Boutique

Boutique (pronounced boo-teek]

(1) A small shop, especially one that sells fashionable clothes and accessories or a special selection of other merchandise.

(2) Within a larger store, a small specialty department.

(3) As a modifier, any (usually small(ish)) business offering customized service (boutique law firm; boutique investment house; boutique winery etc).

(4) In informal use, a small business, department etc, specializing in one aspect of a larger industry (such as the “mining sector analysts”, “transport sector analysts” etch within a financial services research organization).

(5) Of, designating, denoting or characteristic of a small, specialized or exclusive producer (sometimes of the bespoke) or business (either attributive or self-applied).

1767: From the French boutique, from the Middle French, probably from the Old Provençal botica & botiga, from the Latin apotheca (storehouse), ultimately from the Ancient Greek apothēkē (apothecary) (storehouse).  The original meaning in the 1760s was “a small retail outlet (shop) of any sort” boutique, an inheritance from the fourteenth century French source and it wasn’t until the early 1950s it assumed the still familiar sense of “trendy little shop selling fashion items”.  The link with the mid-fourteenth century noun apothecary lay in its sense of “shopkeeper”, the notion of one being a place where is stored and sold “stores, compounds & medicaments (what is now described variously as “a pharmacy: or “chemist shop”) emerged quickly and soon became dominant.  The word was from the French apothicaire, from the Old French apotecaire, from the Late Latin apothecarius (storekeeper), from the Latin apotheca (storehouse)m from the Ancient Greek apothēkē (barn, storehouse (literally “a place where things are put away”)), the construct being apo- (away) + thēkē (receptacle (from a suffixed form of primitive Indo-European root dhe- (to set, put)).  The same Latin word produced French boutique, the Spanish bodega and the German Apotheke; the cognate compounds produced the Sanskrit apadha- (concealment) and the Old Persian apadana- (palace) and one quirk was that had the usual conventions been followed, the Latin apotheca would have emerged in French as avouaie.  The French masculine noun boutiquier (the plural boutiquiers; the feminine boutiquière) translates as “shopkeeper, storekeeper”.  Boutique is a noun & adjective and boutiquey & boutiquelike are adjectives; the noun plural is boutiques.  Of the adjectival use (resembling or characteristic of a boutique (however defined), the comparative is “more boutiquey”, the superlative “most boutiquey”).

Lindsay Lohan at the Singer22 boutique (described as the company’s “flagship store”), Long Island, New York, March 2011 (left) and at the opening of the Philipp Plein (b 1978) boutique, Mykonos, Greece, June 2019 (right).  Among fashion retailers, the term “boutique” is used both of high-end designer outlets and mass-market, high volume operations.  What the word implies can thus vary from “exclusive; expensive” to “trendy, edgy, celebrity influenced” etc.

Modern commerce understood the linguistic possibilities and that included the portmanteaus (1) fruitique (the construct being fruit + (bout)ique) (a trendy (ie high-priced) fruit shop in an area of high SES (socio-economic status)) and (2) postique (the construct being post(al) +‎ (bout)ique).  Originally, postique was a trademark of the USPS (US Postal Service) but it came to be used of retail stores selling items relating to postal mail (stamps, stationery and such).  One interesting trend in middle-class retailing has been the niche of the “boutiquey” stationery shop where the focus is on elegant versions of what are usually utilitarian office consumables; impressionistically, the client base appears almost exclusively female.  The “e-boutique” is an on-line retailer using the term to suggest its lines of garments are targeting a younger demographic.  The term “boutique camping” (services offering “going camping” without most of the discomforts (ie with air-conditioned tents, sanitation, running hot water etc) never caught on because the portmanteau “glamping” (the construct being glam(our) + cam(ping)) was preferred and, as a general principle, in popular use, a word with two syllables will tend to prevail over one with four.

By the 1970s, the term “boutique” had spread in fashion retailing to the extent it was part of general language; it tended to be understood as meaning “exclusive, small-scale fashion stores” which were in some way niche players (more on the cutting edge of design, specializing in a certain segment et al) in a way which contrasted with the large department stores.  The word gained a cachet and by the 1980s the “boutique hotel” was a thing, probably meaning something like “We are not the Hilton”.  That may be unfair and the classic boutique hotel was smaller, sometimes in some way quirky (such as being in a heritage building) and not necessarily cheaper than the major high-end chains.  The advertizing for boutique hotels often emphasized “individuality” rather than the “cookie-cutter” approach of the majors although the economics of running a hotel did conspire against things being too different and the standardization operations like Hilton or Hyatt offered around the world was a genuine attraction for many and not just the corporate clients.  Additionally, what the majors had done was raise the level of expectation and there was thus a baseline of similarity on which boutique players had to build.  Some successfully marketed the “difference” but structurally, there are more similarities than differences.  In the 1990s, the metaphorical sense was extended to just about anything in commerce which could be marketed as “specialized” although initially the most obvious differentiation was probably that the operations so dubbed tended to be “smaller and not part of a large multi-national”.  Thus appeared boutique law firms, boutique investment house, boutique wineries, boutique architects and such.

Boutique Hotel Donauwalzer, Hernalser Gürtel 27, 1170 Wien, Austria.

Although the use of the descriptor “boutique” didn’t become mainstream until the twenty-first century, “boutique” car manufacturers have existed since the early days of the industry and there have been literally hundreds (some of which didn’t last long enough to sell a single machine) and while a few endured to become major manufacturers or be absorbed by larger concerns, most fell victim either the economic vicissitudes which periodically cull those subsisting on discretionary expenditure or in more recent decades, the increasingly onerous web of laws and regulations which consigned to history the idea of "real" cars emerging from cottage industries.  Today, there are boutique operations and they tend to be either (1) parts-bin specialists which combine a bespoke body and interior fittings with components (engines, transmissions, suspension) from the majors or (2) those who modify existing vehicles (Ferraris & Porsches especially favored) with more power, bling or a combination of both.  Either way, the price tag can reach seven figures (in US$ terms).

