Cage

Cage (pronounced keyj)

(1) A boxlike enclosure having wires, bars, or the like, for confining and displaying birds or animals or as a protective barrier for objects or people in vulnerable positions (used in specific instances as battery cage, bird-cage, birdcage, Faraday cage, tiger cage, fish cage etc).

(2) Anything that confines or imprisons; prison and figuratively, something which hinders physical or creative freedom (often as “caged-in”).

(3) The car or enclosed platform of an elevator.

(4) In underground mining, (1) an enclosed platform for raising and lowering people and cars in a mine shaft & (2) the drum on which cable is wound in a hoisting whim.

(5) A general descriptor for any skeleton-like framework.

(6) In baseball (1) a movable backstop for use mainly in batting practice & (2) the catcher's wire mask.

(7) In ice hockey and field hockey, a frame with a net attached to it, forming the goal.

(8) In basketball, the basket (mostly archaic).

(9) In various sports which involve putting a ball or other object into or through a receptacle (net, hole), to score a goal or something equivalent.

(10) In fashion, a loose, sheer or lacy overdress worn with a slip or a close-fitting dress.

(11) In ordnance, a steel framework for supporting guns.

(12) In engineering (1) various forms of retainers, (2) a skeleton ring device which ensures the correct space is maintained between the individual rollers or balls in a rolling bearing & (3) the wirework strainers used to remove solid obstacles in the fluids passing through pumps and pipes

(13) To put (something or someone) into some form of confinement (which need not literally be in a cage).

(14) In underwear design, as cage bra, a design which uses exposed straps as a feature.

(15) In computer hardware, as card cage, the area of a system board where slots are provided for plug-in cards (expansion boards).

(16) In anatomy (including in zoology) as rib-cage, the arrangement of the ribs as a protective enclosure for vital organs.

(17) In athletics, the area from which competitors throw a discus or hammer.

(18) In graph theory, a regular graph that has as few vertices as possible for its girth.

(19) In killer Sudoku puzzles, an irregularly-shaped group of cells that must contain a set of unique digits adding up to a certain total, in addition to the usual constraints of Sudoku.

(20) In aviation, to immobilize an artificial horizon.

1175–1225: From the Middle English cage (and the earlier forms kage & gage), from the Old French cage (prison; retreat, hideout), from the Latin cavea (hollow place, enclosure for animals, coop, hive, stall, dungeon, spectators' seats in a theatre), the construct being cav(us) (hollow) + -ea, the feminine of -eus (the adjectival suffix); a doublet of cadge and related to jail.  The Latin cavea was the source also of the Italian gabbia (basket for fowls, coop).  Cage is a noun, verb and (occasional) adjective, caged & caging are verbs (used with object) and constructions include cage-less, cage-like, re-cage; the noun plural is cages.

The noun (box-like receptacle or enclosure, with open spaces, made of wires, reeds etc) typically described the barred-boxes used for confining domesticated birds or wild beasts was the first form and form circa 1300 was used in English to describe "a cage for prisoners, jail, prison, a cell".  The noun bird-cage (also birdcage) was in the late fifteenth century formed to describe a "portable enclosure for birds", as distinct from the static cages which came to be called aviaries.  The idiomatic use as “gilded cage” refers to a place (and, by extension, a situation) which is superficially attractive but nevertheless restrictive (a luxurious trap) and appears to have been coined by the writers of the popular song A Bird in a Gilded Cage (1900).  To “rattle someone's cage” is to upset or anger them, based on the reaction from imprisoned creatures (human & animal) to the noise made by shaking their cages.  The verb (to confine in a cage, to shut up or confine) dates from the 1570s and was derived from the noun.  The synonyms for the verb include crate, enclosure, jail, pen, coop up, corral, fold, mew, pinfold, pound, confine, enclose, envelop, hem, immure, impound, imprison, incarcerate, restrain & close-in.

Wholly unrelated to cage was the adjective cagey (the frequently used derived terms being cagily & caginess), a US colloquial form meaning “evasive, reticent”, said to date from 1896 (although there had in late sixteenth century English been an earlier cagey which was a synonym of sportive (from sport and meaning “frolicsome”)).  The origin of the US creation (the sense of which has expanded to “wary, careful, shrewd; uncommunicative, unwilling or hesitant to give information”) is unknown and despite the late nineteenth century use having been attested, adoption must have been sufficiently hesitant not to tempt lexicographers on either side of the Atlantic because cagey appears in neither the 1928 Webster’s Dictionary nor the 1933 supplement to the Oxford English Dictionary (OED).

