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Cintrón
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Cintrón or Cintron is a surname of Portuguese and Spanish-French origins. The name migrated as a consequence of the conquest and settlement of the New World, particularly in Puerto Rico. Famous people with the surname Cintron:
Alex Cintrón (born 1978), Major League Baseball infielder
Carlos Juan Cintrón, mayor of Ponce, Puerto Rico from 1957 to 1961
Conchita Cintrón (1922–2009), Chilean torera (female bullfighter)
José Vicente Ferrer de Otero y Cintrón (born 1912), Puerto Rican actor, theater and film director
Juan H. Cintrón García, Puerto Rican politician, Mayor of Ponce 1968–1972
Kermit Cintrón (born 1979), Puerto Rican boxer who is from Carolina, Puerto Rico
Manolo Cintron (born 1963), former Puerto Rican professional basketball player
Manuel Egozcue Cintrón (born 1855), born in Bilbao, Spain
Marty Cintron, American singer, member of the American pop band No Mercy
Nemir Matos-Cintrón, Puerto Rican author who currently resides in Florida
Nitza Margarita Cintron (born 1950), Chief of Space Medicine & Health Care Systems Office at NASA's Johnson Space Center
Rosendo Matienzo Cintrón (1855–1913), lawyer and political leader
Sharon Cintron (born 1945), American model and actress
Surname list
This page lists people with the surname Cintrón. If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name(s) to the link.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Cintrón&oldid=793577273"
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Deus ex machina
From Wikipedia, the free encyclopedia
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For other uses, see Deus ex machina (disambiguation).
Deus ex machina in classical theatre: Euripides' Medea, performed in 2009 in Syracuse, Italy
Deus ex machina (Latin: [ˈdeʊs ɛks ˈmaː.kʰɪ.naː]: /ˈdeɪ.əs ɛks ˈmɑːkiːnə/ or /ˈdiːəs ɛks ˈmækɪnə/;[1] plural: dei ex machina) is a Latin calque from Greek ἀπὸ μηχανῆς θεός (apò mēkhanês theós), meaning 'god from the machine'.[2] The term has evolved to mean a plot device whereby a seemingly unsolvable problem is suddenly and abruptly resolved by the inspired and unexpected intervention of some new event, character, ability, or object. Its function can be to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending, or act as a comedic device.
Contents
[hide]
1 Origin of the expression
1.1 Ancient examples
1.2 Modern theatrical examples
2 Plot device
2.1 Examples
3 Criticism
3.1 Ancient criticism
3.2 Modern criticism
4 See also
5 Notes
6 References
7 External links
Origin of the expression[edit]
The term was coined from the conventions of Greek tragedy, where a machine is used to bring actors playing gods onto the stage. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought actors up through a trapdoor. Preparation to pick up the actors was done behind the skene. The idea was introduced by Aeschylus and was used often to resolve the conflict and conclude the drama. Although the device is associated mostly with Greek tragedy, it also appeared in comedies.[3]
Ancient examples[edit]
Aeschylus used the device in his Eumenides, but it was with Euripides that it became an established stage machine. More than half of Euripides' extant tragedies employ a deus ex machina in their resolution, and some critics claim that Euripides, not Aeschylus, invented it.[4] A frequently cited example is Euripides' Medea, in which the deus ex machina, a dragon-drawn chariot sent by the sun god, is used to convey his granddaughter Medea, who has just committed murder and infanticide, away from her husband Jason to the safety and civilization of Athens. In Alcestis, the eponymous heroine agrees to give up her own life in order to spare the life of her husband, Admetus. At the end, Heracles shows up and seizes Alcestis from Death, restoring her to life and to Admetus.
Aristophanes' play Thesmophoriazusae parodies Euripides' frequent use of the crane by making Euripides himself a character in the play and bringing him on stage by way of the mechane.
