History.

On June 18, 1908, the University of the Philippines was established through an act of the First Philippine Legislature. Act No. 1870, otherwise known as the "University Act", specified the function of the University, which is to provide advanced instruction in literature, philosophy, the sciences and arts, and to administer professional and technical training.  The University began with the establishment of the Philippine Medical School (later incorporated into the University as the College of Medicine and Surgery) in 1905, which started operating in 1907, a year ahead of the rest of the U.P. System. Together with the College of Fine Arts and the College of Liberal Arts, the College of Medicine occupied buildings distributed along Padre Faura Street (Ermita district) and R. Hidalgo Street (Quiapo district) in Manila, while the School of Agriculture was in Los Baños, Laguna. A few years later, the university opened the College of Law and the College of Engineering in Manila, as well as academic units under the College of Agriculture and Forestry in Los Baños, Laguna. The Board of Regents approved the decision to look for a larger site, and a 493-hectare lot was acquired by the university in Diliman, Quezon City, then a town in the province of Rizal. Construction of the Quezon City campus began in 1939.  During World War II, most of its colleges had to be closed except the Colleges of Medicine, Pharmacy, and Engineering. Meanwhile, the Japanese Imperial Army occupied three Diliman campus buildings: the College of Liberal Arts Building (now Benitez Hall) and the Colleges of Law (now Malcolm Hall) and Business Administration Building. The Japanese also occupied the campus of the College of Agriculture in Los Baños. U.P. President Bienvenido Ma. Gonzalez sought a grant of ₱ 13 million from the US-Philippines War Damage Commission. A massive rehabilitation and construction effort was executed during the post-war years. For the first time, an extensive Diliman campus master plan and map were created in 1949. More buildings were built across the Diliman campus landscape: the University Library (Gonzalez Hall), the College of Engineering (Melchor Hall), the Women's Residence Hall (now Kamia Residence Hall), the Conservatory of Music (Abelardo Hall and now the College of Music), the Administration Building (Quezon Hall), and the U.P. President's Residence. Most colleges and administration offices were temporarily housed in huts and shelters made of sawali and galvanized iron.  During U.P.'s 40th anniversary in February 1949, central administrative offices of U.P. were moved from Manila to Diliman together with the transfer of the U.P. Oblation. Administrative offices and its regional units in Manila, Los Baños, Baguio, and Cebu were all housed in the Diliman campus. General commencement exercises were also held in Diliman for the first time in 1949.  In the 1950s, new academic units and degree programs were established. Another major reform, the General Education (G.E.) Program, was introduced in 1959. The G.E. Program became a series of core courses prescribed for all students at the undergraduate level. Most of these courses were being taught at the then College of Liberal Arts. As a result, U.P. President Vicente Sinco saw fit to reorganize the college into a University College, which would offer the core subjects to be taken during the first two years of the undergraduate program. Meanwhile, the College of Arts and Sciences and Graduate School of Arts and Sciences, offered major courses in the humanities, natural sciences, and social sciences. During President Sinco's term, more institutes and colleges were established. These institutes and colleges include the Institute of Public Administration (1952), the Statistical Center (1953), the Labor Education Center (now the School of Labor and Industrial Relations, established in 1954), the Asian Studies Institute (now the Asian Center, established in 1955), the Institute of Library Science (now the School of Library and Information Studies, established in 1961), and the College of Home Economics (1961).  The administration of U.P. President Carlos P. Romulo was marked by the founding of the Population Institute, the Law Center and the Applied Geodesy and Photogrammetry Training Center in 1964; the Institute of Mass Communication, the College of Business Administration, and the Institute of Planning in 1965; the Computer Center, the Institute for Small-Scale Industries in 1966, the Institute of Social Work and Community Development in 1967, and the Asian Center in 1968.  During the Martial Law period, U.P.'s administrators tried to sustain the university's educational priorities and institutional autonomy. At the height of activism in the university, U.P. President Salvador P. Lopez established a system of democratic consultation in which decisions such as promotions and appointments were made through greater participation by the faculty and administrative personnel. Lopez also reorganized U.P. into the U.P. System. During that period of activism, U.P. Diliman was called the "Diliman Republic" and elements of the police and the Metrocom stormed the campus during Martial Law. In November 1972, the Los Baños campus was the first to be declared an autonomous unit under a chancellor. A ₱ 150 million grant from the national budget boosted U.P.'s Infrastructure Development Program. In Diliman, it funded the construction of buildings for the Colleges of Business Administration and Zoology, the Institute of Small-Scale Industries, the Transport Training Center, and the Coral Laboratory of the Marine Sciences Institute. Kalayaan Residence Hall and housing for low-income employees were also built around this time.  U.P. President Onofre D. Corpuz declared U.P. Manila, then known as the Health Sciences Center, and U.P. Visayas as autonomous units. At the same time, the Asian Institute of Tourism (AIT) was established in light of the prioritization of tourism as a national industry. New centers for research and degree-granting units such as the Third World Studies Center (1977), Creative Writing Center, National Engineering Center (1978), U.P. Extension Program in San Fernando, Pampanga (1979), which is now in Clark Freeport Zone, Pampanga, Institute of Islamic Studies (1973), U.P. Film Center, National Center for Transportation Studies (1976) were also established. U.P. celebrated its 75th year in 1983. In the same spirit, a U.P. Extension Program in Olongapo was also established in 1984.  Edgardo Angara's Diamond Jubilee project raised ₱ 80 million which was earmarked for the creation of new professorial chairs and faculty grants. Angara also organized the Management Review Committee (MRC) and the Committee to Review Academic Programs (CRAP) to evaluate and recommend measures for improving university operations. The MRC report led to a wide-ranging reorganization of the U.P. System, the further decentralization of U.P. administration, and the declaration of U.P. Diliman as an autonomous unit on March 23, 1983. U.P. Baguio was then placed under the supervision of U.P. Diliman. Meanwhile, the College of Arts and Sciences also underwent a reorganization to become three separate colleges: the College of Science (CS), the College of Arts and Letters (CAL), and the College of Social Sciences and Philosophy (CSSP). There has been problems regarding this ever since the three colleges separated.  As the flagship campus, U.P. Diliman led the rest of the units. On April 26, 1982, it was formally designated as a constituent university, almost a decade after the reorganization. Although Diliman was the seat of the U.P. Administration, the campus was not immediately constituted after 1972. It was administered, along with the Manila unit, prior to the organization of the Health Sciences Center, as a "de facto" university.  U.P. President José Abueva introduced the Socialized Tuition Fee Assistance Program (STFAP) in 1987. Abueva also institutionalized a Filipino language policy within the university. U.P. President Emil Javier established the creation of U.P. Mindanao at Davao City, Southern Mindanao, and the U.P. Open University in 1995. U.P. President Francisco Nemenzo's legacy includes the Revitalized General Education Program (RGEP) and the institutionalization of more incentives for research and creative achievements by U.P. faculty members.  U.P. President Emerlinda Roman, from the College of Business Administration (CBA), has led a Centennial Campaign Fund to upgrade the university's services and facilities. Her term of office has been noted for the ascension of several key professors from the CBA to positions of power within the university. Notable among them is U.P. Diliman Chancellor Sergio S. Cao, Assistant Vice President for Planning and Development, Prof. Arthur S. Cayanan, Director of the U.P. System Budget Office, Prof. Joselito G. Florendo, Dr. Lina J. Valcarcel Executive Director, U.P. Provident Fund, Inc. and U.P. Foundation, Inc. Executive Director Gerardo B. Agulto.

Centennial celebration.

On January 8, 2008, the University of the Philippines began its centennial celebration. The opening ceremony featured a 100-torch relay to light the eternal flame on the Centennial Cauldron at Quezon Hall. Torches were carried by, among others, Fernando Javier, 100, of Baguio City, the oldest U.P. alumnus (Civil Engineering from University of the Philippines Manila, 1933), Michael Dumlao, a 6th-grader from the University of the Philippines Integrated School in U.P. Diliman and U.P. President Emerlinda Roman, the first woman president of the university. The Centennial Cauldron features three pillars to represent the three core values, and seven flowers representing the seven constituent universities, i.e. U.P. Manila, U.P. Diliman (together with U.P. Pampanga, its extension campus), U.P. Los Baños, U.P. Baguio, U.P. Visayas, U.P. Mindanao, and U.P. Open University.  The Bangko Sentral ng Pilipinas (BSP) and U.P. issued commemorative ₱ 100 U.P. Centennial notes at the BSP Security Plant Complex in Quezon City. The notes appear as four-outs (four uncut pieces) in a folder featuring the signatures of all U.P. presidents including Roman.  Inspired by the U.P. Oblation, the University of the Philippines Alumni Association (UPAA) launched an art exhibit, "100 Nudes/100 Years" featuring the works of nine (9) U.P. alumni national artists.

U.P.A.A. 2008 centennial yearbook.

The University of the Philippines Alumni Association announced its launching of a three-volume U.P.A.A. 2008 Centennial Yearbook on June 21, 2008 at the U.P.A.A. Grand Alumni-Faculty Homecoming and Reunion at the Araneta Coliseum, Cubao, Quezon City. The theme is “U.P. Alumni: Excellence, Leadership and Service in the Next 100 Years," with the three cover designs showing the works of National Artists Napoleon Abueva, Abdulmari Asia Imao, and Benedicto Cabrera, respectively. Chief Justice Reynato Puno is the Yearbook's most distinguished alumnus awardee (among 46 other awardees).

U.P. Charter of 2008.

The U.P. Charter of 2008, Republic Act No. 9500, was signed by President Gloria Macapagal-Arroyo into law on April 29, 2008, at the U.P. Library Conference Hall in Lahug, Cebu. It aims "to provide both institutional and fiscal autonomy to U.P., specifically, to protect student's democratic access and strengthen administration through the recognition of U.P. System's Board of Regents and U.P. Council." The new charter declared U.P. as the Philippines' national university, giving it "the enhanced capability to fulfill its mission and spread the benefits of knowledge." The new charter will help improve its competitiveness. The newly designated “national university" however, needs ₱ 3.6 billion to be on a par with other universities in the region.

UP-Ayala Land TechnoHub.

The centennial ₱ 6 billion, UP-Ayala Land TechnoHub, a complex of low-rise buildings along Commonwealth Avenue, within the of the U.P. North Science and Technology Park, was constructed on February 16, 2006, and inaugurated on November 22, 2008. It was developed by the Ayala Land Property company into an information technology and IT-enabled services community to host business process outsourcing (BPO) and technology firms.