John Cage (1912–1992) was a US avant-garde composer who, inter alia, was one of the pioneers in the use of electronic equipment to create music.  He’s also noted for the 1952 work 4′33″ which is often thought a period of literal silence for a duration of that length but is actually designed to be enjoyed as the experience of whatever sounds emerge from the environment (the space, the non-performing musicians and the audience).  It was an interesting idea which explored both the definitional nature of silence and paralleled twentieth century exercises in pop-art in prompting discussions about just what could be called music.

The related forms jail and goal are of interest.  Jail as a noun dates from circa 1300 (although it had by then been used as a surname for at least a hundred years) and meant "a prison; a birdcage".  It was from the Middle English jaile, from the Old French jaiole (a cage; a prison), from the Medieval Latin gabiola (a cage (and the source also of the Spanish gayola and the Italian gabbiula)), from the Late Latin caveola, a diminutive of the Latin cavea.  The spellings gaile & gaiole were actually more frequent forms in Middle English, these from the Old French gaiole (a cage; a prison), a variant spelling thought prevalent in the Old North French, which would have been the language most familiar to Norman scribes, hence the eventual emergence of goal which emerged under that influence.  It’s long been pronounced jail and the persistence of gaol as the preferred form in the UK is attributed to the continued use in statutes and other official documents although there may also have been some reluctance to adopt “jail” because this had come to be regarded as an Americanism.

The cage bra

The single strap cage bra.

A cage bra is built with a harness-like structure which (vaguely) resembles a cage, encapsulating the breasts using one or more straps.  Few actually use the straps predominately to enhance support and the effect tends to be purely aesthetic, some cage bras with minimal (or even absent) cup coverage and a thin band or multi-strap back.  Designed to be seen, cage bras can be worn under sheer fabrics, with clothes cut to reveal the construction or indeed worn alone, the effect one borrowed from engineering or architecture where components once concealed (air conditioning ducting, plumbing, electrical conduits etc) are deliberately exposed.  It’s thus a complete reversal of the old rule in which the sight of a bra strap was a fashion-fail.  The idea has even been extended to sports bras which actually have long often used additional, thick straps to enhance support and minimize movement, especially those induced by lateral forces not usually encountered.  The cage bra's salient features include:

Lindsay Lohan in harness cage bra with sheer cups and matching knickers.

(1) The straps are a cage’s most distinctive feature.  The most simple include only a single additional strap across the centre while others have a pair, usually defining the upper pole of each cup.  Beyond that, multiple straps can be used, both at the front and back, some of which may have some functional purpose or be merely decorative.  Single strap cage bras are often worn to add distinctiveness to camisoles while those with multiple straps are referred to as the harness style and have the additional benefit (or drawback depending on one’s view) of offering more frontal coverage, the straps sometimes a framework for lace or other detailing; this is a popular approach taken with cage bralettes.

Front and back views of modestly-styled criss-cross cage bras.

(2) Many cage bras are constructed around a traditional back band, especially those which need to provide lift & support while those (usually with smaller cups) have a thin band (merely for location) or none at all.  In this acknowledgement of the laws of physics, they’re like any other bra.  Those with a conventional back band (both bras and bralettes) are often constructed as the V-shaped cage, the symmetrical straps well suited to v-necks or even square necks and paired with cardigans or more structured jackets or blazers, they’re currently the segment's best-sellers.  A more dramatic look is the criss-cross cage but fashionistas caution this works well only in minimal surroundings so accessories should be limited to earrings or stuff worn on the wrist or beyond.

Example of the cage motif applied to a conventional bra, suitable for larger sizes.

(3) As a general principle, the cage bras manufactured tend to be those with cup sizes in the smaller range, reflecting the anticipated demand curve.  However, even the nominal size (A, B C etc) of the cups of cage bras can be misleading because they almost always have less coverage than all but the most minimal of those used by conventional bras and should be compared with a demi cup or the three-quarter style of plunge bras.  That said, there are strappy designs which include molded cups with underwires suitable for larger sizes but it’s a niche market and the range is limited, the scope for flourishes being limited by the need to preserve functionality, a demand which, all else being equal, tends to increase with as mass grows.

Examples of designs used to fabricate harness cage bras which can be worn under or over clothing or, in some cases, to augment a more conventional bra or bralette.

(4) Despite the specialized nature of cage bras, some are multi-purpose and include padding with all the usual advantages in concealment and additional volume, permitting use as an everyday garment rather than one used exclusively for display.  Some include removable padding so the bra can be transformed into a see-through design.

Choker cage bra.

