Embrace nature in the most sophisticated way you know how — with a Wood Nymph Frappuccino in your hand.
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Despite her wood-nymph aura, or maybe because of it, Ms. Magic has found herself in some button-down circles.
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That's the word from new research published in Biology Letters that identified hearing organs embedded in the wing veins of common wood-nymph butterflies (Cercyonis pegala).
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He was a passionate lepidopterist who wrote the definitive scholarly study of the genus Lycaeides and had several species named after him, such as Nabokov's wood nymph.
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The lesser-known story is that of Echo, the wood nymph who was cursed to near-silence and able only to repeat the last words she hears.
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Popular in the U.K. and Moscow, tiny metal stars, hearts, and filigree leaves are used to create new-age, wood-nymph, borderline witchy-woman hair that would make a '70s-era Stevie Nicks proud.
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All-American wood nymph Lana Del Rey last crossed the hallowed pages of Noisey dot vice dot com when she posted an Instagram video of herself singing a little ditty she wrote after attending Coachella.
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Yack enlisted the help of Natasha Mhatre, an expert in insect acoustic communication at the University of Toronto, who examined the responses of 30 common wood-nymph butterflies to different low-frequency sounds in the same general range as human voices.
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Marnie is obviously annoyed with Hannah's lack of general enthusiasm and hiding it poorly; Jessa joins the tense crew, coming in from outside and looking like a wood nymph, which is to say both whimsically and a little unrealistically ethereal.
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Perhaps, as Soth asserts, there is no way to adequately convey the complexity of a human life in a single image — and certainly, this naked wood nymph of a Nazi presents imagined narratives across the spectrum — but his work does manage to capture, collectively, a portrait of a nation.
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Though Mr. Gaultier has recently seemed to lean heavily on the pop culture riff, this time the source material led him to his most restrained collection in years, in multiple shades of green and brown: satin body-skimming jumpsuits and silk gowns marked by cedar whorls; lush cashmere cardigans belted and trimmed in fur over leather pencil skirts; wood-nymph evening dresses and a strapless showstopper with a black velvet bodice and silver jacquard body strafed with pines under a matching opera coat.
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The common wood-nymph (Cercyonis pegala) is a North American butterfly in the family Nymphalidae. It is also known as the wood-nymph, grayling, blue-eyed grayling, and the goggle eye.
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In the western part of the common wood-nymph's range, there are a few similar species. The Great Basin wood-nymph (Cercyonis sthenele) and the small wood-nymph (Cercyonis oetus) are smaller, and the lower forewing eyespot is smaller than the upper one. Mead's wood-nymph (Cercyonis meadii) has a bright red-orange area on the ventral forewing.
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Cercyonis oetus, the small wood-nymph or dark wood-nymph, is a butterfly of the family Nymphalidae. It is found in western North America."Cercyonis Scudder, 1875" at Markku Savela's Lepidoptera and Some Other Life Forms The wingspan is 32–45 mm. Adults are on wing from June to August in one generation.
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It is commonly kept in captivity and may be known as the: jungle nymph, Malaysian stick insect, Malaysian wood nymph, Malayan jungle nymph, or Malayan wood nymph. It originates in Malaya and is nocturnal. This insect holds the human record for the largest egg laid by an insect. The eggs are about 1.3 cm (0.5 in) in length.
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The generic name melanodryas derives from the Greek melas 'black' and dryas 'wood-nymph'. The specific name cucullata derives from Late Latin cucullatus meaning 'hooded'.
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Why Sibelius should have failed to prepare The Wood Nymph for publication is a question that has perplexed scholars. On the advice of Ferruccio Busoni, Sibelius in 1895 offered The Wood Nymph to the Russian music publisher Mitrofan Belyayev but it was not published. Murtomäki has suggested that Sibelius, despite having been fond of The Wood Nymph, was "unsure about the true value" of his output from the 1890s, an ambivalence that is perhaps best illustrated by the piecemeal publication history of, and multiple revisions to, the four Lemminkäinen legends (appearing in the composer's 1911 diary under a list of works to be rewritten, The Wood Nymph, too, seems to have been scheduled by Sibelius for a reexamination, albeit one that never came to pass). Scholars have offered a number of explanations as to why Sibelius may have "turned his back" on his early compositions.
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The common wood-nymph ranges from Nova Scotia and Quebec west to northern British Columbia south to northern California southeast to Texas and east to northern Florida.
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The common wood-nymph is found in a variety of open habitats, such as open woodlands, woodland edges, fields, pastures, wet meadows, prairies, salt marshes, and savannas.
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The Wood Nymph received its modern-day 'world premiere' on 9 February 1996 by the Lahti Symphony Orchestra, with Osmo Vänskä conducting. Vänskä had received permission from Sibelius's family to perform the work. Out of necessity, Vänskä supplemented the manuscript—full of edits and, thus, "very difficult to read" in isolation—with notes from the 1936 performance. In 2006, Breitkopf & Härtel published the first edition of The Wood Nymph.
