American Libraries is the flagship magazine of the American Library Association (ALA).

About
American Libraries was first published in 1970 as a continuation of the long-running ALA Bulletin, which had served as the Association's official publication since 1907. It is published six times yearly in print, plus a digital-only July/August issue and occasional digital supplements, such as the annual State of America's Libraries report. The magazine is sent to approximately 58,000 individuals and organizations worldwide. ALA members receive American Libraries as a benefit of membership. Content is available online to the public at americanlibrariesmagazine.org.

The magazine publishes several annual features, including the "Library Design Showcase,""which highlights new and innovative library architecture and design projects; "Emerging Leaders," a spotlight on the ALA's professional development program for new librarians; and library technology expert Marshall Breeding's "Library Systems Report."

American Libraries Newsmaker feature, which appears in each issue, has included interviews with Margaret Atwood, Judy Blume, Dolly Parton, Emilio Estevez, Al Gore, Stan Lee, George Takei, Alice Walker, Pharrell Williams, Jacqueline Woodson, Debbie Harry, and others.

Additional American Libraries media
American Libraries website and blog The Scoop feature online versions of print edition stories, as well as breaking news and stories not in print, including onsite reporting from the ALA Midwinter Meeting and Annual Conference and updates from the ALA's Public Policy and Advocacy Office in Washington, D.C.

Since 2006, American Libraries has published AL Direct, an electronic newsletter sent twice weekly to ALA members that provides summaries and links to news, announcements, and other information of interest to library and information science professionals. The newsletter is supplemented daily by other news through American Libraries website widget, Latest Library Links.

Launched in 2019, the Daily Scoop is American Libraries conference e-newsletter, providing attendees with daily recaps of events at the ALA's Midwinter Meeting and Annual Conference.

Dewey Decibel is a monthly podcast of conversations with librarians, authors, celebrities, and scholars about topics from the library world. Since its first episode in 2016, the podcast has covered subjects ranging from banned books and fake news to disaster response and artificial intelligence in libraries. The podcast's annual Halloween episodes have investigated library hauntings and mysteries. Past guests have included Kwame Alexander, Ken Burns, Michael Eric Dyson, Sally Field, Brad Meltzer, Bill Nye, Marjane Satrapi, and Rick Steves. In November 2018, Book Riot named Dewey Decibel one of its recommended podcasts about libraries and librarians. The podcast is named for the widely used Dewey Decimal Classification system. American Libraries has acknowledged that Melvil Dewey, for whom the classification is named, has a legacy tainted by sexual harassment and racism.

American Libraries Live free webinars, established in 2012, give the library community a chance to learn about and discuss issues members deal with daily. Each program lasts 60 minutes.

American Libraries is active on Facebook and Twitter, where staffers share content from the magazine, breaking news, and coverage from ALA conferences and meetings. Its Twitter account broke the story that actor and writer Sonia Manzano was retiring from Sesame Street in 2015.

Awards
In 2018, American Libraries Art Director Rebecca Lomax was awarded a 2018 Peter Lisagor Award for best design by a specialty or trade publication. Presented by the Chicago Headline Club, the largest chapter of the Society of Professional Journalists, the awards recognize the best of Chicago journalism. Lomax was recognized for her design work on the March/April 2018 ("In a Virtual World"), September/October 2018 ("The 2018 Library Design Showcase"), and November/December 2018 ("Good Job Hunting") issues.

Controversies
In 1992, American Libraries published a photo of members of the Gay, Lesbian, Bisexual, and Transgender Round Table (then known as the Gay and Lesbian Task Force) on the cover of its July/August issue, drawing both criticism and praise from the library world. Some commenters called the cover "in poor taste" and accused the magazine of "glorifying homosexuality," while others were supportive of the move.

In the 2016 "Special Report: Digital Humanities in Libraries" article, the contractors expressed concerns about the editors inserting quotes that were "grossly inappropriate" for the magazine after they believed a final version was approved. A blog post from the publishers Gale Cengage clarified that they had not been responsible for the insertion of the quotes.

References

External links

American Libraries website
American Libraries Direct page

American Library Association
Bimonthly magazines published in the United States
Library science magazines
Magazines established in 1970
Magazines published in Chicago

American Libraries


The Shawsheen River is a  tributary of the Merrimack River in northeast Massachusetts. The name has had various spellings. According to Bailey's history of Andover, the spelling Shawshin was the most common in the old records, although Shawshine, Shashin, Shashine, Shashene, Shawshene, and later, Shawsheen, are found. The name, says Bailey, is said to mean "Great Spring".

The river runs generally northward through the towns of Bedford, Billerica, Wilmington, Tewksbury, Andover, and Lawrence, where it joins the Merrimack. Like its parent, the river has played an important role in the development of the area, including industrial development, with many mills built to take advantage of the river's power. Today there are trails and parks located along several sections of the river, and a preservation effort is carried out by the Shawsheen River Watershed Association.

In June 2001, the Merrimack River Watershed Council determined that the Shawsheen River failed to meet water quality standards. This situation was largely attributed to stormwater runoff via town, private and state storm drain systems. As a result of increased pollutants, major portions of the Shawsheen River are now listed as impaired waters on the 303(d) list of the Clean Water Act.

The removal of the Marland Place Dam (originally built in the 1700s) and Balmoral Dam (originally built in the 1920s) allowed alewife and blueback herring to spawn upstream to the Ballardvale Dam in spring 2017, for the first time in over 200 years.

References

External links
 Shawsheen River Watershed Association
 Shawsheen River Watershed

Rivers of Middlesex County, Massachusetts
Rivers of Essex County, Massachusetts
Tributaries of the Merrimack River
Lawrence, Massachusetts
Billerica, Massachusetts
Bedford, Massachusetts
Wilmington, Massachusetts
Tewksbury, Massachusetts
Andover, Massachusetts
Rivers of Massachusetts

Shawsheen River


Fleance (also spelled Fléance, ) is a figure in legendary Scottish history. He was depicted by 16th-century historians as the son of Lord Banquo, Thane of Lochaber, and the ancestor of the kings of the House of Stuart. Fleance is best known as a character in William Shakespeare's play Macbeth, in which the Three Witches prophesy that Banquo's descendants shall be kings. Some screen adaptations of the story expand on Fleance's role by showing his return to the kingdom after Macbeth's death.

Shakespeare's play is adapted from Holinshed's Chronicles, a history of the British Isles written during the late 16th century. In Holinshed, Fleance escapes Macbeth and flees to England, where he fathers a son who later becomes the first hereditary steward to the King of Scotland.

In real life, 'Steward' eventually became the name 'Stewart' (later changed to a pseudo Frenchification 'Stuart'), and Walter Stewart married Princess Marjorie, daughter of Robert the Bruce. Their son, Robert II, began the Stewart/Stuart line of kings in Scotland. James VI and I, son of Mary, Queen of Scots, was the ninth Stewart/Stuart monarch (eighth king) of Scotland and the first of the Stuart monarchs of England and Ireland.

