document_title: Anne Shirley

question_text: who does anne marry in anne of green gables

text: Anne Shirley

text: Series overview[edit]

text: Anne's early life[edit]

text: Anne Shirley was born in the (fictional) town of Bolingbroke, Nova Scotia and spent the earliest years of her childhood there. No specific birthdate is given, but references in later works suggest her date of birth is in March 1865, although a reference in Anne's House of Dreams to the Canadian federal election of 1896, when she was approximately 27, could be interpreted to date her birth to approximately the spring of 1869. At one point in Anne of Green Gables, Anne saves the Barry baby from an attack of croup while all of the adults have gone to Charlottetown to hear a speech by a Conservative politician who wants to be prime minister, whose most notable facial feature is his huge bulbous nose.[1] The politician is not named, but his political affiliation and his prominent nose would strongly imply he is Sir John A. Macdonald, the hard-drinking Scotsman whose alcoholism gave him a bloated nose who served as Prime Minister from 1867-73 and again from 1878-91.[1] In any event, Anne was orphaned as an infant of three months, when her parents, schoolteachers Walter and Bertha Shirley (née Willis), died of typhoid fever. Without any other relations, Anne was taken in by Mrs. Thomas, who had done housework for the Shirleys. After Mr. Thomas died, Anne went to live with the Hammond family for some years and was treated as little more than a servant until Mr. Hammond died, whereupon Mrs. Hammond divided her children amongst relatives and Anne was sent to the orphanage at Hopetown. She considered herself as "cursed" by twins — Mrs. Hammond had three sets of twins whom Anne helped raise.

text: Arrival at Green Gables, Avonlea[edit]

text: At the age of eleven, Anne was taken from the Hopetown orphanage to the neighbouring province of Prince Edward Island, which she regarded as her true home ever after. Unfortunately, she arrived by mistake — her sponsors, the siblings Matthew and Marilla Cuthbert, wanted to adopt a boy to help them on their farm, but the neighbour with whom they had sent the message was certain they had requested a girl instead. Matthew quickly became fascinated by the girl's good-hearted spirit, charming enthusiasm, and lively imagination, and wanted her to stay at Green Gables from the very first. Marilla's instinct was to send her back to the orphanage, but she was eventually won over by Anne's quirky joie de vivre — and by the fact that another woman, much harder than herself, was set to take Anne should Marilla decline to keep her. The American scholar Joseph Brennan noted that for Anne "all things are alive", as she imagines trees by the roadside welcoming her to Green Gables while a learning plum tree makes her think that it is offering a veil just for her.[2] Anne at one point says "Maples are such social things" and likes Lover's Lane because: "I like that lane because you can think out loud there without people calling you crazy".[3]

text: Anne has great powers of imagination, fed by books of poetry and romance, and a passion for "romantic" and beautiful names and places. When she sees a road lined with apple trees in bloom, she falls silent for a moment before naming the road the "White Way of Delight"; when spying a pond at the Barry homestead, she christens it the "Lake of Shining Waters."[2] Anne had been starved of love at the orphanages she has lived at, and for her, Green Gables is the only home she has ever known.[2] Anne's imaginative nature matches well with her passionate, warm side, full of bubbly optimism and enthusiasm.[2] Anne has an impulsive nature which leads her into all sorts of "scrapes", and she alternates between being carried away with enthusiasm or being in the "depths of despair".[4] One scholar Elizabeth Watson has observed a recurring theme, noting Anne's observations of sunsets mirror her own development.[3] Under the White Way of Delight, Anne watches the sun set which is to her a glory where "a painted sunset sky shone like a great rose window at the end of a cathedral aisle".[3] By the end of the novel, when Anne watches the sun set, it set across a backdrop of "flowers of quiet happiness", as Anne is slowly falling in love with Gilbert.[5]

text: Anne initially made a poor impression on the townsfolk of Avonlea with an outburst at the Cuthberts' neighbour, the outspoken gossip Mrs. Rachel Lynde, but this was amended by an equally impassioned apology. Anne soon became 'bosom friends' with a girl from a neighbouring farm, Diana Barry. Together with Matthew, Diana is Anne's "kindred spirit".[6] The friendship was disrupted by the temporary enmity of Diana's mother, after Anne mistakenly made Diana drunk with Marilla's homemade currant wine, mistaking it for raspberry cordial. Anne was soon restored to Mrs. Barry's good graces by saving the life of Diana's little sister, Minnie May. Minnie May had an attack of the croup, which Anne was able to cure with a bottle of ipecac and knowledge acquired while caring for the numerous Hammond twins. Throughout her childhood, Anne continued to find herself in similar "scrapes", often through mistakes and misunderstandings, and no fault of her own. At one point Anne "admires to the point of nuttiness" an amethyst broach, which she is falsely accused of stealing, a crime she has to confess to in order to attend a picnic.[7] Anne tends to define herself in opposition to older people via humor, and forges a relationship with Marilla Cuthbert via humour.[8] The dreamy and imaginative Anne aks that Marilla call her "Cordelia" and "Geraldine" as Anne likes to imagine herself as somebody that she is not.[9]

text: Anne also formed a complex relationship with Gilbert Blythe, who was three years older than Anne but studying at her level, having had his schooling interrupted when his father became ill. On their first meeting as schoolmates, Gilbert teased Anne with the nickname "Carrots". Anne, perceiving it as a personal insult due to sensitivity over her hair colour, became so angry that she broke her slate over his head.[10] When her teacher punished her by making her stand in front of the class, and then later punishes her for tardiness by making her sit with "the boys", specifically Gilbert Blythe, Anne forms a long-lasting hatred of Gilbert Blythe. Anne tells Dianna that "Gilbert Blythe has hurt me excruciatingly".[11] Throughout Anne of Green Gables, Gilbert repeatedly displays admiration for Anne, but she coldly rebuffs him. Her grudge persisted even after he saved her from a near-disastrous reenactment of Tennyson's "Lancelot and Elaine" when her leaky boat sank into the pond. After this almost fatal accident, Gilbert pleaded with Anne to become his friend but she refused, although she soon came to regret it. For the rest of their school years in Avonlea, they competed as intellectual rivals for the top of the class, although the competition was entirely good-natured on Gilbert's side. However, Anne forms the "Story Club" at the age of 13, which she tells the story of two girls named Cordelia and Geraldine (both of which were aliases she had adopted earlier) who both love Bertram- a variant of Gilbert.[12] The story ends with Cordelia pushing Geraldine into a river to drown with Bertram, which suggests subconsciously Anne is attracted to Gilbert.[13] Near the end, Anne and Gilbert walk together to Green Gables, where Gilbert only-jokingly says: "You've thwarted destiny long enough".[14] At the end of Anne of Green Gables, Anne looks out of her window admiring Avonlea as an "ideal world of dreams", through she sees a "bend in the road" thanks to Gilbert.[15] Mrs. Lynde at the beginning of the book was the self-important busybody of Avonlea who dominated the community; at the end, the book hints that Anne will play the same role, but only much better in the years to come.[16]

text: Avonlea schoolteacher years[edit]

text: Immediately after graduating from Avonlea's public school, Anne and Gilbert both went to Queen's Academy in Charlottetown, which trained them for teaching and university studies. They split the most prestigious prizes between themselves, and remained "enemies" all through their studies at Queen's. Anne's grades, especially in English, won her a scholarship to Redmond College, but Matthew's death and Marilla's failing eyesight near the end of Anne of Green Gables led Anne to defer her enrollment at Redmond so that she could stay to help at Green Gables. Gilbert had been appointed as the Avonlea schoolteacher for the following year, but as an act of kindness, he instead took the position at White Sands School and gave the Avonlea position to Anne. She thanked him for the sacrifice and they made amends, becoming friends at last after five years of intense rivalry. Anne reads some poetry by Virgil, but abandons the book as the beauty of sun-kissed summer day and her coming career as a teacher inspire a sense of happiness and unity with nature.[17]

text: In Anne of Avonlea, Marilla decided to take in her cousin's twin children, Davy and Dora (continuing Anne's "curse of twins"). However, Anne took to them, especially Davy, immediately. Anne learns to manage the twins via a mixture of good humor and understanding..[18] Besides for teaching, Anne joins the Village Improvement Society that works to demolish ugly abandoned houses, repaint the village and plant a garden at the crossroads.[19] The mean-spirited principle Mr. Harrison attacks Anne as a "red-headed snippet" who sits around "reading yellow-covered novels".[20] When a famous author Mrs. Morgan visits Avonlea, Anne greets her with a nose turned red owing to her mistakes in applying the wrong skin lotion as Anne goes to absurd lengths to be prepared to meet the world-famous Mrs. Morgan, which results in chaos, through all works out well in the end.[21] Meeting Mrs. Morgan inspires Anne to try writing, where trapped in an abandoned hen-house, she writes out a dialogue between flowers and the birds in the garden.[22] Another scrape occurs at her school, where Anne forces a student to throw a package into the school stove, unaware that the offending package were firecrackers.[23] The following year, Rachel Lynde's husband Thomas died and Rachel moved in with Marilla at Green Gables, leaving Anne free to continue her education at Redmond College (based on Dalhousie University[24] [25]) in Kingsport, Nova Scotia. Anne was pleased because Gilbert would also be going to Redmond the following year. After the wedding of her friend Miss Lavendar, Anne first realized that there was a possibility that Gilbert felt more for her than friendship, and "The page of girlhood had been turned, as by an unseen finger, and the page of womanhood was before her with all its charm and mystery, its pain and gladness." Anne once again walks with Gilbert where the narrator notes: "Behind them the little stone house brooded among the shadows. It was lonely but not forsaken. It had not yet done with dreams and laughter and joy of life".[26]

text: Redmond College[edit]

text: In Anne of the Island, Anne's academic and social life blossom at Redmond. Anne says at the beginning "I'm going to study and grow and learn about things".[27] Anne visits her mother's grave, and ponders deeply how her mother died young, but at least knew the joys of love.[28] During her time at Redmond, Anne writes two stories, one of which is rejected, but turned by Diana into a successful story, and another which is dismissed because it has no plot.[29] Anne's story "Averil's Atonement" is edited by Diana into a successful story that sells well, but Anne sees the final published version as a travesty that mangles her artistic vision.[30] Seeking poetical inspiration, Anne spends her time alone on Victoria Island (significantly named after the queen-empress whose empire stretched around the world), Anne withdraws into her own world of fantasies amid a landscape "curtained with fine-spun, moonlit gloom, while the water laughed around her in a duet of brook and water".[31]

text: At the beginning of the novel, Anne and Gilbert, looking forward to a "splendid four years at Redmond" wander around to the Haunted Wood, to taste the "delicious" apples" where "under tawny skin was white, white flesh, faintly veined with red; and besides their own proper apple taste, they had a certain wild, delightful tang".[32] The Canadian scholar Elizabeth Waterson noted the "erotic" overtones to the scene of the apple tasting in the Haunted Wood, as sign of Anne's attraction to Gilbert that she is herself is not entirely aware of.[32] Anne's favorite hang-out is Patty's Place, where she and her three best friends spent their evenings by a fireplace, three cats, two china dogs and a pot full of chrysanthemums that light up "through the golden gloom like creamy moons".[33]

text: Gilbert, who has always loved Anne, proposes to her, but she rejects him; at that time, Anne's vision of love is rooted deeply in sentimental fantasies and she does not recognize her closeness to Gilbert as love. Anne's calls Gilbert's marriage proposal "grotesque or-horrible".[34] She believes that she will fall in love with her prince who would fit her childhood ideal of "tall, dark, and handsome". Feeling deeply disappointed, Gilbert distances himself from Anne. Anne refuses "haughtily" to Sam Tolliver's offer of marriage.[35] Anne later welcomes the courtship of the darkly handsome Roy Gardner whom she meets one rainy afternoon in the November of her junior year.[36] After about a year and a half of courtship, he proposes in the park where they met, but Anne ends their relationship instead, realizing that she does not truly love him and he does not belong in her life. Anne reacts "wildly", "miserably" and "desperately" to his proposal.[37] Anne quotes from a poem by Tennyson: "Love in sequel works with Fate, and draws the veil from hidden worth".[38]

text: After graduating from Redmond College with a B.A., Anne, now 22, returns to Avonlea and finds that life has moved on—her childhood friend Jane marries a millionaire, and her best friend Diana Barry (now Diana Wright) has given birth to her firstborn. Anne still does not believe she is in love with Gilbert, but she is disappointed at the end of their friendship, and confused over her reaction to gossip that he is in love with Christine Stuart, a fellow Redmond student.