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The Wood Nymph (Swedish title: '''''; subtitled '), Op. 15, is a programmatic tone poem for orchestra composed in 1894 and 1895 by the Finnish composer Jean Sibelius. The ballade, which premiered on 17 April 1895 in Helsinki, Finland, with Sibelius conducting, follows the Swedish writer Viktor Rydberg's 1882 poem of the same title, in which a young man, Björn, wanders into the forest and is seduced and driven to despair by a ', or wood nymph. Organizationally, the tone poem consists of four informal sections, each of which corresponds to one of the poem's four stanzas and evokes the mood of a particular episode: first, heroic vigor; second, frenetic activity; third, sensual love; and fourth, inconsolable grief. The Wood Nymph was performed three more times that decade, then, at the composer's request, once more in 1936.
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Stephen Arnold, a painter, dreams of a beautiful love scene in a forest involving a faun and a wood-nymph that is interrupted by the daughter of Pan. In the dream, Pan's daughter lures the faun away from his beloved wood-nymph with her magic flute. When he awakens from his dream, he decides to capture the image of Pan's daughter on canvas and goes in search of a suitable model. He meets Caprice, a dancer who strangely resembles Pan's daughter as seen in his dream.
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In view of his later > mastery of the "art of transition," achieved by subtly overlapping different > textures and tempos, in ' Sibelius is still at the beginning of his > development. Erik Tawaststjerna, musicologist, friend and biographer of SibeliusGuy Rickards, concurring that The Wood Nymph "never quite escapes a dependence on the verses", has echoed Tawaststjerna in wondering what might have been had Sibelius returned in his maturity to The Wood Nymph, as with '. Finnish composer Kalevi Aho's response has been similar, calling the ballade "an interesting work" in need of "more polishing".
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A few musicologists have speculated that The Wood Nymph is potentially autobiographical. Murtomäki, most notably, has argued that the tone poem's depiction of "a fatal sexual conjunction" between Björn and the ' is a possible allusion to the composer's own youthful indiscretions. "The strong autobiographical element in Skogsrået is unmistakable", Murtomäki has written, adding that in the ballade, "Sibelius probably confesses an affair to Aino". For Murtomäki, the balladic nature of The Wood Nymph is key, as in the genre "it was expected that the singer/storyteller/composer should reveal himself".
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At the time, it was common for the first sexual partners of men of Sibelius's class to be prostitutes. Murtomäki says that "In their concealed or "unofficial" sexual life, they experienced a certain type of female sexual adventurousness that their wives could not easily match." He hypothesizes that The Wood Nymph and other contemporaneous compositions were Sibelius's method of dealing with the emotional consequences of this and his guilt towards his wife Aino. With its focus on sexual fantasy, The Wood Nymph differs sharply from the Rydberg poem Snöfrid which Sibelius set in 1900.
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Ideopsis gaura, the smaller wood nymph, is a species of nymphalid butterfly in the Danainae subfamily. It is found in Southeast Asia. Larva feed on Melodinus especially M. laevigatus. Adults are mimicked by Graphium delessertii and Cyclosia pieridoides.
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Ideopsis juventa, the wood nymph, gray glassy tiger or grey glassy tiger, is a species of nymphalid butterfly in the Danainae subfamily. It is found in Southeast Asia.Guide to the Butterflies of the Malayan Woods. Toronto:Metro Toronto Zoo.
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Nancy is a wood nymph from Halloweentown. She went to the mortal world as a transferred student from "Canada" (a cover-up for Halloweentown) to learn how to live among mortals. Thanks to Marnie, she joins the gardening club.
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It is a larval host to the Arogos skipper, Byssus skipper, cobweb skipper, common wood nymph, Delaware skipper, and the dusted skipper.The Xerces Society (2016), Gardening for Butterflies: How You Can Attract and Protect Beautiful, Beneficial Insects, Timber Press.
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C. p. nephele, mating The female common wood- nymph is the active flight partner. The female lays her eggs on or near the host plant. The egg is pale yellow, later turning to a tan color with orange or pink blotches.
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The common wood-nymph is found from mid-May to early October in the eastern part of its range. It is found from late June to early July in California and Arizona. It has one brood per year throughout its entire range.
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Eudryas grata is a moth known as the beautiful wood nymph. They are known for their mimicry of bird droppings. Found in abundance, predominantly across the entire eastern United States. Hosts for the caterpillar include Ampelopsis, buttonbush, grapes, hops, and Virginia creeper.
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In Denmark, the Hyldemoer (“Elder-mother”) or Hyldequinde (“Elder-woman”) is a spirit like a wood-nymph or dryad that lives in the elder tree. The spirit is said to haunt or torment people who build from elder wood unless they ask permission first.
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Cercyonis meadii, or Mead's wood nymph, is a species of brush-footed butterfly in the family Nymphalidae. It was first described by William Henry Edwards in 1872 and it is found in North America. The MONA or Hodges number for Cercyonis meadii is 4588.
