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charlidos · 7 months ago

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I keep writing Viggorli fanfiction in my head, sometimes with a little help from Viggo's poetry. I think Viggo uses his art and poetry to express himself, but of course no one but him can know what he was thinking when writing it. But I can imagine. And I wish to imagine he wrote some of them thinking of Orlando. I'm sure my imaginations and theories are only new to me.

As with the O+H painting, the poems which are dated from the time frame of filming LotR (1999-2002) can reasonably be considered to be quite influenced by everything Viggo experienced while in New Zealand. He spent 18 months+ there, after all. For this reason, I read his poem Communion imagining he was also under the heavy influence of love for his elf boy. And to me, it reads like a very romantic but also very wistful poem. So this story would be labeled "friends to lovers, angst".

In my view, at least two sort of objective facts, support my not-very objective theory that Orlando is the unamed object of desire, namely Viggo's choice of words:

"Bloom of compassion" - the most obvious (too obvious even? - or hiding in plain sight?) - it's a common enough word, sure, but in this context, during this period of Viggo's life, is it really a coincidence? It seems to stand out like a neon sign: BLOOM. It's difficult to unsee.

"Anglican doorway" - "Anglican" mostly refers to "Church of England" or the Anglican communion as a whole. But it can also be another way of saying that something is English. And so it can be read as "English doorway", if you wish. Regardless, it certainly leads your thoughts towards England. Furthermore, Orlando was brought up in the Church of England (and born in Canterbury, the place of origin for the church, no less), while Viggo has no known connection to any religion really. It's perhaps not as obvious as bloom, but it's still quite a significant choice of word. Again, in this context, at this time, when we know Viggo spent so much of his time with Orlando.

Here's my interpretation of Viggo's Communion:

we've left shore somehow become the friends of early theory close enough to speak desire and pain of absence of mistakes we'd make given the chance.

The two are described as friends, who have become closer, intimate in words and thoughts. Sharing secrets, fears, feelings. Bordering on something more.

each smile returned makes harder avoiding dreams that see us lying in the early evening curtain shadows, skin safe against skin. bloom of compassion respect for moments eyes lock turns forever into one more veil that falls away

He seems to be having thoughts of them becoming lovers, the veil of "just friends" falling away. But it seems to be still just a dream, a hope. It's such a beautiful image: the two of them, together, intimate, safe. And that "bloom of compassion", maybe V just wanted to get the word in...

this after seeing you last night, first time smelling you with permission: shoulders to wonder openly at as carefully kissed as those arms waited impossibly on. they've held me now and your breath down my back sent away the night air that had me shaking in the unlit anglican doorway.

But seems they've already been intimate, maybe just a first kiss, a lingering touch, holding each other. The "smelling you with permission" implies he's smelled O without permission before. Sneaking a little sniff when in close contact. Inhaling the sweet scent of a beloved friend. If we accept "anglican" as a reference to O, then what is this unlit doorway? Is it just an image of being allowed inside O's private space? And why is it unlit? As in Orlando being from that church, but not believing in its god? Or an opening into this other person which is difficult to find, maybe not fully opened to him.

are we ruined for finding our faces fit and want to know more about morning? is friendship cancelled if we can't call each other anymore in amnesia, invite ourselves to last glances under suspicious clocks telling us when we've had enough?

A worry that sex will ruin their friendship, implying it's not clear what their relationship should be, even after crossing that line. I love that phrase "finding our faces fit", it's both funny and beautiful; finding that when they kiss, they felt a sense of belonging. And that they probably don't want to stop. I'm not sure if he also worries about other people seeing, finding out, being in the public eye. And he worries that they won't be able to talk like they did before, as friends.

your steady hands cradling my grateful skull: were you taking in my face to save an image you've rarely allowed yourself after leaving that cold alcove? am i a photograph you gaze at in moments of weakness?

Again, he seems to feel this relationship only exists in private, in bed. Maybe implying that O regards it as a weakness, these feelings. This part could also be read as if it's him looking back, when the relationship is over, or changed, distanced, wondering if O thinks of him.

you ordered me off my knees into your arms. wasn't to beg that i knelt; only to see you once from below.

The image of V on his knees could both be a sexual thing, but it could also be about worship; that he wants to be on his knees to adore O. But it's also a part of the poem's religious theme; you usually kneel while taking the communion. You kneel to pray.

tried to say something that filled my mouth and longed to rest in your ear. don't dare write it down for fear it'll become words, just words.

The relationship seems fragile, filled with fear of loss. Like he can't say everything he wants to, afraid it'll lead to it ending. There's so much desire and longing, but also so much despair of the relationship being so brittle, that it can fall apart at any time.

Once I read it this way, like with that painting, I can't see anything else. Maybe it's just coincidences, maybe it's just something from inside Viggo's brain (and not connected to reality), maybe it can be read in many other ways. But since my brain is warped, I can only read it like this.

#viggo mortensen #orlando bloom #viggorli #poetry

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missedurdodge · 2 months ago

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Methods, Blue Lines

This was the one I was excited for!!

So, the bell is ringing, but we're ignoring it for now to talk about places. We've discussed them a little before in call changes, but let's get them straight.

Each bell has a number, and each bell has a place. The number of the bell you ring will not change, it's like that bells name. The place of the bell will change.

Places are usually marked like '1st' or '2nd' rather than '1' or '2', and that's how I'll be referring to them.

