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The Tell-Tale Heart
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For other uses, see The Tell-Tale Heart (disambiguation).
"The Tell-Tale Heart"
The Pioneer, Vol. I, No. I, Drew and Scammell, Philadelphia, January, 1843
Author
Edgar Allan Poe
Country
United States
Language
English
Genre(s)
Horror, Gothic Literature
Published in
The Pioneer
Publication type
Periodical
Publisher
James Russell Lowell
Media type
Print (periodical)
Publication date
January 1843
"The Tell-Tale Heart" is a short story by American writer Edgar Allan Poe, first published in 1843. It is relayed by an unnamed narrator who endeavors to convince the reader of his sanity while simultaneously describing a murder he committed. The victim was an old man with a filmy "vulture-eye", as the narrator calls it. The narrator emphasizes the careful calculation of the murder, and he hides the body by dismembering it, and hiding it under the floorboards. Ultimately, the narrator's feelings of guilt, or a mental disturbance, result in him hearing a thumping sound, which he interprets as the dead man's beating heart.
The story was first published in James Russell Lowell's The Pioneer in January 1843. "The Tell-Tale Heart" is widely considered a classic of the Gothic fiction genre and is one of Poe's most famous short stories.
It is unclear what relationship, if any, the old man and his murderer share. The narrator denies having any feelings of hatred or resentment for the man who had, he says, never wronged him. He also denies that he killed for greed. The specific motivation for murder (aside from the narrator's dislike of the old man's eye), the relationship between narrator and old man, and other details are left unclear.
It has been speculated that the old man is a father figure, the narrator's landlord, or that the narrator works for the old man as a servant, and that perhaps his "vulture-eye" represents some sort of veiled secret, or power. The ambiguity and lack of details about the two main characters stand in stark contrast to the specific plot details leading up to the murder.
Contents
[hide]
1 Plot summary
2 Publication history
3 Analysis
4 Adaptations
5 References
6 External links
Plot summary[edit]
Illustration by Harry Clarke, 1919
"The Tell-Tale Heart" is a first-person narrative of an unnamed narrator, who insists he is sane but is suffering from a disease (nervousness) which causes "over-acuteness of the senses". Due to the ambiguity surrounding the identity of the story's narrator, the narrator's gender cannot be known for certain. However, for ease of description, masculine pronouns are used in this article.
The old man with whom he lives has a clouded, pale, blue "vulture-like" eye, which distresses the narrator so much that he plots to murder the old man, despite also insisting that he loves the old man. The narrator insists that his careful precision in committing the murder proves that he cannot possibly be insane. For seven nights, the narrator opens the door of the old man's room in order to shine a sliver of light onto the "evil eye". However, the old man's vulture-eye is always closed, making it impossible to "do the work".
On the eighth night, the old man awakens after the narrator's hand slips and makes a noise, interrupting the narrator's nightly ritual. But the narrator does not draw back and, after some time, decides to open his lantern. A single thin ray of light shines out and lands precisely on the "evil eye", revealing that it is wide open. Hearing the old man's heart beating loudly and dangerously fast from terror, the narrator decides to strike, jumping out with a loud yell and smothering the old man with his own bed. The narrator then dismembers the body and conceals the pieces under the floorboards, and ensures the concealment of all signs of the crime. Even so, the old man's scream during the night causes a neighbor to report to the police, who the narrator invites in to look around. He claims that the screams heard were his own in a nightmare and that the man is absent in the country. Confident that they will not find any evidence of the murder, the narrator brings chairs for them and they sit in the old man's room, on the very spot where the body is concealed, and suspect nothing, as the narrator has a pleasant and easy manner about him.
The narrator begins to feel uncomfortable and notices a ringing in his ears. As the ringing grows louder, the narrator comes to the conclusion that it is the heartbeat of the old man coming from under the floorboards. The sound increases steadily, though the officers seem to pay no attention to it. Terrified by the violent beating of the heart, and convinced that the officers are aware not only of the heartbeat, but also of his guilt, the narrator breaks down and confesses, telling them to tear up the floorboards to reveal the remains of the old man's body.
Publication history[edit]
"The Tell-Tale Heart" in The Pioneer: A Literary and Critical Magazine, page 29
"The Tell-Tale Heart" was first published in January 1843 in the inaugural issue of The Pioneer: A Literary and Critical Magazine, a short-lived Boston magazine edited by James Russell Lowell and Robert Carter who were listed as the "proprietors" on the front cover. The magazine was published in Boston by Leland and Whiting and in Philadelphia by Drew and Scammell.