Autonomous units.

At present, the University of the Philippines is composed of eight (8) constituent universities (CU) located in 15 campuses around the country.  U.P. Diliman is the flagship campus of the university and offers the most number of courses. On July 19, 2011, the Bases Conversion and Development Authority donated to U.P. a 4,300-square meter (1 acre) lot at the Bonifacio Global City (BGC) in Taguig for the U.P. Professional Schools, which will initially include extension classes for UP Diliman's College of Law, College of Business Administration, College of Engineering, School of Statistics, as well as the UP Open University.  Each constituent university of U.P. is headed by a chancellor, who is elected on a three-year term by the Board of Regents. Unlike the president, who is elected on a single six-year term without re-election, the chancellor maybe re-elected for another three-year term but it is upon the discretion of the members of the Board of Regents.

Satellite campuses.

The satellite campuses do not have autonomous status. They are considered extension colleges of their mother unit. Some campuses host different programs of various colleges within the mother unit.

Organization.

Presidents of the University of the Philippines.

The President of the University of the Philippines is elected for a single six-year term by the University's twelve-member Board of Regents. As of 2019, two Americans and 19 Filipinos served as President of the University of the Philippines.  The current president of U.P. is lawyer and former University of the Philippines College of Law Dean Danilo L. Concepcion. He assumed office on February 10, 2017.

Board of Regents.

The governance of the University is vested in the Board of Regents of the University of the Philippines System (or "Lupon ng mga Rehente" in Filipino) and commonly abbreviated as BOR. The board, with its 12 members, is the highest decision-making body of the U.P. system.  The Chairperson of the Commission on Higher Education (CHED) serves as the Board's Chairperson while the President of the University of the Philippines is the Co-Chairperson. The Chairpersons of the Committees of Higher Education of the Senate and the House of Representatives are members of the U.P. Board of Regents which are concurrent with their functions as committee chairpersons.  U.P. students, represented by the General Assembly of Student Councils, nominate a Student Regent. While the Faculty Regent is likewise nominated by the faculty members of the whole University. Alumni are represented by the President of the U.P. Alumni Association. A Staff Regent, representing professional and administrative personnel, was included with the passage of the new U.P. Charter in 2008. The remaining members of the Board of Regents are nominated into the position by the President of the Philippines.  As of 2018, the members of the Board of Regents of the University of the Philippines System are:  The Secretary of the University and the Board of Regents is Atty. Roberto M.J. Lara.

Academics.

The University of the Philippines System offers 246 undergraduate degree programs and 362 graduate degree programs, more than any other university in the country. The flagship campus in Diliman offers the largest number of degree programs, and other campuses are known to lead and specialize in specific programs. The University has 57 degree-granting units throughout the system, which may be a College, School or Institute that offers an undergraduate or a graduate program. In the Los Baños campus, a separate Graduate School administers the graduate programs in agriculture, forestry, the basic sciences, mathematics and statistics, development economics and management, agrarian studies and human ecology. The College of Public Health at the Manila campus has a collaboration with Boston University School of Public Health. This program allows students from Boston University to do a semester of coursework at U.P. Manila as well as an international field practicum in the Philippines. The University has 4,571 faculty, trained locally and abroad with 36% having graduate degrees. The University is one of the three universities in the Philippines affiliated with the ASEAN University Network, and the only Philippine university to be affiliated with the ASEAN-European University Network and the Association of Pacific Rim Universities.

Budget.

The University has the highest financial endowment of all educational institutions in the Philippines. In 2008, the entire U.P. System received a financial subsidy from the national government of ₱ 5.7 billion. The total expenditure for the same year, however, is ₱ 7.2 billion, or approximately ₱ 135,000 per student. State universities and colleges have continually experienced budget cuts over the years. In 2019, the University requested ₱44.9 billion budget but only received ₱15.5 billion for its budget, with additional ₱1.5 billion for operational and equipment expenses. The Philippine General Hospital, the most affected unit of the UP System, received an insufficient budget of P2.92 billion, with only P155 million out of the requested P1.6 billion allocated for infrastructure and capital outlays.

Rankings and reputation.

UP has been consistently ranked the top university in the Philippines since its inclusion in several university rankings. In 2020, UP was ranked 65th in the Times Higher Education (THE) Asia University Rankings and 72nd in the QS Asia University Rankings, the highest ranked Philippine university. In the THE rankings, UP is the fifth best university in Southeast Asia, after National University of Singapore (3rd), Nanyang Technological University (6th), University of Malaya (43rd) and Universiti Brunei Darussalam (60th). On the other hand, the QS rankings put it as the 13th best university in Southeast Asia after two Singapore, five Malaysian, three Indonesian, and two Thai universities.  Moreover, UP ranks in numerous world subject rankings, most notably 51-100th place in Development Studies, 101-150th place in English Language and Literature, Geography, and Politics and International Studies, 151-200th place in Archaeology, Agriculture and Forestry, and Sociology in the QS World University Rankings by Subject Area. UP programs also place in Times Higher Education World University Rankings: 126-150th in Clinical, Pre-Clinical and Health subjects; 501-600 bracket for both Life Sciences and Social Sciences; in the 601+ bracket for Engineering and Technology, and Computer Science; and in the 801+ bracket in Physical Sciences.  Earlier, in the Asiaweek's Best Universities in Asia last published in 2000, UP ranked 48th. In 2006 the University, through President Emerlinda R. Roman, has expressed that it does not want to participate in the THES Ranking, but was included in 2007, 2008, and 2009 with an incomplete academic profile.  In the national rankings based on cumulative data from 1991-2001 of average passing rates in all courses of all Philippine colleges and universities in the licensure examinations, U.P. Diliman, U.P. Los Baños and U.P. Manila emerged as numbers one, two and three respectively. The study was done by the Professional Regulation Commission and the Commission on Higher Education.

General education program.

The General Education Program was introduced in 1959 and formed core courses prescribed for all students at the undergraduate level. The General Education Program is the Revitalized General Education Program (abbreviated as RGEP), which was approved by the Board of Regents in 2001. The RGEP offers courses in three domains (Arts and Humanities; Mathematics, Science, and Technology; and Social Sciences and Philosophy) and gives students the freedom to choose the general education subjects in these domains that they would like to take. It has led to the development of courses unique to the campuses. Examples of these courses include NASC 10 ("Forests as Source of Life") in Los Baños, Geography 1 ("Places and Landscapes in a Changing World") in Diliman, and History 3 ("History of Philippine Ethnic Minorities") in Baguio.

Library system.

The University library system contains the largest collections of agricultural, medical, veterinary and animal science materials in the Philippines. The library system has a collection of Filipiniana material, serials and journals in both electronic and physical forms and UPIANA materials in its archives. It also has a collection of documents of student, political, and religious organizations advocating political, economic, and social changes during the Marcos administration in the Diliman library.  The University is one of the five governmental agencies involved with the Philippine eLib, a nationwide information resource-sharing consortium, to which it provides access to 758,649 of its bibliographic records.  The library was established in 1922 in the Manila campus and was considered as one of the best in Asia prior to the Second World War. The collection, containing almost 150,000 volumes, was destroyed when Japanese troops stormed the library during the war, leaving only a handful of books intact. Gabriel Bernardo, the Librarian of the University who built the collection, described the loss as "intellectual famine." Bernardo would later rebuild the library in the Diliman campus. The University has likewise been one of the pioneers in library science education in the country. Library courses were first offered under the College of Liberal Arts under James Alexander Robertson in 1914. In 1961, the Institute of Library Science was established in Diliman and a year later, the institute established the country's first graduate program in Library Science.

Admissions and financial aid.

Undergraduate admissions.

As a public state university, ""selection is based on intellectual and personal preparedness of the applicant irrespective of sex, religious belief and political affiliation."" Admission into the University's undergraduate programs is very competitive, with over 70,000 students taking the exam every year, with about 11,000 being accepted, an admission rate of about 18%. Admission to a program is usually based on the result of the UPCAT, University Predicted Grade (UPG), which is an average of grades obtained during high school and sometimes, a quota set by the unit offering the program. The University also maintains a "Policy of Democratization" which aims to ""make the U.P. studentry more representative of the nation's population."" The UPCAT also allows students to enter Intarmed, the University's accelerated 7-year medicine curriculum, one of the two entry points into the program. Transferring to the University from other constituent units or schools outside the system are determined by the degree-granting unit that offers the program or the course, not by the university's Office of Admissions.

Socialized Tuition System.

The Socialized Tuition System (also referred to as the “"Iskolar ng Bayan"" Program) (STS) was implemented in response to the increase in tuition in 2014. The program, proposed in 1988 by U.P. President Jose Abueva and mandated by the President and Congress of the Philippines, called for "a radical departure from the old fee and scholarship structure of UP, resulting in tremendous benefits for low-income and disadvantaged Filipino students". The Socialized Tuition and Financial Assistance Program (STFAP) is divided into four basic components: Subsidized Education, Socialized Tuition, Scholarships, and Student Assistantships. In the 1989 STFAP, income groups are divided into nine brackets, with one having the full benefits. In December 2006, the Board of Regents approved a restructured STFAP, along with the increase in tuition and other fees that will apply for incoming freshmen.  The Revised STFAP reduces the brackets from nine (9) to five (5), and will supposedly increase the number of students receiving tuition subsidy and increase stipend rates and coverage. However, critics of the restructured STFAP argue that the data used in the formulation of the revised program is not an acceptable prediction of a student's family income, that some of the bracket assignments are flawed and that the program fails to address or revise student assistantship programs.

Culture, sports and traditions.

University symbols.

The University's colors are maroon and forest green. Maroon was chosen to represent the fight for freedom, as Maroon is also a name of a Jamaican tribe who were successful in defending their freedom from slavery and their independence from English conquerors for more than 100 years. The colors are also immortalized in the University's hymn;  In 2004, the University's seal and the Oblation were registered in the Philippine Intellectual Property Office to prevent unauthorized use and multiplication of the symbols for the centennial of the University in 2008. The centennial logo was used in visual materials and presentations of the centennial activities and events of the University. The logo, which was designed by Ringer Manalang, is composed of the Oblation, the sablay and a highlighted Philippine map.

Official seal.