The established high-end manufacturers noted the industry and although many had long offered customization services, the approach is now more institutionalized and exists as separate departments in separate buildings, there to cater to (almost) every whim of a billionaire (since the expansion of the money supply in the last quarter century they’re now a more numerous and still growing population).  The way the cost of a Porsche, Bentley or Ferrari can grow alarmingly from the list price (and these are not always the fiction some suggest) as the options & “personalizations” accumulate has attracted some wry comment but it’s not something new and the values are relative:  In the late 1960s, a Chevrolet Camaro might be advertized at around US$2800 but by the time the buyer had ticked the desired boxes on the option list, the invoice might read US$4400 or more.  Compared with that, adding US$55,000 in different paint, leather and wheels to a US$350.000 Ferrari starts to make LBJ era Detroit look like a bunch of horse thieves.

Monteverdi’s boutique Swiss concern

Peter Monteverdi (1934–1998 (and believed not in the lineage of Italian composer Claudio Monteverdi (1567–1643)) was a successful Swiss businessman and a less than successful race driver.  He was also one of the many disgruntled customers of Enzo Ferrari (1898-1988) and one of several inspired by the experience to produce cars to compete with those made by Il Commendatore.  For a decade between 1967-1976, his eponymous manufacturing concern (unique in Switzerland) produced over a thousand big, elegant (and genuinely fast) coupés, convertibles and sedans, all with the solidly reliable drive-train combination of Chrysler’s 440 cubic inch (7.2 litre) V8, coupled usually with the TorqueFlite automatic transmission and unlike some of the less ambitious boutique players in the era, Peter Monteverdi included engineering innovations such as the DeDion tube rear suspension (which had the advantage of keeping the rear wheels parallel in all circumstances, something desirable given the torque of the 440 and the tyre technology of the era).  In the post oil shock world of stagflation, it couldn’t go on and it didn’t, the last of the big machines leaving the factory in 1976 although Monteverdi did follow a discursive path until production finally ended in 1982; by then it was more (lawful) “chop shop” than boutique but those ten golden years did bequeath some memorable creations:

1970 Monteverdi Hai 450 SS.

The Lamborghini Miura (1966-1973) had fundamental flaws which progressively were ameliorated as production continued but the design meant some problems remained inherent.  People who drove it at high speed sometimes became acquainted with those idiosyncrasies but for those who just looked at the things forgave it because it was stunning achievement in aggression and beauty; it validated the notion of the mid- engined supercar.  Noting the Miura and the rumors of a similar machine from Ferrari (the prototype of which would be displayed at the 1971 Turin Auto Show and be released two years later as the 365 GT4 BB (Berlinetta Boxer the cover-story for the “BB” dsignation, the truth more exotic)), Peter Monteverdi built the Hai 450 SS (painted in a fetching “Purple Mist”) which created a sensation on the factory’s stand at the 1970 Geneva Motor Show.  “Hai” is German for “shark”; the muscular lines certainly recall the beasts  and the specification meant it lived up to the name.  Powered not by the 440 but instead Chrysler’s 426 cubic inch (7.0 litre) Street Hemi V8 (a version of their NASCAR racing engine tamed for street use) and using a ZF five-speed manual gearbox, the claimed top speed was a then impressive 180 mph (290 km/h), some 6-8 mph (10-13 km/h) faster than any Ferrari or Lamborghini and although the number seems never to have been verified, it was at least plausible.  Tantalizing though it was, although orders were received (the price in the UK was quoted at Stg£12,950, some 20% more than a Rolls-Royce Silver Shadow), series production was never contemplated and Peter Monteverdi was quoted explaining his reticence by saying “This car is so special you can’t deliver it to everybody.” So although over the years four were built (two with significant differences in mechanical specification) it was only the original prototype which ended up in private hands, the others retained by the factory (displayed at the Monteverdi museum in Binningen, Basel-Landschaft until it closed in 2016).  For trivia buffs, the Hai was the only car powered by a Street Hemi ever to have "factory-fitted" air-conditioning. 

1975 Monteverdi Palm Beach.

By 1975 it was obvious the writing was on the wall for the way things had been done in the era of US$2 a barrel oil but the Palm Beach, shown at that year’s Geneva Motor Show was a fine final fling.  The factory had had a convertible in the catalogue for years but the Palm Beach was different and rather than being a Monteverdi Berlinetta with roadster coachwork (as the appearance would suggest), it was based on the older High Speed 375 C platform with which the company had built its reputation.  It was thus the familiar combination of the 440 and TorqueFlite and the styling updates were an indication of how things would have progressed had events in the Middle East not conspired against it.  Although promotional material was prepared for the show and even a price was quoted (124,000 Swiss Francs), the Palm Beach remained an exquisite one-off.

Monteverdis in the last days of the big blocks: 375/4 (front), 375/L (centre) and Palm Beach (rear).

Others in the trans-Atlantic ecosystem offered four-door sedans including Facel Vega, Iso and De Tomaso but none offered a 7.2 litre big-block V8 or rendered it in such a dramatic low-slung package as the Monteverdi 375/4.  First shown at the 1971 Geneva Motor Show, production didn’t begin until the following year but the big machine made an impression on the press; big and heavy though it was, the aerodynamics must have been better than a first glance would suggest because testers who took it to Germany to run on the Autobahn (really its natural environment), found it would run to a genuine 144 mph, (232 km/h), out-pacing even the Mercedes-Benz 300 SEL 6.3 which had for some time reigned as the fastest four door (although the fastest of the Maserati Quattroportes might contest that).  Regular production of the 375/4 ended in 1973 although it remained available on special order with some demand from the Middle East (where the price of fuel was wasn’t much thought about when filling up) and it’s believed as many as 34 had been built when the last was delivered in 1975.  The last of them looked as good as the first although it wasn’t as fast, the later 440s detuned to meet US emission control rules although 120 mph (195 km/h) was still possible.

