End

End or Ending may refer to:

End

END

Ending

See also

Conclusion (music)

In music, the conclusion is the ending of a composition and may take the form of a coda or outro.

Pieces using sonata form typically use the recapitulation to conclude a piece, providing closure through the repetition of thematic material from the exposition in the tonic key. In all musical forms other techniques include "altogether unexpected digressions just as a work is drawing to its close, followed by a return...to a consequently more emphatic confirmation of the structural relations implied in the body of the work."

For example:

End (graph theory)

In the mathematics of infinite graphs, an end of a graph represents, intuitively, a direction in which the graph extends to infinity. Ends may be formalized mathematically as equivalence classes of infinite paths, as havens describing strategies for pursuit-evasion games on the graph, or (in the case of locally finite graphs) as topological ends of topological spaces associated with the graph.

Ends of graphs may be used (via Cayley graphs) to define ends of finitely generated groups. Finitely generated infinite groups have one, two, or infinitely many ends, and the Stallings theorem about ends of groups provides a decomposition for groups with more than one end.

Definition and characterization

Ends of graphs were defined by Rudolf Halin (1964) in terms of equivalence classes of infinite paths. A ray in an infinite graph is a semi-infinite simple path; that is, it is an infinite sequence of vertices v₀, v₁, v₂, ... in which each vertex appears at most once in the sequence and each two consecutive vertices in the sequence are the two endpoints of an edge in the graph. According to Halin's definition, two rays r₀ and r₁ are equivalent if there is another ray r₂ (not necessarily different from either of the first two rays) that contains infinitely many of the vertices in each of r₀ and r₁. This is an equivalence relation: each ray is equivalent to itself, the definition is symmetric with regard to the ordering of the two rays, and it can be shown to be transitive. Therefore, it partitions the set of all rays into equivalence classes, and Halin defined an end as one of these equivalence classes.

Sadness

Sadness (also called heavy-heartedness) is emotional pain associated with, or characterized by feelings of disadvantage, loss, despair, grief, helplessness, disappointment and sorrow. An individual experiencing sadness may become quiet or lethargic, and withdraw themselves from others. Crying is often an indication of sadness.

Sadness is one of the "six basic emotions" described by Paul Ekman, along with happiness, anger, surprise, fear and disgust.

In childhood

Sadness is a common experience in childhood. Acknowledging such emotions can make it much easier for families to address more serious emotional problems, although some families may have a (conscious or unconscious) rule that sadness is "not allowed".Robin Skynner has suggested that this may cause problems, because with sadness "screened-off" we are left a bit shallow and manic.

Sadness is part of the normal process of the child separating from an early symbiosis with the mother and becoming more independent. Every time a child separates just a tiny bit more, he or she will have to cope with a small loss. If the mother cannot allow the minor distress involved, the child may never learn how to deal with sadness by themselves. Pediatrician T. Berry Brazelton argues that too much cheering a child up devalues the emotion of sadness for them; and Selma Fraiberg suggests that it is important to respect a child's right to experience a loss fully and deeply.

Sad (album)

Sad is the fourth Nels Cline Trio album. The album was recorded at New Zone Studio by Wayne Peet.

Track listing

Personnel

Sad (sura)

Sūrat Ṣād (Arabic: سورة ص‎, "The Letter Sad") is the 38th sura of the Qur'an with 88 ayat and 1 sajdah (39:24). Sad (ص) is the name of the eighteenth letter in the Arabic alphabet.

Saad was sent to Muhammad by God while he was coping with rejection from his tribe, the Quraysh, and struggling to keep his own faith. It recounts stories of previous prophets, describes the splendors of heaven, and warns of the monstrosities of hell. The sura dates to the 2nd Meccan Period, meaning it was revealed only five or six years into the development of Islam.

Historical context

Sura 38 substantiates Muhammad's role as Prophet through concrete examples of previous messengers of God and the evils that have befallen the people who did not heed sacred messages. Angelika Neurwirth terms these “retribution legends” (McAuliffe, 105). They “prove that divine justice is at work in history, the unjustly harassed being rewarded with salvation, the transgressors and unbelievers punished by annihilation” (McAuliffe, 106). Through regular reference to biblical characters and a self-assertive tone praising both Muhammad and God, the reader can attribute this sura to the 2nd Meccan Period, according to Noldeke’s chronology . The coherent text builds up to descriptions of both heaven and hell on the Day of Judgment. The wide scope of historical figures—ranging from Old Testament characters such as David, Solomon, and Job, to the devil of Islam, Iblis—were designed to resonate with a wide audience in the face of the disbelief among the Quaryash, Muhammad’s clan; as Ernst poignantly states, Muhammad was likely dealing with “religiously well-informed skeptics” . Like many contemporary passages, Sura 38 attempts to convert the reader to a monotheistic religion honoring Muhammad as Prophet by promising salvation for true believers on the Day of Judgment.