Eponymous

Eponymous (pronounced uh-pon-uh-muhs)

(1) The giving of one's name to something.

(2) Of, relating to, or being the person or entity after which something or someone is named.

1833: The construct was eponym + -ous, from the Ancient Greek ἐπώνυμος (epṓnumos), the construct being ἐπί (epí) (upon) +‎ ὄνυμα (ónuma), a Doric and Aeolic variant of ὄνομα (ónoma) (name).  The word seems first to have been used in the second millennium BC, when, for several decades, the Assyrians named each year after a prominent government official, the alternative form eponymal appearing first in the record in reference to the other classical eponymos, a title of certain magistrates in ancient Greece who gave their names to the years when they held office, a practice later adopted by the English to record statute law.  In England, until 1953, the naming conventions for recording the bills parliament passed used regnal years; a statute gazetted in the seventh year of the reign of George V would have been dated 7 George V and were the system still in use, one passed in 2021 would be sealed 69 Elizabeth II.  Widely used in English (the Victorian age, the Nixon doctrine, the Menzies era etc), eponymic has been used in the sense "name-giving; pertaining to eponymic myths" as well as "of or pertaining to a classical eponymos."  The Greek epṓnymos was derived from onyma (name) the root also of a number of English words, including synonymous, pseudonym and anonymous.   Most dictionaries seem to list the comparative as "more eponymous" and the superlative as "most eponymous" although its difficult to imagine how the terms could be used, something either eponymous or not, unlike a word like "unique" where modifiers ("most unique"; "quite unique" (are now generally accepted (grudgingly by some) although all seem to draw the line at the clumsy "very unique".  Eponymous is an adjective and eponymously is an adverb.

Lohan Nightclub, Athens

Lohan Nightclub is Lindsay Lohan’s eponymous operation in Athens.  Actual ownership seems murky but at least at one point she was said to hold some equity.

Address:      Iera Odos 30-32, Athina, Greece
Telephone:  +30 698 750 1825
Website:      http://lohanathens.com
Facebook:    www.facebook.com/lohannightclub/
E-mail:        info@lohanathens.com

Located in the Kerameikos region of Athens and featuring what’s described as an industrial baroque aesthetic, Lohan Nightclub is described as the only Athenian mega-club.  Opening hours vary with the season and the lighting and sound systems said to be state of the clubbing art.  An entry ticket is €15 (US$15) and VIP tables are available, subject to a minimum spend of around €600 (US$700).  Lohan is said to be a destination for clubbing in its most extreme iteration and it’s suggested if one isn’t wholly committed to all that that implies, one won’t enjoy things.  The Lohan Nightclub’s material on various platforms notes an atmosphere of decadence promising “something decidedly different”, the greeting of bright pink flowers and neon lights promoting the escapist experience within, the overall impression, loud, hedonistic and Lohanic.

Lohan Night Club, Athens, opening night, 15 October 2016.

Lolita

Lolita (pronounced loh-lee-tuh)

(1) A female given name, a form of Charlotte or Dolores.

(2) A 1955 novel by Vladimir Nabokov.

(3) Referencing the eponymous character in the novel, a nymphet (or a representation of one in pornography) or a sexually precocious young girl (usually critically).

Lolita is a female given name of Spanish origin. It is the diminutive form of Lola, a hypocorism of Dolores (Lolita thus a double diminutive) which, depending on the source translates in Spanish as "suffering" or “sorrows”, the latter tending to be preferred because of the link with Maria de los Dolores.  Without any etymological evidence, some other (presumably fanciful) suggestions of meaning have included "a princess who loves pastel colors", "flower of love", "vivacious and beautiful" & "with a man's spirit".

As a given name, Dolores originated from La Virgen María de los Dolore (Virgin Mary of the Sorrows (dolores translating in Spanish as sorrows), one of the many titles given to the Blessed Mother in Spanish Roman Catholic tradition.  In the context of the Roman Catholic Church, Mary’s sorrows refer to seven events which occurred during her lifetime: (1) The Circumcision of Jesus, (2) the Flight from Jerusalem when Mary and Joseph take the baby Jesus to Egypt to protect him from King Herod of Judea’s orders to kill him, (3) the Finding in the Temple when Mary and Joseph lose the child Jesus only to find him later dwelling in the Temple among the elders, (4) Mary’s meeting with Jesus on the way to Calvary, (5) Jesus’ death on the cross, (6) Mary receiving the body of Jesus in her arms after he is taken down from the cross and (7) the placing of Jesus in the tomb.  The most observant Catholics observe a daily ritual in which they recite Our Father and seven Hail Marys in homage to the seven sorrows.  In the Spanish tradition, there are several given names derived from the many epithets given to the Blessed Mother, other examples including Concepción (referring to Mary’s immaculate conception); Corazón (referring to Mary’s immaculate heart); Luz (Our Lady of the “Light”); Mercedes (Our Lady of “Mercy”); Milagros (Our Lady of “Miracles”); Pilar (Our Lady of the “Pillars”); Rosario (Our Lady of the “Rosary”); and Soledad (Our Lady of “Solitude”).  From the late nineteenth century Dolores became popular among American Catholics and Nabokov’s novel seems briefly to have induced a spike in popularity which the later film adaptation (which reached a wider popular audience) may have quelled.  In the US, popularity peaked in 1963 and it’s never really recovered from the prurient associations explored by Nabokov.  Despite the reservations of parents in the English-speaking world, Lolita the name remains popular among Spanish speakers and in Europe.  In Latvia, Lolita’s name day is 30 May.