(5) The methods of closure type vary.  The most uncompromising designs actually have no closure mechanism; the idea being one would detract from the purity of the lines so this requires the wearer to pull it over the head.  Other types use both front and back closures, usually with conventional hook & clasp fittings (so standard-sized extenders can sometimes be used) but there are some which borrow overtly from the traditions of BDSM underwear (the origin of the cage bra motif) and use extravagantly obvious buckles and even the occasional key-lock.  The BDSM look is most obviously executed in the choker cage bra which includes a neck choker as a focal point to accentuate the neck and torso, something best suited to a long, slender neck.  Buyers are are advised to move around when trying these on because the origins of the BDSM motif lay in devices used in Medieval torture routines so a comfortable fit is important.

Cage bralette.

(6) Almost all cage bras continue to use the same materials as conventional garments, the fabrics of choice being nylon or spandex, their elasticity permitting some adjustments to accommodate variations in shape or location.  Sometimes augmented with lace, fabric, mesh or metal rings, straps can also be made from leather.

(7) Ricki-Lee Coulter in illusion dress, March 2022.

Although usually worn under or over clothing, the cage bra concept can be integrated and the gaps inherent in the use of straps mean the style is ideal for illusion clothing.

Repent

Repent (pronounced ri-pent (U) or re-pent (non-U))

(1) To feel sorry, self-reproachful, or contrite for past conduct; regret or be conscience-stricken about past actions or thoughts (historically often followed by of).

(2) In theology, to be sorry for sin as morally evil, and to seek forgiveness; to cease to practice sin and to love; to be penitent.

(3) To remember or regard with self-reproach or contrition.

(4) To feel sorry for; regret (obsolete).

(5) In botany, plants lying or creeping along the ground.

1290–1300: From the Middle English repenten (be grieved over one's past and seek forgiveness; feel such regret for sins, crimes, or omissions as produces amendment of life) from the eleventh century Old French repentir, the construct being re- (used here probably as an intensive prefix) + the Vulgar Latin penitir(e) (to regret) or pentir (to feel sorrow) from the Latin paenitēre (to regret, be sorry) or poenitire (make sorry), from poena (from which English gained penal).  The meaning in the sense of “crawl”, later borrowed by botany, emerged in 1660-1670 and is from the Latin rēpent (stem of rēpēns), present participle of rēpere (to crawl, creep).  The Old French repentir is from the Vulgar Latin repoenitere, the construct being re- + a late derivative of poenitere (be penitent), an alteration of Latin paenitere.  The Latin prefix rĕ- is from Proto-Italic wre (again), which has a parallel in Umbrian re-, but the Oxford English Dictionary (OED) notes its further etymology is uncertain.  While it carries a general sense of "back" or "backwards", its precise sense is not always clear, and its great productivity in classical Latin has the tendency to obscure its original meaning.  Interestingly, in Middle English and after, a common form was as an impersonal reflexive sense, especially as “it repenteth (me, him etc)”.

The distinction between regret and repent exists in many modern languages but there's no evidence any differentiation was maintained during older periods. To repent is to regret so deeply as to change the mind or course of conduct in consequence and develop new mental and spiritual habits but when the King James Bible (1611) was issued in the then current English, repent still could mean regret: Genesis 6:6-7 (KJV (1611)).

(6) And it repented the LORD that he had made man on the earth, and it grieved him at his heart.

(7) And the LORD said, I will destroy man whom I have created from the face of the earth; both man, and beast, and the creeping thing, and the fowls of the air; for it repenteth me that I have made them.

In more modern editions, translators ensured that repentance was understood to go beyond mere feelings of regret to express distinct purposes of turning from sin to righteousness, implying a change of mental and spiritual attitude toward sin and wickedness.  The adjective repentant (penitent, contrite, sorry for past sins, words, or deeds) was from the early thirteenth century repentaunt, from the twelfth century Old French repentant (penitent), the present participle of repentir.  The circa 1300 noun repentance (state of being penitent, sorrow and contrition for sin or wrongdoing resulting in vigorous abandonment of it in one's life) was from the twelfth century Old French repentance (penitence), from the present-participle stem of repentir.

The only path to salvation

Repentance through ballistics: Lindsay Lohan with Smith & Wesson S&W500 Magnum as nun in Machete (2010).

Etymologists have noted the convoluted path the modern understanding of repent took from the original Biblical Hebrew.  The Old Testament notion of repentance is represented by two verbs: שוב (shuv) (to return) and נחם (nacham) (to feel sorrow).  In the New Testament, the word translated as “repentance” is the Greek μετάνοια (metanoia) (after or behind one's mind), the construct being meta (after; with) + noeo (to perceive; to think; the result of perceiving or observing).  Metanoia is thus an after-thought; a change of mind.  The Biblical texts however were written not to assist those in lives of quiet contemplation but as a moral code to persuade sinners to turn away from that life to something better.  The reward was eternal life for one’s spirit; the price an unconditional surrender to God as sovereign.  In case readers didn’t get it, the Bible uses the words repent, repentance and repented over one-hundred times.

