Friday, October 25, 2024

Frango

Frango (pronounced fran-goh)

(1) A young chicken (rare in English and in Portuguese, literally “chicken”).

(2) Various chicken dishes (an un-adapted borrowing from the Portuguese).

(3) In football (soccer) (1) a goal resulting from a goalkeeper’s error and (2) the unfortunate goalkeeper.

(4) The trade name of a chocolate truffle, now sold in Macy's department stores. 

In English, “frango” is most used in the Portuguese sense of “chicken” (variously “a young chicken”, “chicken meat”, “chicken disk” etc) and was from the earlier Portuguese frângão of unknown origin.  In colloquial figurative use, a frango can be “a young boy” and presumably that’s an allusion to the use referring to “a young chicken”.  In football (soccer), it’s used (sometimes trans-nationally) of a goal resulting from an especially egregious mistake by the goalkeeper (often described in English by the more generalized “howler”.  In Brazil, where football teams are quasi-religious institutions, such a frango (also as frangueiro) is personalized to describe the goalkeeper who made the error and on-field blunders are not without lethal consequence in South America, the Colombian centre-back Andrés Escobar (1967–1994) murdered in the days after the 1994 FIFA World Cup, an event reported as a retribution for him having scored the own goal which contributed to Colombia's elimination from the tournament. Frango is a noun; the noun plural is frangos.

The Classical Latin verb frangō (to break, to shatter) (present infinitive frangere, perfect active frēgī, supine frāctum) which may have been from the primitive Indo-European bhreg- (to break) by not all etymologists agree because descendants have never been detected in Celtic or Germanic forks, thus the possibility it might be an organic Latin creation.  The synonyms were īnfringō, irrumpō, rumpō & violō.  As well as memorable art, architecture and learning, Ancient Rome was a world also of violence and conflict and there was much breaking of stuff, the us the figurative use of various forms of frangō to convey the idea of (1) to break, shatter (a promise, a treaty, someone's ideas (dreams, projects), someone's spirit), (2) to break up into pieces (a war from too many battles, a nation) and (3) to reduce, weaken (one's desires, a nation).

frangō in the sense of the Classical Latin: Lindsay Lohan with broken left wrist (fractured in two places in an unfortunate fall at Milk Studios during New York Fashion Week) and 355 ml (12 fluid oz) can of Rehab energy drink, Los Angeles, September 2006.  The car is a 2006 Mercedes-Benz SL 65 AMG (R230; 2004-2011) which would later feature in the tabloids after a low-speed crash.  The R230 range (2001-2011) was unusual because of the quirk of the SL 550 (2006-2011), a designation used exclusively in the North American market, the RoW (rest of the world) cars retaining the SL 500 badge even though both used the 5.5 litre (333 cubic inch) V8 (M273).

The descendents from the Classical Latin frangō (to break, to shatter) included the Aromanian frãngu (to break, to destroy; to defeat), the Asturian frañer (to break; to smash) & francer (to smash), the English fract (to break; to violate (long obsolete)) & fracture ((1) an instance of breaking, a place where something has broken. (2) in medicine a break in a bone or cartilage and (3) in geology a fault or crack in a rock), the Friulian franzi (to break), the German Fraktur ((1) in medicine, a break in a bone & (2) a typeface) & Fraktion (2) in politics, a faction, a parliamentary grouping, (3) in chemistry, a fraction (in the sense of a component of a mixture), (4) a fraction (part of a whole) and (5) in the German-speaking populations of Switzerland, South Tyrol & Liechtenstein, a hamlet (adapted from the Italian frazione)), the Italian: frangere (1) to break (into pieces), (2) to press or crush (olives), (3) in figurative use and as a literary device, to transgress (a commandment, a convention of behavior etc), (4) in figurative use to weaken (someone's resistance, etc.) and (5) to break (of the sea) (archaic)), the Ladin franjer (to break into pieces), the Old Franco provençal fraindre (to break; significantly to damage), the Old & Middle French fraindre (significantly to damage), the Portuguese franzir (to frown (to form wrinkles in forehead)), the Romanian frânge (1) to break, smash, fracture & (2) in figurative use, to defeat) and frângere (breaking), the Old Spanish to break), and the Spanish frangir (to split; to divide).

Portuguese lasanha de frango (chicken lasagna).

In Portuguese restaurants, often heard is the phrase de vaca ou de frango? (beef or chicken?) and that’s because so many dishes offer the choice, much the same as in most of the world (though obviously not India).  In fast-food outlets, the standard verbal shorthand for “fried chicken” is “FF” which turns out to be one of the world’s most common two letter abbreviations, the reason being one “F” representing of English’s most unadapted linguistic exports.  One mystery for foreigners sampling Portuguese cuisine is: Why is chicken “frango” but chicken soup is “sopa de galinha?”  That’s because frango is used to mean “a young male chicken” while a galinha is an adult female.  Because galinha meat doesn’t possess the same tender quality as that of a frango, (the females bred and retained mostly for egg production), slaughtered galinhas traditionally were minced or shredded and used for dishes such as soups, thus: sopa de galinha (also as canja de galinha or the clipped caldo and in modern use, although rare, sopa de frango is not unknown).  That has changed as modern techniques of industrial farming have resulted in a vastly expanded supply of frango meat so, by volume, most sopa de galinha is now made using frangos (the birds killed young, typically between 3-4 months).  Frangos have white, drier, softer meat while that of the galinha is darker, less tender and juicer and the difference does attract chefs in who do sometimes offer a true sopa de galinha as a kind of “authentic peasant cuisine”.

