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For other uses, see Androgyny (disambiguation).
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Androgyny is the combination of masculine and feminine characteristics into an ambiguous form. Androgyny may be expressed with regard to biological sex, gender identity, gender expression, or sexual identity.
When androgyny refers to mixed biological sex characteristics in humans, it often refers to intersex people. As a gender identity, androgynous individuals may refer to themselves as non-binary, genderqueer, or gender neutral. As a form of gender expression, androgyny can be achieved through personal grooming or fashion. Androgynous gender expression has waxed and waned in popularity in different cultures and throughout history.
Contents
1Etymology
2History
3Symbols and iconography
4Biological
5Psychological
5.1Bem Sex-Role Inventory
5.2Personal Attribues Questionnaire
6Gender identity
7Gender expression
7.1Androgyny in fashion
8Alternatives
9Contemporary trends
10See also
11References
12External links
Etymology[edit]
Androgyny as a noun came into use c. 1850, nominalizing the adjective androgynous. The adjective use dates from the early 17th century and is itself derived from the older French (14th Century) and English (c. 1550) term androgyne. The terms are ultimately derived from Ancient Greek: ἀνδρόγυνος, from ἀνήρ, stem ἀνδρ- (anér, andr-, meaning man) and γυνή (gunē, gyné, meaning woman) through the Latin: androgynus,[1] The older word form androgyne is still in use as a noun with an overlapping set of meanings.
History[edit]
See also: Sexuality in ancient Rome § Hermaphroditism and androgyny
Androgyny among humans – expressed in terms of biological sex characteristics, gender identity, or gender expression – is attested to from earliest history and across world cultures. In ancient Sumer, androgynous and hermaphroditic men were heavily involved in the cult of Inanna.[2]:157–158 A set of priests known as gala worked in Inanna's temples, where they performed elegies and lamentations.[2]:285 Gala took female names, spoke in the eme-sal dialect, which was traditionally reserved for women, and appear to have engaged in homosexual intercourse.[3] In later Mesopotamian cultures, kurgarrū and assinnu were servants of the goddess Ishtar (Inanna's East Semitic equivalent), who dressed in female clothing and performed war dances in Ishtar's temples.[3] Several Akkadian proverbs seem to suggest that they may have also engaged in homosexual intercourse.[3] Gwendolyn Leick, an anthropologist known for her writings on Mesopotamia, has compared these individuals to the contemporary Indian hijra.[2]:158–163 In one Akkadian hymn, Ishtar is described as transforming men into women.[3]
The ancient Greek myth of Hermaphroditus and Salmacis, two divinities who fused into a single immortal – provided a frame of reference used in Western culture for centuries. Androgyny and homosexuality are seen in Plato's Symposium in a myth that Aristophanes tells the audience.[4] People used to be spherical creatures, with two bodies attached back to back who cartwheeled around. There were three sexes: the male-male people who descended from the sun, the female-female people who descended from the earth, and the male-female people who came from the moon. This last pairing represented the androgynous couple. These sphere people tried to take over the gods and failed. Zeus then decided to cut them in half and had Apollo repair the resulting cut surfaces, leaving the navel as a reminder to not defy the gods again. If they did, he would cleave them in two again to hop around on one leg. Plato states in this work that homosexuality is not shameful. This is one of the earlier written references to androgyny. Other early references to androgyny include astronomy, where androgyn was a name given to planets that were sometimes warm and sometimes cold.[5]
Philosophers such as Philo of Alexandria, and early Christian leaders such as Origen and Gregory of Nyssa, continued to promote the idea of androgyny as humans' original and perfect state during late antiquity.”[6] In medieval Europe, the concept of androgyny played an important role in both Christian theological debate and Alchemical theory. Influential Theologians such as John of Damascus and John Scotus Eriugena continued to promote the pre-fall androgyny proposed by the early Church Fathers, while other clergy expounded and debated the proper view and treatment of contemporary “hermaphrodites.”[6]
Western esotericism’s embrace of androgyny continued into the modern period. A 1550 anthology of Alchemical thought, De Alchemia, included the influential Rosary of the Philosophers, which depicts the sacred marriage of the masculine principle (Sol) with the feminine principle (Luna) producing the "Divine Androgyne," a representation of Alchemical Hermetic beliefs in dualism, transformation, and the transcendental perfection of the union of opposites.[7] The symbolism and meaning of androgyny was a central preoccupation of the German mystic Jakob Böhme and the Swedish philosopher Emanuel Swedenborg. The philosophical concept of the “Universal Androgyne” (or “Universal Hermaphrodite”) – a perfect merging of the sexes that predated the current corrupted world and/or was the utopia of the next – also plays a central role in Rosicrucian doctrine[8][9] and in philosophical traditions such as Swedenborgianism and Theosophy. Twentieth century architect Claude Fayette Bragdon expressed the concept mathematically as a magic square, using it as building block in many of his most noted buildings.[10]
Symbols and iconography[edit]
The Caduceus
In the ancient and medieval worlds, androgynous people and/or hermaphrodites were represented in art by the caduceus, a wand of transformative power in ancient Greco-Roman mythology. The caduceus was created by Tiresias and represents his transformation into a woman by Juno in punishment for striking at mating snakes. The caduceus was later carried by Hermes/Mercury and was the basis for the astronomical symbol for the planet Mercury and the botanical sign for hermaphrodite. That sign is now sometimes used for transgender people.