Repentance through faith: Saint Augustine between Christ and the Virgin (1664), oil on canvas by Bartolomé Esteban Murillo (circa 1617-1682).

An early long-form tale of repentance was Saint Augustine’s (354-430) autobiographical Confessiones (Confessions (397-400)) in which (over thirteen volumes) he documented the regenerative effects of true and sincere repentance, which, by God's grace, sets him upon his new journey of life:  "Too late have I loved Thee, O Beauty ever ancient, ever new. Too late have I loved Thee.  For behold Thou wert within, and I without, and there did I seek Thee. I, unlovely, rushed heedlessly among the things of beauty which Thou madest."  Augustine’s point was that it was only repentance which allowed him fully to understand the implications of the life lived previously outside of God's grace for it was only the sudden embrace of God’s love which could reveal his lowliness and sinfulness.  Augustine saw the gift of repentance as the finest gift of God’s mercy but later he would caution those who, knowing they have sinned, thought their penitence might be put-off: “God has promised forgiveness to your repentance, but He has not promised tomorrow to your procrastination.”

Alarum

Alarum (pronounced uh-lar-uhm or uh-lahr-uhm)

(1) An archaic variant of alarm, especially as a call to arms.

(2) In literary classification, a work written in the form of a warning.

(3) In the form “alarums and excursions”, a stage direction used in Elizabethan theatre (used only in the plural).

1585–1595: From the Middle English alarme & alarom, from the fourteenth century Old French alarme, from the Old Italian all'arme (a call to arms (literally “to the arms”) and understood in translation as “arm yourselves and prepare for battle!”), from the Latin arma & armorum (arms, weapons) (from which English ultimately gained armory).  The Old Italian all'arme was a contraction of the phrase alle arme, alle a contraction of a "to" (from the Latin ad) + le, from the Latin illas, the feminine accusative plural of ille (the) coupled with arme, from the Latin arma (weapons (including armor), literally "the tools or implements (of war)”), from the primitive Indo-European root ar- (to fit together).  Beyond purely military use, the interjection (which had once also been spelt all-arm) came by the late sixteenth century to be a general to be both a “warning of any danger or need to arouse” and the device generating the sound.  From the mid-fifteenth century it had conveyed a “state of fearful surprise" while the weakened sense of “apprehension or unease” dates from 1833.  In England, alarm clocks were first available in the 1690s and they were described as A Larum Clocks.  Alarum is a noun, the present participle is alaruming, the past participle alarumed; the noun plural is alarums.

The phrase alarums and excursions (used only in the plural) was a stage direction used in Elizabethan theatre drama.  It instructed the actors to create a scene suggesting military action, either by having them march across the stage, blowing bugles and beating drums or, as the script directed, performing fragments of a battle or other engagement.  In idiomatic use, it came to be used to allude to (1) the sounds and activities associated with the preparations for war and (2) by extension, any noisy, frantic, or disorganized activity.

Alarum is the old spelling of the modern alarm (as a noun or a verb) which has in literary classification retained a niche as a deliberate archaism, probably because it’s one of those words (like aroint) which endures because it appears in the works of Shakespeare.  There’s also some history of alarum as a poetic device where it’s deployed when the cadence requires “alarm” to be pronounced with a rolling "r" (although it’s not known if this was the practice in Middle English (and Shakespeare’s placement gives no clue).  Other than the technical uses describe, alarum has no use in modern English and if used as a substitute for alarm it will either confuse or be treated as a spelling mistake (which of course it is).

In the classification of non-fiction, an alarum is a work written as a warning.  It can be in the form of a polemic, a history or any other form and the label alarum is thus both a category and a sub-category applied to other classifications.  In this the label works the same way as something like apologia which is typically applied (not always with the agreement of the author) to memoirs and the like.

A classic example of the alarum is Friedrich von Hayek’s (1899–1992) Der Weg zur Knechtschaft (The Road to Serfdom (1944)), a book which warns that the inevitable consequence of governments controlling an economy through central planning is a tyrannical dictatorship and the sacrifice of individual freedom.  His thesis was widely read but gained renewed attention in the 1980s when an interpretation of the neo-liberal economic model he advocated was implemented in both developed and emerging economies with results good and bad.  What was unfortunate however was the impression that many politicians seemed to be acquainted only with the simplified edition issued in 1945 by the US magazine Reader's Digest, a version designed for those without formal training in economics which was easier to read but lacked some of the nuances of argument and the political subtleties which had so captivated certain intellectuals.  Hayek was in his views an elitist who seemed not to have a high opinion of the powers of most people abstractly to reason but he certainly defended their right to pursue what they perceived as their economic advantage.  In many ways the book seems at its best (for non-economists anyway) if read not as advocacy for a particular structure for an economy but as a work of political philosophy and digested this way, Hayek’s discussion of the language of politics is of special interest; his explanation of the way labels like “left” and “right” have become distorted both as descriptors and in the consequences of use remains influential.