Sue Lyon in “Lolita Glasses” in Lolita (1962).  The most emblematic of the type are the sunglasses with the heart-shaped lens but the label is applied to many thick-rimmed styles, especially those with the sleek, “cats eye” shape.

Lindsay Lohan in Lolita glasses.

The 1955 novel by Vladimir Nabokov (1899-1977) was controversial even before being published in French, English language houses, sensing trouble, having initially declined the manuscript and nor has there ever been any consensus about the literary merit.  Coincidently or not, there had been a Imperial-era German short-story about a girl called Lolita.  Published in 1916 by Heinz von Lichberg (the pen-name of Heinz von Eschwege (1890-1951)), it was not dissimilar in its themes and there are a number of reasons it may have been Nabokov was influenced although, given the structural differences, plagiarism is too strong a word.  Whatever the qualities of the text, it remains interesting as a canvas onto which can be mapped the changing attitudes to child abuse (and its artistic depiction).  Tellingly, when Stanley Kubrick (1928-1999) in 1962 adapted the novel for the screen, many aspects of the original were toned down and twelve-year old Lolita was re-imagined as a child of 14, a change necessitated by the rules in some markets and it may have been hoped that if that was acceptable for William Shakespeare's (1564–1616) Romeo and Juliet (1597), it may have been also good enough for Kubrick’s Lolita.  Even as a morality tale, it was ambiguous; although the transgressive male protagonists all die in various unpleasant ways, so too do Lolita and her mother, the nominal female victims.

Reading Lolita in Tehran: A Memoir in Books (2003).

Reading Lolita in Tehran was a memoir by Iranian-American author and professor of English literature Azar Nafisi (b 1948), documenting her experiences living in the Islamic Republic of Iran between 1979-1997.  Structurally, the work uses books she and seven of her female students (one can see why the ayatollahs judged her subversive) discussed during the meetings of the book club she formed in 1995, one of which was Nabokov's Lolita which, although by then widely available in the West (indeed, for some, part of the canon) was a controversial text in Iran.  Memorably, Professor Nafisi compared Humbert Humbert’s treatment of Lolita with the way the Ayatollahs imposed on women their dreams of what women should be “…turning us into figments of their imagination.”  In both the book and the Islamic state, the crime is “solipsizing the lives of others.”

Sue Lyon, from a photo-shoot by US photographer Bert Stern (1929–2013), pre-release publicity set (1960).

What came to be called “Lolita glasses” (which are to this day marketed under that name) are the thick-rimmed items worn in the 1962 by Sue Lyon (1946-2019, thus aged 14-15 at the time of filming.  The most famous of the glasses, with the heart-shaped lens, were chosen by photographer Bert Stern who Kubrick in 1960 commissioned to produce some still images to be used in pre-release publicity.  Stern was already well known for his photographs of Elizabeth Taylor and Richard Burton, and would later create a famous set of images of Marilyn Monroe (1926–1962), the style of which he controversially reprised in 2008 with Lindsay Lohan (b 1986) as the subject.

Popularity of the name Lolita in the US, 1900-2017.  Impressionistically, as might be expected, a film will influence popular culture more than literary fiction, regardless of content.

Pantechnicon

Pantechnicon (pronounced pan-tek-ni-kon or pan-tek-ni-kuhn)

(1) A building or place housing shops or stalls where all sorts of (especially exotic) manufactured articles are collected for sale; most associated with the Pantechnicon, a large warehouse where goods (delivered by Pantechnicon's vans) were stored.

(2) A large van, especially one designed for moving or furniture and other household goods; originally "pantechnicon van".

1820-1830: A creation of modern English using the Ancient Greek, the construct being pan-, from the Ancient Greek πᾰν- (pan-), a neuter form of πᾶς (pâs) (all, every) + τεχνικόν (tekhnikón) (artistic, skillful), neuter singular of τεχνικός (tekhnikós, “technical”), from tekhnē (art), from the primitive Indo-European tetḱ- (to create, produce).  The clippings pantech (UK) & pantech van (Australia) are now less common.  Pantechnicon is a noun; the noun plural is pantechnicons.

The Pantechnicon building, Motcomb Street, Belgrave Square, London.  It was built in what was then called the “Greek Revival” style, featuring a neo-classical facade using Doric columns.  It’s described now as a “contemporary fashion emporium” and includes the inevitable café, restaurant & bar.

A Pantechnicon van (almost always called a pantechnicon and, in certain places. “pantech” endures) was originally horse-drawn and used to transport furniture to and from The Pantechnicon, a bazaar in central London where objects were stored as well as sold.  The Pantechnicon building was built in the early 1830s, the name coined from the Ancient Greek to convey the idea of an institution which traded in all aspects of the arts.  That commercial use continued but the building and the eponymous vans became famous in the twentieth century after the premises were converted into furniture storage warehouse. The warehouse was burnt out in 1876 and suffered another severe blaze in 1939, the latter unfortunate timing as many people had stored there the household effects of grand London houses which were being shuttered for the duration of the war.