Your place is essentially just when you ring in the order. The 2nds place bell rings second. The 1sts place bell leads, ringing first.

Now, when we were ringing call changes, we were swapping around the places of two bells at a time, and doing that with stretches of unchanged ringing in between.

What we're going to do now, is have most of the bells change their place on every stroke (each time the bell actually rings, handstroke and backstroke) in some kind of pattern. The bells are never actually going to stay in one place for very long. These are methods (in the loosest meaning of the term)

Here is where I bring in the Blue Line! This magical thing is like sheet music for bell ringers. It tells us the pattern of places our bell needs to ring in. It's one way to easily learn a new method.

A blue line graph can look like this:

(Images taken from the app 'Methodology', my lifesaver)

Each row is one 'change'. This graph shows us the changes made by the treble. We can see it starting in rounds, before moving out to 2nds place, then 3rds, and so on right out to 6ths. It stays there for a blow, before coming back in again. If we traced through every other number, we can see they'd do much the same thing.

This is what it looks like with every bell having it's own line:

(Image taken from the Association of Ringing Teachers website)

Now, this looks fairly straightforward. You only have to keep track of one of these lines, and you're basically just going up and down.

Here is another blue line graph:

(Image taken from the ringingmethods.co.uk site. Another very useful one)

Top left shows what one section of it looks like all together. From there, reading the chunks left to right, top to bottom, is one full 'Plain Course'

This is Canterbury Delight Minor. You'll see the treble, in red, does the same thing in each chunk. This is pretty standard for a method. But the 2, the blue line, is all over the place!

As I get into talking about methods, you're going to see these diagrams a lot as I explain what's going on, so get used to them.

Next up, we'll look at that first blue line graph again and work out what's really happening there. As an aside, at some point I'll give a very brief history on bell ringing as a whole, and a recap/dictionary of some of the terms we use.

#bell ringing #change ringing #church bells #bellringing

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wonder-worker · 1 year ago

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"Margaret (of York, Duchess of Burgundy) left Bruges on 24 June and was in England for more than three months. She travelled with a large retinue headed by Guillaume de Baume and the embassy included two officials who were well-known to her, Thomas Plaines and Jean Gros, the treasurer of the Order of the Golden Fleece. She received aides from the Estates to cover her expenses with the Hainault Estates contributing 4,000 livres. Her mission had several goals, but the immediate need was to obtain some military help in the form of English archers to reinforce Maximilian’s hard pressed armies. ... King Edward sent Sir Edward Woodville, the Queen’s younger brother, aboard the royal ship ‘Falcon’ to bring his sister across the Channel. It was twelve years since she had sailed to her marriage. Sir Edward had been part of her marriage party and he had won the honours in the famous joust of the Golden Tree. This time Margaret took the shorter route from Calais to Gravesend, where she was received by Sir John Weston, the Prior of the Knights of St John. She then transferred to a royal barge which had been sent to bring her up the Thames to London. The barge was specially refitted for the occasion. The master and the twenty-four oarsmen had been supplied with new liveries in the Yorkist colours of murrey and blue with white roses embroidered on their jackets. The knights and squires who formed the escort of honour wore fine black velvet jackets which were decorated with a pattern of silver and purple. Two residences had been prepared for Margaret’s use, the palace at Greenwich where she had spent so much time before her marriage, and the London house of Coldharbour near her mother’s home at Baynard’s Castle. New beds with red and green hangings had been sent up to the Coldharbour house and the finest bedlinens and coverlets had been ordered. Curtains, screens and tapestries were provided for both the houses, including a piece of arras which depicted the story of Paris and Helen. For her travel during her stay in England, Margaret was sent ten ‘hobbeys and palfreys’ all newly harnessed and caparisoned in rich saddle cloths. The King encouraged everyone to be generous towards his sister and used ‘right large language’ with the Archbishop of Canterbury who failed to offer Margaret a gift. His own final present to his sister was a luxurious pillion saddle in blue and violet cloth of gold, fringed with ‘Venetian gold’ thread.

While she was in England, Margaret renewed her contacts with all her old friends and family. She was received by the Queen and introduced to her royal nephews and nieces. Her youngest brother Richard, Duke of Gloucester, who was busy dealing with Scottish incursions in the north, made time to come south to see his sister, and the King gave a state banquet at Greenwich in honour of Margaret and their mother, the old Duchess Cecily. It was also attended by Margaret’s sister Elizabeth, Duchess of Suffolk. It seems that Margaret admired the wine, for on the day after the banquet, Edward sent her ‘a pipe of our wine’ valued at 36s 8d. As well as enjoying the company of her living family, Margaret could not have failed to remember all her dead relations. It was perhaps with a chantry in mind that she persuaded Edward to introduce the reformed Order of the Observant Friars into England. Soon after her departure the King sent for the Vicar-General of the Order and offered him a site for their new monastery near to the palace of Greenwich. Building began in 1482 and the abbey chapel was dedicated to the Holy Cross. Was the dedication in honour of Margaret, and does it provide further evidence of her connection with Waltham Abbey? ... Well satisfied that the negotiations were at last completed, Margaret prepared to leave London. She paid a farewell visit to the city where she was presented with a purse containing £100. She then set off for the coast accompanied by her brother Edward who had decided to see her on her way. ... The Dowager passed a week in Kent visiting the shrine of St Thomas à Becket and staying on the private estates of Anthony Woodville, Lord Rivers. These two bibliophiles must have had much in common especially now that Rivers was the patron of Margaret’s former protégé, William Caxton. No doubt she was shown Woodville’s translation of the ‘Dictes and Sayings of the Philosophers’ which was one of the first books printed on Caxton’s press at Westminster. With the King still in attendance, Margaret finally left for Dover, where the ‘Falcon’ waited to take her back to Calais. Edward seemed to be genuinely sad to see her departure and he wrote to Maximilian on 22 September announcing the return of his ‘well-beloved sister’. She left behind her in England Jacques de la Villeon, who was to act as an agent for the Burgundian ally, the Duke of Brittany."

