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Herman Northrop Frye  (July 14, 1912 - January 23, 1991) was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."
Frye's international reputation allowed him to champion Canadian literature at a time when to do so was considered provincial. Frye argued that regardless of the formal quality of the writing, it was imperative to study Canadian literary productions in order to understand the Canadian imagination and its reaction to the Canadian environment. During the 1950s, Frye wrote annual surveys of Canadian poetry for the University of Toronto Quarterly, which led him to observe recurrent themes and preoccupations in Canadian poetry. Subsequently, Frye elaborated on these observations, especially in his conclusion to Carl F. Klinck's Literary History of Canada (1965). In this work, Frye presented the idea of the "garrison mentality" as the attitude from which Canadian literature has been written. The garrison mentality is the attitude of a member of a community that feels isolated from cultural centres and besieged by a hostile landscape. Frye maintained that such communities were peculiarly Canadian, and fostered a literature that was formally immature, that displayed deep moral discomfort with "uncivilized" nature, and whose narratives reinforced social norms and values.  Frye collected his disparate writings on Canadian writing and painting in The Bush Garden: Essays on the Canadian Imagination (1971). He coined phrases like "the Garrison Mentality", a theme that summarizes Canadian Literature. Margaret Atwood adopted his approach and elaborated on this in her book Survival (1972). Frye also aided James Polk in compiling Divisions on a Ground: Essays on Canadian Culture (1982). In the posthumous Collected Works of Northrop Frye, his writings on Canada occupy the thick 12th volume.  Based on his observations of Canadian literature, Frye concluded that, by extension, Canadian identity was defined by a fear of nature, by the history of settlement and by unquestioned adherence to the community. However, Frye perceived the ability and advisability of Canadian (literary) identity to move beyond these characteristics. Frye proposed the possibility of movement beyond the literary constraints of the garrison mentality: growing urbanization, interpreted as greater control over the environment, would produce a society with sufficient confidence for its writers to compose more formally advanced detached literature.

Where were this surveys sent?





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Sean John Combs was born on November 4, 1969 in Manhattan's Harlem neighborhood in New York City, and was raised in Mount Vernon, New York. His mother, Janice (Smalls), was a model and teacher's assistant, and his father, Melvin Earl Combs, served in the U.S. Air Force and was an associate of convicted New York drug dealer Frank Lucas. At age 33, Melvin was shot to death while sitting in his car on Central Park West, when Combs was 2 years old. Combs graduated from the Roman Catholic Mount Saint Michael Academy in 1987.
In April 1999 Combs was charged with assault as a result of an incident with Steve Stoute of Interscope Records. Stoute was the manager for Nas, with whom Combs had filmed a video earlier that year for the song "Hate Me Now". Combs was concerned that the video, which featured a shot of Nas and Combs being crucified, was blasphemous. He asked for his scenes on the cross to be pulled, but after it aired unedited on MTV on April 15, Combs visited Stoute's offices and injured Stoute. Combs was charged with second-degree assault and criminal mischief, and was sentenced to attend a one-day anger management class.  Forever, Combs' debut solo studio album, was released by Bad Boy Records on August 24, 1999, in North America, and in the UK on the following day. It reached number two on the Billboard 200 and number one on the Top R&B/Hip-Hop Albums chart, where it remained for one week before being knocked off by Mary J. Blige's fourth album, Mary. The album received positive to mixed reviews from music critics and spawned three singles that have charted on the Billboard charts. It peaked at number four on the Canadian Albums Chart, Combs' highest-charting album in that country.  On December 27, 1999, Combs and his then-girlfriend Jennifer Lopez were at Club New York in Manhattan when gunfire broke out. After a police investigation, Combs and fellow rapper Shyne were arrested for weapons violations and other charges. Combs was charged with four weapons-related charges and bribing his driver, Wardel Fenderson, to claim ownership of his gun.  With a gag order in place, the highly publicized trial began. Combs' attorneys were Johnnie L. Cochran Jr. and Benjamin Brafman. Combs was found not guilty on all charges; Shyne was convicted on five of his eight charges and sentenced to ten years in prison. Combs and Lopez broke up shortly after. A lawsuit filed by Fenderson, who said he suffered emotional damage after the shooting, was settled in February 2004. Lawyers for both sides, having agreed to keep the settlement terms secret, said that the matter was "resolved to the satisfaction of all parties".

what was the incident?

Combs visited Stoute's offices and injured Stoute. Combs was charged with second-degree assault and criminal mischief,



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Victor Jara was born in 1932 in Lonquen, near Santiago, to two peasants, Manuel Jara and Amanda Martinez. His father was illiterate and encouraged his children to work from an early age to help the family survive, rather than attend school. By the age of 6, Jara was already working on the land. His father could not support the family on his earnings as a peasant at the Ruiz-Tagle estate, nor was he able to find stable work.
After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life.  In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called penas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumen, with whom he continued his explorations of Chile's traditional music. He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda.  In the 1960s, Jara started specializing in folk music and sang at Santiago's La Pena de Los Parra, owned by Angel Parra. Through these activities, he became involved in the Nueva Cancion movement of Latin American folk music. He released his first album, Canto a lo humano, in 1966, and by 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda").

Are there any other interesting aspects about this article?
In the 1960s, Jara started specializing in folk music