Another common androgyny icon in the medieval and early modern period was the Rebis, a conjoined male and female figure, often with solar and lunar motifs. Still another symbol was what is today called sun cross, which united the cross (or saltire) symbol for male with the circle for female.[11] This sign is now the astronomical symbol for the planet Earth.[12]
Mercury symbol derived from the Caduceus
A Rebis from 1617
"Rose and Cross" Androgyne symbol
Alternate "rose and cross" version
Biological[edit]
See also: Sex differences in humans
Historically, the word androgynous was applied to humans with a mixture of male and female sex characteristics, and was sometimes used synonymously with the term hermaphrodite.[13] In some disciplines, such as botany, androgynous and hermaphroditic are still used interchangeably.
When androgyny is used to refer to physical traits, it often refers to a person whose biological sex is difficult to discern at a glance because of their mixture of male and female characteristics. Because androgyny encompasses additional meanings related to gender identity and gender expression that are distinct from biological sex, today the word androgynous is rarely used to formally describe mixed biological sex characteristics in humans. [14] In modern English, the word intersex is used to more precisely describe individuals with mixed or ambiguous sex characteristics. However, both intersex and non-intersex people can exhibit a mixture of male and female sex traits such as hormone levels, type of internal and external genitalia, and the appearance of secondary sex characteristics.
Psychological[edit]
Though definitions of androgyny vary throughout the scientific community, it is generally supported that androgyny represents a blending of traits associated with both masculinity and femininity. In psychological study, various measures have been used to characterize gender, such as the Bem Sex Role Inventory, the Personal Attributes Questionnaire.[15]
Broadly speaking, masculine traits are categorized as agentic and instrumental, dealing with assertiveness and analytical skill. Feminine traits are categorized as communal and expressive, dealing with empathy and subjectivity.[16] Androgynous individuals exhibit behavior that extends beyond what is normally associated with their given sex.[17] Due to the possession of both masculine and feminine characteristics, androgynous individuals have access to a wider array of psychological competencies in regards to emotional regulation, communication styles, and situational adaptability. Androgynous individuals have also been associated with higher levels of creativity and mental health.[18][19]
Bem Sex-Role Inventory[edit]
The Bem Sex-Role Inventory (BSRI) was constructed by the early leading proponent of androgyny, Sandra Bem (1977).[20][better source needed] The BSRI is one of the most widely used gender measures. Based on an individual's responses to the items in the BSRI, they are classified as having one of four gender role orientations: masculine, feminine, androgynous, or undifferentiated. Bem understood that both masculine and feminine characteristics could be expressed by anyone and it would determine those gender role orientations.[21]
An androgynous person is an individual who has a high degree of both feminine (expressive) and masculine (instrumental) traits. A feminine individual is ranked high on feminine (expressive) traits and ranked low on masculine (instrumental) traits. A masculine individual is ranked high on instrumental traits and ranked low on expressive traits. An undifferentiated person is low on both feminine and masculine traits.[20]
According to Sandra Bem, androgynous individuals are more flexible and more mentally healthy than either masculine or feminine individuals; undifferentiated individuals are less competent.[20] More recent research has debunked this idea, at least to some extent, and Bem herself has found weaknesses in her original pioneering work. Now she prefers to work with gender schema theory.
One study found that masculine and androgynous individuals had higher expectations for being able to control the outcomes of their academic efforts than feminine or undifferentiated individuals.[22]
Personal Attribues Questionnaire[edit]
The Personal Attributes Questionnaire (PAQ) was developed in the 70s by Janet Spence, Robert Helmreich, and Joy Stapp. This test asked subjects to complete to a survey consisting of three sets of scales relating to masculinity, femininity, and masculinity-femininity. These scales had sets of adjectives commonly associated with males, females, and both. These descriptors were chosen based on typical characteristics as rated by a population of undergrad students. Similar to the BSRI, the PAQ labeled androgynous individuals as people who ranked highly in both the areas of masculinity and femininity. However, Spence and Helmreich considered androgyny to be a descriptor of high levels of masculinity and femininity as opposed to a category in and of itself.[15]
Gender identity[edit]
An individual's gender identity, a personal sense of one's own gender, may be described as androgynous if they feel that they have both masculine and feminine aspects. The word androgyne can refer to a person who does not fit neatly into one of the typical masculine or feminine gender roles of their society, or to a person whose gender is a mixture of male and female, not necessarily half-and-half. Many androgynous individuals identify as being mentally or emotionally both masculine and feminine. They may also identify as "gender-neutral", "genderqueer", or "non-binary".[23] A person who is androgynous may engage freely in what is seen as masculine or feminine behaviors as well as tasks. They have a balanced identity that includes the virtues of both men and women and may disassociate the task with what gender they may be socially or physically assigned to.[24] People who are androgynous disregard what traits are culturally constructed specifically for males and females within a specific society, and rather focus on what behavior is most effective within the situational circumstance.[24]
Many non-western cultures recognize additional androgynous gender identities. Jewish culture recognizes the Tumtum and Androgynos genders. In Chinese culture exists the Yinyang ren gender. The Bugis of Indonesia recognize five genders, Bissu representing the androgynous category. In Hawaiian culture, the third gender Māhū is recognized. In Oaxacan Zapotec culture, the Muxe are recognized as a third gender. In India, the Hijra is the third androgynous gender. Samoans accept Fa’afafine as a third gender. Native American culture includes Two Spirit as a general third gender.