Christine Weightman, "Margaret of York: The Diabolical Duchess"

#historicwomendaily #margaret of york duchess of burgundy #margaret of york #margaret of burgundy #15th century #english history #my post #everyone knows about the politics. let's focus on the personal #also there's a misconception that she and edward were estranged after clarence's death #i really don't think that's true

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une-sanz-pluis · 26 days ago

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The Will of Eleanor de Bohun, Duchess of Gloucester*

In the name of God, amen. I, Eleanor, Duchess of Gloucester, Countess of Essex, &c., being of good and sane memory, in my castle of Plessy, the ninth day of August, the year of our Lord one thousand three hundred and ninety-nine according to the course of the Church of England, regarding and considering the evils and uncertainties of this variable and transitory world, appoint and intend ['devise'] my last will and testament as follows.

First, I commend my soul entirely to the great and innumerable mercies of our all powerful and very merciful Lord Jesus Christ, asking for the aid of his holy mother, the very humble Virgin, our very sweet Lady Saint Mary, of my Lord John the Baptist, and of all the company of heaven.

Item, I will for my burial that my body be buried in the Church of Westminster Abbey, in the Chapel of Saint Edmund the King and of Saint Thomas of Canterbury, near the body of my lord and husband Thomas, Duke of Gloucester, and seventh son of King Edward the Third, and should it happen that the body of my said lord and husband in time to come should be removed I wish that my body repose and remain in the aforesaid chapel and place. And I will and appoint that on the day of my burial my executors provide that my body be covered with a piece of black tapestry with a white cross and escutcheon of my arms in the midst of the said cross, and four round wax tapers and seven plain lamps standing at the four corners. And let there be fifteen men specially chosen for their loyalty to and fear of God, of whatever age or utter poverty, according to the discretion of my executors, each of the said poor men holding a torch, that is to say, five at the head and five at each side, and let each of the said poor men be dressed in a gown, a hood, and a pair of breeches of good strong blue cloth of deep color, and let the said gowns and hoods be lined with white; also let there be given to each of them a pair of shoes and a pair of linen shirts and twenty pence silver ['esterlinges'] to pray for my soul and for the soul of my lord and husband aforesaid, and for all the living and dead in particular to whom I am bound, and for all Christians.

Item, touching the aforesaid tapers [and] lamps, let there be no torches nor any other manner of lights around my dead body except only at the time of divine service, and, that done, the rest of the tapers, lamps, and torches be given to the service of the said chapel in which I am buried.

Item, I bequeath to the Convent of Monks of the said Abbey of Westminster on the day of my burial £10 of money for their pittance.

Item, I bequeath to be distributed among the poor, according to the judgment of my executors, on the same day 100 shillings.

Item, I bequeath to the Abbess and Convent of Sister Minoresses near London, without the gate of Aldgate, on the same day, for their pittance £6, I3sh. 4d. and a small tun of good wine.

Item, I bequeath to the Prior and Convent of Lanthony near Gloucester £3, 8sh. 6d. And to Sir William Sheldon, canon of the said place, 100 shillings.

Item, I bequeath to the Church and Abbey of Walden, where my lord and father, Humphrey de Bohun, last Earl of Hereford, Essex, and Northampton, Constable of England, is buried a vestment, with field of balderkin blue, diapered with other colors, [figured] with harts on cloth of gold of Ipres work, that is to say, two table furnishings, a frontel, a chasuble, two tunics, a cope, three albs, three amices, together with the paraphernalia pertaining to them, and the gold fringes of the said vestment, the whole being of fine gold of Ipres, the field red.

Item, I appoint and will that my executors celebrate, within as short time after my death as they can, a thousand masses for my soul; twenty of the Assumption of our Lady, one hundred and fifty of the Requiem, fifty of my Lord Saint John the Baptist, fifty of Saint John the Evangelist, fifty of Saint Leonard, thirty of All Saints, fifty for the soul of Thomas sometime Duke of Gloucester, twenty of the Nativity of our Lord, twenty of the Resurrection, twenty of the Ascension, fifty of Saint Michael Archangel, twenty ⸻ [1] ; and as to all these said masses, before the priest begins 'Et ne nos,' the said priest shall say aloud, turning towards the people, 'For the souls of Thomas sometime Duke of Gloucester and Eleanor his wife and all Christian souls for charity, pater noster,' and [then] shall he turn towards the altar and say in secret a pater noster and begin the mass; and in all the said masses shall be said the prayer of 'Deus qui es summa nostrae redemptionis, spes, qui in terra promissionis,' &c., with the 'secretum' and 'post communionem' and the names of my said lord and myself, the said Thomas and Eleanor.

