Nana may refer to:
Nana (1926) is Jean Renoir's second full-length silent film and is based on the novel by Émile Zola.
A government official, Count Muffat, falls under the spell of Nana, a young actress. She becomes his mistress, living in the sumptuous apartment which he provides for her. Instead of elevating herself to Muffat's level, however, Nana drags the poor man down to hers - in the end, both lives have been utterly destroyed.
The film stars Renoir’s wife, Catherine Hessling, in an eccentric performance as the flawed heroine Nana.
Jean Renoir’s film is a fairly faithful adaptation of Émile Zola’s classic novel. The film’s extravagances include two magnificent set pieces – a horse race and an open air ball. The film never made a profit, and the commercial failure of the film robbed Renoir of the opportunity to make such an ambitious film again for several years.
Phthora nana (Medieval Greek φθορά νανὰ) is one of the ten modes of the Hagiopolitan Octoechos consisting of 8 diatonic echoi and two additional phthorai. It is used in different traditions of Orthodox chant until today (→ Neobyzantine Octoechos). The name "nana" is taken from the syllables (written in ligatures "ʅʅ") sung during the intonation which precedes a melody composed in this mode. The name "phthora" derived from the verb φθείρω and means "destroy" or "corrupt". It was usually referred to the diatonic genus of the eight mode system and as a sign used in Byzantine chant notation it indicated a "change to another genus" (μεταβολὴ κατὰ γένος), in the particular case of phthora nana a change to the enharmonic genus. Today the "nana" intonation has become the standard name of the third authentic mode which is called "echos tritos" (ἦχος τρίτος) in Greek and "third glas" (третий Гласъ) in Old Church Slavonic.
In the theory and notation of Byzantine and Orthodox chant nana is the name of a special phthora which had been used in different ways according to its historic context:
In Egyptian hieroglyphs, a cartouche (English pronunciation: /kɑːˈtuːʃ/) is an oval with a horizontal line at one end, indicating that the text enclosed is a royal name, coming into use during the beginning of the Fourth Dynasty under Pharaoh Sneferu. While the cartouche is usually vertical with a horizontal line, it is sometimes horizontal if it makes the name fit better, with a vertical line on the left. The Ancient Egyptian word for it was shenu, and it was essentially an expanded shen ring. In Demotic, the cartouche was reduced to a pair of brackets and a vertical line.
Of the five royal titularies it was the prenomen, the throne name, and the "Son of Ra" titulary, the so-called nomen name given at birth, which were enclosed by a cartouche.
At times amulets were given the form of a cartouche displaying the name of a king and placed in tombs. Such items are often important to archaeologists for dating the tomb and its contents. Cartouches were formerly only worn by Pharaohs. The oval surrounding their name was meant to protect them from evil spirits in life and after death. The cartouche has become a symbol representing good luck and protection from evil. Egyptians believed that one who had their name recorded somewhere would not disappear after death. A cartouche attached to a coffin satisfied this requirement. There were periods in Egyptian history when people refrained from inscribing these amulets with a name, for fear they might fall into somebody's hands conferring power over the bearer of the name.
Cartouche was a Belgian Eurodance group whose biggest dance hit from 1991 was "Feel the Groove", which peaked at number 13 in 1991 on the French Singles Chart. The members consisted of Myrelle Tholen and Jean-Paul Visser. The group only released one album, House Music All Night Long in 1991. The group also sang "Miracles", "Shame" and "Touch the Sky" (in 1994) which were all composed and produced by Serge Ramaekers.