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Perhaps, as master, he looked back on the works of his youth as technically "inferior" to his mature output; or, as evolving artist, he sought distance from passionate, nationalistic exclamations as he developed his own, unique musical style and aimed to transition from "local hero" to "international composer"; or, as elder statesman, he feared he might have "revealed himself too much" in early "confessional" works, such as En saga, Lemminkäinen and the Maidens of the Island, and The Wood Nymph. In the absence of any new information from Sibelius's papers, however, the reason why The Wood Nymph was never published ultimately "appears doomed to remain a subject of speculation".
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The ballad was first published 1877 as a folk song of the Södermanland region (recorded in Lunda parish, Nyköping Municipality). A variant from Näshulta parish, Eskilstuna Municipality, published in the same collection in 1882, had the title Skogsjungfruns frieri ("The Courting of the Wood-nymph", a skogsjungfru or skogsnufva being a female wood-nymph or fairy). H. Aminson, Bidrag till Södermanlands äldre Kulturhistoria, på uppdrag af Södermanlands Fornminnesförening vol. 3 (1882), 34-36 Other variants have been recorded in which the courted man is called "Herr Magnus" (Herr Magnus och Hafstrollet, Hertig Magnus och Hafsfrun, a hafstroll or hafsfru being a water-nymph, neck or mermaid).
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Sibelius, who was in his seventies and had retired to Ainola, was not present for this final performance, although he appears to have personally selected The Wood Nymph for the programme; Georg Schnéevoigt, who cut the score extensively in order to fit the performance into the radio broadcast's allotted time, conducted the Helsinki Philharmonic, with President Pehr Evind Svinhufvud, Prime Minister Kyösti Kallio, and Marshal Carl Gustaf Emil Mannerheim in attendance. After 1936, The Wood Nymph again disappeared from the repertoire. Throughout his career, Sibelius was troubled with creative 'blocks' and bouts of depression. This led him to commit score to the flames when he felt unable to revise them to the level he demanded.
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The caterpillar will reach a length of 5 cm (2 in). The common wood-nymph caterpillar is very similar to satyr caterpillars in the genera Hermeuptychia, Cyllopsis, and Neonympha. It can be separated by its larger size and habitat. The pale green chrysalis is striped in white or pale yellow.
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It reproduces by seed and tillers. The grass is often confused with the similar looking Johnson grass (Sorghum halepense), although it is only distantly related. Tridens flavus is easily distinguished by its short, hairy ligule. It is a larval host to the common wood nymph, crossline skipper, little glassywing, and the Zabulon skipper.
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In Steve Alten's The Loch the Loch Ness Monster is originally thought to be a guivre which got into Loch Ness through Moray Firth. The guiuvres were said to be a species of giant eel, a predecessor to the Anguilla. In the 1989 film La Vouivre, the vouivre was a wood nymph.
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Although well received upon its premiere, critical opinion as to the merit of The Wood Nymph has varied. Following the 1895 premiere, Oskar Merikanto, writing in Päivälehti, praised Sibelius for having "masterfully" recreated Rydberg's plot with the use of "unique and fascinating colors", while critic Karl Flodin complained in Nya Pressen that it was "unquestionably too long". Modern day opinion has been similarly equivocal. While conceding that The Wood Nymph contains "some splendid melodic ideas" and "luxuriant scoring", Erik Tawaststjerna has characterized the work as the "experiment" of a composer "still trying to find his feet as a tone-poet", suggesting that Sibelius is too dependent on the source material's narrative structure. Murtomäki, though praising the ballade for its "unforced freshness of vision and tonal audacity" and "well elaborated, original and inventive characters", agrees with Tawaststjerna that The Wood Nymph is too episodic in construction: > As a whole, ' is not a highly unified organism like Sibelius’s subsequent > large orchestral works: the four ' legends and the first two > symphonies...The formal problem is that the links are, for the most part, > missing; Sibelius simply juxtaposes different formal sections without > connective elements smoothing over the junctures.
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The album was refused distribution in Germany due to the allegedly offensive booklet. Wood-Nymph refused to print a new booklet and, as a result, the label soon folded due to the poor distribution of the album. The CD would later be repressed by Morbidund Cult and Drakkar Productions in 2004 and 2006 respectively.
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The generic name Poecilodryas (from the Ancient Greek for 'spotted or dappled wood-nymph') refers to the spots on the wing and tail of species in this genus, and to its characteristic flight and perching behaviour. The specific epithet cerviniventris refers to the buff colouration of the chest, derived from Latin cervus = 'stag, deer' and ventris 'vent, belly'.
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On his way there he meets Trise, the long-time lady friend of his wife. He tells her what he has seen. Trise convinces Lippijn that he must be wrong and should not accuse his wife of these things. When Lippijn persists she tells him he must have been possessed by a wood nymph or a goblin.