Poe was likely paid $10 for the story.[1] Its original publication included an epigraph which quoted Henry Wadsworth Longfellow's poem "A Psalm of Life".[2] The story was slightly revised when republished in the August 23, 1845, edition of the Broadway Journal. This edition omitted Longfellow's poem because Poe believed it was plagiarized.[2] "The Tell-Tale Heart" was reprinted several additional times during Poe's lifetime.[3]
Analysis[edit]
"The Tell-Tale Heart" uses an unreliable narrator. The exactness with which the narrator recounts murdering the old man, as if the stealthy way in which he executed the crime were evidence of his sanity, reveals his monomania and paranoia. The focus of the story is the perverse scheme to commit the perfect crime.[4]
The narrator of "The Tell-Tale Heart" is generally assumed to be male. However, some critics have suggested a woman may be narrating; no pronouns are used to clarify one way or the other.[5] The story starts in medias res. The story opens with a conversation already in progress between the narrator and another person who is not identified in any way. It has been speculated that the narrator is confessing to a prison warden, a judge, a reporter, a doctor or (anachronistically) a psychiatrist.[6] In any case, the narrator explains himself in great detail.[7] What follows is a study of terror but, more specifically, the memory of terror, as the narrator is relating events from the past.[8] The first word of the story, "True!", is an admission of his guilt, as well as an assurance of reliability.[6] This introduction also serves to gain the reader's attention.[9] Every word contributes to the purpose of moving the story forward, exemplifying Poe's theories about the writing of short stories.[10]
The story is driven not by the narrator's insistence upon his "innocence", but by his insistence on his sanity. This, however, is self-destructive, because in attempting to prove his sanity he fully admits that he is guilty of murder.[11] His denial of insanity is based on his systematic actions and his precision, as he provides a rational explanation for irrational behavior.[7] This rationality, however, is undermined by his lack of motive ("Object there was none. Passion there was none."). Despite this, he says, the idea of murder "haunted me day and night."[11]
The story's final scene shows the result of the narrator's feelings of guilt. Like many characters in Gothic fiction, he allows his nerves to dictate his nature. Despite his best efforts at defending himself, his "over acuteness of the senses", which help him hear the heart beating beneath the floorboards, is evidence that he is truly mad.[12] Poe's contemporaries may well have been reminded of the controversy over the insanity defense in the 1840s.[13]
The narrator claims to have a disease that causes hypersensitivity. A similar motif is used for Roderick Usher in "The Fall of the House of Usher" (1839) and in "The Colloquy of Monos and Una" (1841).[14] It is unclear, however, if the narrator actually has very acute senses, or if he is merely imagining things. If his condition is believed to be true, what he hears at the end of the story may not be the old man's heart but deathwatch beetles. The narrator first admits to hearing beetles in the wall after startling the old man from his sleep. According to superstition, deathwatch beetles are a sign of impending death. One variety of deathwatch beetle raps its head against surfaces, presumably as part of a mating ritual, while others emit ticking sounds.[14] Henry David Thoreau observed in an 1838 article that deathwatch beetles make sounds similar to a heartbeat.[15] The beating could even be the sound of the narrator's own heart. Alternatively, if the beating is really a product of the narrator's imagination, it is that uncontrolled imagination that leads to his own destruction.[16]
It is also possible that the narrator has paranoid schizophrenia. Paranoid schizophrenics very often experience auditory hallucinations. These auditory hallucinations are more often voices but can also be sounds.[17]
The relationship between the old man and the narrator is ambiguous. Their names, occupations, and places of residence are not given, contrasting with the strict attention to detail in the plot.[18] The narrator may be a servant of the old man's or, as is more often assumed, his son. In that case, the "vulture-eye" of the old man as a father figure may symbolize parental surveillance, or the paternal principles of right and wrong. The murder of the eye, then, is a removal of conscience.[19] The eye may also represent secrecy: only when the eye is found open on the final night, penetrating the veil of secrecy, is the murder carried out.[20]
Richard Wilbur has suggested that the tale is an allegorical representation of Poe's poem "To Science", which depicts a struggle between imagination and science. In "The Tell-Tale Heart", the old man may thus represent the scientific and rational mind, while the narrator may stand for the imaginative.[21]
Adaptations[edit]
Some of this section's listed sources may not be reliable. Please help this article by looking for better, more reliable sources. Unreliable citations may be challenged or deleted. (January 2016) (Learn how and when to remove this template message)
The earliest acknowledged adaptation of "The Tell-Tale Heart" was in a 1928 silent film of that title[22] directed by Leon Shamroy and starring Otto Matieson as "The Insane", William Herford as "The Old Man" with Charles Darvas and Hans Fuerberg as "Detectives". It was faithful to the original tale,[5] unlike future television and film adaptations which often expanded the short story to full-length feature films.[23]
The earliest known "talkie" adaptation was a 1934 version filmed at the Blattner Studios, Elstree, by Clifton-Hurst Productions, directed by Brian Desmond Hurst and starring Norman Dryden. This version was 55 minutes in length.[24]
A 1941 live-action adaptation starred Joseph Schildkraut and was the directorial debut of Jules Dassin.[25]
A 1953 animated short film produced by United Productions of America and narrated by James Mason[26] is included among the list of films preserved in the United States National Film Registry.