Gender expression[edit]
Gender expression, which includes a mixture of masculine and feminine characteristics, can be described as androgynous. The categories of masculine and feminine in gender expression are socially constructed, and rely on shared conceptions of clothing, behavior, communication style, and other aspects of presentation. In some cultures, androgynous gender expression has been celebrated, while in others, androgynous expression has been limited or suppressed. To say that a culture or relationship is androgynous is to say that it lacks rigid gender roles, or has blurred lines between gender roles.
The word genderqueer is often used by androgynous individuals to refer to themselves, but the terms genderqueer and androgynous are neither equivalent nor interchangeable.[25] Genderqueer is not specific to androgynes, and does not denote gender identity. It may refer to any person, cisgender or transgender, whose behavior falls outside conventional gender norms. Furthermore, genderqueer, by virtue of its ties with queer culture, carries sociopolitical connotations that androgyny does not carry. For these reasons, some androgynes may find the label genderqueer inaccurate, inapplicable, or offensive. Androgneity is considered by some to be a viable alternative to androgyn for differentiating internal (psychological) factors from external (visual) factors.[26]
Terms such as bisexual, heterosexual, and homosexual have less meaning for androgynous individuals who do not identify as men or women to begin with. Infrequently the words gynephilia and androphilia are used, and some describe themselves as androsexual. These words refer to the gender of the person someone is attracted to, but do not imply any particular gender on the part of the person who is feeling the attraction.[citation needed]
Louise Brooks exemplified the flapper. Flappers challenged traditional gender roles, had boyish hair cuts and androgynous figures.[27]
Androgyny in fashion[edit]
Throughout most of twentieth century Western history, social rules have restricted people's dress according to gender. Trousers were traditionally a male form of dress, frowned upon for women.[28] However, during the 1800s, female spies were introduced and Vivandières wore a certain uniform with a dress over trousers. Women activists during that time would also decide to wear trousers, for example Luisa Capetillo, a women's rights activist and the first woman in Puerto Rico to wear trousers in public.[29]
Coco Chanel wearing a sailor's jersey and trousers. 1928
In the 1900s, starting around World War I traditional gender roles blurred and fashion pioneers such as Paul Poiret and Coco Chanel introduced trousers to women's fashion. The "flapper style" for women of this era included trousers and a chic bob, which gave women an androgynous look.[30] Coco Chanel, who had a love for wearing trousers herself, created trouser designs for women such as beach pajamas and horse-riding attire.[28] During the 1930s, glamorous actresses such as Marlene Dietrich fascinated and shocked many with their strong desire to wear trousers and adopt the androgynous style. Dietrich is remembered as one of the first actresses to wear trousers in a premiere.[31]
Yves Saint Laurent, the tuxedo suit "Le Smoking", created in 1966
Throughout the 1960s and 1970s, the women's liberation movement is likely to have contributed to ideas and influenced fashion designers, such as Yves Saint Laurent.[32] Yves Saint Laurent designed the Le Smoking suit and first introduced in 1966, and Helmut Newton’s erotized androgynous photographs of it made Le Smoking iconic and classic.[33] The Le Smoking tuxedo was a controversial statement of femininity and has revolutionized trousers.
Elvis Presley, however is considered to be the one who introduced the androgynous style in rock'n'roll and made it the standard template for rock'n'roll front-men since the 1950s.[34] His pretty face and use of eye makeup often made people think he was a rather "effeminate guy",[35] but Elvis Presley was considered as the prototype for the looks of rock'n'roll.[34] The Rolling Stones, says Mick Jagger became androgynous "straightaway unconsciously" because of him.[35]
However, the upsurge of androgynous dressing for men really began after during the 1960s and 1970s. When the Rolling Stones played London's Hyde Park in 1969, Mick Jagger wore a white "man's dress" designed by British designer Mr Fish.[36] Mr Fish, also known as Michael Fish, was the most fashionable shirt-maker in London, the inventor of the Kipper tie, and a principal taste-maker of the Peacock revolution in men's fashion.[37] His creation for Mick Jagger was considered to be the epitome of the swinging 60s.[38] From then on, the androgynous style was being adopted by many celebrities.