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Putti garland the window. The stated theme is the classical myth of Vertumnus and Pomona taken from a story in Ovid's Metamorphoses. The myth is that of Pomona, a beautiful but aloof wood-nymph, shown with a sickle at right lower corner, who sheltered herself inside her orchard, dedicating herself to its cultivation while spurning all suitors.
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Dorsal view The common wood- nymph can vary greatly. All individuals are brown with two eyespots on each forewing - the lower one often being larger than the upper one. Some may have many, few, or no eyespots on the ventral surface of the hindwing. In the southeastern part of its range, it has a large yellow patch on both surfaces of the forewing.
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One of the famous myths of Pan involves the origin of his pan flute, fashioned from lengths of hollow reed. Syrinx was a lovely wood-nymph of Arcadia, daughter of Ladon, the river- god. As she was returning from the hunt one day, Pan met her. To escape from his importunities, the fair nymph ran away and didn't stop to hear his compliments.
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Pomona, Naples Archaeology Museum Pomona, by Nicolas Fouché, ' 1700 Vertumnus and Pomona by Peter Paul Rubens, 1617–1619, private collection in Madrid. Pomona (, ) was a goddess of fruitful abundance in ancient Roman religion and myth. Her name comes from the Latin word pomum, "fruit", specifically orchard fruit. Tapestry depicting the goddess Pomona Pomona was said to be a wood nymph.
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Ragged-Tusk gores Hercules in the thigh before Deianeira can kill the boar with her arrows. The wood nymph brings the boy into her home and treats his injuries. He clumsily tries to kiss her, but she gives him a lesson in applying tenderness and affection instead of force and lust. Hercules confides that he had never experienced these things before.
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Nymfen by the Norwegian realist painter Hans Heyerdahl, c. 1890 The tone poem premiered on 17 April 1895, at the Great Hall of the University of Helsinki, with Sibelius himself conducting the Helsinki Orchestral Society; the programme also included the tone poem ' (Spring Song) and selections from the Karelia Suite. A repeat performance was given two days later. Despite its positive reception, The Wood Nymph would only be played another five times in Sibelius's lifetime: twice in Turku on 29 and 30 November 1897; twice in Helsinki at the premiere of his Symphony No. 1 on 26 and 30 April 1899 (a highly important event in Sibelius's career, and a sign that he viewed The Wood Nymph as a worthy counterpoint to the symphony); and, after a 37-year hiatus, once in Helsinki on 27 October 1936.
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The Wood Nymph is a lost 1916 silent film whose story was written by D. W. Griffith as Granville Warwick, produced by his Fine Arts Film company, directed by Paul Powell and distributed by the Triangle Film Corporation. This film stars Marie Doro, a stage actress recently arrived in films, in a Gishian type of role and was expressly written for her by Griffith.
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Eudryas unio, the pearly wood-nymph, is a species of moth of the family Noctuidae. It is found in most of the eastern United States from central New Hampshire and southern Ontario, south to southern Florida. In the west it ranges to the eastern Great Plains, south to southern Texas and Veracruz along the eastern coast of Mexico. There are isolated populations in central Utah and California.
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The parentage of Pan is unclear;W. H. Roscher, Ausführliches Lexikon der Gr. u. Röm. Mythologie (1909:1379f) finds eighteen variants for Pan's genealogy. generally he is the son of Hermes, although occasionally in some myths of Dionysus, with whom his mother is said to be a wood nymph, sometimes Dryope or, even in the 5th-century AD source Dionysiaca by Nonnus (14.92), Penelope of Mantineia in Arcadia.
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One day, Hercules is invited to join his father and King Theseus in a hunt for a wild boar, Ragged-Tusk. During the hunt, he encounters the wood nymph, Deianeira, who is bathing, and steals her clothes. Linus, who had been her guest at this time, poses as his own ghost and frightens him into returning the clothing to her. After returning the clothes, Deianeira joins the hunt alongside Hercules.
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Assessing Specimen Provenance through the Writings of Theodore L. Mead, with Notes on his Specimens of Hesperia colorado(Hesperiidae). News of the Lepidopterists' Society. 57:176-181, 173. Over 20 species new to science were collected by Mead on this trip, and three named by Edwards in his honor still carry his name: Colias meadii (Mead's Sulphur), Speyeria callippe meadii (Mead's Silverspot) and Cercyonis meadii (Mead's Wood-Nymph).
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Sarah Coventry 1976 "Outer Space" pendant Sarah Coventry 1970 "Wood Nymph" bracelet Sarah Coventry jewelry was named after the granddaughter of Lyman K. Stuart, the founder of the company. Established in 1949, it is recognized as the oldest direct selling jewelry company in the world. They did not design their own jewelry but used other manufacturers to produce their jewelry. Most of the production happened in the state of Rhode Island.
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Necile is a wood nymph who becomes the adoptive mother of Santa Claus in the 1902 novel The Life and Adventures of Santa Claus. She recurs in the 1985 film by Rankin/Bass (voiced by Lesley Miller) then the 1996 anime series then the 2000 film by Mike Young Productions (voiced by Dixie Carter) inspired by the novel. She has also been portrayed in musicals adapting the story.