The effect of the device on Greek audiences was a direct and immediate emotional response. Audiences would have a feeling of wonder and astonishment at the appearance of the gods, which would often add to the moral effect of the drama.[5]
Modern theatrical examples[edit]
Shakespeare used the device in As You Like It, Pericles, Prince of Tyre, Cymbeline and The Winter's Tale.[6] It was also used in John Gay's The Beggar's Opera where the author uses a character to break the action and rewrite the ending as a reprieve of the hanging of MacHeath. Both in Shakespeare's and Gay's plays the deus ex machina happens with breaking the dramatic illusion often in the form of an episodic narrator exposing the play itself and laying bare the author. This is different from the use of the deus ex machina in the ancient examples with the ending coming from a participant in the action in the form of a god. It is natural for the gods to be considered participants and not outside sources because of their privileged position and power. It is these attributes that allow the Greek gods to believably wrap up and solve the series of events.[7]
During the politically turbulent 17th and 18th centuries, the deus ex machina was sometimes used to make a controversial thesis more palatable to the powers of the day. For example, in the final scene of Molière's Tartuffe the heroes are saved from a terrible fate by an agent of the compassionate, all-seeing king — the same king that held Molière's career and livelihood in his hands.[8]
Plot device[edit]
Aristotle was the first to use a Greek term equivalent to the Latin phrase deus ex machina as a term to describe the technique as a device to resolve the plot of tragedies.[3] It is generally deemed undesirable in writing and often implies a lack of creativity on the part of the author. The reasons for this are that it does not pay due regard to the story's internal logic (although it is sometimes deliberately used to do this) and is often so unlikely that it challenges suspension of disbelief, allowing the author to conclude the story with an unlikely, though perhaps more palatable, ending.[9]
Examples[edit]
In H. G. Wells's The War of the Worlds, the Martians, who have destroyed everything in their path and apparently triumphed over humanity, are killed by bacteria.[10]
In the novel Lord of the Flies, the rescue of the savage children by a passing navy officer (which author William Golding called a "gimmick") is viewed by some critics as a deus ex machina. The abrupt ending conveys the terrible fate that would have afflicted the children (in particular Ralph) if the officer had not arrived at that moment.[11]
J. R. R. Tolkien referred to the Great Eagles that appear in several places in The Hobbit and The Lord of the Rings as "a dangerous 'machine'."[12]. This was in a letter refusing permission to a film adapter to have the Fellowship of the Ring transported by eagles rather than traveling on foot. He felt that the eagles had already been overused as a plot device. For example, in The Hobbit, the eagles save Bilbo Baggins, Gandalf, and the dwarves from the goblins and wolves, then help turn the tide of the Battle of the Five Armies, and in The Return of the King they save Frodo and Sam from certain death on Mount Doom. In the Harvard Lampoon's parody Bored of the Rings, the eagles are referred to as 'Deus ex Machina Airlines.'
Deus ex machina was also used by Charles Dickens in Oliver Twist, when in the very peak of climax, Rose Maylie turns out to be the long-lost sister of Agnes, and therefore Oliver's aunt; and she marries her long-time sweetheart Harry, allowing Oliver to live happily with his saviour, Mr. Brownlow.[13]
Criticism[edit]
The deus ex machina device has many criticisms attached to it, mainly referring to it as inartistic, too convenient, and overly simplistic. On the other hand, champions of the device say that it opens up ideological and artistic possibilities.[14]
Ancient criticism[edit]
Antiphanes was one of the device's earliest critics. Antiphanes believed that the use of the "deus ex machina" was a sign that the playwright was unable to properly manage the complications of his plot.
when they don't know what to say
and have completely given up on the play
just like a finger they lift the machine
and the spectators are satisfied.[15]
Another critical reference to the device can be found in Plato's dialogue Cratylus, 425d, though it is made in the context of an argument unrelated to drama.
Aristotle criticized the device in his Poetics, where he argued that the resolution of a plot must arise internally, following from previous action of the play:[16]
In the characters too, exactly as in the structure of the incidents, [the poet] ought always to seek what is either necessary or probable, so that it is either necessary or probable that a person of such-and-such a sort say or do things of the same sort, and it is either necessary or probable that this [incident] happen after that one. It is obvious that the solutions of plots too should come about as a result of the plot itself, and not from a contrivance, as in the Medea and in the passage about sailing home in the Iliad. A contrivance must be used for matters outside the drama — either previous events which are beyond human knowledge, or later ones that need to be foretold or announced. For we grant that the gods can see everything. There should be nothing improbable in the incidents; otherwise, it should be outside the tragedy, e.g., that in Sophocles' Oedipus.