Item, I bequeath to madam, my mother, the Countess of Hereford, a pair of coral paternosters having fifty large beads, five of them of gold, in the form of ' longets swages,' and stamped, asking each day some blessing entirely for my poor soul. And in case my said lady die before me, then I bequeath the said paternosters to the Abbess of the Church of Sister Minoresses aforesaid, to remain there in the said abbey from that time forth for a memorial of me.

Item, I bequeath to my son Humphrey a bed of black cloth damask. Item, a bed of silk balderkin. the field blue. with white fabrics and canopy entire testerns, coverlets, curtains, and tapestry belonging to it.

Item, two pairs of Rennes linen sheets, the one pair having [figured] trefoils, the other quatrefoils.

Item, three pairs of sheets of other linen cloth of best quality.

Item, a pair of fustians, two pairs of blankets, two mattresses of best quality with all belongings and stuff, which were delivered to his servants on his departure from London for Ireland.*

Item, a cup of beryl engraved, having a long handle, and set upon a gold foot, with a wide border above, and a cover all of gold, with one large sapphire upon the handle of the said cover.

Item, a Chronicle of France in French, with two silver clasps, enamelled with the arms of the Duke of Burgoyne.

Item, one book of Giles De Regimine Principum.

Item, a book of Vices and Virtues, and another poem of the story of Chivaler a Cigne, all in French.

Item, a psalter well and richly illuminated, with gold clasps enamelled with white swans, and the arms of my lord and father enamelled on the clasps, and other bars of gold with work in form of mullets, which psalter was given to me to remain to my heirs, and so 'from heir to heir aforesaid'.

Item, a coat of mail having a cross of brass marked on the spot opposite the heart, which belonged to my lord his [my son's] father.

Item, a cross of gold hanging by a chain, having a figure of the crucifix and four pearls around it, with my blessing, as a thing of mine which I most love.

Item, I bequeath to my daughter Anne a pinner ['espiner,' apron] of linen cloth, bordered on the sides with red 'Accuby' and embroidered, and surrounded with a band not embroidered.

Item, a beautiful book and well illuminated in gilt lettering, in French.

Item, the best palfrey I have.

Item, a pair of gold paternosters containing [beads for] thirty Aves, and four jet ornaments, which belonged to my lord and husband, her father, with my blessing.

Item, I bequeath to my daughter Joan a bed of silk of black balderkin, the best.

Item, a bed of cloth of gold of Ipres having [figures of] swans and the letter Y, with canopy entire.

Item, a little bed of white tartary worked with lions and swans, with canopy entire for a small room ['closet'] and of these said beds which want curtains with tapestry, I wish that such be bought suitable for them according to the advice of my executors.

Item, two pairs of Rennes linen sheets, the one pair [figured] with trefoils, the other with quatrefoils.

Item, four pairs of sheets of other linen cloth of the best.

Item, two mattresses, one pair of fustians, three pairs of blankets, besides all the jewels together with their belongings to be to her own use.[2]

Item, twelve dishes and twelve saucers of silver, marked with my arms.

Item, a silver gilt hanap having a cover, and stamped with mottoes of April, and standing upon a foot.

Item, a flat basin and a ewer of silver having my arms enamelled on the rim of the said basin and the 'swages' gilt.

Item, six pieces of new silver [plate] and two silver quart pots and twelve silver spoons.

Item, a book having the psalter, primer, and other devotions, with two gold clasps enamelled with my arms, which book I have much used, with my blessing.

Item, I bequeath to my daughter Isabella, sister of the aforesaid Minoresses, a bed of cloth of gold of Ipres, striped black and red, with canopy entire, testern, coverlet, curtains, and tapestry.

Item, a French Bible in two volumes, having two gold clasps enamelled with the arms of France.

Item, a book of Decretals in French. Item, a book of Mystery Stories.

Item, a book 'De Vitis Patrum,' and the Pastorals of Saint Gregory. Item, an old psalter as far as the nocturn of 'Exultate,' glossed, another new book of the psalter glossed from the prayer 'Domine exaudi' as far as 'Omnis spiritus laudet dominum.' The said books are in French.

Item, £40 in money.

Item, a girdle of black leather having a buckle and pendant and twelve round and plain bars of gold, which belonged to my lord and husband, her father, the which he used much in life and afterwards had in his last sickness [3], with my blessing.

Item, I appoint and will that my debts be well and legally paid and my will performed, that all the rest of my goods movable and non-movable shall remain in the hands of my executors and executrix for each to dispose of among my poor servants, and to do and appoint for the soul of my said lord and husband and my own, and for all the living and dead to whom we have been bound, according to the discretion and disposition of my executors and executrix, with the assent of my overseers.

Item, I prohibit all my children and each of them, as far as I can, from disturbing my executors in any way in distributing any manner of my said goods according to my desire and will and their discretion. I appoint and will that if it should happen that any of my said children should die before me [4], or before they are of age a year after my death, all the goods which I have bequeathed to them remain at the disposal of my executors like my other proper goods, to do for themselves and for me according to their good advice and discretion, except the £40 and the girdle which I have bequeathed to my daughter Isabella [which] I wish to go to the Abbess and Church of Sister Minoresses aforesaid, according as happens to my said daughter Isabella.