Although originally used exclusively to service clients of The Pantechnicon, the design of the vans, being functionally deterministic, was optimized for the task and soon adopted by all removalists, the name to describe the vans quickly becoming generic.  The design persisted when the vans were motorized; now built on truck chassis, they were now even more obviously slab-sided cuboids and the new technology permitted them to become very large.  In a city like London with some narrow lanes and tight corners, some of which dated from the Roman occupation, that presented problems of its own and some small, horse-drawn pantechnicons continued to ply their trade even after the Second World War.

1947 Rolls-Royce Silver Wraith "Pantechnicon" by Hooper.

Being functional work-horses designed for the maximization of internal space and the ease of loading, few commented on the aesthetics but when the same style was adopted in 1947 for a Rolls-Royce Silver Wraith commissioned by an exceedingly rich oil trader called Nubar Gulbenkian (1896-1972), many were aghast and the thing was soon nick-named the Pantechnicon.  Built by the coachbuilder Hooper, it didn’t start a trend for the design although, over the next decade, some details would appear in the cars of many manufacturers because of the contribution to aerodynamic efficiency.  Time has perhaps been kinder to Mr Gulbenkian’s pantechnicon than critics at the time, compared with some of what would be produced in the years that followed, Hooper’s lines had coherence and even a simplicity which, until their bankruptcy, would elude some coachbuilders and certainly, there are more hints of the future in the pantechnicon than most of the Silver Wraiths (1946-1958) which were usually pastiches of pre-war mofifs.

1956 Rolls-Royce Silver Wraith by Hooper.

Unmoved by the staid critics, Mr Gulbenkian continued to favor both the Wraith and Hooper though not their standard range.  While he didn’t again request anything pantechnicon-like, his tastes nevertheless remained eccentric, purchases including a four-door cabriolet (a rarity even then) and a sedanca de ville (a body style thought almost extinct), the latter fully-trimmed in sage-green lizard-skin.  Probably the most dramatic of Gulbenkian’s Hooper-bodied Rolls-Royces was a left-hand drive example built for use on the Côte d’Azur where he kept a house (and reputedly several mistresses); it had conventional four-door saloon coachwork but its novelty lay in its transparent Perspex roof, complete with an electrically-operated fabric inner blind to keep the occupants cool despite the Mediterranean sun.  Eschewing the usual acres of burl walnut which had been a Rolls-Royce signature since the earliest days, the interior was trimmed entirely in leather, a hallmark of all the Gulbenkian cars as was the speedometer fitted in the rear passenger compartment.  So distinctive was the appearance that after it was sold, it was used in the 1964 film Les Félins (released in English-language markets as The Love Cage) which starred Alain Delon (b 1935) and a young Jane Fonda (b 1937).

1966 Mercedes-Benz 600 SWB by Chapron.

Mr Gulbenkian must have been quite taken with the Perspex roof because in 1965, impressed by Mercedes-Benz’s extraordinary new 600 (W100; 1963-1981), he approached them and requested they build him one with such a roof.  Stuttgart declined.  Undeterred, in 1966 Mr Gulbenkian purchased one from the French distributer and had it delivered directly to Henri Chapron’s (1886-1978) coachbuilding studio in Paris to which he provided a specification sheet and what is said to have been a quite professional-looking sketch.  The build took almost a year because, better to enjoy the view through the transparent roof, Mr Gulbenkian fancied the idea of gazing at the stars at night so the rear seats were configured to recline into a bed.  The door panels were equipped with handheld mirrors and glass deflectors designed to minimalize the air turbulence in the cabin. Special tobacco pipe holders were fitted, as well as a minibar.  One piece of German engineering Chapron didn’t try to emulate was to extend the hydraulic control system to operate the roof blinds.  The 600 was unique in that it didn’t use electric motors for things like the windows, these along with the doors, seats, sunroof and trunk (boot) lid instead silently run by a hydraulic system, which ran at an extraordinary 2176 psi (150 bar), something which absorbed about a sixth of the power generated by the 386 cubic inch (6.3 litre) V8 although what remained was sufficient still to propel what was a big, heavy and not obviously aerodynamic car to almost 130 mph (210 km/h).  The 600 was anyway expensive but Chapron's work more than doubled the price.  Mr Gulbenkian who then owned some 5% of BP, didn't quibble.

419 Venice Way, Venice Beach, Los Angeles, 31 January 2012.

This is the pantechnicon Lindsay Lohan hired when moving from where she lived during 2011-2012 in a semi-mirrored construction (a style of architecture sometimes called “pigeon pair”) next door to former special friend Samantha Ronson who inhabited Number 417.  She moved out after being disturbed by "a Freemason stalker".  In North America, this pantechnicon would usually be called a "semi", a clipping of "semi-articulated trailer" and even in the UK the term "pantechnicon" is now less common, as is the Australian clipping "pantech van". 