Chamber

Chamber (pronounced cheym-ber)

(1) A room, usually private, in a house or apartment, especially a bedroom (now archaic or poetic).

(2) A reception room or audience room in an official residence, palace, etc.

(3) The meeting hall of a legislative or other assembly.

(4) In law, a place where a judge hears matters not requiring action in open court.

(5) In England, the quarters or rooms that lawyers use to consult with their clients, especially in the Inns of Court.

(6) A legislative, judicial, or other like body.

(7) An organization of individuals or companies for a specified purpose.

(8) The place where the moneys due a government are received and kept; a treasury or chamberlain's office (obsolete).

(9) Of or relating to, or performing chamber music.

(10) To put or enclose in, or as in, a chamber.

(11) To provide with a chamber.

(12) The space between two gates of the locks of a canal, dry dock, etc

(13) An enclosure for a cartridge in the cylinder of a revolver or for a shell in the breech of a cannon

(14) An enclosed space, compartment or cavity; the smallest chamber in a cave.

1175-1225: From the Middle English chamber (a room in a (usually private) house) from the eleventh century Old French chambre (room, chamber, apartment), derived from the Late Latin camera (a chamber, room), variant of camara (vaulted room) from the Ancient Greek kamára.  In an interesting linguistic twist, the Old French and Middle English words were also used alone and in combinations to form words for "latrine, privy" from the idea of the "bedroom utensil for containing urine".  The word in the fourteenth century was adopted for use in to anatomy in the sense of "an enclosed space in a body" and this was extended to machinery after 1769, the use in gunnery or ballistics meaning  "part of the bore in which the charge is placed" dating from the 1620s.  The familiar use to refer to the rooms where legislative bodies assemble (ie upper & lower chambers) has been in use since circa 1400.  Chamber music dates from 1789; the distinction being it described a type of music meant to be performed in private rooms instead of public halls.  Chamber-lye, disturbingly to modern ears, meant "urine used as a detergent" and dates from the 1570s and the obviously related chamber-pot (also chamberpot) (vessel for urine used in bedrooms) came into use a decade earlier.  A chambermaid was (1) a female servant who dresses a lady and waits on her in her bedchamber and (2) a woman who makes beds and cleans rooms in a private house, palace or inn, a form which emerged in the 1580s and obviously derived from bedchamber (also bed-chamber) (a room for sleep or repose) which had been in use since the mid-fourteenth century.  Bedchamber is now archaic and used only in relation to royalty (an then mostly in historic reference), expensive hotels and hopeful real-estate salespeople.  The verb chamber was in the late fourteenth century derived from the noun and was used in the sense of (1) to restrain, shut up as in a chamber and (2) to furnish with a chamber" (implied in chambered); the related form was chambering.  The adjective chambered (divided into chambers) was from the same era and was the past-participle adjective the verb.  The famous reference to nautilus shells dates from 1819.

The Court of Star Chamber

Named for the star pattern on the ceiling of the room in Westminster Palace where sittings were convened, the Court of Star Chamber (known almost always as the Star Chamber), was an English law court which operated in parallel with the common-law courts.  The Star Chamber drew its authority from the king's sovereign power and privileges and was not bound by the common law.

The former Court of Star Chamber (1836), drawing by unknown artist.

The Court of Star Chamber was created originally to ensure the enforcement of laws against the socially and politically well-connected, those whom ordinary courts may hesitate to convict and technically, it evolved from the medieval King's Council.  There had been a tradition of the king presiding over a court composed of his Privy Counsellors and in 1487, under the supervision of Henry VII (1457–1509; King of England 1485-1509 and the first Tudor king), the Court of Star Chamber was established as a judicial body separate from the King's Council.  The original rationale was for the Star Chamber to (1) oversee the lower courts, (2) to act as a court of appeal and (3) to hear petitions addressed to the king seeking redress.  Initially the court heard cases only on appeal, but Henry VIII's (1491–1547; King of England 1509-1547) chancellor, Cardinal Thomas Wolsey (1473–1530; Lord High Chancellor of England 1515-1529) encouraged suitors directly to lodge writs of appeal and not await verdicts from the common-law courts.  Although most of the cases heard involved property rights, trade, government administration and public corruption, the Tudors especially were concerned with public disorder and Cardinal Wolsey referred matters involving forgery, fraud, perjury, riot, slander, and anything else he considered a breach of the peace. Following the Reformation, the Star Chamber was used (and much misused) to punish religious dissenters.

