build a mighty socialist state. For that, mighty power was needed. Stalin was at the head of that power, which means that he stood at its source with Lenin. Together with Lenin he led the October Revolution. John Reed had presented the history of October differently. That wasn’t the John Reed we needed.” After Stalin's death, the book was allowed to recirculate in the USSR.
In contrast to Stalin's objections, Lenin had a different attitude towards the book. At the end of 1919, Lenin had written an Introduction to it (quoted further below).
Stalin remained silent on the topic at the time, and only spoke against it after Lenin's death in 1924.At the death of John Reed, the author of Ten Days that Shook the World — a first-hand account of the early days of the Russian Revolution — the copyright of the book passed into the hands of the British Communist Party, to whom I believe Reed had bequeathed it. Some years later the British Communists, having destroyed the original edition of the book as completely as they could, issued a garbled version from which they had eliminated mentions of Trotsky and also omitted the introduction written by Lenin. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Ten Days That Shook the World",
"depicts",
"John Reed"
] | Background
John Reed was on an assignment for The Masses, a magazine of socialist politics, when he was reporting on the Russian Revolution. Although Reed stated that he had "tried to see events with the eye of a conscientious reporter, interested in setting down the truth" during the time of the event, he stated in the preface that "in the struggle my sympathies were not neutral" (since the book primarily shares the perspective of the Russian working class).Perhaps the most controversial work on our list is the seventh, John Reed’s book, “Ten Days That Shook the World,” reporting on the October revolution in Russia in 1917. Yes, as conservative critics have noted, Reed was a partisan. Yes, historians would do better. But this was probably the most consequential news story of the century, and Reed was there, and Reed could write. The magnitude of the event being reported on and the quality of the writing were other important standards in our considerations.
Not all responses were positive. Joseph Stalin argued in 1924 that Reed was misleading in regards to Leon Trotsky. The book portrays Trotsky (at that time commander of the Red Army) as co-director of the revolution with Lenin, and mentions Stalin only twice, one of those occasions being in a recitation of names. Russian writer Anatoly Rybakov elaborates on the Stalinist USSR’s ban of Ten Days That Shook The World: “The main task was to build a mighty socialist state. For that, mighty power was needed. Stalin was at the head of that power, which means that he stood at its source with Lenin. Together with Lenin he led the October Revolution. John Reed had presented the history of October differently. That wasn’t the John Reed we needed.” After Stalin's death, the book was allowed to recirculate in the USSR.
In contrast to Stalin's objections, Lenin had a different attitude towards the book. At the end of 1919, Lenin had written an Introduction to it (quoted further below).
Stalin remained silent on the topic at the time, and only spoke against it after Lenin's death in 1924. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Ten Days That Shook the World",
"main subject",
"bolshevism"
] | Perhaps the most controversial work on our list is the seventh, John Reed’s book, “Ten Days That Shook the World,” reporting on the October revolution in Russia in 1917. Yes, as conservative critics have noted, Reed was a partisan. Yes, historians would do better. But this was probably the most consequential news story of the century, and Reed was there, and Reed could write. The magnitude of the event being reported on and the quality of the writing were other important standards in our considerations.
Not all responses were positive. Joseph Stalin argued in 1924 that Reed was misleading in regards to Leon Trotsky. The book portrays Trotsky (at that time commander of the Red Army) as co-director of the revolution with Lenin, and mentions Stalin only twice, one of those occasions being in a recitation of names. Russian writer Anatoly Rybakov elaborates on the Stalinist USSR’s ban of Ten Days That Shook The World: “The main task was to build a mighty socialist state. For that, mighty power was needed. Stalin was at the head of that power, which means that he stood at its source with Lenin. Together with Lenin he led the October Revolution. John Reed had presented the history of October differently. That wasn’t the John Reed we needed.” After Stalin's death, the book was allowed to recirculate in the USSR.
In contrast to Stalin's objections, Lenin had a different attitude towards the book. At the end of 1919, Lenin had written an Introduction to it (quoted further below).
