French language

The Adventures of Tintin (French: Les Aventures de Tintin [lez‿avɑ̃tyʁ də tɛ̃tɛ̃]) is a series of 24 comic albums created by Belgian cartoonist Hergé (pen name of Georges Remi). The series was one of the most popular European comics of the 20th century. By 2007, a century after Hergé's birth, Tintin had been published in more than 70 languages with sales of more than 200 million copies, and had been adapted for radio, television, theatre, and film.

The series first appeared in French on 10 January 1929 in Le Petit Vingtième, a youth supplement to the Belgian newspaper Le Vingtième Siècle. The success of the series led to serialised strips published in Belgium's leading newspaper Le Soir and spun into a successful Tintin magazine. In 1950, Hergé created Studios Hergé, which produced the canonical versions of ten Tintin albums. Following Hergé's death in 1983, the final instalment of the series, Tintin and Alph-Art, was released posthumously.

A number opera (Italian: opera a numeri; German: Nummeroper; French: opéra à numéros) is an opera consisting of individual pieces of music ('numbers') which can be easily extracted from the larger work. They may be numbered consecutively in the score, and may be interspersed with recitative or spoken dialogue. Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses. They may also be ballets and instrumental pieces, such as marches, sinfonias, or intermezzi. The number opera format was standard until the mid-19th century and most opera genres, including opera seria, opera buffa, opéra comique, ballad opera, Singspiel, and grand opera, were constructed in this fashion.

The replacement of numbers with more continuous music began in operas by Jommelli, Traetta, Gluck, and especially Mozart, whose late operas Le Nozze di Figaro and Don Giovanni contain several segments in which different numbers are unified by bridge passages to form a musical whole. This trend became even more striking in the operas of the German composers Beethoven, Weber, and Meyerbeer, while their Italian and French contemporaries Rossini, Donizetti, Bellini, and Auber retained the number opera style.

The Ballet Class (French: La Classe de danse) is an oil painting on canvas created between 1874 and 1876 by the French artist Edgar Degas. The painting depicts a group of ballet dancers at the end of a lesson, led by ballet master Jules Perrot. Known for portraying dancers, Degas captured the grace and the rigorous nature of ballet as a profession. The Ballet Class is housed in the Musée d'Orsay, Paris, France. It was commissioned by the composer Jean-Baptiste Faure. The Ballet Class closely resembles The Dance Class, also painted by Degas in 1874.

Because ballet became formalized in France, a significant part of ballet terminology is in the French language.

Old High German (OHG; German: Althochdeutsch (Ahdt., Ahd.)) is the earliest stage of the German language, conventionally identified as the period from around 500/750 to 1050. Rather than representing a single supra-regional form of German, Old High German encompasses the numerous West Germanic dialects that had undergone the set of consonantal changes called the Second Sound Shift.

At the start of this period, dialect areas reflected the territories of largely independent tribal kingdoms, but by 788 the conquests of Charlemagne had brought all OHG dialect areas into a single polity. The period also saw the development of a stable linguistic border between German and Gallo-Romance, later French.

Musique concrète (French pronunciation: [myzik kɔ̃kʁɛt]; lit. 'concrete music') is a type of music composition that utilizes recorded sounds as raw material. Sounds are often modified through the application of audio signal processing and tape music techniques, and may be assembled into a form of sound collage. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment, as well as those created using sound synthesis and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, and metre. The technique exploits acousmatic sound, such that sound identities can often be intentionally obscured or appear unconnected to their source cause.

The theoretical basis of musique concrète as a compositional practice was developed by French composer Pierre Schaeffer, beginning in the early 1940s. It was largely an attempt to differentiate between music based on the abstract medium of notation and that created using so-called sound objects (French: l'objet sonore). By the early 1950s, musique concrète was contrasted with "pure" elektronische Musik as then developed in West Germany – based solely on the use of electronically produced sounds rather than recorded sounds – but the distinction has since been blurred such that the term "electronic music" covers both meanings. Schaeffer's work resulted in the establishment of France's Groupe de Recherches de Musique Concrète (GRMC), which attracted important figures including Pierre Henry, Luc Ferrari, Pierre Boulez, Karlheinz Stockhausen, Edgard Varèse, and Iannis Xenakis. From the late 1960s onward, and particularly in France, the term acousmatic music (French: musique acousmatique) was used in reference to fixed media compositions that utilized both musique concrète-based techniques and live sound spatialisation.

A street organ (French: orgue de rue or orgue de barbarie), played by an organ grinder, is a French automatic mechanical pneumatic organ designed to be mobile enough to play its music in the street. The two most commonly seen types are the smaller German and the larger Dutch street organ.

A patronal feast or patronal festival (Spanish: fiesta patronal; Catalan: festa patronal; Portuguese: festa patronal; Italian: festa patronale; French: fête patronale) is a yearly celebration dedicated – in countries influenced by Christianity – to the 'heavenly advocate' or 'patron' of the location holding the festival, who is a saint or virgin. The day of this celebration is called patronal feast day, patronal day or patron day of said location.

Patronal festivals may reflect national holidays (e.g. the feast of Saint George, patron saint of England, Georgia, Bulgaria, Romania, Portugal, and various regions of Spain), but they usually reflect the celebration of a single city or town.In larger cities, there may even be several festivals, usually about the patron saint of the local parish.

The yellow badge, also known as the yellow patch, the Jewish badge, or the yellow star (German: Judenstern, lit. 'Jew's star'), was an accessory that Jews were required to wear in certain non-Jewish societies throughout history. A Jew's ethno-religious identity, which would be denoted by the badge, would help to mark them as an outsider. Legislation that mandated Jewish subjects to wear such items has been documented in some Middle Eastern caliphates and in some European kingdoms during the medieval period and the early modern period. The most recent usage of yellow badges was during World War II, when Jews living in Nazi Germany and German-occupied Europe were ordered to wear a yellow Star of David to keep their Jewish identity disclosed to the public in the years leading up to the Holocaust.

The Marquesas Islands (/mɑːrˈkeɪsəs/ mar-KAY-səss; French: Îles Marquises or Archipel des Marquises or Marquises [maʁkiz]; Marquesan: Te Henua ʻEnana (North Marquesan) and Te Fenua ʻEnata (South Marquesan), both meaning "the land of men") are a group of volcanic islands in French Polynesia, an overseas collectivity of France in the southern Pacific Ocean. Their highest point is the peak of Mount Oave (French: Mont Oave) on Ua Pou island, at 1,230 m (4,035 ft) above sea level.

Archaeological research suggests the islands were settled in the 10th century AD by voyagers from West Polynesia. Over the centuries that followed, the islands have maintained a "remarkably uniform culture, biology and language". The Marquesas were named after the 16th-century Spanish Viceroy of Peru, the Marquis of Cañete (Spanish: Marqués de Cañete), by navigator Álvaro de Mendaña, who visited them in 1595.