Tube

Tube (pronounced toob or tyoob)

(1) A hollow (usually cylindrical or oval) body of metal, glass, rubber or other material, used especially for conveying or containing liquids or gases.

(2) A small, collapsible, cylinder of metal or plastic sealed at one end and having a capped opening at the other from which paint, toothpaste, or some other semi-fluid substance may be squeezed or pumped.

(3) In anatomy & zoology, any hollow, cylindrical vessel or organ:

(4) In botany, the lower part of a gamopetalous corolla or gamosepalous calyx, below the lobes but used generally of any other hollow structure in a plant

(5) As “inner tube” a rubber, synthetic or composite construction in the form of a torus (doughnut-shaped) which sits inside the tyres of bicycles, motorcycles and certain other vehicles for the purpose of sustaining inflation (now rare on passenger vehicles which tend to use “tubeless” tyres.

(6) In semi-formal use (originally UK colloquial but now trademarked), the London RTS (rapid transit system) railway system (should use initial upper case).  The name comes from the tube-like tunnels drilled for most on the original underground sections but “The Tube” is used of the whole network (which does extend beyond London) including the above-ground sectors.  “Tube” is used variously of (1) the service, (2) of the cylindrical tunnels and (3) the rolling stock (the trains and carriages).  The term is also used in other places to describe underground railways.

(7) In electronics as “electron tube” (clipped usually to “tube”); as the “vacuum tube”, the predecessor of the transistor.

(8) In materials, as “nanotube”, small carbon constructions some 50,000 times smaller than the diameter of a human hair.

(9) In fashion variously as (1) “tube top” (a tight-fitting, sleeveless garment extening from the armpits to the waist or hips, (2) “boob tube” a shorter type of tube top which covers only the breasts (often labeled as “bandeau tube top”) and (3) “tube skirt” (a close fitting skirt which differs from the similar “pencil skirt” which is tapered).

(10) In slang, a television set (also used as “boob tube” with “boob” used in the sense of “someone stupid or foolish”, an allusion either to the inanity of much of what was broadcast or slur upon the audience).  Historically, television screens (like pre-modern computer monitors) used a “cathode-ray tube” and this was the original source of the idea of televisions as “on the tube”.

(11) In the slang of surfers, the curled hollow space formed when a cresting wave pitches forward when breaking.

(12) In the slang of clinical medicine, to intubate.

(13) In Australian Slang, a can of beer.

(14) In slang, a telescope (now rare and used usually as a deliberate archaism).

(15) To furnish with a tube or tubes.

(16) To convey or enclose in a tube.

(17) To form or render into the shape of a tube; to make tubular.

1590-1600: From the Middle French tube, from the Latin tubus (tube, pipe), related to tuba (long trumpet; war-trumpet), of obscure origin, but possibly connected to tībia (shinbone, reed-pipe).  The idiomatic for “down the tube(s)” (into a ruined, wasted, or abandoned state or condition; lost, finished) dates from the early 1960s and carries the same meaning as “down the drain”.  Despite the similarity of the words and the shapes of the structures, etymologists believe tub (open vessel used for liquids or other substances) was unrelated to tube.  Tub was from the late fourteenth century Middle English tubbe & tobbe, from a continental Germanic source such as the Middle Dutch tubbe, the Middle Low German tubbe & tobbe or the Middle Flemish tubbe, all of uncertain origin.  Tube, tubage & tubing are nouns & verbs, tubulure is a noun, tubed is a verb, tubular, tubey, tubiform, tubesque, tubeless, tubelike, tubish, tuboid & tuboidal are adjectives; the noun plural is tubes.

Squeezed from a tube: The toothpaste one squeezes onto a toothbrush is called a "nurdle".

The original use in the 1590s was of the observed structures in anatomy and zoology (a hollow organ or passage in the body) and this was extended by the 1650s to mean “pipe or hollow cylinder” (especially a small one used as a conduit for liquids).  The use to describe a “sealed container in tubular form” began in 1859 with the vacuum tube, later extended in electronics to a sealed tube containing electrodes (in wide use until the 1950s when transistors achieved mass-production).  The use to describe televisions dates from 1959 and seems to have been as clipping of “cathode ray tube” (CRT, the technology use of pre-modern screens) or “picture tube”.  “The Tube” was also late nineteenth century for wired telephones, the use derived from ships where voice traffic between places was sometimes carried by “speaking tube”, the same technology also used in horse-drawn carriages and early motor vehicles where the passenger compartment was sealed and separated from the drive or chauffeur.  In limousines (with a glass partition or divider), speaking-tubes were still sometimes fitted as late as the 1960s because it was simple, reliable technology and over such short distances an electronic apparatus offer little advantage.  London’s underground railway (an early London RTS (rapid transit system)) came to be known as “the Tube” in 1847, based on the tubular tunnels drilled to created the network; in 1900, in the press, it was dubbed the “Twopenny Tube” (a reference to the basic fare).  “Tube” has come to be a slang for RTS systems in various places, even those with no tubular tunnels (a similar linguistic process to “wire” or “cable” for electronic transmission).

Tube maps (sort of):  The London Underground maps, 1908 (left), 1933 (centre) and 2014 (right).