Doily

Doily (pronounced doi-lee)

(1) A small ornamental mat, historically in embroidery or of lace (the style later emulated in plastic or paper), placed under plates, vases etc.  In addition to any decorative value, their function is to protect surfaces (such as timber) from spills and scratches.

(2) A small napkin, intended to be used for the dessert course (archaic).

(3) A visually similar circular piece of lace, worn as a head-covering by some Jewish & Christian women.

(4) A wool fabric (obsolete).

Circa 1714:  The small, decorative mats were named after the linen drapery on London’s Strand, run by the Doily family in the late seventeenth century.  They were doubtless one of many products offered in the shop (and probably a minor line) but for whatever reason they were the one which picked up the name and remain admired by some while dismissed by others as kitsch.  Doily is a noun (and historically an adjective); the noun plural is doilies.

Traditionally, most doilies were circular in shape and white or beige but many which were bleached white became beige or grey after repeated launderings.  Hotels and cafés often use the paper versions atop plates on which sandwiches, slices of cake and such are served,  This isn't always ideal because paper chaff (from stamping the holes) sometimes remains partially attached (al la the "hanging chads" made infamous in the Florida vote-count during the 2000 US presidential election), only to become detached and end up in the food.      

The alternative spellings were (and in some cases still are) doiley, doilie, doyly, or doyley, sometimes used deliberately as trade-names.  Various sources claim the family name of those running the eponymous London linen drapery was Doily or Doyly but there’s evidence to suggest it really was Doily, one example from Eustace Budgell (1686–1737), an English politician & writer who was a cousin of Joseph Addison (1672–1719), poet, playwright, essayist and fellow parliamentarian, remembered as the co-founder of The Spectator (1711-1712) magazine.  Budgell wrote dozens of pieces for the magazine (unrelated to the current The Spectator published since 1828 which borrowed the name) and in 1712 one (capitalized as originally printed) recorded:

“The famous Doily is still in everyone’s Memory, who raised a Fortune by finding out Materials for such Stuffs as might at once be cheap and genteel”.

That was a reference to the summer-weight woolen clothing which was much favored at the time because it was comfortable, inexpensive and stylish, a combination of virtues which sometimes still eludes manufacturers of many products.  Doily was attached as an adjective to the distinctive garments in the 1780s as “doily suit” & “doily stuffs” and it was only in 1711 the term was picked-up for the small ornamental napkins used at formal dinners when dessert was served.  The “doily-napkins” were literally sold as such (there were many others but the term became generic) and were available in a variety of forms, some quite elaborate and because these resembled the small mats the shop also sold, they came to lend their name to the style, regardless of whether or not purchased from Mr Doily’s shop.  The doilies in their familiar modern form seem first to have been so described in 1714 although it may be they’d been on sale for many years. 

Doilyed-up: Lindsay Lohan in doily-themed top over pink bikini, Mykonos, Greece, August 2014.

Addison is remembered for many reasons, one of which was his once widely performed play Cato (1712) which, based on the final days of Marcus Porcius Cato Uticensis (known variously in history as “Cato the Younger” & “Cato of Utica”), a conservative Roman senator in the late Republic who died by his own hand, explored issues such as the conflict between individual liberty and the powers of the state.  The work suited the zeitgeist of pre-revolution America and many of its lines became phrases the revolutionaries would make famous in the War of Independence (1775-1783).  Cato enjoyed a macabre coda when Budgell, beset with problems, took his own life by throwing himself into the Thames, his suicide note reading: “What Cato did, and Addison approved, cannot be wrong.”

Because plates come in different shapes, so do doilies and there’s no inherent limitation in design although at some point, a construction ceases to be a doily and becomes a tablecloth.

Visually, doilies are strikingly similar to the head-coverings used in a number of Jewish traditions which some Christian women wear in accordance with scriptural dictate:

1 Corinthians 11:1-13: King James Version (KJV 1611)

1 Be ye followers of me, even as I also am of Christ.

2 Now I praise you, brethren, that ye remember me in all things, and keep the ordinances, as I delivered them to you.

3 But I would have you know, that the head of every man is Christ; and the head of the woman is the man; and the head of Christ is God.

4 Every man praying or prophesying, having his head covered, dishonoureth his head.

5 But every woman that prayeth or prophesieth with her head uncovered dishonoureth her head: for that is even all one as if she were shaven.

6 For if the woman be not covered, let her also be shorn: but if it be a shame for a woman to be shorn or shaven, let her be covered.

7 For a man indeed ought not to cover his head, forasmuch as he is the image and glory of God: but the woman is the glory of the man.

8 For the man is not of the woman: but the woman of the man.

9 Neither was the man created for the woman; but the woman for the man.

10 For this cause ought the woman to have power on her head because of the angels.

11 Nevertheless neither is the man without the woman, neither the woman without the man, in the Lord.

12 For as the woman is of the man, even so is the man also by the woman; but all things of God.

13 Judge in yourselves: is it comely that a woman pray unto God uncovered?

It’s not one of biblical passages much approved by feminists and nor do they like 1 Corinthians 14:34–35: As in all the churches of the saints, women should be silent in the churches.  For they are not permitted to speak, but should be subordinate, as the law also says.  If there is anything they desire to know, let them ask their husbands at home.  For it is shameful for a woman to speak in church.