Stalin remained silent on the topic at the time, and only spoke against it after Lenin's death in 1924. | main subject | 130 | [
"focus",
"central theme",
"central topic",
"main theme",
"primary subject"
] | null | null |
[
"Ten Days That Shook the World",
"publisher",
"Boni & Liveright"
] | Publication
After its first publication, Reed returned to Russia during the autumn of 1919, delighted to learn that Vladimir Lenin had taken time to read the book. Furthermore, Lenin agreed to write an introduction that first appeared in the 1922 edition published by Boni & Liveright (New York):
With the greatest interest and with never slackening attention I read John Reed's book, Ten Days that Shook the World. Unreservedly do I recommend it to the workers of the world. Here is a book which I should like to see published in millions of copies and translated into all languages. It gives a truthful and most vivid exposition of the events so significant to the comprehension of what really is the Proletarian Revolution and the Dictatorship of the Proletariat. These problems are widely discussed, but before one can accept or reject these ideas, he must understand the full significance of his decision. John Reed's book will undoubtedly help to clear this question, which is the fundamental problem of the international labor movement. V. LENIN. | publisher | 135 | [
"publishing house",
"imprint",
"press",
"company",
"printer"
] | null | null |
[
"Ten Days That Shook the World",
"instance of",
"written work"
] | Background
John Reed was on an assignment for The Masses, a magazine of socialist politics, when he was reporting on the Russian Revolution. Although Reed stated that he had "tried to see events with the eye of a conscientious reporter, interested in setting down the truth" during the time of the event, he stated in the preface that "in the struggle my sympathies were not neutral" (since the book primarily shares the perspective of the Russian working class).Perhaps the most controversial work on our list is the seventh, John Reed’s book, “Ten Days That Shook the World,” reporting on the October revolution in Russia in 1917. Yes, as conservative critics have noted, Reed was a partisan. Yes, historians would do better. But this was probably the most consequential news story of the century, and Reed was there, and Reed could write. The magnitude of the event being reported on and the quality of the writing were other important standards in our considerations.
Not all responses were positive. Joseph Stalin argued in 1924 that Reed was misleading in regards to Leon Trotsky. The book portrays Trotsky (at that time commander of the Red Army) as co-director of the revolution with Lenin, and mentions Stalin only twice, one of those occasions being in a recitation of names. Russian writer Anatoly Rybakov elaborates on the Stalinist USSR’s ban of Ten Days That Shook The World: “The main task was to build a mighty socialist state. For that, mighty power was needed. Stalin was at the head of that power, which means that he stood at its source with Lenin. Together with Lenin he led the October Revolution. John Reed had presented the history of October differently. That wasn’t the John Reed we needed.” After Stalin's death, the book was allowed to recirculate in the USSR.
In contrast to Stalin's objections, Lenin had a different attitude towards the book. At the end of 1919, Lenin had written an Introduction to it (quoted further below).
Stalin remained silent on the topic at the time, and only spoke against it after Lenin's death in 1924.At the death of John Reed, the author of Ten Days that Shook the World — a first-hand account of the early days of the Russian Revolution — the copyright of the book passed into the hands of the British Communist Party, to whom I believe Reed had bequeathed it. Some years later the British Communists, having destroyed the original edition of the book as completely as they could, issued a garbled version from which they had eliminated mentions of Trotsky and also omitted the introduction written by Lenin. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Yo (Cyrillic)",
"part of",
"Cyrillic"
] | Yo, Jo, Io, or just Ë (Ё ё; italics: Ё ё; Russian pronunciation: [jɵ]) is a letter of the Cyrillic script. In Unicode, the letter ⟨Ё⟩ is named CYRILLIC CAPITAL/SMALL LETTER IO.
In English, the letter Yo is romanized using the Latin ë (according to the ALA–LC and British Standards), ë (yë word-initially) (BGN/PCGN) or yo/jo (orthographic transcription) for Russian, and as i͡o (ALA–LC), yo (BGN/PCGN), or ë (BSI) for Belarusian. In international systems, Yo is romanized as ë (ISO 9).
It was derived from the Cyrillic letter Ye (Е е). | part of | 15 | [
"a component of",
"a constituent of",
"an element of",
"a fragment of",
"a portion of"
] | null | null |
[
"Yo (Cyrillic)",
"part of",
"Russian alphabet"
] | Yo, Jo, Io, or just Ë (Ё ё; italics: Ё ё; Russian pronunciation: [jɵ]) is a letter of the Cyrillic script. In Unicode, the letter ⟨Ё⟩ is named CYRILLIC CAPITAL/SMALL LETTER IO.