To this my last will, appointment, and testament, I appoint, make, and establish these my executors and executrix, Sir ['Monsire '] Jerard Braybrook Jr., Sibilla Beauchamp, John de Boys, steward of my house, Sir Nicholas Miles, parson of Debden, Sir Hugh Painter, chaplain of my free chapel in the castle of Plessy, Sir William Underwood, parson of Dedham, William Newbole, and my overseers, Sir Robert Exeter, Prior of Christ Church in London, my very dear cousin Sir ['Monsire'] Thomas Percy, Earl of Worcester, my wortlhy friend Sir Thomas de Stanley, clerk of Rolles.***

In testimony of which my last will, appointment, bequest, and testament, I have myself written these presents and put my seal [thereto] the year, day, and place above stated.

[1] No designation of these, or of the remaining; only 510 are here mentioned, including the twenty unnamed.

[2] Here follow the words 'devant lescriv . . . [sic] de cestis,' containing some incompletely expressed idea. Perhaps the testatrix meant to say, 'before the writing of this will delivered to her.'

[3] He was put to death by smothering; but his widow must needs veil the fact.

[4] The death of her son Humphrey came within this provision.

Source: Melville M. Bigelow, "The Bohun Wills, II", The American Historical Review, Vol. 1, No. 4 (July, 1896).

* In Bigelow's article, the will is presented as one continuous paragraph but I have broken it up into paragraphs for each item and where else seems appropriate for ease of reading. I have only included a selection of Bigelow's footnotes too.

** Eleanor's son, Humphrey, went with Richard II to Ireland in 1399 but he and his cousin, Henry of Monmouth (later Henry V) remained in Ireland upon Richard's return to face the invading Henry of Lancaster (later Henry IV), according to Adam of Usk, they were "imprisoned" in Trim Castle. Humphrey died sometime after Eleanor wrote her will. There is no agreement as to where he died - various chroniclers give the location of his death as Anglesey, Chester or Coventry, while some historians suggest he may have died in Ireland. Adam of Usk claimed he had been poisoned by Thomas Despenser but this is unlikely to be true - no one else mentions this rumour. Historians generally ascribe Humphrey's death to an unidentified illness.

*** I find it interesting that Eleanor does not name Henry of Lancaster (Henry IV) or Edmund of Langley, Duke of York as executors or overseers in her will, who had closer kinship ties with her (Henry was the widow of her sister, Mary, and York was her husband's only surviving brother) than those named. While it's possible that York's advanced age or their roles in the Revenge Parliament of 1397 were reason for their exclusion, when Eleanor's will was written is more interesting. By 9 August 1399, Henry had invaded England and Richard had returned from Ireland but they had yet to confront each other and the future of Richard's reign was far from certain. By excluding reference to Henry and York (who had aided Henry), Eleanor may have been acting prudently, since she did not and could not know that Henry would be victorious - if Henry failed, not only would he not able to execute or oversee her will but Eleanor and descendents may have faced disapproval from the restored Richard II. The fact that Eleanor appointed Thomas Percy, Earl of Worcester as an overseer may seem to negate this argument, given the Percys' strong support for Henry. However, it has been noted that Worcester's loyalties in 1399 are more ambiguous than that of his brother and nephew.

#eleanor de bohun #wills

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saintmeghanmarkle · 6 months ago

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Meghans Thick; or The Veil by u/Mickleborough

Meghan’s Thick; or, The Veil ‘Call me [Rachel@hotmail](mailto:Rachel@hotmail).’Something struck me about the veil that wore Meghan at ‘this thing, this spectacle [which] is for the world’ (hence her illegal marriage, by the Archbishop of Canterbury 3 days previously*). Hence this post, admittedly with padding.Point 1: The veil (as did the blinding white of the dress) perplexed the late Queen.https://ift.tt/6vwS1Ym Meghan felt like a virgin, touched for the very first time. In any event, ‘What Meghan wants, Meghan gets.’ At 16.5 feet / 5 metres, she certainly did. (In comparison the Princess of Wales‘s veil was fingertip length.)Fun fact: long veils such as Meghan’s are called cathedral veils - but she was married in a chapel attached to a castle, cf the Princess of Wales who actually was married in a cathedral.Point 2: The veil was embroidered with flowers representing the (then) 53 countries of the Commonwealth.Here’s the BS word salad justification:https://ift.tt/hwjo0Wp Meghan went down this route because she knew she’d play a role in the Queen’s Commonwealth Trust, a charity launched on 21 April 2018, on the late Queen’s 92nd birthday, focusing on supporting young people who’ve founded organisations to address problems in their communities. The late Queen was patron and Harry President; after the spectacle, I mean wedding, in May 2018, Meghan was appointed vice-president. (Both lasted until February 2021, and showed that they didn’t understand the difference between Empire and Commonwealth: BBC.)But the veil didn’t only celebrate the 53 countries of the Commonwealth, it also incorporated the wintersweet, a flower which grows in front of Nottingham Cottage, ‘so small’ that Oprah said ‘No one would ever believe it!’, and the California poppy. Why include them? Narcissist much?Royal UK site with press release about the wedding ensemble.Point 3: The veil didn’t go with Meghan‘s wedding gown. In my opinion anyway.It’s suggested that a wedding veil pick up a design element (or 2) from the wedding gown. That makes sense.Much has been made about the plainness of Meghan‘s wedding dress - something about being classic, timeless etc etc etc. (We’ll leave ill-fitting, creased, and Casper the Friendly Ghost out of this post.)However, the veil is comparatively elaborate, with hand-embroidered flowers, all different, on the edges. Does the contrast work in this instance?https://preview.redd.it/g4z9z483r04d1.jpg?width=633&format=pjpg&auto=webp&s=551a55ee8259000890c5c785813e8727e957a50dHere’s a closer look:https://ift.tt/AmSOogh contrast, with ‘Rear of the Year’ (an actual award) contender Pippa Middleton:https://ift.tt/0T5nd1B see this as another example of Meghan’s half-baked ideas on fashion. Her wedding outfit doesn’t work on yet another level - it doesn’t instinctively look right, but we don’t know why. Maybe it’s the veil.Another red flag, in hindsight.* Denied by the Archbishop: Guardian archived / unarchived post link: https://ift.tt/G5UgvT6 author: Mickleborough submitted: June 01, 2024 at 10:34PM via SaintMeghanMarkle on Reddit disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