Also in 1953, a "Variation" on "The Tell-Tale Heart" entitled "Sleep No More", by Gaines and Feldstein, appeared.[27]
In 1956, an adaptation of "The Tell-Tale Heart" was written by William Templeton for the NBC Matinee Theater and aired on the 6th November 1956.
A 1960 film adaptation, The Tell-Tale Heart, adds a love triangle to the story.[28]
A 1971 film adaptation directed by Steve Carver, and starring Sam Jaffe as the old man.[29]
The film Nightmares from the Mind of Poe (2006) adapts "The Tell-Tale Heart" along with "The Cask of Amontillado", "The Premature Burial" and "The Raven".
The Radio Tales series produced The Tell-Tale Heart for National Public Radio. The story was performed by Winifred Phillips along with music composed by her.
CBS Radio Mystery Theater performed an adaptation of the story in 1975; the cast included Fred Gwynne.
The Canadian radio program Nightfall presented an adaptation on August 1, 1980.
The 2009 thriller film Tell-Tale, produced by Ridley Scott and Tony Scott, credits Poe's "The Tell-Tale Heart" as the basis for the story of a man being haunted by his donor's memories, after a heart transplant.[30]
In the 1972 film An Evening with Edgar Allan Poe, four of Poe's short stories are recited by Vincent Price in front of a live audience, including "The Tell-Tale Heart".
Steven Berkoff adapted the story in 1991, and was broadcast on British television. This adaptation was originally presented on British TV as part of the acclaimed series "Without Walls". This version was later broadcast in the United States on the cable channel BRAVO as part of the Texaco Performing Arts series.
A musical adaptation performed by The Alan Parsons Project was released on their 1976 debut album Tales of Mystery and Imagination, and was later covered by Slough Feg for their 2010 album, The Animal Spirits.
The Christian Thrash / Hybrid Metal band Tourniquet adapted the story into song for their 1997 release "Crawl To China". A hidden bonus track on the album captures an adaptation of the conversation between the main character and the police officers without music. Drummer/primary songwriter Ted Kirkpatrick is a huge fan of Edgar Alan Poe and has also released an album of poems and songs featuring adaptations of his works. "The Tell-Tale Heart" is the opening track, and is read by Les Carlson (vocalist for the Metal band Bloodgood).
The SpongeBob SquarePants episode "Squeaky Boots," first aired in 1999, is loosely based on the story.[31]
A musical adaptation, entitled "Dark Chilling Heartbeat", was performed by Deceased on their 2000 album Supernatural Addiction.
A musical adaptation by the Insane Clown Posse was included on their album The Riddle Box, entitled "Ol' Evil Eye", which covers the story of a young man determined to kill "old man Willie on the hilltop" because of his grotesque left eye, and is interspersed with samples from an audio recording of a reading of the original short story.
Poe's Tell-Tale Heart: The Game, is a mobile game adaptation in which players enact the protagonist's actions to recreate Poe's story on Google Play[32] and Apple iOS.
V.H. Belvadi's 2012 short film, Telltale, credits Poe's "The Tell-tale Heart" as its inspiration and uses some dialog from the original work.[33]
A 2013 Spanish short film adaptation, Entrañas ("Entrails"), was directed by Narciso Velver.[34]
Paul Simon, before his work in Simon & Garfunkel, wrote (as Jerry Landis) a song titled "Tell Tale Heart". It is about a man whose heart's "beat-beat-beat" reveals that he still pines for his former lover, although both of them are now in new relationships.
An Australian ballet was based on the story, and was recorded for television in the early 1960s.[35]
The 2015 animated anthology Extraordinary Tales includes "The Tell-Tale Heart", narrated by Bela Lugosi.
The 2015 Lifetime movie The Murder Pact, starring Alexa Vega, is based on Poe's work and incorporates allusions to it, such as the "vulture eye" from "The Tell-Tale Heart".[36]
In spring 2017, Udon Entertainment's Manga Classics line will publish The Stories of Edgar Allan Poe, which will include a manga format adaptation of "The Tell-Tale Heart".[37]
Tom Smith wrote "Telly Taley Heart", recounting the story to the tune of "Achy Breaky Heart".
References[edit]
Jump up ^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. ISBN 0-06-092331-8, p. 201.
^ Jump up to: a b Moss, Sidney P. Poe's Literary Battles: The Critic in the Context of His Literary Milieu. Southern Illinois University Press, 1969. p. 151
Jump up ^ ""The Tales of Edgar Allan Poe" (index)". eapoe.org. The Edgar Allan Poe Society of Baltimore. September 30, 2007. Retrieved 2007-11-05.
Jump up ^ Kennedy, J. Gerald. Poe, Death, and the Life of Writing. Yale University Press, 1987. p. 132; ISBN 0-300-03773-2
^ Jump up to: a b Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001: 234. ISBN 0-8160-4161-X
^ Jump up to: a b Benfey, Christopher. "Poe and the Unreadable: 'The Black Cat' and 'The Tell-Tale Heart'", in New Essays on Poe's Major Tales, Kenneth Silverman, ed. Cambridge University Press, 1993. ISBN 978-0-521-42243-7, p. 30.