Annie Lennox was known for her androgyny in the 1980s
During the 1970s, Jimi Hendrix was wearing high heels and blouses quite often, and David Bowie presented his alter ego Ziggy Stardust, a character that was a symbol of sexual ambiguity when he launched the album The Rise and Fall of Ziggy Stardust and Spiders from Mars.[39] This was when androgyny entered the mainstream in the 1970s and had a big influence in pop culture. Another significant influence during this time included John Travolta, one of the androgynous male heroes of the post-counter-culture disco era in the 1970s, who starred in Grease and Saturday Night Fever.[40]
Continuing into the 1980s, the rise of avant-garde fashion designers like Yohji Yamamoto,[41] challenged the social constructs around gender. They reinvigorated androgyny in fashion, addressing gender issues. This was also reflected within pop culture icons during the 1980s, such as David Bowie and Annie Lennox.[42]
Power dressing for women became even more prominent within the 1980s which was previously only something done by men in order to look structured and powerful. However, during the 1980s this began to take a turn as women were entering jobs with equal roles to the men. In the article “The Menswear Phenomenon” by Kathleen Beckett written for Vogue in 1984 the concept of power dressing is explored as women entered these jobs they had no choice but to tailor their wardrobes accordingly, eventually leading the ascension of power dressing as a popular style for women.[43] Women begin to find through fashion they can incite men to pay more attention to the seduction of their mental prowess rather, than the physical attraction of their appearance. This influence in the fashion world quickly makes its way to the world of film, with movies like "Working Girl" using power dressing women as their main subject matter.
Androgynous fashion made its most powerful in the 1980s debut through the work of Yohji Yamamoto and Rei Kawakubo, who brought in a distinct Japanese style that adopted distinctively gender ambiguous theme. These two designers consider themselves to very much a part of the avant-garde, reinvigorating Japanism.[44] Following a more anti-fashion approach and deconstructing garments, in order to move away from the more mundane aspects of current Western fashion. This would end up leading a change in Western fashion in the 1980s that would lead on for more gender friendly garment construction. This is because designers like Yamamoto believe that the idea of androgyny should be celebrated, as it is an unbiased way for an individual to identify with one's self and that fashion is purely a catalyst for this.[citation needed]
Also during the 1980s, Grace Jones's a famous singer and fashion model gender-thwarted appearance in the 1980s which startled the public, but her androgynous style of heavily derivative of power dressing and eccentric personality has inspired many, and has become an androgynous style icon for modern celebrities.[45] This was seen as controversial but from then on, there was a rise of unisex designers later in the 1990s and the androgynous style was widely adopted by many.
In 2016, Louis Vuitton revealed that Jaden Smith would star in their womenswear campaign. Because of events like this, gender fluidity in fashion is being vigorously discussed in the media, with the concept being articulated by Lady Gaga, Ruby Rose, and in Tom Hooper's film The Danish Girl. Jaden Smith and other young individuals, such as Lily-Rose Depp, have inspired the movement with his appeal for clothes to be non-gender specific, meaning that men can wear skirts and women can wear boxer shorts if they so wish.[46]
Alternatives[edit]
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This section needs expansion. You can help by adding to it. (August 2009)
An alternative to androgyny is gender-role transcendence: the view that individual competence should be conceptualized on a personal basis rather than on the basis of masculinity, femininity, or androgyny.[47]
In agenderism, the division of people into women and men (in the psychical sense), is considered erroneous and artificial.[48] Agendered individuals are those who reject genderic labeling in conception of self-identity and other matters.[49] [50][51][52] They see their subjectivity through the term person instead of woman or man.[49]:p.16 According to E. O. Wright, genderless people can have traits, behaviors and dispositions that correspond to what is currently viewed as feminine and masculine, and the mix of these would vary across persons. Nevertheless, it doesn't suggest that everyone would be androgynous in their identities and practices in the absence of gendered relations. What disappears in the idea of genderlessness is any expectation that some characteristics and dispositions are strictly attributed to a person of any biological sex.[53]
Contemporary trends[edit]
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Jennifer Miller, bearded woman
X Japan founder Yoshiki is often labelled androgynous, known for having worn lace dresses and acting effeminate during performances[54]
South Korean pop star G-Dragon is often noted for his androgynous looks[55][56]
Androgyny has been gaining more prominence in popular culture in the early 21st century.[57] Both fashion industries[58] and pop culture have accepted and even popularised the "androgynous" look, with several current celebrities being hailed as creative trendsetters.
