In 2017, a team led by François Costard, a planetary geomorphologist at the French National Center for Scientific Research, used computer modeling to reproduce the mega-tsunamis most likely to have created those thumbprint terrains.
|
|
In 2017, a team led by François Costard, a planetary geomorphologist at the French National Center for Scientific Research, used computer modeling to reproduce the mega-tsunamis most likely to have created those thumbprint terrains.
|
|
The monks of Reading Abbey were entitled by one agreement to an annual payment of "unum pomum costard" (one costard apple), possibly an example of a Peppercorn payment. The costard apple remained one of the best known and most famous of British apple varieties for several hundred years. The costard and pearmain varieties were the only ones popularly grown in Britain until the 17th century. The costard is said to have long fallen out of favour by the 20th century.
|
|
A 1776 depiction of an actor playing Shakespeare's Costard Geoffrey Chaucer (c. 1340-1400) mentioned the costard in his work, writing: "your chekes embolmed like a mellow costard". In 1597 William Lawson wrote about growing apple trees and stated that the costard and "Pipping" apple were large trees and that to ensure best yields they should be grown on the north side of an orchard so as not to shade other trees. Samuel Johnson in his 1755 A Dictionary of the English Language thought that the name derived from the use of costard to refer to the head (for which he cited Shakespeare).
|
|
The first known named English apple variety was the pearmain which was first mentioned in 1204, having been introduced by the Normans. The costard is the second known variety introduced by the Normans and was commonly grown as a commercial crop in the 13th century. It is mentioned, by the name "Poma Costard", in a fruiterer's bill for Edward I in 1292. In 1296 100 costard apples could be bought in Oxford for one shilling and in 1325 29 costard trees could be purchased for three shillings.
|
|
The Queen's courtier Boyet, having overheard their planning, helps the ladies trick the men by disguising themselves as each other. When the lords return as themselves, the ladies taunt them and expose their ruse. Impressed by the ladies' wit, the men apologize, and when all identities are righted, they watch Holofernes, Sir Nathaniel, Costard, Moth and Don Armado present the Nine Worthies. The four lords and Boyet heckle the play, saving their sole praise for Costard, and Don Armado and Costard almost come to blows when Costard reveals mid-pageant that Don Armado has got Jaquenetta pregnant.
|
|
While in custody, the men of the court use him to further their own romantic endeavors. By sending love notes to the wrong women and blurting out secrets (including that of an unplanned pregnancy), Costard makes fools of the royal court. Along with Moth the page and Jaquenetta, a country wench, Costard pokes fun at the upper- class. While mocking a pedantic schoolmaster, Costard uses the word honorificabilitudinitatibus, the longest word by far from any of Shakespeare's works.
|
|
Don Adriano de Armado, a Spaniard visiting the court, comes to tell the King of a tryst between Costard and Jaquenetta. After the King sentences Costard, Don Armado confesses his own love for Jaquenetta to his page, Moth. Don Armado writes Jaquenetta a letter and asks Costard to deliver it. The Princess of France and her ladies arrive, wishing to speak to the King regarding the cession of Aquitaine, but must ultimately make their camp outside the court due to the decree.
|
|
It is said to have been named for its resemblance to the human head (for which "costard" was another term).
|
|
The costard is believed to have been a cooking apple, perhaps similar to the modern Bellflower apple. The name is possibly derived from the Latin costatus ("ribbed"), relating to prominent external protrusions on this variety. The apple gave its name to the costermonger (which was originally "costard monger", a seller of costards), a term used to describe a transient fruit seller.
|
|
A 1776 print by Charles Grignion of Thomas Weston playing Costard. Originally published in Bell's edition of Shakespeare. Costard is a comic figure in the play Love's Labour's Lost by William Shakespeare. A country bumpkin, he is arrested in the first scene for flouting the king's proclamation that all men of the court avoid the company of women for three years.
|
|
Albert Chevalier, a music hall comedian, in Coster costume, circa 1890 Costermonger, coster, or costard is a street seller of fruit and vegetables in London and other British towns. The term is derived from the words costard (a medieval variety of apple) and monger (seller), and later came to be used to describe hawkers in general.Roberts, Chris, Heavy Words Lightly Thrown: The Reason Behind Rhyme. Thorndike Press 2006.