There are also pintos (pintinhos in the diminutive) which are chicks only a few days old but these are no longer a part of mainstream Portuguese cuisine although galetos (chicks killed between at 3-4 weeks) are something of a delicacy, usually roasted.  The reproductive males (cocks or roosters in English use) are galos.  There is no tradition, anywhere in Europe, of eating the boiled, late-developing fertilized eggs (ie a bird in the early stages of development), a popular dish in the Philippines and one which seems to attract virulent disapprobation from many which culturally is interesting because often, the same critics happily will consume both the eggs and the birds yet express revulsion at even the sight of the intermediate stage.  Such attitudes are cultural constructs and may be anthropomorphic because there’s some resemblance to a human foetus.

Lindsay Lohan at Macy's and Teen People's Freaky Friday Mother/Daughter Fashion Show, Macy's Herald Square, New York City, August 2003.  It's hoped she had time for a Frango.

 Now sold in Macy’s Frangos are a chocolate truffle created in 1918 for sale in Frederick & Nelson department stores.  Although originally infused with mint, many variations ensued and they became popular when made available in the Marshall Field department stores which in 1929 acquired Frederick & Nelson although it’s probably their distribution by Macy's which remains best known.  Marshall Field's marketing sense was sound and they turned the Frango into something of a cult, producing them in large melting pots on the 13th floor of the flagship Marshall Field's store on State Street until 1999 when production was out-sourced to a third party manufacturer in Pennsylvania.  In the way of modern corporate life, the Frango has had many owners, a few changes in production method and packaging and some appearances in court cases over rights to the thing but it remains a fixture on Macy’s price lists, the trouble history reflected in the “Pacific Northwest version” being sold in Macy's Northwest locations in Washington, Idaho, Montana and Oregon while the “Seattle version” is available in Macy's Northwest establishments.  There are differences between the two and each has its champions but doubtless there are those who relish both.

A patent application (with a supporting trademark document) for the Frango was filed in 1918, the name a re-purposing of a frozen dessert sold in the up-market tea-room at Frederick & Nelson's department store in Seattle, Washington.  The surviving records suggest the “Seattle Frangos” were flavoured not with mint but with maple and orange but what remains uncertain is the origin of the name.  One theory is the construct was Fr(ederick’s) + (t)ango which is romantic but there are also reports employees were told, if asked, to respond it was from Fr(ederick) –an(d) Nelson Co(mpany) with the “c” switched to a “g” because the word “Franco” had a long established meaning.  Franco was a word-forming element meaning “French” or “the Franks”, from the Medieval Latin combining form Franci (the Franks), thus, by extension, “the French”.  Since the early eighteenth century it had been used when forming English phrases & compound words including “Franco-Spanish border” (national boundary between France & Spain), Francophile (characterized by excessive fondness of France and all things French (and thus its antonym Francophobe)) and Francophone (French speaking).

Hitler and Franco, photographed at their day-long meeting at Hendaye, on the Franco-Spanish border, 23 October 1940.  Within half a decade, Hitler would kill himself; still ruling Spain, Franco died peacefully in his bed, 35 years later.

Remarkably, the Frango truffles have been a part of two political controversies.  The first was a bit of a conspiracy theory, claiming the sweet treats were originally called “Franco Mints”, the name changed only after the outbreak of the Spanish Civil War (1936-1939) in which the (notionally right-wing and ultimately victorious) Nationalist forces were led by Generalissimo Francisco Franco (1892-1975; Caudillo of Spain 1939-1975) and the explanation was that Marshall Field wanted to avoid adverse publicity.  Some tellings of the tale claim the change was made only after the Generalissimo’s meeting with Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) at Hendaye (on the Franco-Spanish border) on 23 October 1940.  Their discussions concerned Spain's participation in the War against the British but it proved most unsatisfactory for the Germans, the Führer declaring as he left that he'd rather have "three of four teeth pulled out" than have to again spend a day meet with the Caudillo.  Unlike Hitler, Franco was a professional soldier, thought war a hateful business best avoided and, more significantly, had a shrewd understanding of the military potential of the British Empire and the implications for the war of the wealth and industrial might of the United States.  The British were fortunate Franco took the view he did because had he agreed to afford the Wehrmacht (the German armed forces) the requested cooperation to enable them to seize control of Gibraltar, the Royal Navy might have lost control of the Mediterranean, endangering the vital supplies of oil from the Middle East, complicating passage to the Indian Ocean and beyond and transforming the strategic position in the whole hemisphere.  However, in the archives is the patent application form for “Frangos” dated 1 June 1918 and there has never been any evidence to support the notion “Franco” was ever used for the chocolate truffles.

Macy's Dark Mint Frangos.

The other political stoush (a late nineteenth century Antipodean slang meaning a "fight or small-scale brawl) came in 1999 when, after seventy years, production of Frangos was shifted from the famous melting pots on the thirteenth floor of Marshall Field's flagship State Street store to Gertrude Hawk Chocolates in Dunmore, Pennsylvania, the decision taken by the accountants at the Dayton-Hudson Corporation which had assumed control in 1990.  The rationale of this was logical, demand for Frangos having grown far beyond the capacity of the relatively small space in State Street to meet demand but it upset many locals, the populist response led Richard Daley (b 1942; mayor (Democratic Party) of Chicago Illinois 1989-2011), the son of his namesake father (1902–1976; mayor (Democratic Party) of Chicago, Illinois 1955-1976) who in 1968 simultaneously achieved national infamy and national celebrity (one’s politics dictating how one felt) in his handling of the police response to the violence which beset the 1968 Democratic National Convention held that year in the city.  The campaign to have the Frangos made instead by a Chicago-based chocolate house was briefly a thing but was ignored by Dayton-Hudson and predictably, whatever the lingering nostalgia for the melting pots, the pragmatic Mid-Westerners adjusted to the new reality and with much the same with the same enthusiasm were soon buying the imports from Pennsylvania.