James VI & I was the reigning monarch when William Shakespeare wrote and produced Macbeth, which may have been in the new king's honour.

History
Fleance and his father Banquo are both fictional characters presented as historical fact by the Scottish historian Hector Boece, whose Scotorum Historiae (1526–27) was a source for Raphael Holinshed's Chronicles, a history of the British Isles popular in Shakespeare's time. In the Chronicles, Fleance – in fear of Macbeth – flees to Wales and marries Nesta, daughter of Gruffydd ap Llywelyn, the last native Prince of Wales. They have a son named Walter who makes his way back to Scotland and is appointed Royal Steward. According to legend, he fathered the Stuart monarchs of England and Scotland.

The Stuarts used their connection with Fleance and his marriage to the Welsh princess to claim a genealogical link with the legendary King Arthur. This, they hoped, would strengthen the legitimacy of their claim to the throne. In 1722, however, Richard Hay, a Scottish historian, presented strong evidence that not only was James not a descendant of Fleance, but also that neither Fleance nor Banquo ever even existed. Most modern scholars now agree that Fleance is not a real historical figure.

In Macbeth
Fleance appears in Shakespeare's Macbeth. However, only his childhood is portrayed; the rest of his story, as it is described in Holinshed's Chronicles, does not appear in Shakespeare's play. Scholars suggest that Shakespeare does not elaborate on Fleance's life after his escape from Scotland to avoid unnecessary distraction from the story of Macbeth himself.

In Act 1, Macbeth and Banquo meet the Three Witches who foretell that Macbeth will be king and that Banquo "shalt get kings, though thou be none". Fleance also briefly appears in the first scene of Act 2, when his father tells him of "cursed thoughts that nature / Gives way to in repose!". Macbeth, aware of the threat Banquo and his son pose to his new throne, plans to have them murdered. Before Banquo goes travelling, Macbeth asks "Goes Fleance with you?" Macbeth sends three men to follow and kill them both, saying "Fleance['s] absence is no less material to me / Than is his father's." Macbeth holds a banquet that night and reveals to his wife his fears of what might happen unless Fleance and Banquo are both killed.

Banquo and Fleance are ambushed and while Banquo holds the assailants off he cries "Fly, good Fleance, fly, fly, fly! / Thou mayst revenge." When the murderers return to Macbeth and report their failure to kill Fleance, he says, "Then comes my fit again: I had else been perfect, / Whole as the marble, founded as the rock, / As broad and general as the casing air: / But now I am cabin'd, cribb'd, confined, bound in / To saucy doubts and fears." Macbeth later meets the Three Witches again and is shown a vision of a long line of kings descended from Banquo.

Analysis
In the first scene of Act 2, Fleance meets his father, who asks him to take his sword and tells him he is reluctant to go to bed due to the "cursed thoughts that nature / gives way to in repose!"  On Macbeth's approach, however, Banquo demands the sword be returned to him quickly. Scholars have interpreted this to mean that Banquo has been dreaming of murdering the king. Doing so would make the throne more available for Fleance, and would fulfill the Three Witches' prophecy that his sons would become kings. Since Banquo's good nature is revolted by these thoughts, he gives his sword and dagger to Fleance to be sure he does not act on them. Still, he is so nervous at Macbeth's approach that he demands their return. Other scholars have responded that Banquo's dreams have nothing to do with him killing the king, but that they have revealed to him Macbeth's bloody nature. They argue that Banquo is merely setting aside his sword for the night, but when Macbeth approaches, Banquo, having had these dark dreams about Macbeth, takes back his sword as a precaution. In any case, this scene adds to the dark, uncertain, unsettling tone of the play. Fleance and his father are not even certain of what time it is throughout, as Fleance says when asked at the beginning of the scene "The moon is down; I have not heard the clock."

The two scenes in which murderers attack Banquo and Fleance, Lady Macduff and Macduff's son, have been compared to Herod's attempt to murder Christ and save the throne for himself by killing all new-born children in Bethlehem. The conversation between Fleance and Banquo in their own murder scene is especially dark. Banquo's first line from within "Give us a light there, ho!" communicates the nighttime setting. The stage direction "Enter BANQUO, and FLEANCE, with a torch", seems to foreshadow the fact that Fleance is a light for Scotland in the midst of the play's black deeds.

When Macbeth returns to the witches later in the play, they show him an apparition of the murdered Banquo, along with eight kings of his family, descending through Fleance. King James, on the throne when Macbeth was written, was the ninth Stuart king. This scene thus suggests strong support for James' right to the throne by lineage, and for audiences of Shakespeare's day, was a tangible fulfilment of the witches' prophecy. The apparition is also deeply unsettling to Macbeth, who not only wants the throne for himself, but also desires to father a line of kings.

Theatre scholar Marvin Rosenberg theorises that Macbeth has a son, and interprets the play as commenting on the rivalries between pairs of father and son: Banquo and Fleance, Macduff and his son, Macbeth and his.  He argues that the tension that exists between Fleance and Macbeth is made stronger if Macbeth has a child: his motive is not just selfish striving, but also fatherly ambition for his own son. But this interpretation is flawed because in IV:iii, as soon as Macduff hears that MacBeth  has murdered his whole family, he says: "He has no children." Some productions of Macbeth imply that the Macbeths have lost a child, or show this tenderness by having the title character attempt to pat Fleance on the head, when Fleance withdraws to his father's side.

Theatre and screen versions
Theatre and screen versions of Macbeth have sometimes elaborated on Fleance's role.

In Orson Welles's film version of Macbeth (1948), Fleance is briefly seen again at the very end of the movie. He does not speak in this scene, but he has returned to Scotland with the army of Malcolm and Macduff, and is shown along with those hailing Malcolm as the new king after the killing of Macbeth.

The BBC Shakespeare version of Macbeth shows Fleance in the final scene, implying his future role in bringing Banquo's line to the throne.

In Joe MacBeth (1955), the first film to transpose Macbeth into a gang and Mafia-like setting, Fleance is replaced by a character named Lenny. Lenny's father, Banky, is killed, but Lenny escapes, and gathers a group of angry mobsters to overthrow Macbeth, who has, through a series of murders, made himself the kingpin gangster in the area. Lenny is successful in killing Macbeth in the end, but only after Macbeth has murdered most of his family. In another gangster adaptation, Men of Respect (1991), Fleance is replaced by a character named Phil, who similarly helps overthrow Mike (Macbeth) after his father, Bankie (Banquo), is murdered. Phil is inducted into the gang at the end of the film, when Mal (Malcolm) has taken over, suggesting that the violent gang culture will continue through generations. This sentiment echoes into the final scenes of Penny Woolcock's Macbeth on the Estate. Macduff shoots Macbeth and takes a ring (representing his high status) off Macbeth's finger. Entering a bar, he flips it to Malcolm, saying, "Hail, king." Malcolm puts it on with some show and elbows his way to the front of the bar. One of the characters he elbows is Fleance (a skinhead), who makes a mock gun out of his fingers and "shoots" at the back of the darker-skinned Malcolm's skull. Again this makes it clear that the violence will not end with the new generation.