|
|
Diana stumbles on the robbery and Costard kills her. He knocks David unconscious and decides to frame him for the theft, crashing a car with David inside, reporting it stolen and placing a ruby bracelet in David's pocket. While the police make David a prime suspect, Beauchamp and Costard dispose of Diana's body and the diamonds. They decide to murder David after he suspects them, using gas, but Sally saves him.
|
|
The First Folio records the scene at 942 lines. The play also features the single longest word in all of Shakespeare's plays: honorificabilitudinitatibus, spoken by Costard at 5.1.30.
|
|
The word is spoken by the comic rustic Costard in Act V, Scene 1 of the play. It is used after an absurdly pretentious dialogue between the pedantic schoolmaster Holofernes and his friend Sir Nathaniel. The two pedants converse in a mixture of Latin and florid English. When Moth, a witty young servant, enters, Costard says of the pedants: Flap-dragon was a game that involved trying to eat hot raisins from a bowl of burning brandy.
|
|
Specimens of the Catshead apple Nurseryman and pomologist George Lindley described the costard as synonymous with the Catshead apple but this has been disputed. The 17th-century botanist John Parkinson described two varieties of costard: "gray" and "greene". He described the "gray" as a good winter apple, whitish in colour and stated the "greene" was similar apart from coloration of the skin. Leonard Meager in his 1670 work the Complete English Gardener stated there were three types: white, grey and red.
|
|
In visiting the Princess and her ladies at their camp, the King falls in love with the Princess, as do the lords with the ladies. Berowne gives Costard a letter to deliver to the lady Rosaline, which Costard switches with Don Armado's letter that was meant for Jaquenetta. Jaquenetta consults two scholars, Holofernes and Sir Nathaniel, who conclude that the letter is written by Berowne and instruct her to tell the King. The King and his lords lie in hiding and watch one another as each subsequently reveals their feelings of love.
|
|
Carr, 2006, p. 138, Fig. 6.23. By analogy with the Moon, frequent impacts produced a zone of fractured bedrock and breccias in the upper crust called the megaregolith.Squyres, S.W.; Clifford, S.M.; Kuzmin, R.O.; Zimbelman, J.R.; Costard, F.M. (1992).
|
|
The low gravity of Mars suggests that these impacts could have ejected much of the Martian atmosphere into deep space.Forget, Costard & Lognonné 2007, pp. 80. Terraforming Mars would entail two major interlaced changes: building the atmosphere and heating it.Faure & Mensing 2007, p. 252.
|
|
Instead, absolute ages on Mars are determined by impact crater density, which is heavily dependent upon models of crater formation over time.Masson, P.; Carr, M.H.; Costard, F.; Greeley, R.; Hauber, E.; Jaumann, R. (2001). Geomorphologic Evidence for Liquid Water. Space Science Reviews, 96, p. 352.
|
|
This film bears a striking resemblance to the 2006 sports documentary Zidane: A 21st Century Portrait (), as well as to a much earlier film: Football As Never Before (), a documentary made in 1970 by acclaimed German filmmaker :de:Hellmuth Costard about Manchester United footballer George Best.
|
|
On Earth, this process is counteracted when plate tectonics works to cause volcanic eruptions that vent carbon dioxide back to the atmosphere. On Mars, the lack of such tectonic activity worked to prevent the recycling of gases locked up in sediments.Forget, Costard & Lognonné 2007, pp. 80–2.
|
|
Video: Panafricain-e-s : Ruben Um Nyobè, le héros oublié du Cameroun. Tué en 1958 par l’armée française, il a consacré sa vie à la lutte pour l’indépendance et l’unité du pays. Pourtant, les autorités post- indépendance ont tout fait pour effacer sa mémoire. By Emile Costard and Laureline Savoye.
|
|
Diana's body is found in a river. David goes to Beauchamp's home and discovers the missing dress worn by Diana. He knows that Beauchamp is about to fly to Amsterdam, so he hurries to the airport. Costard is there, being double-crossed while Podd smuggles the jewels on Beauchamp's behalf.
|
|
Nadar Cécile Mézéray was a French soprano active in France and Belgium in the mid nineteenth century. Born around 1859, she was one of the daughters of the musician Charles Mézeray (né Costard, born in Brunswick in 1810 and sometime conductor of the Grand Théâtre de Bordeaux). Her sisters Caroline and Reine were also professional singers.Fétis F-J.
|
|
This is probably the oldest literary mention of the St Rule pear, which were reportedly part of King Henry IIIs daily fruit shipment from Paris on his journey back to London. Edward I reportedly received "700 Regul pears and 300 Costard apples" during his stay at Berwick Castle. There are also records of Henry de Lacy purchasing the pears for Wiltshire at Amesbury.