^ Jump up to: a b Cleman, John. "Irresistible Impulses: Edgar Allan Poe and the Insanity Defense", in Bloom's BioCritiques: Edgar Allan Poe, edited by Harold Bloom. Philadelphia: Chelsea House Publishers, 2002. ISBN 0-7910-6173-6, p. 70.
Jump up ^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. ISBN 0-8018-5730-9. p. 394
Jump up ^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. Cooper Square Press, 1992. p. 101. ISBN 0-8154-1038-7
Jump up ^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. p. 394. ISBN 0-8018-5730-9
^ Jump up to: a b Robinson, E. Arthur. "Poe's 'The Tell-Tale Heart'" in Twentieth Century Interpretations of Poe's Tales, edited by William L. Howarth. Englewood Cliffs, NJ: Prentice-Hall Inc., 1971, p. 94.
Jump up ^ Fisher, Benjamin Franklin. "Poe and the Gothic Tradition", in The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. Cambridge University Press, 2002. ISBN 0-521-79727-6, p. 87.
Jump up ^ Cleman, Bloom's BioCritiques, p. 66.
^ Jump up to: a b Reilly, John E. "The Lesser Death-Watch and "'The Tell-Tale Heart' Archived December 18, 2009, at the Wayback Machine.", in The American Transcendental Quarterly. Second quarter, 1969.
Jump up ^ Robison, E. Arthur. "Thoreau and the Deathwatch in Poe's 'The Tell-Tale Heart'", in Poe Studies, vol. IV, no. 1. June 1971. pp. 14-16
Jump up ^ Eddings, Dennis W. "Theme and Parody in 'The Raven'", in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, 1990. ISBN 0-9616449-2-3, p. 213.
Jump up ^ ZIMMERMAN, BRETT. “‘Moral Insanity’ or Paranoid Schizophrenia: Poe's ‘The Tell-Tale Heart.’” Mosaic: A Journal for the Interdisciplinary Study of Literature, vol. 25, no. 2, 1992, pp. 39–48. JSTOR, JSTOR, www.jstor.org/stable/24780617.
Jump up ^ Benfey, New Essays, p. 32.
Jump up ^ Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972. ISBN 0-8071-2321-8, p. 223.
Jump up ^ Benfey, New Essays, p. 33.
Jump up ^ Benfey, New Essays, pp. 31-32.
Jump up ^ The Telltale Heart (1928) on IMDb[unreliable source?]
Jump up ^ "IMDb Title Search: The Tell-Tale Heart". Internet Movie Database. Retrieved 2007-09-01. [unreliable source?]
Jump up ^ The Tell-Tale Heart (1934) on IMDb[unreliable source?]
Jump up ^ The Tell-Tale Heart (1941) on IMDb[unreliable source?]
Jump up ^ The Tell-Tale Heart (1953/I) on IMDb[unreliable source?]
Jump up ^ "Sleep No More", by Bill Gaines and Ed Feldstein, Shock SuspenStories, April 1953.
Jump up ^ The Tell-Tale Heart (1960) on IMDb.[unreliable source?]
Jump up ^ The Tell-Tale Heart (1971) on IMDb[unreliable source?]
Jump up ^ Tell-Tale (2009) on IMDb[unreliable source?]
Jump up ^ Kenny, Tom; Bumpass, Rodger; Fagerbakke, Bill; Brown, Clancy (1999-09-04), Sandy's Rocket/Squeaky Boots, retrieved 2017-05-04
Jump up ^ "Poe's Tell-Tale Heart:The Game - Android Apps on Google Play". Play.google.com. Retrieved 2016-01-16.
Jump up ^ Telltale (2012) on IMDb.[unreliable source?]
Jump up ^ "Entrañas (2013)". Internet Movie Database.
Jump up ^ [1][dead link]
Jump up ^ Traciy Reyes. "'The Murder Pact': Lifetime Movie, Also Known As 'Tell-Tale Lies', Airs Tonight Featuring Music By Lindsey Stirling". Inquisitr.com. Retrieved 2016-01-16.
Jump up ^ http://www.animenewsnetwork.com/news/2016-07-21/udon-ent-to-release-street-fighter-novel-dragon-crown-manga/.104545 "Udon Ent. to Release Street Fighter Novel, Dragon's Crown Manga", Anime News Network, July 21, 2016
External links[edit]
Wikisource has original text related to this article:
The Tell-Tale Heart
Wikimedia Commons has media related to The Tell-Tale Heart.
"The Poe Museum" - Full text of "The Tell-Tale Heart"
"The Tell-Tale Heart" - Full text of the first printing, from the Pioneer, 1843
Mid-Twentieth century radio adaptations of "The Tell-Tale Heart"
"The Tell-Tale Heart" study guide and teaching guide - themes, analysis, quotes, teacher resources
"The Tell-Tale Heart" animation - Award-winning 2010 animated movie, teacher resources, student games
20 LibriVox audiorecordings, read by various readers
The Pioneer, January, 1843, Boston edition.