In Throne of Blood, a Japanese adaptation of the play, Fleance is replaced by Yoshiteru, a character played by Akira Kubo. The Macbeth and Banquo characters, Washizu and Miki, are told by an old woman spinning wool in a hut that while Washizu will rule the Forest Castle one day, Miki's son Yoshiteru will eventually inherit it for himself. Washizu takes the throne and at one point is about to make Yoshiteru his heir, but changes his mind when his wife tells him she is pregnant. Washizu instead arranges to have Yoshiteru and his father killed, but Yoshiteru escapes. Another adaptation filmed in India, Maqbool (2003), replaces Fleance with a character named Guddu. Maqbool (Macbeth) attempts to have Guddu murdered to strengthen power within the organised crime circle. Guddu, however, survives and marries the daughter of the former crime lord.

In Macbett, Eugène Ionesco's 1972 stage adaptation, Fleance is merged with the Malcolm character. Macol (Malcolm), who is thought to be King Duncan's son, is revealed to be Banco's (Banquo's). Duncan, wanting a male heir, adopted Macol. Macol fills the role of Malcolm in taking the kingdom from Macbett (Macbeth) at the end of the play.

In the 2006 modern dress film adaptation, set among gangsters in Melbourne, Fleance (Craig Stott) is depicted as a teenage boy, looking slightly older than in the original play. He also appears a bit more often, mainly in the scenes of Act V, where he sneaks on board a truck full of timber and witnesses the death of Macbeth before killing the maid and being directed home by Macduff.

In Joel Coen's 2021 film, Fleance (Lucas Barker) is retrieved from the Old Man (Kathryn Hunter) by (the more prominent than usual) character of Ross (Alex Hassell), who has played an ambiguous role throughout the film.

Influence
Fleance's line "The moon is down, I have not heard the clock" was the inspiration for the title of John Steinbeck's 1942 short novel The Moon is Down. Fleance's line foreshadows the evil encompassing the kingdom. The book was published just as the United States entered World War II and signalled the threat of the Axis powers by outlining the events in a European town occupied by foreign powers. Steinbeck's book became a Broadway play and a film.

In 2008, Pegasus Books published The Tragedy of Macbeth Part II: The Seed of Banquo, a play by American author and playwright Noah Lukeman that endeavoured to pick up where the original Macbeth left off, and to resolve its many loose ends, particularly the prophesied ascension of the seed of Banquo. Written in blank verse, the play was published to critical acclaim.

Another book published in 2009 by Penguin Books, Banquo's Son, is the first in a trilogy that follows on from the Shakespearean story. The novels are written by New Zealand author and English teacher, T.K. Roxborogh.

References

Bibliography

Alexander, Catherine. The Cambridge Shakespeare Library. Cambridge: Cambridge University Press, 2003.
Bevington, David. Four Tragedies. Bantam, 1988.
Burt, Richard. Shakespeares after Shakespeare. Westport: Greenwood Press, 2007.

Ferguson, William. The Identity of the Scottish Nation. Edinburgh: Edinburgh University Press, 1998.
Holland, Peter. Shakespeare Survey: an Annual Survey of Shakespeare Studies and Production. Cambridge: Cambridge University Press, 2004.
Jorgensen, Paul A. Our Naked Frailties: Sensational Art and Meaning in Macbeth. Berkeley, CA: Univ. of California Press, 1971.
Kinney, Arthur. Lies like Truth. Detroit: Wayne State University Press, 2001.
Paul, Henry N. The Royal Play of Macbeth. New York: MacMillan Co., 1950
Shakespeare, William and Sylvan Barnet. The Tragedy of Macbeth. New York: New American Library, 1998.
Shakespeare, William and Nicholas Brooke. The Tragedy of Macbeth. Oxford Oxfordshire: Oxford University Press, 1998.
Steinbeck, John. The Moon Is Down. New York: Penguin Books, 1995.
Rothwell, Kenneth. A History of Shakespeare on Screen. Cambridge: Cambridge University Press, 2004.

Literary characters introduced in 1603
Male Shakespearean characters
Characters in Macbeth
Fictional Scottish people
Fictional nobility

Fleance


Eddie Cantor (born Isidore Itzkowitz; January 31, 1892 - October 10, 1964) was an American comedian, singer, actor, songwriter. Familiar to Broadway, radio and early television audiences, this "Apostle of Pep" was regarded almost as a family member by millions because his top-rated radio shows revealed intimate stories and amusing anecdotes about his wife Ida and five daughters. His eye-rolling song-and-dance routines eventually led to his nickname, Banjo Eyes, and in 1933, the artist Frederick J. Garner caricatured Cantor with large round and white eyes resembling the drum-like pot of a banjo. Cantor's eyes became his trademark, often exaggerated in illustrations, and leading to his appearance on Broadway in the musical Banjo Eyes (1941). He was the original singer of 1929 hit song "Makin' Whoopie".

References

Presidents of the Screen Actors Guild
American stage actors
Comedians from New York City
American Jews
Actors from New York City
Singers from New York City
American television actors
American radio actors
1892 births
1964 deaths

Eddie Cantor


The Benjamin Cleaves House is a historic house on South High Street in Bridgton, Maine, United States.  Built in 1828, it is a well-preserved late example of Federal period architecture, and is most notable for the murals drawn on its walls, probably by the itinerant artist Rufus Porter.  The house was listed on the National Register of Historic Places in 1988.

Description and history
The Cleaves House is located on the west side of South High Street, between Bridgton Hospital and Tuttle Lane.  It is a -story wood-frame structure, five bays wide, with a side-gable roof, two interior chimneys, clapboard siding, and granite foundation.  Its main facade is symmetrical, with a center entrance flanked by sidelight windows and topped by a segmental louvered fan.  A hip-roofed porch extends across the southern facade, and a telescoping series of ells extend from the rear of the main block to join it to a large barn.  The house interior has a narrow central hall with winding staircase, and parlor rooms in front to either side.  Both the hall and the northeast parlor walls have painted murals, depicting country and coastal scenes.

The house is believed to have been built about 1828 for Benjamin Cleaves, a local tinsmith.  It is a well-preserved late example of Federal period architecture, a form of which Bridgton only has a few examples.  The murals on its walls are attributed to Rufus Porter, and are believed to have been painted between 1830 and 1835.  The subject material and form of the murals is stylistically with guidelines published by Porter in his 1825 publication Curious Arts, and uses a more bold color palette than his earlier work.