Macy's Frango Mint Trios.

Remarkably, there appears to be a “Frango spot market”.  Although the increasing capacity of AI (artificial intelligence) has made the mechanics of “dynamic pricing” (a price responding in real-time to movements in demand), as long ago as the Christmas season in 2014, CBS News ran what they called the “Macy's State Street Store Frango Mint Price Tracker”, finding the truffle’s price was subject to fluctuations as varied over the holiday period as movements in the cost of gas (petrol).  On the evening of Thanksgiving, “early bird” shoppers could buy a 1 lb one-pound box of Frango mint “Meltaways” for US$11.99, the price jumping by the second week in December to US$14.99 although that still represented quite a nominal discount from the RRP (recommended retail price) of US$24.00.  Within days, the same box was again listed at US$11.99 and a survey of advertising from the previous season confirmed that in the weeks immediately after Christmas, the price had fallen to US$9.99.  It may be time for the Chicago Mercantile Exchange (CME) to open a market for Frango Futures (the latest “FF”!).

Thursday, October 24, 2024

Consigliere

Consigliere (pronounced kawn-see-lye-re)

(1) A member of a criminal organization or syndicate who serves as an adviser to the leader (associated historically with legal advisors in the Italian Mafia and similar structures in other places).

(2) In modern use, an advisor or confidant.

(3) A surname of Italian origin (originally occupational).

1969 (in common use in English): An un-adapted borrowing of the Italian consigliere (councilor) (the feminine form consigliera), from consiglio (advice; counsel), from the Latin cōnsilium (council) from cōnsulō, the construct being con- (from the preposition cum (with), from the Old Latin com, from the Proto-Italic kom, from the primitive Indo-European óm (next to, at, with, along).  It was cognate with the Proto-Germanic ga- (co-), the Proto-Slavic sъ (with) and the Proto-Germanic hansō.  It was used with certain words to add a notion similar to those conveyed by with, together, or joint or with certain words to intensify their meaning) + sulo (from the primitive Indo-European selh- (to take, to grab)). + -ium (the –ium suffix (used most often to form adjectives) was applied as (1) a nominal suffix (2) a substantivisation of its neuter forms and (3) as an adjectival suffix.  It was associated with the formation of abstract nouns, sometimes denoting offices and groups, a linguistic practice which has long fallen from fashion.  In the New Latin, as the neuter singular morphological suffix, it was the standard suffix to append when forming names for chemical elements).  Consigliere is a noun, the noun plural is consiglieri or (in English) consiglieres.

Because of the way Google harvests data for their ngrams, they’re not literally a tracking of the use of a word in society but can be usefully indicative of certain trends, (although one is never quite sure which trend(s)), especially over decades.  As a record of actual aggregate use, ngrams are not wholly reliable because: (1) the sub-set of texts Google uses is slanted towards the scientific & academic and (2) the technical limitations imposed by the use of OCR (optical character recognition) when handling older texts of sometime dubious legibility (a process AI should improve).  Where numbers bounce around, this may reflect either: (1) peaks and troughs in use for some reason or (2) some quirk in the data harvested.

Consigliere entered general use in 1969 when it appeared in the novel The Godfather by Mario Puzo (1920–1999), the first of what became a series of five (not wholly sequential and the last co-authored) works revolving around a fictional Italian-American Mafia family.  Use spiked after 1972 when the first of three feature film adaptations was released.  Advisors and confidants of course exist in many parts of society but the significance of the use of “consigliere” is the historic baggage of it being associated with mafiosi (in the Italian Code of Criminal Procedure anyone a part of a criminal (mafia-like) association formed by three or more individuals).  So it’s a loaded word although in Italian there are notionally innocuous forms including consigliere comunale (town councillor), consigliere delegato (managing director) and consigliere d'amministrazione (board member).  It Italian, the related forms include the adjective consigliabile (advisable, the plural being consigliabili), the transitive verb consigliare (to advise, to suggest, to recommend, to counsel), the noun & verb consiglio (advise, counsel; council (in the senses of "an assembly", the plural being consigli)) and the adjective (and in Latin a verb) consiliare (board; council (as la sala consiliare used in the sense of "council chamber")

So a consigliere is a trusted advisor or counselor, historically associated with the Italian Mafia but later also with organized crime in general though the suggestion of a link with things Italian (not necessarily Sicilian) remained strong.  Within organized crime, not all consiglieri were legal advisors although in fiction that does seem to be a common role but all in some way offered “behind the scenes” strategic guidance.  Consigliere can be used metaphorically in a non-criminal context but because of connotations, if the individuals involved have some Italian ancestry, there can lead to accusations of “ethnic stereotyping” and the best neutral descriptors are probably adviser (or advisor) or councillor (counselor in US use) and there are also specific versions such as “legal counsel” “political advisor” etc.

Consulente di moda Kim Kardashian (left) with the client Lindsay Lohan (right).  The consulente di moda (fashion advisor) is a specialized fork of the consiglieri and before she became one of the internet’s more remarkable installations, Kim Kardashian (b 1980) was a “personal stylist” & “wardrobe consultant”, her clients including Paris Hilton (b 1981) and Lindsay Lohan (b 1986).