—  Poetics, (1454a33–1454b9)
Aristotle praised Euripides, however, for generally ending his plays with bad fortune, which he viewed as correct in tragedy, and somewhat excused the intervention of a deity by suggesting that "astonishment" should be sought in tragic drama:[17]
Irrationalities should be referred to what people say: That is one solution, and also sometimes that it is not irrational, since it is probable that improbable things will happen.
Such a device was referred to by Horace in his Ars Poetica (lines 191–2), where he instructs poets that they should never resort to a "god from the machine" to resolve their plots "unless a difficulty worthy of a god's unraveling should happen" [nec deus intersit, nisi dignus uindice nodus inciderit; nec quarta loqui persona laboret].[18]
Modern criticism[edit]
Following Aristotle, Renaissance critics continued to view the deus ex machina as an inept plot device, although it continued to be employed by Renaissance dramatists.
Towards the end of the 19th century, Friedrich Nietzsche criticized Euripides for making tragedy an optimistic genre via use of the device, and was highly skeptical of the "Greek cheerfulness", prompting what he viewed as the plays' "blissful delight in life".[19] The deus ex machina as Nietzsche saw it was symptomatic of Socratic culture, which valued knowledge over Dionysiac music and ultimately caused the death of tragedy:[20]
But the new non-Dionysiac spirit is most clearly apparent in the endings of the new dramas. At the end of the old tragedies there was a sense of metaphysical conciliation without which it is impossible to imagine our taking delight in tragedy; perhaps the conciliatory tones from another world echo most purely in Oedipus at Colonus. Now, once tragedy had lost the genius of music, tragedy in the strictest sense was dead: for where was that metaphysical consolation now to be found? Hence an earthly resolution for tragic dissonance was sought; the hero, having been adequately tormented by fate, won his well-earned reward in a stately marriage and tokens of divine honour. The hero had become a gladiator, granted freedom once he had been satisfactorily flayed and scarred. Metaphysical consolation had been ousted by the deus ex machina.
—  Friedrich Nietzsche
Nietzsche argued that the deus ex machina creates a false sense of consolation that ought not to be sought in phenomena.[21] His denigration of the plot device has prevailed in critical opinion.
In Arthur Woollgar Verrall's publication Euripides the Rationalist (1895), he surveyed and recorded other late 19th century responses to the device. He recorded that some of the critical responses to the term referred to it as 'burlesque', 'coup de théâtre', and 'catastrophe'. Verrall notes that critics have a dismissive response to authors who deploy the device in their writings. He comes to the conclusion that critics feel that the deus ex machina is evidence of the author's attempt to ruin the whole of his work and prevent anyone from putting any importance on his work.[15]
However, other scholars have looked at Euripides' use of deus ex machina and described its use as an integral part of the plot designed for a specific purpose. Often Euripides' plays would begin with gods, so it is argued that it would be natural for the gods to finish the action. The conflict throughout Euripides' plays would be caused by the meddling of the gods and therefore would make sense to both the playwright and the audience of the time that the gods would resolve all conflict that they began.[22] Half of Euripides' eighteen extant plays end with the use of deus ex machina, therefore it was not simply a device to relieve the playwright of the embarrassment of a confusing plot ending. This device enabled him to bring about a natural and more dignified dramatic and tragic ending.[23]
Other champions of the device believe that it can be a spectacular agent of subversion. It can be used to undercut generic conventions and challenge cultural assumptions and the privileged role of tragedy as a literary/theatrical model.[14]
Some 20th-century revisionist criticism suggests that deus ex machina cannot be viewed in these simplified terms, and contends that the device allows mortals to "probe" their relationship with the divine.[24] Rush Rehm in particular cites examples of Greek tragedy in which the deus ex machina complicates the lives and attitudes of characters confronted by the deity, while simultaneously bringing the drama home to its audience.[24] Sometimes, the unlikeliness of the deus ex machina plot device is employed deliberately. For example, comic effect is created in a scene in Monty Python's Life of Brian when Brian, who lives in Judea at the time of Christ, is saved from a high fall by a passing alien space ship.[25]
See also[edit]
Alien space bats
Chekhov's gun
Deathtrap (plot device)
MacGuffin
Miracle
Peripeteia
Notes[edit]
Jump up ^ Random House Dictionary
Jump up ^ One of the earliest occurrences of the phrase is in fragment 227 of Menander: ἀπὸ μηχανῆϛ θεὸς ἐπεφάνηϛ "You are by your epiphany a veritable god from the machine", as quoted in The Woman Possessed with a Divinity, as translated in Menander: The Principal Fragments (1921) by Francis Greenleaf Allinson.