See also
National Register of Historic Places listings in Cumberland County, Maine

References

Houses on the National Register of Historic Places in Maine
Cleaves
Houses completed in 1828
Buildings and structures in Bridgton, Maine
National Register of Historic Places in Cumberland County, Maine

Benjamin Cleaves House


John Knibb (1650–1722) was an English clockmaker born in Claydon, Oxfordshire. He produced various clocks and watches including bracket clocks, lantern clocks, longcase clocks, and some wall-clocks, as well as building and maintaining several turret clocks. Even though his main market was catering to customers of modest means, he also dominated the higher-quality sector. Only six of Knibb's watches are known to survive.

Life
Knibb was born in 1650, the sixth son of Thomas and Elizabeth Knibb of Claydon, Oxfordshire. He was cousin to the clock- and instrument maker Samuel Knibb (1625–70) and younger brother of the distinguished clock- and watchmaker Joseph Knibb (1640–1711).

In about 1664 Knibb moved from Claydon to Oxford to join his elder brother as either an apprentice or an assistant. In 1670, Samuel Knibb died and Joseph moved to London to replace him, leaving John in charge in Oxford. However, John was not a freeman of the City of Oxford, so all the clocks that he made still had to be signed "Joseph Knibb".

In 1672, Knibb applied to become a freeman of Oxford, and the Mayor and City Council proposed that he should be admitted for a fee of £30. Knibb considered this excessive so he asked Brome Whorwood, one of the two MPs for Oxford, to intervene. Under Whorwood's persuasion, the Council reduced the fee to 20 marks (£13 6s 8d) and admitted Knibb as a freeman in April 1673.

Knibb and his wife Elizabeth had three sons and five daughters between 1679 and 1695. Four of their daughters predeceased them. Knibb died at Oxford in 1722, followed by his widow Elizabeth in 1726. They are buried at St Cross parish church with their four daughters.

John and Elizabeth were survived by their one remaining daughter and three sons, of whom the youngest, Joseph (born 1695), had been apprenticed to a London clockmaker in 1710. Knibb left young Joseph only one shilling in his will, because he had already inherited a legacy of £200 from his uncle Joseph, who died in 1711.

Knibb had several apprentices during his career. One was Samuel Aldworth, from Childrey, who was apprenticed to Knibb in 1673 and became a freeman of the city with his own clock business in 1689. In 1697 Joseph Knibb retired from London to Hanslope and Aldworth moved to London to succeed him. In 1703, Aldworth married into the Knibb extended family, his bride being Elizabeth Knibb, from Collingtree in Northamptonshire.

Oxford clockmaking in Knibb's time

Knibb worked in Oxford at a time when clockmaking suddenly flourished in the city. During the Commonwealth of England Oxford had only two or three clockmakers and at times none of them had an apprentice. However, after the restoration of the Stuart monarchy Oxford's number of clockmakers' apprentices increased to five in 1670 and 12 for much of the 1680s. The number of qualified clockmakers with freedom of the city increased more slowly, peaking at seven early in the 1690s.

In the late 1680s and early 1690s apprentices were not replaced after they completed their seven years of training. The number of apprentices fell rapidly, and from the mid-1690s until the mid-1720s there were only ever one or two in the whole of Oxford. This was largely because the market was now fully supplied, sustaining between three and five freemen clockmakers for the corresponding three decades.

Knibb himself took a succession of 10 apprentices between 1673 and 1722. Between 1681 and 1688 he seems to have had three apprentices at the same time, as well as Aldworth as his journeyman.

Work
In this busy period for clockmaking John Knibb was preeminent. When Joseph moved to London in 1670, John took more responsibility for the business in Oxford. The premises that Knibb took over from his brother were a tenement on the south side of Holywell Street leased from Merton College, Oxford, built in the shadow of the city walls on what had been the town ditch.

Knibb produced bracket clocks, lantern clocks, longcase clocks, and wall clocks. His products were more numerous than his Oxford competitors. He catered for the less expensive segment of the market but he also dominated the higher quality part of the market.

Knibb built and maintained turret clocks. From 1673 until his death in 1722, he maintained the turret clock at Wadham College, Oxford that was probably made by his brother Joseph. He built the turret clock for St John's College, Oxford in 1690 and repaired the clock at St Bartholomew's parish church, Yarnton in 1703.

Six of Knibb's watches are known to survive. One verge watch made in about 1690 is in the Clockmakers' Museum at the Guildhall, London. The Museum of the History of Science, Oxford has three that were also made in about 1690. The collection at Oxford includes one of Knibb's bracket clocks, two of his longcase clocks and one of his wall clocks.

After his brother Joseph died in 1711, his will proved in 1712 bequeathed his  farm at Hanslope to Knibb. However, only one clock is known with the inscription "John Knibb Hanslap", so it appears that Knibb continued to work almost exclusively in Oxford.

Civic and social life
In 1686, Knibb was appointed a member of Oxford City Council. He was elected as one of the Bailiffs in 1688 and from 1690 to 1696. He was elected as one of the Mayor's assistants in 1697, and Keykeeper and assistant member of the Mayor's council in 1700. Knibb was elected Mayor of Oxford twice, in 1698 and 1710. In 1716, he was elected Alderman.

Knibb's friends included the antiquarians Anthony Wood and Thomas Hearne. In 1716, Hearne wrote "This Nibb is a man of so little understanding that he was never known to laugh". However, on learning of Knibb's death in 1722 Hearne wrote that Knibb was "an old, quiet, harmless Man abt. 4 score years of Age."

Blue plaque
On 26 September 2010 the Oxfordshire Blue Plaques Board unveiled a blue plaque at Claydon to Samuel, Joseph and John Knibb.

References

Sources and further reading

1650 births
1722 deaths
English clockmakers
Mayors of Oxford
People from Cherwell District

John Knibb


The Underworld Painter was an ancient Greek Apulian vase painter whose works date to the second half of the 4th century BC.

Career
The Underworld Painter is the successor of the Darius Painter, in whose workshop he began his career and where he worked with other influential craftsmen. This was a large factory-like workshop, probably at Taras. He most frequently depicted theatrical scenes, especially ones from the Classical tragedies by Euripides, and mythological themes.

Works
One of his works shows Hades and Persephone in her palace in the underworld. The compositions and the mythological content are close to those of the Darius Painter, and the influences can be seen in his depictions of robes and faces. Other subjects include Hades kidnapped Persephone, Eos kidnapped Cephalus, and Castor and Pollux abducting the daughters of Leucippus. In the first two vases he is quite free in his presentation, he distributed the figures on different levels and separates them by tendrils friezes. The third vase is another thematically appropriate image, which is unique in the vase painting is one of its kind: Castor and Pollux fight against the sons of Aphareus. His early work has influenced the later artists Painter of Louvre MNB 1148.