There are similar terms with their own connotations.  "Camarilla" describes a small, secretive group of advisors or influencers who manipulate decisions behind the scenes and is often used in a political context; notable members can be described as an “éminence grise”.  The term "grey eminence" was from the French éminence grise, (plural eminences grises or eminence grises and literally “grey eminence” and the French spelling is sometimes used in the English-speaking world).  It was applied originally to François Leclerc du Tremblay (1577–1638), also known as Père Joseph, a French Capuchin friar who was the confidant and agent of Cardinal Richelieu (1585–1642), the chief minister of France under Louis XIII (1601–1643; King of France 1610-1643).  The term refers to du Tremblay’s influence over the Cardinal (cardinals in the Roman Catholic Church enjoying the honorific “your eminence”), and the colour of his habit (he wore grey).  Aldous Huxley (1894–1963) sub-titled his biography of Leclerc (L'Éminence Grise (1941)): A Study in Religion and Politics and discussed the nature of both religion & politics, his purpose being to explore the relationship between the two and his work was a kind of warning to those of faith who are led astray by proximity to power.  Use of the term éminence grise suggests a shadowy, backroom operator who avoids publicity, operating in secret if possible yet exercising great influence over decisions, even to the point of being “the power behind the throne”.

In this a gray eminence differs from a king-maker or a svengali in that those designations are applied typically to those who operate in the public view, even flaunting their power and authority.  Probably the closest synonym of the grey eminence is a “puppetmaster” because of the implication of remaining hidden, and although never seen, the strings they pull are if one looks closely enough.  The svengali was named for the hypnotist character Svengali in George du Maurier’s (1834–1896) novel Trilby (1894); Svengali seduced, dominated and manipulated Trilby who was a young, half-Irish girl, transforming her into a great singer but in doing so he made her utterly dependent on him and this ruthlessly he exploited.

From the New York Post, 23 October 2024.

So given all that it was interesting in October 2024 to note the choice of words made by elements of the Murdoch press in reporting the latest legal setback suffered by Rudy Giuliani (b 1944), a politician and now disbarred (struck-off) attorney who first achieved worldwide fame was the mayor of New York City (1994-2001) at the time of the 9/11 terrorist attacks on the World Trade Center.  That later would be turned into infamy with antics such as his later (unintended) cameo in a satirical film and his role as legal counsel to MAGA-era (Make America Great Again) Donald Trump (b 1946; US president 2017-2021), notably his part in the matter of Dominion Voting Systems v Fox News (Delaware Superior Court: N21C-03-257; N21C-11-082) which culminated (thus far) in Fox settling the matter by paying Dominion some US$790 million, the alternative being to continue the case and allow more of Fox’s internal documents to enter the public domain.

In choosing to describe Mr Giuliani as Mr Trump’s “consigliere”, a person or persons unknown within the Murdoch press presumably pondered which noun to use and there certainly were precedents for others to appear, the corporation’s outlets at times having previously described him as “Mr Trump’s personal attorney”, “Head of the Trump legal team” and even “Donald Trump’s cybersecurity advisor”, the last engagement perhaps one of the less expected political appointments of recent decades.  What of course made the use “consigliere” interesting was (1) Mr Giuliani being the son of parents who both were children of Italian immigrants and (2) Mr Trump being a convicted felon so those not of a generous nature might suspect the New York Post was doing a bit of “ethnic stereotyping”.  However, it’s not a unique use because Mr Giuliani has been described as Mr Trump’s “consigliere” by publications which exist at various points on political spectrum including the New York Post (2016), Aljazeera (2018), the Washington Blade (a LGBTQQIAAOP newspaper) (2019), The Economist (2019), the Washington Post (2019), The Nation (2022), Vanity Fair (2022) and Salon.com (2023).  Whether the connotations of the word have become strengthened since Mr Trump gained his unique status as a convicted felon can be debated but the thoughts of the now homeless Mr Giuliani presumably are focused elsewhere.

Wednesday, October 23, 2024

Renaissance

Renaissance (pronounced ren-uh-sahns, ren-uh-zahns, ren-uh-zahns, or ri-ney-suhns)

(1) As “the Renaissance”, the description of great revival of classical art, literature, and learning in Europe, the conventionally dated between the fourteenth & seventeenth centuries, marking the transition from the medieval to the modern world.

(2) The period during which this revival occurred.

(3) Of or relating to this period.

(4) The forms and treatments in art, architecture, literature and philosophy during the period even if not including elements suggesting a revival of classical forms; extended widely (furniture, wallpaper et al).

(5) Used loosely, any sustained or dramatic revival in the world of art and learning, notably the so-called “Chinese Renaissance” (1917-1823) associated with the “New Culture movement”.

(6) A renewal of life, vigor, interest, etc; a rebirth or revival (used of people, institutions and ideas).

(7) Relating to furnishings or decorations in or imitating the style of the Renaissance, in which motifs of classical derivation frequently appear.

(8) Used sometimes ironically, a reference to any of the adaptations of the architectural styles associated with the Renaissance in foreign architecture (some playful, some ghastly), either as isolated detailing or entire buildings.