In English, the letter Yo is romanized using the Latin ë (according to the ALA–LC and British Standards), ë (yë word-initially) (BGN/PCGN) or yo/jo (orthographic transcription) for Russian, and as i͡o (ALA–LC), yo (BGN/PCGN), or ë (BSI) for Belarusian. In international systems, Yo is romanized as ë (ISO 9).
It was derived from the Cyrillic letter Ye (Е е).Russian
The letter Yo or Jo is the seventh letter of the alphabet, but although it indicates a distinct sound from Ye, it is often treated as the same letter for alphabetisation and sorting. In the dictionary, ёж (hedgehog) comes after едо́к (eater) and before е́здить (to go).
⟨Ё⟩ represents the phoneme /o/ after /j/ or a soft consonant (or occasionally after ⟨ж⟩, ⟨ш⟩), and it should always be stressed. It alternates with ⟨е⟩, written in non-stressed positions. Unstressed ⟨ё⟩ appears only in rare loanwords, in compound words (in this case it may be considered to have secondary stress; most notably, ⟨ё⟩ occurs in words containing the prefixes трёх- 'three-' and четырёх- 'four-'), in derivatives of the name of the letter ⟨ё⟩ itself (ёфика́тор - yoficator), in loanwords (кёнигсбе́ргский - adjective from Königsberg, сёрфинги́ст from surfing - surfer, сёдзё - shōjo, гёмбёц - gömböc).
In modern Russian, the reflex of Common Slavonic /e/ under stress and following a palatalized consonant but not preceding a palatalized consonant is /o/. Compare, for example, Russian моё mojo ("my" neuter nominative and accusative singular) and Polish/Czech/Slovak/Serbo-Croatian/Slovenian moje. However, since the sound change took place after the introduction of writing, the letter ⟨е⟩ continued to be written in that position. It was not until the 18th century that efforts were made to represent the sound in writing.
From the mid-1730s, it appears sporadically as ⟨іо⟩ or ⟨і͡о⟩. This digraph and new letter ⟨ґ⟩ for the sound /ɡ/ were proposed to be added to the official alphabet in 1783 at a session of the Russian Academy under the presidency of Princess Yekaterina Romanovna Vorontsova-Dashkova, but both propositions were rejected by the academicians and the Metropolitan of Novgorod and Saint Petersburg Gavriil. At that time, the sounds /jo/—/ʲo/ and /ɡ/ were common in everyday Central Russian speech, but Church-Slavonic-styled pronunciation with /je/–/ʲe/ and /ɣ/ was preferred when reading literary texts.
The sounds [jo] (and [o] after soft consonants) that developed in Russian pronunciation, for a long time were not distinguished from [je] (and [e] after soft consonants) in writing. In the mid-18th century, a ligature in the form of the letters IO with a top joiner was introduced, but it was cumbersome and used rarely. Other variants in use were: о, ьо, їô, ió, ио.
In 1797, instead of existing options, the letter "Ё" was created by Russian Imperial historian, writer, poet and critic Nikolay Mikhailovich Karamzin. It was used for the first time in the 2nd book of "Aonides" in his poem "Sophistiated Solomon's Wisdom, or Thoughts Selected from Ecclesiastes" to create a rhyme between the words слёзы [ˈslʲɵzɨ] and розы [ˈrozɨ]. In other places of the poem he used the spelling слезы [ˈslʲezɨ].The diaeresis ◌̈ does not appear above any other letter in Russian. It serves no purpose except to differentiate between ⟨е⟩ and ⟨ё⟩.
Except for a brief period after World War II, the use of ⟨ё⟩ was never obligatory in standard Russian orthography. By and large, it is used only in dictionaries and in pedagogical literature intended for children and students of Russian as a second language. Otherwise, ⟨е⟩ is used, and ⟨ё⟩ occurs only when it is necessary to avoid ambiguity (such as to distinguish between все ("everybody") and всё ("everything") when it is not obvious from the context) or in words (principally proper nouns) whose pronunciation may not be familiar to the reader. Recent recommendations (2006) from the Russian Language Institute are to use ⟨ё⟩ in proper nouns to avoid an incorrect pronunciation. It is permitted, however, to mark ⟨ё⟩ whenever it occurs, which is the preference of some Russian authors and periodicals.