Style
The Underworld Painter often exaggerated with decoration, so that the vases are a little overweight. In addition, he sometimes had problems with the representation of faces, so that its people appear grumpy. He strength was with the muscles naked men, which is depicted as taut and body stressing. This is reminiscent of Hellenistic sculptures. However, his painted legs are often quite thin. He attached great importance to some details. He carefully distinguished hair and patterned clothes. The Underworld Painter in his repertoire is less original than the Darius Painter, but he also shows some rarely shown Melanippe  stories like the myth of two plays of Euripides. This story has so far not been found on any other vase. Also known from the Berlin Collection of Classical Antiquities is the Gigantomachy krater, the Priamiden krater and the krater of Persephone). The late work attributed to the artist is seen quite critically and shows a rapid decrease in the skill and quality. It is thought that it was no longer the work of the Underworld Painter, but the other painters of his workshop.

Bibliography
 Arthur Dale Trendall.  Red-figure vases of South Italy and Sicily. A handbook. Philip of Saverne, Mainz, 1991 (Cultural History of the Ancient World Vol 47), esp. p. 115-118 .

External links

Name vase at the Munich, Antikensammlungen Perseus
Works at the Metropolitan Museum of Art
Work and fragments at the Getty Museum

4th-century BC deaths
Ancient Greek vase painters
Anonymous artists of antiquity
People from Apulia
Year of birth unknown

Underworld Painter


馬蹄彎是道路的一種爬行彎道,在拐點處翻轉兩次,最高可到達180度翻轉。

類似的彎道也可以在鐵路見到但常用於道路上. 因為其特色的U型彎道酷似馬蹄,故名為馬蹄彎。有些道路上的彎道,因為轉彎幅度過於狹小,故又有稱為髮夾彎的變種。

原理
馬蹄彎是一種以加長上升或下降坡度,從而減少路線最大坡度的方法。坡度定義為上升距離除予長度或距離,原則上類似的彎道增加長度時,為保持坡度一樣,同樣的上升距離(海拔)也會隨之添加。就像展線環繞山丘或爬升越過環繞的山峰那樣。

如果一段兩點之間的路途因太陡而難以爬升,迂迴的線路會讓距離增加,使兩地水平面可以以長一點的軌道(或道路)達到平衡。馬蹄彎不像螺旋,它並不包括跨越它自己的軌道,且一個完整的馬蹄彎包括兩條相對的直線線段。

curve 拐点 in both directions and tightly curved segment; while a spiral generally has a more uniform curvature. Obviously, a horseshoe also gives rise to a severe change in direction requiring another corrective curve to regain displacement in the overall direction of travel, while a spiral generally does not.

A horseshoe curve is sometimes used where the route bridges a deep gully. Deviating from a straight-line route along the edge of the gully may allow it to be crossed at a better location.

Horseshoe curves are common on railway lines in steeply graded or hilly country, where means must be found to achieve acceptable grades and minimize construction costs. As with spirals, the main limitation in laying out a horseshoe is keeping its radius as large as possible, as sharp curves limit train speed, and through increased friction, are harder on rails, requiring more frequent replacement of outer tracks.

例子

歐洲

 The Dovre Line, the main line of the Norwegian railway network, has a horseshoe within Grønbogen tunnel from 杜姆奥斯 at the steep hills to the Dovre plateau, 標準鐵軌, single track.
 The Flåm Line, Norway, has a double horseshoe, one inside a tunnel, one in the open, few kilometres below top station, standard gauge, single track.
 The Rauma Line, Norway, has a double horseshoe through the steep and narrow valley at Verma, one inside a tunnel and one that includes the Kylling Bridge, standard gauge, single track.
 格雷布夫, Poland has a horseshoe curve 2,5 km west of the town.
 卡利什, Poland has a double horseshoe curve leading the tracks from a flat plateau down to the valley of the 普羅斯納河。
 Between 耶萊尼亞古拉 and 什克拉爾斯卡-波倫巴 in Poland there is a five-times, elongated horseshoe curve (50°51′19"N, 15°34′17"E). Map
 泰恩河畔纽卡斯尔 branch, a goods-only railway from the main line to the river quayside, through a steeply descending horseshoe tunnel.
 The 萊茵-魯爾城市快鐵 in 德国 has a horseshoe curve in Neviges, 費爾貝特 on the route between 埃森 and 伍珀塔尔, known as the Prince William railway.
 The horseshoe curve on the West Highland Line in 蘇格蘭 between Upper Tyndrum and Bridge of Orchy was built because the engineers of the railway couldn't afford to build a viaduct crossing the remote valley.
 In 斯洛伐克 there is a significant number of horseshoe curves on the 班斯卡-比斯特里察 to 圖爾錢斯凱特普利采 railway track and on the railway from 兹沃伦 to 圖爾錢斯凱特普利采. More than 20 tunnels and couple of horseshoe curves were built to overcome rough terrain and elevation differences.

北美洲

 The first ever, and most famous is the four tracks built by the 賓夕法尼亞鐵路 (PRR), the 蹄铁曲线 that starts its climb along Kittanning Run, Pennsylvania due west of 阿尔图纳, and crosses two runs and three mountain faces using three gaps of the Allegheny.
 Stanford Curve; Truckee, California; Union Pacific Railroad (originally Central Pacific Railroad, and then Southern Pacific Railroad).
 Five curves on the California Western Railroad climbing the 加利福尼亚州海岸山脉 east of 布拉格堡
 Ophir Loop; Ophir, Colorado; Rio Grande Southern Railroad – 3英尺(914毫米) gauge (abandoned)
 Coxo Curve; Cumbres, Colorado; Denver and Rio Grande Western Railway; 3英尺(914毫米) gauge
 Tanglefoot Curve; Cumbres, Colorado; Denver and Rio Grande Western Railway; 3英尺(914毫米) gauge
 Los Pinos Curve; Los Pinos, Colorado; Denver and Rio Grande Western Railway; 3英尺(914毫米) gauge
 Phantom Curve; Sublette, Colorado; Denver and Rio Grande Western Railway; 3英尺(914毫米) gauge
 Whiplash Curve; Big Horn, Colorado; Denver and Rio Grande Western Railway; 3英尺(914毫米) gauge
 Lava Loop; Lava, Colorado; Denver and Rio Grande Western Railway; 3英尺(914毫米) gauge
 Altura Curve; Altura, Colorado; Rio Grande, Pagosa and Northern; 3英尺(914毫米) gauge (abandoned)
 66° curve; Moro Castle, Colorado; Uintah Railway; 3英尺(914毫米) gauge (abandoned)
 Balloon Loop; Columbine, Colorado; Uintah Railway; 3英尺(914毫米) gauge (abandoned)
 Hairpin Curve and Muleshoe Curve; McAndrews, Colorado; Uintah Railway; 3英尺(914毫米) gauge (abandoned)
 Coles Curve; Coles, Pennsylvania; East Broad Top Railroad;– 3英尺(914毫米) gauge (out of service)
 Foss Creek, between Skykomish, Washington and the Cascade Tunnel.
 Muleshoe Curve, near Duncansville, Pennsylvania; Pennsylvania Railroad.
 Chorro, California on the grade from 聖路易斯-奧比斯保 to Cuesta Pass, a route owned by the 聯合太平洋鐵路 and used by Amtrak's 海岸星光號 (Los Angeles, CA to Seattle, WA).
 The Cantara Loops between 鄧斯繆爾 and 芒特沙斯塔.  Map
 East of Oakridge, Oregon on the Cascade Line.
 Notch Hill, on 加拿大太平洋鐵路's Shuswap Sub near 萨蒙阿姆, British Columbia.
 "Mance Curve," between Meyersdale & Hyndman, PA along Sand Patch Grade (a section of track that's part of CSX運輸's Keystone Subdivision) which is used both by freight trains and Amtrak's 首都特快 (Chicago, IL-Washington, DC)
 Helmstetter's Curve; Corriganville, Maryland, between 坎伯蘭 and 弗羅斯特堡, Maryland, at Cash Valley Road; former 西馬里蘭鐵路 Connellsville Extension, now the 西馬里蘭觀光鐵路.
 Swain, New York; Pittsburg, Shawmut, & Northern Railroad (abandoned)
 Richburg, New York; Pittsburg, Shawmut, & Northern Railroad (abandoned)