^ Jump up to: a b Chondros, Thomas G.; Milidonis, Kypros; Vitzilaios, George; Vaitsis, John (September 2013). ""Deus-Ex-Machina" reconstruction in the Athens theater of Dionysus". Mechanism and Machine Theory. 67: 172–191. doi:10.1016/j.mechmachtheory.2013.04.010.
Jump up ^ Rehm (1992, 72) and Walton (1984, 51).
Jump up ^ Cunningham, Maurice P. (July 1954). "Medea ΑΠΟ ΜΗΧΑΝΗΣ". Classical Philology. 49 (3): 151–160. doi:10.1086/363788. JSTOR 265931.
Jump up ^ Rehm (1992, 70).
Jump up ^ Dunn, Francis M (1996). Tragedy's End : Closure and Innovation in Euripidean Drama: Closure and Innovation in Euripidean Drama. New York, New York: Oxford University Press.
Jump up ^ "Tartuffe: Novel Guide". 2003. Retrieved 2 November 2011.
Jump up ^ Dr. L. Kip Wheeler. "Literary Terms and Definitions: D". Retrieved 2008-07-26.
Jump up ^ Westfahl, Gary, ed. (2005). The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders, Volume 1. Greenwood Publishing Group. p. 195. ISBN 0313329516. Retrieved 26 February 2016.
Jump up ^ Friedman, Lawrence S. (2008). "Grief, grief, grief: Lord of the Flies". In Bloom, Harold. William Golding's Lord of the Flies. Infobase Publishing. pp. 67–68.
Jump up ^ J. R. R. Tolkien, letter 210 as quoted here
Jump up ^ Abrams, MH, ed. (1993). A Glossary of Literary Terms. Harcourt Brace & Company, USA. pp. 44–45. Retrieved 2013-12-31.
^ Jump up to: a b Breton, Rob (Summer 2005). "Ghosts in the Machina: Plotting in Chartist and Working-Class Fiction". Victorian Studies. 47 (4): 557–575. doi:10.1353/vic.2006.0003.
^ Jump up to: a b Handley, Miriam. "Shaw's response to the deus ex machina: From the Quintessence of Ibsenism to Heartbreak House". Theatre: Ancient & Modern, January 1999 Conference. Missing or empty |url= (help); |access-date= requires |url= (help)
Jump up ^ Janko (1987, 20)
Jump up ^ Poetics 11.5, Penguin (1996, 45).
Jump up ^ "Ars Poetica by Horace". Poetry Foundation. 21 September 2017.
Jump up ^ Nietzsche (2003, 85).
Jump up ^ Nietzsche (2003, 84–86).
Jump up ^ Nietzsche (2003, 80).
Jump up ^ Abel, D. Herbert (December 1954). "Euripides' Deus ex Machina: Fault or Excellence". The Classical Journal. 50 (3): 127–130. |access-date= requires |url= (help)
Jump up ^ Flickinger, Roy Caston (1926). The Greek Theatre and its Drama. Chicago, Illinois: The University of Chicago Press.
^ Jump up to: a b Rehm (1992, 71).
Jump up ^ James Berardinelli, James. "Review: Life of Brian". Reelviews Movie Reviews. 2003
References[edit]
Bushnell, Rebecca ed. 2005. A Companion to Tragedy. Malden, MA and Oxford: Blackwell Publishing. ISBN 1-4051-0735-9.
Heath, Malcolm, trans. 1996. Poetics. By Aristotle. Penguin: London. ISBN 978-0-14-044636-4.
Janko, Richard, trans. 1987. Poetics with Tractatus Coislinianus, Reconstruction of Poetics II and the Fragments of the On Poets. By Aristotle. Cambridge: Hackett. ISBN 0-87220-033-7.