The Seal of the University of the Philippines is the official device used by the university as its official symbol and mark for its legal and public documents and publications. The current seal in use was approved by the Board of Regents on February 25, 1913 during its 77th Meeting. It has two versions: a one-color and a full-color version, using the prescribed tones of Maroon and Forest Green, the official colors of the University as set by the University Brand Book released in 2007. The seal was registered in the Philippine Intellectual Property Office and was approved in the year 2006 to prevent unauthorized use in time for U.P.'s Centennial Celebration in 2008.  The bald eagle in the official seal holds a shield that carries a lamp, a cogwheel and; a volcano and tree (sometimes rendered erroneously as a star and the planet Saturn). These symbols represent science and medicine, engineering, and agriculture respectively. Until today, the University takes pride in these three areas of knowledge as these degree programs in U.P. are acknowledged as Centers of Excellence in the Philippines by the Commission on Higher Education. A myth persists that the bird in the seal is in fact, a parrot, as stated in some Freshmen orientation materials. The University's varsity team was also once called the "Parrots", adding to the confusion about the species of the bird in question. An explanation for the use of the eagle in the seal is that it was derived from the coat of arms of the City of Manila and the Great Seal of the United States of America.  Starting with the reorganization of the U.P. System in 1972, in order to signify their newly gained autonomy and specialization, most constituent universities of the System have adopted their own seals. These logos are either variations of the official seal, by changing the colors and adding elements, or are entirely new designs. These are sometimes used in place of the official University seal in official documents, such as transcripts and markers. Distinct seals or logos are sometimes produced, such as those for the U.P. System and UPLB Centennial Celebrations. A notable use of the System seal can be seen in the official seal of the U.P. Alumni Association, which features the Oblation, the Diliman Carillon, the Bahay ng Alumni facade and the University seal in its "entirety".

U.P. Naming Mahal.

"U.P. Naming Mahal", or U.P. Our Beloved, is the University's hymn. The melody for the song was written by Nicanor Abelardo, an alumnus and former faculty member of the U.P. College of Music. Abelardo is considered to be one of the Philippines' greatest musicians. Because of the original scale of the hymn in B flat major, which is too high for the usual voice, U.P. Conservatory of Music (now U.P. College of Music) professors Hilarion Rubio and Tomas Aguirre reset the music in G major. The choral version arranged by Nhick Pacis was performed by the UP Concert Chorus.  The English lyrics (entitled as "U.P. Beloved") was taken from a poem by Teogenes Velez, a Liberal Arts student. The translation to Filipino was a composite from seven entries in a contest held by the University. The judges did not find any of the seven translations as fully satisfactory.

Sablay.

The University uses unique academic regalia, called the "Sablay," which is a sash patterned after the centuries-old sash academic regalia of Scandinavian universities. The "Sablay" is a sash joined in front by an ornament and embroidered or printed with the University's initials in Baybayin script and running geometric motifs of indigenous Filipino ethnic groups. It is traditionally worn over a white or ecru dress for females or an ecru barong Tagalog and black pants for males, although there has been instances wherein the Sablay is worn over other indigenous clothing. Candidates for graduation wear the sablay at the right shoulder, and is then moved to the left shoulder after the President of the University confers their degree, similar to the moving of the tassel of the academic cap.

U.P. ROTC.

The University of the Philippines ROTC Unit is the pioneer of the Reserve Officer Training Corps in the Philippines. With the activation of the U.P. ROTC Unit in 1912, several State and Private Universities-Colleges soon followed, activating ROTC units under the Army of the Philippine Commonwealth.  Although the Philippines had no significant military involvement during World War I, the conflagration made the Philippine Government realize the need for a good reserve force of able-bodied Filipinos trained in the art of war. With the formal organisation of the U.P. DMST on March 17, 1922, military drill was superseded by the term "military science and tactics".  Military training in the University of the Philippines started at the old Padre Faura Campus when it was made a required subject for all able-bodied male students in all colleges, institutes, and schools of the University. During the early years after its inception, military training in the University was mainly an infantry unit. After a few years, specialized units were established that made U.P. ROTC distinct for its military proficiency. U.P. produced precision FA Gunners through its Field Artillery Unit. Another distinguished U.P. ROTC Unit is the Rayadillo Honor Guard Battalion. It was created in 1963 by Carlos P. Romulo (U.P.ROTC/U.P. Vanguard Class 1918) during his term as U.P. President. The Rayadillo unit is famous for its patriotic Katipunero uniforms, silent drill exhibitions, arrival honors and formal military ceremonies rendered for visiting foreign heads of states and military officers.

UP Fighting Maroons.

The UP Fighting Maroons is the name of the collegiate varsity teams of the University of the Philippines, primarily off Diliman, which plays in the University Athletic Association of the Philippines, the premiere sports league in the country. The collegiate women's varsity teams are also sometimes called the Lady Maroons. The University of the Philippines Integrated School is the affiliate juniors division high school. They play as the Junior Maroons, formerly the Preps.

The University of the Philippines (UP; Filipino: "Pamantasan ng Pilipinas" or "Unibersidad" "ng Pilipinas") is a state university system in the Philippines, and is the country's national university. Founded by the American colonial government on June 18, 1908 for the Filipinos, it was established through the ratification of Act 1870 of the 1st Philippine Legislature to provide "advanced instruction in literature, philosophy, the sciences and arts, and to give professional and technical training" to eligible students regardless of "age, sex, nationality, religious belief and political affiliation". UP has institutional autonomy as the country's national university as mandated by Republic Act No. 9500 (UP Charter of 2008).

菲律宾大学(,,缩写:UP)是菲律宾共和国规模最庞大的国立大学系统。该校在美国殖民时期由第一届菲律宾议会于1908年创办,当时校名为菲律宾美国大学()。


墙外 (迈克尔·杰克逊专辑)

Background.

Between 1972 and 1975, Michael Jackson released a total of four solo studio albums with Motown; "Got to Be There", "Ben", "Music & Me", and "Forever, Michael". These were released as part of The Jackson 5 franchise, and produced successful singles such as "Got to Be There", "Ben" and a remake of Bobby Day's "Rockin' Robin". The Jackson 5's sales, however, began declining in 1973, and the band members chafed under Motown's strict refusal to allow them creative control or input. Although the group scored several top 40 hits, including the top five disco single "Dancing Machine" and the top 20 hit "I Am Love", The Jackson 5 (minus Jermaine Jackson) left Motown in 1975. The Jackson 5 signed a new contract with CBS Records in June 1975, first joining the Philadelphia International Records division and then Epic Records. As a result of legal proceedings, the group was renamed The Jacksons. After the name change, the band continued to tour internationally, releasing five more studio albums between 1976 and 1984; their self-titled eleventh album, "Goin' Places", "Destiny", "Triumph", and "Victory", as well as a live concert album in 1981. During that period, Michael was not only the lead singer, but also the chief songwriter for the group, writing or co-writing such hits as "Shake Your Body (Down to the Ground)", "This Place Hotel" and "Can You Feel It".  In 1978, Jackson starred as Scarecrow in the film musical "The Wiz". The musical scores were arranged by Quincy Jones, who formed a partnership with Jackson during the film's production and agreed to produce the singer's solo album "Off the Wall". Jackson was dedicated to the role, and watched videotapes of gazelles, cheetahs and panthers in order to learn graceful movements for his part. Jones recalled working with Jackson as one of his favorite experiences from "The Wiz", and spoke of Jackson's dedication to his role, comparing his acting style to Sammy Davis, Jr. Critics panned "The Wiz" upon its October 1978 release, but Jackson's performance as the Scarecrow was one of the only positively reviewed elements of the film, with critics noting that Jackson possessed "genuine acting talent" and "provided the only genuinely memorable moments." Of the results of the film, Jackson stated: "I don't think it could have been any better, I really don't". In 1980, Jackson stated that his time working on "The Wiz" was "my greatest experience so far...I'll never forget that".

Production.

When Jackson began the "Off the Wall" project he was not sure what he wanted as the final result; however, he did not want another record that sounded like The Jacksons, but rather he wanted more creative freedom, something he had not been allowed on prior albums. Jackson's father Joseph also approved of the project and allowed him to record it on the condition that it didn't interfere with group business. Despite his brothers' desire to work with him, Jackson wanted to make the album independently of his family. Nevertheless, his brother Randy still contributed percussion to "Don't Stop 'Til You Get Enough".  Jones produced "Off the Wall", with co-production credit given to Jackson on the songs he wrote for the album. Songwriters included Jackson, Heatwave's Rod Temperton, Stevie Wonder and Paul McCartney. All sessions took place at Los Angeles County-based recording studios. Rhythm tracks and vocals were recorded at Allen Zentz Recording, the horn section's contributions took place at Westlake Audio, and string instrumentation was recorded at Cherokee Studios in West Hollywood. Following the initial sessions, audio mixing was handled by Grammy-winning engineer Bruce Swedien at Westlake Audio, after which the original tapes went to the A&M Recording Studio, also located in L.A., for mastering. Swedien would later mix the recording sessions for Jackson's next album and his most well-known work, 1982's "Thriller". Jones recalled that, at first, he found Jackson to be very introverted, shy and non-assertive.  "She's Out of My Life" had been written for Jones by Tom Bahler three years earlier. Jackson heard and enjoyed it, and Jones allowed him to use it on the record. Jones called in Heatwave's keyboardist Rod Temperton to write three songs. The intention was for Jackson and Jones to select one of his songs, but Jackson, liking them all, included all of them in the final cut. Jackson stayed up all night to learn the lyrics to these songs instead of singing from a sheet. He finished the vocals to these three Temperton songs in two recording sessions. Temperton took a different approach to his song writing after spending some time researching the background to Jackson's music style. Temperton mixed his traditional harmony segments with the idea of adding shorter note melodies to suit Jackson's aggressive style. Jackson wrote "Don't Stop 'Til You Get Enough" after humming a melody in his kitchen. After listening to hundreds of songs, Jackson and Jones decided upon a batch to record. In hindsight, Jones believed they took a lot of risks in the production of "Off the Wall" and the final choice of album tracks. Attention was also paid to the album cover, which shows Jackson smiling, wearing a tuxedo and trademark socks. John Branca, Jackson's manager stated, "The tuxedo was the overall plan for the "Off the Wall" project and package. The tuxedo was our idea, the socks were Michael'".

Music and vocals.