The fact that ⟨ё⟩ is frequently replaced with ⟨е⟩ in print often causes some confusion to both Russians and non-Russians, as it makes it more difficult for Russian words and names to be transcribed. One recurring problem is with Russian surnames, as both -ев (-ev/-yev) and -ёв (-yov/-ov) are common endings. Thus, the English-speaking world knows two leaders of the former Soviet Union as Khrushchev and Gorbachev, but their surnames end in Russian with -ёв, better transcribed -yov/-ov (which is why many English-speakers pronounce these names as if they end in -ov but they spell them with -ev).
The advent of the computer has had a great influence on the process of substitution ⟨ё⟩ with ⟨е⟩ for a counterintuitive reason: currently, the Russian alphabet contains 33 letters including ⟨ё⟩, and codepage designers usually prefer to omit ⟨ё⟩ so that all Russian letters can be placed into sections of 16 letters (16, like other powers of 2, is often preferred in computing over other numbers). Some examples are pre-Unicode character pages 866 for Microsoft DOS and 1251 for Microsoft Windows. Since in both cases, ⟨ё⟩ was placed outside its alphabetically correct position, it made text sorting more complex. Software developers would then choose to substitute all ⟨ё⟩ letters with ⟨е⟩ at an early stage of text processing to simplify later stages. | part of | 15 | [
"a component of",
"a constituent of",
"an element of",
"a fragment of",
"a portion of"
] | null | null |
[
"Yo (Cyrillic)",
"part of",
"Belarusian Cyrillic alphabet"
] | Usage
Yo was first used in Russian, but its status in that language is now ambiguous. Yo occurs as a discrete letter in the Cyrillic alphabets of Belarusian, Rusyn, Mongolian and many Caucasian and Turkic languages. | part of | 15 | [
"a component of",
"a constituent of",
"an element of",
"a fragment of",
"a portion of"
] | null | null |
[
"Yo (Cyrillic)",
"part of",
"Mongolian Cyrillic alphabet"
] | Usage
Yo was first used in Russian, but its status in that language is now ambiguous. Yo occurs as a discrete letter in the Cyrillic alphabets of Belarusian, Rusyn, Mongolian and many Caucasian and Turkic languages. | part of | 15 | [
"a component of",
"a constituent of",
"an element of",
"a fragment of",
"a portion of"
] | null | null |
[
"Yo (Cyrillic)",
"part of",
"Rusyn alphabet"
] | Usage
Yo was first used in Russian, but its status in that language is now ambiguous. Yo occurs as a discrete letter in the Cyrillic alphabets of Belarusian, Rusyn, Mongolian and many Caucasian and Turkic languages.Belarusian and Rusyn
Yo is the seventh letter of the Belarusian alphabet and the ninth letter of the Prešov Rusyn alphabet of Slovakia, in the Pannonian Rusyn alphabet, yo is absent.
In Belarusian and Prešov Rusyn, the letters ⟨е⟩ and ⟨ё⟩ are separate and not interchangeable. | part of | 15 | [
"a component of",
"a constituent of",
"an element of",
"a fragment of",
"a portion of"
] | null | null |
[
"Yo (Cyrillic)",
"instance of",
"Cyrillic letter"
] | Yo, Jo, Io, or just Ë (Ё ё; italics: Ё ё; Russian pronunciation: [jɵ]) is a letter of the Cyrillic script. In Unicode, the letter ⟨Ё⟩ is named CYRILLIC CAPITAL/SMALL LETTER IO.
In English, the letter Yo is romanized using the Latin ë (according to the ALA–LC and British Standards), ë (yë word-initially) (BGN/PCGN) or yo/jo (orthographic transcription) for Russian, and as i͡o (ALA–LC), yo (BGN/PCGN), or ë (BSI) for Belarusian. In international systems, Yo is romanized as ë (ISO 9).
It was derived from the Cyrillic letter Ye (Е е).Usage
Yo was first used in Russian, but its status in that language is now ambiguous. Yo occurs as a discrete letter in the Cyrillic alphabets of Belarusian, Rusyn, Mongolian and many Caucasian and Turkic languages.Russian
The letter Yo or Jo is the seventh letter of the alphabet, but although it indicates a distinct sound from Ye, it is often treated as the same letter for alphabetisation and sorting. In the dictionary, ёж (hedgehog) comes after едо́к (eater) and before е́здить (to go).