Mastronarde, Donald, 1990. Actors on High: The Skene roof, the Crane and the Gods in Attic Drama. Classical Antiquity, Vol 9, October 1990, pp 247–294. University of California.
Rehm, Rush, 1992. Greek Tragic Theatre. Routledge, London. ISBN 0-415-04831-1.
Tanner, Michael ed. 2003. The Birth of Tragedy. By Nietzsche, Friedrich. Penguin: London. ISBN 978-0-14-043339-5.
Taplin, Oliver, 1978. Greek Tragedy in Action. Methuen, London. ISBN 0-416-71700-4.
Walton, J Michael, trans. 2000. Euripides: Medea. Methuen, London. ISBN 0-413-75280-1.
External links[edit]
The dictionary definition of deus ex machina at Wiktionary
"Deus ex Machina". New International Encyclopedia. 1905.
TV Tropes Deus ex Machina
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Financial institution
From Wikipedia, the free encyclopedia
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Financial institutions are corporations which provide services as intermediaries of financial markets. Broadly speaking, there are three major types of financial institutions:[1][2]
Depository institutions – deposit-taking institutions that accept and manage deposits and make loans, including banks, building societies, credit unions, trust companies, and mortgage loan companies;
Contractual institutions – insurance companies and pension funds
Investment institutions – investment banks, underwriters, brokerage firms.
Some experts see a trend toward homogenisation of financial institutions, meaning a tendency to invest in similar areas and have similar business strategies. A consequence of this might be fewer banks serving specific target groups, and small-scale producers may be under-served.[3]
Contents
[hide]
1 Standard settlement instructions
2 Regulation
3 See also
4 References
Standard settlement instructions[edit]
Standard Settlement Instructions (SSIs) are the agreements between two financial institutions which fix the receiving agents of each counterparty in ordinary trades of some type. These agreements allow traders to make faster trades since the time used to settle the receiving agents is conserved. Limiting the trader to an SSI also lowers the likelihood of a fraud. SSIs are used by financial institutions to facilitate fast and accurate cross-border payments.
Regulation[edit]
Financial institutions in most countries operate in a heavily regulated environment because they are critical parts of countries' economies, due to economies' dependence on them to grow the money supply via fractional reserve lending. Regulatory structures differ in each country, but typically involve prudential regulation as well as consumer protection and market stability. Some countries have one consolidated agency that regulates all financial institutions while others have separate agencies for different types of institutions such as banks, insurance companies and brokers.
Countries that have separate agencies include the United States, where the key governing bodies are the Federal Financial Institutions Examination Council (FFIEC), Office of the Comptroller of the Currency - National Banks, Federal Deposit Insurance Corporation (FDIC) State "non-member" banks, National Credit Union Administration (NCUA) - Credit Unions, Federal Reserve (Fed) - "member" Banks, Office of Thrift Supervision - National Savings & Loan Association, State governments each often regulate and charter financial institutions.
Countries that have one consolidated financial regulator include: Norway with the Financial Supervisory Authority of Norway, Germany with Federal Financial Supervisory Authority and Russia with Central Bank of Russia.
See also[edit]
Bank
Consumer Credit Act 1974 (UK law)
Credit union
Financial economics
Fractional-reserve banking
International financial institutions
List of financial regulatory authorities by country
Non-bank financial institution
Savings and loan association
Society for Worldwide Interbank Financial Telecommunication
References[edit]
Jump up ^ Siklos, Pierre (2001). Money, Banking, and Financial Institutions: Canada in the Global Environment. Toronto: McGraw-Hill Ryerson. p. 40. ISBN 0-07-087158-2.
Jump up ^ Robert E. Wright and Vincenzo Quadrini. Money and Banking: Chapter 2 Section 5: Financial Intermediaries.[1] Accessed July 24, 2012
Jump up ^ Jayati Gosh (January 2013). "Too much of the same". D+C Development and Cooperation/ dandc.eu.