Music critics Stephen Thomas Erlewine and Stephen Holden of AllMusic observed that "Off the Wall" was crafted from funk, disco-pop, soul, soft rock, and pop ballads. Prominent examples include the ballad "She's Out of My Life", the funk tune "Workin' Day and Night", and the disco song "Get on the Floor". "I Can't Help It" is a jazz piece. In Quincy Jones' autobiography, he compares Jackson to other jazz singers noting that Jackson "has some of the same qualities as the great jazz singers I'd worked with: Ella, Sinatra, Sassy, Aretha, Ray Charles, Dinah. Each of them had that purity, that strong signature sound and that open wound that pushed them to greatness." "She's Out of My Life" is a melodic pop ballad. The end of the former song showed an "emotional" Jackson crying as the track concluded. Of the song, rhythm and blues writer Nelson George proclaimed, "[It] became a Jackson signature similar to the way "My Way" served Frank Sinatra. The vulnerability, verging on fragility that would become embedded in Michael's persona found, perhaps, its richest expression in this wistful ballad". "Rock with You" is a romantic, mid-tempo song. The album's songs have a tempo ranging from 66 beats per minute on "She's Out of My Life", to 128 on "Workin' Day and Night".  With the arrival of "Off the Wall" in the late 1970s, Jackson's abilities as a vocalist were well regarded; AllMusic writer Stephen Thomas Erlewine described him as a "blindingly gifted vocalist". At the time, "Rolling Stone" compared his vocals to the "breathless, dreamy stutter" of Stevie Wonder. Their analysis was also that "Jackson's feathery-timbered tenor is extraordinary beautiful. It slides smoothly into a startling falsetto that's used very daringly". Writer, journalist and biographer J. Randy Taraborrelli expressed the opinion that Jackson sings with "sexy falsetto" vocals in "Don't Stop 'Til You Get Enough". Taraborrelli also stated, "Fans and industry peers alike were left with their mouths agape when "Off the Wall" was issued to the public. Fans proclaimed that they hadn't heard him sing with such joy and abandon since the early Jackson 5 days".

Release.

"Off the Wall" peaked at number three on the "Billboard" Top LPs & Tapes chart and number one on the "Billboard" R&B Albums chart, staying at number one on the latter chart for 16 weeks. An enormous commercial success, it was third-best-selling album of 1980. "Off the Wall" is certified 8× Platinum in the US and has sold over 20 million copies worldwide. It's also gained Platinum certifications in eleven other countries. The album's success led to the start of a nine-year partnership between Jackson and Jones; their next collaboration would be "Thriller" (1982), which is the best-selling album of all time.  On October 16, 2001, a special edition reissue of "Off the Wall" was released by Sony Records. It was re-released again on February 26, 2016. The material found strong praise from critics more than 20 years after the original release. On January 7, 2016, Sony Music and The Estate of Michael Jackson announced that "Off the Wall" would be reissued and packaged with a new documentary directed by Spike Lee entitled "Michael Jackson's Journey from Motown to Off the Wall". The reissue and documentary were both released on February 26, 2016.

Singles.

"Don’t Stop 'Til You Get Enough" was released on August 10, 1979, under Epic Records which was Jackson's first solo single not released under Motown Records. The song topped the "Billboard" Hot 100 on October 10, making it Jackson's first solo number one single since "Ben", seven years prior.  "Rock with You" also reached number one on the "Billboard" Hot 100, becoming Jackson's third number-one single of his career and it also reach the top spot on R&B charts. It spent four consecutive weeks at number one starting January 19, 1980 and was the fourth biggest single of 1980.  In February the album's title track was released as a single, and went to number 10 on the "Billboard" Hot 100 chart and became a top 10 hit in four countries. "She's Out of My Life" was released after that, also reaching number 10 on the "Billboard" Hot 100 chart in June. The song was also one of Jackson's slowest songs, with a tempo of 66 beats per minute. "Off the Wall" became the first album by a solo artist to generate four US top 10 hits.

Critical reception.

"Off the Wall" was hailed as a major breakthrough for Jackson, while receiving widespread critical recognition, along with praises, from major music publications. In a 1979 review of the album, "Rolling Stone" magazine contributor Stephen Holden praised Jackson's maturity and transition from his early Motown material, stating that the album "represents discofied post-Motown glamour at its classiest." Holden went on to compare Jackson to Stevie Wonder, another Motown performer who began recording at a young age and gained critical acclaim for his transition.  In "The Village Voice", critic Robert Christgau credited Jackson and Quincy Jones with "fashion[ing] the dance groove of the year" and stated that "Michael's vocabulary of grunts, squeals, hiccups, moans, and asides is a vivid reminder that he's grown up." In a review for "Melody Maker" Phil McNeill expressed the opinion that in "Off the Wall" Jackson sounded comfortable, confident and in control. He believed "Don't Stop 'Til You Get Enough" had a "classy" introduction and that it was the best song on the album. He also praised "Rock with You", describing it as "masterful". The reviewer concurred with a colleague that Jackson was "probably the best singer in the world right now in terms of style and technique". Giving the album a favorable review in "Smash Hits", David Hepworth said that Jackson "sings like an angel". "Sounds" shared the same point of view, qualifying Jackson's voice as "astoninshingly agile".  In 1980, Jackson won three awards at the American Music Awards for his solo efforts: Favorite Soul/R&B Album, Favorite Male Soul/R&B Artist and Favorite Soul/R&B Single. That year, he also won "Billboard" Music Awards for Top Black Artist and Top Black Album and the Grammy Award for Best Male R&B Vocal Performance. Despite its commercial success, Jackson felt "Off the Wall" should have made a much bigger impact, and was determined to exceed expectations with his next release. In particular, Jackson was disappointed that he had only won a single Grammy Award at the 1980 Grammy Awards, the Grammy Award for Best Male R&B Vocal Performance. Jackson stated that "It was totally unfair that it didn't get Record of the Year and it can never happen again".

Legacy and influence.

Impact.

"Off the Wall" is widely considered by critics and publications as one of the greatest albums of all time. Although it was not as commercially successful as "Bad", "Dangerous" and "", the album is often debated by critics between itself and "Thriller" as Jackson's best. According to some music journalists, it epitomized the, being part of a group of landmark disco albums including Donna Summer's "Bad Girls" (1979) and Bee Gees' "Saturday Night Fever" (1977).  James Wilson-Taylor of "PopBuzz" believed that the album influenced artists including The Weeknd, Justin Bieber and Beyoncé. The Weeknd cited it as a major influence on his artistry, saying, "I found my falsetto, because of "Off The Wall" [and] "Don't Stop 'Til You Get Enough"...I always use Michael [Jackson] as, first and foremost, a vocal inspiration, and "Off the Wall" was definitely the one that made me feel like I could sing." Britni Danielle of "Ebony" highlighted Chris Brown's “Fine China” for being a "surprisingly lush and infectious tune reminiscent of Jackson's "Off the Wall" ['vibe']". Regarding the comparison to Jackson's "Off the Wall" 'vibe', Brown himself stated "I really wanted to kind of bring that essence of music back with that single." Writing for "Pitchfork", Ryan Dombal said that the influence of "I Can't Help It" on Pharrell's "off-kilter funk cannot be overstated". During Sean Combs' acceptance speech for the Recording Academy’s Salute to Industry Icon award at the Clive Davis' Pre-Grammy Gala, where he expressed his disappointment towards the Grammy Award's due to the lack of big award wins for Black artists, Combs' spoke on "Thriller" being Jackson's "revenge" for "not being nominated [enough] for "Off the Wall"". Combs' also dedicated his award to "Off the Wall". A writer of PR Newswire credits the album for "smashing the ceiling on record sales for black artists [and] ushering in an exciting new era of R&B-to-pop crossover airplay, chart, marketing and sales trends not seen before in modern pop music."  According to the same writer,

Reappraisal.

Recent reviews have continued to praise "Off the Wall" for its appeal in the 21st century. "Blender" gave the record a full five star review stating that it was, "A blockbuster party LP that looked beyond funk to the future of dance music, and beyond soul ballads to the future of heart-tuggers—in fact, beyond R&B to color-blind pop. Hence, the forgivable Wings cover". AllMusic gave the record a five star review, praising the record's disco-tinged funk and mainstream pop blend, along with Jackson's songwriting and Jones' crafty production. The publication believed, "["Off the Wall"] is an enormously fresh record, one that remains vibrant and giddily exciting years after its release".  A writer for "Rolling Stone" wrote "the unstoppable dance tracks on "Off the Wall" – sculpted by Jackson and producer Quincy Jones – remain more or less perfect examples of why disco didn't suck. "Don't Stop 'Til You Get Enough," "Rock With You" and "Burn This Disco Out" still get the party started today." David O'Donnell, writing for the BBC, described "Off the Wall" as "one of the finest pop albums ever made" and showcasing Jackson as a "gifted and versatile vocalist, comfortable performing on ballads as well as upbeat disco tracks." Tom Ewing of "The Guardian" regarded "Off the Wall" as superior to "Thriller": "...we can say with more certainty that "Thriller" will keep its position as the highest-selling LP ever – but it's "Off the Wall" that critics routinely hail as Jackson's masterpiece." and also wrote "...with ["Off the Wall"] Jackson and his mentor Jones made pop's great coming-of-age album." In August 2018, on the occasion of what would have been Jackson's 60th birthday, "Entertainment Weekly" reevaluated the album, giving it a score of A−, saying that the album was Jackson's first musical statement as an adult, that it was "a featherweight rapture of disco-flecked R&B" containing dance-floor favorites and some lesser songs. Wilson-Taylor also claimed that "Off the Wall" is "arguably, the greatest pop album of all time" and credited it for being the pathway of Jackson becoming a "genuine musical phenomenon".  Nelson George wrote of Jackson and his music, "the argument for his greatness in the recording studio begins with his arrangements of "Don't Stop 'Til You Get Enough". The layers of percussion and the stacks of backing vocals, both artfully choreographed to create drama and ecstasy on the dance floor, still rock parties in the 21st century". A writer for "Rolling Stone" credited the album for "inventing modern pop as we know it". Ryan Burleson of "Consequence of Sound" wrote that the album "almost immediately affirmed" Jackson as the "preeminent pop talent of his day" and praised "Off the Wall" as an "instant classic that married the prevailing sounds of the funk, soul, and disco-inflected 70’s with an innovative zeal" that has rarely been replicated since. Burleson also called it a "masterpiece" and a "groundbreaking pop record for the masses that continues to be transformative even today." "Blender" wrote "["Off the Wall"] was the first suggestion that disco need not be tacky" and that the album's "immaculately produced, pre-"Thriller" tracks are now too familiar to shock, but in 1979, they were revolutionary." With regards to the album, the magazine also wrote "perfection is timeless."

Rankings.