Late 1860s (as renascence since circa 1840): In the sense of “the great period of revival of classical-based art and learning in Europe that began in the fourteenth century”, the word was from the French renaissance des lettres (revival of the arts), from the Old French renaissance (literally “rebirth”, usually in a spiritual sense), from renastre (to grow anew (of plants)) (which exists in Modern French as renaître (be reborn), the construct being renaiss- (stem of renaistre (to be born again), from the Latin renāscī (be born again, rise again, reappear, be renewed) (the construct being re- (used in the sense of “again”)) + nāscī (be born again, rise again, reappear, be renewed) + -ance.  In the Old Latin, gnasci was from the primitive Indo-European root gene- (give birth, beget).  The suffix -ance was an alternative form of -ence, both added to an adjective or verb to form a noun indicating a state or condition, such as result or capacity, associated with the verb (many words ending in -ance were formed in French or by alteration of a noun or adjective ending in –ant).  The suffix -ance was from the Middle English -aunce & -ance, from the Anglo-Norman -aunce and the continental Old French -ance, from the Latin -antia & -entia.  The –ence suffix was a word-forming element attached to verbs to form abstract nouns of process or fact (convergence from converge), or of state or quality and was from the Middle English -ence, from the Old French -ence, from the Latin –entia & -antia (depending on the vowel in the stem word).  The Latin present-participle endings for verbs stems in -a- were distinguished from those in -i- and -e- and as the Old French evolved from Latin, these were leveled to -ance, but later French borrowings from Latin (some of them subsequently passed to English) used the appropriate Latin form of the ending, as did words borrowed by English directly from Latin, thus diligence, absence et al.  There was however little consistency, English gaining many words from French but from the sixteenth century the suffix –ence was selectively restored, such was the reverence for Latin.  The use in a historical context has a specific, limited definition but in a general sense the synonyms include rejuvenation, renewal, resurgence, revitalization & revival.  The related forms are the Italian rinascenza & rinascirnento.  Renaissance is a noun & adjective and renaissancey is an adjective; the noun plural is renaissances.

Although the use of the word Renaissance was a nineteenth century thing, the significance of what had happened in Europe centuries earlier had long been studied by historians and a term to describe the period (“the revival” or “revival of learning”) was in use by at least 1785.  Use extended (with a lower-case “r”) in the 1850s to the resurgence of just about anything long been in decay or disuse (especially of learning, literature, art).  The term “Renaissance man” was in use by 1885 and initially meant literally “a man alive during the Renaissance” but by the turn of the century it was being used to refer to the sort of “idealized man” imagined as an exemplar of the virtues and characteristics of those described by the historians who seems to see as much perfection in them as they did in the worthies of the Classical age.  The use to refer to those alive with such excellent qualities (humanism, scholarship, varied attainments, freedom of thought and personality) dates from the late 1940s and, perhaps surprisingly, “Renaissance man” didn’t wait for second-wave feminism (1960s-1980s) bur appeared almost simultaneously.  Technical terms (neo-Renaissance, Renaissance revival, Renaissance festival, Renaissance fair, anti-Renaissance, post-Renaissance, pre-Renaissance, pro-Renaissance etc were created as required.

Just about any sort of revival can be styled “a renaissance”.

The spelling renascence is slightly older, in texts since circa 1840 and purely French while the later renaissance emerged during the late 1860s and was Latinate, associated with historical scholarship.  The spelling renaissance has long been preferred but without the initial capital either can be used of anything suggesting a sense of revival or rebirth.  Some style guides suggest the use with the capital letter should be restricted to the flowering of European culture which began in Italy in the fourteenth century but others acknowledge such a use is appropriate also for certain other defined epochs such as the so-called “Chinese Renaissance” (1917-1823) associated with the “New Culture movement”.  The revival of interest in the texts of Classical authors resulted in many words from Greek & Latin being absorbed into English and this had the effect of many French loan-words acquired over the centuries being re-spelled on the models of the forms from Antiquity.  The relationship between renascence & renaissance is an example of that phenomenon, happening in the mid-nineteenth century.  However, the older form did retain its charms for some and the English poet (and what would now be called a “social commentator”) Matthew Arnold (1822–1888) preferred “renascence” and created something of a fashion (ie an affectation) for the word among those who fancied themselves “Renaissance men”.

The ideas of the Renaissance is understood as marking the end of the Middle Ages but unlike some dramatic act (such as the fall of the Western Roman Empire), there’s no exact date on which one era ended and the other began but nor does it make sense to speak of a period between the two, thus the long practice vaguely to refer to the Renaissance “beginning late in the fourteenth century an continuing even until the sixteenth” (by which time it had reached even barbaric lands like England).  As the scholarship of the period (especially of the visual art) grew, historians refined things by distinguishing between the early, middle, high and late Renaissance, again not exactly delineated but defined more by recognizable evolutions in architectural & artistic style.  From the beginning though, what was obvious was that the Renaissance was something admirable, an return to the imagined perfection of the Classical age and thus a contrast with the unlamented Middle Ages (the so-called “medieval period” and, more revealingly, known as also as the “Dark Ages”) which were regarded by historians as priest-ridden, backward, superstitious, uncultured, ignorant, narrow and inhibited by a dogmatic theology which crushed and punished thought.  The Renaissance was extolled as learned, civilized, broadminded, progressive, enlightened and free-thinking.

Scuola di Atene (School of Athens, 1509-1511), fresco by Raphael (Raffaello Sanzio da Urbino, 1483–1520) on a commission from Julius II (1443–1513; pope 1503-1513) Stanza della Segnatura (Stanze di Raffaello), Palazzi Pontifici (Apostolic Palace), Vatican City.  Julius II was a Renaissance pope with all that implies and while they all did things in their own way, their general philosophy was best summed up in a phrase attributed to Leo X (1475–1521; pope 1513-1521), one of the four Medici popes and remembered (fondly by a few) for his observation “God has given us the papacy, let us enjoy it” and although historians have their doubts he ever uttered the words, his conduct while on the throne of Saint Peter made clear if he didn't say it, he should have.  The “High Renaissance” was the period between the 1490s and 1520s and although the art historians usually don’t claim the period of necessity produced the finest works, it remains an orthodoxy that much of what was created best represents what might be called the “cultural zeitgeist”.  Raphael’s School of Athens depicted a gathering of philosophers, scholars and artists, with Aristotle (right) and Plato (left) in the centre, walking among a clutter of figures, most in animated discussion about obviously serious matters while the odd solitary figure sits quietly reflecting.  As an image, critics would now say the artist was laying the message on “with a trowel” but he certainly encapsulated the era’s idealized view of the Classical world.