Although referred to almost universally as the “London Underground Map”, pedants like to point out (1) it’s a schematic (or diagram) rather than a map and (2) over half the “Underground” is above ground.  The now familiar concept of the “map” was in 1931 devised by Henry Beck (1902–1974), then a 29 year old electrical draftsman, who envisaged the rail lines as wires, the stations as connectors and the whole network as an integrated and interconnected diagrammatic system, much like the electrical circuit boards he was accustomed to drawing.  What was revolutionary about Mr Beck’s concept was he understood the purpose was different from a conventional map where scale mattered, rail lines had to be drawn in exactly the shape the assumed and topographic features were included.  What people wanted in a map of “The Tube” was a navigation aid, something which made as simple as possible the task of working out the matter of getting from station-to-station. 

The verb “to tube” (receive, enclose, or dispatch in a (pneumatic) tube) was in use by at least 1870 and was a clipping of pneumatic-dispatch tube (PDT), tubes first installed in 1859 in buildings for the rapid delivery of documents between floors or offices and propelled by air pressure; for dispatch, the documents were rolled and inserted in a small cylinder, the external diameter of which was slightly less than the internal diameter of the tube infrastructure.  The noun tubage (insertion of a tube into a cavity or canal) dates from 1880 and by 1896 it was being used as a collective nouns for tubes.  The adjective tubular (having the form of a tube or pipe) was from the Latin tubulus (a small pipe) and was in the early 1960s adopted in California’s surfing culture to describe the hollow, curling waves, most ideal for riding.

Lindsay Lohan in green-hooped tube top (left) and Coco Avenue's range of boob tubes in designer colors (right).

In pneumatic tyres, although still common on bicycles and motor-bikes, inner tubes are now rare in passenger vehicle use but they are still produced for a variety of commercial application and they have been re-purposed for the recreational pastime of “tubing” (riding on the inflated inner tube of a large (truck, tractor etc) tyre), undertaken both as a water-sport and on ski-slopes.  The jocular slang noun “tube-steak” emerged in 1962 to described “a frankfurter” (ie hotdog sausage), the term obviously a reference to the shape and given that, it’s remarkable it seems not to have been used as a slang for “penis” until the mid-1980s.  The test-tube (cylinder of thin glass closed in rounded form at one end) was so named in 1909 because it was used to test the properties of liquids.  Surprisingly, “test-tube baby” predates by decades modern IVF (In vitro fertilization) and was first used in 1935 in reference to artificial insemination.  In the 1980s, “test tube baby” became the popular descriptor of IVF, “test tube” used as a synecdoche of the process rather than any suggestion of the use of the glass receptacles.  The name “tube-top” (a women's close-fitting elastic top) made its debut in 1972 (although the style had been seen before); the “tube skirt” appeared the next season (again, a re-labeling) while the first “boob tubes” (a truncated version of the “tube top” which wraps only around the breasts) were advertized in 1977.  Being elasticized, some wear boob tubes without a bra but they're available also with a "built-in" bra (like all forms of structural engineering, physics does limit what's possible) and some are made with a thicker material so a strapless bra unobtrusively can be worn underneath.  

YouTube content.  

YouTube is a US social media and online video sharing platform now owned by Google.  It first appeared in 2005 and is now the planet's second most visited internet site, only Google search generating more traffic (as expressed in volumes of unique visits per day).  YouTube was emblematic of the way the internet evolved in a manner somewhat different to that futurists had in preceding decades predicted.  Although it was clear it would be an inter-connected world of databases with content from “content providers” available for download, few predicted the extent to which the terms “viewer”, “user” and “content provider” would overlap; the upload phenomenon generally was not predicted.  Substantially, this was technologically deterministic: with a high percentage of the world’s population carrying cameras able to produce HD (high definition) photographs and films which easily can be uploaded to a global distribution platform at only marginal cost, a new industry emerged and others were disrupted or destroyed.

OSCA S187 (750S).  The Italians dubbed these tubo di dentifricio (toothpaste tube), illustrating yet again how everything sounds better in Italian.

In 1937, facing bankruptcy, the three surviving Maserati brothers (Bindo (1883-1980), Ettore (1894-1990) & Ernesto (1898-1975)) sold their eponymous company to the Orsi Group in Modena, the arrangement including a decade-long consultancy for the trio.  It’s not known if there was “no compete” clause in place but the brothers waited until 1947 when the contract expired before returning to San Lazzaro di Savena (near Bologna) where they founded Officine Specializzate per la Costruzione Automobili Fratelli Maserati S.p.A. (O.S.C.A.), the intention being to build small runs of racing cars for customers and for more than a decade production continued.  Most of the machines built used small displacement engines to contest the various series for such things (then popular in Italy) although in 1951 there was a one-off, 4.5 litre (273 cubic inch) V12, soon rendered an orphan when the Formula One rules were changed. 

Accordingly, subsequent OSCAs were smaller and one of the most exquisite was the S187 which made its debut in 1956.  Built to contest the well-supported 750 cm³ (46 cubic inch) racing class, the name was derived from the displacement of each of the engine’s four cylinders, a convention used for years also by Ferrari.  The smallest engine O.S.C.A. ever made, it was of “square” configuration (the bore & stroke both 62 mm (2.44 inch)) with double overhead camshafts (DOHC) and a pair of twin-choke, side-draft Weber carburetors.  Modest the displacement may have been but the package generated an impressive 70 horsepower which, combined with low weight (a svelte 450 kg (990 lb)) and effective aerodynamics, delivered class-leading performance.  That was despite the S187 being a little heavier than had been envisaged because constraints in time & cash meant the planned multi-tubular space frame had to be abandoned, replaced with a more conventional ladder frame chassis.

OSCA 750S NART (North American Racing Team), one of four with a clamshell body.