In 2003, "Off the Wall" was ranked number 68 on "Rolling Stone"'s list of The 500 Greatest Albums of All Time, maintaining the ranking in a 2012 revised list. In "Blender"'s 100 Greatest American Albums of All Time list, it was ranked number 13. The album was included in the "1001 Albums You Must Hear Before You Die". In Colin Larkin's third edition of the "All Time Top 1000 Albums" (2000), it was ranked at number 235. It was also ranked number 7 in the "Soul/R&B – All Time Top 50" albums. The National Association of Recording Merchandisers (NARM), in conjunction with the Rock and Roll Hall of Fame, ranked the album at number 80 of the Definitive 200 Albums of All Time. In 2008, "Off the Wall" was inducted into the Grammy Hall of Fame. It was ranked number 56 in "The Guardian"'s list of the 100 Best Albums Ever. Additionally, "The Guardian"'s list of the 50 Key Events in the History of Pop Music ranked 'Michael Jackson starts work on "Off the Wall"' at number 23. The album was ranked at number 85 on "Consequence of Sound"'s list of The 100 Greatest Albums of All Time. In 2015, "Billboard" ranked "Off the Wall" at number 149 on its list of the Greatest of All Time "Billboard" 200 Albums. It was also ranked third in their list of the Greatest of All Time Top R&B/Hip-Hop Albums, out of 100 albums. "Uncut" ranked "Off the Wall" at number 46 on its list of the 200 Greatest Albums Of All Time. In 2019, "The Independent" included it in its list of The 40 Best Albums to Listen to Before You Die.

Track listing.

Notes

Personnel.

Personnel as listed in the album's liner notes.

References.

Bibliography

Off the Wall is the fifth solo studio album by American singer Michael Jackson, released on August 10, 1979 by Epic Records. It was Jackson's first album released through Epic Records, the label he recorded under until his death in 2009, and the first produced by Quincy Jones, whom he met while working on the 1978 film "The Wiz". Several critics observed that "Off the Wall" was crafted from disco, pop, funk, R&B, soft rock and Broadway ballads. Its lyrical themes include escapism, liberation, loneliness, hedonism and romance.

《Off the Wall》(译作疯狂或墙外)是美国歌手麦可·杰克森成年后发行第一张英语专辑。麦可加盟新力音乐娱乐子公司:艾培克唱片〔Epic Records〕之后,首张录音室专辑。


Life.

The author of the Book of Ezekiel presents himself as Ezekiel, the son of Buzzi, born into a priestly (Kohen) lineage. Apart from identifying himself, the author gives a date for the first divine encounter which he presents: "in the thirtieth year". If this is a reference to Ezekiel's age at the time, he was born around 622 BCE, about the time of Josiah's reforms, and shortly after the call of Jeremiah to a prophetic ministry around 626 BCE. Ezekiel's "thirtieth year" is given as five years after the exile of Judah's king Jehoiachin by the Babylonians. The Aramaic Targum on Ezekiel 1:1, however, as well as the 2nd-century rabbinic work "Seder Olam Rabba" (chapter 26), take a different approach, where they both say that Ezekiel's vision came "in the thirtieth year after Josiah was presented with a Book of the Law discovered in the Temple".  According to Jewish tradition, Ezekiel did not write his own book, the Book of Ezekiel, but rather his prophecies were collected and written by the Men of the Great Assembly. Josephus claims that Nebuchadnezzar of Babylonia's armies exiled three thousand Jews from Judah, after deposing King Jehoiakim in 598 BCE.  The name Ezekiel means "God Strengthens."

Living in Babylon.

According to the Bible, Ezekiel and his wife lived during the Babylonian captivity on the banks of the Chebar River, in Tel Abib, with other exiles from Judah. There is no mention of him having any offspring.

Prophetic career.

Ezekiel describes his calling to be a prophet by going into great detail about his encounter with God and four "living creatures" with four wheels that stayed beside the creatures. For the next five years he incessantly prophesied and acted out the destruction of Jerusalem and its temple, which was met with some opposition. However, Ezekiel and his contemporaries like Jeremiah, another prophet who was living in Jerusalem at that time, witnessed the fulfillment of their prophecies with the siege of Jerusalem by the Babylonians. On the hypothesis that the "thirtieth year" of refers to Ezekiel's age, Ezekiel was fifty years old when he had his final vision. On the basis of dates given in the Book of Ezekiel, his span of prophecies can be calculated to have occurred over the course of about 22 years. The last recorded prophecy of Ezekiel dates to April 570 BCE.

World views.

Jewish tradition.

Ezekiel, like Jeremiah, is said by Talmud and Midrash to have been a descendant of Joshua by his marriage with the proselyte and former prostitute Rahab. Some statements found in rabbinic literature posit that Ezekiel was the son of Jeremiah, who was (also) called "Buzi" because he was despised by the Jews.  Ezekiel was said to be already active as a prophet while in the Land of Israel, and he retained this gift when he was exiled with Jehoiachin and the nobles of the country to Babylon.  Rava states in the Babylonian Talmud that although Ezekiel describes the appearance of the throne of God (Merkabah), this is not because he had seen more than the prophet Isaiah, but rather because the latter was more accustomed to such visions; for the relation of the two prophets is that of a courtier to a peasant, the latter of whom would always describe a royal court more floridly than the former, to whom such things would be familiar. Ezekiel, like all the other prophets, has beheld only a blurred reflection of the divine majesty, just as a poor mirror reflects objects only imperfectly.  According to the midrash "Canticles Rabbah", it was Ezekiel whom the three pious men, Hananiah, Mishael, and Azariah (also called Shadrach, Meshach, and Abednego in the Bible) asked for advice as to whether they should resist Nebuchadnezzar's command and choose death by fire rather than worship his idol. At first God revealed to the prophet that they could not hope for a miraculous rescue; whereupon the prophet was greatly grieved, since these three men constituted the "remnant of Judah". But after they had left the house of the prophet, fully determined to sacrifice their lives to God, Ezekiel received this revelation: "Thou dost believe indeed that I will abandon them. That shall not happen; but do thou let them carry out their intention according to their pious dictates, and tell them nothing".

Christianity.

Ezekiel is commemorated as a saint in the liturgical calendar of the Eastern Orthodox Church—and those Eastern Catholic Churches which follow the Byzantine Rite—on July 21 (for those churches which use the traditional Julian Calendar, July 21 falls on August 5 of the modern Gregorian Calendar). Ezekiel is commemorated on August 28 on the Calendar of Saints of the Armenian Apostolic Church, and on April 10 in the Roman Martyrology.  Certain Lutheran churches also celebrate his commemoration on July 21.  Saint Bonaventure interpreted Ezekiel's statement about the "closed gate" as a prophecy of the Incarnation: the "gate" signifying the Virgin Mary and the "prince" referring to Jesus. This is one of the readings at Vespers on Great Feasts of the Theotokos in the Eastern Orthodox and Byzantine Catholic Churches. This imagery is also found in the traditional Catholic Christmas hymn "Gaudete" and in a saying by Bonaventure, quoted by Alphonsus Maria de' Liguori: "No one can enter Heaven unless by Mary, as though through a door." The imagery provides the basis for the concept that God gave Mary to humanity as the "Gate of Heaven" (thence the dedication of churches and convents to the Porta Coeli), an idea also laid out in the "Salve Regina" (Hail Holy Queen) prayer.  John B. Taylor credits the subject with imparting the Biblical understanding of the nature of God.

Islamic tradition.

Ezekiel is recognized as a prophet in Islamic tradition. Although not mentioned in the Qur'an by the name, Muslim scholars, both classical and modern have included Ezekiel in lists of the prophets of Islam.  The Qur'an mentions a prophet called Zul-Kifl. This prophet is sometimes identified with Ezekiel although Zul-Kifl's identity is disputed. Carsten Niebuhr, in his "Reisebeschreibung nach Arabian", says he visited Al Kifl in Iraq, midway between Najaf and Hilla and said "Kifl" was the Arabic form of "Ezekiel". He further explained in his book that Ezekiel's Tomb was present in Al Kifl and that the Jews came to it on pilgrimage. The name "Zul-Kifl" or more correctly "Dhū l-Kifl" () would mean "Possessor of the Double" or "Possesor of the Fold" ( "dhū" "possessor of, owner of" and "al-kifl" "double, folded"). Some Islamic scholars have likened Ezekiel's mission to the description of Dhul-Kifl. When the exile, monarchy, and state were annihilated, a political and national life was no longer possible. In the absence of a worldly foundation it became necessary to build a spiritual one and Ezekiel performed this mission by observing the signs of the time and deducing his doctrines from them. In conformity with the two parts of his book, his personality and his preaching are alike twofold. Aside from the possible identification of Zul-Kifl with Ezekiel, Muslims have viewed Ezekiel as a prophet, regardless of his identification with Zul-Kifl.  Ezekiel appears in all Muslim collections of "Stories of the Prophets". Muslim exegesis further lists Ezekiel's father as Buzi ("Budhi") and Ezekiel is given the title "ibn al-adjus", denoting "son of the old (man)", as his parents are supposed to have been very old when he was born. A tradition, which resembles that of Hannah and Samuel in the Hebrew Bible, states that Ezekiel's mother prayed to God in old age for the birth of an offspring and was given Ezekiel as a gift from God.

Tomb.

The tomb of Ezekiel is a structure located in modern-day south Iraq near Kefil, believed to be the final resting place of Ezekiel. It has been a place of pilgrimage to both Muslims and Jews alike. After the Jewish exodus from Iraq, Jewish activity in the tomb ceased, although a disused synagogue remains in place.  A tomb in the Ergani province of Diyarbakir, Turkey is also believed to be the resting place of prophet Ezekiel. It is located 5 km from the city centre on a hill, revered and visited by the local Muslims, called "Makam Dağı".

Ezekiel (; "Yĕḥezqēʾl" ; "Iezekiḕl" ) is the central protagonist of the Book of Ezekiel in the Hebrew Bible.

以西结,天主教译为厄则克耳(,"Yehezkel",,意思是“上帝必坚固”,阿拉伯语:ذو الكفل,(助勒基福勒,Dhul-Kifl或Zul-Kifl),英语:Ezekiel)是圣经记载的一位祭司,以西结是布西的儿子,出身在祭司家庭(结1:3),是撒督的后裔,承袭亚伦之子以利亚撒的脉络,属祭司中的贵族,他在前6世纪,在被掳到巴比伦期间,看见异象,说预言22年,正如以西结书所记载。


History.

