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-ana (more frequently -iana) is a suffix of Latin origin, used in English to convert nouns, usually proper names, into mass nouns, as in Shakespeareana or Dickensiana, items or stories related to William Shakespeare or Charles Dickens, respectively.
The recognition of this usage as a self-conscious literary construction, typically as a book title, traces back at least to 1740, when it was mentioned in an edition of Scaligerana, a collection of table talk of Joseph Justus Scaliger, from around 150 years previously. By that period Scaliger was described as "the father, so to speak, of all those books published under the title of -ana".
As grammatical construction it is the neuter plural, nominative form of an adjective: so from Scaliger is formed first the adjective Scaligeranus (Scaligeran) which is then put into the form of an abstract noun Scaligerana (Scaligeran things). In Americana, a variant construction, the adjectival form already exists as Americanus, so it is simply a neuter plural (suffix –a on the stem American-); the case of Victoriana, things associated with the Victorian period, is superficially similar, but the Latin adjective form is Dog Latin.
Anah or Ana (Arabic: عانة, ʾĀna), formerly also known as Anna, is an Iraqi town on the Euphrates river, approximately mid-way between the Gulf of Alexandretta and the Persian Gulf. Anah lies from west to east on the right bank along a bend of the river just before it turns south towards Hit.
The town is called Ha-na-atTemplate:Supsmall in a Babylonian letter around 2200 BC,A-na-at by the scribes of Tukulti-Ninurta c. 885 BC, and An-at by the scribes of Assur-nasir-pal II in 879 BC. The name has been connected with the widely-worshipped war goddess Anat. It was known as Anathō (Greek: Άναθω) to Isidore Charax and Anatha to Ammianus Marcellinus; early Arabic writers described it variously as ʾĀna or (as if plural) ʾĀnāt.
Despite maintaining its name across 42 centuries, the exact location of the settlement seems to have moved from time to time. Sources across most of its early history, however, place Anah on an island in the Euphrates.
Its early history under the Babylonians is uncertain. A 3rd-millennium BC letter mentions six "men of Hanat" are mentioned in a description of disturbances in the Residency of Suhi, which would have included the district of Anah. It is probably not the place mentioned by Amenhotep I in the 16th century BC or in the speech of Sennacherib's messengers to Hezekiah, but probably was the site "in the middle of the Euphrates" opposite which Assur-nasir-pal II halted during his 879 BC campaign. It may also be mentioned in four 7th-century BC documents edited by Claude Hermann Walter Johns.
Ana is a 1982 Portuguese independent docufictional and ethnofictional feature film, written, directed and edited by António Reis and Margarida Cordeiro. It was filmed in Trás-os-Montes like António Reis' previous film, Trás-os-Montes. The film was selected as the Portuguese entry for the Best Foreign Language Film at the 58th Academy Awards, but was not accepted as a nominee.
Ana was present at film festivals like the Venice Film Festival, the Berlin Film Festival, Rotterdam Film Festival, Hong Kong International Film Festival or the São Paulo International Film Festival.
The film was in exebition in Paris for three months.
In 2011, Ana was screened at the Jeonju International Film Festival, marking the beginning of the international rediscover of the work of António Reis and Margarida Cordeiro. In 2012, the film was screened in the United States at the Harvard Film Archive, the Anthology Film Archives, at the UCLA Film and Television Archives and at the Pacific Film Archive as part of The School of Reis program.
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Listen is the first full-length album from Brooklyn-based symphonic rock band Emanuel and the Fear and was released via Paper Garden in March 2010.
Regarding Emanuel and the Fear's first full-length record, The 405 wrote: "The haunting mish-mash of psychedelia, poetic lyrics, pop and post-rock is tremendously put together and while a little overblown at times, it never gets in the way of the clarity of any song. Mixing The National's sentimentality with the integrity of Eels, a dedicated cult following already awaits."