text: Engagement to Gilbert[edit]

text: Upon her return to Avonlea after staying with her friends Paul, Stephen, and Lavendar Irving at Echo Lodge, Anne learns that Gilbert is deathly ill with typhoid fever. Anne holds vigil in her room at Green Gables the night Gilbert's fever breaks, realizing then that she had always loved him, only when faced with the prospect of losing him. Once Gilbert recovers from his illness, he proposes again to Anne, and she accepts. Gilbert offers her an autumnal fantasy "of a home with a hearth-fire in it, a cat and a dog, the footsteps of friends -- and you!".[36] It is explained that Christine had been engaged to someone else all along and Gilbert was only being friendly, having been asked by Christine's brother to watch over her. Anne's friend Phil Blake had written Gilbert, telling him to "try again", and he rapidly recovered after that, and took her advice. Anne and Gilbert once again walk in the "haunted meadows" as "king and queen in the bridal realm of love".[32]

text: Their engagement lasts for three years. Her engagement ring is noted to be a circlet of pearls rather than a diamond, a stone which Anne said always disappointed her because it wasn't the lovely purple she had dreamed of. Anne resumes her teaching career in the Island's second-largest town, Summerside, while Gilbert completes his three-year medical school course. During this time, Anne interacts with various eccentrics at both work and around the town.[39] Significantly, Anne rises up to become the principal of the Summerside school, making her an equal with Gilbert.[40] While working as a principal, Anne has to deal with a difficult fellow teacher Katherine Brooke who goes out of her way to be rude to her.[41] Brooke openly envies Anne's ability to have a jolie vie, and tries to drag her down at every chance.[42] A mature Anne has now risen above her youthful "scrapes" and is motivated by a desire to help others, realizing that Brooke's nastiness is due to her own low self-esteem, and helps find a job that better suits her than teaching.[43]

text: Marriage and motherhood[edit]

text: Anne and Gilbert finally marry at Green Gables, the house Anne grew up in, and move to the village of Four Winds, P.E.I. There, they take up residence in a small house Anne dubs the "House of Dreams", and Gilbert takes over his uncle's medical practice in the nearby town of Glen St. Mary. Anne praises her "house of dreams" as "like a creamy seashell stranded on the harbor shore", which is surrounded by fir trees "enfolding secrets" while the lane leading to the house is full of blossoming trees.[44] The house looks up to a harbor on one side and a shining brook in the valley below.[45] Anne's major problem at the House of Dreams is helping her neighbor Leslie Moore, whose husband was left brain-dead in an accident, and who is as emotionally dead as her husband is brain-dead.[46]

text: Anne's first two children (one of whom dies in infancy) are born in the House of Dreams, before Anne and Gilbert and their growing family reluctantly move to larger quarters. In a moment of theological reflection, Anne questions if the death of her child is the "will of God", using phrases exploring the theodical question of death and pain in a universe presided by a just God that are identical to those Montgomery used in her diary after her second son was stillborn.[47] After Anne's loss, she and Leslie bond as the two women share their stories of pain as they "talk it out", leading them to hold hands and declare: "We are both women-and friends forever".[48] Anne and Gilbert live the rest of their lives in Glen St. Mary, in a large house they name Ingleside. They have a total of seven children between approximately 1895-1900: Joyce (or "Joy") (who dies very soon after her birth at the House of Dreams), James Matthew ("Jem"), Walter Cuthbert, twin girls Diana ("Di") and Anne ("Nan"), Shirley (the youngest son), and Bertha Marilla ("Rilla"). Anne is quite ill after the births of both Joyce and Shirley, but recovers both times. A major problem for Anne merges when Gilbert's obnoxious Aunt Mary Maria visits and refuses to leave, tormenting Anne in various ways.[49]

text: Anne's children enjoy a happy, even idyllic childhood, spending much of their time playing and adventuring in a nearby hollow they name Rainbow Valley. Anne is a permissive mother who is never stern with her children and plays hide-and-seek with them and other children in the cenetery.[50] When the local Presbyterian minister objects, Anne replies: "Why did they ever build that manse beside the graveyard in the first place?".[51] Anne's children are often bullied by nasty children, requiring their mother to provide with much consolation.[52] When Shirley reads about the theory of a Jocasta complex in one of her husband's medical journals together with a warning about mothers kissing their children, she says: "A man of course! No woman would ever write anything so silly and wicked".[53] At one point, Anne tries to resume her writing career, publishing very poetical obituary for a neighbor that is mocked as an "obitchery" by an ignorant, rude newspaper editor, through it is well received by everyone else.[54] Anne herself has a comfortable life, with a live-in maid (Susan Baker) who effectively runs the household and is also Shirley's primary caregiver after Anne falls ill giving birth to him. Upon recovering, Anne says: "I find I go on living".[55] After Anne recovers, she is involved in various ladies' committees in town, and travels to Europe with Gilbert for an extended tour of the continent at one point, circa 1906.

text: But the spectre of World War I changes things, and all three Blythe boys (as well as the fiancés of Nan and Rilla) eventually volunteer to fight in the war. The Blythe family, which follows the war closely, soon becomes familiar with far-away places such as Calais, Mons, Lodz, Ypres, Belgrade, Amiens, Prezemysl, Gallipoli, Antwerp and Kut al Amara.[56] The sensitive and poetic Walter, the second of Anne's sons to volunteer, is killed at Courcelette in 1916. Jem is listed as missing at the war's conclusion, but after an agonizing five months, eventually emerges alive, having escaped from a POW camp. Montgomery knew John McCrae, the author of the poem In Flanders Fields, and she modeled Walter partly on him.[57]

text: Anne the grandmother[edit]

text: Anne's final appearance occurs in the collection The Blythes Are Quoted. In this work, which is somewhat darker in tone than the previous Anne books, we see brief glimpses of Anne in a number of short stories that are primarily about other inhabitants of Glen St. Mary, and are set from the pre-World War I era through to the beginning of World War II. The book also features a number of poems, which are separately credited to Anne and her son Walter (plus one that was started by Walter and completed by Anne after his death).

text: We last see an older and wiser Anne, now in her mid-seventies, in the early days of World War II. "Mrs. Dr. Blythe", as she is often referred to, is a well-known, oft-discussed figure in Glen St. Mary, who is loved by some, though other residents express small-minded jealousy or envy of both Anne and her family. While Anne has mellowed from the days of her youth, she and Gilbert still engage in sly, good-natured teasing of each other. She has continued to indulge in her love of matchmaking, and also writes poetry. She is still married to Gilbert and is now a grandmother to at least five, three of whom are old enough to be enlist to fight in the war: Jem's sons Jem, Jr. and Walter, and Rilla's son Gilbert. Also mentioned are Nan's daughter Di, and a granddaughter named "Anne Blythe", who might be either Jem or Shirley's child.

text: Though Anne gives up writing short stories shortly after becoming a mother, she continues to write poems throughout her life. These poems are regularly shared with the rest of the family, who offer comments, criticism and encouragement. Anne's later work expressed deep difficulties with coming to terms with Walter's demise, and with the idea of war; several characters comment that neither Anne nor Gilbert were ever quite the same after Walter's death. Still, the couple are utterly devoted to each other and their family, and as the saga concludes, circa 1940, the Blythes remain pillars of their community who have enjoyed a 50-year marriage.

text: Books[edit]

text: In addition to Anne of Green Gables (1908), Anne is the central character of subsequent novels written by Montgomery: Anne of Avonlea (1909), Anne of the Island (1915), Anne's House of Dreams (1917), Anne of Windy Poplars (1936; UK title Anne of Windy Willows), and Anne of Ingleside (1939). Other books in the Anne series include Rainbow Valley (1919), which focuses on Anne's children during their childhood, and Rilla of Ingleside (1921), which focuses on Anne's youngest daughter during World War I.

text: Anne also appears and is mentioned in Chronicles of Avonlea and Further Chronicles of Avonlea, though the bulk of the stories in these volumes are about other characters. In The Blythes Are Quoted (published in an abridged format as The Road to Yesterday and in a restored, unabridged edition in 2009), Anne is a peripheral character as a grandmother with several grandchildren, at least three of whom are preparing to enlist in the Canadian army during the opening days of World War II. These were among the last stories Montgomery wrote before her death in 1942.

text: Anne Shirley also appears in Budge Wilson's Before Green Gables, a prequel to Anne of Green Gables authorized by the heirs of L.M. Montgomery. Based on background information from the original series, the book tells of the first 11 years of Anne Shirley's childhood, beginning with the brief happiness of Bertha and Walter Shirley's marriage before their early deaths.

text: Film and television[edit]

text: The first filmed appearance of Anne Shirley was in the 1919 silent film, Anne of Green Gables, in which the role was played by Mary Miles Minter. The film was directed by William Desmond Taylor. As of 2011, no prints of this silent film adaptation are known to survive. The 1919 film version moved the story from Prince Edward Island to New England, which one American critic -- who was unaware of the novel was set in Canada -- praised the film for "the genuine New England atmosphere called for by the story".[58] Montgomery herself was infuriated with the film for changing Anne from a Canadian to an American, writing in her diary:

text: "It was a pretty little play well photographed, but I think if I hadn't already known it was from my book, that I would never had recognized it. The landscape and folks were 'New England', never P.E Island...A skunk and an American flag were introduced-both equally unknown in PE Island. I could have shrieked with rage over the latter. Such crass, blatant Yankeeism!".[58]

text: Montgomery disapproved of Minter's performance, writing she had portrayed "a sweet, sugary heroine utterly unlike my gingerly Anne", and complained about a scene where Shirley waved about a shotgun as something as her Anne would never do.[59]

text: In the 1934 adaption of Anne of Green Gables, Anne Shirley was portrayed by Dawn O'Day, who later adopted the character's name as her own stage name. She reprised the role in Anne of Windy Poplars, a 1940 film adaption. Montgomery liked the 1934 film more than the 1919 film, not least because now the book's dialogue could be portrayed on the silver screen and that two scenes were filmed on location in Prince Edward Island (though the rest of the film was shot in California), but still charged that neither the 1919 nor 1934 versions of Anne of Green Gables quite got her book right.[60] Writing about the 1934 version of Anne of Green Gables, Montgomery wrote in her diary that it was a "thousand times" better than the 1919 version, but still it: "was so entirely different from my vision of the scenes and the people that it did not seem like my book at all".[59] The British scholar Faye Hammill wrote that 1934 film version stripped Anne of the "Canadian and feminist" aspects that the Anne of the books possessed, stating that there was something about Anne that Hollywood cannot get right.[60] Hammill observed that the idea that Anne was entirely cheerful is a product of the film and television versions as the Anne of the books has to deal with loss, rejection, cruel authority figures, and loneliness.[60]

text: Anne was portrayed by Kim Braden in two BBC mini-series in the early 1970s, based upon the books Anne of Green Gables and Anne of Avonlea. Anne was portrayed by Megan Follows in three of the four CBC Television film adaptions by Kevin Sullivan: Anne of Green Gables, Anne of Green Gables: The Sequel, and Anne of Green Gables: The Continuing Story; the third film is an original story not based on any of Montgomery's work (and, indeed, it contradicts the chronology of the novels by featuring a 20-something Anne during World War I). Sullivan's fourth film, Anne of Green Gables: A New Beginning, features Barbara Hershey as a middle-aged Anne looking back on her early years and Hannah Endicott-Douglas as a young Anne before arriving at Green Gables.