Procedurally the Star Chamber would begin a case with a petition or with information brought to the attention of the judges and depositions would be taken to discover the facts.  Accused parties could be put on oath to respond to the charges and answer detailed questions. No juries were used; members of the court decided whether to hear cases, passed verdicts and assigned punishments.  Structurally, court was thus a hybrid with influences from the common law, Roman civil law, developments in Chancery (equity) law and even the later Court of Exchequer.  Interestingly, the court did not have capital jurisdiction so instead declared its choice of punishment was wholly arbitrary and not at all governed by precedent, guidelines or laws. Judges could choose (indeed even invent) the punishment they felt was most appropriate to the crime or criminal. The punishments included fines, time in the pillory (or stocks), whipping, branding, mutilation or imprisonment for any length of time.  There are critics of the NSW ICAC who compare its operations with the Star Chamber; in this they’re only partially correct and certainly not in relation to punishments. 

Tucked up: Lindsay Lohan in her bedchamber.

The Star Chamber offered an expeditious resolution to legal conflicts. It was popular with the Tudors because it could quickly enforce the law when other courts were slow or tainted by corruption and because it could offer satisfactory remedies when the common law restricted punishment or failed to address specific infractions. Under the Tudors, Star Chamber hearings were held in public, so proceedings and verdicts were subject to inspection which led most judges to act with reason and try to deliver fair justice.  In the seventeenth century, the court evolved into something secretive and corrupt. The Stuarts used the court to enforce their royal proclamations, holding sessions in secret and allowing no appeal.  Charles I (1600–1649; King of England, Scotland, and Ireland 1625-1649) saw the court as a substitute for Parliament when he tried to govern without calling the legislature into session and resentment grew as the Stuarts used the court to prosecute members of the nobility who would otherwise not be subject to prosecution in common-law courts.  The Long Parliament abolished the Star Chamber in 1641.   

Except for historic reference, the term "star chamber" is now almost always pejorative and used to describe social and political oppression through the arbitrary use and abuse of the powers wielded.  In political science, the doctrine of separation of powers is held to be the most effective means to prevent abuse of power by the state.  At its most simple, it means politicians can no longer in individual cases impose the sanctions of criminal law, a function which belongs exclusively to the courts.

Nansen

Nansen (pronounced nan-sun)

(1) A surname of Scandinavian origin.

(2) A passport issued to a stateless refugee during the inter-war years (1922-1938).

1922: The noun Nansen in the sense of the passport was a direct adoption of the proper noun Nansen from the Norwegian explorer and diplomat Fridtjof Nansen (1861-1930), then the League of Nations High Commissioner for Refugees.  The origin of the surname is unknown beyond it being a Danish & Frisian patronym meaning “son of Nanne”.  The use as a given name was an adaptation of the surname Nansen (the female form being Nansina).  As in many parts of Europe, surnames tended to be (1) occupational (names derived from the occupation or job of an ancestor), patronymic (2) a name passed down from either the father or more distant ancestor) or (3) toponymic (a place name, often taken from a geographical feature such as a mountain or river).  In places like England where parish records date back centuries family lines and the origins of surnames are relatively easy to trace but in Norway, prior to 1923, the most common male surnames were those that ended in “–son“ or “–sen” (meaning “son of”) which means tracing histories back more than two or three generations is difficult.  The female family names operated in the same way using the extension “–dotter” or “–datter” (meaning “daughter of”) so the surname of Nanne’s daughter would emerge either as “Nannesdotter” or “Nannesdatter.  Sweden abolished the practice in 1901 to ensure a single family name was passed from generation to generation; this was the convention Norway adopted in 1923.

The League of Nations began issuing travel documents (originally called “Stateless Persons Passports” under the auspices of the Office of the High Commissioner for Refugees, then headed by Norwegian diplomat Fridtjof Nansen (1861-1930).  They quickly became generally known as “Nansen passports”., often shortened to “Nansen”.  The documents were needed because in the aftermath of what was the called The World War (which finished off the old Habsburg, Hohenzollern, Romanov and Ottoman empires), national boundaries were re-drawn, civil wars erupted and something like what would now be called ethnic cleansing meant there were suddenly millions of stateless refugees on European soil.  Without passports, refugees were usually unable to travel from where they weren’t wanted.

