The Authors Guild is America's oldest and largest professional organization for writers and provides advocacy on issues of free expression and copyright protection. Since its founding in 1912 as the Authors League of America, it has counted among its board members notable authors of fiction, nonfiction, and poetry, including numerous winners of the Nobel and Pulitzer Prizes and National Book Awards. It has over 9,000 members, who receive free legal advice and guidance on contracts with publishers as well as insurance services and assistance with subsidiary licensing and royalties.

The group lobbies at the national and state levels on censorship and tax concerns, and it has initiated or supported several major lawsuits in defense of authors' copyrights. In one of those, a class-action suit claiming that Google acted illegally when it scanned millions of copyrighted books without permission, the Authors Guild lost on appeal in the United States Court of Appeals for the Second Circuit.

On multiple occasions, Authors Guild has fought the consolidation of the publishing industry through the mergers of large publishers, and it has pressed the publishers to increase royalty rates for ebooks.

History
The original Authors League of America was organized with headquarters in New York City in order "to protect the rights of all authors, whether engaged in literary, dramatic, artistic, or musical competition, and to advise and assist all such authors". In 1921, the Dramatists Guild of America split off as a separate group to represent writers of stage and, later, radio drama.

Past council presidents of the Authors Guild have included the novelists Pearl S. Buck, Rex Stout, Scott Turow, Douglas Preston and Madeleine L'Engle, the biographers Anne Edwards and Robert Caro, the journalists Herbert Mitgang and J. Anthony Lukas, the children's book author Mary Pope Osborne, and the historians William Shirer and Robert Massie. In 2014, the guild's members elected Roxana Robinson as president and Judy Blume as vice president. In 2023, the guild's members elected Maya Shanbhag Lang as president and Mary Bly as vice president.

Freelancers' suit

In June 2014, the guild announced final approval of an $18-million settlement of a class-action suit it brought in 2000, along with the American Society of Journalists and Authors, the National Writers Union and 21 freelance writers. The suit claimed that major electronics databases such as Lexis-Nexis had violated the rights of thousands of freelancers. Their work had originally appeared in newspapers and magazines including The New York Times and Time magazine and had then been resold to the databases without the writers' permission.

The publishers had argued that the databases constituted a fair "revision" of the original print articles, but the United States Supreme Court ruled in June 2001 that the writers must be compensated for their digital rights. Further litigation and negotiation led to a settlement that provided payments to the freelancers of up to $1,500 per article. The specific amount depended on whether (and, if so, when) an infringed article had been registered with the U.S. Copyright Office.

Conflict with Google

On September 20, 2005, the Authors Guild, together with Herbert Mitgang, Betty Miles and Daniel Hoffman, filed a class action lawsuit against Google for its Book Search project. According to the Authors Guild, Google was committing copyright infringement by making digital copies of books that were still protected by copyright. (Google countered that their use was fair according to US copyright law.)

On October 28, 2008, the Authors Guild, the Association of American Publishers, and Google announced that they had settled Authors Guild v. Google.  Google agreed to a $125 million payout, $45 million of that to be paid to rightsholders whose books were scanned without permission. The Google Book Search Settlement Agreement allowed for legal protection for Google's scanning project, even though neither side changed its position about whether scanning books was fair use or copyright infringement. The Settlement also would have established a new regulatory organization, the Book Rights Registry, which would be responsible for allocating fees from Google to rightsholders.

The settlement between the Authors Guild and Google was rejected in 2011 by a judge at the district court level, who thought the settlement was not in the authors' best interest.

In October 2015, the United States Court of Appeals for the Second Circuit sided with Google citing fair use and that the scanned and posted excerpts works do not harm the authors by having parts of the books online.

In late December 2015, the Authors Guild filed a writ of certiorari with the Supreme Court against Google in their long-standing battle over whether copyright laws allow for the search engine to scan and post excerpts from books for the Google Books service, which in April 2016 declined to review the case, leaving the lower court's decision standing.

See also
 Books in the United States

References

External links
 The Authors Guild website
 Press release re suing Google
  Authors sue Google over book plan

1912 establishments in New York City
American writers' organizations
Organizations based in New York City
Professional associations based in the United States
Organizations established in 1912

Authors Guild


Ergodic theory is a branch of mathematics that studies statistical properties of deterministic dynamical systems; it is the study of ergodicity. In this context, "statistical properties" refers to properties which are expressed through the behavior of time averages of various functions along trajectories of dynamical systems. The notion of deterministic dynamical systems assumes that the equations determining the dynamics do not contain any random perturbations, noise, etc. Thus, the statistics with which we are concerned are properties of the dynamics.

Ergodic theory, like probability theory, is based on general notions of measure theory.  Its initial development was motivated by problems of statistical physics.

A central concern of ergodic theory is the behavior of a dynamical system when it is allowed to run for a long time. The first result in this direction is the Poincaré recurrence theorem, which claims that almost all points in any subset of the phase space eventually revisit the set. Systems for which the Poincaré recurrence theorem holds are conservative systems; thus all ergodic systems are conservative.

More precise information is provided by various ergodic theorems which assert that, under certain conditions, the time average of a function along the trajectories exists almost everywhere and is related to the space average. Two of the most important theorems are those of Birkhoff (1931) and von Neumann which assert the existence of a time average along each trajectory. For the special class of ergodic systems, this time average is the same for almost all initial points: statistically speaking, the system that evolves for a long time "forgets" its initial state. Stronger properties, such as mixing and equidistribution, have also been extensively studied.

The problem of metric classification of systems is another important part of the abstract ergodic theory. An outstanding role in ergodic theory and its applications to stochastic processes is played by the various notions of entropy for dynamical systems.

The concepts of ergodicity and the ergodic hypothesis are central to applications of ergodic theory. The underlying idea is that for certain systems the time average of their properties is equal to the average over the entire space. Applications of ergodic theory to other parts of mathematics usually involve establishing ergodicity properties for systems of special kind. In geometry, methods of ergodic theory have been used to study the geodesic flow on Riemannian manifolds, starting with the results of Eberhard Hopf for Riemann surfaces of negative curvature. Markov chains form a common context for applications in probability theory. Ergodic theory has fruitful connections with harmonic analysis, Lie theory (representation theory, lattices in algebraic groups), and number theory (the theory of diophantine approximations, L-functions).

Ergodic transformations

Ergodic theory is often concerned with ergodic transformations.  The intuition behind such transformations, which act on a given set, is that they do a thorough job "stirring" the elements of that set. E.g. if the set is a quantity of hot oatmeal in a bowl, and if a spoonful of syrup is dropped into the bowl, then iterations of the inverse of an ergodic transformation of the oatmeal will not allow the syrup to remain in a local subregion of the oatmeal, but will distribute the syrup evenly throughout.  At the same time, these iterations will not compress or dilate any portion of the oatmeal: they preserve the measure that is density.

The formal definition is as follows:

Let  be a measure-preserving transformation on a measure space , with .  Then  is ergodic if for every  in  with , either  or .

The operator Δ here is the symmetric difference of sets, equivalent to the exclusive-or operation with respect to set membership. The condition that the symmetric difference be measure zero is called being essentially invariant.

Examples

 An irrational rotation of the circle R/Z, T: x → x + θ, where θ is irrational, is ergodic. This transformation has even stronger properties of unique ergodicity, minimality, and equidistribution. By contrast, if θ = p/q is rational (in lowest terms) then T is periodic, with period q, and thus cannot be ergodic: for any interval I of length a, 0 < a < 1/q, its orbit under T (that is, the union of I, T(I), ..., Tq−1(I), which contains the image of I under any number of applications of T) is a T-invariant mod 0 set that is a union of q intervals of length a, hence it has measure qa strictly between 0 and 1.
 Let G be a compact abelian group, μ the normalized Haar measure, and T a group automorphism of G. Let G* be the Pontryagin dual group, consisting of the continuous characters of G, and T* be the corresponding adjoint automorphism of G*. The automorphism T is ergodic if and only if the equality (T*)n(χ) = χ is possible only when n = 0 or χ is the trivial character of G. In particular, if G is the n-dimensional torus and the automorphism T is represented by a unimodular matrix A then T is ergodic if and only if no eigenvalue of A is a root of unity.
 A Bernoulli shift is ergodic. More generally, ergodicity of the shift transformation associated with a sequence of i.i.d. random variables and some more general stationary processes follows from Kolmogorov's zero–one law.
 Ergodicity of a continuous dynamical system means that its trajectories "spread around" the phase space. A system with a compact phase space which has a non-constant first integral cannot be ergodic. This applies, in particular, to Hamiltonian systems with a first integral I functionally independent from the Hamilton function H and a compact level set X = {(p,q): H(p,q) = E} of constant energy. Liouville's theorem implies the existence of a finite invariant measure on X, but the dynamics of the system is constrained to the level sets of I on X, hence the system possesses invariant sets of positive but less than full measure. A property of continuous dynamical systems that is the opposite of ergodicity is complete integrability.

Ergodic theorems
Let T: X → X be a measure-preserving transformation on a measure space (X, Σ, μ) and suppose ƒ is a μ-integrable function, i.e. ƒ ∈ L1(μ). Then we define the following averages:

 Time average: This is defined as the average (if it exists) over iterations of T starting from some initial point x:

 Space average: If μ(X) is finite and nonzero, we can consider the space or phase average of ƒ:

In general the time average and space average may be different. But if the transformation is ergodic, and the measure is invariant, then the time average is equal to the space average almost everywhere. This is the celebrated ergodic theorem, in an abstract form due to George David Birkhoff.  (Actually, Birkhoff's paper considers not the abstract general case but only the case of dynamical systems arising from differential equations on a smooth manifold.) The equidistribution theorem is a special case of the ergodic theorem, dealing specifically with the distribution of probabilities on the unit interval.

More precisely, the pointwise or strong ergodic theorem states that the limit in the definition of the time average of ƒ exists for almost every x and that the (almost everywhere defined) limit function  is integrable:

Furthermore,  is T-invariant, that is to say

holds almost everywhere, and if μ(X) is finite, then the normalization is the same:

In particular, if T is ergodic, then  must be a constant (almost everywhere), and so one has that

almost everywhere. Joining the first to the last claim and assuming that μ(X) is finite and nonzero, one has that

for almost all x, i.e., for all x except for a set of measure zero.

For an ergodic transformation, the time average equals the space average almost surely.

As an example, assume that the measure space (X, Σ, μ) models the particles of a gas as above, and let ƒ(x) denote the velocity of the particle at position x. Then the pointwise ergodic theorems says that the average velocity of all particles at some given time is equal to the average velocity of one particle over time.

A generalization of Birkhoff's theorem is Kingman's subadditive ergodic theorem.

Probabilistic formulation: Birkhoff–Khinchin theorem

Birkhoff–Khinchin theorem. Let ƒ be measurable, E(|ƒ|) < ∞, and T be a measure-preserving map. Then with probability 1:

where  is the conditional expectation given the σ-algebra  of invariant sets of T.

Corollary (Pointwise Ergodic Theorem): In particular, if T is also ergodic, then  is the trivial σ-algebra, and thus with probability 1:

Mean ergodic theorem
Von Neumann's mean ergodic theorem, holds in Hilbert spaces.

Let U be a unitary operator on a Hilbert space H; more generally, an isometric linear operator (that is, a not necessarily surjective linear operator satisfying ‖Ux‖ = ‖x‖ for all x in H, or equivalently, satisfying U*U = I, but not necessarily UU* = I). Let P be the orthogonal projection onto {ψ ∈ H | Uψ = ψ} = ker(I − U).

Then, for any x in H, we have:

where the limit is with respect to the norm on H.  In other words, the sequence of averages

converges to P in the strong operator topology.