⟨Ё⟩ represents the phoneme /o/ after /j/ or a soft consonant (or occasionally after ⟨ж⟩, ⟨ш⟩), and it should always be stressed. It alternates with ⟨е⟩, written in non-stressed positions. Unstressed ⟨ё⟩ appears only in rare loanwords, in compound words (in this case it may be considered to have secondary stress; most notably, ⟨ё⟩ occurs in words containing the prefixes трёх- 'three-' and четырёх- 'four-'), in derivatives of the name of the letter ⟨ё⟩ itself (ёфика́тор - yoficator), in loanwords (кёнигсбе́ргский - adjective from Königsberg, сёрфинги́ст from surfing - surfer, сёдзё - shōjo, гёмбёц - gömböc).
In modern Russian, the reflex of Common Slavonic /e/ under stress and following a palatalized consonant but not preceding a palatalized consonant is /o/. Compare, for example, Russian моё mojo ("my" neuter nominative and accusative singular) and Polish/Czech/Slovak/Serbo-Croatian/Slovenian moje. However, since the sound change took place after the introduction of writing, the letter ⟨е⟩ continued to be written in that position. It was not until the 18th century that efforts were made to represent the sound in writing.
From the mid-1730s, it appears sporadically as ⟨іо⟩ or ⟨і͡о⟩. This digraph and new letter ⟨ґ⟩ for the sound /ɡ/ were proposed to be added to the official alphabet in 1783 at a session of the Russian Academy under the presidency of Princess Yekaterina Romanovna Vorontsova-Dashkova, but both propositions were rejected by the academicians and the Metropolitan of Novgorod and Saint Petersburg Gavriil. At that time, the sounds /jo/—/ʲo/ and /ɡ/ were common in everyday Central Russian speech, but Church-Slavonic-styled pronunciation with /je/–/ʲe/ and /ɣ/ was preferred when reading literary texts.
The sounds [jo] (and [o] after soft consonants) that developed in Russian pronunciation, for a long time were not distinguished from [je] (and [e] after soft consonants) in writing. In the mid-18th century, a ligature in the form of the letters IO with a top joiner was introduced, but it was cumbersome and used rarely. Other variants in use were: о, ьо, їô, ió, ио.
In 1797, instead of existing options, the letter "Ё" was created by Russian Imperial historian, writer, poet and critic Nikolay Mikhailovich Karamzin. It was used for the first time in the 2nd book of "Aonides" in his poem "Sophistiated Solomon's Wisdom, or Thoughts Selected from Ecclesiastes" to create a rhyme between the words слёзы [ˈslʲɵzɨ] and розы [ˈrozɨ]. In other places of the poem he used the spelling слезы [ˈslʲezɨ].The diaeresis ◌̈ does not appear above any other letter in Russian. It serves no purpose except to differentiate between ⟨е⟩ and ⟨ё⟩.
Except for a brief period after World War II, the use of ⟨ё⟩ was never obligatory in standard Russian orthography. By and large, it is used only in dictionaries and in pedagogical literature intended for children and students of Russian as a second language. Otherwise, ⟨е⟩ is used, and ⟨ё⟩ occurs only when it is necessary to avoid ambiguity (such as to distinguish between все ("everybody") and всё ("everything") when it is not obvious from the context) or in words (principally proper nouns) whose pronunciation may not be familiar to the reader. Recent recommendations (2006) from the Russian Language Institute are to use ⟨ё⟩ in proper nouns to avoid an incorrect pronunciation. It is permitted, however, to mark ⟨ё⟩ whenever it occurs, which is the preference of some Russian authors and periodicals.
The fact that ⟨ё⟩ is frequently replaced with ⟨е⟩ in print often causes some confusion to both Russians and non-Russians, as it makes it more difficult for Russian words and names to be transcribed. One recurring problem is with Russian surnames, as both -ев (-ev/-yev) and -ёв (-yov/-ov) are common endings. Thus, the English-speaking world knows two leaders of the former Soviet Union as Khrushchev and Gorbachev, but their surnames end in Russian with -ёв, better transcribed -yov/-ov (which is why many English-speakers pronounce these names as if they end in -ov but they spell them with -ev).