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"The Man That Was Used Up" (1839)
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"William Wilson" (1839)
"The Conversation of Eiros and Charmion" (1839)
"The Business Man" (1840)
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"The Murders in the Rue Morgue" (1841)
"A Descent into the Maelström" (1841)
"Never Bet the Devil Your Head" (1841)
"Eleonora" (1841)
"The Oval Portrait" (1842)
"The Masque of the Red Death" (1842)
"The Mystery of Marie Rogêt" (1842)
"The Pit and the Pendulum" (1842)
"The Tell-Tale Heart" (1843)
"The Gold-Bug" (1843)
"The Black Cat" (1843)
"The Spectacles" (1844)
"A Tale of the Ragged Mountains" (1844)
"The Premature Burial" (1844)
"The Oblong Box" (1844)
"The Angel of the Odd" (1844)
"Thou Art the Man" (1844)
"The Purloined Letter" (1844)
"Some Words with a Mummy" (1845)
"The Thousand-and-Second Tale of Scheherazade" (1845)
"The Imp of the Perverse" (1845)
"The System of Doctor Tarr and Professor Fether" (1845)
"The Facts in the Case of M. Valdemar" (1845)
"The Cask of Amontillado" (1846)
"Hop-Frog" (1849)
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"The Philosophy of Furniture" (1840)
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The Tell-Tale Heart (1934)
The Tell-Tale Heart (1941)
The Tell-Tale Heart (1953)
The Tell-Tale Heart (1960)
Tell-Tale (2009)
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Kalbelia
From Wikipedia, the free encyclopedia
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Kalbelia
(कालबेलिया)
Total population
Unknown
Regions with significant populations
Rajasthan, India
Languages
Hindi, Marwari
Alternative names include Sapera, Jogi
Kalbelia or Kabeliya is one of the most sensuous dance forms of Rajasthan, performed by a tribe of the same name.[1] They are famous for their dance which is an integral part of their culture. Both men and women in the tribe participate in this activity to celebrate joyful occasions.
Contents
[hide]
1 Kalbelia tribe
2 Kalbeliya Dance
3 See also
4 References
5 External links
Kalbelia tribe[edit]
A Rajasthani folk dance, Kalbelia
The Kalbelias were known for their frequent movement from one place to another in ancient times. Their traditional occupation is catching snakes and trading snake venom. Hence, the dance movements and the costumes of their community bear a resemblance to that of the serpents. They are also known as Sapera, Jogira or Jogi. They trace their ancestry from Kanlipar, the 12th disciple of Guru Gorakhnath. The largest number of the population of Kalbelias is in Pali district, then Ajmer, Chittorgarh and Udaipur district. They live a nomadic life and belong to the scheduled tribes.[2][3]
Traditionally, Kalbelia men carried cobras in cane baskets from door to door in villages while their women sang and danced and begged for alms. They revere the cobra and advocate non-killing of the reptile. In the villages, if a snake inadvertently entered a home, then a Kalbelia would be summoned to catch the serpent and to take it away without killing it. Kalbelias have traditionally been a fringe group in society living in spaces outside the village where they reside in makeshift camps called deras. The Kalbelias move their deras from one place to another in a circuitous route repeated over time. Over the generations, the Kalbelias acquired a unique understanding of the local flora and fauna, and are aware of herbal remedies for various diseases which is an alternative source of income for them.
Since the enactment of the Wildlife Act of 1972, the Kalbelias have been pushed out of their traditional profession of snake handling. Today, performing arts are a major source of income for them and these have received widespread recognition within and outside India. However, performance opportunities are sporadic and since the whole community is not involved in it on a regular basis, many members of the community work in the fields, or graze cattle to sustain themselves.[4]
Kalbeliya Dance[edit]
The Kalbelia dance, performed to celebrate any joyful moment in the community, is an integral part of Kalbelia culture. Their dances and songs are a matter of pride and a marker of identity for the Kalbelias and they represent the creative adaptation of this community of snake charmers to changing socioeconomic conditions and their own role in rural Rajasthani society.
The dancers are women in flowing black skirts who dance and swirl, replicating the movements of a serpent. The upper body cloth is called Angrakhi and a piece of cloth worn on head known as Odhani similarly the lower body cloth is called Lengha. All these cloths are mixed in red and black hues and embroidered in such a way that when these dancers perform these clothes represent a combination of colours soothing to eyes as well as to the atmosphere.
