Kore may refer to:
In Greek mythology, Persephone (/pərˈsɛfəni/, per-SEH-fə-nee; Greek: Περσεφόνη), also called Kore or Cora (/ˈkɔəriː/; "the maiden"), is the daughter of Zeus and the harvest goddess Demeter, and is the queen of the underworld. Homer describes her as the formidable, venerable majestic princess of the underworld, who carries into effect the curses of men upon the souls of the dead. Persephone was abducted by Hades, the god-king of the underworld. The myth of her abduction represents her function as the personification of vegetation, which shoots forth in spring and withdraws into the earth after harvest; hence, she is also associated with spring as well as the fertility of vegetation. Similar myths appear in the Orient, in the cults of male gods like Attis, Adonis and Osiris, and in Minoan Crete.
Persephone as a vegetation goddess and her mother Demeter were the central figures of the Eleusinian mysteries that predated the Olympian pantheon and promised the initiated a more enjoyable prospect after death. Persephone is further said to have become by Zeus the mother of Dionysus, Iacchus, or Zagreus, usually in orphic tradition. The origins of her cult are uncertain, but it was based on very old agrarian cults of agricultural communities.
Kore (Greek: κόρη "maiden"; plural korai) is the name given to a type of free-standing ancient Greek sculpture of the Archaic period depicting female figures, always of a young age.
Kouroi are the youthful male equivalent of Kore statues. They both show the restrained "archaic smile", but — unlike the nude kouroi — korai are depicted in thick drapery, ornate and (in painted examples) very colorful and often have elaborate braided hairstyles.
There are multiple theories on who they represent, and as to whether they represent mortals or deities. One theory is that they represent Persephone, the daughter in the triad of the Mother Goddess cults or votary figures to attend the maiden goddess.
They also often have a much more relaxed and natural posture, sometimes with an extended arm. Some, but perhaps not all, korai were painted, with colorful drapery and their skin possessing a natural coloring.
Such statues existed in many cities of Greece, but most important are the fourteen statues making up the Korai of the Acropolis of Athens that were found east of the Parthenon in 1886. These statues were set particularly on round bases and were outdoor-exposed. When the Persians burned the Acropolis in 480 BC, they threw them from their bases, but some survived, and are hosted now in the Acropolis Museum. Some of them represented priestesses, while others were more simple, represented female figures and were dedicated to the goddess Athena. They have smiling faces, complicated hairdressing and island-type dressing, Ionic style, their left hands holding their chiton while their right hands are holding a flower, fruit or bird. Their hair, along with some other characteristics and the folds of their clothing, were colored.
Corrida can refer to:
Dschinghis Khan (known in some countries as Genghis Khan) is a German (former West Germany) pop band originally formed in 1979 to compete in the Eurovision Song Contest. The group's name was taken from the title of their song, "Dschinghis Khan", which was written and produced by Ralph Siegel with lyrics by Bernd Meinunger.
In 1980, their single "Moscow" (the English-language version of "Moskau") topped the charts in Australia and remained No. 1 for six weeks. Its success there had much to do with the Seven Network's use of the song as the theme music for their television coverage of the 1980 Summer Olympics. The Australian single was issued in a die-cut Channel 7 sleeve.
In an interview with Russian television presenter Alexandra Glotova, the producer of the group Dschinghis Khan, Heinz Gross, said that in the 1980s, the band was forbidden in the Soviet Union and was accused of anti-communism and nationalism.
While the group broke up in the mid-1980s, the German video for "Moskau" was a part of the show Disco on ZDF, as was the similarly-staged "Dschinghis Khan".
Corrida (1932 – probably 1944) was a French Thoroughbred racehorse who won races in France, Belgium, Germany and England and is regarded as one of the top fillies of the 20th century worldwide. She is best known for her back-to-back wins in France's most prestigious horse race, the Prix de l'Arc de Triomphe.
Corrida in Latin languages translates as bullfight. At age two, she won the Prix Morny and was second by a head to Pampeiro in the Grand Critérium. At age three, owner Marcel Boussac shipped Corrida to England, where trainer George Lambton prepared her at Newmarket Racecourse. Entered in the 1,000 Guineas and the Epsom Oaks, Corrida performed poorly, and after a third lackluster effort was returned to France. There, Corrida won the Grand Prix de Marseille at Hippodrome de Marseille Borely and had three placings in major races including a third in the 1935 Prix de l'Arc de Triomphe.
In 1936, she blossomed into the most dominant horse in France. That year, Corrida won seven major races. In England, she captured the Hardwicke Stakes at Ascot Racecourse, then won the Grand Prix Prince Rose at Hippodrome Wellington, in Ostend, Belgium and in France the Grand Prix de Saint-Cloud, the Prix d'Hedouville, the Prix du Prince de Galles, and the Prix de l'Arc de Triomphe, and repeated her win in the Grand Prix de Marseille.
C'est pas seulement ma voix qui chante.
C'est l'autre voix, une foule de voix,
Voix d'aujourd'hui ou d'autrefois,
Des voix marrantes, ensoleill?es,
D?sesp?r?es, ?merveill?es,
Voix d?chirantes et bris?es,
Voix souriantes et affol?es,
Folles de douleur et de gaiet?.
C'est la voix d'un chagrin tout neuf,
La voix de l'amour mort ou vif,
La voix d'un pauvre fugitif,
La voix d'un noy? qui fait plouf.
C'est la voix d'une enfant qu'on gifle,
C'est la voix d'un oiseau craintif,
La voix d'un moineau mort de froid
Sur le pav? d' la rue d' la joie...
Et toujours, toujours, quand je chante,
Cet oiseau-l? chante avec moi.
Toujours, toujours, encore vivante,
Sa pauvre voix tremble pour moi.
Si je disais tout ce qu'il chante,
Tout c'que j'ai vu et tout c'que j'sais,
J'en dirais trop et pas assez
Et tout ?a, je veux l'oublier.
D'autres voix chantent un vieux refrain.
C'est leur souvenir, c'est plus le mien.
Je n'ai plus qu'un seul cri du c?ur :
"J'aime pas l'malheur ! J'aime pas l'malheur !"
Et le malheur me le rend bien
Mais je l' connais, il m' fait plus peur.
Il dit qu'on est mari?s ensemble.
M?me si c'est vrai, je n'en crois rien.
Sans piti?, j'?crase mes larmes.
Je leur fais pas d'publicit?.
Si on tirait l'signal d'alarme
Pour des chagrins particuliers,
Jamais les trains n'pourraient rouler
Et je regarde le paysage.
Si par hasard, il est trop laid,
J'attends qu'il se refasse une beaut?
Et les douaniers du d?sespoir
Peuvent bien ?ventrer mes bagages,
Me palper et me questionner,
J'ai jamais rien ? d?clarer.
L'amour, comme moi, part en voyage.
Un jour je le rencontrerai.
A peine j'aurai vu son visage,