What made the need for a non-state travel document was the new government of the Soviet Union (USSR) revoking the citizenship of Russians living abroad, a measure aimed at the 780,000-odd who had fled Russia after the Russian civil war.  The Nansen passports held by some of these Russians would prove life-saving in 1945 when, because of a still controversial agreement signed at the Yalta Conference (4-11 February 1945), Russians who had fought with the Wehrmacht and were interned by British & US forces were repatriated to the USSR because comrade Stalin wished to execute or otherwise punish Cossacks and other anti-Bolsheviks who had been troublesome since the Russian Revolutions (March & October 1917).  Actually, all those who had fled the country in 1922 and been rendered stateless then were exempt from repatriation but in the muddled haste with which the deportations were undertaken at the time, not all escaped and possession of a Nansen passport was sometime the difference between life and death.

After 1938, the passports issued by a newly created, London-based agency, the Office of the High Commissioner for Refugees under the Protection of the League of Nations.  Noted holders of Nansen passports include the prima ballerina Anna Pavlova (1881–1931), the author Vladimir Nabokov (1899-1977), the Nazi Waffen-SS Obersturmbannführer (lieutenant colonel) Otto Skorzeny (1908–1975) and the composers Sergei Rachmaninoff (1873–1943) & Igor Stravinsky (1882–1971).  It was Stravinsky who once described Rachmaninoff as “six feet of Russian misery”.

Nude & Naked

 Nude (pronounced nood or nyood)

(1) Naked or unclothed, as a person or the body.

(2) Without the usual coverings, furnishings etc; bare.

(3) In art, being or prominently displaying a representation of the nude human figure.

(4) In law, a contract made without a consideration or other legal essential and therefore invalid (nudum pactum).

(5) In historic commercial use (usually for underwear), a light grayish-yellow brown to brownish-pink color (no longer in common use; now considered offensive because of the cultural implications of its association with white skin).

1531: As an artistic euphemism for naked, use was first applied to sculpture first emerged in the 1610s but the term not common in painting until the mid-nineteenth century when the idea of "the nude" was recognized as a genre.  The origin of the use in painting in the sense of "the representation of the undraped human figure in visual art" is said to date from 1708 and be derived from the French nud, an obsolete variant of nu (naked, nude, bare) also from the Latin nūdus.  The phrase idea of being in the nude (in a condition of being unclothed) emerged in the 1850s in parallel with the use in art criticism.

The adjective nude in legal use dates from the 1530s and meant "unsupported, not formally attested", the use from the Latin nūdus (naked, bare, unclothed, stripped) from the primitive Indo-European root nogw- (naked).  In legal matters it was typically applied in contract law (hence the "nude contract") and, by extension, the general sense of "mere, plain, simple" emerged twenty years later.  is attested from 1550s. In reference to the human body, "unclothed, undraped," it is an artistic euphemism for naked, dating from 1610s (implied in nudity) but not in common use in this sense until mid-nineteenth century.  The noun nudie (a nude show) dates from 1935 while the much earlier noun nudification (making naked) was from 1838, presumably a direct borrowing of the French nudification which had been in use since 1833.  The practice of nudism actually has roots in Antiquity but nudist (as applied to both practitioners and practice) came into use only in 1929 as an adjective and noun, both influenced by the French nudiste.  The noun nudism (the cult and practice of going unclothed) also dates from 1929 and in the UK, however inaccurately, it was described as a cult of German origin which had been picked up also by the more bohemian of the French, the more respectable London press linking the practice with vegetarianism, physical exercise, pagan worship and the eating of seeds.

Naked (pronounced ney-kid (U) or neck-ed (non-U))

(1) Being without clothing or covering; nude.

(2) Without adequate clothing.

(3) A natural environment bare of any covering, overlying matter, vegetation, foliage, or the like.

(4) Bare, stripped, or destitute.

(5) A descriptor of the most basic version of something sometimes more elaborate or embellished.

(6) In optics, as applied to the eye, sight etc, unassisted by a microscope, telescope, or other instrument.

(7) Defenseless; unprotected; exposed.

(8) Not accompanied or supplemented by anything else.

(9) In botany, (of seeds) not enclosed in an ovary; (of flowers) without a calyx or perianth; (of branches etc) without leaves; (of stalks, leaves etc) without hairs or pubescence.

(10) In zoology, having no covering of hair, feathers, shell etc.

(11) In motorcycle design, a machine in which the frame and engine are substantially exposed by virtue of screens and fairings not being fitted.