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Viktoria (voiced by Terri Brosius) is a wood nymph in the series. She was a primary antagonist during the events of The Dark Project, being the one to remove Garrett's eye. However, she and her followers become allies for Garrett's war on the Mechanists during Metal Age. Initially there is little trust on Garrett's part, but over time she is able to gain Garrett's respect, loyalty and, uncharacteristically of the cynical thief, care.
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Silvía originally means "wood nymph" and Nótt simply means "night". The name was probably not meant to have any learned connotations, but is rather typical for Icelandic pop culture Christening fashions of the new century. Silvía's boyfriend is the Argentinian alpha male Romario Hugo Estevez, performed by Icelandic actor Björn Thors. Silvía's favorite foods are sushi and feta cheese and she aims for a career as a model, singer and a movie star.
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The director of the movie, Charles Pinion, cast a number of people associated with the Cinema of Transgression movement like Richard Kern and Hughes-Freeland.Charles Pinion Interview: Part Four: Red Spirit Lake, Mike Everleth, undergroundfilmjournal.com, 2014, retrieved 27 August 2014 In the following year, she made Nymphomania, a film whose mythology-inspired plot depicts a wood nymph disrobing whilst a voyeuristic satyr pleasures himself, then forces himself upon the nymph, impaling her upon his barbed phallus. According to Variant.
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Costumes in modern productions are usually white dresses with black sashes and headpieces. The next year, 1832, Marie Taglioni appeared in the title role of La Sylphide, the story of a wood nymph (a sylphide) who tempts a Scottish farmer, James, to abandon his rural sweetheart and follow her into the woods, in pursuit of ethereal beauty. Dance historians consider this work, as the first fully- fledged ballet blanc, to be the beginning of the Romantic movement in ballet.
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The community moved when the Leudinghaus brothers of Chehalis built a sawmill at the present site. The name Dryad was supplied by Northern Pacific Railway officials around 1890 at the suggestion of Willam C. Albee, who was superintendent of the Pacific Division of the NP. In mythology, a dryad was a wood nymph. Albee figured that a dryad might find itself right at home living in the local fir and cedar trees. Rainbow Falls State Park is near Dryad.
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He later noted: "I wrote Snöfrid more or less at one sitting after I came home from three days of lively celebrations". The plot on which it is based is inspired by old Scandinavian balladic stories. A female protagonist appeals to her compatriots, in particular a hero, to fight for freedom as a higher goal than fortune, fame and pleasure. Sibelius was inspired by several works by Rydberg, including solo songs and Skogsrået (The Wood Nymph).
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For the first half of the story the Samanta refuses to speak. It is not until Bempong cuts off her hair, in an effort to tame her outgrown hair, that Bempong realizes this girl is a Samanta, a wood nymph—"a creature of strange magical powers".Sutherland, Efua, A Voice in the Forest (Ghana: Afram Publishing, 1983), p. 9. Finding her voice in a moment of anger, the Samanta curses the village, leaving them with no food until she has her hair back.
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Brittain's best-known novel is A Bad Spell in Yurt, the first of the Royal Wizard of Yurt series. The series continues with The Wood Nymph and the Cranky Saint, Mage Quest, The Witch and the Cathedral, Daughter of Magic, and Is This Apocalypse Necessary? The first five books, published by Baen Books, are currently out of print but are available as ebooks and audio books. The last book in the series, published by The Wooster Book Company, remains in print.
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In the Forest of Burzee, where many immortals live (such as Knooks, fairies, and nymphs), their leader, Ak, the Master Woodsman of the World (governor of all forests), finds a human baby abandoned and places him in the care of the lioness, Shiegra. A wood nymph named Necile thereupon adopts the baby; later named Nicholas. Meanwhile, a shapeshifting pixie named Wisk is catapulted to Burzee over the mountain where the evil Awgwas live. When Nicholas reaches young adulthood, Ak shows him how mortals live, giving him a magic sash that makes him invisible.
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A Voice in the Forest is a text that powerfully portrays the political, economic, and social complexity of colonialism and cultural relativism in Ghana in regards to children. The text is a retelling of an Akan folktale and deals with traditional cultural values through the role of the trickster figure. It tells the story of a man named Bempong who unknowingly discovers a Samanta, a wood nymph, and brings her back to his village. Initially Bempong believes the Samanta is a lost girl, wandering alone through the forest.
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They eventually discovered that Magnus had designed the box so that only all of the blood of a Man of Letters could disarm the spell and open it, but by combining their blood, the Winchesters were able to safely open it. After getting the codex, Dean destroyed the Werther Box just to be safe. In season 15's "Last Holiday," Jack discovers that Magnus rescued a wood nymph dubbed Mrs. Butters from the Thule and indoctrinated her into being a weapon against the Men of Letters enemies. Mrs.