text: In 1979, Japan's World Masterpiece Theater produced Akage no Anne. Later, in 2009, the prequel novel Before Green Gables was adapted into an anime, Kon'nichiwa Anne: Before Green Gables, in which Anne also appears as the central character.

text: In 2005, Sullivan produced an animated reimagining of the story, Anne: Journey to Green Gables, with McKenzie Sullivan providing the voice of Anne.

text: In 2016, a 90-minute movie was made (L.M. Montgomery's Anne of Green Gables) with Ella Ballentine as Anne Shirley, Sara Botsford as Marilla Cuthbert, and Martin Sheen as Matthew Cuthbert. This was followed by sequels in 2017, entitled Anne of Green Gables: The Good Stars and Anne of Green Gables: Fire & Dew.

text: Anne was portrayed by Amybeth McNulty in the 2017 CBC series Anne.[61]

text: Reception and legacy[edit]

text: Lennie Goodings, a publisher for Virago Press, chose Anne as her favorite fictional character, stating, "The feisty, funny and above all unabashedly passionate Anne of Green Gables...[she] faces the world with absolutely nothing but the sheer force of her personality. I love her."[62] Actress Christina Hendricks cites the character as the reason for dyeing her naturally blonde hair red since the age of 10.[63]

text: The British scholar Faye Hammill observed that such is the popularity of Shirley that she has overshadowed her creator, L.M Montgomery as license plates in Prince Edward Island bear the slogan "P.E.I Home of Anne of Green Gables" rather than "P.E.I Birthplace of L.M Montgomery".[64] The actress Mary Miles Minter played Shirley in the 1919 film adaption of Anne of Green Gables later had her career ruined when the film director William Desmond Taylor was murdered in 1922, and her name came up as a suspect, through she was never charged.[64] When Minter attempted a comeback as an advice columnist later in the 1920s, she used the pen-name Anne Shirley in an attempt to restore her wholesome image, which had been ruined by the Taylor murder scandal.[64] The actress Dawn O'Day who played Shirley in the 1934 film adaption of Anne of Green Gables liked the character so much she legally changed her name to Anne Shirley.[64] Montgomery during her youth had experiences of what she called "the flash"-moments of quiet contemplation of the beauty of nature when she was walking alone that gave her emotional ecstasy and what she regarded as the awareness of a higher spiritual power running through nature and her.[65] Despite Montgomery's claim that Shirley was not autobiographical, the moments when Shirley experienced moments of a mystical communion with nature are almost word for word the same as Montgomery's descriptions of "the flash" in her diary.[64]

text: Much of the appeal of the Anne books was due to increased urbanization and industrialization in the early 20th century, which led many people to look back nostalgically to a romanticized rural idyll where people still lived the "simple life", which was how precisely how publishers marketed the Anne books at the time.[66] In Canada itself, many intellectuals tended to see modernity as a threatening phenomenon, and in turn linked the more unpleasant aspects of modernity to the United States, which was viewed at the time as a rapacious, bullying nation intent upon devouring its neighbors.[66] Much of the appeal of the character of Anne to Canadian critics at the time was as a symbol of the wholesome, friendly quality of Canadian life, where people still retained traditional values, unlike American writers with their obsession with violence and sex in stories set in a depersonalized urban environment.[67] Hammill observed that when some of the younger Canadian writers in the 1920s-30 attempted to ape American writers with unpleasant "realistic" stories focusing on sex and violence in the cities, they were denounced by the critics for their "American" stories with the obvious implication that such stories were not "Canadian".[58] As urbanization gathered pace in the early 20th century, "regional literature" depicting life in rural regions gained popularity in the English-speaking world, and in the United States, Canadian literature was seen as a type of "regional literature" as Canada with its vast tracts of forests and farmland together with its British heritage, where the people were proud to be part of the British empire, which gave Canada a rather quaint image in the United States as a backward, rustic place, where the traditional values lived on.[58] Having won their independence in the Revolutionary War, for Americans in the early 20th century it was almost incomprehensible that people in English-Canada should want to be part of the British empire, which gave Canada the image of a very conservative society in the United States in this era.[58] Given these views of Canada, many Americans were inclined to share the Canadian view of Shirley as an iconic symbol of Canada.[58]

text: Brennan wrote the Anne books are determinedly Anglo-Canadian as French-Canadians hardly ever appear in the books.[68] Brennan wrote: "Anne's dreams knew more of Tennyson's Camelot than of the rich culture of New France, of its voyageurs, its habitants, of heroines such as Maria Chaddelaine who appeared in Canadian letters (thanks to a young wander from France) when Montgomery's Anne had already firmly settled in home and motherhood. Avonlea was not Péribonka. Yet an artist in words-and Montgomery was that-should not be held at fault for silence about a culture so unlike her own".[68] Brennan noted that the Anne books reflected the "quiet conservative society" that was Prince Edward Island in the Victorian age with the characters being Protestants of English and/or Scottish extraction, and Anne supporting the Conservatives "simply because her beloved Matthew voted Conservative".[68]

text: In 1912, Anne of Green Gables was translated into Polish and published in a pirate edition in Warsaw with the book being credited to "Anne Montgomery".[69] The book was extremely popular in Poland and during the Second World War, the Armia Krajowa resistance group issued editions of the book to remind its members what they were fighting for.[69] For a time, Anne of Green Gables was banned in Communist Poland, and the book circulated in samizdat editions as Anne was seen as a symbol of individualism and an unwillingness to submit to authority, making her a popular heroine for those struggling against the Communist dictatorship. The Canadian scholar Mary Henley Rubio mentioned visiting Warsaw in 1984, where she saw a version of Anne of Green Gables being performed in a local theater, and that when the audience learned she was from Canada, she found herself mobbed by the audience who all wanted her autograph as she came from the same land as their beloved Anne.[70]

text: Akage no An (Red Haired Anne), as Shirley is known in Japan, is an extremely popular cultural icon in that country. From the time of the Meiji Restoration until 1945, the Japanese educational system (which was run jointly by the Army and Navy ministries) was designed to indoctrinate the students into Bushido ("the way of the warrior") as the fierce warrior code of the Samurai is called as the purpose of schools in Japan from the Meiji Restoration until the end of World War II was to train the boys to be soldiers. The Japanese educational system unabashedly glorified war as the highest form of human activity and the idea that the Emperor of Japan was a living god, with the boys being taught it was the greatest honor to die for the Emperor while the girls were taught it was the greatest honor to have sons to die for the Emperor. Alongside the militarism of the educational system went a mood of marked xenophobia and outright racism with Japanese teachers during World War II telling their students that the Anglo-American "white devils" were cannibals whose favorite food was Asians.[71] As part of the educational reforms during the American occupation (1945-52), it was decided that Japanese students needed something somewhat less militaristic and xenophobic to read than texts glorifying Bushido and Anne of Green Gables was made mandatory reading in Japanese schools in 1952.[72] Additionally, as part of the educational reforms in Japan, there was an effort to reduce the previous rampant xenophobia that characterized Japanese teaching until 1945, and it was felt the wholesome, loveable character of Shirley would provide Japanese students with an example of how people in the West were not "white devils" as their government had told them during the war.[72] As there were many orphans left over from World War II in 1952 Japan, the character of Shirley instantly caught on in Japan and has been one of the most loved characters in Japan since that time.[73] Much of the appeal of Akage no An lies in her ability to rise above any situation due to her pluck and her willingness to challenge “that most formidable of Japanese dragons, the bossy older matron.”[74]

text: Shirley is so popular in Japan that there is The Anne Academy in Fukuoka that teaches girls how to speak English with a Maritime accent while in Okayama there is The School of Green Gables, a nursing school that teaches young women how to behave like Shirley.[73] Hanako Muraoka, the Japanese woman who translated Anne of Green Gables into Japanese, has become a celebrity in her own right solely for translating the book, and in 2014 NHK aired a television mini-series titled Hanako to Anne about Muraoka's life and her struggle to get Anne of Green Gables translated and published in Japan.[75] Hanako to Anne which aired between March-September 2014 was a great rating success, getting an average of 22% viewership in the Kanto region (the most populous part of Japan), and caused a doubling of Japanese tourists to Prince Edward island.[76] The series, which starred Yuriko Yoshitaka as Muraoka, suggested that there were many parallels between Muraoka's life and Anne's, and thus was a sort of retelling of Anne's life in the late Meiji, Taishō and early Shōwa periods of Japanese history. In 1993, a theme park called Canadian World opened in Hokkaido whose most popular attraction was a reproduction of Green Gables.[75] In 2010, the Globe and Mail wrote: "It could almost be declared that Anne's true home isn't rural Prince Edward Island any more. It's Japan, where Lucy Maud Montgomery's tale of Anne and her pigtailed innocence remains so popular that it has become ingrained in the national consciousness since the book's original Japanese translation as Red-Haired Anne in 1952."[77] In 2014, the Japanese diplomat Eiji Yamamoto told a journalist from the Toronto Star: "Even though she's an orphan, Anne is a free spirit, she says anything she wants. In the years after World War II, the Japanese people were poor. There were many orphans. And people had lost hope. They were anxious. Anne is an optimist. She helped people get courage."[78]

text: The Canadian scholar Janice Kulyk Keefer noted the character of Shirley as depicted in film and television is sanitised compared to the book, writing:

text: "Death, the bloody laws of nature, the tyranny of adults, violence-all poison the sweetness of...Arcadia. And yet the idyllic vision is undercut by what we might call call 'meta-idylls', realized through the forces of magic, fantasy, mass-cultural cliche and language itself. Together, 'menace' and 'meta-idyll' produce subversive subtexts to each idyll".[60]

text: Notes[edit]

