O.E. munuc, from P.Gmc. *muniko- (cf. O.Fris. munek, M.Du. monic, O.H.G. munih, Ger. Mönch), an early borrowing from V.L. *monicus (cf. Fr. moine, Sp. monje, It. monaco), from L.L. monachus "monk," originally "religious hermit," from Late Gk. monakhos "monk," noun use of a classical Gk. adj. meaning

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"solitary," from monos "alone" (see mono-).

"In England, before the Reformation, the term was not applied to the members of the mendicant orders, who were always called friars. From the 16th c. to the 19th c., however, it was usual to speak of the friars as a class of monks. In recent times the distinction between the terms has been carefully observed by well-informed writers. In Fr. and Ger. the equivalent of monk is applied equally to 'monks' and 'friars.' " [OED]

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"Listening to Thelonious Monk play I Surrender, Dear, or listening to Cecil Taylor play one of his own compositions, we are concerned with the struggle of the performer against the predetermined nature of his medium (the theme, the chord structure, etc.). Like jazz performance, film acting is improvisatory, on an almost metaphysical level. In the drama, the aim of performance is to achieve a kind of psychophysical translucence, whereby the potencies imagined by the author of the drama "shine through" the immitigable fasciculate of presence-on-the-stage. In film, however, the dramatic text is—rightly—only a pre-text for its eruption into the moving figures, the absurd images, who are not really there but whom the film, at the height of its artifice, can convince us do exist in their own lucid fasciculate."

-Frank D. McConnell

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