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The next LP made GBK one of the most controversial underground black metal acts in the United States. Bassist Der Sturmer (Der Stürmer was the name of a Nazi newspaper published 1923-1945) replaced the Marauder, and the new lineup recorded the LP Mocking the Philanthropist on the Belgian record label Wood-Nymph. The CD booklet contained pictures of the band wearing shirts of far-right bands (Bound for Glory and Spear of Longinus), leading to tour boycotts and other problems. In their first nine years, GBK had only played nine gigs.
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Fern is a wood nymph, with red/orange hair, who is Jasper's crush in the series. She also shares Jasper's love for nature, having a fascination in particular with birds. She is kind, open minded with zen-like patience, looks and acts a lot like a 1960s hippie and talks to animals in a chant, saying 'Love, Peace, Trees,' although she only actually does this in 'Trick In the Stick.' She appears in three episodes; 'Trick in the Stick', 'The Fern Turns' and 'Come Fly With Me.' Her wand is a twig.
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"JoAnne Carson," Romanov Grave. Retrieved September 18, 2019. Her 1999 relief Wood Nymph combined fantasy, reality and illusion in an eight-armed, pie- wielding, torso-less Kali-like figure that seemed to emerge from a cross- section of California redwood, which was actually wood, fiberglass, cloth, and plaster seamlessly integrated beneath a veneer of trompe l'oeil wood grain. Carson's 2001 solo exhibition at Plus Ultra Gallery consisted of a single freestanding sculpture: the nine-foot tall, thermoplastic and aqua resin Bouquet, an icy turquoise-purple arrangement mixing recognizable, anatomically correct and imaginary, slightly sinister flowers.
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Jonaki marked the dawn of romanticism in Assamese literature. The first romantic poem, Bon Kunwori (The Wood Nymph), by Chandra Kumar Agarwala, and the first Assamese sonnet, Priyotomar Sithi (Letter from the beloved), by Hemchandra Goswami, were published in the magazine. Hemchandra Goswami’s Kaku Aru Hiya Nibilau (No More of my Heart to Anybody) was a unique poem of its kind. A regular humorous column titled Kripabor Boruar Kakotor Topola, by Lakshminath Bezbaroa, was also included. Kamalakanta Bhattacharjya’s Pahoroni (Oblivion) and Chandrakumar Agarwala’s Niyor (Dew-drops) were two e-making poems published in the first year of the magazine.
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Long ago in the Forest of Burzee, a council meeting is held where the Great Ak tells the story of Santa Claus to the leaders of the Immortals, hoping to persuade them to grant Claus immortality. About 60 years earlier, the Great Ak finds an abandoned baby in the snowy woods on the border of the Forest. He gives it to the lioness Shiegra to raise. However, after hearing about the discovery of the infant, Necile, a Wood Nymph, steals him from Shiegra and goes to the Great Ak, begging him to let her raise the child.
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Left, the Three Graces dance and the God Mercury drives away clouds with his staff. Right, a wind God with dark wings swoops to catch a wood nymph who is transformed into another figure, the stately Goddess Flora who scatters flowers. During the 15th century portraiture became common, initially often formalised profile portraits but increasingly three-quarter face, bust-length portraits. Patrons of art works such as altarpieces and fresco cycles often were included in the scenes, a notable example being the inclusion of the Sassetti and Medici families in Domenico Ghirlandaio's cycle in the Sassetti Chapel.
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Santa Claus, as a baby, is found in the Forest of Burzee by Ak, the Master Woodsman of the World (a supreme immortal), and placed in the care of the lioness Shiegra; but thereupon adopted by the Wood Nymph, Necile. Upon reaching young adulthood, Claus is introduced by Ak to human society, wherein he sees war, brutality, poverty, child neglect, and child abuse. Because he cannot reside in Burzee as an adult, he settles in the nearby Laughing Valley of Hohaho, where the immortals regularly assist him, and Necile gives him a little cat named Blinky.
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Of the very many literary sources that may have fed into the painting,Hartt, 332 the clearest was first noted in modern times by Aby Warburg in 1893, in his seminal dissertation on the painting.Lightbown, 140; Dempsey The group at the right of the painting was inspired by a description by the Roman poet Ovid of the arrival of Spring (Fasti, Book 5, 2 May). In this the wood nymph Chloris recounts how her naked charms attracted the first wind of Spring, Zephyr. Zephyr pursued her and as she was ravished, flowers sprang from her mouth and she became transformed into Flora, goddess of flowers.
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Many Years Ago, a young Gothel becomes intrigued by seeing a group of women trying out dresses that they plan to wear to an upcoming ball. After they leave, Gothel sneaks in and touches the dresses and causes a small rose to magically bloom, only to be caught by the women after they return. It appears that they're intrigued by Gothel, so they ask her to teach them magic by inviting her to the party. When Gothel arrives to a garden-like location, she unlocks a special door that enters a world in which it is revealed that Gothel is actually a wood nymph and isn't human.