The delicate aerodynamic body was by the coachbuilder Morelli and the S-187 (referred to usually as the 750S) was immediately successful, gaining a class victory at the 1956 Mille Miglia, followed the next year with a class win at the 12 Hours of Sebring.  Although in 1959 still competitive in the 750 cm³ class, the brothers produced a new cylinder head which raised the output by 5 horsepower which may sound slight but it was a 7% lift (it would be like adding some 30 hp to a 400 hp engine) and despite in competition being regularly run for sustained periods at the 7700 rpm redline, reliability continued to be outstanding and the 750S remained competitive until well into the 1960s.  Nineteen were built.

End of the line: 1963 OSCA 1600 GT2

Unfortunately, age caught up with the Maserati brothers and in 1963 they sold O.S.C.A. to Count Domenico Agusta (1907–1971) who, in 1945, founded the MV Agusta motorcycle company, a move necessitated by the post-war peace treaty which included a ban on Italian aircraft production which obviously rendered unviable the aviation business Costruzioni Aeronautiche Giovanni Agusta S.A. (formed in 1923 by Count Giovanni Agusta (1879–1927)).  The O.S.C.A. operation was closed in 1967.

Continuity

Continuity (pronounced kon-tn-oo-i-tee or kon-tn-yoo-i-tee)

(1) The state or quality of being continuous; logical sequence, cohesion or connection; lack of interruption.

(2) A continuous or connected whole.

(3) In political science, as “continuity theory”, an approach to twentieth century German historiography which focuses on structural and sociological continuities between eras (including pre-twentieth century influences and traditions).

(4) In narratology, a narrative device in episodic fiction where previous and/or future events in a series of stories are accounted for in present stories.

(5) As bicontinuity (the sate of being bicontinuous), (1) in topology: homeomorphic (a continuous bijection from one topological space to another, with continuous inverse) and (2) in physics, chemistry (of a liquid mixture), being a continuous phase composed of two immiscible liquids interacting through rapidly changing hydrogen bonds.

(6) In film production, as “continuity girl” (the now archaic title in film production (now called “continuity supervisor” or “script supervisor”)) for the person responsible for ensuring the details in each scene conform to the continuity of the narrative.

(7) In film production, the scenario (in the industry jargon a synonym of “continuity”) of script, scenes, camera angles, details of verisimilitude etc, in the sequence in which they should appear in the final cut.

(8) In fiction (especially in television series but also in film and literature), as “continuity nod”, a reference, to part of the plot of a previous series, volume, episode etc.

(9) In audio & visual production (radio, podcasts, television, internet et al), the spoken part of a script that which provides introductory, transitional or concluding material in non-dramatic (documentaries and such) programmes (some production houses include in their staff establishment the position “continuity announcer”).

(10) In film projection, the continuous projection of a film, using automatic rewind.

(11) In mathematics, a characteristic property of a continuous function.

(12) In mathematics, as semicontinuity (of a function), the state of being semicontinuous (that it is continuous almost everywhere, except at certain points at which it is either upper semi-continuous or lower semi-continuous).

(13) In mathematics, as equicontinuity, (of a family of functions), the state of being equicontinuous (such that all members are continuous, with equal variation in a given neighborhood).  The Lipschitz continuity was named after German mathematician Rudolf Lipschitz (1832–1903); the Scott continuity was named after US logician Dana Scott (b 1932).

(14) In mathematics, as hemicontinuity, the state of being hemicontinuous (having the property that if a sequence of points in the domain of a function converges to a point L, then either the sequence of sets that are the images of those points contains a sequence that converges to a point that is in the image of L, or, alternatively, for every element in the image of L, there will be a sub-sequence in the domain whose image contains a convergent sequence to that element.

(15) In marketing, in the plural, as “continuities”, sets of merchandise, given away for free or sold cheaply as promotional tool (the idea being the continuity of the customers returning).

1375–1425: From the late Middle English continuite (uninterrupted connection of parts in space or time), from the Old & Middle French continuité, from the Latin continuitatem (nominative continuitās) (a connected series (the construct being continu(us) (continuous) + -itās (equivalent to the English continu(e) +‎ -ity), from continuus (joining, connecting with something; following one after another) from the intransitive verb continere (to be uninterrupted (literally “to hang together”).  The –ity suffix was from the French -ité, from the Middle French -ité, from the Old French –ete & -eteit (-ity), from the Latin -itātem, from -itās, from the primitive Indo-European suffix –it.  It was cognate with the Gothic –iþa (-th), the Old High German -ida (-th) and the Old English -þo, -þu & -þ (-th).  It was used to form nouns from adjectives (especially abstract nouns), thus most often associated with nouns referring to the state, property, or quality of conforming to the adjective's description.  Continuity is a noun, continuance, & continuousness are nouns, continue is a verb, continuous & continual are adjectives and continually is an adverb; the noun plural is continuities.

The adjective continuous (characterized by continuity, not affected by disconnection or interruption) dates from the 1640s and was from either the French continueus or directly from the Latin continuus.  The verb continue (was in use by at least the mid-fourteenth century) in the form contynuen (maintain, sustain, preserve) which by the late 1300s has assumed the meaning “go forward or onward; persevere in”.  It was from the thirteenth century Old French continuer and directly from Latin continuare (join together in uninterrupted succession, make or be continuous, do successively one after another), from continuus.  The sense of “to carry on from the point of suspension” emerged early in the fifteenth century while the meaning “to remain in a state, place, or office” dates from the early 1400s, the transitive sense of “to extend from one point to another” was first documented in the 1660s.  The word entered the legal lexicon with the meaning “to postpone a hearing or trial” in the mid fifteenth century.