The advent of the computer has had a great influence on the process of substitution ⟨ё⟩ with ⟨е⟩ for a counterintuitive reason: currently, the Russian alphabet contains 33 letters including ⟨ё⟩, and codepage designers usually prefer to omit ⟨ё⟩ so that all Russian letters can be placed into sections of 16 letters (16, like other powers of 2, is often preferred in computing over other numbers). Some examples are pre-Unicode character pages 866 for Microsoft DOS and 1251 for Microsoft Windows. Since in both cases, ⟨ё⟩ was placed outside its alphabetically correct position, it made text sorting more complex. Software developers would then choose to substitute all ⟨ё⟩ letters with ⟨е⟩ at an early stage of text processing to simplify later stages.Belarusian and Rusyn
Yo is the seventh letter of the Belarusian alphabet and the ninth letter of the Prešov Rusyn alphabet of Slovakia, in the Pannonian Rusyn alphabet, yo is absent.
In Belarusian and Prešov Rusyn, the letters ⟨е⟩ and ⟨ё⟩ are separate and not interchangeable.Dungan
Unlike the Russian spelling system, ⟨ё⟩ is mandatory in the Cyrillic alphabet used by Dungan. In that Sinitic language, the ⟨е⟩/⟨ё⟩ distinction is crucial, as the former is used such as to write the syllable that would have the pinyin spelling of ye in Standard Chinese, and the latter is used for the syllable that appears as yao in pinyin. ⟨Ё⟩ is very prominent in Dungan spelling since the very common syllable appearing as yang in Pinyin is spelled ⟨ён⟩ in Dungan. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"O alienista",
"country",
"Brazil"
] | "O alienista" (translated as "The Psychiatrist" then "The Alienist") is a satiric novella written by the Brazilian author Machado de Assis (1839–1908). The story ran in Rio de Janeiro's newspaper A Estação (from 15 October 1881 to 15 March 1882), then was published in 1882 as part of the author's short-story collection Papéis avulsos ("Single Papers"). An English translation was published in 1963.
In 1970, the story was adapted into the comedy film The Alienist. In 2007, it was adapted into a same-titled graphic novella by Fábio Moon and Gabriel Bá (and won the 2008 Prêmio Jabuti for educational material). | country | 7 | [
"Nation",
"State",
"Land",
"Territory"
] | null | null |
[
"O alienista",
"country of origin",
"Brazil"
] | "O alienista" (translated as "The Psychiatrist" then "The Alienist") is a satiric novella written by the Brazilian author Machado de Assis (1839–1908). The story ran in Rio de Janeiro's newspaper A Estação (from 15 October 1881 to 15 March 1882), then was published in 1882 as part of the author's short-story collection Papéis avulsos ("Single Papers"). An English translation was published in 1963.
In 1970, the story was adapted into the comedy film The Alienist. In 2007, it was adapted into a same-titled graphic novella by Fábio Moon and Gabriel Bá (and won the 2008 Prêmio Jabuti for educational material).Plot summary
Published a year after Machado's first major novel, Memórias Póstumas de Brás Cubas, "The Psychiatrist" follows the scientific efforts of Dr. Simon Bacamarte (Simão Bacamarte in the original – "bacarmarte" being Portuguese for "blunderbuss", an old scattershot gun). Bacamarte, a Brazil-born Portuguese (when Brazil was a colony), is a prominent physician whose sincere obsession for discovering a universal method to cure pathological disorders drives inhabitants of the small Brazilian town of Itaguaí to fear, conspiracy, and revolutionary attempts. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"O alienista",
"language of work or name",
"Portuguese"
] | "O alienista" (translated as "The Psychiatrist" then "The Alienist") is a satiric novella written by the Brazilian author Machado de Assis (1839–1908). The story ran in Rio de Janeiro's newspaper A Estação (from 15 October 1881 to 15 March 1882), then was published in 1882 as part of the author's short-story collection Papéis avulsos ("Single Papers"). An English translation was published in 1963.
In 1970, the story was adapted into the comedy film The Alienist. In 2007, it was adapted into a same-titled graphic novella by Fábio Moon and Gabriel Bá (and won the 2008 Prêmio Jabuti for educational material). | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"O alienista",
"form of creative work",
"short story"
] | "O alienista" (translated as "The Psychiatrist" then "The Alienist") is a satiric novella written by the Brazilian author Machado de Assis (1839–1908). The story ran in Rio de Janeiro's newspaper A Estação (from 15 October 1881 to 15 March 1882), then was published in 1882 as part of the author's short-story collection Papéis avulsos ("Single Papers"). An English translation was published in 1963.