Scholarship as early as the nineteenth theory (which would now be classed as “revisionist”) challenged the tradition views of Antiquity, the Middle Ages and the Renaissance and the notion of several renaissances, each succeeding the other and gaining a kind of momentum from its predecessor(s) and some even suggested the beginning of the era could be regarded as somewhere in the twelfth century, something quite plausible of the architecture though perhaps not of the painting but vernacular literatures were developing, there was some interest in the Latin classics, Latin poetry and Roman law and Greek philosophy and scientific understandings were being translated.  Tellingly too, Arab scientific discoveries were becoming and the first European universities were being founded so which the influence of the Church remained strong, it was a time not devoid of intellectual and creative activity but then neither was the Middle Ages wholly barren of such things.  One charming irony about the extraordinary art and architecture which appeared in Italy during the Renaissance was that the loveliness stands starkly in contrast to the appalling moral character of the patrons who commissioned much of it, some of the popes and cardinals, the latter in the era having gained such squalid reputations that the word “cardinal” was long used as an insult in Rome.  Historians tell these tales with some relish.

Tuesday, October 22, 2024

Edition

Edition (pronounced ih-dish-uhn)

(1) One of a series of printings of the same publication, each issued at a different time and differing from another by alterations, additions etc (historically sometimes referred to as impressions).

(2) The format in which a work is published (single volume edition, abridged edition, leather-bound edition, French language edition etc).

(3) In newspaper production, a form of differentiation between different versions of the “same” issue (late edition, city edition etc) and used in a similar manner in radio & television broadcasting.

(4) In book collecting, as “first edition”, a copy of a book from its first release or print run.

(5) The whole number of impressions or copies of a book, newspaper etc, printed from one set of type at one time.

(6) A version of anything (physical and not), often (sometimes misleadingly) in forms such as “limited edition”, “special edition” etc).

1545–1555: From the French édition, from the Middle French, from the Latin ēditiōn- (publication), the stem of ēditiō (a bringing forth, publishing), the construct being ēdit, the past participle of ēdere (to give out; bring forth, produce) + -iōn (the suffix appended to a perfect passive participle to form a noun of action or process, or the result of an action or process).  When the word entered English in the sense of “version, translation, a form of a literary work” (and later “act of publishing”) the dominant linguistic influence was probably the Latin editionem (a bringing forth, producing (although in specialized use it also carried the meaning “a statement, an account rendered”, from the past-participle stem of ēdere, the construct being e(x) (in the sense of “out”) + -dere, a combining form of dare (to give), from the primitive Indo-European root do- (to give).  Edition is a noun; the noun plural is editions.

More Issues Than Vogue sweatshirt from Impressions.

In publishing and (sometimes vaguely) related fields, the terms “issue”, “edition” and “version” have come to be used so loosely that they sometimes function interchangeably but within the publishing industry, there are conventions of use: Issue traditionally was used to refer to a specific release of a recurring publication (magazine, journal, newspaper etc) and tended to be tied to the release sequence (“October 2024 Issue”, “Fall 2024 Issue”, “Issue No. 215” etc).  Issue can however be used also as “re-issue” which refers usually to a “re-print” of a previous edition although it’s not uncommon for blurbs like “re-issued with new foreword” or “re-issued in large print” to appear, the implication being the substantive content remains the same.  Edition was used of a particular form or version of a publication that might differ from previous ones in significant ways which might include text corrections, foreign language translations, or updates, thus descriptions like “German Language Edition”, “Second Edition” or “Abridged Edition.  Some editions (especially those which appear in an irregular sequence) actually give in their title some hint of the nature of what distinguishes them from what came before such as the convention adopted by the American Psychiatric Association's (APA) Diagnostic for their Statistical Manual of Mental Disorders (DSM).  What the APA does is change the number if a DSM is regarded as a “new edition” but retain the number with an appended “R” (revised) or “TR” (text revision) if it’s an “updated edition”.  Thus has appeared the DSM-III-R (1987), the DSM-IV-TR (2000) and the DSM-5-TR (2022).  There’s some overlap in use for version and this perhaps reflects the influence of technology because it tends to be used of a specific form or variant of a publication such as language (eg Spanish version), format (eg audio version) or materials used in the construction (eg e-book version) rather than an implication of a chronological or iterative update (which in publishing tends to be called an “edition”.  In that the industry differs from IT where version numbers are almost always sequential although the convention widely used in the 1980s in which something like “version 2.4.3” could be interpreted as 2=major release, 4=update and 3= bug fix has long fallen into disuse.

Holy Bible, Revised Standard Version (RSV), 1952 limited edition, first printing by Thomas Nelson & Sons, brown full leather binding with inlaid gold lettering, silk end paper and green cardboard slip case, custom bound by the Chicago Bible Society.  US$750 from Abe Books.