The rise of the metrosexual in the first decade of the 2000s has also been described as a related phenomenon associated with this trend. Traditional gender stereotypes have been challenged and reset in recent years dating back to the 1960s, the hippie movement and flower power. Artists in film such as Leonardo DiCaprio sported the "skinny" look in the 1990s, a departure from traditional masculinity which resulted in a fad known as "Leo Mania".[59] This trend came long after musical superstars such as David Bowie, Boy George, Prince, Pete Burns and Annie Lennox challenged the norms in the 1970s and had elaborate cross gender wardrobes by the 1980s.[citation needed] Musical stars such as Brett Anderson of the British band Suede, Marilyn Manson and the band Placebo have used clothing and makeup to create an androgyny culture throughout the 1990s and the first decade of the 2000s.[60]
While the 1990s unrolled and fashion developed an affinity for unisex clothes there was a rise of designers who favored that look, like Helmut Lang, Giorgio Armani and Pierre Cardin, the trends in fashion hit the public mainstream in the 2000s (decade) that featured men sporting different hair styles: longer hair, hairdyes, hair highlights.[citation needed] Men in catalogues started wearing jewellery, make up, visual kei, designer stubble. These styles have become a significant mainstream trend of the 21st century, both in the western world and in Asia.[61] Japanese and Korean cultures have featured the androgynous look as a positive attribute in society, as depicted in both K-pop, J-pop,[62] in anime and manga,[63] as well as the fashion industry.[64]
See also[edit]
List of androgynous people
Bigender
Epicenity
Futanari
Gender bender
Gender dysphoria
Gender neutrality
Gonochorism
Gynandromorph
Gynomorph
Hermaphrodite
List of transgender-related topics
Non-binary gender
Pangender
Postgenderism
Sexual Orientation Hypothesis
Third gender
Transsexualism
Trigender
True hermaphroditism
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^ Sumerau, J. E.; Cragun, R. T.; Mathers, L. A. B. (2015). "Contemporary Religion and the Cisgendering of Reality". Social Currents. 3 (3): 2. doi:10.1177/2329496515604644.
^ Erik Olin Wright (2011). "In defense of genderlessness (The Sex-Gender Distinction)". In Axel Gosseries, Philippe Vanderborght (ed.). Arguing about justice. Louvain: Presses universitaires de Louvain. pp. 403–413. ISBN 9782874632754. Retrieved 6 February 2017.
^ Ian Chapman, Henry Johnson, ed. (2016). Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. Routledge. pp. 203–205. ISBN 9781317588191.
^ "Move over, Psy! Here comes G-Dragon style". The Independent. 17 August 2014. Retrieved 5 April 2015.
^ "K-pop: a beginner's guide". The Guardian. 3 March 2014. Retrieved 5 April 2015.
^ "Androgyny becoming global?". uniorb.com. Archived from the original on 26 December 2010. Retrieved 17 December 2010.
^ Wendlandt, Astrid. "Androgynous look back for spring". Reuters. Retrieved 17 December 2010.
^ Peter Hartlaub (24 February 2005). "The teenage fans from 'Titanic' days jump ship as Leonardo DiCaprio moves on". sfgate.com. Retrieved 17 December 2010.
^ Cavendish, Marshall (2010). Sex and Society, Vol 1. Paul Bernabeo. p. 69.
^ "Androgynous look catches on". The Himalayan Times. 13–16 September 2010. Retrieved 17 December 2010.
^ "Harajuku Girls Harajuku Clothes And Harajuku Gothic fashion Secrets". Tokyo Top Guide. Retrieved 17 December 2010.
^ "Profile of Kagerou". jpopasia.com. Retrieved 17 December 2010.
^ Webb, Martin (13 November 2005). "Japan Fashion Week in Tokyo 2005. A stitch in time?". The Japan Times. Retrieved 17 December 2010.
External links[edit]
Look up androgyny in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Androgyny.
Androgyny: study and collection of articles
Androgyne Online
Sandra Bem and androgyny
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Though petals are soft indeed, to keep their beauty, they must be straining and keeping the most beautiful pose of themselves.
Lake Vyrnwy is man-made, with the dam that created it completed in 1888. The village of Llanwddyn was submerged by the lake. In dry summers, if the water level drops far enough, the ruins of the old village reappear.
The Straining Tower at Lake Vyrnwy looks like part of a fairytale castle. In reality, its purpose is to filter or strain out material in the water with a fine metal mesh, before the water flows along the aqueduct to Liverpool
St Mirren
1 Carson
22 Fraser bkd 77th min
4 Shaughnessy
18 Dunne
23 Strain
17 Baccus
16 Erhahon sub for Flynn 87th min
11 Kiltie sub for O'Hara 69th min
2 Tait GOAL 50th min
7 Ayunga sub for Greive 92nd min
10 Main sub for Brophy 69th min
Substitutes
6 O'Hara
8 Flynn
9 Brophy
12 Henderson
20 Olusanya
21 Greive
25 Offord
27 Urminsky
32 Kenny
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Ross County
1 Laidlaw
12 Johnson
5 Baldwin bkd 8th min
6 Iacovitti
3 Purrington sub for Harmon 45th min
8 Callachan
4 Cancola sub for Dhanda 77th min
7 Edwards
9 Samuel sub for White 45th min
11 Sims sub for Paton 86th min
19 Hiwula-Mayifuila sub for Olaigbe 59th min
Substitutes
10 Dhanda
14 Loturi
15 Watson
16 Harmon
17 Olaigbe
22 Tillson
24 Paton
26 White
31 Eastwood
Floyd singing his heart out at "White Christmas," one morning waiting for the bus.