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barkingcrows · 1 year ago

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i did not start all the way over. i’m on mag17 now. skipped around a little to the next one i entirely didn’t remember. i might skip back a little bit but. 17 for now

(notes on mag9 too bc i listened to it today. i love how the ambiance sounds like a heatbeat) anyways

hii elias. shout out to when i thought that most characters (well, jon and elias at least) were voiced by the same guy. i didn’t realize i was incorrect until mag80. that made my first listen of that episode confusing

im only Sort Of paying attention? regardless, my mental image of hopworth’s mom is like one of those cartoon grandmas with the shower cap . im so sorry

“i don’t know if i have it in me to destroy a book,” leitnercore

look i know it’s blood. i know the books are bleeding. but also i imagine picking up one of the books and dropping it and it just makes a SHLAP sound like it’s made of meat

what are gloves going to do against getting your arm dislocated sp(statement poster)

i feel that this part would be much more interesting if i’d read the canterbury tales. alas, i have not

OH HI JURGEN! leitner jumpscare

oh the punch and the ribs closing around the statement giver’s hand? wonderful mental image

“deeply. unhappy.” i can just SEE jon’s face

jon dropping his mask and outwardly believing leitner statements gets me every time. he doesn’t sound sincere when he says it, but he says in plain english that he believes every word of it. he even said he was ready to dismiss all of it until he heard leitner’s name—do you think he was so ready to call bullshit because it was Evil Books and he didn’t want to believe Evil Book = Leitner? does that make sense? what if he’s in denial is what im saying

#lins tma rerun #mag17 #mag017 #10/24/23 #crow barking #not a reblog #long post #tma

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nasze-zd · 10 months ago

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Nor'west arch

Przypadkiem przeglądając materiały o Canterbury Plains (równina na wschodzie Wyspy Południowej), natknąłęm się na ciekawy materiał dotyczący zjawiska atmosferycznego zwanego Nor'west arch (łuk północno-zachodni).

Jest to lokalna nazwa dla rozległej chmury fenowej (por. artykuł z Wikipedii), która tworzy się za łańcuchem Alp Południowych gdy wieją zachodnie wiatry. Może ona mieć setki kilometrów długości, ale być na tyle wąska, że po zachodniej i wschodniej stronie będzie przeświecać niebieski kolor - więc inaczej niż znane nam europejskie papierowe niebo niżów atlantyckich.

Część łuku północno-zachodniego rozpoznałem w zdjęciach z Saint Arnaud.

#South-Island-2023 #pogoda

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markandtrish · 2 days ago

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Wednesday November 20th

Christchurch

Another memorable day as we took a minibus tour to Arthur's Pass and back.

Absolutely sensational scenery as we drove through the Canterbury Plain and then up into the New Zealand Alps.

We were entertained there and back by a great guide, Nick. We took layers of clothes with us as cold, wet and windy weather was forecast but, apart from some intermittent showers, the weather was pretty reasonable.

We made several stops along the way, including at the amazing Castle Hill - an area of immense limestone boulders used for the filming of some scenes in the Chronicles of Narnia. Really enjoyed our packed lunch sitting up among the boulders looking out on the incredible mountain views.

Also stopped at Cass, a railway stop town where the population has dwindled from more than 700 down to just one. Saw the small railway spot which is the setting for the painting voted the best loved in New Zealand. A copy of the oil painting by Rita Angus is on the inside wall of the small station hut.

Just up the road from Arthur's Pass, we called into James O'Malley's hotel, a bizarre place filled with relics and curios.

And if that was not enough, a pit stop at a cafe enabled us to get pictures of some of the kea parrots that are prepared to steal anything from unsuspecting tourists!

Turned round and made our way back to Christchurch, the first part of the reurn journey being along the winding, steep mountain road and then along the flat valley that separated the peaks on either side.

A quick freshen up back at the flat and then out for a swift beer before eating at a brilliant barbecue restaurant Trish had found. Slow cooked brisket for her, soft belly pork for Mark - utterly delicious.

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casualjellyfishcycle · 4 months ago

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Discovering Lincoln University New Zealand: A Comprehensive Guide

Introduction

Located in the picturesque Canterbury Plains, Lincoln University New Zealand stands as a beacon of educational excellence and innovation. With a rich history dating back to 1878, the university has established itself as a leading institution in the fields of agriculture, science, and sustainability. This article delves into various aspects of Lincoln University, including its courses, ranking, events, fees, and more, providing a thorough overview for prospective students and academic enthusiasts.

Lincoln University New Zealand: A Brief History

Founded as the School of Agriculture, Lincoln University NZ has evolved significantly over the decades. It became a constituent college of the University of Canterbury in 1961 and gained independence as Lincoln University in 1990. The university's commitment to land-based science and innovation remains at its core, reflecting New Zealand's strong agricultural heritage.

