A.A. Milne Publishes Winnie-the-Pooh

A.A. Milne Publishes Winnie-the-Pooh With the first publication of the childrens book Winnie-the-Pooh on October 14, 1926, the world was introduced to some of the most popular fictional characters of the twentieth century - Winnie-the-Pooh, Piglet, and Eeyore. The second collection of Winnie-the-Pooh stories, The House at Pooh Corner, appeared on bookshelves just two years later and introduced the character Tigger. Since then, the books have been published worldwide in over 20 languages. The Inspiration for Winnie the Pooh The author of the wonderful Winnie-the-Pooh stories, A. A. Milne (Alan Alexander Milne), found his inspiration for these stories in his son and his sons stuffed animals. The little boy who talks to the animals in the Winnie-the-Pooh stories is called Christopher Robin, which is the name of A. A. Milnes real-life son, who was born in 1920. On August 21, 1921, the real-life Christopher Robin Milne received a stuffed bear from Harrods for his first birthday, which he named Edward Bear. The Name Winnie Although the real-life Christopher Robin loved his stuffed bear, he also fell in love with an American black bear that he often visited the London Zoo (he sometimes even went into the cage with the bear!). This bear was named Winnie which was short for Winnipeg, the hometown of the man who raised the bear as a cub and later brought the bear to the zoo. How the real-life bears name also became the name of Christopher Robins stuffed bear is an interesting story. As A. A. Milne states in the introduction to Winnie-the-Pooh, Well, when Edward Bear said that he would like an exciting name all to himself, Christopher Robin said at once, without stopping to think, that he was Winnie-the-Pooh. And so he was. The Pooh part of the name came from a swan of that name. Thus, the name of the famous, lazy bear in the stories became Winnie-the-Pooh even though traditionally Winnie is a girls name and Winnie-the-Pooh is definitely a boy bear. Other Characters Many of the other characters in the Winnie-the-Pooh stories were also based on Christopher Robins stuffed animals, including Piglet, Tigger, Eeyore, Kanga, and Roo. However, Owl and Rabbit were added without stuffed counterparts in order to round out the characters. If so inclined, you can actually visit the stuffed animals that Winnie-the-Pooh, Piglet, Tigger, Eeyore, and Kanga were based on by visiting the Central Childrens Room at the Donnell Library Center in New York. (Stuffed Roo was lost during the 1930s in an apple orchard.) The Illustrations While A. A. Milne hand-wrote the entire original manuscript for both books, the man who shaped the famous look and feel of these characters was Ernest H. Shepard, who drew all the illustrations for both Winnie-the-Pooh books. To inspire him, Shepard traveled to the Hundred Acre Wood or at least its real-life counterpart, which is located in the Ashdown Forest near Hartfield in East Sussex (England). The Disney Pooh Shepards drawings of the fictional Winnie-the-Pooh world and characters were how most children envisioned them until Walt Disney bought the film rights to Winnie-the-Pooh in 1961. Now in stores, people can see both the Disney-styled Pooh and the Classic Pooh stuffed animals and see how they differ.