Pre 900: From the Middle English nakede & naked (without the usual or customary covering" (of a sword etc)) from the Old English nacod (nude, bare, empty or not fully clothed); related to the Old High German nackot, the Old Norse noktr and Latin nudus; cognate with the Dutch naakt, the German nackt, the Gothic naqths; akin to the Old Norse nakinn, the Latin nūdus, the Greek gymnós and Sanskrit nagnás.  Source was the Proto-Germanic nakwathaz, also the root of the Old Frisian nakad, the Middle Dutch naket, the Old Norse nökkviðr, the Old Swedish nakuþer and the Gothic naqaþs and ultimate source the primitive European nogw (naked), related to the Sanskrit nagna, the Hittite nekumant, the Old Persian nagna, the Lithuanian nuogas, the Old Church Slavonic nagu, the Russian nagoi, the Old Irish nocht and the Welsh noeth.  As applied to qualities, actions, etc, use emerged in the early thirteenth century, the phrase “naked truth” first noted in 1585 in Alexander Montgomerie's (circa 1550-1598) The Cherry and the Slae.  The phrase “naked as a jaybird (1943) was earlier referenced as “naked as a robin” (1879); the earliest known comparative based on it was the fourteenth century “naked as a needle”.  “Naked eye” is from 1660s, the form unnecessary in the world before improvements in lens grinding technology led to the invention of telescopes and microscopes.  The adjective nakedly (without concealment, plainly, openly) was from circa 1200.  The noun nakedness was from the Old English nacedness (nudity, bareness).

Nude or naked?

In many places the words may correctly be used interchangeably.  In law, a nude and a naked contract are the same, a pact which is unenforceable because if doesn’t possess all the elements required to be valid.  The legal maxim nuda pactio obligationem non parit signifies a naked promise which is a promise without anything being provided in return.  Nuda pactio obligationem non parit thus does not create a legal obligation.

Kenneth Clark. The Nude: A Study in Ideal Form. Bollingen Series, New York, Pantheon Books, 1956.

Kenneth Clark, a cultural elitist of a kind now perhaps either extinct or rendered silent by a less deferential culture, opened The Nude: A Study in Ideal Form (1956) by noting naked implied something embarrassing yet nude “… carries, in educated usage, no uncomfortable overtone”.  Clark’s view was there were works of art in which there were nudes but other depictions were just variations of nakedness for whatever purpose.  The nude, he concluded, "…is not the subject of art, but a form of art."  In other word, the models in men's magazines were photographed in a state of nakedness while the women rendered in fine art were part of the tradition of the nude.  Photographers who thought their work artistic didn't agree and the onset of cultural relativism means such debates no longer happen.  However, the adoption by some that nude was something to used exclusively about works of art dates only from the eighteenth century, a movement led by critics and the commercial art industry which wanted the English market again to start buying the many nudes available for sale but which, even before the Victorian era, had fallen from fashion.

New York Magazine, February 2008 (Spring Fashion Issue).

Bert Stern’s (1929-2013) nude photo shoot of Marilyn Monroe (1926–1962) was commissioned by Vogue magazine and shot over three days, some six weeks before her death.  In book form, the images captured were compiled and published as The Last Sitting (first edition, William Morrow and Company (1982) ISBN 0-688-01173-X).  Stern reprised his work in 2008 with Lindsay Lohan, the photographs published in February 2008’s spring fashion issue of New York magazine.  Stern chose the medium of forty-six years earlier, committing the images to celluloid rather than using anything digital.  The reprised sessions visually echoed the original with a languorous air though the diaphanous fabrics were draped sometimes less artfully than all those years ago.  He later expressed ambivalence about the shoot, hinting regret at having imitated his own work but the photographs remain an exemplar of Lohanary.

2008 naked Ducati 1098 Streetfighter.

The theory of the naked motorcycle is a machine reduced to its essence of a frame, wheels and an engine, thereby making it lighter than more exotically configured models which may include flashings, windshields, saddlebags or fairings.  Simple physics mean a machine with less mass accelerates, turns and stops with less demand of energy and at low speed they tend to be easier to maneuver, are lighter to hold up when static and certainly easier to mount on a centre-stand.  There's also the attraction there are fewer things to break, fibreglass fairings being notorious for getting cracked, scratched or broken and Perspex screens are, with age, prone to cloudiness.  The look however is why some buy naked bikes, the intricacies of the exposed mechanicals appealing especially to engineers anxious to display the quality of the frame's welding or the indefinable attraction of allen-headed bolts.  They're also quick.  Although sacrificing the aerodynamic advantages gained by fairings means in some cases the naked machines can have slightly lower top speeds, they tend to accelerate with more alacrity, offer instant responsiveness and, in street use, top speeds are now anyway rarely approached.