|
|
Costard makes many clever puns, and is used as a tool by Shakespeare to explain new words such as remuneration. He is sometimes considered one of the smartest characters in the play due to his wit and wordplay. Costard's name is an archaic term for apple, or metaphorically a man's head. Shakespeare uses the word in this sense in Richard III.
|
|
At the question in the quiz show, Ram calls this man because he is a teacher. He doesn't know the answer, but Ram nevertheless answers it right. It is, "In which of the plays of Shakespeare is one of the characters named ‘Costard’?" The answer is Love´s Labours Lost. 1,000,000,000 The Thirteenth Question - The last question has arrived, but Ram doesn’t know the answer.
|
|
He supposed that the apple was so named as it was large and round and thus resembled a head. Shakespeare uses the term in scene IV of act I of Richard III (1593) where one of the murderers suggests hitting the Duke of Clarence over the head with their sword hilts. In his mid-1590s comedy Love's Labour's Lost the court jester to the King of Navarre is named Costard.
|
|
In Shakespeare's King Lear, Edgar speaks in Mummerset before he fights Oswald in Act IV, scene 6: > Good gentleman, go your gait, and let poor volk pass. An ’chud ha’ bin > zwagger’d out of my life, ’t would not ha’bin zo long as ’tis by a > vortnight. Nay, come not > near th’ old man; keep out, ’che vor ye, or Ise try whether your costard or > my > ballow be the harder. ’Chill be plain with you.
|
|
The word as it appears in the first surviving edition of Shakespeare's Love's Labour's Lost (third line). Honorificabilitudinitatibus (honōrificābilitūdinitātibus, ) is the dative and ablative plural of the medieval Latin word honōrificābilitūdinitās, which can be translated as "the state of being able to achieve honours". It is mentioned by the character Costard in Act V, Scene I of William Shakespeare's Love's Labour's Lost. As it appears only once in Shakespeare's works, it is a hapax legomenon in the Shakespeare canon.
|
|
Increased planting of apple trees began in earnest as soon as the feudal system introduced by William of Normandy could be secured, and continued down over what is becoming close to a thousand years. One of the earliest mentions of a named apple cultivar in English comes from the Plantagenet era near the end of the 12th century, ”Costard”. This apple was an all-purpose apple that was occasionally used in cider and remained wildly popular until at least the 19th century: as an illustration, a slang term for the head or brain in the works of Shakespeare is ”costard”, a word a man who spent his life traveling back and forth between his wife in Warwickshire and the theatre in London would have known very well; indeed Shakespeare named one of his clowns after the product in the case of Love's Labour's Lost. In Renaissance England, a ”costermonger” was a seller of apples or wares and remained so right up until the 1960s, long after the apple it was named for became extinct.
|
|
The costard was a variety of apple popular in medieval England, and the second apple variety (after the pearmain) introduced by the Normans. It was grown widely as a commercial crop by the 13th century and was supplied to the household of Edward I in 1292. It remained widespread for several hundred years, until other apple varieties gained popularity during the 17th century. It is thought to have been a cooking apple and was perhaps similar to the modern Bellflower apple.
|
|
American sailor David Martens, on shore leave in England, visits his brother Jack's grave. He meets fashion designer Sally Meadows, who by coincidence works with Jack's ex- fiancée, Diana, a model. Successful stylist Kingsley Beauchamp and financial backer Madame Dupont own the company where Sally and Diana are employed. Expensive jewels are to be worn by Diana when she models a new dress, but Beauchamp hires two men, Costard and Podd, to break into a safe after hours and steal the gems.
|
|
The King ultimately chastises the lords for breaking the oath, but Berowne reveals that the King is likewise in love with the Princess. Jaquenetta and Costard enter with Berowne's letter and accuse him of treason. Berowne confesses to breaking the oath, explaining that the only study worthy of mankind is that of love, and he and the other men collectively decide to relinquish the vow. Arranging for Holofernes to entertain the ladies later, the men then dress as Muscovites and court the ladies in disguise.
|
|
His solo success began in 1891 when he started performing in public houses, singing songs in a manner similar to many cockney fruit sellers of the time, known as costermongers - from the old word 'costard' , meaning apple. Because of this, he became known as a "coster comedian". For the stage persona he had created, Elen dressed in a coster uniform of striped jersey, peaked cap turned towards one ear and a short clay pipe in the side of his mouth. His characters adopted a persona of being constantly bad tempered and pugnacious.