text:
^ Jump up to: a b Landlaw, Jeffery "The Story of a Classic with replies" from The American Scholar, Volume 64, Issue 3, Summer 1995 page 478.
^ Jump up to: a b c d Brennan, Joseph Gerard "The Story of a Classic: Anne and After" pages 247-256 from The American Scholar, Spring 1995 page 249.
^ Jump up to: a b c Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 15.
Jump up ^ Rubio, Mary Henley Lucy Maud Montgomery The Gift of Wings, Toronto: Doubleday, 2008 page 120.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 16.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 14.
Jump up ^ Brennan, Joseph Gerard "The Story of a Classic: Anne and After" pages 247-256 from The American Scholar, Spring 1995 page 250
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 13.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 13.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 14.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 15.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 16.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 16.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 17.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 17.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 17.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 20.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 23.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 24.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 20.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 26.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 26.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 pages 26-27.
Jump up ^ "A room of their own". Retrieved 24 April 2017.
Jump up ^ "Anne Goes to College - Anne of Green Gables". 21 July 2010. Retrieved 24 April 2017.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 28.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 75.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 73.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 pages 74-75.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 75.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 74.
^ Jump up to: a b c Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 70.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 72.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 70.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 70.
^ Jump up to: a b Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 72.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 70.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 69.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 191.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 192.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 194.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 194
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 194
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 78.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 78.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 79.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 80.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 81.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 pages 209-201.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 87.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 88.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 212.
Jump up ^ Brennan, Joseph Gerard "The Story of a Classic: Anne and After" pages 247-256 from The American Scholar, Spring 1995 page 255.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 211.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 81.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 105.
Jump up ^ Waterson, Elizabeth Magic Island, Oxford: Oxford University Press, 2008 page 108.
^ Jump up to: a b c d e f Hammill, Faye "'A new and exceedingly brilliant star': L. M. Montgomery, Anne of Green Gables, and Mary Miles Minter" pages 652-670 from The Modern Language Review, Volume 101, Issue # 3, July 2006 page 666.
^ Jump up to: a b Hammill, Faye "'A new and exceedingly brilliant star': L. M. Montgomery, Anne of Green Gables, and Mary Miles Minter" pages 652-670 from The Modern Language Review, Volume 101, Issue # 3, July 2006 page 667.
^ Jump up to: a b c d Hammill, Faye "'A new and exceedingly brilliant star': L. M. Montgomery, Anne of Green Gables, and Mary Miles Minter" pages 652-670 from The Modern Language Review, Volume 101, Issue # 3, July 2006 page 668.
Jump up ^ "Netflix’s ‘Anne of Green Gables’ Adaptation Finds Its Anne Shirley, Casts 2 Other Roles". Deadline. October 21, 2016.
Jump up ^ Goodings, Lennie (3 March 2005). "The 100 favourite fictional characters...as chosen by 100 literary luminaries". The Independent. Retrieved 19 March 2011.
Jump up ^ "Christina Hendricks dyed hair red at age 10". 12 March 2012. Retrieved 24 April 2017.
^ Jump up to: a b c d e Hammill, Faye "'A new and exceedingly brilliant star': L. M. Montgomery, Anne of Green Gables, and Mary Miles Minter" pages 652-670 from The Modern Language Review, Volume 101, Issue # 3, July 2006 page 652.
Jump up ^ Brennan, Joseph Gerard "The Story of a Classic: Anne and After" pages 247-256 from The American Scholar, Spring 1995 page 252.
^ Jump up to: a b Hammill, Faye "'A new and exceedingly brilliant star': L. M. Montgomery, Anne of Green Gables, and Mary Miles Minter" pages 652-670 from The Modern Language Review, Volume 101, Issue # 3, July 2006 page 665.
Jump up ^ Hammill, Faye "'A new and exceedingly brilliant star': L. M. Montgomery, Anne of Green Gables, and Mary Miles Minter" pages 652-670 from The Modern Language Review, Volume 101, Issue # 3, July 2006 pages 665-666.
^ Jump up to: a b c Brennan, Joseph Gerard "The Story of a Classic: Anne and After" pages 247-256 from The American Scholar, Spring 1995 page 251.
^ Jump up to: a b Rodriguez McRobbie, Linda (1 April 2015). "10 Things You Might Not Know About Anne of Green Gables". Mental Floss. Retrieved 2017-04-21.
Jump up ^ Rubio, Mary Henely Lucy Maud Montgomery, Toronto: Doubleday, 2008 page 7.
Jump up ^ Dower, John War without mercy: race and power in the Pacific War, New York: Pantheon, 1993 pages 244-248.
^ Jump up to: a b "Montgomery's Impact Globally". Picturing A Canadian Life: L.M. Montgomery's Scrapbooks and Covers. 2002. Retrieved 2017-04-21.
^ Jump up to: a b Krauss, Clifford (17 June 2003). "Cavendish Journal; Annes of Japan Come Dreaming of Green Gables". The New York Times. Retrieved 2017-04-21.
Jump up ^ Curtis, Wayne (October 2008). "Land of Green Gables". The Atlantic. Retrieved 2017-04-21.
^ Jump up to: a b Dawes, Terry (5 May 2014). "Why Anne of Green Gables Is Big in Japan". The Huffington Post. Retrieved 2017-04-21.
Jump up ^ "‘Anne of Green Gables’ NHK drama steers tourists to Canada’s Prince Edward Island". Japan Times. 30 December 2014. Retrieved 2017-04-21.
Jump up ^ Dixon, Guy (1 December 2010). "Anne of Green Gables' eternal life in Japan". The Globe and Mail. Retrieved 2017-04-21.
Jump up ^ Westhead, Rick (12 May 2014). "A TV series in Japan rekindles a nation's love for Anne of Green Gables". The Toronto Star. Retrieved 2017-04-21.

tag: ol


document_title: 3,000 hit club

question_text: who has 3000 hits and is not in the hall of fame

root

text: 3,000 hit club

text: Key[edit]

text:
Player
Name of the player

Hits
Career hits

Average
Career batting average

Date
Date of the player's 3,000th hit

Team
The batter's team for his 3,000th hit

Seasons
The seasons this player played in the major leagues

3,000th hit
The type of hit the batter recorded for his 3,000th hit

Elected to the Baseball Hall of Fame

Player is active

tag: table

text: Members[edit]

text:
Player
Hits
Average
Date
Team
Seasons
3,000th hit
Ref

Rose, PetePete Rose
4,256
.303
000000001978-05-05-0000May 5, 1978
Cincinnati Reds
1963–1986
1 !Single
[27]

Cobb, TyTy Cobb
4,191[b]
.367
000000001921-08-19-0000August 19, 1921
Detroit Tigers
1905–1928
1 !Single
[10]

Aaron, HankHank Aaron
3,771
.305
000000001970-05-17-0000May 17, 1970
Atlanta Braves
1954–1976
1 !Single
[28]

Musial, StanStan Musial
3,630
.331
000000001958-05-13-0000May 13, 1958
St. Louis Cardinals
1941–1944, 1946–1963
2 !Double
[29]

Speaker, TrisTris Speaker
3,514
.345
000000001925-05-17-0000May 17, 1925
Cleveland Indians
1907–1928
1 !Single
[30]

Jeter, DerekDerek Jeter
3,465
.310
000000002011-07-09-0000July 9, 2011
New York Yankees
1995–2014
4 !Home run
[31]

Wagner, HonusHonus Wagner
3,430
.329
000000001914-06-09-0000June 9, 1914
Pittsburgh Pirates
1897–1917
2 !Double
[32]

Yastrzemski, CarlCarl Yastrzemski
3,419
.285
000000001979-09-12-0000September 12, 1979
Boston Red Sox
1961–1983
1 !Single
[33]

Molitor, PaulPaul Molitor
3,319
.306
000000001996-09-16-0000September 16, 1996
Minnesota Twins
1978–1998
3 !Triple
[34]

Collins, EddieEddie Collins
3,314
.333
000000001925-06-03-0000June 3, 1925
Chicago White Sox
1906–1930
1 !Single
[35]

Mays, WillieWillie Mays
3,283
.302
000000001970-07-18-0000July 18, 1970
San Francisco Giants
1951–1952, 1954–1973
1 !Single
[36]

Murray, EddieEddie Murray
3,255
.287
000000001995-06-30-0000June 30, 1995
Cleveland Indians
1977–1997
1 !Single
[37]

Lajoie, NapNap Lajoie
3,252[d]
.339
000000001914-09-27-0000September 27, 1914
Cleveland Naps
1896–1916
2 !Double
[39]

Ripken Jr., CalCal Ripken Jr.
3,184
.276
000000002000-04-15-0000April 15, 2000
Baltimore Orioles
1981–2001
1 !Single
[41]

Brett, GeorgeGeorge Brett
3,154
.305
000000001992-09-30-0000September 30, 1992
Kansas City Royals
1973–1993
1 !Single
[42]

Waner, PaulPaul Waner
3,152
.333
000000001942-06-19-0000June 19, 1942
Boston Braves
1926–1945
1 !Single
[43]

Yount, RobinRobin Yount
3,142
.285
000000001992-09-09-0000September 9, 1992
Milwaukee Brewers
1974–1993
1 !Single
[44]

Gwynn, TonyTony Gwynn
3,141
.338
000000001999-08-06-0000August 6, 1999
San Diego Padres
1982–2001
1 !Single
[45]

Rodriguez, AlexAlex Rodriguez
3,115
.295
000000002015-06-19-0000June 19, 2015
New York Yankees
1994–2013, 2015–2016
4 !Home run
[46]

Winfield, DaveDave Winfield
3,110
.283
000000001993-09-16-0000September 16, 1993
Minnesota Twins
1973–1995
1 !Single
[47]

Suzuki, IchiroIchiro Suzuki
3,079
.312
000000002016-08-07-0000August 7, 2016
Miami Marlins
2001–present
3 !Triple
[48]

Biggio, CraigCraig Biggio
3,060
.281
000000002007-06-28-0000June 28, 2007
Houston Astros
1988–2007
1 !Single
[49]

Henderson, RickeyRickey Henderson
3,055
.279
000000002001-10-07-0000October 7, 2001
San Diego Padres
1979–2003
2 !Double
[50]

Carew, RodRod Carew
3,053
.328
000000001985-08-04-0000August 4, 1985
California Angels
1967–1985
1 !Single
[51]

Beltré, AdriánAdrián Beltré
3,040
.287
000000002017-07-30-0000July 30, 2017
Texas Rangers
1998–present
2 !Double
[52]

Brock, LouLou Brock
3,023
.293
000000001979-08-13-0000August 13, 1979
St. Louis Cardinals
1961–1979
1 !Single
[53]

Palmeiro, RafaelRafael Palmeiro
3,020
.288
000000002005-07-15-0000July 15, 2005
Baltimore Orioles
1986–2005
2 !Double
[54]

Anson, CapCap Anson
3,011[a]
.331
000000001897-07-18-0000July 18, 1897[a]
Chicago Colts
1871–1897
1 !Single
[6]

Boggs, WadeWade Boggs
3,010
.328
000000001999-08-07-0000August 7, 1999
Tampa Bay Devil Rays
1982–1999
4 !Home run
[55]

Kaline, AlAl Kaline
3,007
.297
000000001974-09-24-0000September 24, 1974
Detroit Tigers
1953–1974
2 !Double
[56]