Designer colors are also available and because doilies are a popular thing with hobbyists, the available spectrum is close to limitless and some are variegated.

The origin of the surname Doily was Anglo-Norman, from d'Œuilly (Ouilly), the name of several places in Calvados in the Normandy region, from Old French oeil (eye) and Doiley, Doilie, Doyly & Doyley were all Englishized forms of d'Ouilly and its French variants.  In England, apart from the noted draper, the best known was Richard D'Oyly Carte (1844–1901), the theatrical impresario who for years produced the collaborative works of WS Gilbert (1836-1911) & composer Arthur Sullivan (1842-1900) which came to be known as “Savoy operas”, the name derived from Carte’s Savoy Theatre in which many were first performed.  The D’Oyly part of his name was a forename (he was christened Richard D’Oyly Carte) which he used because his father, Richard Carte (1808-1891), was already well-known in the theatrical business and “Dick Carte” presumably wasn’t thought appropriate but “D’Oyly Carte” anyway became cockney rhyming slang for “fart” and in informal use it was later joined by “doily dyke” a synonym of “lipstick lesbian”, the alliterative terms used to contrast a feminine lesbian with those not (described variously as "bull dykes", "butch lesbians", "heavy-duty lesbians" etc).  Except within certain sub-sets of the LGBTQQIAAOP community, both are now proscribed as microaggressions.  The rhyming slang may still be used.

"Japanese car doilies" (more correctly antimacassars & side-curtains) in Toyota Century V12s.

Apparently as culturally obligatory in Tokyo taxis as white gloves used to be for the drivers (though many still follow the tradition), the inevitably white partial seat covers are often referred to as “Japanese seat doilies” but technically, when used to protect the surfaces of chairs, they are antimacassars, the construct being anti- (from the Ancient Greek ἀντι- (anti-) (against, hostile to, contrasting with the norm, opposite of, reverse (also "like, reminiscent of")) +‎ macassar (an oil from the ylang ylang tree and once used to style the hair, the original sources of which were the jungles of the Dutch East Indies (modern-day Indonesia), the product shipped from the port of Macassar.

Fifty years of “continuity with change”: 1967 Toyota Century V8 (left) and 2017 Toyota Century V12 (right).

Produced over three generations (1967-1996; 1997-2017 & since 2018), the Toyota Century is the company’s flagship in the Japanese domestic market (JDM).  Although the Lexus marque was invented to rectify the perception of a “prestige deficit” in the RoW (rest of the world), models from the range were introduced in the home market only in 2005 and the Century has maintained its position at the top of the Toyota tree.  The first generation used a number of Toyota V8 engines which grew in capacity to reach an untypically large (for the JDM) 4.0 litres (245 cubic inch) but the most admired were the 1997-2017 cars (a few hundred of 9500-odd built exported) which used a 5.0 litre (305 cubic inch) V12 unique to the Century.  For political reasons, the factory under-rated the power output of the V12 but it was anyway designed and tuned for smoothness and silence, achieving both to an extent few have matched.  Like the memorable “suicide door” Lincolns of the 1960s, the Century’s external appearance changed little and although there were updates, it needed a trained eye to tell one from another and the 2023 cars still maintain a distinct resemblance to the 1967 original although for various reasons, since 2018 there’s been a reversion to eight-cylinder engines, a 5.0 litre version of the Lexus V8 fitted, augmented with electric motors.  Offered with a choice of leather or cloth interior trim, “Japanese seat doilies” are regularly seen in the Century.

2006 Toyota Century Royal (left) and the 2019 Toyota Century four-door cabriolet built for the Japanese Imperial Household (right).  

The Japanese Imperial Household in 2006 requested Toyota provide a fleet of cars for the royal family and four limousines and one hearse were constructed.  Based on the second generation Century (G50), the range was known as the Century Royal and received the special designation G51.  Following traditional English coach-building practice, the rear compartment was trimmed in a wool cloth while the front used leather and an unusual touch was the fitting of internal granite steps.  The factory released a number of details about the construction but were predictably vague about the “security measures” noting only they were an "integral" part of the design and it’s believed these included Kevlar & metal internal skins (as protection from gunfire or explosive devices) plus a multi-laminate, bullet-proof glass.  Another Century was added to the royal mews in 2019, this time a one-off four-door cabriolet parade car (both Toyota and the palace preferred "convertible").  Although of late heads of state have tended to avoid open-top motoring, while there’s a long Japanese tradition of assassinating politicians, during the last few hundred years emperors have been safe (the rumors about the death in 1912 dismissed by most historians) so the palace presumably thought this a calculated risk.  All the same, it’s doubtful a prime-minister will be invited to sit alongside while percolating through city streets, their faith in Japanese marksmanship unlikely to be as high as their belief His Majesty won't be the target.  It’s believed the ceremonial fleet of the royal mews is now made exclusively by Toyota, ending the use of foreign manufactured cars such as the Mercedes-Benz 770Ks (W07, 1930-1938) and a Rolls-Royce Corniche (1990), the latter the previous open-top parade vehicle.  When in use, the royal cars do not display number plates but are instead adorned with a gold-plated, stylized chrysanthemum, the symbol an allusion to the Chrysanthemum Throne (皇位, kōi (imperial seat)), the throne of the Emperor of Japan.  As far as is known, the cars in the royal mews are not fitted with “Japanese seat doilies”.