Indeed, it is not difficult to see that in this case any  admits an orthogonal decomposition into parts from  and  respectively. The former part is invariant in all the partial sums as  grows, while for the latter part, from the telescoping series one would have:

This theorem specializes to the case in which the Hilbert space H consists of L2 functions on a measure space and U is an operator of the form

where T is a measure-preserving endomorphism of X, thought of in applications as representing a time-step of a discrete dynamical system.  The ergodic theorem then asserts that the average behavior of a function ƒ over sufficiently large time-scales is approximated by the orthogonal component of ƒ which is time-invariant.

In another form of the mean ergodic theorem, let Ut be a strongly continuous one-parameter group of unitary operators on H.  Then the operator

converges in the strong operator topology as T → ∞. In fact, this result also extends to the case of strongly continuous one-parameter semigroup of contractive operators on a reflexive space.

Remark: Some intuition for the mean ergodic theorem can be developed by considering the case where complex numbers of unit length are regarded as unitary transformations on the complex plane (by left multiplication). If we pick a single complex number of unit length (which we think of as U), it is intuitive that its powers will fill up the circle. Since the circle is symmetric around 0, it makes sense that the averages of the powers of U will converge to 0. Also, 0 is the only fixed point of U, and so the projection onto the space of fixed points must be the zero operator (which agrees with the  limit just described).

Convergence of the ergodic means in the Lp norms
Let (X, Σ, μ) be as above a probability space with a measure preserving transformation T, and let 1 ≤ p ≤ ∞. The conditional expectation with respect to the sub-σ-algebra ΣT of the T-invariant sets is a linear projector ET of norm 1 of the Banach space Lp(X, Σ, μ) onto its closed subspace Lp(X, ΣT, μ). The latter may also be characterized as the space of all T-invariant Lp-functions on X. The ergodic means, as linear operators on Lp(X, Σ, μ) also have unit operator norm; and, as a simple consequence of the Birkhoff–Khinchin theorem, converge to the projector ET in the strong operator topology of Lp if 1 ≤ p ≤ ∞, and in the weak operator topology if p = ∞. More is true if 1 < p ≤ ∞ then the Wiener–Yoshida–Kakutani ergodic dominated convergence theorem states that the ergodic means of ƒ ∈ Lp are dominated in Lp; however, if ƒ ∈ L1, the ergodic means may fail to be equidominated in Lp. Finally, if ƒ is assumed to be in the Zygmund class, that is |ƒ| log+(|ƒ|) is integrable, then the ergodic means are even dominated in L1.

Sojourn time
Let (X, Σ, μ) be a measure space such that μ(X) is finite and nonzero. The time spent in a measurable set A is called the sojourn time.  An immediate consequence of the ergodic theorem is that, in an ergodic system, the relative measure of A is equal to the mean sojourn time:

for all x except for a set of measure zero, where χA is the indicator function of A.

The occurrence times of a measurable set A is defined as the set k1, k2, k3, ..., of times k such that Tk(x) is in A, sorted in increasing order. The differences between consecutive occurrence times Ri = ki − ki−1 are called the recurrence times of A. Another consequence of the ergodic theorem is that the average recurrence time of A is inversely proportional to the measure of A, assuming that the initial point x is in A, so that k0 = 0.

(See almost surely.) That is, the smaller A is, the longer it takes to return to it.

Ergodic flows on manifolds
The ergodicity of the geodesic flow on compact Riemann surfaces of variable negative curvature and on compact manifolds of constant negative curvature of any dimension was proved by Eberhard Hopf in 1939, although special cases had been studied earlier: see for example, Hadamard's billiards (1898) and Artin billiard (1924). The relation between geodesic flows on Riemann surfaces and one-parameter subgroups on SL(2, R) was described in 1952 by S. V. Fomin and I. M. Gelfand. The article on Anosov flows provides an example of ergodic flows on SL(2, R) and on Riemann surfaces of negative curvature.  Much of the development described there generalizes to hyperbolic manifolds, since they can be viewed as quotients of the hyperbolic space by the action of a lattice in the semisimple Lie group SO(n,1). Ergodicity of the geodesic flow on Riemannian symmetric spaces was demonstrated by F. I. Mautner in 1957. In 1967 D. V. Anosov and Ya. G. Sinai proved ergodicity of the geodesic flow on compact manifolds of variable negative sectional curvature. A simple criterion for the ergodicity of a homogeneous flow on a homogeneous space of a semisimple Lie group was given by Calvin C. Moore in 1966.  Many of the theorems and results from this area of study are typical of rigidity theory.

In the 1930s G. A. Hedlund proved that the horocycle flow on a compact hyperbolic surface is minimal and ergodic. Unique ergodicity of the flow was established by Hillel Furstenberg in 1972. Ratner's theorems provide a major generalization of ergodicity for unipotent flows on the homogeneous spaces of the form Γ \ G, where G is a Lie group and Γ is a lattice in G.

In the last 20 years, there have been many works trying to find a measure-classification theorem similar to Ratner's theorems but for diagonalizable actions, motivated by conjectures of Furstenberg and Margulis. An important partial result (solving those conjectures with an extra assumption of positive entropy) was proved by Elon Lindenstrauss, and he was awarded the Fields medal in 2010 for this result.

See also
 Chaos theory
 Ergodic hypothesis
 Ergodic process
 Kruskal principle
 Lindy effect
 Lyapunov time – the time limit to the predictability of the system
 Maximal ergodic theorem
 Ornstein isomorphism theorem
 Statistical mechanics
 Symbolic dynamics

References

Historical references
 .
 .
 .
 .
 .
 .
 .
 .

Modern references

 Vladimir Igorevich Arnol'd and André Avez, Ergodic Problems of Classical Mechanics. New York: W.A. Benjamin. 1968.
 Leo Breiman, Probability. Original edition published by Addison–Wesley, 1968; reprinted by Society for Industrial and Applied Mathematics, 1992. . (See Chapter 6.)

  (A survey of topics in ergodic theory; with exercises.)
 Karl Petersen. Ergodic Theory (Cambridge Studies in Advanced Mathematics). Cambridge: Cambridge University Press. 1990.
 Joseph M. Rosenblatt and Máté Weirdl, Pointwise ergodic theorems via harmonic analysis, (1993) appearing in Ergodic Theory and its Connections with Harmonic Analysis, Proceedings of the 1993 Alexandria Conference, (1995) Karl E. Petersen and Ibrahim A. Salama, eds., Cambridge University Press, Cambridge, . (An extensive survey of the ergodic properties of generalizations of the equidistribution theorem of shift maps on the unit interval. Focuses on methods developed by Bourgain.)
 A. N. Shiryaev, Probability, 2nd ed., Springer 1996, Sec. V.3. .
  (A detailed discussion about the priority of the discovery and publication of the ergodic theorems by Birkhoff and von Neumann, based on a letter of the latter to his friend Howard Percy Robertson.)
  Andrzej Lasota, Michael C. Mackey,  Chaos, Fractals, and Noise: Stochastic Aspects of Dynamics. Second Edition, Springer, 1994.
  Manfred Einsiedler and Thomas Ward, Ergodic Theory with a view towards Number Theory. Springer, 2011.
 Jane Hawkins, Ergodic Dynamics: From Basic Theory to Applications, Springer, 2021.

External links

 Ergodic Theory (16 June 2015) Notes by Cosma Rohilla Shalizi
 Ergodic theorem passes the test From Physics World

Ergodic theory


Sir Alan Arthur Bates  (17 February 1934 – 27 December 2003) was an English actor who came to prominence in the 1960s, when he appeared in films ranging from the popular children's story Whistle Down the Wind to the "kitchen sink" drama A Kind of Loving.

He is also known for his performance with Anthony Quinn in Zorba the Greek, as well as his roles in King of Hearts, Georgy Girl, Far From the Madding Crowd and The Fixer, for which he received an Academy Award nomination for Best Actor. In 1969, he starred in the Ken Russell film Women in Love with Oliver Reed and Glenda Jackson.

Bates went on to star in The Go-Between, An Unmarried Woman, Nijinsky and in The Rose with Bette Midler, as well as many television dramas, including The Mayor of Casterbridge, Harold Pinter's The Collection, A Voyage Round My Father, An Englishman Abroad (as Guy Burgess) and Pack of Lies. He also appeared on the stage, notably in the plays of Simon Gray, such as Butley and Otherwise Engaged.

Early life

Bates was born at the Queen Mary Nursing Home, Darley Abbey, Derby, England, on 17 February 1934, the eldest of three boys born to Florence Mary (née Wheatcroft), a housewife and a pianist, and Harold Arthur Bates, an insurance broker and a cellist. They lived in Allestree, Derby, at the time of Bates' birth, but briefly moved to Mickleover before returning to Allestree.

Both parents were amateur musicians who encouraged Bates to pursue music. However, by the age of 11, having decided to become an actor, he studied drama instead. He further developed his vocation by attending productions at Derby's Little Theatre.

Bates was educated at the Herbert Strutt Grammar School, Derby Road, Belper, Derbyshire (now "Strutts", a volunteer led business and community centre) and later gained a scholarship to the Royal Academy of Dramatic Art in London, where he studied with Albert Finney and Peter O'Toole, before leaving to join the RAF for National Service at RAF Newton.

Career

Early stage appearances
Bates's stage debut was in 1955, in You and Your Wife, in Coventry.

In 1956 he made his West End debut as Cliff in Look Back in Anger, a role he had originated at the Royal Court and which made him a star. He also played the role on television (for the ITV Play of the Week) and on Broadway. He also was a member of the 1967 acting company at the Stratford Festival in Canada, playing the title role in Richard III.

Television
In the late 1950s Bates appeared in several plays for television in Britain in shows such as ITV Play of the Week, Armchair Theatre and  ITV Television Playhouse.

In 1960 appeared as Giorgio in the final episode of The Four Just Men (TV series) entitled Treviso Dam.

Bates made his feature film debut in The Entertainer (1960) opposite Laurence Olivier, his first film role. Bates worked for the Padded Wagon Moving Company in the early 1960s while acting at the Circle in the Square Theatre in New York City.

Film stardom
Bates played the lead in his second feature, Whistle Down the Wind (1961), directed by Bryan Forbes. He followed it with the lead in A Kind of Loving (1962), directed by John Schlesinger. Both films were very popular, establishing Bates as a film star.

Film critics cited the 1963 film noir, The Running Man, as being one of Alan Bates' finest performances. The film starred Laurence Harvey, Lee Remick and Bates in the supporting role of Stephen Maddox, an insurance company investigator who encounters Harvey and Remick in Spain after Harvey successfully faked his death in an aeroplane crash to cash in on a life insurance policy, leaving wife Lee Remick a small fortune. Fans of film noir enjoyed the many intriguing twists and turns The Running Man offered. The film also offered movie fans a depth of character study worthy of a memorable film noir. Bates' character worked well with Harvey and Remick, helping director Carol Reed craft an ever-guessing, suspenseful story of cat and mouse detective work that moved seamlessly from beginning to end. While many movies in film noir have predictable plots, The Running Man featured a plot that was unpredictable, which was its best asset. The film's finale saw Lee Remick standing wearily on a dock, looking at a departing boat with the Rock of Gibraltar looming in the background.

Bates went into an adaptation of Harold Pinter's The Caretaker (1963) with Donald Pleasence and Robert Shaw. It was directed by Clive Donner who then made Nothing But the Best (1964) with Bates.

He supported Anthony Quinn in Zorba the Greek (1964) and James Mason in Georgy Girl (1966). Bates returned to TV doing episodes of Wednesday Theatre and starred in Philippe de Broca's King of Hearts (1966).

Bates was reunited with Schlesinger in Far From the Madding Crowd (1967), starring Julie Christie then did the Bernard Malamud film The Fixer (1968), which earned him an Academy Award nomination for Best Actor.

In 1969 he starred in Women in Love directed by Ken Russell with Oliver Reed and Glenda Jackson, in which Bates and Reed wrestled naked. He followed it appearing as Col. Vershinin in the National Theatre's film of Three Sisters, directed by and co-starring Laurence Olivier.