The noun continuation (act or fact of continuing or prolonging; extension in time or space) dates from the late 1300s, from the thirteenth century Old French continuation and directly from the Latin continuationem (nominative continuatio) (a following of one thing after another), a noun of action from past-participle stem of continuare.  The adjective continual was from the early fourteenth century continuell (proceeding without interruption or cessation; often repeated, very frequent), from the twelfth century Old French continuel and directly from the Latin continuus.  The noun continuance (perseverance, a keeping up, a going on) dates from the mid-fourteenth century, from the thirteenth century Old French continuance, from continuer.  Continuance seems to have been the first of the family to appear in the terminology of legal proceedings, used since the late fourteenth century in the sense of “a holding on or remaining in a particular state”, in courts this by the early fifteenth had extended to “the deferring of a trial or hearing to a future date” and in some jurisdictions lawyers to this day still file an “application for continuation”.  The now widely used discontinuation (of legal proceedings; of a product range etc) has existed since at least the 1610s in the sense of “interruption of continuity, separation of parts which form a connected series” and was from the fourteenth century French discontinuation, from the Medieval Latin discontinuationem (nominative discontinuatio), noun of action from past-participle stem of discontinuare.

Page 1 of IMDb's (Internet Movie Database) listing of discontinuities in Mean Girls (2004).

A discontinuity: In Mean Girls, a donut (doughnut) appeared with a large bite taken from it while a few seconds later it had endured just a nibble.

In film production, the job title “continuity girl” seems to have been retired in favor of “continuity supervisor” or “script supervisor”, one of the terms culled in the process of gender neutrality which also claimed most of the “best boys” (they’re now styled with titles such as “assistant chief lighting technician” or “second lighting technician”.  Whether myth or not, the industry legend is the “best boy” job title really did begin with the request “give me your best boy” although that wasn’t something as ominous as now it may sound.  The first known reference to a continuity girl in a film’s credits was in the US 1918 and the job involved ensuring the “continuity” (in the industry “scenario” is synonymous) of the final cut appeared as a seamless narrative.  The job was required because although a single scene in a film might appear to be a contiguous few minutes, the parts assembled in the editing process to produce it may be made up of takes shot days or even months weeks and possibly in different places.  Among a myriad of tasks, what a continuity girl had to do was maintain a database with the details of each piece of film (vital for the editing process) and ensure the details of each shot (clothes, haircuts, props (including their exact placement) and environment (climate, time of day etc) are in accordance with the previous footage.  The detail can be as simple as the time displayed on a wall clock and it matters because there’s a minor industry of film buffs who go through things frame-by-frame looking for discontinuities, all of which gleefully they’ll catalogue on various internet sites.

Three covers used for Leah McLaren’s The Continuity Girl (2007, left); not all Chick lit titles used vibrant or pastel shades in the cover art.  The Continuity Girl (2018, right) by Dr Patrick Kincaid (b 1966) is an unrelated title.

The Continuity Girl (2007) was the debut novel of Canadian journalist Leah McLaren (b 1975), the protagonist being a continuity girl named Meredith Moore.  A classic piece of Chick lit (the construct being chick (slang for “a young woman” + lit(erature)), a now unfashionable term describing novels focused on women and their feelings) the plotline involves Ms Moore’s biological clock tick-tocking to the psychological moment on her 35^th birthday: she wakes up feeling a sudden acute yearning for a baby.  In a Chick lit sort of way, her solution was to leave her predictably pleasant Canadian life and head for London where she plans to select a man on the basis of her assessment of his genetic suitability for breeding, seduce him and, in the way these things happen, fall pregnant.  Things of course don’t work out quite that effortlessly but, being Chick lit, there’s much self-realization, self-discovery and self-expression on the path to a happy ending.

In political science, “continuity theory” is an approach (in two aspects) to twentieth century German historiography which focuses on structural and sociological continuities between eras (including pre-twentieth century influences and traditions).  The first aspect was the notion there existed “continuity” in the persistent influence of long-term social, political, cultural, and institutional developments in German history, dating at least from the time of Martin Luther (1483–1546) contributed to the particular nature of Imperial Germany (1871-1918), the failure of the Weimar Republic (1918-1933) and the Führerprinzip (Leader Principle) which, structurally, was the distinguishing feature of the Third Reich (1933-1945).  This idea has underpinned a number of major historical studies but has always been contested because another faction (which has at times included a significant proportion of the German population) which argues that Nazism was uniquely radical and an aberration in the nation’s history.  Most controversially, some proponents of continuity theory extend the application to the post war years, examining how former Nazis, neo-Nazis and their ideologies persisted (and at times have flourished) both in the FRG (Federal Republic of Germany; the old West Germany (1949-1990)) and the unified state formed 1990 after the FRG absorbed the GDR (German Democratic Republic (the old East Germany)).

Adolf Hitler (left) looking at Ernst Röhm (right), Nürnberg, 3 September 1933.  Some nine months later, Hitler would order Röhm's discontinuation (murder).  Photograph from the Bundesarchiv (Federal Archives), Bild (picture) 146-1982-159-22A.

The theory’s other aspect was structural and was essentially an analysis of the extent to which the Nazi state operated under the constitutional and administrative arrangements inherited from the Weimar Republic, the state which Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) claimed “his” National Socialist revolution had overthrown.  The indisputable fact that the Nazi dictatorship was fundamentally different from Weimar at the time obscured the continuity but maintaining the Weimar constitution was hardly unique.  Hitler choose also to adapt the existing mixed economic model, something which upset some of the more idealistic souls in his movement who had taken seriously the “socialist” bit in “National Socialism” and led to the infamous Nacht der langen Messer (Night of the Long Knives), also called Unternehmen Kolbri (Operation Hummingbird) a purge executed between 30 June-2 July 1934, when the regime carried out a number of extrajudicial executions, ostensibly to crush what was referred to as “the Röhm Putsch” (Ernst Röhm (1887–1934; chief of the Sturmabteilung (the stormtroopers (the SA)), head of the four-million strong SA had certainly in the past hinted at one but there’s no doubt no such thing was imminent).