The male participants take care of the musical part of the dance. They use the different instruments such as the pungi, a woodwind instrument traditionally played to capture snakes, the dufli, been, the khanjari - a percussion instrument, morchang, khuralio and the dholak to create the rhythm on which the dancers perform. The dancers are tattooed in traditional designs and wear jewelry and garments richly embroidered with small mirrors and silver thread. As the performance progresses, the rhythm becomes faster and faster and so does the dance.[4]
Kalbelia songs are based on stories taken from folklore and mythology and special dances are performed during Holi. The Kalbelia have a reputation for composing lyrics spontaneously and improvising songs during performances. These songs and dances are part of an oral tradition that is handed down generations and for which there are neither texts nor training manuals. In 2010, the Kalbelia folk songs and dances of Rajasthan were declared a part of its Intangible Heritage List by the UNESCO.[4]
See also[edit]
Gulabo Sapera
Ghoomar: Ghoomar is a traditional women's folk dance of Rajasthan, India.
Rajasthani people
References[edit]
Jump up ^ "Kalbelia Folk Dances of Rajasthan".
Jump up ^ Kumar Suresh Singh; B. K. Lavania; D. K. Samanta; S. K. Mandal; N. N. Vyas; Anthropological Survey of India. "Suthar". People of India Vol. XXXVIII. Popular Prakashan. p. 1012.
Jump up ^ Miriam Robertson (1998). Snake Charmers: The Jogi Nath Kalbelias of Rajastan. Illustrated Book Publishers. p. 323. ISBN 81-85683-29-8.
^ Jump up to: a b c http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00340
External links[edit]
Jaisalmer Ayo:Gateway of the Gypsies
About culture of Kalbelia by Suramnath Kalbelia Sapera
Photo essay on the Kalbelias
Kalbelia costume
Kalbelia: Rajki-Puran Nath Sapera & Party
"Kalbelia", World Music Central
Kalbelia: Cobra Gypsies - full documentary
KALBELIA FOLK MUSIC AND DANCE FROM RAJASTHAN
Retrieved from "https://en.wikipedia.org/w/index.php?title=Kalbelia&oldid=819531172"
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Where Have All the Good Times Gone
From Wikipedia, the free encyclopedia
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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. (June 2014) (Learn how and when to remove this template message)
"Where Have All the Good Times Gone"
Single by the Kinks
from the album The Kink Kontroversy
A-side
"Till the End of the Day"
Released
19 November 1965 (1965-11-19) (UK)
2 March 1966 (US)
Format
7-inch single
Recorded
23–30 October 1965
Studio
Pye (No. 2), London
Genre
Rock
garage rock
Length
2:49
Label
Pye (UK)
Reprise (US)
Songwriter(s)
Ray Davies
Producer(s)
Shel Talmy
The Kinks UK singles chronology
"See My Friends"
(1965) "Where Have All the Good Times Gone"
(1965) "Dedicated Follower of Fashion"
(1966)
The Kinks US singles chronology
"A Well Respected Man"
(1965) "Where Have All the Good Times Gone"
(1965) "Dedicated Follower of Fashion"
(1966)
"Where Have All the Good Times Gone" is a song written by Ray Davies and performed by the Kinks. It was released as the B-side to "Till the End of the Day," and then on their album The Kink Kontroversy (1965 UK, 1966 US).
Ray Davies said, "We'd been rehearsing 'Where Have All the Good Times Gone' and our tour manager at the time, who was a lot older than us, said, 'That's a song a 40-year-old would write. I don't know where you get that from.' But I was taking inspiration from older people around me. I'd been watching them in the pubs, talking about taxes and job opportunities."[1]
The song has since gained "classic" status and featured on numerous compilations. Pye Records released the track as a single in November 1973 (Pye 7N 45313 b/w "Lola"). This re-release failed to chart. Although the Kinks had performed the song live on the TV show 'Ready Steady Go' in 1965, it would not become a staple of their live shows until the 1970s.
Cover versions[edit]
David Bowie on the album Pin Ups.
Van Halen on the album Diver Down. This was Van Halen's second cover of a Kinks' song, the first being "You Really Got Me" on their eponymous debut album.
Supergrass performed the song live at the 1995 Glastonbury Festival.
Mike Lécuyer as "Où est donc le bon vieux temps" (French) on A 7 plombes du mat' blues (1978).
References[edit]
Jump up ^ Hasted, Nick (2011). You Really Got Me: The Story of The Kinks. Omnibus Press. ISBN 978-1-84938-660-9.