Kyiv

Kyiv (pronounced kee-yiv (Ukrainian) or kee-yev (Russian))

(1) Capital of Ukraine, in the north-central region of the country on the Dnieper River.

(2) An oblast (a region or province in Slavic or Slavic-influenced countries (plural oblasts or oblasti)) of Ukraine, the medieval principality centreed on Kiev (the Kievan state (Kievan Rus)).

(3) In culinary slang, a shortened for the dish Chicken Kiev (a breast of chicken stuffed with butter, garlic and parsley, rolled, breaded and fried). 

Pre 1000: From the Ukrainian Kýjiv or Kyyiv (Ки́їв), from the Russian Kíjev (Ки́ев), perhaps from the name Кий (Kij or Kyi), one of the city’s four legendary founders, from the Proto-Slavic kyjь (stick, club) although some historians regard this as a folk etymology and instead link it to an evolution of something from the local language.  The alternative forms are Kyïv, Kyjiv & Kyyiv, the earlier forms Kiou, Kiow, Kiovia, Kiowia, Kiew, Kief, Kieff & Kief all obsolete.  Historically, in Western use, an inhabitant of Kiev was a Kievan and in the West, until recent events, the default spelling was Kiev.  The Ukrainian government's official roman-alphabet name for the city is Kyiv, according to the national standard for romanization of Ukrainian Київ (Kyjiv), and has been adopted by geographic naming databases, international organizations, and by many other reference sources.  In the West, many style guides have been updated to reflect the government’s recommendation the preferred spelling should be Kyiv (although a few historians insist it should be Ki'iv), pronounced kee-yiv and a transliteration of the Ukrainian Київ.

The Russian form was a transliteration from the Russian Cyrillic Киев and, along with the associated pronunciation, was the internationally accepted name during the Soviet era, something that lasted well into the twenty-first century and many who couldn’t have found the place on a map would have been familiar with both because of the eponymous chicken dish introduced to popular Western cuisine in the 1960s.  The post-Soviet reaction to the Russification of Ukraine encouraged the Ukrainian authorities to adopt the local spelling, the cultural sensitivities heightened by Russia’s military incursions into Ukrainian territory since 2014.  The changing of locality names is nothing new in Europe, various parts of the continent having changed hands over thousands of years and names of localities have often been altered better to suit the needs of conquerors, sometimes as a form of triumphalism and sometimes just to ease the linguistic difficulties.  The area in which sits Kyiv has at times over the last millennium fallen under Mongol, Lithuanian, Polish, Russian, Soviet and now Ukrainian rule and while Russian and Ukrainian are both east Slavonic languages (as opposed to west Slavonic languages such as Polish, and south Slavonic ones like Bulgarian) and from the one original root they have, like just about all languages, diverged in forks which sometimes evolved and sometimes went extinct.

In the early modern period, Ukrainian absorbed some Polish influences and a number of vowels came to be pronounced differently from their Russian counterparts, the kind of regional difference quite familiar to those in England, Germany or the United States.  That would be variation enough to account for many differences but in its evolution, several letters of the alphabet became unique to Ukrainian (such as the ї in Київ) and the variations can make it difficult for native Russian speakers to understand some words or expressions when spoken by Ukrainians.  Still, there must be acknowledgement that name changes imposed from Moscow (whether Russian, Tsarist or Soviet) have so often reflected an astute understanding of propaganda and the implications of language.  When in the 1660s the Ukraine was taken from the Kingdom of Poland, the Russians promptly renamed the territory "Little Russia" although despite the assertions of some that here began the Kremlin's manufactured fiction that Russians & Ukranians are the one people with the one language, the root of that lie earlier.  The legend shared by three Slavic peoples is of three brothers, Czech, Lech & Rus who set off in three directions from the family and later settled in different places, the three fathering the Czechs, the Poles and the Rus (which begat both the Russians and Ukranians).     

Sometimes the changes effected by governments happen instantly upon occupation such as much as what was done in Nazi-occupied Europe but sometimes, the rectification or correction waits for centuries.  Although the Byzantine capital Constantinople fell to the Ottomans in 1453, it wasn’t until the Turkification movement, which began in the 1920s after the formation of the modern Turkish state, that the government began to encourage other countries to use Turkish names for Turkish cities, instead of the transliterations to Latin script which had been used during the Ottoman era.  In 1930, the Government gazetted the official change of name from Constantinople to Istanbul.  Ankara’s interest in linguistic hygiene was recently revived, the Turkish authorities issuing a communiqué advising the country’s name would change from the internationally recognized name from "Turkey" to “Türkiye”.  The concern is said to be the association of Turkey with other meanings in English (not the birds but rather “a person who does something thoughtless or annoying; an event or product which fails badly or is totally ineffectual”).  Around the word, those in chancelleries dutifully adjusted their directory entries while cynics wondered if the Turkish president might be looking for something to distract people from their problems.