Clemente, RobertoRoberto Clemente
3,000
.317
000000001972-09-30-0000September 30, 1972
Pittsburgh Pirates
1955–1972
2 !Double
[57]


document_title: Ars Nova (theater)

question_text: n outstanding composer of the ars nova was

text: Ars Nova (theater)

text: Notable alumni[edit]

text: Since Ars Nova's founding, they’ve launched the careers of luminaries like Lin-Manuel Miranda (Pulitzer-winning playwright/composer of Hamilton[2] & In The Heights), Liz Meriwether (Emmy-nominated creator of television’s New Girl), Beau Willimon (Emmy-winning creator of Netflix’s House of Cards), Amy Herzog (OBIE Award-winning playwright of 4000 Miles), Dave Malloy (Richard Rogers Award for Musical Theatre winner for Natasha, Pierre & the Great Comet of 1812), Annie Baker (Pulitzer Prize-winning playwright of The Flick & Circle Mirror Transformation), Thomas Kail (Director of In The Heights and Hamilton), Alex Timbers (two-time tony nominated writer and director, recently directed Rocky, and Peter and the Starcatcher), Billy Eichner (creator of Funny or Die's Billy on the Street), and Bridget Everett (comedian and cabaret performer), among others.[3][4]

tag: p

text: Natasha, Pierre & the Great Comet of 1812, produced by Ars Nova in 2012, officially transferred to Broadway in 2016 with Josh Groban playing the role of Pierre.[5][6]

text: History[edit]

text: Ars Nova was founded by Jon and Jenny Steingart in 2002 in memory of Gabe Wiener to provide a welcome home for young artists and audiences alike. In 2005 Ars Nova became a 501(c)(3) Not-For-Profit Organization. In addition to Ars Nova’s vast array of development programs for emerging artists, they’re also committed to commissioning new work and producing world premieres.[7]

text: World Premiere Productions[edit]

text: Each year, Ars Nova commissions and hosts two large-scale productions, often drawing from work originally shown in their development programs. These productions vary and flux in genre, the only requirement being that the works be original and innovative.

text: Past World Premiere Productions[edit]

text: 2017 included the world premiere co-production of Sundown, Yellow Moon, with WP Theatre. Sundown, Yellow Moon featured songs by the indie duo the Bengsons and starred Lilli Cooper and Eboni Booth, as twins who return home to find their father in crisis. The play was written by Rachel Bonds, and directed by Anne Kauffman. Sundown, Yellow Moon was a New York Times Critic pick, and New Yorker recommended. [8] [9]

text: Up next in 2017 includes KPOP a world premiere immersive musical co-produced with Woodshed Collective and Ma-Yi Theater Company. KPOP gives the audience a first-hand opportunity to witness the cultivation and launch of Korean pop stars in New York City. [10]

text: 2016 included the world premiere production of Underground Rail Road Game, created by Jennifer Kidwell and Scott R. Sheppard with Lighting Rod Special, directed by Taibi Magar. Underground Rail Road Game won a 2017 Obie for Best New American Theatre Work for Jennifer Kidwell and Scott R. Sheppard (tied with J.T. Rogers for Oslo at LCT).[11] Underground Railroad Game will commence an international tour in spring of 2017. [12]

text: 2015 included the world premiere production of Bess Wohl's intrepid, almost entirely silent play Small Mouth Sounds. Directed by Rachel Chavkin, the show garnered rave reviews[13][14][15] and completely sold out its extended run.

text: Small Mouth Sounds was followed by the co-production of FUTURITY (music and lyrics by Cesar Alvarez) with Soho Rep,[16] a beloved downtown New York theater with an eye for innovative contemporary work. The show was produced at The Connelly Theater in the East Village and was directed by Sarah Benson. The New York Times described it as "the most lovely and inventive music you can hear on a New York stage right now."[17] American Theater dubbed the production a "triumphant realization of a new-model American musical." [18] The Fall production also completely sold out its extended run.

text: Ars Nova 2014 world premiere productions included Vinny DePonto's Charlatan and Jacuzzi by The Debate Society. Their 2014 season also included By The Water, a co-production with Manhattan Theatre Club.[19][20]

text: Other past Ars Nova productions include Game Play,[21]Eager to Lose,[22]Core Values,[23] The Netflix Plays,[24]Natasha, Pierre and the Great Comet of 1812,[25] The Urban Dictionary Plays,[26]The Lapsburgh Layover, Be a Good LIttle Widow, The Wii Plays, Now Circa Then, Bloodsong of Love, Missed Connections NYC, Sax & Dixon: We Thee Wed, Mel & El: Show & Tell, Two Girls for Five Bucks and the Ten Dollar Heartbreakers, Playlist, Jollyship the Whiz-Bang, Boom, From up Here, Dixie's Tupperware Party, At Least It's Pink, 25 Questions for a Jewish Mother, Holy Cross Sucks!, Freestyle Love Supreme and The Wau Wau Sisters. [27]

text: Natasha, Pierre and the Great Comet of 1812[edit]

text: After Dave Malloy first performed on the Ars Nova stage in 2010, Artistic Director Jason Eagan, was blown away by his originality, range, and rigor, which led to a curiosity of what else was swirling around his head. Malloy became Ar Nova's 2012 Composer in Residence, giving Malloy access to all of Ars Nova's resources for one year- time, space, money, writing retreats, and a commission to create a new music-driven work to be produced at Ars Nova. When Dave proposed a musical based on Tolstoy's War and Peace Jason knew it was beyond Ars Nova's typical resources, but the project was too good to pass up. Jason knew that Ars Nova could push Dave farther than he had ever been before, and Dave could push Ars Nova farther than they had been before. October 2011 commenced the first weeklong workshop used to further develop the characters, story, music, and explore the idea of mixing a concert party and theater into one event. As the workshop ended Jason knew that this production would take more resources than they typically put into each production, and would take Ars Nova's entire production budget, a budget usually reserved for two productions, to accomplish this lofty goal. In April of 2012, the production went through its second workshop to explore how the piece would live on its feet in the space.At the conclusion of the second workshop designer, Mimi Lin was brought on and made the decision to elevate the performers on runways that would swirl around the audience, allowing the performers to move through the space in full view. August 27, 2012, marked the date for the first rehearsal at Ars Nova. It was a month of creatively fueled blood, sweat and tears by a tremendous group of artists giving their all. The show officially opened at Ars Nova on October 16, 2012, and by the end of that week, the entire run was sold out. The extension sold out within one hour. [28]

text: Programs and series[edit]

text: In addition to its World Premiere theatrical productions, the theater produces a number of series, festivals and programs.

text: ANT Fest[edit]

text: ANT Fest is a four-week annual festival designed to showcase the next generation of theater artists, musicians and comedians. The festival works exclusively with emerging artists, giving them the opportunity to showcase their work in front of a New York audience.[29] Each show is given only one performance in order to allow for greater risk taking and the development of as many new artists as possible over the 30 night period.[30] In its premiere year (2008), the All New Talent (ANT) Festival ran from October 16 through November 24 and presented the work of 175 new artists.[31]

text: In 2012, the festival was moved from fall to summer.[32] ANT Fest is a prime destination for an eclectic mix of brand new shows and has proven to be an important first step in the lifecycle and development of new theatrical work. Through its open submission process, the festival offers a wide range of early career artists a point of entry onto the Ars Nova stage as well as into the greater New York City arts community. Vibrant, new musicians and composers, comedy artists, playwrights, puppeteers, variety acts and performers of all kinds are encouraged to submit!

text: Play Group[edit]

text: The Play Group is a vibrant and eclectic group of emerging playwrights that gather twice a month at Ars Nova to share new work and get feedback. The group offers members the chance to develop their plays with peer support, form collaborative relationships and build a strong sense of community within Ars Nova. In addition, members receive dramaturgical support and artistic matchmaking advice from the Ars Nova artistic staff and development opportunities through public readings and workshops.[33]

text: 2016 Play Group Members: Kevin Armento, Sam Chanse, Milo Cramer, Michael Yates Crowley, Sarah DeLappe, Sarah Einspanier, Emma Goidel, Trish Harnetiaux, Tony Menses, Antoinette Nwandu, Erika Sheffer, Kate Tarker & James Tyler

text: Play Group Alumni: Joshua Allen, Sofia Alvarez, Annie Baker, Rachel Bonds, Mike Batistick, Chad Beckim, Liza Birkenmeier, Bekah Brunstetter, Sarah Burgess, Evan Cabnet, Jenny Connell, Kara Lee Corthron, Dylan Dawson, Kristoffer Diaz, Zayd Dohrn, Matthew-Lee Erlbach, Ron Fitzgerald, Liz Flahive, Sam Forman, Etan Frankel, Sarah Gancher, Nick Gandiello, Tasha Gordon-Solmon, Dipika Guha, Amy Herzog, Suzanne Heathcote, Samuel D. Hunter, Kyle Jarrow, Jake Jeppson, Nick Jones, Stephen Karam, Meghan Kennedy, Jon Kern, Josh Koenigsberg, Justin Kuritzkes, Steven Levenson, Barry Levey, Matthew Lopez, Liz Meriwether, Carly Mensch, Molly Smith Metzler, Lin-Manuel Miranda, Michael Mitnick, Greg Moss, Janine Nabers, Brian Otaño, Jonathan Payne, Daniel Pearle, Max Posner, Erica Saleh, Rachel Shukert, Mat Smart, Celine Song, Aurin Squire, Adam Szymkowicz, Kim Rosenstock, Sharyn Rothstein, Joe Tracz, Samuel Brett Williams, A. Zell Williams, Beau Willimon, Bess Wohl.[34]

text: Out Loud[edit]

text: The Out Loud series is a play-reading program dedicated to supporting full-length new work from the second-year Play Group playwrights. Participating playwrights are granted a public reading forum, where their plays are presented with the help of leading directors and actors. Following the readings, the work is offered feedback and support from the Ars Nova artistic staff.[33]

text: Uncharted[edit]

text: The Uncharted series is a forum to workshop and develop new musicals, connecting rising composers and writers to create original works. In 2013, the program expanded, modeling after the Play Group series. In this new development, Uncharted members take part in a two-year residency, meeting on a monthly basis to present their work and receive peer support and feedback. First year residencies culminate in public concerts offering the writers the chance to debut their new material in front of a live audience. During the second year of their residencies, the writers participate in weeklong workshops of their musicals with top-notch directors and performers, culminating in Out Loud readings.

text: 2016 Uncharted members: Will Aronson & Sarah Hammond, Heather Christian & Rachel Chavkin, Greta Gertler Gold & Akin Salawu, Rebekah Greer Melocik, Jacob Yandura, & Victor Lesniewski, Michael McQuilken & Martyna Majok and Max Vernon & Jason Kim.