There are also special uses which assume a life of their own, notably the Revised Standard Version (RSV), an English translation of the Bible published in 1952 by the Division of Christian Education of the National Council of the Churches of Christ in the US.  The RSV was a revision of the American Standard Version (ASV, 1901) and was published to render the text into the modern English which readily would be understood by a contemporary reader of modest education.  The object was not to change the meaning of the text but to preserve it and paradoxically this required editing the classic verses written by William Tyndale (circa1494–1536) or in the King James Version (KJV, 1611) because the over hundreds of years the language had evolved and the much of what was in the original needed to be interpreted for a general audience and the controversy of clerical gatekeepers between God and his people had for centuries been a thing.  The RSV however has not been the last words and those who track novel initializms will have been delighted by the appearance of the New Revised Standard Version (NRSV, released in 1989 by the National Council of Churches (NCC) and the New Revised Standard Version Updated Edition (NRSVue), published in 2021.  Students of such things aren’t expecting the next update for at least a decade but finding a name might prove more of a challenge than editing the Old Testament’s Book of Leviticus for a modern audience although those who have worked in biblical forks have found alpha-numeric solutions such as RSV-2CE (Revised Standard Version, Second Catholic Edition (2006))

First Edition of James Joyce’s Ulysses, "Copy No 1", held in the National Library of Ireland.  It contains in Joyce's hand an inscription to the English political activist Harriet Shaw Weaver (1876–1961) who was for decades his patron.

A first edition of Ulysses (1922) by James Joyce (1882–1941) in 2009 sold on the opening day of an antiquarian book fair London for Stg£275,000, at the time a record for a twentieth century first edition.  Ulysses is regarded in the industry as the most collectable modern novel and the first editions, printed on hand-made Dutch fine-paper, are well-catalogued and this was number 45 of the first edition print run (all signed by the author) of 100, one of four not previously accounted for.  It had been sold originally by the Manhattan’s obviously subversive Sunwise Turn bookshop (Ulysses at the times banned in the US) and remained in the possession of the same family, stored in its original box and thus not exposed to light, accounting for the preservation of the construction.  Proving that dealers in literary circles can gush with the finest used car salesmen, the dealer who arranged the sale explained: “The color is amazing – this lovely Aegean Sea, Greek flag blue which would normally have darkened into a more dirty blue but because it has been in a box it is a complete thing of beauty.”  The almost pristine condition was a product also of its history of use, an inspection suggesting it was seemingly unread except for the well-thumbed final chapter where the most salacious passages can be found.  The existence of unread copies of well-known books is not unusual and those notorious for sitting neglected on the bookshelf include “challenging” texts such as A Theory of Justice (1971) by John Rawls (1921–2002), A Brief History of Time (1988) by Stephen Hawking (1942–2018) and Joyce’s own, bafflingly difficult Finnegans Wake (1939).  Intriguingly, the antiquarian book business also includes the category “pre-first edition” (any limited run copy of a book printed before the “first edition” is published).  The apparent oxymoron is explained by “first edition” being an industry definition rather than a literal description; pre-first editions thus analogous with “pre-production” or “final prototype” cars which (if they’ve survive the crusher which claims most) can be prized by collectors.

Among special editions there are, inter alia, “Collector's Editions”, “Anniversary Editions” and even, in one instance, the “So Fetch Edition”.

In commerce, “special editions” have become notable income generators for content providers and the movie business has embraced the concept with editions such as “the making of”, “bloopers & out-takes”, “director’s cut” and others and the idea isn’t new.  Led Zeppelin's eighth studio album (In Through the Out Door (1979)) originally was sold with an outer sleeve of plain brown paper, stamped with nothing more than the while the cardboard sleeve proper within was released with six different versions of the artwork.  Buyers would thus not know which sleeve they were selecting.  There’s nothing to suggest it was anything but a gimmick and neither the band nor the record company were expecting many to keep buying copies in the plain brown wrapped until they’d scored all six covers but there were press reports at the time of "Led Heads" doing exactly that.  The industry took note.

Taylor Swift's The Anthology, one of 34 available editions of The Tortured Poets Department.

The attraction of releasing multiple versions of essentially the same product with variations restricted to some added content or detail differences in the packaging is that the additional costs in production and distribution are marginal yet there’s sometimes it’s possible to charge a premium for the “non-standard editions”.  The practice had for decades been quite a thing with car manufacturers but the music business came also to like the idea because, unlike with the cars where customers tended to buy one at a time, obsessive fans of musicians might be persuaded they needed several copies of what was essentially the same thing.  Leftist UK student site The Tab noted few music fans were as obsessive as Taylor Swift’s (b 1989) Swifties and, more significantly, they were also impressively numerous and thus an irresistible catchment of disposable income.  What The TAB noted was the almost simultaneous release of a remarkable (and apparently unprecedented) of 34 versions of Ms Swift’s eleventh album, The Tortured Poets Department (2024), something which as well as generating revenue has the statistical benefit of afforcing her presence on the charts, every sale counting as a 1.0.  Some were technologically deterministic in than four were released as audio cassettes and nine were exclusively digital bit most were essentially the same product except for the inclusion of a bonus track and there were some available only through the retailer Target.  The most obsessive Swifties obviously could buy all 34 editions but for those which want just an exhaustive collection of the music, it appeared all was included on the accurately named The Anthology so there was that.  One day, all 34, still (where appropriate) unopened in their original packaging will appear begin to appear on auction sites.  The approach attracted some adverse comment (which the Swifties doubtless ignored) and probably confirmed in the mind of JD Vance (b 1984; US senator (Republican-Ohio) since 2023) that childless cat ladies are evil.