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Justina Gringytė (born 1986) is a Lithuanian operatic mezzo-soprano. A former Samling and Jette Parker Young Artist, Gringytė trained as a pianist before commencing her studies at the Lithuanian Academy of Music and Theatre before joining the Royal Welsh College of Music and London's National Opera Studio. During her time as a member of the Jette Parker Young Artists programme, Gringytė's roles included Maddalena (Rigoletto), Flora Bervoix (La Traviata), Wood Nymph (Rusalka), Maddalena (Il viaggio a Reims), Innocent (The Minotaur), Albina (La donna del lago) and Suzy (La rondine).Gringytė made her house debut in the 2013/14 season as Maddalena in Guisseppe Verdi's Rigoletto before appearing with the Welsh National Opera as Fenena in Nabucco.
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In 1987, a friend of the company suggested that they'd find a welcome reception at the famous Edinburgh Festival Fringe in Scotland. The ideal show length being about an hour, they decided they needed about 20 more minutes of material, and proposed doing Shakespeare's other 35 plays to round out an abridgement of everything the bard wrote in less than one hour. Sa Thomson (now Sa Winfield), brought on to design and fabricate the troupe's quick-change props and costumes, became a full partner in 1988, and also occasionally appeared as a performer with the troupe, most famously in the title role of the RSC's incarnation as the Abbreviated Ballet Theatre for Lucinda, Wood Nymph of the Glade.
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For ten years he was principal assistant to John Henry Foley R.A. and from 1852 till his death he exhibited regularly at the Royal Academy, and was elected to the Associateship of the Academy in 1880. He won a significant prize of £600 in an open competition in 1864 from the Art Union of London for his marble work The Wood Nymph, which was judged to be the "best original figure or group". It was subsequently selected as one of the representative works of British art for the Vienna, Philadelphia and Paris Exhibitions. In 1891 he was one of eight eminent artists who were invited to submit designs for new British coinage.
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This was the fate most notoriously of the Symphony No. 8, but also of many works from the 1880s and 1890s. He did not, however, destroy The Wood Nymph. The ballade lay neglected amongst the more than 10,000 pages of papers and scores which the composer's family had deposited in 1982 at the University of Helsinki Library archive. The work was 'rediscovered' by the manuscript expert Kari Kilpeläinen; its subsequent inspection by Fabian Dahlström "caught Finland, and the musical world, by surprise": the tone poem, 22 minutes in length and scored for full orchestra, was far more than the melodrama "recast without the speaker" many in the Sibelius establishment had assumed it to be.
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For the castle of Kronberg in the Taunus, he painted a series of scenes from the history of Baron Hartmuth von Kronberg. He also produced his famous “Hero und Leander.” “Halbakt eines jungen Mädchens” (“Half nude of a young woman”), 1861 Following these works came “Hamlet mit Horatio auf dem Friedhof” (“Hamlet with Horatio in the Churchyard”), “Ophelia am Bach” (“Ophelia by the brook”), “Romeo und Julia”, and his last and unfinished work, “Faust auf dem Spaziergang” (“Faust on a Stroll”). Among his other works are “Waldnymphe” (“Wood nymph”), “Tannhäuser im Venusberg”, “Landschaftsszene aus Victor Hugos Les misérables” (“A landscape from Victor Hugo's Les Misérables”). His last finished picture was “Blumenmädchen” (“Flower Girl”).
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Terry Moore stated that "I started out wanting to do a newspaper strip, and tried one idea after another before I realised I hated the gag-a-day life and really wanted to try a story instead." The story he chose to tell turned out to be Strangers in Paradise, or "this story about 2 girls and a guy who gets to know them" (from Moore's introduction to The Collected Strangers in Paradise, Volume One), which used characters he had developed during his time on the gag-a-day circuit. For example, Katchoo appears as a "happy-go-lucky wood nymph" in an early strip by Moore about an enchanted forest. These strips were collected into two trade paperbacks, but they did not include three issues.
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For Opera Australia she sang the First Lady and Pamina (in separate productions) in Die Zauberflöte, Oberto in Handel's Alcina and Angelica in Orlando, the Wood Nymph in Dvořák's Rusalka and again Micäela in Carmen, and Sophie in Massenet's Werther. In 2007, Sarah Crane created the role of Hero in the Victorian Opera and Opera Queensland productions of Richard Mills' opera The Love of the Nightingale.Cast of The Love of the Nightingale at Victorian Opera Her concert engagements include Handel's Messiah, Mozart’s Requiem, Beethoven's Choral Symphony, Brahms’ German Requiem, Orff's Carmina Burana (with The Queensland Orchestra), Opera Under the Stars (in Broome, Western Australia) and appearances with the Queensland Pops Orchestra. In 2006 she appeared in Opera Australia's 50th birthday gala concert at the Sydney Opera House.