In 1970, the story was adapted into the comedy film The Alienist. In 2007, it was adapted into a same-titled graphic novella by Fábio Moon and Gabriel Bá (and won the 2008 Prêmio Jabuti for educational material). | form of creative work | 126 | [
"artistic creation",
"creative composition",
"artistic production",
"work of art",
"creative piece"
] | null | null |
[
"O alienista",
"author",
"Joaquim Maria Machado de Assis"
] | "O alienista" (translated as "The Psychiatrist" then "The Alienist") is a satiric novella written by the Brazilian author Machado de Assis (1839–1908). The story ran in Rio de Janeiro's newspaper A Estação (from 15 October 1881 to 15 March 1882), then was published in 1882 as part of the author's short-story collection Papéis avulsos ("Single Papers"). An English translation was published in 1963.
In 1970, the story was adapted into the comedy film The Alienist. In 2007, it was adapted into a same-titled graphic novella by Fábio Moon and Gabriel Bá (and won the 2008 Prêmio Jabuti for educational material). | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"O alienista",
"genre",
"Brazilian literature"
] | "O alienista" (translated as "The Psychiatrist" then "The Alienist") is a satiric novella written by the Brazilian author Machado de Assis (1839–1908). The story ran in Rio de Janeiro's newspaper A Estação (from 15 October 1881 to 15 March 1882), then was published in 1882 as part of the author's short-story collection Papéis avulsos ("Single Papers"). An English translation was published in 1963.
In 1970, the story was adapted into the comedy film The Alienist. In 2007, it was adapted into a same-titled graphic novella by Fábio Moon and Gabriel Bá (and won the 2008 Prêmio Jabuti for educational material). | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"O alienista",
"genre",
"novella"
] | "O alienista" (translated as "The Psychiatrist" then "The Alienist") is a satiric novella written by the Brazilian author Machado de Assis (1839–1908). The story ran in Rio de Janeiro's newspaper A Estação (from 15 October 1881 to 15 March 1882), then was published in 1882 as part of the author's short-story collection Papéis avulsos ("Single Papers"). An English translation was published in 1963.
In 1970, the story was adapted into the comedy film The Alienist. In 2007, it was adapted into a same-titled graphic novella by Fábio Moon and Gabriel Bá (and won the 2008 Prêmio Jabuti for educational material). | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"O alienista",
"instance of",
"literary work"
] | "O alienista" (translated as "The Psychiatrist" then "The Alienist") is a satiric novella written by the Brazilian author Machado de Assis (1839–1908). The story ran in Rio de Janeiro's newspaper A Estação (from 15 October 1881 to 15 March 1882), then was published in 1882 as part of the author's short-story collection Papéis avulsos ("Single Papers"). An English translation was published in 1963.
In 1970, the story was adapted into the comedy film The Alienist. In 2007, it was adapted into a same-titled graphic novella by Fábio Moon and Gabriel Bá (and won the 2008 Prêmio Jabuti for educational material).Plot summary
Published a year after Machado's first major novel, Memórias Póstumas de Brás Cubas, "The Psychiatrist" follows the scientific efforts of Dr. Simon Bacamarte (Simão Bacamarte in the original – "bacarmarte" being Portuguese for "blunderbuss", an old scattershot gun). Bacamarte, a Brazil-born Portuguese (when Brazil was a colony), is a prominent physician whose sincere obsession for discovering a universal method to cure pathological disorders drives inhabitants of the small Brazilian town of Itaguaí to fear, conspiracy, and revolutionary attempts.Modern fiction
In 2000, Moacyr Scliar published the juvenile novel O Mistério da Casa Verde, about a group of children investigating the Casa Verde in the 20th century. In 2010, Natália Klein published the science fiction novel O Alienista Caçador de Mutantes, the Casa Verde imprisons victims of mutation, caused by the fall of a flying saucer in Itaguaí. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Altar frontal from Cardet",
"location",
"Museu Nacional d'Art de Catalunya"
] | The Altar frontal from Cardet is an altar conserved at the Museu Nacional d'Art de Catalunya, in Barcelona. | location | 29 | [
"place",
"position",
"site",
"locale",
"spot"
] | null | null |
[
"Altar frontal from Cardet",
"depicts",
"Annunciation to the shepherds"
] | Description
The Altar frontal from Cardet, along with the one from Rigatell, is one of the best and most representative works from the Ribagorza workshop, so called as the source of a series of works of similar style and technique.