All editions: The Tab’s The Tortured Poets Department discography:

1. Collector’s Edition Deluxe with The Manuscript
2. Collector’s Edition Deluxe with The Albatross
3. Collector’s Edition Deluxe with The Bolter
4. Collector’s Edition Deluxe with The Black Dog
5. Standard album and The Manuscript
6. Standard and The Manuscript (signed)
7. Standard and But Daddy I Love Him (Acoustic)
8. Standard and Guilty As Sin? (Acoustic)
9. Standard and Down Bad (Acoustic)
10. Standard and Fortnight (Acoustic)
11. Standard and Fresh Out The Slammer (Acoustic)
12. Target exclusive with The Albatross
13. Target exclusive with The Bolter
14. Target exclusive with The Black Dog
15. Target exclusive vinyl
16. The Manuscript vinyl (pressing one)
17. The Manuscript vinyl (pressing two)
18. The Albatross vinyl
19. The Bolter vinyl
20. The Black Dog vinyl
21. The Manuscript vinyl
22. The Anthology
23. Standard and The Black Dog ‘voice memo’
24. Standard album and Who’s Afraid of Little Old Me voice memo
25. Standard album and Cassandra voice memo
26. Standard album (digital)
27. Standard album and Daddy I Love Him (Acoustic)
28. Standard album and loml (live from Paris)
29. Standard album and My Boy Only Breaks His Favorite Toys (live from Paris)
30. Standard album and The Alchemy / Treacherous mashup (live from Paris)
31. The Manuscript cassette
32. The Bolter cassette
33. The Albatross cassette
34. The Black Dog cassette

1976 Lincoln Continental Mark IV, Lipstick edition.  The shade of red appears to be close to Dior's lipstick #744 (Party Red).

The car manufacturers have produced at least hundreds of “special editions”, a concept to which they kept returning because it was lucrative, the things usually profitable to an extent exceeding greatly the nominal sum of their parts.  Quite how many have existed over the years is difficult to estimate because, in addition to the well-documented examples from manufacturers which were sold nationally or even globally, some were offered only briefly or regionally and barely advertised.  Additionally, dealers or sometimes an agglomeration of them would also conjure up their own "special editions" so the total of such things is probably in the thousands.  Sometimes, fashion houses were paid to lend their name, AMC teaming with Pierre Cardin, Levi Strauss (Volkswagen also had a denim-trimmed Beetle though without a specific brand attribution) & Oleg Cassini while the Lincoln Continental at times was offered with themes by Emilio Pucci, Cartier, Bill Blass and de Givenchy although the most memorable were the reputed 500 “Lipstick editions”, a study in red & white, quite a sight given the expanse of sheet metal and leather.

1969 Dodge Charger R/T SE (left), 1972 Chrysler VH Valiant Charger 770SE E55 (centre left), 1976 Holden HX LE (centre right) and 2002 Mazda Miata Special Edition (MX-5 in some markets) (right).

In most of the “special” editions, offered over the decades, it was only in the advertising or press kits that terms like “special edition” or “limited edition” appeared.  Sometimes though, such physical badges did appear on the vehicles. In the US, on the 1969 Dodge Chargers with the SE option, the badge included both “SE” & “Special Edition while in Australia, only “SE” appeared on the 1972 Chrysler VH Valiant Charger 770SE E55 (one of the industry’s longer model names) although the marketing material called it a “Special Edition”, a usage borrowed from the parent corporation in the US and even the badge used was the same part as that which had been stuck on the 1970 Dodge Challenger SE.  Holden’s frankly cynical (but most profitable) 1976 LE spelled out “Limited Edition” under a “LE” (in a larger font) while Mazda used only the full term for the Miata (MX-5) Special Edition models.

Limited Edition, less limited profit: The Holden LE

1976 HX Holden LE

By the mid 1970s, the market had come to prefer the cheaper, smaller and easier to use cassette tapes which meant warehouses were soon full of the once desirable 8-track players and buyers were scarce.  In Australia, GMH (General Motor Holden) by 1975 had nearly a thousand in the inventory which also bulged with 600-odd Monaro body-shells, neither of which were attracting customers; fashions change and both had become unfashionable.  Fortunately, GMH was well-acquainted with the concept of the "parts-bin special edition" whereby old, unsaleable items are bundled together and sold at what appears a discount, based for advertising purposes on a book-value retail price there’s no longer any chance of realizing.  Thus created was the high-priced, limited edition LE (which stood for "Limited Edition", the Monaro name appearing nowhere although all seem still to use the name), in metallic crimson with gold pin striping, golf "honeycomb" aluminium wheels, fake (plastic) burl walnut trim and crushed velour (polyester) upholstery; in the 1970s, this was tasteful.  Not designed for the purpose, the eight-track cartridge player crudely was bolted to the console but five-hundred and eighty LEs were made, GMH pleasantly surprised at how quickly they sold with no need to resort to discounting.  When new, they listed at Aus$11,500, a pleasingly profitable premium of some 35% above the unwanted vehicle on which it was based; these days, examples are advertised for sale for (Aus$) six-figure sums and anyone who now buys a LE does so for reasons other than specific-performance.  Although of compact size (in US terms) and fitted with a 308 cubic inch (5.0 litre) V8, it could achieve barely 110 mph (175 km/h), acceleration was lethargic by earlier and (much) later standards yet fuel consumption was high; slow and thirsty the price to be paid for the early implementations of the emission control plumbing bolted to engines designed during more toxic times.      

1971 Holden HQ Monaro LS 350

The overwrought and bling-laden Holden HX typified the tendency during the 1970s and of US manufacturers and their colonial off-shoots to take a fundamentally elegant design and, with a heavy-handed re-style, distort it into something ugly.  A preview of the later “malaise era” (so named in the US for many reasons), it was rare for a facelift to improve the original.  The 1971 HQ Holden was admired for an austerity of line and fine detailing; what followed over three subsequent generations lacked that restraint.  The HX LE was one of a number of "special" and "limited" editions offered during the era and it remains one of the few remembered.