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Beginning his artistic studies under Steinle at the Frankfurt art school, he continued them at Antwerp and ultimately went to Paris (1849), where he stayed for 11 years, diligently studying the methods and manner of Thomas Couture, Eugène Delacroix and Gustave Courbet. He became a follower of Courbet, whose technique, the reverse of Couture's, he adopted, and subsequently helped to promote in Germany. In 1858 he returned to Frankfurt, where he soon attracted attention with a series of pictures, thoroughly realistic in conception and of great coloristic charm, but scarcely understood by a public accustomed to the sentimental trend of the Düsseldorf school of that period. Therefore, he moved to Munich in 1866, where revolutionary departures from traditional treatment as the “Sleeping Wood- Nymph” (1863), or “Hero and Leander,” were more likely to be appreciated.
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25, composed in 1901, and is most apparent in the tone poem O věčné touze (Of the Eternal Longing, op. 33, completed 1905). Meanwhile, the more monumental aspects of his style, evident in the Slovak-inspired tone poem V Tatrách (In the Tatras, op. 26, 1902) and the song cycle Údolí nového království (Valley of the New Kingdom, op. 31, 1903) combined with his discovery of the music of Strauss: the result was the tone poem, Toman a lesní Panna (Toman and the Wood Nymph, op. 40, completed 1907). The height of his compositional career was considered, including in the criticism of the day, to consist of two principal achievements, both completed in 1910: Pan, the five-movement tone poem for piano solo (totalling some sixty pages of music, op. 43), and Bouře (The Tempest, op. 42, to a text by Svatopluk Čech).
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Rydberg in 1876 In 1894, although Sibelius was a national figure in Finland and had completed major works like Kullervo and the Karelia Suite, he was still struggling to break free of Wagnerian models and develop a truly individual style. The origin of the tone poem remains obscure but The Wood Nymph may well have gradually evolved out of music for a verismo opera that Sibelius had planned but never realized. The libretto, as related in a letter from Sibelius dated 28 July 1894, tells the story of a young, engaged student who, while travelling abroad, meets and is attracted by an exotic dancer. Upon his return, the student describes the dance and dancer so vividly that his fiancée concludes he has been unfaithful; the opera ends with a funeral procession for the student's fiancée (the letter is unclear as to her cause of death).
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The Witchblade's symbol is two circles overlapping one-another, representing the light and dark aspects of the Witchblade, as it is a proponent for balance between these two forces in the world. Former wielders of the Witchblade include Saren (a fictional Artemis-esq wood nymph goddess of Sumerian religion, and who was the uninterested object of Gilgamesh's unrequited lust, and was hunted by Enkidu), Cathain (based on Scáthach of Irish & Scottish legend, and lover of Conchobar), Joan of Arc, Florence Nightingale (although she was not of the wielder's bloodline), and Elizabeth Brontë (an American spy in WWII), along with unidentified Egyptian, Babylonian, Indian, Chinese, Japanese and Celtic woman (all with the same face as Sara Pezzini) throughout human history. It is revealed that Sara was not only adopted, but stolen from her birth mother when she was a baby she also had a sister that appeared in the series once, named Karen Bronte. It is hinted that her real last name is Bronte.
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Furthermore, in a letter from 10 August 1894, Sibelius informs his wife, Aino, of a new composition "in the style of a march". Murtomäki argues that Sibelius readily adapted his previous musical ideas to the plot of ': the march became Björn's theme from the first section of The Wood Nymph, the protagonist "tak[ing] himself off (abroad)" became the frenetic chase of the second, the unfaithfulness with the dancer became the seduction by the evil skogsrå in the third, and the opera's funeral procession became the despair of Björn in the finale. While both tone poem and melodrama would emerge from this material, it is not clear which musical form Sibelius initially used to tackle Rydberg's poem. In the 1930s, the composer claimed he had first composed the melodrama (premiered on 9 March 1895 at a lottery ball benefiting the Finnish Theatre where it was narrated by Axel Ahlberg), only to realize subsequently that "the material would allow a more extensive treatment" as a symphonic poem.
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In 1902, the Italian composer, conductor, and pianist, Ferruccio Busoni, began a series of concerts (eventually 12 in all, from 1902 to 1909) with the Berlin Philharmonic at the Philharmonie's Beethovensaal (Beethoven Hall). According to Della Couling, Busoni's biographer, the concerts courted controversy from the beginning: Busoni's decision to feature new, modern (largely non- German/Austrian) music in a city famous for its devotion to celebrated homegrown talent only reinforced the perception in Berlin that Busoni was a bit of a "maverick". In June, Busoni invited Sibelius, his longtime friend, to conduct En saga (he also suggested as substitutes both the Second Symphony and the tone poem The Wood Nymph) at the beginning of November: Sibelius seems to have countered with a choral work (possibly the recently completed cantata The Origin of Fire), since Busoni later replied, "Unfortunately I cannot give myself up to the uncertainty and inconvenience caused by singers ... Therefore, I believe we had better stick to the 'pure' orchestra". Although Sibelius remained undecided between the Second Symphony and En saga until October, he eventually opted for the tone poem in revised form.
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