The USGS’s (US Geological Survey (1879)) depiction of the Mohorovičić discontinuity (the Moho).

The Mohorovičić discontinuity (which geologists tend to call “the Moho”) is the boundary between the Earth's crust and mantle, the extent defined by the distinct change in velocity of seismic waves as they pass through changing densities of rock.  The phenomenon is named after Croatian geophysicist Andrija Mohorovičić (1857–1936; one of the seminar figures in modern seismology), who first published his findings (based on seismographic observations of shallow-focus earthquakes) in 1909.

Soiree

Soiree (pronounced swah-rey)

(1) An evening party or social gathering.

(2) Used loosely, a party or social gathering held at any time.

1793: from the French soirée (evening activity), the construct being the tenth century Old French soir (evening; night (from the Latin adverb sērō (late; at a late hour) which originally was an ablative of sērus) from sērum (a late time), from sērus (late), from the primitive Indo-European se-ro- (a suffixed form of the root se- (long, late) and the source also of the Sanskrit sayam (in the evening), the Lithuanian sietuva (deep place in a river), the Old English sið (after), the German seit (since), the Gothic seiþus (late), the Middle Irish sith and the Middle Breton hir (long)) + -ée (from the Latin –āta (feminine of –ātus) (the –ate suffix in English).  In French, the feminine suffix –ée was joined to nouns to make nouns expressing the quantity contained in the original noun and thus also relations of times (journée, matinée, année et al) or objects produced.  There was also the nineteenth century swarry, a coining for jocular effect representing the English pronunciation.  The suffix -ate was a word-forming element used in forming nouns from Latin words ending in -ātus, -āta, & -ātum (such as estate, primate & senate).  Those that came to English via French often began with -at, but an -e was added in the fifteenth century or later to indicate the long vowel.  It can also mark adjectives formed from Latin perfect passive participle suffixes of first conjugation verbs -ātus, -āta, & -ātum (such as desolate, moderate & separate).  Again, often they were adopted in Middle English with an –at suffix, the -e appended after circa 1400; a doublet of –ee.  In German the spelling is Soirée (plural Soiréen), the synonym being Abendgesellschaft (party held in the evening).  In English, the French soirée is now listed by most sources as an alternative spelling (a la café & cafe).  Soiree is a noun; the noun plural is plural soirees.

In English, strictly speaking, because of the origin in French (soir (evening) familiar in the greeting bon soir (good evening, a time specific way of saying “hello”)), a soiree is a social gathering held in the evening but it has long been used loosely and there have been many soirees held early in the day.  It can be debated whether there’s now an additional meaning (social gathering) or the real meaning is just being ignored but the word is certainly something of a middle-class favourite and it’s not unknown to receive an invitation to an “evening soiree” or “night time soiree” which may be tautological but the meaning shift is probably here to say.  The word is also used with modifiers to make the nature of an event clear (musical soiree; boho soiree, élite soiree; jubilee soiree; birthday soiree etc).

The successful soiree

Some etiquette guides devote entire chapters to the tricks and techniques which make a soiree a success, focusing on food, settings, surroundings and the guest list (who sits next to whom something of an art) and the most structured and demanding event is probably that classic of evening entertaining: the dinner party.  The catering arrangements obviously are critical but the consideration of other matters is also a minor linguistic feast: 

It’s best to avoid inviting the malesuete (“accustomed to poor habits”, an archaic adjective from the Latin malesuētus, the construct being male (badly; poorly) + suētus (past participle of suēscere (to become accustomed; to be used to)) because they tend to be “unaccustomed to good behaviour” and thus won’t fit in.  That doesn’t mean they’re ostracized by all because in their circles (composed of other other malesuete types) there are also soirees for them to enjoy.  Should there be some sort of filing error and a malesuete guest is at the table, all one can hope is that there’s only one of them because in pairs they’ll almost always constult (“to act stupidly together”, a verb from the Latin constult, the construct being con- (together) + stultus (foolish; fool)); they will encourage each other.  However, even the usually well-mannered can become malesuetesque when peloothered (“drunk, thoroughly intoxicated”, an adjective coined by James Joyce (1882–1941), possibly from Hiberno-English as a humorous dialectal corruption of blootered (“drunk”, an informal term in Scots English also meaning or polluted) so if possible research the effect of strong drink on potential invitees.  A caution like “drinks like a fish” need not of necessity mean someone must be chucked because there are amiable and amusing drunks but they may only make it to the reserve (last resort) list.

Deipnosophistry in practice: Lindsay Lohan at the Fox News table, White House Correspondents' Association annual dinner, a soiree at which there is much table talk, Washington DC, April 2012. 

Among the most desirable of those for a dinner party are deipnosophists (“those noted for their sparkling dinner-table conversation”, a noun from the Ancient Greek Δειπνοσοφισταί (Deipnosophistaí), the title of a literary work in fifteen volumes (translated usually as something like “philosophers at their dinner table”) by the third century scholar Athenaeus of Naucratis, describing learned discussions at a banquet, the construct being δειπνο- (deipno-) (meal) + σοφιστής (sophistḗs).  The plural of sophistḗs was sophistaí and the sense used by Athenaeus was one of “wise men knowledgeable in matters of art & science”.  A deipnosophist will never raise matters nefandous (“too odious to be spoken of”, an adjective from Latin nefandus, the construct being from ne- (in the sense of “not”) + fandus, gerundive of fārī (to speak) ao while they may think the unthinkable they’ll never speak the unspeakable.  If there is a guest who is particularly sensitive about some topic which usually is innocuous, it’s acceptable (and often advisable) quietly to advise to the others the matter is tacenda (“a thing not to be mentioned; a subject to be passed over in silence”, a noun from the Latin tacenda, future passive participle of taceo (to be silent, say nothing, to hold one's tongue).