text: Uncharted alumni: Cesar Alvarez, Charles Vincent Burwell & James D. Sasser, Andrew Butler & Andrew Farmer, Ella Rose Chary & Brandon James Gwinn, Cory Finley & Jeremy Lloyd, Anna K. Jacobs & Michael R. Jackson, Landon Marcus & Chas LiBretto and Julia Meinwald & Gordon Leary, Joe Iconis, Justin Levine, Daniel Zaitchik, Andrew Lippa, Chester Gregory, Debra Barsha, Gavin Creel, Scott Mebus, Bob Stillman, David Clement, Daniel Cartier, GrooveLily, Johnny Hancock, Janice Lowe, Michael Longoria, Ben Birney, Rob Seitelman, Alan Zachary, Michael Wiener, Chris Miller, Nathan Tysen, Benj Pasek, Justin Paul, Pale Horse and Rider, Lori Michaels, The Davenports and Nick Blaemire.[35]

text: Showgasm[edit]

text: Showgasm is a rowdy monthly variety show, designed to showcase fresh music, comedy, theater, burlesque, vaudeville and other independent acts. Hosted by John Early (Broad City, High Maintenance and Wet, Hot, American Summer) and House DJ Hamm Samwich, it showcases short works (five minutes or less) by young artists who have not yet developed a full-length show, as well providing a venue for veteran Ars Nova artists to showcase new material.[36]

text: Makers Lab[edit]

text: Makers Lab provides a dynamic group of generative theater artists with individually tailored residencies designed to holistically support their careers and develop their new works. Working in a range of category-defying forms and disciplines, these artists, collaborators, and companies use Ars Nova as a home base for twelve-month creative residencies. Through a wide range of supports, makers Lab residents are encouraged to think big, take risks and push their creative potential as they make work at Ars Nova. [37]

text: 2016-17 Makers Lab artists include: Kevin Armento & Jaki Bradley, hanuralee, Emily Oliveira, Sammy Miller & the Congregation.

text: The Writer's Room[edit]

text: In 2012, the Manhattan Theatre Club launched The Studio at Stage II, a 150-seat Off-Broadway theater, with the intention of producing new works at the New York City Center. As a part of this program, the Manhattan Theatre Club teamed up with Ars Nova to create the Writer's Room. Together, the two theater groups jointly select four playwrights per year to receive Writer’s Room Commissions. The commissioned writers come together to participate in a program designed to encourage artistic risk taking and provide developmental support, ultimately aiming to have their work put up at MTC's Studio at Stage II.[38]

text: Past artists have included: Adam Bock & Justin Levine, Rachel Bonds, Thomas Bradshaw, Frances, Ya-Chu Cowhig, Sibblies Drury, Samuel D. Hunter, PigPen Theatre Co. and Sharyn Rothstein.[39]

text: Artists-In-Residence[edit]

text: The Artist in Residence program provides emerging directors, designers, composers, and playwrights with an artistic home for one year. Each resident has access to the Ars Nova staff and resources, in return for providing expertise and assistance with artistic planning and production. Residents are also often commissioned to develop new work for the Ars Nova stage.[40] Ars Nova's 2014 Director-in-Residence is Andrew Neisler.

text: Past artists-in-residence include John Early, Isaac Oliver, The Debate Society, Portia Krieger, Shaina Taub, The Berserker Residents, Dave Malloy, Kim Rosenstock, Stephen Brackett, Amy Herzog, Steven Levenson, Bekah Brunstetter, Kerry Whigham, Geo Wyeth, Joe Iconis, Carly Mensch and Shira Milikowsky.[41]

text: Project Residencies[edit]

text: In Project Residencies, new projects are invited into residency at Ars Nova for a focused period of work and exploration culminating in a series of workshop performances. By providing space and resources for experimentation, artistic and production support, and the opportunity to refine new pieces in front of an audience, Ars Nova enables artists to develop new work on their feet.

text: Past Project Residencies include: I Heard Sex Noises created and performed by Andrew Farmer, Claire Rothrock & Ryann Weir, directed by Annie Tippe; Those Lost Boys created & performed by Frankie J. Alvarez, Nick Choksi, Damon Daunno, Gabriel Ebert, Brendan Spieth & Elvy Yost, Wing-Man created by Mark Gindick, directed by West Hyler; Isaac Oliver's Lonely Christmas created by Isaac Oliver, directed by Jason Eagan; Charlatan created by Vinny DePonto, directed by Andrew Neisler; Travis created by Zackary Grady, directed by Peter James Cook; The Other Baldwins in Haute Mess created by The Other Baldwins, directed by Peter James Cook; Eager to Lose created by Matthew-Lee Erlbach, Wes Grantom, Portia Krieger & Tansy, directed by Wes Grantom & Portia Krieger; Pepper 'N Sam: Whatever Possessed Them? created by Salty Brine & Justin Levine.

text: Summer retreat[edit]

text: Each summer, the theater funds a group of artists to attend a week-long retreat outside of New York City. The retreat is divided into focused work sessions, group discussions and social activities.[33]

text: Awards and honors[edit]

text: Ars Nova was honored with a 2015 OBIE Award[42] and a 2015 Special Citation from the New York Drama Critics’ Circle for their sustained quality and commitment to the development and production of new work.[43]

text: Alumni artists from our development programs have gone on to become internationally produced playwrights, Academy Award nominees, MacArthur Genius Grant recipients and Emmy, Tony Award and Pulitzer Prize winners. They’ve won Whiting Awards, Drama Desk Awards, OBIE Awards, Paula Vogel Playwriting Awards, New York Times Outstanding Playwright Awards, and Helen Merrill Awards, Lily Awards, and Lucille Lortel Awards.

text: In 2008, the Village Voice awarded Ars Nova its "Best Theater Concessions" honor, commenting that "Ars Nova satisfies those few disconsolate [theater concession consumers] among us: In addition to reasonably priced cocktails, it features snacks thematically linked with the play on offer."[44]

text: Ars Nova's commissioned production of Natasha, Pierre and the Great Comet of 1812 won several awards and nominations, including the Richard Rodgers Award for Musical Theater, a Special Citation from the OBIE awards, and five Drama Desk nominations.[45][46][47]

text: Selected alumni[edit]

text:
Alex Timbers
Amber Gray
Amy Herzog
Annie Baker
Samuel D. Hunter
Beau Willimon[1][2]
Bess Wohl
Billy Eichner
Bridget Everett
Carly Mensch
César Chavez
Dave Malloy
Jack McBrayer
Jesse Eisenberg
Jesse Tyler Ferguson
Joe Iconis
John Gallagher Jr.
Lin-Manuel Miranda
Liz Flahive
Liz Meriwether
Michael Patrick King
Phillipa Soo
Rachel Chavkin
Reggie Watts
Robin Lord Taylor
Semi Precious Weapons
Stephen Karam

tag: ul


document_title: Electric charge

question_text: who measured the magnitude of the positive charge on the nucleus

text: Electric charge

text: Overview[edit]

text: Charge is the fundamental property of forms of matter that exhibit electrostatic attraction or repulsion in the presence of other matter. Electric charge is a characteristic property of many subatomic particles. The charges of free-standing particles are integer multiples of the elementary charge e; we say that electric charge is quantized. Michael Faraday, in his electrolysis experiments, was the first to note the discrete nature of electric charge. Robert Millikan's oil drop experiment demonstrated this fact directly, and measured the elementary charge.

text: By convention, the charge of an electron is −1, while that of a proton is +1. Charged particles whose charges have the same sign repel one another, and particles whose charges have different signs attract. Coulomb's law quantifies the electrostatic force between two particles by asserting that the force is proportional to the product of their charges, and inversely proportional to the square of the distance between them.

text: The charge of an antiparticle equals that of the corresponding particle, but with opposite sign. Quarks have fractional charges of either −1/3 or +2/3, but free-standing quarks have never been observed (the theoretical reason for this fact is asymptotic freedom).

text: The electric charge of a macroscopic object is the sum of the electric charges of the particles that make it up. This charge is often small, because matter is made of atoms, and atoms typically have equal numbers of protons and electrons, in which case their charges cancel out, yielding a net charge of zero, thus making the atom neutral.

text: An ion is an atom (or group of atoms) that has lost one or more electrons, giving it a net positive charge (cation), or that has gained one or more electrons, giving it a net negative charge (anion). Monatomic ions are formed from single atoms, while polyatomic ions are formed from two or more atoms that have been bonded together, in each case yielding an ion with a positive or negative net charge.

text: During formation of macroscopic objects, constituent atoms and ions usually combine to form structures composed of neutral ionic compounds electrically bound to neutral atoms. Thus macroscopic objects tend toward being neutral overall, but macroscopic objects are rarely perfectly net neutral.

text: Sometimes macroscopic objects contain ions distributed throughout the material, rigidly bound in place, giving an overall net positive or negative charge to the object. Also, macroscopic objects made of conductive elements, can more or less easily (depending on the element) take on or give off electrons, and then maintain a net negative or positive charge indefinitely. When the net electric charge of an object is non-zero and motionless, the phenomenon is known as static electricity. This can easily be produced by rubbing two dissimilar materials together, such as rubbing amber with fur or glass with silk. In this way non-conductive materials can be charged to a significant degree, either positively or negatively. Charge taken from one material is moved to the other material, leaving an opposite charge of the same magnitude behind. The law of conservation of charge always applies, giving the object from which a negative charge is taken a positive charge of the same magnitude, and vice versa.

text: Even when an object's net charge is zero, charge can be distributed non-uniformly in the object (e.g., due to an external electromagnetic field, or bound polar molecules). In such cases the object is said to be polarized. The charge due to polarization is known as bound charge, while charge on an object produced by electrons gained or lost from outside the object is called free charge. The motion of electrons in conductive metals in a specific direction is known as electric current.

text: Units[edit]

text: The SI unit of quantity of electric charge is the coulomb, which is equivalent to about 7018624200000000000♠6.242×1018 e (e is the charge of a proton). Hence, the charge of an electron is approximately 3018839800000000000♠−1.602×10−19 C. The coulomb is defined as the quantity of charge that has passed through the cross section of an electrical conductor carrying one ampere within one second. The symbol Q is often used to denote a quantity of electricity or charge. The quantity of electric charge can be directly measured with an electrometer, or indirectly measured with a ballistic galvanometer.

text: After finding the quantized character of charge, in 1891 George Stoney proposed the unit 'electron' for this fundamental unit of electrical charge. This was before the discovery of the particle by J.J. Thomson in 1897. The unit is today treated as nameless, referred to as "elementary charge", "fundamental unit of charge", or simply as "e". A measure of charge should be a multiple of the elementary charge e, even if at large scales charge seems to behave as a real quantity. In some contexts it is meaningful to speak of fractions of a charge; for example in the charging of a capacitor, or in the fractional quantum Hall effect.

text: The unit faraday is sometimes used in electrochemistry. One faraday of charge is the magnitude of the charge of one mole of electrons, i.e. 96485.33289(59) C.

text: In systems of units other than SI such as cgs, electric charge is expressed as combination of only three fundamental quantities (length, mass, and time), and not four, as in SI, where electric charge is a combination of length, mass, time, and electric current.[citation needed]

text: History[edit]

text: As reported by the ancient Greek mathematician Thales of Miletus around 600 BC, charge (or electricity) could be accumulated by rubbing fur on various substances, such as amber. The Greeks noted that the charged amber buttons could attract light objects such as hair. They also noted that if they rubbed the amber for long enough, they could even get an electric spark to jump. This property derives from the triboelectric effect.