Barbur Boulevard, Portland, Oregon, April 2016.
TMAX 400 in D76 1+1.
This is the second day of the Thaipusam festival when the believers pay their penance to the gods by having hooks threaded through their skin and walking 5 kilometres to the temple. The ones in their backs look bad but the ones going through the cheeks actually go through the tongue too so that they cannot even speak. The cans they carry are full of milk which seemingly has a significance as everybody carries this to the temple to be blessed. After seeing this I am quite pleased he isn't my God :-))
St Mirren
1 Carson
23 Strain bkd 66 min sub for Gogic 94th min
22 Fraser
31 Gallagher
18 Dunne
3 Tanser
11 Kiltie sub for Baccus 78th min
16 Erhahon
6 O'Hara
7 Ayunga GOAL 47th min sub for Greive 79th min
10 Main bkd 90th min
Substitutes
4 Shaughnessy
8 Flynn
9 Brophy
12 Henderson
13 Gogic
15 Reid
17 Baccus
21 Greive
27 Urminsky
.
Rangers
1 McGregor
2 Tavernier GOAL 84th min ( pen )
38 King sub Stretchered off for Jack 60th min
19 Sands
31 Barisic sub for Ure 94th min
18 Kamara sub for Arfield 45th min
4 Lundstram
23 Wright
71 Tillman
14 Kent
20 Morelos bkd 46th min
Substitutes
8 Jack
10 Davis
17 Matondo
29 McCann
33 McLaughlin
37 Arfield
44 Devine
50 Yfeko
69 Ure
literally every day i spill coffee on myself. this morning i spilled it on my computer and homework, and just now i missed my mouth and poured it down my front and bed. ugh, why does this happen.
every time i plan out a picture now, i end up doing something tooootally different, but when i plan nothing i never have a clue what to do. it's so bizarre, i don't know what's wrong with me. and also i have to say lol to the leaf in my hair, because i had put a bunch in but after running back and forth to click the self-timer button the rest fell out.
Katzen sind schlauer als Hunde. Du wirst niemals acht Katzen dazu bringen,
einen Schlitten durch den Schnee zu ziehen.
(Jeff Valdez)
The Grade II Listed Blackburn Railway Station, in Blackburn, Lancashire.
There has been a station on the current site since 1846, when the Blackburn and Preston Railway (a constituent company of the East Lancashire Railway) was opened - the contract to build the station having been awarded in November 1845. This route was extended eastwards to Accrington in March 1848 and subsequently through to Burnley and Colne by February 1849.
Meanwhile, the Bolton, Blackburn, Clitheroe & West Yorkshire Railway had built a line through to Bolton from the town by 1848 but were refused permission to use the ELR station and had to open their own station at Bolton Road, a short distance south of the junction between the two.
The Blackburn company subsequently extended their line northwards along the Ribble Valley to Clitheroe in 1851, but it was not until both railways had amalgamated with the Lancashire and Yorkshire Railway that traffic was concentrated at the main station (the Bolton Road station closing in 1859).
The first of two major upgrades to the facilities came the following year, but the opening of the Lancashire Union Railway from St Helens Central and Wigan North Western in 1869, the Great Harwood Loop in 1877 and the extension of the Clitheroe line to Hellifield in 1880 to give the L&Y a through route to Scotland via the Settle-Carlisle Line led to significant increases in traffic that put the station under major strain.
The 1923 Grouping saw the station pass into the hands of the London, Midland and Scottish Railway, but it wasn't until after nationalisation in 1948 that traffic and services began to decline. The Great Harwood line was the first to lose its passenger services in 1957.
The biggest losses came through in the 1960s - Wigan trains were withdrawn in January 1960, those to Hellifield in September 1962 and the Southport line & Blackpool Central station both fell victim to the Beeching Axe in 1964. By 1970, the through links to Skipton and Liverpool had also gone, leaving only the Manchester via Bolton & Colne to Preston lines along with a few seasonal trains between Leeds and Blackpool North via Hebden Bridge and the Copy Pit route to serve the station.
Information Source:
© 2011 Steve Kelley
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The scene at Broadway and Exchange Place next to the New York Stock Exchange complex on the morning of, November 17th in New York City. It looks like the NYPD officer was either in urgent need for a latte, having flashbacks to the Strain trilogy by Guillermo Del Torro, or some serious anger management issues.
Nikon d300
Photo taken in Nieuwe Molens, Gent.
In the picture: Sam Scarpulla.
Following the artistic life of a young artist in Gent, Sam Scarpulla.
This photo is part of the "free work" assignment, photography course at Sint-Lucas school, Gent.