Tongoy V. Ca Essay Example

Tongoy V. Ca Essay Example Tongoy V. Ca Essay Tongoy V. Ca Essay Facts: This is an action for reconveyance respecting two (2) parcels of land in Bacolod City. The first is Lot No. 397 of the Cadastral Survey of Bacolod, otherwise known as Hacienda Pulo, containing an area of 727,650 square meters and originally registered under Original Certificate of Title No. 2947 in the names of Francisco Tongoy, Jose Tongoy, Ana Tongoy, Teresa Tongoy and Jovita Tongoy in pro-indiviso equal shares. Said co-owners were all children of the late Juan Aniceto Tongoy. The second is Lot No. 1395 of the Cadastral Survey of Bacolod, briefly referred to as Cuaycong property, containing an area of 163,754 square meters, and formerly covered by Original Certificate of Title No. 674 in the name of Basilisa Cuaycong. Of the original registered co-owners of Hacienda Pulo, three died without issue, namely: Jose Tongoy, who died a widower on March 11, 1961; Ama Tongoy, who also died single on February 6, 1957, and Teresa Tongoy who also died single on November 3, 1949. The oth er two registered co-owners, namely, Francisco Tongoy and Jovita Tongoy, were survived by children. Francisco Tongoy, who died on September 15, 1926, had six children; Patricio D. Tongoy and Luis D. Tongoy by the first marriage; Amado P.Tongoy, Ricardo P. Tongoy; Cresenciano P. Tongoy and Norberto P. Tongoy by his second wife Antonina Pabello whom he subsequently married sometime after the birth of their children. For her part, Jovita Tongoy (Jovita Tongoy de Sonora), who died on May 14, 1915, had four children: Mercedes T. Sonora, Juan T. Sonora, Jesus T. Sonora and Trinidad T. Sonora. By the time this case was commenced, the late Francisco Tongoys aforesaid two children by his first marriage, Patricio D. Tongoy and Luis D. Tongoy, have themselves died.It is claimed that Patricio D. Tongoy left three acknowledged natural children named Fernando, Estrella and Salvacion, all surnamed Tongoy. On the other hand, there is no question that Luis D. Tongoy left behind a son, Francisco A. T ongoy, and a surviving spouse, Ma. Rosario Araneta Vda. de Tongoy. On October 15, 1968 finding the existence of an implied trust in favor of plaintiffs, but at the same time holding their action for reconveyance barred by prescription, except in the case of Amado P. Tongoy, Ricardo P.Tongoy, Cresenciano P. Tongoy, and Norberto P. Tongoy, who were adjudged entitled to reconveyance of their corresponding shares in the property left by their father Francisco Tongoy having been excluded therefrom in the partition had during their minority, and not having otherwise signed any deed of transfer over such shares. Issue: Whether or not the conveyance respecting the questioned lots made in favor of Luis D. Tongoy in 1934 and 1935 were conceived pursuant to a trust agreement among the parties Held:The Court considers the evidence of execution of express trust agreement insufficient. Express trust agreement was never mentioned in the plaintiffs pleadings nor its existence asserted during the pr e-trial hearings. The Court finds that there is preponderance of evidence in support of the existence of constructive, implied or tacit trust. The hacienda could have been leased to third persons and the rentals would have been sufficient to liquidate the outstanding obligation in favor of the Philippine National Bank.But the co-owners agreed to give the administration of the property to Atty. Luis D. Tongoy, so that the latter can continue giving support to the Tongoy-Sonora family and at the same time, pay the amortization in favor of the Philippine National Bank, in the same manner that Jose Tongoy did. When the mortgages were constituted, respondents Cresenciano Tongoy and Norberto Tongoy were still minors, while respondent Amado Tongoy became of age on August 19, 1931, and Ricardo Tongoy attained majority age on August 12, 1935.Still, considering that such transfer of the properties in the name of Luis D. Tongoy was made in pursuance of the master plan to save them from foreclo sure, the said respondents were precluded from doing anything to assert their rights. It was only upon failure of the herein petitioner, as administrator and/or successor-in-interest of Luis D. Tongoy, to return the properties that the prescriptive period should begin to run.

Visual Communication Research Paper Example | Topics and Well Written Essays - 1250 words

Visual Communication - Research Paper Example Sandro was born Alessandro di Mariano di Vanni Filipepi, but his name Alessandro later shortened to Sandro. He also adapted the nickname of his brother; Botticelli which meant little barrel (Mattern 8). Sandro defied the norm of drawing sculptures that depicted existence and had aspects of life in them. Instead, he focused on drawing works of art of different and flat nature. He later began painting works that were religiously motivated after being hired by an influential man to assist in his drawing and painting (Mattern 23). This opportunity was like a breakthrough for Sandro since he ended up drawing pictures for several churches in Florence. Consequently, this marketed him widely since many people became aware of his existence, as well as his works of art (Sterling 9). He developed and nurtured his skills in art when he started making paintings, and for quite sometime worked with a Florentine artist who guided him through the art of mixing paints (Mattern 25). The artist, FraFili ppo Lippi was the one who taught Sandro the art of mixing paints. FraFilippo also taught Sandro the best possible way of bringing in varied compositions and paintings to the perspective that people would appreciate. Discussion The Mystic Nativity is a work of art that was created by Sandro Botticelli during his years as an artist. This piece of art is considered one of his very many ingenious compositions. As a matter of fact, it is the only piece of art among his several creations that he signed his name on; to indicate and mark it as his piece. The Mystic Nativity painting was created by Sandro in 1500C. This was the period during monk Girolamo Savonarola preaching’s. Botticelli was extremely motivated by the monk’s preaching; thus, becoming his ardent supporter (Sterling 56). This contributed to the pieces of art that he produced. It is worth noting that Sandro created this work of art with oil in canvas after attending one of the sessions of monk Savonarola’ s preaching. The Mystic Nativity was seen as a response to one of Savonarola’s preaching. The Mystic Nativity piece by Sandro Botticelli is housed at the National Gallery in London. It also from another view considered to portray the struggle and sufferings that the people of Italy were facing as at that time. As is illustrated in the translations of the statements written on top of the painting, Sandro reveals that the painting was made during a time that Italy was facing some troubles. (Kren and Marx) asserts that Sandro made this painting towards the end of the year 1500 when Italy was facing difficulties. This period was half the time after the period indicated in chapter eleven of the book of Saint John in the second desperation of the Apocalypse after the loss of the devil for a period of three and a half years. This shows that his art was infact meant to document the suffering faced by the pilgims in their struggles during the religious war periods. It is an art work t hat he created and designed to bring out the different moods. This is attributed to the fact that people use the painting to demonstrate celebration, happiness and joy in togetherness. This is mainly seen with people who use it on Christmas cards, during the period of jubilation for Christian believers celebrating the birth of Christ (Sterling 35). Sandro Botticelli had other works of art that were mostly motivated