The technique features the use in backgrounds and on frames of stucco reliefs, which were once coated with fine layers of metal and yellow varnish (known as colradura) to give them the appearance of precious metal. The pictorial style is highly narrative and uses a lot of bright colours that, in their day, with the gilding that has since been lost, must have been even brighter. These sightly works must have been in great demand, something we can deduce from the number of specimens preserved.
The frontal is presided by the Virgin and Child, enthroned inside an almond-shaped mandorla surrounded by the Tetramorph, the four symbolic beings that proclaimed the Gospel.
In the side compartments, separated by thin columns, are scenes from Christ’s childhood, beginning with the Annunciation by the angel to Mary and the Visitation by the latter to St Elizabeth. It continues with the Nativity and, behind Joseph, the Annunciation to the Shepherds, a highly descriptive scene full of detail, with landscape elements characteristic of the time. The Magi with their offerings, in the Epiphany, address the central figures. The last compartment depicts two scenes, without any architectural separation: the Slaughter of the Innocents, which is difficult to recognise as the soldiers’ spears and the slaughtered children have been lost, and the Flight into Egypt. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Altar frontal from Cardet",
"main subject",
"Madonna and Child"
] | Description
The Altar frontal from Cardet, along with the one from Rigatell, is one of the best and most representative works from the Ribagorza workshop, so called as the source of a series of works of similar style and technique.
The technique features the use in backgrounds and on frames of stucco reliefs, which were once coated with fine layers of metal and yellow varnish (known as colradura) to give them the appearance of precious metal. The pictorial style is highly narrative and uses a lot of bright colours that, in their day, with the gilding that has since been lost, must have been even brighter. These sightly works must have been in great demand, something we can deduce from the number of specimens preserved.
The frontal is presided by the Virgin and Child, enthroned inside an almond-shaped mandorla surrounded by the Tetramorph, the four symbolic beings that proclaimed the Gospel.
In the side compartments, separated by thin columns, are scenes from Christ’s childhood, beginning with the Annunciation by the angel to Mary and the Visitation by the latter to St Elizabeth. It continues with the Nativity and, behind Joseph, the Annunciation to the Shepherds, a highly descriptive scene full of detail, with landscape elements characteristic of the time. The Magi with their offerings, in the Epiphany, address the central figures. The last compartment depicts two scenes, without any architectural separation: the Slaughter of the Innocents, which is difficult to recognise as the soldiers’ spears and the slaughtered children have been lost, and the Flight into Egypt. | main subject | 130 | [
"focus",
"central theme",
"central topic",
"main theme",
"primary subject"
] | null | null |
[
"Diana and Her Companions",
"country",
"Netherlands"
] | Diana and Her Companions (Dutch: Diana en haar Nimfen or Diana en haar gezellinnen) is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.
The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective moment would grow stronger in Vermeer's paintings as his career progressed.
Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century. | country | 7 | [
"Nation",
"State",
"Land",
"Territory"
] | null | null |
[
"Diana and Her Companions",
"depicts",
"dog"
] | Description
The scene
The painting depicts the Greek and Roman goddess Diana ("Artemis" in Ancient Greece) with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer (the most skin Vermeer shows on a figure in any of his extant paintings), a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Diana and Her Companions",
"depicts",
"woman"
] | Diana and Her Companions (Dutch: Diana en haar Nimfen or Diana en haar gezellinnen) is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.
The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective moment would grow stronger in Vermeer's paintings as his career progressed.
Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century.Description
The scene
The painting depicts the Greek and Roman goddess Diana ("Artemis" in Ancient Greece) with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer (the most skin Vermeer shows on a figure in any of his extant paintings), a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle.Attribution and relationship to other works
According to Arthur K. Wheelock Jr., the painting "has no visual precedent". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.Nor does the painting use Diana as an allegorical portrait, a tradition for which had developed by the mid-17th century, with identifiable women depicted as the goddess, who was also a symbol of chastity. An example of this tradition is Diana and Her Nymphs, painted by Jacob van Loo in Amsterdam around 1648, about seven or eight years before Vermeer's work. (Vermeer's Diana has frequently been compared to van Loo's. In van Loo's painting, Diana also sits in a forest clearing with a small group of companions, but the mood is very different. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Diana and Her Companions",
"depicts",
"rock"
] | Description
The scene
The painting depicts the Greek and Roman goddess Diana ("Artemis" in Ancient Greece) with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer (the most skin Vermeer shows on a figure in any of his extant paintings), a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
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