AIDS experts said the film's claim — which arose in interviews with the former militia member, who described its activities over decades — unnecessarily gave currency to conspiracy theories.
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These talas in their modern form are the dhruva, mathya, rupaka, jhampa, triputa, atta and eka talas. These developments were stabilised and sustained by successive generations of Haridasas who, in their large numbers, prolific and varied compositions gave currency to these talas. These talas are now in exclusive usage in Carnatic music.
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German economists claimed for him the title of "Father of Statistics"; but English writers disputed this, asserting that it ignored the prior claims of William Petty and other earlier writers on the subject. Achenwall gave currency to the term Staatswissenschaft (politics), which he proposed should mean all the knowledge necessary to statecraft or statesmanship.
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Since Ellen Ternan also destroyed all of his letters to her,. the extent of the affair between the two remains speculative.. In the 1930s, Thomas Wright recounted that Ternan had unburdened herself to a Canon Benham, and gave currency to rumours they had been lovers.. That the two had a son who died in infancy was alleged by Dickens's daughter, Kate Perugini, whom Gladys Storey had interviewed before her death in 1929.
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Immediately after Ordzhonikidze's death was announced, the cause of death was disputed. Exiled Mensheviks publicized the idea that Stalin was the reason behind the death, either directly ordering Ordzhonikidze's death, or forcing him to kill himself. The recent arrests of figures within the NKTP also gave currency to these rumours, suggesting Ordzhonikidze would be targeted next. Some Old Bolsheviks insisted he was killed, though details from Zinaida and others refuted any plausible explanation for a murder.
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He died at Eton on 19 February 1622, and is buried there. A fine mural monument to him in Merton College Chapel offers views of contemporary Merton and Eton and references to his literary achievements (notably Chrysostom). Sir Henry Savile has sometimes been confounded with another Henry Savile, called Long Harry (1570–1617), who gave currency to the forged addition to the Chronicle of Asser which contains the story that King Alfred founded the University of Oxford.
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Since the classicists of the early 20th century, biblical archaeologists often identify the place-name Tarshish in the Hebrew Bible with Tartessos, though others connect Tarshish to Tarsus in Anatolia or other places as far as India. (See entry for Jonah in the Jewish Encyclopedia.) Tarshish, like Tartessos, is associated with extensive mineral wealth (Iberian Pyrite Belt). In 1922, Adolf Schulten gave currency to a view of Tartessos that made it the Western, and wholly European source of the legend of Atlantis.A. Schulten, Ein Beitrage zur ältestens Geschichte des Westens (Hamburg 1922).
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Pytheas of Massalia travelled to Britain in about 325 BC where he found a flourishing tin trade, according to the later report of his voyage. Posidonius referred to the tin trade with Britain around 90 BC but Strabo in about 18 AD did not list tin as one of Britain's exports. This is likely to be because Rome was obtaining its tin from Hispania at the time. William Camden, in his Britannia of 1607, identified the Cassiterides with the Scilly Isles and first gave currency to the belief that the Phoenicians traded to Britain.
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Not only Joannes Eudaemon, Heribert Rosweyd and Scioppius (Gaspar Schoppe), but a respectable writer, friendly to Casaubon, Andreas Schott of Antwerp, gave currency to the insinuation that Casaubon had sold his conscience for English gold. The most serious cause of discomfort in England was that his time was no longer his own. He was continually being summoned to one or other of James's hunting residences in order to converse. The king and the bishops compelled him to write pamphlets on the subject of the day, the royal supremacy.
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New Complexity is a current within today's European contemporary avant-garde music scene, named in reaction to the New Simplicity. Amongst the candidates suggested for having coined the term are the composer Nigel Osborne, the Belgian musicologist Harry Halbreich, and the British/Australian musicologist Richard Toop, who gave currency to the concept of a movement with his article "Four Facets of the New Complexity".Toop 1988. Though often atonal, highly abstract, and dissonant in sound, the "New Complexity" is most readily characterized by the use of techniques which require complex musical notation.
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It also gave currency to the report of their suicide by hanging, and threw light on some of the adepts of the sect, including the apostate Themison, and the pseudo-martyr Alexander. Themison, having evaded martyrdom by means of money, posed as an innovator, addressing a letter to his partisans after the manner of the Apostles, and finally blasphemed Christ and the Church. Alexander, a notorious thief, publicly condemned at Ephesus, had himself adored as a god. Based on Eusebius, it is known that Apollonius spoke in his work of Zoticus, who had tried to exorcise Maximilla, but had been prevented by Themison, and of the martyr-Bishop Thraseas, another adversary of Montanism.
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The popularity of Burke's Landed Gentry gave currency to the expression Landed Gentry as a description of the untitled upper classes in England (although the book also included families in Wales, Scotland and Ireland, where, however, social structures were rather different). Families were arranged in alphabetical order by surname, and each family article was headed with the surname and the name of their landed property, e.g. "Capron of Southwick Hall". There was then a paragraph on the owner of the property, with his coat of arms illustrated, and all his children and remoter male-line descendants also listed, each with full names and details of birth, marriage, death, and any matters tending to enhance their social prestige, such as school and university education, military rank and regiment, Church of England cures held, and other honours and socially approved involvements.
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It was Sir Joshua Reynolds who gave currency to the term through his Discourses on Art, a series of lectures presented at the Royal Academy from 1769 to 1790, in which he contended that painters should perceive their subjects through generalization and idealization, rather than by the careful copy of nature. Reynolds never actually uses the phrase, referring instead to the "great style" or "grand style", in reference to history painting: :How much the great style exacts from its professors to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact, may be seen in the cartoons of Raffaelle. In all the pictures in which the painter has represented the apostles, he has drawn them with great nobleness; he has given them as much dignity as the human figure is capable of receiving yet we are expressly told in Scripture they had no such respectable appearance; and of St. Paul in particular, we are told by himself, that his bodily presence was mean. Alexander is said to have been of a low stature: a painter ought not so to represent him.
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Though often atonal, highly abstract, and dissonant in sound, New Complexity music is most readily characterized by the use of techniques which require complex musical notation. This includes extended techniques, complex and often unstable textures, microtonality, highly disjunct melodic contour, complex layered rhythms, abrupt changes in texture, and so on. It is also characterized, in contrast to the music of the immediate post–World War II serialists, by the frequent reliance of its composers on poetic conceptions, very often implied in the titles of individual works and work-cycles. The origin of the name New Complexity is uncertain; amongst the candidates suggested for having coined it are the composer Nigel Osborne, the Belgian musicologist Harry Halbreich, and the British-Australian musicologist Richard Toop, who gave currency to the concept of a movement with his article "Four Facets of the New Complexity" , an article that nevertheless emphasized the individuality of four composers (Richard Barrett, Chris Dench, James Dillon, and Michael Finnissy), both in terms of their working methods and the sound of their compositions, and which demonstrated they did not constitute a unified "school of thought" .
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