亞洲

 日本東日本旅客鐵道的釜石線在上有住站至陸中大橋站之間有 horseshoe curve  ("down" on the elevation and registration of direction of the line).
 中國的南昆铁路 , inside 宜良县, located in the east of Yiliang Town.

The Cougal Spiral is a feature of the North Coast Railway in Australia that connects New South Wales with Queensland through Richmond Gap. The railway lines needs to climb at a steady ruling gradient from Kyogle to the summit at a tunnel at the border between the two states. The border is also at the watershed. The line is single tracked.

澳洲

 Picton railway station, New South Wales, turns back on itself at about 225 degrees.
 The Raurimu Spiral in New Zealand has a horseshoe curve as the first part of the climb.
 The U-bend south of Maddingly, Victoria takes a large detour to descend 100m.
 Turangarere, New Zealand North Island Main Trunk line near Hihitahi.

參見

 髮夾彎

参考文献

道路運輸

馬蹄彎


Peter H. Barry is an American geochemist who is an associate scientist in the marine chemistry and geochemistry department at the Woods Hole Oceanographic Institution. He uses noble gases and stable isotopes to understand the volatile history and chemical evolution of Earth, including the dynamic processes of subduction, mantle convection and surface volcanism, which control the redistribution of chemical constituents between the crust and mantle reservoirs. Barry's main research focus has been on high-temperature geochemistry, crust-mantle interactions and the behavior of volatile fluids in the lithosphere. He also studies crustal systems, the origin of high helium deposits, including hydrocarbon formation and transport mechanisms.

Barry earned his bachelor's degree in 2004 from SUNY Geneseo, where he studied geology. He earned his master's degree in 2011 and PhD in 2012 from Scripps Institution of Oceanography. He was an NSF Postdoctoral Fellow at University of Tennessee and continued his postdoctoral research at the University of Oxford during 2014–2018 before becoming an assistant scientist at the Woods Hole Oceanographic Institution in 2019. In 2018, he won the DCO Emerging Leader Award from the Deep Carbon Observatory (DCO) and Alfred P. Sloan Foundation in part for leading the Biology Meet Subduction project. The short science documentary produced within the framework of the project was awarded the first place price at the Goldschmidt Orbit Science Documentary Festival.

Barry's major contributions to science to date include explaining the End-Permian Extinction event, the distribution of major reservoirs of helium gas on Earth and discovering new sinks of CO2 in subduction zones. Several of his discoveries have been covered by international media outlets.

References

Year of birth missing (living people)
Living people
Place of birth missing (living people)
American geochemists
State University of New York at Geneseo alumni
Scripps Institution of Oceanography alumni
Academics of the University of Oxford
University of Tennessee faculty
Woods Hole Oceanographic Institution

Peter H. Barry


The abacus (: abaci or abacuses), also called a counting frame, is a hand-operated calculating tool of unknown origin used since ancient times in the ancient Near East, Europe, China, and Russia, millennia before the adoption of the Hindu-Arabic numeral system.

The abacus consists of a two-dimensional array of slidable beads (or similar objects). In their earliest designs, the beads could be loose on a flat surface or sliding in grooves. Later the beads were made to slide on rods and built into a frame, allowing faster manipulation.

Each rod typically represents one digit of a multi-digit number laid out using a positional numeral system such as base ten (though some cultures used different numerical bases). Roman and East Asian abacuses use a system resembling bi-quinary coded decimal, with a top deck (containing one or two beads) representing fives and a bottom deck (containing four or five beads) representing ones. Natural numbers are normally used, but some allow simple fractional components (e.g. , , and  in Roman abacus), and a decimal point can be imagined for fixed-point arithmetic.

Any particular abacus design supports multiple methods to perform calculations, including addition, subtraction, multiplication, division, and square and cube roots. The beads are first arranged to represent a number, then are manipulated to perform a mathematical operation with another number, and their final position can be read as the result (or can be used as the starting number for subsequent operations).

In the ancient world, abacuses were a practical calculating tool. Although calculators and computers are commonly used today instead of abacuses, abacuses remain in everyday use in some countries. The abacus has an advantage of not requiring a writing implement and paper (needed for algorism) or an electric power source. Merchants, traders, and clerks in some parts of Eastern Europe, Russia, China, and Africa use abacuses. The abacus remains in common use as a scoring system in non-electronic table games. Others may use an abacus due to visual impairment that prevents the use of a calculator. The abacus is still used to teach the fundamentals of mathematics to children in most countries.

Etymology
The word abacus dates to at least AD 1387 when a Middle English work borrowed the word from Latin that described a sandboard abacus. The Latin word is derived from ancient Greek  (abax) which means something without a base, and colloquially, any piece of rectangular material.  Alternatively, without reference to ancient texts on etymology, it has been suggested that it means "a square tablet strewn with dust", or "drawing-board covered with dust (for the use of mathematics)" (the exact shape of the Latin perhaps reflects the genitive form of the Greek word,  (abakos)). While the table strewn with dust definition is popular, some argue evidence is insufficient for that conclusion. Greek  probably borrowed from a Northwest Semitic language like Phoenician, evidenced by a cognate with the Hebrew word ʾābāq (), or "dust" (in the post-Biblical sense "sand used as a writing surface").

Both abacuses and abaci are used as plurals. The user of an abacus is called an abacist.