External links[edit]
Song review on Allmusic
Lyrics of this song at MetroLyrics
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1964
"Long Tall Sally"
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1965
"Tired of Waiting for You"
"Ev'rybody's Gonna Be Happy"
"Set Me Free"
"See My Friends"
"Who'll Be the Next in Line"
"A Well Respected Man"
"Till the End of the Day"
1966
"Dedicated Follower of Fashion"
"Sunny Afternoon"
"Dead End Street"
1967
"Mister Pleasant"
"Waterloo Sunset"
"Death of a Clown" (Dave Davies solo)
"Autumn Almanac"
"Susannah's Still Alive" (Dave Davies solo)
1968
"Wonderboy"
"Days"
"Lincoln County" (Dave Davies solo)
1969
"Starstruck"
"Hold My Hand" (Dave Davies solo)
"Plastic Man"
"Drivin'"
"The Village Green Preservation Society"
"Shangri-La"
"Victoria"
1970
"Lola"
"Apeman"
1970s singles
(UK & US)
1971
"God's Children"
"20th Century Man"
1972
"Supersonic Rocket Ship"
"Celluloid Heroes"
1973
"One of the Survivors"
"Sitting in the Midday Sun"
"Sweet Lady Genevieve"
"Where Have All the Good Times Gone"
1974
"Money Talks"
"Mirror of Love"
"Mirror of Love" (band version)
"Holiday Romance"
"Preservation"
1975
"Everybody's a Star (Starmaker)"
"Ducks on the Wall"
"You Can't Stop the Music"
1976
"I'm in Disgrace"
"No More Looking Back"
1977
"Sleepwalker"
"Juke Box Music"
"Father Christmas"
1978
"A Rock 'n' Roll Fantasy"
"Live Life"
"Black Messiah"
1979
"(Wish I Could Fly Like) Superman"
"A Gallon of Gas"
"Catch Me Now I'm Falling"
"Moving Pictures"
"Pressure"
1980s singles
(UK & US)
1980
"Lola" (live)
"You Really Got Me" (live)
1981
"Better Things"
"Destroyer"
"Predictable"
1982
"Come Dancing"
1983
"Don't Forget to Dance"
1984
"Good Day"
"Do It Again"
1985
"Living on a Thin Line" (radio promo only)
"Summer's Gone"
1986
"Rock 'n' Roll Cities"
"How Are You"
1987
"Lost and Found"
1988
"The Road"
1989
"Down All the Days (Till 1992)"
1990
"How Do I Get Close"
1990s singles
(UK & US)
1993
"Only a Dream"
"Scattered"
Other singles
(non-UK/US)
1966
"Dandy" (Europe)
1969
"Picture Book" (Australia)
"Australia" (Australia)
1983
"State of Confusion" (Germany)
1991
"Did Ya" (Europe)
Other songs
"Bald Headed Woman"
"Stop Your Sobbing"
"I Need You"
"I Go to Sleep"
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"Love Me Till the Sun Shines"
"David Watts"
"Two Sisters"
"Polly"
"She's Got Everything"
"Do You Remember Walter?"
"Johnny Thunder"
"Last of the Steam-Powered Trains"
"Big Sky"
"Sitting by the Riverside"
"Animal Farm"
"Village Green"
"Phenomenal Cat"
"All of My Friends Were There"
"Wicked Annabella"
"Monica"
"People Take Pictures of Each Other"
"Berkeley Mews"
"Mr. Churchill Says"
"Strangers"
"This Time Tomorrow"
"Rats"
"Got to Be Free"
"Have a Cuppa Tea"
"Oklahoma U.S.A."
"Muswell Hillbilly"
"Sitting in My Hotel"
"The Hard Way"
"Life Goes On"
"Misfits"
"Attitude"
"Low Budget"
"Give the People What They Want"
"Heart of Gold"
"Long Distance"
show
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Van Halen singles
Van Halen
"You Really Got Me"
"Runnin' with the Devil"
"Ain't Talkin' 'bout Love"
Van Halen II
"Dance the Night Away"
"Beautiful Girls"
Women and Children First
"And the Cradle Will Rock..."
Fair Warning
"So This Is Love?"
"Unchained"
Diver Down
"(Oh) Pretty Woman"
"Dancing in the Street"
"Where Have All the Good Times Gone!"
1984
"Jump"
"I'll Wait"
"Panama"
"Hot for Teacher"
5150
"Why Can't This Be Love"
"Dreams"
"Love Walks In"
OU812
"When It's Love"
"Black and Blue"
"Finish What Ya Started"
For Unlawful Carnal Knowledge
"Poundcake"
"Runaround"
"Top of the World"
"Right Now"
Live: Right Here, Right Now
"Jump" (live)
"Dreams" (live)
"Won't Get Fooled Again" (live)
Balance
"Don't Tell Me (What Love Can Do)"
"Can't Stop Lovin' You"
"Amsterdam"
Twister soundtrack
"Humans Being"
Best Of – Volume I
"Me Wise Magic"
"Can't Get This Stuff No More"
Van Halen III
"Without You"
"Fire in the Hole"
A Different Kind of Truth
"Tattoo"
"She's the Woman"
Other
"It's the Right Time" (feat. Mitch Malloy)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Where_Have_All_the_Good_Times_Gone&oldid=837583667"
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Divided consciousness
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This article may be too technical for most readers to understand. Please help improve it to make it understandable to non-experts, without removing the technical details. The talk page may contain suggestions. (January 2009) (Learn how and when to remove this template message)
Divided consciousness is a term coined by Ernest Hilgard to define a psychological state in which one's consciousness is split into distinct components, possibly during hypnosis.