|
|
The Coster's Mansion, 1899 sheet music A costermonger was a street seller of fruit and vegetables. The term, which derived from the words costard (a type of apple) and monger, i.e. "seller", came to be particularly associated with the "barrow boys" of London who would sell their produce from a wheelbarrow or wheeled market stall. Costermongers have existed in London since at least the 16th century, when they were mentioned by Shakespeare and Marlowe and were probably most numerous during the Victorian era, when there were said to be over 30,000 in 1860.
|
|
Hunter as Lonely in a prison scene from Callan His most memorable role was the timid, smelly petty criminal, Lonely, unlikely accomplice to a clinical spy-cum- assassin, in the downbeat 1967 television spy series Callan. Reportedly, he said of his identification with Lonely that "I take more baths than I might have playing other parts. When Lonely was in the public eye I used only the very best toilet water and a hell of a lot of aftershave." After playing Costard in a BBC television production of Love's Labour's Lost (1965), Hunter was cast as Lonely in ITV's "Armchair Theatre" production A Magnum for Schneider in 1967, which introduced the secret agent Callan to the screen.
|
|
Niko von Glasow (né Brücher; born 1960) is a German film director and producer. The founder and Artistic Director of Palladio Film, von Glasow began his training with Rainer Werner Fassbinder and then worked for a number of film directors including Georg Stefan Troller, Hellmuth Costard, Alexander Kluge, Peter Zadek and Jean-Jacques Annaud before going on to study film at New York University and at the National Film School in Łódź, Poland. In 2008 he produced and directed the feature documentary NoBody's Perfect. With a darkly humorous touch and no deference to political correctness, NoBody's Perfect follows Niko von Glasow as he looks for eleven people who, like him, were born disabled due to the disastrous side-effects of thalidomide, and who are prepared to pose nude for a calendar of photos.
|
|
She counted a number of cinéastes, such as Chien-yeh Huang (a film critic) and Ivan Wang, the editor of the film journal Yinxiang and founder of the Taipei Film Museum (today, the National Film Archives or Film Library) among her friends. And she belonged to a circle that organized private screenings of films such as Kurosawa's Red Beard, then forbidden by the censors of the Kuomintang dictatorship. She also saw works by Rainer Maria Fassbinder, Wim Wenders, F. W. Murnau, Hellmuth Costard, Werner Nekes, Dore O., Werner Schroeter and others at the German Cultural Center in Taipei. At the time, the center had just begun to depart from its routine of simply showing ‘Guten Tag’ movies for learners of the German language, thanks to the encouragement of a friend of Werner Nekes, the German poet and film critic Andreas Weiland who was teaching German and English literature at Tamkang University.See “About Take-Offs and Failures: Thoughts offered in place of an editorial”, in: Street Voice No. 2, These screenings attracted a number of cinéastes in Taipei and may have encouraged independent filmmakers.
|
|
Nigel Playfair had seen Goolden's performances at Stratford, on the strength of which he invited him to appear with his company at the Lyric, Hammersmith. He was in the Lyric's revue, Riverside Nights (1926) and played the professor of philosophy in Molière's The Would-Be Gentleman (1926) in a cast headed by Playfair and including Sydney Fairbrother, Miles Malleson and James Whale."The Lyric Theatre, Hammersmith", The Times, 16 November 1926, p. 12 Over the next three decades Goolden generally divided his theatrical career between Shakespeare and more recent classics, new plays – mostly ephemeral, and his perennial role of Mole in A A Milne's Toad of Toad Hall, based on Kenneth Grahame's The Wind in the Willows. His Shakespeare roles included Costard (Love's Labours Lost, 1932), Aguecheek (Twelfth Night, 1933), Quince (A Midsummer Night's Dream, 1938), Fool (King Lear, 1943), Young Gobbo (The Merchant of Venice, 1944), Roderigo (Othello, 1944), Polonius (Hamlet, 1944) and Lepidus (Anthony and Cleopatra, 1951), Shallow (The Merry Wives of Windsor, 1968), Old Gobbo (The Merchant of Venice, 1969), Verges (Much Ado About Nothing, 1970), the Pedant (The Taming of the Shrew, 1975), Sir Nathaniel (Love's Labour's Lost, 1976), and the King of France (Henry V, 1977). Goolden first played Mole in 1930.
|
|