Montlhéry lay on the strategically important road from Paris to Orléans. Under the Merovingians, it was owned by the church in Reims and in 768 it was given to the abbey of St. Denis in Paris. It was the site of a number of battles between the lords of Montlhéry and the early Capetian monarchy.  The Montlhéry noble house was related to the Montmorency family; Thibaud, the founder of the Montlhéry dynasty, was the brother of Bouchard II, the progenitor of the Montmorency house. Thibaud ruled from 970 to 1031 and was succeeded by his son Guy I, who ruled until 1095. Guy I's children married into other local noble families: his daughter Melisende married Hugh, count of Rethel, and another daughter Elizabeth married Joscelin of Courtenay. Through these marriages and subsequent Montlhéry participation on the First Crusade, Guy I was the ancestor of the ruling dynasties of the crusader Kingdom of Jerusalem and the County of Edessa. Another daughter, Alice, married into the Le Puiset family, and a son, Guy, became count of Rochefort. Guy I was succeeded by Milo I, followed by Milo's sons Guy II and Milo II. In 1118, after many disputes with the rebellious lords, Louis VI of France ordered the castle to be dismantled and turned the town into a royal residence. Louis VI had himself been married to a granddaughter of Guy I, Lucienne of Rochefort, from 1104 to 1107.  After being absorbed into the royal domain, Montlhéry became part of the territory governed by the viscount of Paris. In the early 13th century, the French king Philip II (Augustus) completely rebuilt the castle in the contemporary style, at a new site high above the town.  During the Hundred Years' War, the town and the castle frequently passed between English and French forces. On 16 July 1465, Charles the Bold defeated Louis XI of France at the Battle of Montlhéry. The town was left in ruins by the Wars of Religion, but it was rebuilt in 1591 under Henry IV.  In the 19th century, the tower was used for scientific experiments. In 1822, François Arago calculated the speed of sound there; a cannonball shot at the tower was observed from the Observatory of Villejuif. In 1823, Claude Chappe installed a relay for the Paris-Bayonne telegraph line. On 5 June 1874, Alfred Cornu tried to calculate the speed of light between the tower and the Observatory in Paris.  During the Franco-Prussian War, the town was occupied and pillaged by the Prussians. It was occupied again by Germany in 1940 during the Second World War.  Today Montlhéry is twinned with Stetten am kalten Markt, Germany.

Château de Montlhéry.

The Château de Montlhéry, a 13th-century castle with its prominent keep, succeeded a castle built in the 11th century, and an earlier foundation, built from 991 to 1015.

Economy.

South of Montlhéry (on the communes of Linas and Bruyères-le-Châtel) is the site of an automobile race track, the "Autodrome de Montlhéry", established by Alexandre Lamblin in 1924. It is sometimes referred to as the 'French Indianapolis', because it is laid out as a high speed oval. Many speed records were set there within months of its opening. Today the racetrack has fallen into disuse and is also used for other purposes including a variety of automobile meetups.  Montlhéry was also a market town, which is remembered today in the Tomato Festival. The medieval tower is also a popular tourist attraction, which recently re-opened in 2005 after being closed for repairs.

Montlhéry () is a commune in the Essonne department in Île-de-France in northern France. It is located from Paris.

蒙莱里(,)是法国法兰西岛大区埃松省内的一个市镇,属于帕莱索区。位于巴黎南约25公里,国道N20两侧。该市镇2009年时的人口为7,593人。人口密度2056人每平方公里(2009年)。面积3.28平方公里;海拔最低64米,最高152米。邮政编码91310。


History.

Branch County was a New England settlement. The original founders of Coldwater were settlers from the northern coastal colonies – "Yankees", descended from the English Puritans who came from the Old World in the 1600s and who brought their culture. During the early 1800s, there was a wave of New England farmers who headed west into what was then the untamed Northwest Territory. Many traveled through New York State via the Erie Canal; the threat of Native Americans had been reduced by the end of the Black Hawk War.  These early settlers laid out farms, constructed roads, erected government buildings, and established post routes. They brought a passion for education, and established many schools. Many were supporters of abolitionism. They were mostly members of the Congregationalist Church though some were Episcopalian. Culturally Branch County, like much of Michigan, developed as part of the Northern Tier, continuous with New England culture, during its early history. The county still depends on agriculture as the basis of its economy.

Geography.

According to the U.S. Census Bureau, the county has a total area of, of which is land and (2.6%) is water. It is the third-smallest county in Michigan by total area.

Demographics.

The 2010 United States Census indicates Branch County had a 2010 population of 45,248. This decrease of -539 people from the 2000 United States Census represents a -1.2% growth decrease during the decade. In 2010 there were 16,419 households and 11,350 families in the county. The population density was 89.4 per square mile (34.5 square kilometers). There were 20,841 housing units at an average density of 41.2 per square mile (15.9 square kilometers). The racial and ethnic makeup of the county was 90.9% White, 3.0% Black or African American, 0.4% Native American, 0.4% Asian, 4.0% Hispanic or Latino, 0.1% from other races, and 1.2% from two or more races.  There were 16,419 households out of which 31.5% had children under the age of 18 living with them, 52.2% were husband and wife families, 11.1% had a female householder with no husband present, 30.9% were non-families, and 25.8% were made up of individuals. The average household size was 2.56 and the average family size was 3.05.  In the county, the population was spread out with 23.9% under age of 18, 8.0% from 18 to 24, 25.0% from 25 to 44, 28.3% from 45 to 64, and 14.7% who were 65 years of age or older. The median age was 40 years. For every 100 females there were 111.4 males. For every 100 females age 18 and over, there were 112.9 males.  The 2010 American Community Survey 3-year estimate indicates the median income for a household in the county was $41,855 and the median income for a family was $48,959. Males had a median income of $25,595 versus $17,263 for females. The per capita income for the county was $18,289. About 2.5% of families and 17.7% of the population were below the poverty line, including 25.3% of those under the age 18 and 9.0% of those age 65 or over.

Government.

Branch County has been reliably Republican since the beginning. Since 1884, the Republican Party nominee has carried 85% of the elections (29 of 34).  The county government operates the jail, maintains rural roads, operates the major local courts, records deeds, mortgages, and vital records, administers public health regulations, and participates with the state in the provision of social services. The county board of commissioners controls the budget and has limited authority to make laws or ordinances. In Michigan, most local government functions — police and fire, building and zoning, tax assessment, street maintenance, etc. — are the responsibility of individual cities and townships.

Branch County is a county in the U.S. state of Michigan. As of the 2010 census, the population was 45,248. The county seat is Coldwater. As one of the "cabinet counties" it was named for the U.S. Secretary of the Navy John Branch under President Andrew Jackson. The county was founded in 1829, and was organized in 1833.

布兰奇县(英语:Branch County)是美国密歇根州南部的一个县,南邻印地安纳州。面积1,345平方公里。根据美国2000年人口普查,共有人口45,787人。县治科尔德沃特 (Coldwater)。


Description.

The stems can reach 2 meters in height. The leaf blades are usually green, but may be variegated. The panicles are up to 30 centimeters long. The spikelets are light green, often streaked with darker green or purple. This is a perennial grass which spreads underground by its thick rhizomes.

Uses.

A number of cultivars of "P. arundinacea" have been selected for use as ornamental plants, including variegated (striped) cultivars – sometimes called ribbon grass – such as 'Castor' and 'Feesey'. The latter has a pink tinge to the leaves. When grown, although drought-tolerant, it likes abundant water and can even be grown as an aquatic plant.  Reed canarygrass grows well on poor soils and contaminated industrial sites, and researchers at Teesside University's Contaminated Land & Water Centre have suggested it as the ideal candidate for phytoremediation in improving soil quality and biodiversity at brownfield sites.  The grass can also easily be turned into bricks or pellets for burning in biomass power stations. Furthermore, it provides fibers which find use in pulp and papermaking processes.  "P. arundinacea" is also planted as a hay crop or for forage.  This species of "Phalaris" may also be used as a source for the psychedelic drugs DMT, 5-MeO-DMT and 5-OH-DMT (bufotenin), as well as Hordenine and 5-MeO-NMT; however, N,N-DMT is considered most desirable. Although the concentrations of these compounds is lower than in other potential sources, such as "Psychotria viridis" and "Mimosa tenuiflora", large enough quantities of the grass can be refined to make an ad hoc ayahuasca brew.

Ecology.

In many places, "P. arundinacea" is an invasive species in wetlands, particularly in disturbed areas. It has been reported as an invasive weed in floodplains, riverside meadows, and other wetland habitat types around the world. When "P. arundinacea" invades a wetland, it inhibits native vegetation and reduces biological diversity. It alters the entire ecosystem. The grass propagates by seed and rhizome, and once established, is difficult to eradicate.

Distribution.

"P. arundinacea" now has world-wide distribution. It is regarded as native to both North America and Eurasia, but this is debated and it appears that the populations in North America are made up of a mixture of cultivars of both those that were introduced from Europe and indigenous varieties.

Chemical properties.

Specimins contain varying levels of hordenine and gramine.  Leaves of "P. arundinacea" contain DMT, 5-MeO-DMT and related compounds. Levels of beta-carbolines and hordenine have also been reported.

Phalaris arundinacea, sometimes known as reed canary grass, is a tall, perennial bunchgrass that commonly forms extensive single-species stands along the margins of lakes and streams and in wet open areas, with a wide distribution in Europe, Asia, northern Africa and North America. Other common names for the plant include gardener's-garters in English, alpiste roseau in French, rohrglanzgras in German, kusa-yoshi in Japanese, caniço-malhado in Portuguese, and hierba cinta and pasto cinto in Spanish.

鹬草(学名:),又称𬟁草,为禾本科鹬草属下的一种多年生草本植物,广泛分布于欧亚、北非和北美地区,在很多地方是一种入侵植物,生长在水边。


Biography.