Contents
[hide]
1 Origin(s)
2 Experimentation
3 See also
4 References
Origin(s)[edit]
The theory of a division of consciousness was touched upon by Carl Jung in 1935 when he stated, "The so-called unity of consciousness is an illusion... we like to think that we are one but we are not."[1] Ernest Hilgard believed that hypnosis causes a split in awareness and a vivid form of everyday mind splits.[2] Drawing themes from Pierre Janet, Hilgard viewed hypnosis from this perspective as a willingness to divide the main systems of consciousness into different sectors. He argued that this split in consciousness can not only help define the state of mind reached during hypnosis, but can also help to define a vast range of psychological issues such as multiple personality disorder.
In Hilgard's Divided Consciousness Reconsidered, he offers a great many examples of "dissociated" human behavior. With regard to theory, he does state that it is useful to assign two modes of consciousness, a receptive mode and an active mode—that is, a bimodal consciousness. In other places he mentions the concept of coconsciousness, wherein two or more states of consciousness may be equally receptive or active, as, for example, in some types of multiple personality.[3]
Many psychological studies assume a unity of consciousness. Doubt is cast on this assumption by psychophysical studies in normal subjects and those with blindsight showing the simultaneous dissociation of different modes of report of a sensation, and by clinical studies of anosognosic patients showing dissociations of awareness of their own states.[citation needed] These and other phenomena are interpreted to imply two kinds of division of consciousness: the separation of phenomenal experience from reflexive consciousness and the non-unity of reflexive consciousness. Reflexive consciousness is taken to be necessary for report and is associated with the self as the subject of experience and agent of report. Reflexive consciousness is operative only when we attend to our own states. When we are involved in the world reflexivity intervenes less and our consciousness is more unified.[4]
Experimentation[edit]
The theory has been tried and tested and many some tests have proven that the theory makes is legitimate.[citation needed] Others, such as one performed on 169 undergraduate students, some of whom performed tasks in selective attention and divided attention conditions being correlated with scores on the Harvard Group Scale of Hypnotic Susceptibility refute Hilgard’s findings.[5]
New trends in psychology and cognitive neuroscience suggest that applications of nonlinear dynamics, chaos and self-organization seem to be particularly important for research of some fundamental problems regarding mind-brain relationship. Relevant problems among others are formations of memories during alterations of mental states and nature of a barrier that divides mental states, and leads to the process called dissociation. This process is related to a formation of groups of neurons which often synchronize their firing patterns in a unique spatial manner. The central theme of this study is the relationship between level of moving and oscillating mental processes and their neurophysiological substrate. This presents a question about principles of organization of the conscious experience and how the experiences happen in the brain. Chaotic self-organization provides a unique theoretical and experimental tool for deeper understanding of dissociative phenomena and enables to study how dissociative phenomena can be linked to epileptiform discharges which are related to various forms of psychological and somatic manifestations. Organizing principles that constitute human consciousness and other mental phenomena from this point of view may be described by analysis and reconstruction of underlying dynamics of psychophysiological measures.[6]
See also[edit]
Split-brain
Alien hand syndrome
Dual consciousness
Bicameralism (psychology)
Left brain interpreter
Lateralization of brain function
Society of Mind
Parallel computing
Laterality
Mind-body problem
Philosophy of mind
Theory of mind
Ouija
Dowsing
Automatic writing
Ideomotor phenomenon
Tulpa
Cognitive Neuroscience
References[edit]
Jump up ^ (Review: Dissociationism Revived, Matthew Hugh Erdelyi, Science, New Series, Vol. 200, No. 4342 (May 12, 1978), pp. 654-655; Published by: American Association for the Advancement of Science)
Jump up ^ (Myers, David G. Psychology: Eighth Edition in Modules. New York, NY: Worth Publishers, 2007)
Jump up ^ Huebner, B. (1979). Distributing cognition: A defense of collective mentality, Journal of Psycholinguistic Research, 8 (6),591; Retrieved from http://www.springerlink.com/content/h66jn31642t052j8/fulltext.pdf?page=1
Jump up ^ Hebb, D, Juzyck, P, Klein R.,(1983). The Nature of Thought, Medical Research Council, Applied Psychology Unit, Cambridge, UK. Retrieved from https://books.google.com/books?id=0cprqzSe6BkC&pg=PA34&lpg=PA34&dq=By+Donald+Olding+Hebb,+Peter+W.+Jusczyk,+Raymond+M.+Klein&source=bl&ots=N_f-8zNr2K&sig=dBHDyYyDKSCTQ4YohMjalD85fxY&hl=en&sa=X&oi=book_result&resnum=4&ct=result#PPA32,M1
Jump up ^ Some operationalizations of the neodissociation concept and their relationship to hypnotic susceptibility. Stava, Lawrence J.; Jaffa, Melvyn. Journal of Personality and Social Psychology. Vol 54(6), Jun 1988, 989-996.)
Jump up ^ Chaos, brain and divided consciousness. Petr Bob, Acta Univ Carol Med Monogr. 2007 ;153 :9-80 17867519 (P,S,G,E,B)
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