text: In 1600, the English scientist William Gilbert returned to the subject in De Magnete, and coined the New Latin word electricus from ἤλεκτρον (ēlektron), the Greek word for amber, which soon gave rise to the English words "electric" and "electricity". He was followed in 1660 by Otto von Guericke, who invented what was probably the first electrostatic generator. Other European pioneers were Robert Boyle, who in 1675 stated that electric attraction and repulsion can act across a vacuum; Stephen Gray, who in 1729 classified materials as conductors and insulators; and C. F. du Fay, who proposed in 1733[1] that electricity comes in two varieties that cancel each other, and expressed this in terms of a two-fluid theory. When glass was rubbed with silk, du Fay said that the glass was charged with vitreous electricity, and, when amber was rubbed with fur, the amber was charged with resinous electricity. In 1839, Michael Faraday showed that the apparent division between static electricity, current electricity, and bioelectricity was incorrect, and all were a consequence of the behavior of a single kind of electricity appearing in opposite polarities. It is arbitrary which polarity is called positive and which is called negative. Positive charge can be defined as the charge left on a glass rod after being rubbed with silk.[2]

text: One of the foremost experts on electricity in the 18th century was Benjamin Franklin, who argued in favour of a one-fluid theory of electricity. Franklin imagined electricity as being a type of invisible fluid present in all matter; for example, he believed that it was the glass in a Leyden jar that held the accumulated charge. He posited that rubbing insulating surfaces together caused this fluid to change location, and that a flow of this fluid constitutes an electric current. He also posited that when matter contained too little of the fluid it was "negatively" charged, and when it had an excess it was "positively" charged. For a reason that was not recorded, he identified the term "positive" with vitreous electricity and "negative" with resinous electricity. William Watson independently arrived at the same explanation at about the same time (1746).

text: Static electricity and electric current[edit]

text: Static electricity and electric current are two separate phenomena. They both involve electric charge, and may occur simultaneously in the same object. Static electricity refers to the electric charge of an object and the related electrostatic discharge when two objects are brought together that are not at equilibrium. An electrostatic discharge creates a change in the charge of each of the two objects. In contrast, electric current is the flow of electric charge through an object, which produces no net loss or gain of electric charge.

text: Electrification by friction[edit]

text: This section contains close paraphrasing of an external source, https://archive.org/details/ATreatiseOnElectricityMagnetism-Volume1. Ideas in this article should be expressed in an original manner. More details may be available on the talk page. (November 2014) (Learn how and when to remove this template message)

text: When a piece of glass and a piece of resin—neither of which exhibit any electrical properties—are rubbed together and left with the rubbed surfaces in contact, they still exhibit no electrical properties. When separated, they attract each other.

text: A second piece of glass rubbed with a second piece of resin, then separated and suspended near the former pieces of glass and resin causes these phenomena:

text:
The two pieces of glass repel each other.
Each piece of glass attracts each piece of resin.
The two pieces of resin repel each other.

text: This attraction and repulsion is an electrical phenomena, and the bodies that exhibit them are said to be electrified, or electrically charged. Bodies may be electrified in many other ways, as well as by friction. The electrical properties of the two pieces of glass are similar to each other but opposite to those of the two pieces of resin: The glass attracts what the resin repels and repels what the resin attracts.

text: If a body electrified in any manner whatsoever behaves as the glass does, that is, if it repels the glass and attracts the resin, the body is said to be vitreously electrified, and if it attracts the glass and repels the resin it is said to be resinously electrified. All electrified bodies are either vitreously or resinously electrified.

text: An established convention in the scientific community defines vitreous electrification as positive, and resinous electrification as negative. The exactly opposite properties of the two kinds of electrification justify our indicating them by opposite signs, but the application of the positive sign to one rather than to the other kind must be considered as a matter of arbitrary convention—just as it is a matter of convention in mathematical diagram to reckon positive distances towards the right hand.

text: No force, either of attraction or of repulsion, can be observed between an electrified body and a body not electrified.[3]

text: Actually, all bodies are electrified, but may appear not electrified because of the relatively similar charge of neighboring objects in the environment. An object further electrified + or – creates an equivalent or opposite charge by default in neighboring objects, until those charges can equalize. The effects of attraction can be observed in high-voltage experiments, while lower voltage effects are merely weaker and therefore less obvious. The attraction and repulsion forces are codified by Coulomb's law (attraction falls off at the square of the distance, which has a corollary for acceleration in a gravitational field, suggesting that gravitation may be merely electrostatic phenomenon between relatively weak charges in terms of scale). See also Casimir effect.

text: It is now known that the Franklin-Watson model was fundamentally correct. There is only one kind of electrical charge, and only one variable is required to keep track of the amount of charge.[4] On the other hand, just knowing the charge is not a complete description of the situation. Matter is composed of several kinds of electrically charged particles, and these particles have many properties, not just charge.

text: The most common charge carriers are the positively charged proton and the negatively charged electron. The movement of any of these charged particles constitutes an electric current. In many situations, it suffices to speak of the conventional current without regard to whether it is carried by positive charges moving in the direction of the conventional current or by negative charges moving in the opposite direction. This macroscopic viewpoint is an approximation that simplifies electromagnetic concepts and calculations.

text: At the opposite extreme, if one looks at the microscopic situation, one sees there are many ways of carrying an electric current, including: a flow of electrons; a flow of electron "holes" that act like positive particles; and both negative and positive particles (ions or other charged particles) flowing in opposite directions in an electrolytic solution or a plasma.

text: Beware that, in the common and important case of metallic wires, the direction of the conventional current is opposite to the drift velocity of the actual charge carriers; i.e., the electrons. This is a source of confusion for beginners.

text:
Flavour in
particle physics

Flavour quantum numbers

Isospin: I or I3
Charm: C
Strangeness: S
Topness: T
Bottomness: B′

Related quantum numbers

Baryon number: B
Lepton number: L
Weak isospin: T or T3
Electric charge: Q
X-charge: X

Combinations

Hypercharge: Y

Y = (B + S + C + B′ + T)
Y = 2 (Q − I3)

Weak hypercharge: YW

YW = 2 (Q − T3)
X + 2YW = 5 (B − L)

Flavour mixing

CKM matrix
PMNS matrix
Flavour complementarity

v
t
e

text: Conservation of electric charge[edit]

text: The total electric charge of an isolated system remains constant regardless of changes within the system itself. This law is inherent to all processes known to physics and can be derived in a local form from gauge invariance of the wave function. The conservation of charge results in the charge-current continuity equation. More generally, the net change in charge density ρ within a volume of integration V is equal to the area integral over the current density J through the closed surface S = ∂V, which is in turn equal to the net current I:

text: Thus, the conservation of electric charge, as expressed by the continuity equation, gives the result:

text:
The charge transferred between times

t

i

{\displaystyle t_{\mathrm {i} }}

 and

t

f

{\displaystyle t_{\mathrm {f} }}

 is obtained by integrating both sides:

text: where I is the net outward current through a closed surface and Q is the electric charge contained within the volume defined by the surface.

text: Relativistic invariance[edit]

text: Aside from the properties described in articles about electromagnetism, charge is a relativistic invariant. This means that any particle that has charge Q, no matter how fast it goes, always has charge Q. This property has been experimentally verified by showing that the charge of one helium nucleus (two protons and two neutrons bound together in a nucleus and moving around at high speeds) is the same as two deuterium nuclei (one proton and one neutron bound together, but moving much more slowly than they would if they were in a helium nucleus).[citation needed]


document_title: Falaknuma – Lingampally route (Hyderabad Multi-Modal Transport System)

question_text: mmts train timings from falaknuma to lingampally route

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2017) (Learn how and when to remove this template message)

text:
Falaknuma - Lingampally route

An MMTS train to Lingampalli enters Secunderabad railway station in 2013

Overview

Type
Rapid transit

System
MMTS, Hyderabad

Termini
Falaknuma
Lingampally

Stations
22

Operation

Opened
2003

Owner
Government of Andhra Pradesh
Indian Railways

Operator(s)
South Central Railway

Character
Surface

Technical

Number of tracks
2

Track gauge
1,676 mm (5 ft 6 in) (broad gauge)

Electrification
Direct current traction

hide
Route map

text: The Falaknuma - Lingampally route (FL) is a rapid transit service of the Multi-Modal Transport System of Hyderabad, India. Spanning 17 stations, it runs between Falaknuma and Lingampally 15 times a day.

text: Stations[edit]

text:
Station
Available transfers

Falaknuma

Huppuguda

Yakutpura

Dabirpura

Malakpet

Kachiguda

Vidyanagar

Jamia Osmania

Arts College

Sitaphalmandi

Secunderabad

James Street

Sanjeevaiah Park

Begumpet

Nature Cure

Fateh Nagar

Bharat Nagar

Borabanda

Hi-Tec City

Hafeezpet

Chanda Nagar

Lingampally


document_title: 2018 FIFA World Cup qualification (CONCACAF)

question_text: how many teams qualify for the world cup from concacaf

text: Format[edit]

text: The qualification structure was as follows:[4][6]

text:
First round: A total of 14 teams (lowest ranked teams are assigned spots 22–35) played home-and-away over two legs. The seven winners advanced to the second round.
Second round: A total of 20 teams (second lowest ranked teams are assigned spots 9–21 and seven first round winners) played home-and-away over two legs. The ten winners advanced to the third round.
Third round: A total of 12 teams (teams ranked 7–8 by CONCACAF and ten second round winners) played home-and-away over two legs. The six winners advanced to the fourth round.
Fourth round: A total of 12 teams (teams ranked 1–6 by CONCACAF and six third round winners) were divided into three groups of four teams to play home-and-away round-robin matches. The top two teams of each group advanced to the fifth round.
Fifth round: The six teams which had advanced from the fourth round played home-and-away round-robin matches in one single group (often referred to as the "Hexagonal"). The top three teams qualified for the 2018 FIFA World Cup, and the fourth-placed team advanced to the inter-confederation play-offs.

text: Entrants[edit]

text: All 35 FIFA-affiliated national teams from CONCACAF entered qualification.[7] The seeding – used to draw the first four rounds of the qualifiers – was based on the FIFA World Rankings of August 2014 (shown in parentheses).[4]

text:
From the August 2014 FIFA World Rankings[8]

Bye to fourth round
(Ranked 1st to 6th)
Bye to third round
(Ranked 7th to 8th)
Bye to second round
(Ranked 9th to 21st)
Competing in first round
(Ranked 22nd to 35th)

 Costa Rica (15)
 Mexico (17)
 United States (18)
 Honduras (43)
 Panama (63)
 Trinidad and Tobago (80)

 Jamaica (85)
 Haiti (117)

 Canada (122)
 Cuba (124)
 Aruba (124)
 Dominican Republic (126)
 El Salvador (127)
 Suriname (131)
 Guatemala (134)
 Saint Vincent and the Grenadines (134)
 Saint Lucia (138)
 Grenada (142)
 Antigua and Barbuda (149)
 Guyana (153)
 Puerto Rico (155)