Bates was handpicked by director John Schlesinger (with whom he had previously worked on A Kind of Loving and Far From The Madding Crowd) to play the starring role of Dr. Daniel Hirsh in the film Sunday Bloody Sunday (1971). Bates was held up filming The Go-Between (1971) for director Joseph Losey alongside Christie, and had also become a father around that time, and so he had to refuse the role. (The part then went first to Ian Bannen, who balked at kissing and simulating sex with another man, and then to Peter Finch who earned an Academy Award nomination for the role.)

Bates starred in the film of A Day in the Death of Joe Egg (1972) and produced and appeared in a short, Second Best (1972).

He starred in Story of a Love Story (1973), and some play adaptations, Butley (1974) and In Celebration (1975). He was the villain in Royal Flash (1975) and appeared on television in Plays for Today and the Laurence Olivier Presents version of Harold Pinter's The Collection (1976).

Television (1970s and 80s)
Bates starred in the TV movie Piccadilly Circus (1977) and The Mayor of Casterbridge (1978). In the latter he played Michael Henchard, the ultimately-disgraced lead, which he described as his favourite role.

He starred in such international films as An Unmarried Woman (1978) and Nijinsky (1980), and also played Bette Midler's ruthless business manager in the film The Rose (1979). He was also in The Shout (1979) and Very Like a Whale (1980).

He played two diametrically opposed roles in An Englishman Abroad (1983), as Guy Burgess, a member of the Cambridge spy ring exiled in Moscow, and in Pack of Lies (1987), as a British Secret Service agent tracking several Soviet spies.

Later career
Bates continued working in film and television in the 1990s, including the role of Claudius in Franco Zeffirelli's version of Hamlet (1990). In 2001 he joined an all-star cast in Robert Altman's critically acclaimed period drama Gosford Park, in which he played the butler Jennings. He later played Antonius Agrippa in the 2004 TV film Spartacus, but died before it premiered. The film was dedicated to his memory and that of writer Howard Fast, who wrote the original novel that inspired the film Spartacus by Stanley Kubrick.

On stage Bates had a particular association with the plays of Simon Gray, appearing in Butley, Otherwise Engaged, Stage Struck, Melon, Life Support and Simply Disconnected, as well as the film of Butley and Gray's TV series Unnatural Pursuits. In Otherwise Engaged, his co-star was Ian Charleson, who became a friend, and Bates later contributed a chapter to a 1990 book on his colleague after Charleson's early death.

Bates was made a Commander of the Order of the British Empire (CBE) in 1996, and was knighted in 2003.  and was a patron of The Actors Centre, Covent Garden, London, from 1994 until his death in 2003.

Personal life
Bates was married to actress Victoria Ward from 1970 until her death from a heart attack in 1992, although they had separated many years earlier. They had twin sons, born in November 1970, the actors Benedick Bates and Tristan Bates. Tristan died following an asthma attack in Tokyo in 1990.

Bates had numerous gay relationships, including those with actor Nickolas Grace and Olympic skater John Curry as detailed in Donald Spoto's authorised biography  Otherwise Engaged: The Life of Alan Bates. Spoto characterised Bates's sexuality as ambiguous, and said, "he loved women but enjoyed his closest relationships with men". Even after homosexuality was partially decriminalised in England in 1967, Bates rigorously avoided interviews and questions about his personal life, and even denied to his male lovers that there was a homosexual component in his nature. Throughout his life Bates sought to be regarded as a ladies' man or at least as a man who, as an actor, could appear attractive to and attracted by women. He also chose some roles with an aspect of homosexuality or bisexuality, including the role of Rupert in the 1969 film Women in Love and the role of Frank in the 1988 film We Think the World of You.

In the later years of his life, Bates had a relationship with the Welsh actress Angharad Rees.

Death
Bates died of pancreatic cancer in December 2003 after going into a coma. He is buried at All Saints' Church, Bradbourne in Derbyshire.

Otherwise Engaged: The Life of Alan Bates
Donald Spoto's 2007 book, Otherwise Engaged: The Life of Alan Bates, is a posthumous authorised biography of Alan Bates. It was written with the cooperation of his son Benedick and includes more than one hundred interviews, such as those with Michael Linnit and Rosalind Chatto.

Tristan Bates Theatre
Bates and his family created the Tristan Bates Theatre at the Actors' Centre in Covent Garden, in memory of his son Tristan who died at the age of 19. Tristan's twin brother, Benedick, is a vice-director.

Filmography

Film

Television

Awards
 1959 Clarence Derwent Award for A Long Day's Journey into Night
 1971 Evening Standard Best Actor Award for Butley
 1972 Best Actor Tony for Butley (a performance he recreated in the film version of the same name, Butley in 1974)
 1975 Variety Club Award for Otherwise Engaged
 1983 Variety Club Award for A Patriot for Me
 2000 Drama Desk and Lucille Lortel Award for Unexpected Man
 2002 Best Actor Tony and Drama Desk, for Fortune's Fool

References

External links

1934 births
2003 deaths
Actors awarded knighthoods
Alumni of RADA
Audiobook narrators
Bisexual male actors
Deaths from cancer in England
Deaths from pancreatic cancer
Drama Desk Award winners
English male film actors
English male radio actors
English male stage actors
English male television actors
English male voice actors
English LGBT actors
BAFTA winners (people)
Knights Bachelor
Commanders of the Order of the British Empire
Outstanding Performance by a Cast in a Motion Picture Screen Actors Guild Award winners
People from Allestree
Royal Shakespeare Company members
English male Shakespearean actors
Tony Award winners
20th-century English male actors
21st-century English male actors
Male actors from Derbyshire
Actors from Derby

Alan Bates


Impressionism is a style of painting which began in France in the late 19th century. Impressionist painting shows life-like subjects painted in a broad, rapid style, with brushstrokes that are easily seen and colours that are often bright. The term 'impressionism' comes from a painting by Claude Monet, which he showed in an exhibition with the name Impression, soleil levant ("Impression, Sunrise"). An art critic called Louis Leroy saw the exhibition and wrote a review in which he said that all the paintings were just "impressions".

Impressionist painters are mostly known for their work in oil paint on canvas. Some impressionist painters also made watercolours and prints. There is also some impressionist sculpture.

History

In the 19th century, most artists learned to paint by attending an art school or academy. The academies were very strict about the way that young artists learnt to paint. The popular style of painting was called classicism. Classical paintings were always done inside a studio. They often showed stories from mythology. An artist would prepare for a painting by doing lots of drawings. The paintings were very smoothly and carefully painted.

At the same time there were several painters who loved to paint the French landscape and the village people in a realist way, different from Classicism. They would often make small quick paintings out of doors, and then finish them in the studio. These artists include Gustave Courbet and Jean-Baptiste Corot. Edgar Degas wrote in 1883: "There is one master, Corot. We are nothing in comparison, nothing". A group of young painters who admired the work of these artists became friends and started painting together. These artists were Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Frédéric Bazille, Camille Pissarro, Paul Cézanne, and Armand Guillaumin.

Every year the academy in Paris would hold a big exhibition (art show) called the Salon de Paris. In 1863 an artist called Edouard Manet put a picture into the show called Lunch on the Grass ("Le déjeuner sur l'herbe"). The judges at the Salon refused to hang this work in the gallery because it showed a naked woman sitting on the grass with two men wearing clothes. If the painting had been about Ancient Greek mythology, this would not be a problem but these men were wearing ordinary suits, and the woman's dress and hat were lying on the grass. Perhaps she was a prostitute! The judges said that the painting was indecent (very rude). Monet and his friends also had their paintings turned away. They were angry and they met with Manet to discuss this. The Emperor Napoleon III gave permission for another exhibition called the Salon des Refusés which showed all the pictures that had been "refused". Many people went to see this exhibition and soon discovered that there was a new "movement" in art, quite different from the style that they were used to.

In 1872 Monet and his friends formed a society called the "Cooperative and Anonymous Association of Painters, Sculptors, and Engravers". They began to organize their own art show. In 1874 thirty artists held their first exhibition. The critic Louis Leroy made fun of their work and wrote an article called The Exhibition of the Impressionists. The public who came to the exhibition also began to use this name. The painters themselves soon started to use the name "Impressionists" and they have been called by that name ever since. They had eight exhibitions between 1874 and 1886. They paid a dealer called Paul Durand-Ruel to organise exhibitions, and he arranged shows in London and New York. Bit by bit, their paintings became popular. Some of the Impressionists, Monet and Renoir, lived to be old and famous, but others died very poor. The main artists who are called "Impressionists" include Claude Monet, Auguste Renoir, Paul Cézanne, Camille Pissarro, Alfred Sisley, Edgar Degas, Berthe Morisot, Armand Guillaumin, Mary Cassatt, Gustave Caillebotte and Frederic Bazille.

Many artists worked with the Impressionists for a short time, but then began to try out new ideas. These artists all painted in different ways, but together are called the Post-Impressionists. They include Georges Seurat, Paul Cézanne, Paul Gauguin, Henri de Toulouse-Lautrec, and Vincent van Gogh.

While the French Impressionist painters were at work in France, painters in other countries were also beginning to paint outdoors in a broader style. Eventually the Impressionist style spread to many countries across Europe, to North America and Australia. Some artists continued to paint in the Impressionist style right through the 20th century.

Subject and style

Impressionism and photography
Before the time of the Impressionists, many artists worked by painting portraits. Before the invention of the camera, painted portraits were the main way to record a person's "appearance" (what they looked like). But by the time the Impressionists started painting, there were many photographers who had studios where people could go to be photographed. As cameras improved, photographers started taking "snapshots" of scenery and people outdoors.

Photography had two effects on painters. Firstly, it meant that it was much harder for them to live by painting portraits. Many artists became very poor. Secondly, the image taken by a camera often has interesting angles and viewpoints that are not usually painted by artists. Impressionist painters were able to learn from photographs. Many Impressionist paintings make the viewer feel as if they were right there, looking at the scene through the eyes of the artist.

Subjects
Impressionist painters did not paint from their imagination, from literature, history or mythology like most other painters of the 19th century. They painted what they saw in the world around them: the town where they lived, the landscape where they went on holiday, their family, their friends, their studios and the things that were around their home. Sometimes they were "commissioned" (given a job) to paint a portrait of someone.

Impressionist painters liked to paint "ordinary" things that were part of everyday life. They painted women doing the washing and ironing, ballet dancers doing exercises, horses getting ready for a race and a bored-looking waitress serving a customer. Nobody, before the Impressionists, had ever thought that these subjects were interesting enough to paint.

Even though many Impressionist artists painted people, they are thought of mainly for their landscape painting. Impressionist painters were not satisfied with doing some drawings or quick painted sketches outdoors and then making grand pictures in the studio. Impressionist painters were not satisfied with painting the shape of the land, the buildings and trees. They wanted to capture the light and the weather.

Technique
The Impressionist painters looked for a "technique" (a way of doing something) to paint landscapes that showed the light and the weather. The light and the weather change all the time. The light of the sun on the landscape changes every minute as the Earth turns. Impressionist painters looked at the works of earlier French artists such as Camille Corot and Gustave Courbet. Courbet often took his paints outdoors and made quick coloured sketches that he could then use to make large paintings in his studio. The Impressionist painters were more interested in the sketches than the finished paintings.

Another artist, Eugene Boudin, used to sit on the beach at Deauville with his oil paints, and make quick paintings of the people on holiday. They would sometimes buy his paintings as souvenirs.

Claude Monet met Boudin and learnt that the only way to "capture" the way that a landscape looked at a particular time was to paint small pictures, very quickly, and without bothering to mix the paints up to make nice smooth even colours. Impressionist painters would use big brushstrokes of different bright colours and let them get mixed up on the canvas, instead of carefully mixing them up on a palette first. By painting in this way, without bothering with the details, Impressionist painters capture a realistic "impression" of a the world that they saw around them.