Academic Excellence and Course Offerings

Lincoln University New Zealand Courses

Lincoln University New Zealand courses are designed to cater to a diverse range of academic interests and career aspirations. The university offers undergraduate, postgraduate, and diploma programs across various disciplines, including:

Agriculture and Life Sciences: Courses in this category cover areas such as agribusiness, agricultural science, viticulture, and oenology.

Environmental Management and Planning: These courses focus on sustainability, environmental policy, and urban planning.

Commerce: Offering specializations in accounting, finance, marketing, and supply chain management.

Science: Including programs in food science, conservation, and land and property management.

Tourism, Sport, and Recreation: Preparing students for careers in tourism management, sport science, and recreation planning.

Each program is designed to provide students with hands-on experience, ensuring they are well-equipped for the challenges of the professional world.

Lincoln University New Zealand Ranking

National and Global Recognition

Lincoln University New Zealand ranking is a testament to its academic excellence and research prowess. The university consistently ranks among the top institutions in New Zealand and holds a respectable position on the global stage. According to the QS World University Rankings, Lincoln University is known for its strong emphasis on agriculture and forestry, environmental science, and life sciences.

In national rankings, Lincoln University often stands out for its research output, student satisfaction, and graduate employability. The university's commitment to innovation and sustainability further enhances its reputation, making it a sought-after destination for students worldwide.

Campus Life and Events

Lincoln University New Zealand Events

The vibrant campus life at Lincoln University is enriched by a wide array of Lincoln University New Zealand events. These events play a crucial role in fostering a sense of community and enhancing the student experience. Some of the notable events include:

Orientation Week: A week-long event designed to welcome new students, featuring campus tours, social activities, and informational sessions.

Open Day: An annual event where prospective students and their families can explore the campus, meet faculty, and learn about various programs.

Graduation Ceremonies: Celebrating the achievements of graduates with a formal ceremony attended by faculty, family, and friends.

Research Symposiums: Showcasing the latest research conducted by students and faculty, fostering collaboration and knowledge sharing.

Cultural Festivals: Celebrating the diverse cultures represented on campus through food, music, dance, and other cultural activities.

These events not only enhance the academic experience but also provide opportunities for networking, personal growth, and community engagement.

Financial Considerations

Lincoln University New Zealand Fees

Understanding the cost of education is crucial for prospective students. Lincoln University New Zealand fees vary depending on the program and level of study. Here is an overview of the fee structure:

Undergraduate Programs: Tuition fees for undergraduate programs range from NZD 26,000 to NZD 35,000 per year, depending on the course of study.

Postgraduate Programs: Fees for postgraduate programs vary widely, with most programs costing between NZD 28,000 and NZD 40,000 per year.

Diploma and Certificate Programs: These programs typically cost between NZD 20,000 and NZD 25,000 per year.

In addition to tuition fees, students should also budget for living expenses, including accommodation, food, transportation, and personal expenses. Scholarships and financial aid options are available to help offset these costs, making Lincoln University an accessible option for students from various backgrounds.

Unique Features of Lincoln University NZ

Research and Innovation

Lincoln University NZ is renowned for its research contributions, particularly in the fields of agriculture, environmental science, and sustainability. The university's research centers and institutes are dedicated to addressing global challenges and advancing knowledge in key areas. Notable research initiatives include:

The Bio-Protection Research Centre: Focused on developing sustainable solutions to protect New Zealand's biosecurity and biodiversity.

The Centre for Soil and Environmental Research: Conducting cutting-edge research on soil health, water quality, and sustainable land management practices.

The Agribusiness and Economics Research Unit: Providing valuable insights into agricultural economics, policy, and rural development.

These research efforts not only contribute to academic knowledge but also have practical applications that benefit the wider community and industry.

Sustainable Campus Initiatives

Lincoln University is committed to sustainability, both in its academic programs and campus operations. The university has implemented various initiatives to reduce its environmental footprint and promote sustainable practices. Some of these initiatives include:

Energy Efficiency: Implementing energy-efficient systems and practices to reduce energy consumption across the campus.

Waste Reduction: Encouraging recycling and waste reduction through comprehensive waste management programs.

Sustainable Transportation: Promoting the use of public transportation, cycling, and walking to reduce carbon emissions.

Green Buildings: Incorporating sustainable design principles in new building projects to minimize environmental impact.

These efforts align with the university's mission to create a more sustainable future and educate students on the importance of environmental stewardship.

Community and Industry Engagement

Partnerships and Collaborations

Lincoln New Zealand has established strong partnerships with industry, government, and community organizations. These collaborations enhance the university's ability to provide real-world learning experiences and contribute to societal advancement. Key partnerships include:

Industry Internships: Offering students the opportunity to gain practical experience through internships with leading companies and organizations.

Research Partnerships: Collaborating with industry partners on research projects that address current challenges and drive innovation.

Community Outreach: Engaging with local communities through outreach programs, workshops, and public lectures.

These partnerships not only benefit students but also strengthen the university's ties with the broader community and industry.

Living in Lincoln, New Zealand

A Vibrant Student Town

Lincoln, New Zealand, is a charming town located just a short drive from Christchurch. The town offers a welcoming and supportive environment for students, with a range of amenities and recreational activities. Highlights of living in Lincoln include:

Proximity to Nature: Surrounded by beautiful landscapes, students can enjoy outdoor activities such as hiking, cycling, and exploring nearby parks and reserves.