Samaras was born in Corfu. His mother was from Constantinople and his father Skarlatos Samaras, a diplomat from Siatista. As a young man, he studied with Spyridon Xyndas (Σπυρίδων Ξύνδας). From 1875 to 1882 he studied at the Athens Conservatory with Federico Bolognini, Angelo Mascheroni and Enrico Stancampiano. His first opera "Torpillae" (now lost) was premiered in Athens in 1879. He went to Paris in 1882 to study at the Paris Conservatoire and became a favorite of Jules Massenet. His other instructors included Léo Delibes, Théodore Dubois, and Charles Gounod. He worked successfully as a composer in Paris for three years and then migrated to Italy in 1885.  Samaras quickly became an important figure in the opera scene in Italy. His opera "Flora mirabilis" première in Milan in 1886 and in 1888 "Medgé" was successfully staged at the Teatro Costanzi in Rome with French opera star Emma Calvé in the title role.  He became closely associated with Edoardo Sonzogno, a Milanese publisher. Sonzogno founded the Teatro Lirico Internazionale and chose Samaras' "La martire" for the theater's opening on 22 September 1894. The opera had premiered previously that year in Naples and is based on a libretto by Luigi Illica with many naturalistic elements, which gave space to Samaras' musical personality for an equal treatment.  Samaras' works enjoyed wide distribution; his operas were staged in Paris, Monte Carlo, Cologne, Berlin, Vienna, Malta, Bucharest, Constantinople, Smyrna, Alexandria, Cairo, Greece and Italy. He wrote fifteen stage works, the last three on texts by Paul Milliet; "Storia d'amore o La biondinetta" (1903), "Mademoiselle de Belle-Isle" (1905) and "Rhea" (1908).  He returned to Greece in 1911, thinking that he would be appointed director of the Athens Conservatoire. However he was not, partly because of the "National School controversy". The composers of the so-called "National School" considered the composers of the Ionian School, like Samaras, too much Italian influenced.  He supported himself by composing operettas aiming at satisfying a variety of audiences, rather than continuing in his usual creative vein. His last opera, "Tigra", although started about this time and containing some of his best music, was never finished.  Samaras was chosen by Demetrius Vikelas for composing the Olympic Anthem, on lyrics by Kostis Palamas. The Anthem was first performed during the opening ceremony of the 1896 Summer Olympics, the first modern Olympic Games. It was declared the official anthem of the Olympic movement by the International Olympic Committee in 1958 and has been used at every opening ceremony since the 1960 Winter Olympics. He died, aged 55, in Athens.  and more

Spyridon-Filiskos Samaras (also Spyros, Spiro Samára; ) () was a Greek composer particularly admired for his operas who was part of the generation of composers that heralded the works of Giacomo Puccini. His compositions were praised worldwide during his lifetime and he is arguably the most important composer of the Ionian School (music). He composed also the Olympic Hymn on lyrics of Kostis Palamas.

斯皮罗·萨马拉斯(,1861年-11月29日-1917年-4月7日),希腊作曲家,歌剧作家。他是《奥林匹克会歌》(亦称《奥林匹克圣歌》)的曲作者。


Characters.

"Antony's party"  "Octavius' party"

Synopsis.

Mark Antony—one of the triumvirs of the Roman Republic, along with Octavius and Lepidus—has neglected his soldierly duties after being beguiled by Egypt's Queen, Cleopatra. He ignores Rome's domestic problems, including the fact that his third wife Fulvia rebelled against Octavius and then died.  Octavius calls Antony back to Rome from Alexandria to help him fight against Sextus Pompey, Menecrates, and Menas, three notorious pirates of the Mediterranean. At Alexandria, Cleopatra begs Antony not to go, and though he repeatedly affirms his deep passionate love for her, he eventually leaves.  The triumvirs meet in Rome, where Antony and Octavius put to rest, for now, their disagreements. Octavius' general, Agrippa, suggests that Antony should marry Octavius's sister, Octavia, in order to cement the friendly bond between the two men. Antony accepts. Antony's lieutenant Enobarbus, though, knows that Octavia can never satisfy him after Cleopatra. In a famous passage, he describes Cleopatra's charms: "Age cannot wither her, nor custom stale / Her infinite variety: other women cloy / The appetites they feed, but she makes hungry / Where most she satisfies."  A soothsayer warns Antony that he is sure to lose if he ever tries to fight Octavius.  In Egypt, Cleopatra learns of Antony's marriage to Octavia and takes furious revenge upon the messenger who brings her the news. She grows content only when her courtiers assure her that Octavia is homely: short, low-browed, round-faced and with bad hair.  Before battle, the triumvirs parley with Sextus Pompey, and offer him a truce. He can retain Sicily and Sardinia, but he must help them "rid the sea of pirates" and send them tributes. After some hesitation, Sextus agrees. They engage in a drunken celebration on Sextus' galley, though the austere Octavius leaves early and sober from the party. Menas suggests to Sextus that he kill the three triumvirs and make himself ruler of the Roman Republic, but he refuses, finding it dishonourable. After Antony departs Rome for Athens, Octavius and Lepidus break their truce with Sextus and war against him. This is unapproved by Antony, and he is furious.  Antony returns to Hellenistic Alexandria and crowns Cleopatra and himself as rulers of Egypt and the eastern third of the Roman Republic (which was Antony's share as one of the triumvirs). He accuses Octavius of not giving him his fair share of Sextus' lands, and

Sources.

The principal source for the story is an English translation of Plutarch's "Life of Mark Antony," from the "Lives of the Noble Grecians and Romans Compared Together". This translation, by Sir Thomas North, was first published in 1579. Many phrases in Shakespeare's play are taken directly from North, including Enobarbus' famous description of Cleopatra and her barge:<poem> I will tell you. The barge she sat in, like a burnish'd throne, Burn'd on the water: the poop was beaten gold; Purple the sails, and so perfumed that The winds were love-sick with them; the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat

Date and text.

Many scholars believe it was written in 1606–07, although some researchers have argued for an earlier dating, around 1603–04. "Antony and Cleopatra" was entered in the Stationers' Register (an early form of copyright for printed works) in May 1608, but it does not seem to have been actually printed until the publication of the First Folio in 1623. The Folio is therefore the only authoritative text we have today. Some scholars speculate that it derives from Shakespeare's own draft, or "foul papers", since it contains minor

Analysis and criticism.

Classical allusions and analogues: Dido and Aeneas from Virgil's "Aeneid".

Many critics have noted the strong influence of Virgil's first-century Roman epic poem, the "Aeneid", on Shakespeare's "Antony and Cleopatra". Such influence should be expected, given the prevalence of allusions to Virgil in the Renaissance culture in which Shakespeare was educated. The historical Antony and Cleopatra were the prototypes and antitypes for Virgil's Dido and Aeneas: Dido, ruler of the north African city of Carthage, tempts Aeneas, the legendary exemplar of Roman "pietas", to forego his task of founding Rome after the fall of Troy. The fictional Aeneas dutifully resists Dido's temptation and abandons her to forge on to Italy, placing political destiny before romantic love, in stark contrast to Antony, who puts passionate love of his own Egyptian queen, Cleopatra, before duty to Rome. Given the well-established traditional

Critical history: changing views of Cleopatra.

Cleopatra, being the complex figure that she is, has faced a variety of interpretations of character throughout history. Perhaps the most famous dichotomy is that of the manipulative seductress versus the skilled leader. Examining the critical history of the character of Cleopatra reveals that intellectuals of the 19th century and the early 20th century viewed her as merely an object of sexuality that could be understood and diminished rather than an imposing force with great poise and capacity for leadership.  This phenomenon is illustrated by the famous poet T.S. Eliot's take on Cleopatra. He saw her as "no wielder of power," but rather that her "devouring sexuality...diminishes her power". His language and writings use images of darkness, desire, beauty, sensuality, and carnality to portray not a strong, powerful woman, but a temptress. Throughout his writing on Antony and Cleopatra, Eliot refers to Cleopatra as material rather than person. He frequently calls her "thing". T.S. Eliot conveys the view of early critical history on the character of Cleopatra.  Other scholars also discuss early critics' views of Cleopatra in relation to a serpent signifying "original sin". The symbol of the serpent "functions, at the symbolic level, as a means of her submission, the phallic appropriation of the queen's body (and the land it embodies) by Octavius and the empire". The serpent, because it represents temptation, sin, and feminine weakness, is used by 19th and early 20th century critics to undermine Cleopatra's political authority and to emphasise the image of Cleopatra as manipulative seductress.  The postmodern view of Cleopatra is complex. Doris Adler suggests that, in a postmodern philosophical sense, we cannot begin to grasp the character of Cleopatra because, "In a sense it is a distortion to consider Cleopatra at any moment apart from the entire cultural milieu that creates and consumes Antony and Cleopatra on stage. However the isolation and microscopic examination of a single aspect apart from its host environment is an effort to improve the understanding of the broader context. In similar fashion, the isolation and examination of the stage image of Cleopatra becomes an attempt to improve the understanding of the theatrical power of her infinite variety and the cultural treatment of that power." So, as a microcosm, Cleopatra can be understood within a postmodern context, as long as one understands that the purpose

Structure: Egypt and Rome.

The relationship between Egypt and Rome in "Antony and Cleopatra" is central to understanding the plot, as the dichotomy allows the reader to gain more insight into the characters, their relationships, and the ongoing events that occur throughout the play. Shakespeare emphasises the differences between the two nations with his use of language and literary devices, which also highlight the different characterizations of the two countries by their own inhabitants and visitors. Literary critics have also spent many years developing arguments concerning the "masculinity" of Rome and the Romans and the "femininity" of Egypt and the Egyptians. In traditional criticism of "Antony and Cleopatra", "Rome has been characterised as a male world, presided over by the austere Caesar, and Egypt as a female domain, embodied by a Cleopatra who is seen to be as abundant, leaky, and changeable as the Nile". In such a reading, male and female, Rome and Egypt, reason and emotion, and austerity and leisure are treated as mutually exclusive binaries that all interrelate with one another. The straightforwardness of the binary between male Rome and female Egypt has been challenged in later 20th-century criticism of the play: "In the wake of feminist, poststructuralist, and cultural-materialist critiques of gender essentialism, most modern Shakespeare scholars are inclined to be far more skeptical about claims that Shakespeare possessed a unique insight into a timeless 'femininity'." As a result, critics have been much more likely in recent years to describe Cleopatra as a character that confuses or deconstructs gender than as a character that embodies the feminine.

Literary devices used to convey the differences between Rome and Egypt.

In "Antony and Cleopatra", Shakespeare uses several literary techniques to convey a deeper meaning about the differences between Rome and Egypt. One example of this is his schema of the container as suggested by critic Donald Freeman in his article, "The rack dislimns." In his article, Freeman suggests that the container is representative of the body and the overall theme of the play that "knowing is seeing." In literary terms a schema refers to a plan throughout the work, which means that Shakespeare had a set path for unveiling the meaning of the "container" to the audience within the play. An example of the body in reference to the container can be seen in the following passage:  <poem> Nay, but this dotage of our general's O'erflows the measure... His captain's

The characterization of Rome and Egypt.