Some of the things that they painted were: snow gently falling over a town, mist rising on a river in the pink morning light, people walking through a field of wheat with bright red poppies growing in it, sunlight dappling through leaves onto people dancing, a train sending up clouds of smoke in a big railway station, and water lillies floating on a pool under drooping willows.

Most Impressionist landscape paintings are small, so that the artist could carry them outdoors. Some artists, particularly Claude Monet, would take several canvases, and as the day went on and the light changed, he would put down one and take up another. He rented a room from which he could see Rouen Cathedral so that he could paint it from the window at different times of day. Monet also did a series of Haystack paintings, showing them standing in the field from different angles and in all sorts of weather, bright sunshine, morning frost and snow. Paintings that are done outdoors are called "plein air" paintings. The Impressionist painters often used to go out together on painting trips, so there are many pictures that can be compared.

Other impressionist art forms
The term "impressionism" has been used for other forms of art, such as writing and music. Octave Mirbeau is often described as an impressionist writer. In 1887, music critics said the works of Claude Debussy were impressionist. Later, other composers were also described as impressionist, including Maurice Ravel, Paul Dukas, Erik Satie and Albert Roussel.

Gallery of impressionist paintings
Click on each image to enlarge it, to see the way each artist has used brush-strokes and colour.

Capturing the scene

Seeing like a camera

People outdoors

Changing seasons in the town

Light on water

Timeline: Lives of the Impressionists
The Impressionists

Related pages
 Post-impressionists
 Neo-impressionism
 Pointillism
 Expressionism
 Fauvism
 Cubism
 Impressionist music

References

More reading
 Helen Gardner, Art through the Ages, Harcourt, Brace and World, Inc.
 Jurgen Schultze, Art of Nineteenth-Century Europe, Abrams, (1979)
 Nathaniel Harris, The Impressionists, Viscount Books, (1984)

Impressionism


Djurgårdsbron (Swedish: "The Djurgården Bridge") is a bridge in central Stockholm, Sweden.  Designed by Carl Fraenell and built for the Stockholm World's Fair 1897, the present bridge forms a southern extension to the boulevard Narvavägen, thus connecting mainland Östermalm to the island Djurgården.  It is one of four bridges stretching from Djurgården, the others being Djurgårdsbrunnsbron, Beckholmsbron, and Lilla Sjötullsbron.

Featured on the bridge standing on tall granite columns are four Old Norse gods, sculpted by Rold Adlersparre: Heimdall blowing in his Gjallarhorn; Odin's wife Frigg holding a rod; Freyja with a falcon (one of her guises) in her hand; and Thor with his hammer Mjolnir resting on his shoulder.  Flanking the pathways are cast iron railings displaying stylized plants and the abutments and candelabras designed by the architect Erik Josephson (1864–1929).

History

Preceded by a bridge much further east and thus simply referred to as "the new bridge", the original bridge at this location first appears on a map dated 1696.  However, duties covering the costs for material and carpenters required for its construction are brought up in the Royal accounts as early as 1661.

Appearing together with the original bridge on a map dated 1733, a new bridge built in 1730 by King Frederick I (1676–1751) requiring a roadworthy passage to the Royal hunting grounds, was referred to as Fredrikshovsbron ("The Court of Frederick Bridge") due to its vicinity to the palace Fredrikshov.  Concerned for the state of the bridge, the king six years later had the bridge leased out to the island's surveyor, who, made responsible for its maintenance, was authorized to take up bridge tolls fixed by the king.  The bridge gave way, non the less, under the king's coach in 1745.

The bridge is mentioned again in 1801, then referred to as Djurgårdsflottbro ("The Djurgården Pontoon Bridge"), said to allow the passing of ships, and having a ramp crossing a marshy terrain and therefore partly resting on logs.  This bridge, in 1820 described as decayed, rotten, and grass-grown, was replaced by another wooden bridge in 1825 on the order of King Charles XIV John (1763–1844). A stone bridge discussed at this time was never carried out, and by 1849 the new bridge was in such a state it had to be replaced by a three-span iron bridge resting on wooden poles.  To ensure the loading ratio before its inauguration, 200 men from the guard regiment nearby were order to march back and forth across the bridge in different formations, an odd practice considering the insignificant number of people being able to swim at the time.

Reinforced in 1886, the iron bridge was demolished in 1895 to be replaced by the current three-span steel bridge, 18 metres wide, about 58 metres long, and able to carry the new trams.  The provisional bridge used during the construction was pulled down following the World's Fair in 1897.  Because of post-WW2 traffic loads, the bridge had to be reconstructed in 1977, a job done in three months - the three spans wielded on the quay and lifted in place using a pontoon crane.

See also
 List of bridges in Stockholm

References

External links
 Stockholmskällan - historical images of Djurgårdsbron.

Bridges in Stockholm
Bridges completed in 1897
World's fair architecture in Stockholm
Former toll bridges in Sweden
1897 establishments in Sweden
Rail infrastructure in Stockholm County

Djurgårdsbron


Polly Jean Harvey MBE (born 9 October 1969) is an English musician. She is best known for being a singer and guitarist. Her music is usually released under the name PJ Harvey. She plays lots of instruments as well as the guitar. These include piano, organ, bass, saxophone, harmonica, and most recently, the autoharp. She has a contralto singing range. In June 2013, she made a Member of the Order of the British Empire for her music.

Early life
Harvey was born in Bridport, Dorset, England. She grew up on a farm in Corscombe, Dorset.

Career

PJ Harvey Trio
In 1988, Harvey became a member of a band called Automatic Dlamini. The band was started by John Parish in 1983. She left it in January 1991. This was to make her own band with Rob Ellis and Steve Vaughan. The band was called the PJ Harvey Trio.

Their first extended play was Dress. In March 1992, she released her first album with them on Too Pure Records. It was called Dry. It entered the UK Albums Chart at number 3. It got good reviews. The album's first single, "50ft Queenie", was released in April 1992.

The PJ Harvey Trio's second album Rid of Me was released by Island Records in May 1993. It reached number 27 in the UK Singles Chart. It was produced by Steve Albini and Head.

In August 1993, the band broke up.

Solo work
In 1995, Harvey released her first album on her own, To Bring You My Love. It is her best-selling album in the United States. Three singles were released from it. The album was produced by Harvey, Flood, and John Parish. Parish also played guitar, organ, drums, and percussion on it.

In 1996, she released an album with John Parish. It was called Dance Hall at Louse Point. That year she also sung on two songs called "Death is Not the End" and "Henry Lee" on Nick Cave and the Bad Seeds' album Murder Ballads. "Henry Lee" was released as a single.

In 1998, she released Is This Desire?. The reviews it got from critics were not as good as for To Bring You My Love. However, Is This Desire?'''s first single "A Perfect Day Elise" was Harvey's best-selling single in the UK so far. The album was nominated for Best Alternative Music Performance. Parish played guitar and keyboards on it. Harvey produced the album with Flood and Head.

Harvey acted in the 1998 movie The Book of Life and a short movie called A Bunny Girl's Tale.

On 23 October 2000, Stories from the City, Stories from the Sea was released. In won the 2001 Mercury Prize. It is PJ Harvey's best-selling album in the UK so far. Thom Yorke is on three of the songs. In 2005 Rolling Stone put it at number 431 in their list Greatest Albums of All Time. The album's third single "This Is Love" was nominated for Best Rock Album and Best Female Rock Performance at the Grammy Awards.

Harvey's sixth album Uh Huh Her was released in 2004. In 2007 a band started called Uh Huh Her. They got their name from the album's title.

In 2007, White Chalk was released. Parish played instruments on it and sang. Harvey produced the album with Flood and Parish. Harvey released three singles from the album.

Harvey released her second album with John Parish, A Woman a Man Walked By, in 2009.Let England Shake was released in 2011. It got good reviews. Pitchfork'' gave it 8.8/10. It won the 2011 Mercury Prize. Two singles were released from it. John Parish plays instruments on it.

References

1969 births
Living people
English rock guitarists
English rock singers
English singer-songwriters
Musicians from Dorset

PJ Harvey


"Without You" is a song written by musicians Peter Ham and Tom Evans, which has become a standard since it was first recorded in 1970.

Ham and Evans were members of the rock band Badfinger, and they combined the verse of one unfinished song with the chorus of another, to complete "Without You". Badfinger included their version of the song on their second album, No Dice, which was released in 1970. Apple Records was Badfinger's record label, and the song was published by a related company, Apple Music.

The song got little attention at first, but when  Harry Nilsson recorded a  of it, his single became a worldwide hit. Nilsson, Ham and Evans all reached career peaks, and Nilsson won a Grammy Award for his recording.

"Without You" became, and remains, very popular around the world. Many other artists have recorded the song, and several have had hits with it, including Mariah Carey. Apple Music lost the American rights to the song, early in the 21st century.

1970 songs
1970s ballads
Rock ballads
Grammy Award winning songs
Hall & Oates songs
Harry Nilsson songs
Air Supply songs
Heart (band) songs
Badfinger songs
Mariah Carey songs

Without You (Badfinger song)


Bruce Boston (born 1943) is an American speculative fiction writer and poet.

Early years
Boston was born in Chicago and grew up in Southern California. He received a B.A. in economics from the University of California, Berkeley in 1965, and an M.A. in 1967. He lived in the San Francisco Bay Area from 1961 to 2001, where he worked in a variety of occupations, including computer programmer, college professor (literature and creative writing, John F. Kennedy University, Orinda, California, 1978–82), technical writer, book designer, gardener, movie projectionist, retail clerk, and furniture mover.

According to Boston, he meant to major in math at university and write on the side, but soon found that he was more interested in writing. After being advised by a friend that he should not major in English to become a writer, he decided on economics  instead.

Writing career
Boston has won the Rhysling Award for speculative poetry a record seven times, and the Asimov's Readers' Award for poetry a record seven times. He has also received a Pushcart Prize for fiction, 1976, a record four Bram Stoker Awards for solo poetry collections, and the first Grand Master Award of the Science Fiction Poetry Association, 1999. His collaborative poem with Robert Frazier, "Return to the Mutant Rain Forest," received first place in the 2006 Locus Online Poetry Poll for Best All-Time Science Fiction, Fantasy, or Horror Poem.

Boston has also published more than a hundred short stories and the novels Stained Glass Rain and The Guardener's Tale (the latter a Bram Stoker Award Finalist and Prometheus Award Nominee). His work has appeared widely in periodicals and anthologies, including Asimov's SF Magazine, Amazing Stories Magazine, Analog, Realms of Fantasy, Science Fiction Age, Weird Tales, Strange Horizons, Year's Best Fantasy and Horror, and the Nebula Awards Showcase. Writing in The Washington Post, Paul Di Filippo described his collection Masque of Dreams as containing "nearly two dozen brilliant stories ranging across all emotional and narrative terrains."

Boston has chaired the Nebula Award Novel Jury (SFWA), the Bram Stoker Award Novel Jury, and the Philip K. Dick Award Jury, and served as Secretary and Treasurer of the Science Fiction Poetry Association. He has served as fiction and/or poetry editor for a number of publications, including Occident, The Open Cell, Berkeley Poets Cooperative, City Miner, Star*Line and The Pedestal Magazine.

He was the poet guest of honor at the World Horror Convention in 2013.

Personal life
Boston lives in Ocala, Florida, with his wife, writer-artist Marge Simon, whom he married in 2001.