Authority control
NDL: 00565888
Retrieved from "https://en.wikipedia.org/w/index.php?title=Financial_institution&oldid=818504603"
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Heart of the Ocean
From Wikipedia, the free encyclopedia
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For other uses, see Heart of the Ocean (disambiguation).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2016) (Learn how and when to remove this template message)
The Original Heart of the Ocean Necklace on Display in James Cameron's office.
The Heart of the Ocean (also known as Le Cœur de la Mer) is the name of a fictional blue diamond featured prominently in the 1997 film Titanic. In the story, the diamond was originally owned by Louis XVI and cut into a heart shape after the French Revolution. In the film the necklace was purchased by Caledon Hockley, played by Billy Zane, a week before he sailed on the ill-fated ocean liner Titanic. The necklace was meant to be given as an engagement present to his fiancée Rose, played by Kate Winslet and Gloria Stuart. It is believed that both Rose and the necklace went down with the ship, leading some of the main characters to believe the necklace lies somewhere within the wreckage of the Titanic.
Contents
[hide]
1 Origin
2 1997 film
3 Design
3.1 The Original Necklace
3.2 The J. Peterman Necklace
3.3 The Asprey & Garrard Necklace
4 Reproductions
5 References
Origin[edit]
The story of the Hope Diamond bears many similarities to the story of the Heart of the Ocean with the obvious exception of the Hope Diamond not actually having been on board the Titanic. In the 1943 film Titanic, a blue diamond plays an important role in a love affair as well. A primary plot point in this earlier film is the theft of the diamond, which creates a dramatic break in a romantic relationship which is similar to the 1997 film.
1997 film[edit]
The drawing of Rose wearing the Heart of the Ocean.
In the 1997 film a fictional treasure hunter, Brock Lovett (Bill Paxton), searches for a priceless blue diamond necklace which he believes lies within the wreck of the RMS Titanic. Lovett explains that the necklace was fashioned from a large blue diamond worn by Louis XVI in his royal crown. Shortly after the King's execution in 1793, the diamond was cut into a heart shape and became known as the Heart of the Ocean. The story of the Heart of the Ocean is similar to the story of the Hope Diamond, except the Hope Diamond was worn by Louis XIV in a royal necklace. Lovett's hunch about the diamond's whereabouts seems to be confirmed when his team salvages a drawing in which a nude woman is wearing the necklace. The drawing is dated April 14, 1912, the day the Titanic sank.
Later on an elderly woman (Gloria Stuart) watches Lovett's discovery on the news and immediately contacts the salvage team. Claiming to be both the woman in the picture and Rose Dewitt Bukater she is immediately flown out to Lovett's salvage ship. Rose requests to view the recovered drawing and Lovett shows her some artifacts salvaged from the wreck, specifically those recovered from her stateroom on Titanic. During this scene Lovett reveals the origins of the diamond and that if it is recovered the Heart of the Ocean would be worth more than the Hope Diamond. While examining an ornate butterfly comb, Rose becomes emotional and begins detailing her time aboard the Titanic. During the film the audience's perspective alternates between the past and present as Rose shares her memories. Rose divulges the intimate details of her relationship with the artist of the drawing, Jack Dawson (Leonardo DiCaprio), which leads up to the night of the sinking.
On the night of the sinking the diamond changes hands a few times between Rose and Jack, resulting in Jack being framed of its theft by Rose's fiancé Cal. As the ship starts to lean dramatically it becomes quite clear that the unsinkable Titanic will indeed sink. With this in mind Rose's fiancé, Cal, returns to the suite and empties the safe placing the precious gem in his overcoat. Later on Cal puts this same coat on Rose as she enters a lifeboat, forgetting about the diamond in its pocket. It is not thoroughly stated whether or not Rose (Gloria Stuart) tells Brock Lovett about Cal emptying his safe along with the diamond, it is assumed she doesn't as Lovett doesn't have any follow up questions. At the end of the film, Rose walks alone to the stern of the salvage ship and opens her hands revealing both the necklace and Rose's identity as Rose Dewitt Bukater. While examining the necklace, Rose has a flashback to 1912 on her arrival in New York and discovers the necklace in the overcoat. Returning to the present, Rose, with a smile, drops the necklace from her hand into the water presumably above the Titanic wreck site.[1]
Design[edit]
London-based jewelers Asprey & Garrard used cubic zirconias set in white gold[2] to create an Edwardian-style necklace to be used as a prop in the film. Asprey & Garrard produced and designed the necklaces: the result was three different and unique designs. Two of their designs were used in the film while the other went unused until after the film had been released. The three necklaces are commonly known as the original prop, the J. Peterman necklace, and the Asprey necklace. The three necklaces are all very similar but have distinguishable differences.