History

Mesopotamia
The Sumerian abacus appeared between 2700 and 2300 BC. It held a table of successive columns which delimited the successive orders of magnitude of their sexagesimal (base 60) number system.

Some scholars point to a character in Babylonian cuneiform that may have been derived from a representation of the abacus. It is the belief of Old Babylonian scholars, such as Ettore Carruccio, that Old Babylonians "seem to have used the abacus for the operations of addition and subtraction; however, this primitive device proved difficult to use for more complex calculations".

Egypt
Greek historian Herodotus mentioned the abacus in Ancient Egypt. He wrote that the Egyptians manipulated the pebbles from right to left, opposite in direction to the Greek left-to-right method. Archaeologists have found ancient disks of various sizes that are thought to have been used as counters. However, wall depictions of this instrument are yet to be discovered.

Persia
At around 600 BC, Persians first began to use the abacus, during the Achaemenid Empire. Under the Parthian, Sassanian, and Iranian empires, scholars concentrated on exchanging knowledge and inventions with the countries around them – India, China, and the Roman Empire- which is how the abacus may have been exported to other countries.

Greece

The earliest archaeological evidence for the use of the Greek abacus dates to the 5th century BC. Demosthenes (384 BC–322 BC) complained that the need to use pebbles for calculations was too difficult. A play by Alexis from the 4th century BC mentions an abacus and pebbles for accounting, and both Diogenes and Polybius use the abacus as a metaphor for human behavior, stating "that men that sometimes stood for more and sometimes for less" like the pebbles on an abacus. The Greek abacus was a table of wood or marble, pre-set with small counters in wood or metal for mathematical calculations. This Greek abacus was used in Achaemenid Persia, the Etruscan civilization, Ancient Rome, and the Western Christian world until the French Revolution.

A tablet found on the Greek island Salamis in 1846 AD (the Salamis Tablet) dates to 300 BC, making it the oldest counting board discovered so far. It is a slab of white marble   in length,  wide, and  thick, on which are 5 groups of markings. In the tablet's center is a set of 5 parallel lines equally divided by a vertical line, capped with a semicircle at the intersection of the bottom-most horizontal line and the single vertical line. Below these lines is a wide space with a horizontal crack dividing it. Below this crack is another group of eleven parallel lines, again divided into two sections by a line perpendicular to them, but with the semicircle at the top of the intersection; the third, sixth and ninth of these lines are marked with a cross where they intersect with the vertical line. Also from this time frame, the Darius Vase was unearthed in 1851. It was covered with pictures, including a "treasurer" holding a wax tablet in one hand while manipulating counters on a table with the other.

Rome

The normal method of calculation in ancient Rome, as in Greece, was by moving counters on a smooth table. Originally pebbles (Latin: calculi) were used. Marked lines indicated units, fives, tens, etc. as in the Roman numeral system.

Writing in the 1st century BC, Horace refers to the wax abacus, a board covered with a thin layer of black wax on which columns and figures were inscribed using a stylus.

One example of archaeological evidence of the Roman abacus, shown nearby in reconstruction, dates to the 1st century AD. It has eight long grooves containing up to five beads in each and eight shorter grooves having either one or no beads in each. The groove marked I indicates units, X tens, and so on up to millions. The beads in the shorter grooves denote fives (five units, five tens, etc.) resembling a bi-quinary coded decimal system related to the Roman numerals. The short grooves on the right may have been used for marking Roman "ounces" (i.e. fractions).

Medieval Europe

The Roman system of 'counter casting' was used widely in medieval Europe, and persisted in limited use into the nineteenth century. Wealthy abacists used decorative minted counters, called jetons.

Due to Pope Sylvester II's reintroduction of the abacus with modifications, it became widely used in Europe again during the 11th century It used beads on wires, unlike the traditional Roman counting boards, which meant the abacus could be used much faster and was more easily moved.

China

The earliest known written documentation of the Chinese abacus dates to the 2nd century BC.

The Chinese abacus, also known as the suanpan (算盤/算盘, lit. "calculating tray"), comes in various lengths and widths, depending on the operator. It usually has more than seven rods. There are two beads on each rod in the upper deck and five beads each in the bottom one, to represent numbers in a bi-quinary coded decimal-like system. The beads are usually rounded and made of hardwood. The beads are counted by moving them up or down towards the beam; beads moved toward the beam are counted, while those moved away from it are not. One of the top beads is 5, while one of the bottom beads is 1. Each rod has a number under it, showing the place value. The suanpan can be reset to the starting position instantly by a quick movement along the horizontal axis to spin all the beads away from the horizontal beam at the center.

The prototype of the Chinese abacus appeared during the Han dynasty, and the beads are oval. The Song dynasty and earlier used the 1:4 type or four-beads abacus similar to the modern abacus including the shape of the beads commonly known as Japanese-style abacus.

In the early Ming dynasty, the abacus began to appear in a 1:5 ratio. The upper deck had one bead and the bottom had five beads. In the late Ming dynasty, the abacus styles appeared in a 2:5 ratio.  The upper deck had two beads, and the bottom had five.

Various calculation techniques were devised for Suanpan enabling efficient calculations. Some schools teach students how to use it.

In the long scroll Along the River During the Qingming Festival painted by Zhang Zeduan during the Song dynasty (960–1297), a suanpan is clearly visible beside an account book and doctor's prescriptions on the counter of an apothecary's (Feibao).

The similarity of the Roman abacus to the Chinese one suggests that one could have inspired the other, given evidence of a trade relationship between the Roman Empire and China. However, no direct connection has been demonstrated, and the similarity of the abacuses may be coincidental, both ultimately arising from counting with five fingers per hand. Where the Roman model (like most modern Korean and Japanese) has 4 plus 1 bead per decimal place, the standard suanpan has 5 plus 2. Incidentally, this allows use with a hexadecimal numeral system (or any base up to 18) which may have been used for traditional Chinese measures of weight. (Instead of running on wires as in the Chinese, Korean, and Japanese models, the Roman model used grooves, presumably making arithmetic calculations much slower.)

Another possible source of the suanpan is Chinese counting rods, which operated with a decimal system but lacked the concept of zero as a placeholder. The zero was probably introduced to the Chinese in the Tang dynasty (618–907) when travel in the Indian Ocean and the Middle East would have provided direct contact with India, allowing them to acquire the concept of zero and the decimal point from Indian merchants and mathematicians.

India

The Abhidharmakośabhāṣya of Vasubandhu (316-396), a Sanskrit work on Buddhist philosophy, says that the second-century CE philosopher Vasumitra said that "placing a wick (Sanskrit vartikā) on the number one (ekāṅka) means it is a one while placing the wick on the number hundred means it is called a hundred, and on the number one thousand means it is a thousand".  It is unclear exactly what this arrangement may have been. Around the 5th century, Indian clerks were already finding new ways of recording the contents of the abacus. Hindu texts used the term śūnya (zero) to indicate the empty column on the abacus.