Bibliography

Novels

El Guardián de Almas, Spanish-language edition of The Guardener's Tale, La Factoria de Ideas, 2009

Novelettes

After Magic. Eotu, 1990, Dark Regions, 1999
Houses. Talisman, 1991

Fiction and poetry collections

The Complete Accursed Wives, Talisman/Dark Regions, 2000
Masque of Dreams, Wildside, 2001, 2009
Bruce Boston: Short Stories, Volume 1 (ebook), Fictionwise, 2003
Bruce Boston: Short Stories, Volume 2 (ebook), Fictionwise, 2003
Visions of the Mutant Rain Forest (with Robert Frazier), Crystal Lake Publishing, 2017

Fiction collections

Jackbird. BPW&P, 1976
She Comes When You're Leaving. BPW&P, 1982
Skin Trades, Chris Drumm, 1988
Hypertales & Metafictions. Chris Drumm, 1990
All the Clocks Are Melting (single story booklet), Pulphouse Publishing, 1991
Night Eyes. Chris Drumm, 1993
Dark Tales & Light. Dark Regions, 1999
Flashing the Dark. Sam's Dot Publishing, 2006
Gallimaufry. Plum White Press, 2021

Poetry
Collections
XXO. Maya Press, 1969
Potted Poems. Maya Press, 1970
All the Clock Are Melting. Velocities, 1984
Alchemical Texts. Ocean View, 1985
Nuclear Futures. Velocities, 1987
Time. Titan, 1988
The Nightmare Collector. 2AM Publications, 1989
Faces of the Beast. Starmont House, 1990
Other Voices, Other Worlds (audio tape, music by Jack Poley). Chris Drumm, 1990, (MP3 audio) Telltale Weekly, 2004
Short Circuits (prose poems). Ocean View, 1991
Cybertexts. Talisman, 1991

Accursed Wives. Night Visions, 1993
Specula: Selected Uncollected Poems, 1968-1993. Talisman, 1993
Sensuous Debris: Selected Poems, 1970-1995. Dark Regions, 1995
Conditions of Sentient Life. Gothic Press, 1996
Cold Tomorrows. Gothic Press, 1998
White Space. Dark Regions, 2001
Quanta: Award Winning Poems. Miniature Sun, 2001
Night Smoke (ebook, with Marge Simon), Miniature Sun & Quixsilver, 2002
Head Full of Strange (ebook). CyberPulp, 2003
Pitchblende. Dark Regions, 2003
Etiquette with Your Robot Wife. Talisman, 2005
Shades Fantastic. Gromagon Press, 2006
Night Smoke (with Marge Simon, expanded print edition of 2002 ebook). Kelp Queen Press, 2007
The Nightmare Collection. Dark Regions, 2008
Double Visions (collaborative poems). Dark Regions, 2009
North Left of Earth. Sam's Dot, 2009
Dark Matters. Bad Moon Books, 2010
Surrealities. Dark Regions, 2011
Anthropomorphisms. Elektrik Milk Bath Press, 2012
Notes from the Shadow City (with Gary William Crawford). Dark Regions, 2012
Dark Roads: Selected Long Poems 1971-2012. Dark Renaissance Books, 2013
Resonance Dark & Light. Eldritch Press, 2015
Sacrificial Nights (with Alessandro Manzetti). Kipple Officina Libraria, 2016
Brief Encounters with My Third Eye: Selected Short Poems 1975-2016. Crystal Lake Publishing, 2016, Korean-language edition,  Philyohanchaek, 2021
Artifacts. Independent Legions, 2018
Spacers Snarled in the Hair of Comets. Mind's Eye Publications, 2022

Broadsides and chapbooks
Musings. Eldritch Emu Press, 1988
The Last Existentialist. Chris Drumm, 1993
Confessions of a Body Thief. Talisman, 1998
The Lesions of Genetic Sin. Miniature Sun, 2000
Pavane for a Cyber-Princess (single poem chapbook). Miniature Sun, 2001
In Far Pale Clarity. Quixsilver, 2002
She Was There for Him the Last Time (single poem chapbook). Miniature Sun, 2002
The Crow Is Dismantled in Flight (ebroadside). Miniature Sun, 2003

List of poems

Major awards and honors

Bram Stoker Award for Poetry Collection
 2003  Pitchblende, Dark Regions Press
 2006  Shades Fantastic, Gromagon Press
 2008  The Nightmare Collection, Dark Regions Press
 2010  Dark Matters, Bad Moon Books

Asimov's Readers Award for Poetry
 1989  Old Robots Are the Worst
 1993  Curse of the Shapeshifter's Wife
 1997  Curse of the SF Writer's Wife
 2003  Eight Things Not to Do or Say When a Mad Scientist Moves into Your Neighborhood
 2005  Heavy Weather
 2007  The Dimensional Rush of Relative Primes
 2014  In the Quiet Hour

Rhysling Award for Speculative Poetry (SFPA)
 1985  For Spacers Snarled in the Hair of Comets, short
 1987  The Nightmare Collector, short
 1988  In the Darkened Hours, long
 1994  Spacer's Compass, short
 1995  Future Present: A Lesson in Expectation, short
 1999  Confessions of a Body Thief, long
 2001  My Wife Returns as She Would Have It, short

Others
 1976  Pushcart Prize for Fiction for "Broken Portraiture"
 1999  Grandmaster Award, Science Fiction Poetry Association
 2006  Winner of Locus Poll for Favorite SF, Fantasy, Horror Poem -- "Return to the Mutant Rain Forest" with Robert Frazier
 2013  Poet Guest of Honor, World Horror/Bram Stoker Awards Convention, New Orleans
 2023  Dwarf Stars Award, Science Fiction Poetry Association, for "In Perpetuity"

References

External links
Bruce Boston's website
Interview by John Amen at The Pedestal Magazine
Interview by JoSelle Vanderhooft at Strange Horizons
 Bruce Boston at Smashwords
Songs of the Stars, Songs of the Dark Retrospective essay on Boston's poetry by Gary William Crawford

1943 births
Living people
21st-century American male writers
21st-century American novelists
John F. Kennedy University faculty
American male novelists
American science fiction writers
Analog Science Fiction and Fact people
Asimov's Science Fiction people
Projectionists
Retail clerks
Rhysling Award for Best Long Poem winners
Rhysling Award for Best Short Poem winners
Writers from California
Writers from the San Francisco Bay Area

Bruce Boston


Deal or No Deal is a game show in more than 40 countries on the world created by John de Mol. It began in the Netherlands in 2000.

Format
Deal or No Deal involves a contestant, a host/presenter, a banker, and a number of briefcases (or boxes), with each having a different (and initially unknown) value. Each game starts with the contestant selecting one of the cases–this first case's value is not known until the game ends.    During the rest of the game, the contestant opens the rest of the cases, one at a time, revealing its value.  Each time after a specified number of cases are opened, the banker offers the contestant a certain amount of money to end the game.  If the contestant takes an offer, the game ends, otherwise the contestant ends up with the money from the first case.

Since the range of possible values for cases is known at the start of each game, how much the banker offers at any given point changes based on what cases have been eliminated.  To promote suspense and lengthen games, the banker's offer usually strays from the expected value dictated by probability theory, particularly early in the game.  However it is not uncommon for the bank's offer to exceed the player's expected value very late in the game.

Worldwide, the largest amount offer (in terms of exchange rates) was €1,495,000 (equal to $1,737,250) on the original Miljoenenjacht, on November 13, 2005 (which was accepted, the contestant's case only had €1,000). Only a few people have ever won the top prize on any version of the show.

Countries
All of these were found on the official website.
 Albania
 Algeria
 Argentina
 Armenia
 Australia
 Austria
 Brazil
 Belgium
 Bulgaria
 Chile
 Colombia
 Costa Rica
 Croatia
 Czech Republic
 Denmark
 Ecuador
 El Salvador
 Estonia
 France
 Germany
 Greece
 Guatemala
 Honduras
 Hungary
 India
 Italy
 Japan
 Mexico
 Middle East
 Netherlands
 Nicaragua
 Norway
 Panama
 Peru
 Philippines
 Poland
 Portugal
 Romania
 Russia
 Singapore
 Slovenia
 South Africa
 South Korea
 Spain
 Sweden
 Switzerland
 Thailand
 Tunisia
 Turkey
 United Kingdom
 United States/Canada
 Vietnam

References

2000 television series debuts
2000s television series
2010s television series
Television game shows

Deal or No Deal


Ƿōden is nama ānes þāra Þēodiscum goda, hƿæs nama is of Mercurie on Englisce āreaht, for þǣm þe hē is þæt nīehste god tō Ƿōdne. His nama is oft gefunden in cynnreccennessum Engliscra cynelicra mǣgscīra. His dǣl ƿæs manigfeald; hē ƿæs god ƿīsdōmes and gūðes. Ēac lēodum þūhte þæt hē þæt god lēoðes ƿæs and drȳcræftes and sīðes and þǣre huntunge.

His nama is, on Īslendisce/Norene Óðinn (Ōðen gehāten on Englisce); Sƿēonisce Oden; Nīwum Englisce/Englisce (and Ealdum Seaxiscum) Wõden; Ealdum Franconisce Wodan; Alemannisce Wuodan; Þēodisce Wotan oþþe Wothan; Lombardisce Godan, and in Ealdgermanisce hit ƿæs *Wōðanaz, þe segde "se ƿōda" oððe "hē þǣre ƿōdnesse", for þǣm þe æreste hē ƿæs gūðgod: gelīce in Ealdgrēcisce se Grēcisca gūðgod Arēs oft hātte mainomenos þe segð "ƿōd".

Ac man ƿiþcƿiþþ ymbe his rihtan andgiet in racum, as se nama is gemacod of òð and -in. On Norene mǣnþ òð '"wit, soul" be selfum and in fēgungum "heaðumægen, cāfnes" mǣnþ sēo endung -in "hǣsere, dryhten." Þus, Odin is dryhten þæs līfes þrace.

Ƿōden is nama ānes þāra Þēodiscum goda, hƿæs nama is of Mercurie on Englisce āreaht, for þǣm þe hē is þæt nīehste god tō Ƿōdne.  His nama is oft gefunden in cynnreccennessum Engliscra cynelicra mǣgscīra.  His dǣl ƿæs manigfeald; hē ƿæs god ƿīsdōmes and gūðes.  Ēac lēodum þūhte þæt hē þæt god lēoðes ƿæs and drȳcræftes and sīðes and þǣre huntunge.

His nama is, on Īslendisce/Norene Óðinn (Ōðen gehāten on Englisce); Sƿēonisce Oden; Nīwum Englisce/Englisce (and Ealdum Seaxiscum) Wõden; Ealdum Franconisce Wodan;  Alemannisce Wuodan; Þēodisce Wotan oþþe Wothan; Lombardisce Godan, and in Ealdgermanisce hit ƿæs *Wōðanaz, þe segde "se ƿōda" oððe "hē þǣre ƿōdnesse", for þǣm þe æreste hē ƿæs gūðgod: gelīce in Ealdgrēcisce se Grēcisca gūðgod Arēs oft hātte mainomenos þe segð "ƿōd".

Ac man ƿiþcƿiþþ ymbe his rihtan andgiet in racum, as se nama is gemacod of òð and -in. On Norene mǣnþ òð '"wit, soul" be selfum and in fēgungum "heaðumægen, cāfnes" mǣnþ sēo endung -in "hǣsere, dryhten."  Þus, Odin is dryhten þæs līfes þrace.

Gemǣna Mearcunga
For þǣm Norþmannum his nama ƿæs sam mid beadƿe and gecampe, siþþan hē hine onīeƿþ þurh þā lāra sƿā se sigebringend.
For þǣm Norþmannum his nama ƿæs sam mid beadƿe and gecampe, siþþan hē hine onīeƿþ þurh þā lāra sƿā se sigebringend.

Óðinn ƿæs hīƿhƿierfend, and miht gehƿeorfan his fell and his scyppunge sƿā hē ƿolde. Man segde þæt he fōr on ƿorulde in scuppunge ealdes mannes berendes stæf, ānēage, grǣgbeard, mid ƿīdecgum hæte.