The Chicken Kiev speech

What came to be known as the “Chicken Kiev speech” was delivered by President Bush (George HW Bush, George XLI; 1924–2018; US president 1989-1993) to a session of the Supreme Soviet of Ukraine in Kyiv on 1 August 1991.  The tone of his words came to be much criticized by the right of the Republican Party, still infused with the spirit of Ronal Reagan and heady from breathing in the dust which rose as the Berlin Wall fell.  Three weeks after the speech, the Ukrainian Declaration of Independence would be presented and a few months after that, over 90% of Ukrainians would vote to secede from the Soviet Union which would collapse before the year was out, an event at least hastened by Ukrainian independence.  Bush’s speech came directly after his meetings with Mikhail Gorbachev (b 1931; leader of the USSR 1985-1991), the last Soviet leader, who seems to have impressed the US president with both his sincerity and ability to pursue economic and political reform. 

Bush started well enough, telling his audience “…today you explore the frontiers and contours of liberty…”, adding “For years, people in this nation felt powerless, overshadowed by a vast government apparatus, cramped by forces that attempted to control every aspect of their lives.”  That encouraging anti-Moscow direction must have raised expectations but they were soon dashed, Bush continuing “President Gorbachev has achieved astonishing things, and his policies of glasnost, perestroika, and democratization point toward the goals of freedom, democracy, and economic liberty.”  Just to make sure there was no hint that Washington might be encouraging in Ukrainian minds any thoughts of independence, Bush provided clarification, telling his by now perhaps disappointed audience that “…freedom is not the same as independence.  Americans will not support those who seek independence in order to replace a far-off tyranny with a local despotism. They will not aid those who promote a suicidal nationalism based upon ethnic hatred."

The speech had been written by Condoleezza Rice (b 1954; US secretary of state 2005-2009), then on the Eastern European desk at the HSC (National Security Council) and a special assistant to the president for national security affairs although the "suicidal nationalism" flourish was inserted by Bush himself.  Commenting later, Dr Rice and Mr Bush would acknowledge the speech did not capture the moment, the winds of change having been blowing since the fall of the Berlin Wall in 1989, but both in their statements of (sort of) regret made the point that August of 1991 was a very different time and place from December and nobody (certainly not the Kremlinologists) had predicted the imminent demise of the Soviet Union.

Whatever the reaction of the Ukrainians, it was no more severe than that unleashed at home by the aggregations of anti-communists, American exceptionalists and right-wing fanatics, New York Times columnist William Safire (1929-2009) calling it the "Chicken Kiev speech" and a "colossal mis-judgment".  Later presidents, all of course who served in a post-Soviet environment, seemed to agree and changed direction, pushing for an aggressive expansion of NATO to embrace all the former Soviet bloc.  NATO would, at the now famous Bucharest summit in 2008, go further still, pledging that Ukraine and Georgia would one day be invited to join the alliance. Perhaps wishing to atone for the sins of the father, another President Bush (George W Bush, George XLIII; b 1946; US president 2001-2009) then wanted immediately to offer both nations membership roadmaps but even then, Berlin and Paris were cautious about antagonizing Russia and put both the former Soviet republics on the back-burner.  There they’ve stayed.

Chicken Kiev (côtelette de volaille in Russian & Ukrainian cuisine)

Chicken Kiev variations.

Ingredients

4 rashers of smoked streaky bacon
Olive oil
4 x 150 g skinless chicken breasts
3 tablespoons of plain flour
2 large free-range eggs
150 g fresh breadcrumbs
Sunflower oil
2 large handfuls of baby spinach or rocket
2 lemons
Butter
4 cloves of garlic
½ a bunch (15g) of fresh flat-leaf parsley
4 knobs of butter (at room temperature)
1 pinch of cayenne pepper
800 g Piper potatoes
1 head of broccoli
1 knob of unsalted butter

Instructions

Fry bacon in a pan at medium heat with no more than a drizzle of olive oil, until golden and crisp, then remove.

For the butter, peel garlic, then finely chop with the parsley leaves and mix into the softened butter with the cayenne.  Refrigerate.

Stuff the chicken breasts.  Pull back the loose fillet on the back of the breast and use a knife to slice a long pocket.

Cut the chilled butter into four and insert into the pocket, then crumble in a rasher of crispy bacon.  Fold and seal back the chicken, completely covering the butter so it becomes a wrapped parcel.

Preheat oven to 350°F (180°C).

Place flour in a shallow bowl, whisk the eggs in another and put breadcrumbs and a pinch of seasoning into a third.  Evenly coat each chicken breast in flour, then beaten egg, letting any excess drip off, and finally, turn them in the breadcrumbs, repeating until all four are evenly coated.

Shallow-fry in ¾ inch (20 mm) of sunflower oil on a medium to high heat until lightly golden (should take no more than 2-3 minutes), then transfer to a tray and bake in the oven until cooked through (typically around 10-12 minutes).  The alternative method is to bake them completely in the oven and skip the frying process; this requires drizzling them with olive oil and baking for about 20 minutes; taste will be the same but they won’t have the golden surface texture.

While cooking, peel and roughly chop the potatoes and cook in a large pan of boiling salted water until tender (typically 12-15 minutes).