Digitalis purpurea, the foxglove or common foxglove, is a toxic species of flowering plant in the plantain family Plantaginaceae, native to, and also widespread throughout most of temperate Europe. It has also naturalized in parts of North America, as well as some other temperate regions. The plant is a popular garden subject, with many cultivars available. It is the original source of the medicine digoxin, a medicine for the human heart (also called digitalis or digitalin). This biennial plant grows as a rosette of leaves in the first year after sowing, before flowering and then dying in the second year (i.e. it is monocarpic). It generally produces enough seeds, however, so that new plants will continue to grow in a garden setting.
Description
Digitalis purpurea is an herbaceous biennial or short-lived perennial plant. The leaves are spirally arranged, simple, 10–35 cm (3.9–13.8 in) long and 5–12 cm (2–5 in) broad, and are covered with gray-white pubescent and glandular hairs, imparting a woolly texture. The foliage forms a tight rosette at ground level in the first year.
The flowering stem develops in the second year, typically 1–2 m (3.3–6.6 ft) tall, sometimes longer. The flowers are arranged in a showy, terminal, elongated cluster, and each flower is tubular and pendent. The flowers are typically purple, but some plants, especially those under cultivation, may be pink, rose, yellow, or white. The inside surface of the flower tube is heavily spotted. The flowering period is early summer, sometimes with additional flower stems developing later in the season. The plant is frequented by bees, which climb right inside the flower tube to gain the nectar within.
The fruit is a capsule which splits open at maturity to release the numerous tiny 0.1-0.2 mm seeds.
Distribution
Native range
Digitalis purpurea has a native range that spans across several countries in Western Europe and North Africa. In Western Europe, it is native to Belgium, Czech Republic, France, Germany, Ireland, Portugal, Spain, Sweden and the United Kingdom. In North Africa the species can be found in Morocco. Additionally, it occurs naturally on the islands of Corsica and Sardinia.
Introduced range
Digitalis purpurea has been introduced throughout the world into countries and continents outside of their natural range. Due to introductions the species has expanded its range further into Europe and Africa as well as colonizing continents outside of their natural range such as Asia, North America, South America and Oceania.
Digitalis purpurea has been introduced extensively throughout Europe into: Austria, the Baltic States, Belarus, Denmark, Hungary, the Netherlands, Poland, Réunion, and Ukraine. It has also found its way to the Azores, the Canary Islands, Central European Russia, Madeira, and the Sakhalin and Kuril Islands.
In North America, it has been introduced into more than twenty states of the United States, such as: Arkansas, California, Connecticut, Idaho, Maine, Maryland, Massachusetts, Michigan, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Vermont, Washington, West Virginia, Wisconsin, and Wyoming. In Canada, it has been introduced to multiple provinces, including: British Columbia, New Brunswick, Newfoundland, Nova Scotia, Ontario, and Québec.
In South America, Digitalis purpurea has been introduced into Argentina, specifically in the regions of Northeast, Northwest, and South. It has also been introduced to Bolivia, Brazil (specifically the South and Southeast regions), Chile (Central region), Colombia, Costa Rica, Cuba, Ecuador, El Salvador, Guatemala, Jamaica, Mexico (Central, Gulf, Northeast, Southeast, and Southwest regions), Peru, Uruguay, and Venezuela.
Digitalis purpurea has been introduced to various regions in Asia, including China (specifically South-Central and Southeast regions), Korea, and Vietnam. In Africa, it has been introduced to Malawi and Zimbabwe. Furthermore, it has been introduced to the island nations of New Zealand, both the North and South Islands. It is also an established weed across multiple locations in Tasmania, Australia.
Subspecies and hybrids
Digitalis purpurea subsp. purpurea – most of Europe and Macaronesia and widely introduced to other parts of the world.
Digitalis purpurea subsp. amandiana (Samp.) P.A.Hinz – northern Portugal (specifically around the Douro Basin).
Digitalis purpurea subsp. mauretanica (Humbert & Maire) A.M.Romo – Morocco.
Digitalis purpurea subsp. toletana (Font Quer) P.A.Hinz – central Spain.
Digitalis × fulva Lindl. 1821 (hybrid formula: D. grandiflora × purpurea).
A single flower of Digitalis purpurea
Digitalis purpurea subsp. mariana is a synonym for D. mariana subsp. mariana, and D. purpurea subsp. heywoodii is a synonym for D. mariana subsp. heywoodii.
D. dubia, a name used for populations of foxglove growing among calciferous rocks on shady cliff faces on the island of Majorca, is now considered a synonym of D. minor, but until recently it had been either considered to be a valid species (i.e. in the Flora Europaea (1976), and the Euro+Med Plantbase (2011)), as well as classified as D. purpurea subsp. dubia in 1922, or Digitalis purpurea f. dubia by Spanish taxonomists in 1983.
Ecology
Digitalis purpurea grows in acidic soils, in partial sunlight to deep shade, in a range of habitats, including open woods, woodland clearings, moorland and heath margins, sea-cliffs, rocky mountain slopes and hedge banks. It is commonly found and readily colonises sites where the ground has been disturbed, such as recently cleared woodland, or where the vegetation has been burnt. It also colonises areas of land that have been disturbed by clear-felling and by construction projects, being among the first wildflowers to reappear, often in large quantities. Foxgloves are eurytopic plants, as their seeds germinate when exposed to light; for this reason, they are generally absent from shaded areas, such as within woodlands.