Man geþēodode Óðen micle mid þǣm Ƿildan Huntoðe, farende hlūde þurh ƿolcnu lǣdende micelne here þāra ofslægenena, gelīce þǣm gode Rudra þæs Hinduiscan Rigvedasya. Ódinn and Frigg fōron ætgædre in þissum.
Óðinn ƿæs hīƿhƿierfend, and miht gehƿeorfan his fell and his scyppunge sƿā hē ƿolde. Man segde þæt he fōr on ƿorulde in scuppunge ealdes mannes berendes stæf, ānēage, grǣgbeard, mid ƿīdecgum hæte.

Man geþēodode Óðen micle mid þǣm Ƿildan Huntoðe, farende hlūde þurh ƿolcnu lǣdende micelne here þāra ofslægenena, gelīce þǣm gode Rudra þæs Hinduiscan Rigvedasya. Ódinn and Frigg fōron ætgædre in þissum.

Onfōnd þāra Dēadra Snorri Sturlusones Edda ātīefreþ þæt Ōðen ƿilcumaþ þā micelan dēadan cempan þe fēollon on beadƿe in his sele, Valhalla. Þās gefeallenan, þā einherjar, feohtaþ mid Ōðene and mid þæm ōðrum godum in þæt ƿæl þæs endes þǣre ƿorulde, Ragnarök.

In þǣm Norþmanniscum spellum, Óðin oft scyrpeþ menn to gūðe and sendeþ his Valkyrjur (þe segþ Ƿælcyrigan) tō sendanne sigu þǣr hē ƿysceþ and tō cēosanne þā dēade. Þis is tō gaderianne þā beteste ƿīgendas in his greatan healle þe hātte Valholl, þe segþ Ƿælheall, and hit hātte in Nīƿenglisce Valhalla.

Hƿīlum Óðinn scǣƿþ hine selfne fore mannum. Sum ƿrītung sægde þæt æt ende þæs gefeohtes æt Brávellir, Óðinn þider ēode tō fetianne þone ealdan cyning Harald Hildetand. Helgi Hundingesbana ƿearþ genōg gūðmǣr and Dag his āðum ƿyscede þæt hē ƿricþ his fæder þe Helgi ofslōh, and Óðinn onlǣnde his spere tō Dage, and Dag ofslōh Helgi, þe ēode tō Valhallan and þǣr instæpe ƿearþ sum þāra lǣdendostra ƿīgenda.

Snorri Sturlusones Edda ātīefreþ þæt Ōðen ƿilcumaþ þā micelan dēadan cempan þe fēollon on beadƿe in his sele, Valhalla. Þās gefeallenan, þā einherjar, feohtaþ mid Ōðene and mid þæm ōðrum godum in þæt ƿæl þæs endes þǣre ƿorulde, Ragnarök.

In þǣm Norþmanniscum spellum, Óðin oft scyrpeþ menn to gūðe and sendeþ his Valkyrjur (þe segþ Ƿælcyrigan) tō sendanne sigu þǣr hē ƿysceþ and tō cēosanne þā dēade. Þis is tō gaderianne þā beteste ƿīgendas in his greatan healle þe hātte Valholl, þe segþ Ƿælheall, and hit hātte in Nīƿenglisce Valhalla.

Hƿīlum Óðinn scǣƿþ hine selfne fore mannum. Sum ƿrītung sægde þæt æt ende þæs gefeohtes æt Brávellir, Óðinn þider ēode tō fetianne þone ealdan cyning Harald Hildetand. Helgi Hundingesbana ƿearþ genōg gūðmǣr and Dag his āðum ƿyscede þæt hē ƿricþ his fæder þe Helgi ofslōh, and Óðinn onlǣnde his spere tō Dage, and Dag ofslōh Helgi, þe ēode tō Valhallan and þǣr instæpe ƿearþ sum þāra lǣdendostra ƿīgenda.

Ōðen and Mercurius
Man cnǣƿþ lǣssa ymbe Óðine (oððe Ƿōdne) sƿā nimend þāra dēada sƿā gelīefdon þā sūðerne Germanas. Se Romisca spellƿrītere Tacitus ƿrāt þæt þā Germanas beēodon Mercurium, ac is gelīc þæt þis tācnode Ƿōden, for þǣm þe Mercurius (þe in Grēcisce hātte Hermēs) ēac ƿæs se sāƿollǣdend (þe in Grēcisce is psychopompos).
And Iulius Caesar ƿrāt þæt Mercurius is se grēatost god þāra Germaniscena in his bēc De Bello Gallico 6.17.1.

Paulus Diaconus (þe segþ Paulus se Dīacon) ƿrāt nēah þǣm ende þæs 8an gēarhundrede, and þǣrinne he sægde þæt Ƿōden (þe hē ƿrāt Guodan) ƿæs se hēafodgod þāra Langbearda, and hē and ǣrran ƿrīteras sægdon þæt Ƿōden ƿæs Mercurius: sēo þā bōc History of the Langobards, I:9. Þurh þā samnesse, Paulus ƿrāt þæt þā Germanas gelīefdon þæt Ƿōden ƿæs, and þæt þæs godes fruma ƿæs ne in þissum tīde ac gēo and ne in Germaniam ac in Grēclande. Robert Ƿace ēac segþ þæt Ƿotan is Mercurius. Viktor Rydberg in his bēc ymbe Teutonic Mythology, ƿrīteþ ymbe sume ōðre gelīcnessa Ƿōdenes mid Mercuriō, and þæt bēgen brōhton lēoðsangscip tō mannum.

Ƿordstǣr
Se Norþmannisca nama Ōðinn goes back to an earlier *Wōðinaz, consistent with the initial consonant of the West Germanic form of the name. Adam von Bremen etymologizes the god worshipped by the 11th century Scandinavian pagans as "Wodan id est furor" ("Wodan, which means 'ire'."), a possibility still commonly assumed today, connecting the name with Old English ƿōd, Gothic wōds, Old Norse *ōðr (see Odr), Old High German wuot, all meaning "possessed, insane, raging".

In gemānum Proto-Germanisce se nama ƿæs *Wōðinaz, þe ēaðe mæg bēon of Indo-Europeiscum *Watinos. Ac man seah þæt Englisc Ƿoden nis riht sam-cynn Germanisces Wotan, and þæt þǣrþurh folc gehƿeorf Wotan to folgienne þæt andgiet "se ƿōda", and sƿīðe æfter þæt þā Germanas ƿurdon Crīstnas and man seah Wotan sƿā deofol, ac þā Norþmenn and þā Engle hēoldon þone nama sƿā hit ǣrra ƿæs. And gelīce in ealdum Grēcisce Arēs hira gūþgod oft hātte Arēs mainomenos þe segþ "ƿōd Arēs".

Ān meahtlicnes is þæt se nama ƿæs geborgod of þǣm Ƿealhcynne, ymbe þā tīd Tacites hƿonne Germanisc and Ƿīelisc cynn ƿǣron ƿiþ hīe on ǣgðerre healfe þǣre Rīne, and is gecynde þǣm Ƿīeliscan prēostlican gefērscipe þāra Vates.  Þæt Ƿīelisce ƿord is æt ende genumen of þǣre ilcan ƿyrte (meahtlīce Frum-Indisc-Europisc, ac gesōðod in Ƿīelisce and in Germanisce ānum) sƿā þā Germaniscan ƿord for "dēofolsēoc", ofer beclipod, *vāt-, mid with a more general meaning of "spiritually excited", also preserved in the Irish word for "poet", fáith. If the word is indeed a loan from the Celtic, it may be an important hint to the dating of the Proto-Germanic sound changes.

Eddaisc Ƿōden
Se Prose Edda segþ þæt Bestla and Borr ācennedon Óðin and þæt hē hæfde bróðru Vé (þe is Ƿéo) and Vili (þe is Ƿill) and þā þrēo gebrōðru niðerƿurpon þone forstþyrs Ymir and macodon þone ƿoruld of Ymis līce. Man oft spræc ymbe þā þrēo gebrōðru ætgædre.

Óðinn and Jorð ācennedon þone brēmostan sunu Þórr, and his nama segþ Þunor, and Jorð segþ Eorþe. Ac his ƿīf and gemæcca ƿæs sēo gyden Frigg, and þā gecnāƿenoste ealdspell secgaþ þæt Frigg ƿæs sēo lufiende mōdor hira suna Baldr).

And Óðinn and sēo þyrsen Gríðr ācennedon Víðar.

And se blinda god Hoðr þurh misgelimpe ofsloh his brōðor Baldr, and æfterra Óðinn and þā þyrsen Rind ācennedon Vali, and Vali cƿōm of Rindes cƿiðe fullƿeaxen and ƿæpned and hē sƿerode āþ þæt ne ƿolde dōn niht and ne baðian oþþæt he ƿrece on Hoðe.

And manige cynecynnas sægron þæt Óðinn ƿæs sum hira ealdfædra þurh ōðre suno. For traditions about Odin's offspring see Sons of Odin.

Gecynd

Óðinn hæfþ þæt eahtasceancan horse Sleipnir, and þæt ofhēaƿen hēafod þæs dƿearges Mímis and hit foreƿītegode þā forþgesceafte. His Valkyrjur þegnodon hine gaderende þā sāƿla beorna ofslægenra in gefeohte and brōhton hīe to Ƿælhealle þǣr Óðinn ƿunode in Ásgarðe, þǣr þā sāƿla ƿurdon þā Einherjar, þe ƿillon þurfan feohtan mid Óðine in þǣre gūðe æt Ragnaroke. And þæt nama Einherjar segþ Ānheremenn, for in Ƿōdnes healle hīe sind ealle in ānum samum herge, þéah þe ǣrra libbende on eorðan hie ƿǣron in manigum hergum and fyrdum.

Brynhildr, sum þāra Valkyrja, ƿearþ ūtgeƿorpen of his þegnscipe, ac Óðinn gemiltsode and settede híe in healle and ymb hīe hring fȳres tō þæs þe ānne se heardost mann mihte sēcan ƿeddan hīe. And Sigurðr āhreddede hīe. And æfterra Vali ofslōh Hoð.

Odin has a number of magical artifacts associated with him: the dwarven spear Gungnir, which never misses its target, a magical gold ring (Draupnir), from which every ninth night eight new rings appear, an eight-legged horse (Sleipnir) and two ravens Huginn and Muninn (Thought and Memory) who travel the world to acquire information at his behest.  He also commands a pair of wolves named Geri and Freki, to whom he gives his food for he himself consumes nothing but wine. From his throne, Hlidskjalf (located in Valaskjalf), Ōðinn could see everything that occurred in the universe.

The Valknut is a symbol associated with Odin.

Naman
The Norsemen gave Odin many nicknames; this was in the Norse skaldic tradition of kennings, a poetic method of indirect reference, as in a riddle. See List of names of Odin. The name Alföðr ("Allfather", "father of all") appears in Snorri Sturluson's Younger Edda. It probably refers to the Christian God in that book, but it may have referred to Odin at an earlier date. (It probably originally denoted Tiwaz, as it fits the pattern of referring to Sky Fathers as "father".)

Englisc-Seaxisc Wōden
Englaþēod, Seaxcynn and Geotcynn brōhton Ƿōden tō Bretene  ymbe þǣm 5th and 6th gearhundedum, continuing his worship until conversion to Christianity in the 8th and 9th centuries. Woden is the carrier-off of the dead, but not necessarily with the attributes of  Norse Odin. Woden is also the leader of the Wild Hunt. The familial relationships are the same between Woden and the other Anglo-Saxon gods as they are for the Norse.