Community Atmosphere: Lincoln's friendly community makes it easy for students to feel at home and build lasting relationships.

Convenient Amenities: The town has essential services, including shops, cafes, healthcare facilities, and public transportation, ensuring a comfortable living experience.

Living in Lincoln provides a balanced lifestyle where students can focus on their studies while enjoying the natural beauty and vibrant community.

Conclusion

Lincoln University New Zealand offers a unique blend of academic excellence, research innovation, and a commitment to sustainability. With a diverse range of courses, a strong national and global ranking, engaging events, and a supportive community, the university provides an enriching experience for students from around the world. Whether you are interested in agriculture, environmental science, commerce, or any other field, Lincoln University is well-equipped to help you achieve your academic and career goals.

As you consider your options for higher education, Lincoln University stands out as a premier choice study abroad that combines tradition with modernity, providing a holistic and forward-thinking education. Whether you are drawn to its academic programs, research opportunities, or vibrant campus life, Lincoln University New Zealand is a place where you can thrive and make a meaningful impact on the world.

#lincoln university new zealand fees #lincoln university new zealand events #lincoln university new zealand ranking #lincoln university new zealand courses #lincoln university new zealand

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nedcollette · 5 months ago

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New album OUR OTHER HISTORY

LP out September 6 via Sophomore Lounge Records CD/Cassette via ever/never records

Pre-orders available now.

LP Europe/UK: Ned bandcamp OZ/NZ distro: Poison City US/AMERICA: Sophomore Lounge bandcamp Limited CD/Cassette edition ever/never bandcamp

Featuring Leah Senior, Steve Heather, Mick Turner, Elisabeth Fuchsia, Mike Majkowski, Joe Talia, Eamon McNelis, Judith Hamann, Jim White, Fredrik Kinbom, & Chris Abrahams.

Insightful words from beautiful people below...

'Our Other History' is a wonderful new LP by this wandering Berlin-based Melbourne expat. Ned's last album, 'Afternoon—Dusk' was an avant instrumental trio outing with James Rushford and Joe Talia, but 'Our Other History' is a return to delicate, sophisticated song craft of his 2018 masterpiece, 'Old Chestnut.'

Ned's approach to lyrics, vocals and music shares a melancholic beauty that is both haunted and haunting. His words are often more impressionistic than overt in their storytelling, but his vocals carry hints that recall those of the legendary Roy Harper. But where Harper's attack was often Dionysian, Collette's approach is Apollonian, and the tracks often have a compositional feel with a distinct taste of Canterbury.

The players this time include old hands, like drummer Steve Heather and pianist Chris Abrahams (of The Necks), but there are a bunch of new players on hand, including Melbourne mates, Jim White and Mick Turner (of Dirty 3 fame) and the folksinger, Leah Senior. All these elements (and more) are fitted together with elegance and allowed space to breathe.

Collette's music is hard to classify. It exists inside a dynamic flux made up of equal parts post-rock, folk, jazz and avant prog, but it manages to remain plain-spoken and uncluttered regardless of how complex its structure can be when you start parsing it. But why bother? With a record as throughly lovely as 'Our Other History', the best idea is to just relax and let the music flow. Beautifully.

– Byron Coley 2024

* * * * * * * * * * * * * * *

I don’t really know Ned Collette. That’s about to change, and I am energized with anticipation. Last summer, I saw Ned in performance here in my hometown of Louisville, KY, accompanied by Elisabeth Fuchsia who had recently become a hero-friend. And it was ‘magical’, ‘alchemical’, engaging and illuminating and inspiring; I witnessed Ned’s and Fuchsia’s almost overpowering fluency with music and with music’s ability to act simultaneously as the medium for communication between performers and with audience.

I’m bouncing back and forth with how I refer to Ned Collette in this writing. If I always called him “Collette” it might disguise the fact that, should I wish to, I could reach him now, easily, on the telephone or over email, and that our acquaintance continues to grow and just about resembles something I’ve learned can be called friendship. If I only referred to him as “Ned”, though, it would belie the fact that I am humbled by his ability.

These are songs. They are also sound-pieces, artful constructions of dynamic arrangement. 'Our Other History' is a dreamworld unto itself and, where each song stands on its own, this is one of those increasingly rare beasts: a full-length record to to experience and behold and live in for a while as a whole thing. The contributors’ voices (including the human voice in the cases of Leah Senior and Judith Hamann) bring such significant impact that it is beyond what we think of as musical parameters, getting deeper into the drama and tone of each piece. I would call it “Lyric Music” because the lyric carries much of the weight (not to say burden) of what is communicated. The word dominates, and here the word rewards. When Mick Turner’s guitar enters the scene, I am overwhelmed with joy; and Jim White’s drum playing has never felt more natural and powerful and appropriately modifying than it does here. And then I begin to notice Steve Heather’s drumming everywhere else and am floored by its dusty elegance. But isn’t fair to single out players; I’m being fully subjective, and my perspective changes with each listen. The record as a whole is directed in ways that we understand a movie director oversees the identity of her or his film.

Ryan Davis and I were driving around the United States not long ago and he played this record in the van. I couldn’t believe that something so fine was also new. But it could only be new; it wears its modernity subtly and surely and is as rewarding a listening experience as I’ve come across in recent times.

– Will Oldham 2024

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