A replica inspired by the original prop.
The Original Necklace[edit]
The original necklace was the necklace seen throughout the film. This necklace has a large London-blue stone cut into a trillion/cleftless heart surrounded by white round cut cubic zirconias set in white gold. The chain is composed of a mix of round, pear, and marquise cut white cubic zirconias. The bail on this necklace was a heart cut white cubic zirconia attached to a white round cut stone which was attached to the cage on the main stone. The necklace is owned today by a private collector, and is currently being lent to James Cameron to display next to props from his other films. The necklace is available to view during tours of his office in California.[3]
The J. Peterman Necklace[edit]
Due to The J. Peterman Company's acquisition of this particular necklace through the sale of props from the film, this design is often referred to as the J. Peterman design, though officially the necklace does not hold this designation. This particular design is another blue cubic zirconia; however, it is cut into the shape of a heart rather than a trillion cut. The main stone is surrounded by round cut cubic zirconias and features a white round cut stone at the top where it attaches to the chain. The chain is composed of white round cut cubic zirconias, with a larger inverted pear cut cubic zirconia as the bail. This particular design is featured in the film for a brief moment when Caledon retrieves the necklace from his safe during the sinking, this is the only time the necklace is seen on screen. This particular necklace is believed to still be in the possession of the J. Peterman Company.
The Asprey & Garrard Necklace[edit]
The third and final design was not used in the film. After the film's success, Asprey & Garrard were commissioned to create an authentic Heart of the Ocean necklace using the original design. The result was a platinum-set, 171-carat (34.2 g) heart-shaped Ceylon sapphire surrounded by 103 diamonds.[2] This design featured a much larger inverted pear shaped Ceylon sapphire with a subtle cleft to resemble a heart. The chain for this necklace also featured a mix of round, pear, and marquise cut white diamonds. The bail also featured a heart cut white diamond with another round cut diamond attached to an inverted pear shape diamond which was then attached to the cage of the main stone. The necklace was donated to Sotheby's auction house in Beverly Hills for an auction benefiting the Diana, Princess of Wales Memorial Fund and Southern California's Aid For AIDS. It was sold to an unidentified Asprey client[4] for $1.4 million, under the agreement that Celine Dion would wear it two nights later at the 1998 Academy Awards ceremony. This necklace has since not been made available for public viewing.
Reproductions[edit]
An example of one of the many replicas made by the J. Peterman Company back in 1998.
After the release of the film in 1998, The J. Peterman Company sold less expensive reproductions. Their necklace consisted of 137 Austrian crystals and a detachable, inauthentic "blue diamond" pendant packaged in a navy blue, hinged presentation box.[5] This is the only officially licensed reproduction of the necklace. This particular replica can still be found on the secondary market, although likely in used condition. There are many other unofficial inspired reproductions available on the secondary market ranging from as little as five dollars to thousands of dollars.
Replicas
An example of an unofficial inspired replica.
An unofficial inspired replica made by an American Jeweler.
An example of the replicas made by the J. Peterman Company in 1998. These remain the only official replicas licensed by 20th Century Fox.
References[edit]
Jump up ^ Clarke, James (14 May 2014). The Cinema of James Cameron: Bodies in Heroic Motion. Columbia University Press. p. 127. ISBN 978-0-231-85062-9.
^ Jump up to: a b Davidson, Terry (March 11, 1998). "Real 'Titanic' Necklace to Benefit Diana’s Trust: Movie’s Paste Necklace Recreated with Real Jewels" (Interview). Interview with Diane Sawyer.
Jump up ^ costumes, yourprops.com, movie props and. "Titanic Heart of the Ocean original movie prop". www.yourprops.com. Retrieved 2017-07-05.