Critics have often used the opposition between Rome and Egypt in "Antony and Cleopatra" to set forth defining characteristics of the various characters. While some characters are distinctly Egyptian, others are distinctly Roman, some are torn between the two, and still others attempt to remain neutral. Critic James Hirsh has stated that, "as a result, the play dramatises not two but four main figurative locales: Rome as it is perceived from a Roman point of view; Rome as it is perceived from an Egyptian point of view; Egypt as it is perceived form a Roman point of view; and Egypt as it is perceived from an Egyptian point of view."

Evolving views of critics regarding gender characterizations.

Feminist criticism of "Antony and Cleopatra" has provided a more in-depth reading of the play, has challenged previous norms for criticism, and has opened a larger discussion of the characterization of Egypt and Rome. However, as Gayle Greene so aptly recognises, it must be addressed that "feminist criticism [of Shakespeare] is nearly as concerned with the biases of Shakespeare's interpretors —critics, directors, editors—as with Shakespeare himself."  Feminist scholars, in respect to "Antony and Cleopatra", often examine Shakespeare's use of language when describing Rome and Egypt. Through his language, such scholars argue, he tends to characterise Rome as "masculine" and Egypt as "feminine." According to Gayle Greene, "the 'feminine' world of love and personal relationships is secondary to the'masculine' world of war and politics, [and] has kept us from realizing that Cleopatra is the play's protagonist, and so skewed our perceptions of character, theme, and structure." The highlighting of these starkly contrasting qualities of the two backdrops of "Antony and Cleopatra", in both Shakespeare's language and the words of critics, brings attention to the characterization of the title characters, since their respective countries are meant to represent and emphasise their attributes.  The feminine categorization of Egypt, and subsequently Cleopatra, was negatively portrayed throughout early criticism. The story of "Antony and Cleopatra" was often summarised as either "the fall of a great general, betrayed in his dotage by a treacherous strumpet, or else it can be viewed as a celebration of transcendental love." In both reduced summaries, Egypt and Cleopatra are presented as either the destruction of Antony's masculinity and greatness or as agents in a love story. Once the Women's Liberation Movement grew between the 1960s and 1980s, however, critics began to take a closer look at both Shakespeare's characterization of Egypt and Cleopatra and the work and opinions of other critics on the same matter.

Themes and motifs.

Ambiguity and opposition.

Relativity and ambiguity are prominent ideas in the play, and the audience is challenged to come to conclusions about the ambivalent nature of many of the characters. The relationship between Antony and Cleopatra can easily be read as one of love or lust; their passion can be construed as being wholly destructive but also showing elements of transcendence. Cleopatra might be said to kill herself out of love for Antony, or because she has lost political power. Octavius can be seen as either a noble and good ruler, only wanting what is right for Rome, or as a cruel and ruthless politician.  A

Betrayal.

Betrayal is a recurring theme throughout the play. At one time or another, almost every character betrays their country, ethics, or a companion. However, certain characters waver between betrayal and loyalty. This struggle is most apparent among the actions of Cleopatra, Enobarbus, and most importantly Antony. Antony mends ties with his Roman roots and alliance with Caesar by entering into a marriage with Octavia, however he returns to Cleopatra. Diana Kleiner points out "Anthony's perceived betrayal of Rome was greeted with public calls for war with Egypt". Although he vows to remain loyal in his marriage, his impulses and unfaithfulness with his Roman roots is what ultimately leads to war. It is twice Cleopatra abandons Antony during battle and whether out of fear or political motives, she deceived Antony. When Thidias, Caesar's messenger, tells Cleopatra Caesar will show her mercy if she will relinquish Antony, she is quick

Power dynamics.

As a play concerning the relationship between two empires, the presence of a power dynamic is apparent and becomes a recurring theme. Antony and Cleopatra battle over this dynamic as heads of state, yet the theme of power also resonates in their romantic relationship. The Roman ideal of power lies in a political nature taking a base in economical control. As an imperialist power, Rome takes its power in the ability to change the world. As a Roman man, Antony is expected to fulfill certain qualities pertaining to his Roman masculine power, especially in the war arena and in his duty as a soldier: <poem> Those his goodly eyes, That o'er the files and musters of the war Have glowed like plated mars, now bend, now turn The office and devotion of their view Upon a tawny front. His captain's heart, Which in the scuffles of greatness hath burst The buckles on his breast, reneges all tempers, And is becomes the bellows and the fan To cool a gipsy's lust. </poem>  Cleopatra's character is slightly

Use of language in power dynamics.

Manipulation and the quest for power are very prominent themes not only in the play but specifically in the relationship between Antony and Cleopatra. Both utilise language to undermine the power of the other and to heighten their own sense of power.  Cleopatra uses language to undermine Antony's assumed authority over her. Cleopatra's "'Roman' language of command works to undermine Antony's authority." By using a Romanesque rhetoric, Cleopatra commands Antony and others in Antony's own style. In their first exchange in Act I, scene 1, Cleopatra says to Antony, "I'll set a bourn how far to be beloved." In this case Cleopatra speaks in an authoritative and affirming sense to her lover, which to Shakespeare's audience would be uncharacteristic for a female lover.  Antony's language suggests his struggle for power against Cleopatra's dominion. Antony's "obsessive language concerned with structure, organization, and maintenance for the self and empire in repeated references to'measure,' 'property,' and 'rule' express unconscious anxieties about boundary integrity and

Performing gender and crossdressing.

Empire.

Fortune and chance: politics and nature.

The concept of luck, or Fortune, is frequently referenced throughout "Antony and Cleopatra", portrayed as an elaborate "game" that the characters participate in. An element of Fate lies within the play's concept of Chance, as the subject of Fortune/Chance's favour at any particular moment becomes the most successful character. Shakespeare represents Fortune through elemental and astronomical imagery that recalls the characters' awareness of the "unreliability of the natural world". This calls into question the extent to which the characters' actions influence the resulting consequences, and whether the characters are subject to the preferences of Fortune or Chance. Antony eventually realises that he, like other characters, is merely "Fortune's knave," a mere card in the game of Chance rather than a player. This realization suggests that Antony realises that he is powerless in relation to the forces of Chance, or Fortune. The manner in which the characters deal with their luck is of great importance, therefore, as they may destroy their chances of luck by taking advantage of their fortune to excessive lengths without censoring their actions, Antony did. Scholar Marilyn Williamson notes that the characters may spoil their Fortune by, "riding too high" on it, as Antony did by ignoring his duties in Rome and spending time in Egypt with Cleopatra. While Fortune does play a large role in the characters' lives, they do have ability to exercise free will, however;

Antony and Cleopatra (First Folio title: The Tragedie of Anthonie, and Cleopatra) is a tragedy by William Shakespeare. The play was first performed, by the King's Men, at either the Blackfriars Theatre or the Globe Theatre in around 1607; its first appearance in print was in the Folio of 1623.

安东尼与克丽奥佩托拉是莎士比亚所作之悲剧,首次公演时间可能在1607年,目前所知最早的印刷版本是1623年的第一对开本。剧情是来自于汤玛士诺斯(Thomas North)翻译普鲁塔克所著之希腊罗马名人传以及安东尼内战时期的史料。剧中安东尼的主要对手是同为后三头联盟成员的屋大维。本剧特点是在感性、充满想像力的亚历山大与简朴、务实的罗马场景间的快速切换。


History.

Early history.

For many millennia, the Great Plains of North America was inhabited by nomadic Native Americans. From the 16th century to 18th century, the Kingdom of France claimed ownership of large parts of North America. In 1762, after the French and Indian War, France secretly ceded New France to Spain, per the Treaty of Fontainebleau.

19th century.

In 1802, Spain returned most of the land to France, but keeping title to about 7,500 square miles. In 1803, most of the land for modern day Kansas was acquired by the United States from France as part of the 828,000 square mile Louisiana Purchase for 2.83 cents per acre.  In 1854, the Kansas Territory was organized, then in 1861 Kansas became the 34th U.S. state. In 1859, Jackson County was established.

Geography.

According to the U.S. Census Bureau, the county has an area of, of which is land and (0.3%) is water.

Demographics.

Jackson County is included in the Topeka, KS Metropolitan Statistical Area.  As of the 2000 census, there were 12,657 people, 4,727 households, and 3,507 families residing in the county. The population density was 19 people per square mile (7/km2). There were 5,094 housing units at an average density of 8 per square mile (3/km2). The county's racial makeup was 90.21% White, 6.84% Native American, 0.53% Black or African American, 0.17% Asian, 0.02% Pacific Islander, 0.39% from other races, and 1.84% from two or more races. Hispanic or Latino of any race were 1.49% of the population.  There were 4,727 households, of which 35.20% had children under the age of 18 living with them, 62.30% were married couples living together, 8.20% had a female householder with no husband present, and 25.80% were non-families. 22.70% of all households were made up of individuals and 11.50% had someone living alone who was 65 years of age or older. The average household size was 2.63 and the average family size was 3.09.  28.30% of the county's residents were under the age of 18, 6.80% were from 18 to 24, 26.70% were from 25 to 44, 23.40% were from 45 to 64, and 14.90% were 65 years of age or older. The median age was 37 years. For every 100 females, there were 96.80 males. For every 100 females age 18 and over, there were 93.80 males.  The county's median household income was $40,451, and the median family income was $46,520. Males had a median income of $32,195 versus $22,305 for females. The county's per capita income was $18,606. About 6.40% of families and 8.80% of the population were below the poverty line, including 12.50% of those under age 18 and 9.20% of those age 65 or over.

Government.

Presidential elections.

Jackson County has supported the Republican Party candidate in every presidential election from 1936 onward. Democratic Party candidates for president have only won the county twice since 1888, in 1912 & 1932.

Laws.

Following amendment to the Kansas Constitution in 1986, the county remained a prohibition, or "dry", county until 2004, when voters approved the sale of alcoholic liquor by the individual drink with a 30% food sales requirement.

Communities.

Townships.

Jackson County is divided into fifteen townships. The city of Holton is considered "governmentally independent" and is excluded from the census figures for the townships. In the following table, the population center is the largest city (or cities) included in that township's population total, if it is of a significant size.

Jackson County (county code JA) is a county in the U.S. state of Kansas. As of the 2010 census, the county population was 13,462. Its county seat and most populous city is Holton. The county, first named Calhoun County for pro-slavery South Carolina Senator John C. Calhoun, was renamed in 1859 for President Andrew Jackson. The Prairie Band Potawatomi Indian Reservation, near the center of the county, comprises about 18.5% of the county's area.

杰克逊县(英语:Jackson County,简称JA)是位于美国堪萨斯州东北部的一个县。面积1,704平方公里,根据美国2000年人口普查数字,共有人口12,657人。县治霍尔顿。