Æfter þǣm Engla and Seaxna Cranice and þǣm Historia Britonum, Ƿoden hæfde þās sunas: Ƿecta, Bældæg, Casere and Ƿihtlaeg.
Þȳ folgað Ƿectan cynn: Ƿitta, Ƿihtgils, Hengest and his brōðor Horsa, and of him Cantaƿara cyningas.
Þȳ folgað Bældæges cynn: Brona, Friðugar, Freawine, Ƿig, Geƿis, Esla, Elesa, Cerdic and of him Ƿestseaxna cyningas.
Þȳ folgað Caseres cynn: Tytmon, Trygils, Hroðund, Hryp, Ƿilhelm, Ƿehha, Ƿuffa and of him Ēastengla cyningas.
Þȳ folgað Ƿihtlæges cynn: Ƿermund Engla cyning, Offa, Angelþēoƿ, Eomer, Icel and of him Miercna cyningas.

Englisc ealdbēc onginnaþ ymbe þā ylde þæs conversion from the old religion.  Although whatever stories recording his part in the lives of men and the gods are lost, Woden's name survived in many settlement names and geographical features.

Ƿōdnesdīc þe nū hātte Wansdyke
Grīmesdīc þe nū hātte Grimsdyke
Ƿōdnesburg þe nū hātte Wednesbury

Ƿōdnesdæg ('Ƿōdenes dæg') is for him genemned, for þǣm þe his bend mid þǣm dēadum gebȳraþ tō  þǣm Rōmāniscan Mercurie. Þā Germaniscan lēode āreahton of Lǣdene Mercuri dies on Englisc sƿā Ƿōdnesdæg.

Gebēdung

Details of Migration period Germanic religion are sketchy, reconstructed from artefacts, sparse contemporary sources, and later the later testimonies of medieval legends and placenames. According to Jonas Bobiensis, the 6th century Irish missionary Saint Columbanus is reputed to have disrupted a Beer sacrifice to Wuodan (Deo suo Vodano nomine) in Bregenz. Wuodan was the chief god of the Alamanni, his name appears in the runic inscription on the Nordendorf fibula.

Pagan worship disappeared with Christianization, from the 8th century in England and Germany, lingering until the 12th or 13th century in Iceland and Scandinavia. Remnants of worship were continued into modern times as folklore.

Many places are named after Odin, especially in Scandinavia, such as Odense (Denmark) and Odensbacken (Sweden), but also places in other Germanic countries, such as Wednesbury (Englaland), Wodensberg and Odenheim (Germany), and Woensdrecht (Netherlands).  Almost all German Gaue (Latin, pagi) had mountains and other places named after him under such generic names as Wodenesberg, Wuodenesberg, Godesberg and Gudensberg, Wodensholt, etc.

BlōtDetails of Migration period Germanic religion are sketchy, reconstructed from artefacts, sparse contemporary sources, and later the later testimonies of medieval legends and placenames. According to Jonas Bobiensis, the 6th century Irish missionary Saint Columbanus is reputed to have disrupted a Beer sacrifice to Wuodan (Deo suo Vodano nomine) in Bregenz. Wuodan was the chief god of the Alamanni, his name appears in the runic inscription on the Nordendorf fibula.

Pagan worship disappeared with Christianization, from the 8th century in England and Germany, lingering until the 12th or 13th century in Iceland and Scandinavia. Remnants of worship were continued into modern times as folklore.

Many places are named after Odin, especially in Scandinavia, such as Odense (Denmark) and Odensbacken (Sweden), but also places in other Germanic countries, such as Wednesbury (Englaland), Wodensberg and Odenheim (Germany), and Woensdrecht (Netherlands). Almost all German Gaue (Latin, pagi) had mountains and other places named after him under such generic names as Wodenesberg, Wuodenesberg, Godesberg and Gudensberg

Odin ƿæs þæt āne god in Scandinavian mythology to demand human sacrifice at the Blōts. Adam of Bremen relates that every ninth year, people assembled from all over Sweden to sacrifice at the Temple at Uppsala. Male slaves, and males of each species were sacrificed and hung from the branches of the trees. The practice of sacrifice is one reason why Thor was much more popular among the commonfolk. Committing suicide was also considered to be a shortcut to Valhalla.

As the Swedes had the right not only to elect king but also to depose a king, the sagas relate that both king Domalde and king Olof Trätälja were sacrificed to Odin after years of famine. Sēo ēac sacred king.

It was common, particularly among the Cimbri, to sacrifice a prisoner to Odin prior to or after a battle. The Orkneyinga saga relates a (and uncommon) form of Odinic sacrifice, wherein the captured Ella is slaughtered by the carving out of a "blood eagle" upon his back.

More significantly, however, it has been argued that the killing of a combatant in battle was to give a sacrificial offering to Odin. The fickleness of Odin in battle was well-documented, and in Lokasenna, Loki taunts Odin for his inconsistency.

Sometimes sacrifices were made to Odin to bring about changes in circumstance, a notable example being the sacrifice of King Vīkar (detailed in Gautrek's Saga and Saxo). Sailors in a fleet being blown off course drew lots to sacrifice to Odin that he might abate the winds; the king himself drew the lot and was hanged.

Sacrifices were probably also made to Odin at the beginning of summer, since Ynglinga saga states one of the great festivities of the calendar is at sumri, þat var sigrblōt "in summer, for victory"; Odin is consistently referred to throughout the Norse mythos as the bringer of victory.

The Ynglinga saga also details the sacrifices made by the Swedish king Aun, who, it was revealed to him, would lengthen his life by sacrificing one of his sons every ten years; nine of his ten sons died this way. When he was about to sacrifice his last son Egil, the Swedes stopped him.

Scamanisc gecynd

The goddess Fricg is seen as an adept of the mysteries of seid (shamanism), a völva, and it is said that it was she who initiated Odin into its mysteries. In Lokasenna Loki abuses Odin for practising seid, condemning it as a unmanly art. A justification for this may be found in the Ynglinga saga where Snorri opines that following the practice of seid, the practitioner was rendered weak and helpless. Another explanation is that its manipulative aspects ran counter to the male ideal of forthright, open behaviour.

Odin was a compulsive seeker of wisdom, consumed by his passion for knowledge, to the extent that he sacrificed one of his eyes (which one this was is unclear) to Mimir, in exchange for a drink from the waters of wisdom in Mimir's well.

Some German sacred formulae, known as "Merseburger Zaubersprueche" were written down in c 800 AD and survived. One (this is the second) describes Wodan in the role of a healer:

Further, the creation of the runes, the Norse alphabet that was also used for divination, is attributed to Odin and is described in the Rūnatal,  a section of the Havamal. He hanged himself from the tree Yggdrasil, whilst pierced by his own spear, to acquire knowledge. He remained thus for nine days and nights, a number deeply significant in Norse magical practice (there were, for example, nine realms of existence), thereby learning nine (later eighteen) magical songs and eighteen magical runes. The purpose of this strange ritual, a god sacrificing himself to himself because there was nothing higher to sacrifice to, was to obtain mystical insight through mortification of the flesh; however, some scholars assert that the Norse believed that insight into the runes could only be truly attained in death.

Some scholars see this scene as influenced by the story of Christ's crucifixion; and others note the similarity to the story of Buddha's enlightenment. it is in any case also influenced by shamanism, where the symbolic climbing of a "world tree" by the shaman in search of mystic knowledge is a common religious pattern.  We know that sacrifices, human or otherwise, to the gods were commonly hung in or from trees, often transfixed by spears. (See also: Peijainen) Additionally, one of Odin's names is Ygg, and the norse name for the World Ash —Yggdrasil—therefore means "Ygg's (Odin's)horse". Another of Odin's names is Hangatyr, the god of the hanged.

Ōðenes lufu for ƿīsdōme cann man ēac sēon in his ƿeorc as a farmhand for a summer, for Baugi, in order to obtain the mead of poetry.  Sēo Fjalar and Galar for more details.

Medieval andfengnes

Sƿā þæt hēafodgod ealra Germaniscra goda, onfēng syndrigne ymbþanc of þǣm frumum spellbodum. For example, his day is the only day to have been renamed in the German language from "Woden's day", still extant on Nīƿum Englisce Wednesday to the neutral Mittwoch ("mid-week"), while other gods were not deemed important enough for propaganda (Tuesday "Tyr's day" and Frīgedæg "Frīge dæg" remained intact in all Germanic languages). For many Germans, St. Michael replaced Wotan, and many mountain chapels dedicated to St. Michael can be found, but Wotan also remained present as a sort of demon leading the Wild hunt of the host of the dead, e.g. in Swiss folklore as Wuotis Heer. However, in some regions even this mythology was transformed so that Charlemagne led the hunt, not Odin.

In Englalande ƿæs Ƿōden was not so much demonized as rationalized, and in the Anglo-Saxon Chronicle, he appears as a perfectly earthly cyning, only four generations removed from Hengest and Horsa.

Snorri Sturluson's record of the Edda is striking evidence of the climate of religious tolerance in medieval Iceland, but even he feels compelled to give a rational account of the Aesir in his preface. In this scenario, Snorri speculates that Odin and his peers were originally refugees from Troy, etymologizing Aesir as derived from Asia. Some scholars believe that Snorri's version of Norse mythology is an attempt to mould a more shamanistic tradition into a Greek mythological cast. In any case, Snorri's writing (particularly in Heimskringla) tries to maintain an essentially scholastic neutrality. That Snorri was correct was one of the last of Thor Heyerdahl's archeo-anthropological theories (see The search for Odin).

In manigum Germaniscum sprǣcum is se nama þæs fēorðan dæges þǣre ƿuce (if one counts from Sunday) is frequently, "Wotanes Dæg" oþþe "Ƿōdenes Dæg", (Ƿōdnesdæg on Englisce. Geefnett Norþƿegisc, Denisc and Sƿēonisc onsdag, Niðerlendisc woensdag; ǣnlīce se efenƿeorða dæg on  Þēodisc is ānfealdlīce "mid ƿucu" (Mittwoch)). This is thought to translate the Latin Dies Mercurii, "Mercury-day" (cf. French mercredi), owing primarily to Tacitus' linking þāra twēgra goda.

Onstandende gelēafan on Ōðene
Sƿā þæt hēafodgod ealra Germaniscra goda, onfēng syndrigne ymbþanc of þǣm frumum spellbodum. For example, his day is the only day to have been renamed in the German language from "Woden's day", still extant on Nīƿum Englisce Wednesday to the neutral Mittwoch ("mid-week"), while other gods were not deemed important enough for propaganda (Tuesday "Tyr's day" and Frīgedæg "Frīge dæg" remained intact in all Germanic languages). For many Germans, St. Michael replaced Wotan, and many mountain chapels dedicated to St. Michael can be found, but Wotan also remained present as a sort of demon leading the Wild hunt of the host of the dead, e.g. in Swiss folklore as Wuotis Heer. However, in some regions even this mythology was transformed so that Charlemagne led the hunt, not Odin.
The spread of Christianity was slow in Scandinavia, and it worked its way downwards from the nobility. Among common people, beliefs in Odin would linger for centuries, and legends would be told until modern times.

Sēo endenīehste beadu, in þǣre þe þā Norenan tealdon sige tō Ōðene, wæs sēo Beadu Lenan in 1208 . The former Swedish king Sverker had arrived with a large Danish army, and the Swedes discovered that the Danish army was more than twice the size of their own. Naturally, the Danes got the upper hand and they should have won. However, the Swedes claimed that they suddenly saw Odin riding on Sleipnir. Accounts vary on how Odin gave the Swedes victory, but in one version, he rode in front of their battle formation.

Þā Norþrigan sægdon lange spell ymbe ānēagedne rīdere mid brādbrerdedum hæte and blǣhǣƿenum cyrtele þe bād smiþ tō scōgenne his hors. The suspicious smith asked where the stranger had stayed during the previous night. The stranger mentioned so distant places that the smith would not believe him. The stranger said that he had stayed for a long time in the north and taken part in many battles, and this time he was going to Sweden. When the horse was shod, the rider mounted his horse and said "Ic eom Ōðen" to the stunned smith, rode up in the air and disappeared. The next day, the battle of Lena took place.