 Saint Kitts and Nevis (159)
 Belize (162)
 Montserrat (165)
 Dominica (168)
 Barbados (169)
 Bermuda (173)
 Nicaragua (175)
 Turks and Caicos Islands (181)
 Curaçao (182)
 U.S. Virgin Islands (191)
 Bahamas (193)
 Cayman Islands (197)
 British Virgin Islands (201)
 Anguilla (207)

text: Schedule[edit]

text: The schedule of the competition was as follows.[4]

text:
Round
Matchday
Date

First round
First leg
22–31 March 2015

Second leg

Second round
First leg
8–16 June 2015

Second leg

Third round
First leg
31 August – 8 September 2015

Second leg

Fourth round
Matchday 1
9–17 November 2015

Matchday 2

Matchday 3
21–29 March 2016

Matchday 4

Matchday 5
29 August – 6 September 2016

Matchday 6

Round
Matchday
Date

Fifth round
Matchday 1
7–15 November 2016

Matchday 2

Matchday 3
20–28 March 2017

Matchday 4

Matchday 5
5–13 June 2017

Matchday 6

Matchday 7
28 August – 5 September 2017

Matchday 8

Matchday 9
2–10 October 2017

Matchday 10

text: The inter-confederation play-offs were scheduled to be played between 6–14 November 2017.[9]

text: First round[edit]

text: The draw for the first round was held on 15 January 2015, 19:40 EST (UTC−5), at the W Hotel at Miami Beach, Florida, United States.[10]

text:
Team 1
Agg.
Team 2
1st leg
2nd leg

Bahamas
0–8
 Bermuda
0–5
0–3

British Virgin Islands
2–3
 Dominica
2–3
0–0

Barbados
4–1
 U.S. Virgin Islands
0–1
4–0

Saint Kitts and Nevis
12–4[note 1]
 Turks and Caicos Islands
6–2
6–2

Nicaragua
8–0
 Anguilla
5–0
3–0

Belize
1–1 (a)
 Cayman Islands
0–0
1–1

Curaçao
4–3
 Montserrat
2–1
2–2

text: Second round[edit]

text: The draw for the second round was held on 15 January 2015, 19:40 EST (UTC−5), at the W Hotel at Miami Beach, Florida, United States.[10]

text:
Team 1
Agg.
Team 2
1st leg
2nd leg

Saint Vincent and the Grenadines
6–6 (a)
 Guyana
2–2
4–4

Antigua and Barbuda
5–4
 Saint Lucia
1–3
4–1

Puerto Rico
1–2
 Grenada
1–0
0–2

Dominica
0–6[note 1]
 Canada
0–2
0–4

Dominican Republic
1–5
 Belize
1–2
0–3

Guatemala
1–0
 Bermuda
0–0
1–0

Aruba
3–2
 Barbados
0–2
3–0[note 2]

Saint Kitts and Nevis
3–6
 El Salvador
2–2
1–4

Curaçao
1–1 (a)
 Cuba
0–0
1–1

Nicaragua
4–1
 Suriname
1–0
3–1

text: Third round[edit]

text: The draw for the third round was held as part of the 2018 FIFA World Cup Preliminary Draw on 25 July 2015, starting 18:00 MSK (UTC+3), at the Konstantinovsky Palace in Strelna, Saint Petersburg, Russia.[12]

text:
Team 1
Agg.
Team 2
1st leg
2nd leg

Curaçao
0–2
 El Salvador
0–1
0–1

Canada
4–1
 Belize
3–0
1–1

Grenada
1–6
 Haiti
1–3
0–3

Jamaica
4–3
 Nicaragua
2–3
2–0

Saint Vincent and the Grenadines
3–2
 Aruba
2–0
1–2

Antigua and Barbuda
1–2
 Guatemala
1–0
0–2

text: Fourth round[edit]

text: The draw for the fourth round was held as part of the 2018 FIFA World Cup Preliminary Draw on 25 July 2015, starting 18:00 MSK (UTC+3), at the Konstantinovsky Palace in Strelna, Saint Petersburg, Russia.[12]

text: Groups[edit]

text:
[show]2018 FIFA World Cup qualification tiebreakers

In league format, the ranking of teams in each group is based on the following criteria (regulations Articles 20.6 and 20.7):[13]

Points (3 points for a win, 1 point for a draw, 0 points for a loss)
Overall goal difference
Overall goals scored
Points in matches between tied teams
Goal difference in matches between tied teams
Goals scored in matches between tied teams
Away goals scored in matches between tied teams (if the tie is only between two teams in home-and-away league format)
Fair play points

first yellow card: minus 1 point
indirect red card (second yellow card): minus 3 points
direct red card: minus 4 points
yellow card and direct red card: minus 5 points

Drawing of lots by the FIFA Organising Committee

text: Group A[edit]

text:
Pos
Team

v
t
e

Pld
W
D
L
GF
GA
GD
Pts
Qualification

1
 Mexico
6
5
1
0
13
1
+12
16
Advance to fifth round

—
0–0
2–0
3–0

2
 Honduras
6
2
2
2
6
6
0
8

0–2
—
2–1
2–0

3
 Canada
6
2
1
3
5
8
−3
7

0–3
1–0
—
3–1

4
 El Salvador
6
0
2
4
4
13
−9
2

1–3
2–2
0–0
—

text: Group B[edit]

text:
Pos
Team

v
t
e

Pld
W
D
L
GF
GA
GD
Pts
Qualification

1
 Costa Rica
6
5
1
0
11
3
+8
16
Advance to fifth round

—
3–1
1–0
3–0

2
 Panama
6
3
1
2
7
5
+2
10

1–2
—
1–0
2–0

3
 Haiti
6
1
1
4
2
4
−2
4

0–1
0–0
—
0–1

4
 Jamaica
6
1
1
4
2
10
−8
4

1–1
0–2
0–2
—

text: Group C[edit]

text:
Pos
Team

v
t
e

Pld
W
D
L
GF
GA
GD
Pts
Qualification

1
 United States
6
4
1
1
20
3
+17
13
Advance to fifth round

—
4–0
4–0
6–1

2
 Trinidad and Tobago
6
3
2
1
13
9
+4
11

0–0
—
2–2
6–0

3
 Guatemala
6
3
1
2
18
11
+7
10

2–0
1–2
—
9–3

4
 Saint Vincent and the Grenadines
6
0
0
6
6
34
−28
0

0–6
2–3
0–4
—

text: Fifth round[edit]

text: As with every World Cup qualification campaign since 1998, CONCACAF held a six-team, home-and-away round-robin group known as the 'Hexagonal', or 'Hex', as its final and decisive round. As a result of the abolition of the February and August fixtures from the FIFA calendar, the 'Hex' for the first time was not contained within a single calendar year, but instead began in November 2016 and concluded in October 2017.[4][5]

text: The draw for the fifth round (to decide the fixtures) was held on 8 July 2016, 10:00 EDT (UTC−4), at the CONCACAF headquarters in Miami Beach, United States.[14][15][16]

text:
Pos
Team

v
t
e

Pld
W
D
L
GF
GA
GD
Pts
Qualification

1
 Mexico
10
6
3
1
16
7
+9
21
Qualification to 2018 FIFA World Cup

—
2–0
1–0
3–0
1–1
3–1

2
 Costa Rica
10
4
4
2
14
8
+6
16

1–1
—
0–0
1–1
4–0
2–1

3
 Panama
10
3
4
3
9
10
−1
13

0–0
2–1
—
2–2
1–1
3–0

4
 Honduras
10
3
4
3
13
19
−6
13
Advance to inter-confederation play-offs

3–2
1–1
0–1
—
1–1
3–1

5
 United States
10
3
3
4
17
13
+4
12

1–2
0–2
4–0
6–0
—
2–0

6
 Trinidad and Tobago
10
2
0
8
7
19
−12
6

0–1
0–2
1–0
1–2
2–1
—

text: Inter-confederation play-offs[edit]

text: The draw for the inter-confederation play-offs was held as part of the 2018 FIFA World Cup Preliminary Draw on 25 July 2015, starting 18:00 MSK (UTC+3), at the Konstantinovsky Palace in Strelna, Saint Petersburg.[17] The fourth-placed team from CONCACAF was drawn against the fifth-placed team from AFC, with the CONCACAF team hosting the first leg.[18]

text:
Team 1
Agg.
Team 2
1st leg
2nd leg

Honduras
Play-off 1
 Australia
10 Nov
15 Nov

text: Qualified teams[edit]

text: The following teams from CONCACAF have qualified for the final tournament.

text:
Team
Qualified as
Qualified on
Previous appearances in tournament1

 Mexico
1 !Fifth round winners
000000002017-09-01-00001 September 2017
15 (1930, 1950, 1954, 1958, 1962, 1966, 1970, 1978, 1986, 1994, 1998, 2002, 2006, 2010, 2014)

 Costa Rica
2 !Fifth round runners-up
000000002017-10-07-00007 October 2017
4 (1990, 2002, 2006, 2014)

 Panama
3 !Fifth round third place
000000002017-10-10-000010 October 2017
0 (debut)

text: Top goalscorers[edit]

text: Carlos Ruiz

text: Jozy Altidore

text: Christian Pulisic

text: Romell Quioto

text:
Nelson Bonilla
 Oalex Anderson
 Tevin Slater
 Joevin Jones
 Clint Dempsey
 Bobby Wood

text:
Deon McCaulay
 Cyle Larin
 Tosaint Ricketts
 Christian Bolaños
 Marco Ureña
 Alberth Elis
 Hirving Lozano

text: For full lists of goalscorers, see sections in each round:

text:
First round
Second round
Third round
Fourth round
Fifth round

text: Notes[edit]

text:
^ Jump up to: a b Order of legs reversed from originally published draw.
Jump up ^ FIFA awarded Aruba a 3–0 win as a result of Barbados fielding the ineligible player Hadan Holligan. Holligan failed to serve an automatic one match suspension for receiving two yellow cards earlier in the competition.[11] The match originally ended 1–0 to Barbados.


document_title: Back in the High Life Again

question_text: who sang back in the high life again

question_tokens: who sang back in the high life again

text: Back in the High Life Again

text:
"Back in the High Life Again"

Cover art for UK and non-US editions

Single by Steve Winwood

from the album Back in the High Life

Released
December 1986

Recorded
Unique Recording Studio
New York, 1985

Genre
R&B, blue-eyed soul, pop

Length
5:50
4:12 (edit)

Label
Island – IS 288

Songwriter(s)
Steve Winwood
Will Jennings

Producer(s)
Russ Titelman

Steve Winwood singles chronology

"Freedom Overspill"
(1986)
"Back in the High Life Again"
(1986)
"The Finer Things"
(1986)

"Freedom Overspill"
(1986)
"Back in the High Life Again"
(1986)
"The Finer Things"
(1986)

text: "Back in the High Life Again" is a 1986 single written by Steve Winwood and Will Jennings and performed by Winwood.[1] The single was included on his album Back in the High Life and included backing vocals by James Taylor as well as a prominent mandolin played by Winwood. "Back in the High Life Again" was Winwood's second number one on the Adult Contemporary chart. The single stayed at number one for three weeks and went to number 13 on the Billboard Hot 100.[2]

text: Personnel[edit]

text:
Steve Winwood – vocals, piano, synthesizer, mandolin, Moog bass, drum machine programming
Jimmy Bralower – additional drum machine programming[3]
Rob Mounsey – additional synthesizer
John Robinson – drums
James Taylor – harmony vocals

text: In popular culture[edit]

text: The song was in closing credits of the CBS Sports coverage of the NBA Finals in 1987,[4] and appeared in the It's Always Sunny in Philadelphia episode "The Gang Buys a Boat". It was also used in a photo montage of the NASCAR on TNN production crew after TNN's final NASCAR race broadcast, the 2000 Checker Auto Parts/Dura Lube 500 at Phoenix International Raceway.[5]

text: Warren Zevon subsequently covered the song on his 2000 album Life'll Kill Ya.