Because of the physical layout of a dinner party (gathered together closely around a table) it’s not possible for a shy guest actually to latibulate (“to retreat and hide oneself in a corner”, a verb from the Latin, the construct being latibulum (hiding place) +‎ -ate (the verb-forming suffix), from lateō (to lie hidden) +‎ -bulum (the nominal suffix denoting instrument)) but there can be some (even the usually talkative) who for whatever reason become on the night taciturn (“tendency habitually to be silent”, a noun ultimately from the fifteenth century French taciturne, from the Latin taciturnus (not talkative; noiseless, quiet, maintaining silence), from tacitus (silent) & tacēre (to be silent).  Tempting though it is to ply them with alcohol (which can “loosen the tongue”), that’s a tactic not without risk and it’s recommended that if possible, a pretext is found to change the seating plan, re-allocating them a spot next to someone they might find more convivial.  At a small table, this will likely have no effect.  If on a second occasion a guest’s taciturnity is noted as truly as habitual, it may be they are deipnophobic (one who suffers the social anxiety deipnophobia (fear of eating in public)); don’t invite them again.

Advesperate: A set table, ready for a soiree.  The construct of advesperate (to draw towards evening) was the Latin ad- (to) + vesper. (evening; the evening meal) from the Proto-Italic wesperos, from the primitive Indo-European wek-w-speros, the cognates including the Ancient Greek ἕσπερος (hésperos), the Old Church Slavonic вєчєръ (večerŭ) and the Old Armenian գիշեր (gišer).  In the liturgical orders of Christianity (and always in the plural "vespers"), it's the sixth of the seven canonical hours (an evening prayer service).

There are also those who may be good conversationalists but exhibit some bad habits which are not good to display at dinner parties (although many are close to obligatory at the beer & bourbon soaked malesuete soirees).  They may obganiate (“to cause irritation by reiteration” (ie to annoy by repeating over and over and over and over…”, a verb from the Italian ostinato (obstinate, persistent), a variant of which is the act of epizeuxis (“the repetition of a word with vehemence and emphasis”, a noun from the Modern Latin epizeuxis, from the Ancient Greek ἐπίζευξις (epízeuxis) (a fastening upon), from ἐπιζευγνύναι (epizeugnúnai), the construct being ἐπί (epí) (upon) + ζευγνύναι (zeugnúnai) (to yoke).  As a rhetorical technique, an epizeuxis can be an effective way to make a point but at a dinner party it should never be accompanied by a dactylodeiktous gesture (“pointed at with a finger”, an adjective from the Ancient Greek, the construct being δάκτυλος (dáktylos) (finger) + δεικτός (deiktós), from the verb δείκνυμι (deíknumi) (to show; to point out) + -ous (the suffix indicating an adjective or descriptive quality).  When noticing such things, a host should adopt the demeanour of a discountenancer (“one who discourages with cold looks to convey disapproval”, a noun from the French décontenancer, from the Middle French descontenancer).

Not a residentarian: Crooked Hillary Clinton in blue pantsuit leaving (early) the soiree planned to celebrate her victory in the 2016 US presidential election, Manhattan, New York, November 2016.

Also tiresome at such a soiree those who beyelp (loudly to talk of, boast of, glory in”, a verb from the Middle English beyelpen, from the Old English beġielpan (to boast) and tend to speak in rodomontades (vainglorious boasting or bragging; pretentious, bluster”, a noun from the Middle French rodomontade, the construct being the Italian Rodomonte (name of the boastful Saracen king of Algiers in two Italian Renaissance epic poems + the Middle French –ade (the suffix used to form nouns denoting action, or a person performing said action), from the Occitan -ada, from the Latin -ata.  In dialectal Italian the name means literally “one who rolls (away) the mountain” (clipped also to “roll-mountain”).  Fortunately, such types are usually elozable (“readily influenced by flattery”, an archaic adjective coined in the sixteenth century the construct obscure but believed to be elo- (from the Latin eloqui (to speak out) + -zable (a variant of the suffix –able (denoting capability or possibility) with the inserted “z” presumably a phonetic convenience.  To deal with such guests, one may need to heterophemize (“to say something different from what you mean to say”, a verb from the Ancient Greek, the construct being hetero-, from the ἕτερος (heteros) (other; different) +-phem-, from φημί (phēmi) (to speak; to say) + -ize (a suffix conveying the notion of “to make; to do” or “to perform the act of”) which is OK because it’s been done before and at some dinner parties in polite society conversations are conducted with little else.  One will though need eventually to be more direct with the residentarian (“a person who is given to remaining at table”, a modern English noun, the construct being resident +arian (the suffix a back-formation from various words ending in “arian”, some directly derived from Classical or Medieval Latin words ending in -arius by adding “-an” to the stem, other indirectly via Old French words ending in “arien(ne)” or “erien(ne)” or from English words ending in “ary” to which “-an” was suffixed.  It was used to create nouns in the sense of (1) a believer in something, (2) an advocate of something or (3) a native or inhabitant of somewhere.  The next day, when reviewing yesterneve (“yesterday evening”, a noun, the construct being yester(day) + -n- + eve(ning), decide which guest must be chucked (never again to be invited) and which adorned the table and thus to be added to the xenium list (“a gift given to a guest”, a noun from the Latin xenium (a gift given to guests or foreign ambassadors, often of food, in Ancient Greece or Rome), from the  Ancient Greek ξένιον (xénion) from the Ionic.