Scandinavian folklore also maintained a belief in Odin as the leader of the Wild Hunt (Åsgårdsreia in Norwegian). His main objective seems to have been to track down and kill the forest creature huldran or skogsrået. In these accounts, Odin was typically a lone huntsman, save for his two wolves. Originally, he was armed with a spear, but in later accounts this was sometimes changed to a rifle.

Sēo ēac

Gūðes godu
Wīsdōmes godu
Angelseaxisc Englaland
Þēodisce godu
Þēodisc Hǣðenscipe

Wōden


A software licence (or software license in United States English) is a kind of licence that is used to set rules about how a piece of software can or cannot be used. After getting the software by either downloading it or buying it, you need to agree with the licence in order to use it. The licence is chosen or created by the software developer/creator or software publisher. Many licences answer questions such as "can I use this software commercially/to make money?", or "can I give this software to other people?", or in general, "in what ways am I allowed/permitted to use this software?".

One kind of software licence, an end user licence agreement, or "EULA", is very specific/descriptive about the things that you can or cannot do with the software, and oftentimes establishes/defines the rights of the software developer over the user. Most EULAs are written by the specific software developer and are not shared like other software licences.

Another type of software licence is an open source distribution licence. These licences let software developers choose what people can and cannot do with the code of the software. There are many licences freely available which allow you to do this, such as the MIT Licence, which allows for the software to be used by any person for any reason/purpose. The GNU General Public Licence, often abbreviated/shortened as GPL is a licence which makes all copies of the software free and open source. Therefore, GPL cannot be included in any part of proprietary/closed software because it does not follow the rules of the licence. The Apache Licence is more definitive and specific, but is more common with larger companies, such as Google, but is still considered a free software licence. Creative Commons is a popular licence used by people who want to give something out for free without taking as much credit. Creative Commons is very open, and is even used by Wikipedia for its pages and other content.

List
Affero General Public License
Apache License
BSD licence
General Public License
Lesser General Public License
MIT License
Mozilla Public License
PHP License
Zlib License

Copyright

Software licence


Swashbuckler movies are movies about rough, manly swordsmen. A swashbuckling hero has high ideals. He rescues damsels in distress. His enemy is usually a dastardly villain. Swashbucklers who combine outstanding courage, sword fighting skill, resourcefulness, chivalry, and a distinctive sense of honor and justice include The Three Musketeers, The Scarlet Pimpernel, Robin Hood, and Zorro.

Swashbuckler movies are one of the most flamboyant Hollywood genres. These movies are unrealistic. They are often set in the Renaissance, in Arabia, or on pirate ships. Sets are elaborate. Costumes are lavish. Swashbuckler movies attract big audiences. These audiences want to forget their boring everyday lives. They can escape their lives in the adventure, romance, and daring stunts of the swashbuckler movie. Famous actors who portrayed swashbucklers are Errol Flynn and Douglas Fairbanks.

The stories came from romantic costume novels like those written by Alexandre Dumas, père and Rafael Sabatini. Last but not least, thrilling music was an important part of the movie formula. There were three great cycles of swashbuckler films: the Douglas Fairbanks period of 1920-1929, the Errol Flynn period of 1935-1941, and a period in the 1950s that included movies such as Ivanhoe. The British television series The Adventures of Robin Hood made the genre even more popular. The genre has been revived in the Pirates of the Caribbean series of movies.

Gallery

Swashbuckler movies

Swashbuckler movie


John Sickels (born January 5, 1968) is an American baseball writer who specializes in minor league baseball and amateur baseball.

Biography

Sickels is a graduate of Northwest Missouri State University (1990, BA in history and philosophy) and the University of Kansas (1993, MA in history). He resides in Kansas with his wife, Jeri. He has two sons, Nicholas and Jackson.

Sickels worked as research assistant to noted baseball writer Bill James from 1993 though 1996. From 1996 to 2005, Sickels was a columnist for ESPN.com, writing regular "Down on the Farm" columns that took an in-depth look at baseball prospects. Sickels parted ways with ESPN in February 2005 and soon thereafter started his own blog, www.minorleagueball.com, part of the SB Nation/Vox Media empire. Sickels was previously a regular contributor to the fantasy sports website RotoWire.com and can still occasionally be heard on Rotowire podcasts. He hosted Down on the Farm Friday on XM Satellite radio from 2005 to 2008.

Sickels writes and edits the annual Baseball Prospect Book, which profiles roughly 1,000 players in baseball's minor leagues, and is only available directly from his personal website. The book is wildly popular, but some sold-out versions remain available in PDF format via Sickels' website.

He also penned a 2004 biography of baseball Hall of Famer Bob Feller called Bob Feller: Ace of the Greatest Generation.

Other interests
Sickels has also written poetry, science fiction, and has had multiple role playing books published within the Star Fleet Universe game system offshoot of Star Trek.

References

External links
 John Sickels' personal website
 John Sickels' baseball blog
 John Sickels on Rotowire

American sportswriters
ESPN.com
1968 births
Living people
Fantasy sports
Writers from Des Moines, Iowa
Northwest Missouri State University alumni
University of Kansas alumni
American people of Palestinian descent

John Sickels


Symbolism was a late 19th-century art movement of French, Russian and Belgian origin. The movement rejected realism and naturalism, and included poetry and other arts. Symbolists believed that art should represent absolute truths that could only be described indirectly. Thus a symbolist painting may look realistic, but actually it represents a non-visual idea.

In literature, the style started with the publication Les Fleurs du mal (The Flowers of Evil, 1857) by Charles Baudelaire. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The name "symbolist" itself was first used by the critic Jean Moréas, who invented it to distinguish the symbolists from similar styles of literature and art. Symbolism in art is related to the gothic component of Romanticism.There were several groups of Symbolist painters and visual artists, including Gustave Moreau, Gustav Klimt, Odilon Redon, Henri Fantin-Latour, Gaston Bussière, Edvard Munch, Félicien Rops, and Jan Toorop. Symbolism in painting was even more widespread geographically than symbolism in poetry. Its ideas affected Mikhail Vrubel, Nicholas Roerich, Martiros Saryan, Mikhail Nesterov, Léon Bakst, Elena Gorokhova in Russia, as well as Frida Kahlo in Mexico and David Chetlahe Paladin in the United States.  Auguste Rodin is sometimes considered a symbolist sculptor.

The symbolist painters used mythological and dream imagery. The symbols used by symbolism are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous references. More a philosophy than an actual style of art, symbolism in painting influenced the contemporary Art Nouveau style and Les Nabis.

Notes

Art movements

Symbolism (art)


Jack Harbaugh (born June 28, 1939 in Crestline, Ohio, United States) is a former American Football high school football  and college football coach and player.

Early life
Harbaugh played for the  Bowling Green Falcons from 1957 to 1960 and won the Mid-American Conference championship in 1959 with the team. As a coach, Harbaugh was the head coach for Eaton High School from 1964 to 1965. After going to Morehead State from 1966 to 1967, Harbaugh returned to Bowling Green from 1968 to 1970 as an assistant. He also became an assistant for the Iowa Hawkeyes (1971-1973), the defensive backs coach for the Michigan Wolverines (1973-1979), the DBs coach for the Stanford Cardinals (1981-1982), Western Michigan Broncos (1982-1986), an assistant for the Pittsburgh Panthers (1987-1988), a Western Kentucky Hilltoppers head coach (1989-2002), a San Diego Toreros head coach (2004-2009), and, after a three-year retirement, Jack Harbaugh returned to the Stanford Cardinals as a runningbacks coach in 2009." Jack (and his son, Jim) often use the following Harbaugh chant: Whoo's got it better than us?" Answer: Nooobody! This was also used by Jack's wife.

However, Jack Harbaugh most famous for his spot in the Harbaugh coaching tree. His sons, John Harbaugh and Jim Harbaugh are currently NFL head coaches, who face each other in the 2013 Super Bowl. Jack is married to Jackie.

Other websites
Stanford bio

References

1939 births
Living people
Sportspeople from Ohio
College football coaches

Jack Harbaugh


Brenda Vineyard Runyon (1868–1929), founder and director of the First Woman's Bank of Tennessee in Clarksville, Tennessee in 1919. The bank was the first bank in the United States to be managed and directed entirely by women. Ms Runyon resigned her position in 1926 due to failing health and was unable to secure a successor. The First Trust and Savings Bank of Clarksville absorbed the bank in 1926.

Ms. Runyon was the wife of a Clarksville physician Dr. Frank Runyon. Both doctor and Ms Runyon were born in Trenton, Todd County, Kentucky. They had two sons, both pursued professional careers. Ms. Runyon was active in the civic affairs of Clarksville and was director of the Clarksville branch of the American Red Cross during World War I. It was following the war that Ms Runyon organized the First Woman's Bank of Tennessee after being challenged to do so by a local business.

References
 The Tennessee Encyclopedia of History and Culture, EntryID F017
 Clarksville-Montgomery County Website, About Clarksville

1868 births
1929 deaths
American bankers
American women bankers

Brenda Vineyard Runyon


The Lutterworth Press, one of the oldest independent British publishing houses, has  traded since the late eighteenth century - initially as the Religious Tract Society (RTS). The Lutterworth imprint, named after the small English town of Lutterworth in Leicestershire, where John Wyclif served as Rector in the fourteenth century, has been used since 1932, and Lutterworth continued most of the then current RTS publications. The main areas have been religion, children's books and general adult non-fiction.

The religious list, as with the RTS, tended to publish fairly evangelical writers, such as Norman Grubb, but gradually broadened in the second half of the twentieth century.

Well-known general writers first published by Lutterworth include David Attenborough and Patrick Moore. The list specialises in popular history and art history, but also publishes books on a wide range of other subjects.

The children's list, which built on the strength of the Boy's Own Paper and Girl's Own Paper, has included well-known authors such as Enid Blyton, W.E. Johns, and Laura Ingalls Wilder. The book From the Dairyman's Daughter to Worrals of the WAAF: The R.T.S., Lutterworth Press and Children's Literature, edited by Dennis Butts and Pat Garrett, 2006, chronicles the history of the publishing house.

The Press was originally based exclusively in London before expanding its operations to Guildford in Surrey where it operated from until 1983. It has been based in Cambridge, England since 1984.

References

External links
Official company website

Christian mass media companies
Book publishing companies of the United Kingdom
Christian publishing companies

The Lutterworth Press


An unfinished building is a building that was being built, but was either abandoned or is on hold. There are many different reasons why buildings have not been completed. One of the biggest reasons for unfinished buildings, is when the money runs out. The National Monument in Scotland was planned to be a War Memorial for soldiers killed in the Napoleonic Wars. Building started in 1826, but the money ran out in 1829. The Sagrada Família, a church in Barcelona, Spain, was started in 1882 and is still not finished. It is not finished because when the architect, Antoni Gaudí, died in 1926 after he was hit by a tram, and he did not leave many plans for the building. What was left was destroyed during the Spanish Civil War. The war also meant that there was not enough money to complete the project.

Some examples
 Duomo di Siena, Sienna, Italy
 Goodwood House, West Sussex, England
 Herrenchiemsee, Bavaria, Germany
 Szkieletor, Kraków, Poland
 Woodchester Mansion, Stroud, Gloucester, England
 Parliament House, Wellington, New Zealand
 Bishop Castle, Colorado, USA
 Boldt Castle, Thousand Islands, New York USA
 National Monument, Edinburgh, Scotland
 Ajuda National Palace, Lisbon, Portugal
 Cuenca Cathedral, Cuenca, Spain
 Winchester Mystery House, San Jose, California, USA
 Neuschwanstein Castle, Bavaria, Germany
 Torre de la Escollera, Cartagena, Colombia
 Plaza Rakyat, Kuala Lumpur, Malaysia
 Sagrada Família, Barcelona, Spain

References

Construction

Unfinished building