Chop up broccoli and add it to the potatoes for the last 8-odd minutes of cooking.  Drain and leave to steam dry, then return to the pan and mash with a knob of butter and a pinch of salt and pepper.

Dollop the mash on the serving plates, placing a Kiev atop each. Lightly dress the spinach leaves or rocket in a little oil and lemon juice, then sprinkle over the top as garnish. Serve with a wedge of lemon.

Hatter

Hatter (pronounced hat-er)

(1) A maker or seller of hats.

(2) In Australian slang (1) a person who has become eccentric from living alone in a remote area or (2) a person who lives alone in the bush, as a herder or prospector (now archaic and dating from the 1850s, a synecdoche of “mad as a hatter”).

(3) A student or member of the athletic program at Stetson University in Florida.

(4) In dialectical South Scots, to bother; to get someone worked up (and thus related to the modern “to hassle”).

1350–1400: From the Middle English hatter, the construct being hat + -er.  Hat was from the Middle English hat (head covering), from the Old English hæt (head-covering, hat), from the Proto-Germanic hattuz (hat), from the primitive Indo-European kadh (to guard, cover, care for, protect).  It was cognate with the North Frisian hat (hat), the Danish hat (hat), the Swedish hatt (hat), the Icelandic hattur (hat), the Latin cassis (helmet), the Lithuanian kudas (bird's crest or tuft), the Avestan xaoda (hat), the Persian خود‎ (xud) (helmet) and the Welsh cadw (to provide for, ensure).  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought usually to have been borrowed from Latin –ārius and reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European -tōr.  The –er suffix was added to verbs to create a person or thing that does an action indicated by the root verb; used to form an agent noun.  If added to a noun it usually denoted an occupation.  Hatter is a noun and the rare hattering & hattered are verbs; the noun plural is hatters.

Role model Lindsay Lohan wearing hats.

The synonyms are hatmaker (or hat-maker) & milliner.  As makers of hats, the difference between a hatter and a milliner is that a milliner is a hat-maker specializing (historically bespoke headpieces) in women's headwear (and works at a millinery shop), while a hatter makes hats for men (and works at a hattery).  In the business of selling hats the distinction blurred, especially in the case of operations which dealt with hats for both men and women.  As a retailer, a hatter could deal either exclusively in hats for men for those for both sexes whereas what was sold by a millinery was (at least intended) only for women.  Milliner was from the Middle English Milener (native of Milan), the construct an irregular form of Milan + -er, the link explained by the northern Italian city being the source of many of the fine garments for women imported into England in the late Medieval age.

Depiction of the mad hatter’s tea party.  Created by Lewis Carroll (1832-1898), The Hatter appears in both Alice's Adventures in Wonderland (1865) and Through the Looking-Glass (1871) and though nowhere in the text does the author make reference to a "mad hatter", that is the popular form and not an unreasonable one, given the madness of both The Hatter and the March Hare is confirmed by the Cheshire Cat.  Lewis Carroll was said to be familiar with the traits of madness and the condition suffered by hatters was well known but some literary historians have speculated The Hatter may have been based on an eccentric shop-keeper.  There’s no documentary evidence to support the claim.

Role model JR Ewing (Larry Hagman, 1931–2012) in Stetson hat.

The use of Hatter (usually in the collective Hatters) to describe students or members of the athletic program at Florida’s Stetson University comes from John B Stetson (1830-1906), otherwise famous as the hatter known for his eponymous hats.  The school was in 1883 founded as the DeLand Academy but was in 1889 renamed Stetson after the Mr Hatter joined the Board of Trustees, the change acknowledging his financial largess.  Thus were born the Hatters and the name (informally) extends to the school’s mascot (who is correctly named John B) which wears a Stetson hat, green bandana, and alligator skin boots.  The mascot is considered equal in status to all other members of the school family.

Lindsay Lohan wearing more hats.

The phrase “mad as a hatter” was first recorded in 1829 and is usually attributed to the correlation noted between those engaged in the profession of hat-making and instances of Korsakoff's syndrome induced by the frequency of them handling mercury-contaminated felt.  The nineteenth century speculation of a link with the Old English ātor (poison) or its descendant the Middle English atter (poison, venom,) lacks evidence has long been discredited.  Korsakoff's syndrome was named after the Russian neuropsychiatrist Sergei Sergeievich Korsakoff (1854-1900 (his work on alcoholic psychosis still influential)) who identified the syndrome which is induced by both exposure to mercury and chronic alcohol use.  A neurological disorder of the central nervous system caused by a deficiency of thiamine, the symptoms include amnesia, deficits in explicit memory, tremors and general confabulation.  The fourteenth century variant “mad as a March hare” alludes to the crazy behavior of hares during rutting season, mistakenly thought to be only in March.

In 1888, a hydrochloride-based process which obviated the need to use mercury when processing felt was patented and in France and the UK, just before the turn of the century, laws were passed banning the use of substance in the making of hats but, as an illustration of the way things have changed, in the US, the risk was ignored by hatters and their employers alike, even trade unions making no attempt to end its use.  Only with the onset of World War II when all available mercury was needed for military production did US hat makers voluntarily agree to adopt the long available alternative process which used hydrogen peroxide.