D. purpurea is most successful in humus-rich soil, but it can succeed in any soil that isn't too wet nor too dry; either way, the common foxglove only needs a small amount of soil for survival.
Larvae of the foxglove pug (Eupithecia pulchellata), a moth, consume the flowers of the common foxglove for food. The caterpillars of this moth crawl into the newly opening flowers, one caterpillar to a flower. It then spins a silken web over the mouth of the flower, sealing it, and then proceeds to feed on the stamens and developing seeds. When the other uninfected flowers fall off, the corolla of the infected flowers remain on the plant, and the caterpillar then pupates in the flower. The species is uncommon, it has been recorded in Britain, Germany, Switzerland and Austria. Other species of Lepidoptera have been recorded eating the leaves, including Mellicta athalia and Xestia ashworthii in Britain, Eurodryas aurinia in Romania, and Mellicta deione in Portugal.
Genetics
The colours of the petals of the Digitalis purpurea are known to be determined by at least three genes that interact with each other.
The M gene determines the production of a purple pigment, a type of anthocyanin. The m gene does not produce this pigment. The D gene is an enhancer of the M gene, and leads it to produce a large amount of the pigment. The d gene does not enhance the M gene, and only a small amount of pigment is produced. Lastly, the W gene causes the pigment be deposited only in some spots, while the w gene allows the pigment to be spread all over the flower.
This combination leads to four phenotypes:
M/_; W/_; _/_ = a white flower with purple spots;
m/m; _/_; _/_ = an albino flower with yellow spots;
M/_; w/w; d/d = a light purple flower;
M/_; w/w; D/_ = a dark purple flower.
Cultivation
The plant is a popular ornamental, providing height and colour in late spring and early summer. Cultivated forms often show flowers completely surrounding the central spike, in contrast to the wild form, where the flowers only appear on one side. Numerous cultivars have been developed with a range of colours. Seeds are frequently sold as a mixture (e.g. Excelsior hybrids, in shades of white, pink and purple). Some strains are easily grown by the novice gardener, while others are more challenging. They may also be purchased as potted plants in the spring.
Digitalis purpurea is hardy down to −15 °C (5 °F) (USDA zones 4–9).
Award of garden merit
The following selections have gained the Royal Horticultural Society's Award of Garden Merit:
Camelot Series:
'Camelot Cream'
'Camelot Lavender'
'Camelot Rose'
'Camelot White'
Dalmatian Series:
'Dalmatian Crème'
'Dalmatian Peach'
'Dalmatian Purple'
'Dalmatian White'
D. purpurea f. alba
'Martina'
'Pam's Choice'
'The Shirley' (Gloxinioides group)
Digitalis × mertonensis (the strawberry foxglove)
Toxicity
Due to the presence of the cardiac glycoside digitoxin, the leaves, flowers and seeds of this plant are all poisonous to humans and some animals and can be fatal if ingested.
The main toxins in Digitalis spp. are the two chemically similar cardiac glycosides: digitoxin and digoxin. Like other cardiac glycosides, these toxins exert their effects by inhibiting the ATPase activity of a complex of transmembrane proteins that form the sodium potassium ATPase pump, (Na+/K+-ATPase). Inhibition of the Na+/K+-ATPase in turn causes a rise not only in intracellular Na+, but also in calcium, which in turn results in increased force of myocardial muscle contractions.[citation needed] In other words, at precisely the right dosage, Digitalis toxin can cause the heart to beat more strongly. However, digitoxin, digoxin and several other cardiac glycosides, such as ouabain, are known to have steep dose-response curves, i.e., minute increases in the dosage of these drugs can make the difference between an ineffective dose and a fatal one.
Symptoms of Digitalis poisoning include a low pulse rate, nausea, vomiting, and uncoordinated contractions of different parts of the heart, leading to cardiac arrest and finally death.
Medicinal use
Extracted from the leaves, this same cardiac glycoside digitoxin is used as a medication for heart failure. Its clinical use was pioneered by William Withering, who recognized it "reduced dropsy", increased urine flow, and had a powerful effect on the heart. During World War II, County Herb Committees were established to collect medicinal herbs when German blockades created shortages; this included Digitalis purpurea which was used to regulate heartbeat.
Day 104 of 365: Back in the 70s, when William Wegman did the original version of this picture, this kind of photo manipulation still raised eyebrows. The real strain isn't so much moving the eyes but processing two different languages at the same time.
For FGR: Inspired by William Wegman
For TRP: Lazy Photography
July's ABC Soup: E is for Eery
Nowadays, my wife and I rarely use a teapot ... teabag in the cup or mug and off we go!! This is a tea strainer that you place inside the teapot and voila no tea leaves, just a nice cup of tea!
Flickr Lounge ~ Weekly Theme (Week 27) ~ Finding Circles ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!