Jump up ^ Van Der Voort, Jane (February 11, 2001). "Heart Of The Matter". The Toronto Sun. [page needed]
Jump up ^ "J. Peterman Co. Finds Merchandising 'Jewel' in 'Titanic'; 'Heart of the Ocean' Necklace To Be Sold Through Company's Catalog". Business Wire. March 23, 1998. [page needed]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Heart_of_the_Ocean&oldid=803417551"
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Merderet
From Wikipedia, the free encyclopedia
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Merderet
Country
France
Physical characteristics
Main source
Normandy
River mouth
Douve
49°21′48″N 1°21′16″W / 49.36333°N 1.35444°W / 49.36333; -1.35444 (Douve-Merderet)Coordinates: 49°21′48″N 1°21′16″W / 49.36333°N 1.35444°W / 49.36333; -1.35444 (Douve-Merderet)
Length
36 km (22 mi)
US Army map of the Cotentin peninsula in 1944, showing the Merderet
The Merderet is a 36 km long river in Normandy, France which is tributary to the Douve River.[1] It runs roughly north-south down the middle of the Cotentin peninsula from Valognes to the junction with the Douve at Beuzeville la Bastille.
Hydrology[edit]
The river has relatively high turbidity and its brownish water is somewhat low in velocity due to the slight gradient of the watercourse; pH levels have been measured at 8.31[2] near the Chateau d'Isle Marie and electrical conductivity of the waters have tested at 61 micro-siemens per centimetre. At this reference location, summer flows are typically in the range of 250 cubic feet per second (7.1 m3/s).
Airborne landings on D-Day[edit]
Main article: Mission Boston
Running parallel to the shoreline about 5 miles (8.0 km) from Utah Beach, the marshes of the Merderet and Douve formed a natural defensive line protecting the western end of the Allied landing zone and at the same time limiting the Allies' potential to break out of the beachhead. Thus control of the bridges at Manoir de la Fière and Chef-du-Pont was seen as vital. The Merderet was assigned to the U.S. 82nd Airborne Division as Mission Boston, scheduled for 5 hours before the amphibious landings on D-Day. Cloud cover and German fire caused the landings to be dispersed; the paratroopers took the strategic town of Sainte-Mère-Église but failed in their original mission to clear the west bank of the Merderet on D-Day and blow the bridge over the Douze at Pont l'Abbé (now Étienville). The extent of their control of the bridges over the Merderet is disputed, but it was sufficient to hold off German counterattacks. These included an attack over the causeway at La Fiere by the 1057th Grenadier Regiment and light tanks of the 100th Panzer Replacement Battalion. This appears to have been the inspiration for the climactic battle in the film Saving Private Ryan, which is set around a bridge over the Merderet in the fictional town of Ramelle.
After the Battle of Carentan on 9 June, Allied forces moved up the Cotentin Peninsula on either side of the Merderet. This advance culminated in the Battle of Cherbourg which saw the port captured by the end of the month.
References[edit]
Jump up ^ Atlas des Routes de France, Solar Press: Donnees IGN (2007)
Jump up ^ Hogan, C. Michael, Water quality of freshwater bodies in France, Lumina Tech Press, Aberdeen (2006)
External links[edit]
Merderet River Bridge at La Fière
Geoportail.fr
The Merderet at the Sandre database
Retrieved from "https://en.wikipedia.org/w/index.php?title=Merderet&oldid=828366264"
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value: Guidance on how to use and edit Wikipedia

value: About the project, what you can do, where to find things

value: A list of recent changes in the wiki [ctrl-alt-r]

value: portal navigation p-interaction p-interaction-label

value: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

value:
https://ceb.wikipedia.org/wiki/Merderet
Merderet – Cebuano
ceb
ceb
interlanguage-link-target

value:
https://de.wikipedia.org/wiki/Merderet
Merderet – German
de
de
interlanguage-link-target

value:
https://fr.wikipedia.org/wiki/Merderet
Merderet – French
fr
fr
interlanguage-link-target

value:
https://pl.wikipedia.org/wiki/Merderet
Merderet – Polish
pl
pl
interlanguage-link-target

value: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

value: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

value:
suggestions
display: none; font-size: 13px;

value: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Merderet rootpage-Merderet skin-vector action-view