Japan

In Japan, the abacus is called soroban (, lit. "counting tray"). It was imported from China in the 14th century. It was probably in use by the working class a century or more before the ruling class adopted it, as the class structure obstructed such changes. The 1:4 abacus, which removes the seldom-used second and fifth bead, became popular in the 1940s.

Today's Japanese abacus is a 1:4 type, four-bead abacus, introduced from China in the Muromachi era. It adopts the form of the upper deck one bead and the bottom four beads. The top bead on the upper deck was equal to five and the bottom one is similar to the Chinese or Korean abacus, and the decimal number can be expressed, so the abacus is designed as a one:four device. The beads are always in the shape of a diamond. The quotient division is generally used instead of the division method; at the same time, in order to make the multiplication and division digits consistently use the division multiplication. Later, Japan had a 3:5 abacus called 天三算盤, which is now in the Ize Rongji collection of Shansi Village in Yamagata City. Japan also used a 2:5 type abacus.

The four-bead abacus spread, and became common  around the world. Improvements to the Japanese abacus arose in various places. In China an aluminium frame plastic bead abacus was used. The file is next to the four beads, and pressing the "clearing" button put the upper bead in the upper position, and the lower bead in the lower position.

The abacus is still manufactured in Japan even with the proliferation, practicality, and affordability of pocket electronic calculators. The use of the soroban is still taught in Japanese primary schools as part of mathematics, primarily as an aid to faster mental calculation. Using visual imagery can complete a calculation as quickly as a physical instrument.

Korea
The Chinese abacus migrated from China to Korea around 1400 AD. Koreans call it jupan (주판), supan (수판) or jusan (주산). The four-beads abacus (1:4) was introduced during the Goryeo Dynasty. The 5:1 abacus was introduced to Korea from China during the Ming Dynasty.

Native America

Some sources mention the use of an abacus called a nepohualtzintzin in ancient Aztec culture. This Mesoamerican abacus used a 5-digit base-20 system. The word Nepōhualtzintzin  comes from Nahuatl, formed by the roots; Ne – personal -; pōhual or pōhualli  – the account -; and tzintzin  – small similar elements. Its complete meaning was taken as: counting with small similar elements. Its use was taught in the Calmecac to the temalpouhqueh , who were students dedicated to taking the accounts of skies, from childhood.

The Nepōhualtzintzin was divided into two main parts separated by a bar or intermediate cord. In the left part were four beads. Beads in the first row have unitary values (1, 2, 3, and 4), and on the right side,  three beads had values of 5, 10, and 15, respectively. In order to know the value of the respective beads of the upper rows, it is enough to multiply by 20 (by each row), the value of the corresponding count in the first row.

The device featured 13 rows with 7 beads, 91 in total. This was a basic number for this culture. It had a close relation to natural phenomena, the underworld, and the cycles of the heavens. One Nepōhualtzintzin (91) represented the number of days that a season of the year lasts, two Nepōhualtzitzin (182) is the number of days of the corn's cycle, from its sowing to its harvest, three Nepōhualtzintzin (273) is the number of days of a baby's gestation, and four Nepōhualtzintzin (364) completed a cycle and approximated one year. When translated into modern computer arithmetic, the Nepōhualtzintzin amounted to the rank from 10 to 18 in floating point, which precisely calculated large and small amounts, although round off was not allowed.

The rediscovery of the Nepōhualtzintzin was due to the Mexican engineer David Esparza Hidalgo, who in his travels throughout Mexico found diverse engravings and paintings of this instrument and reconstructed several of them in gold, jade, encrustations of shell, etc. Very old Nepōhualtzintzin are attributed to the Olmec culture, and some bracelets of Mayan origin, as well as a diversity of forms and materials in other cultures.

Sanchez wrote in Arithmetic in Maya that another base 5, base 4 abacus had been found in the Yucatán Peninsula that also computed calendar data. This was a finger abacus, on one hand, 0, 1, 2, 3, and 4 were used; and on the other hand 0, 1, 2, and 3 were used. Note the use of zero at the beginning and end of the two cycles.

The quipu of the Incas was a system of colored knotted cords used to record numerical data, like advanced tally sticks – but not used to perform calculations. Calculations were carried out using a yupana (Quechua for "counting tool"; see figure) which was still in use after the conquest of Peru. The working principle of a yupana is unknown, but in 2001 Italian mathematician De Pasquale proposed an explanation. By comparing the form of several yupanas, researchers found that calculations were based using the Fibonacci sequence 1, 1, 2, 3, 5 and powers of 10, 20, and 40 as place values for the different fields in the instrument. Using the Fibonacci sequence would keep the number of grains within any one field at a minimum.

Russia

The Russian abacus, the schoty (, plural from , counting), usually has a single slanted deck, with ten beads on each wire (except one wire with four beads for quarter-ruble fractions). 4-bead wire was introduced for quarter-kopeks, which were minted until 1916. The Russian abacus is used vertically, with each wire running horizontally. The wires are usually bowed upward in the center, to keep the beads pinned to either side. It is cleared when all the beads are moved to the right. During manipulation, beads are moved to the left. For easy viewing, the middle 2 beads on each wire (the 5th and 6th bead) usually are of a different color from the other eight. Likewise, the left bead of the thousands wire (and the million wire, if present) may have a different color.

The Russian abacus was in use in shops and markets throughout the former Soviet Union, and its usage was taught in most schools until the 1990s. Even the 1874 invention of mechanical calculator, Odhner arithmometer, had not replaced them in Russia; according to Yakov Perelman. Some businessmen attempting to import calculators into the Russian Empire were known to leave in despair after watching  a skilled abacus operator. Likewise, the mass production of Felix arithmometers since 1924 did not significantly reduce abacus use in the Soviet Union. The Russian abacus began to lose popularity only after the mass production of domestic microcalculators in 1974.

The Russian abacus was brought to France around 1820 by mathematician Jean-Victor Poncelet, who had served in Napoleon's army and had been a prisoner of war in Russia. The abacus had fallen out of use in western Europe in the 16th century with the rise of decimal notation and algorismic methods. To Poncelet's French contemporaries, it was something new. Poncelet used it, not for any applied purpose, but as a teaching and demonstration aid. The Turks and the Armenian people used abacuses similar to the Russian schoty. It was named a coulba by the Turks and a choreb by the Armenians.

School abacus

Around the world, abacuses have been used in pre-schools and elementary schools as an aid in teaching the numeral system and arithmetic.

In Western countries, a bead frame similar to the Russian abacus but with straight wires and a vertical frame is common (see image).

The wireframe may be used either with positional notation like other abacuses (thus the 10-wire version may represent numbers up to 9,999,999,999), or each bead may represent one unit (e.g. 74 can be represented by shifting all beads on 7 wires and 4 beads on the 8th wire, so numbers up to 100 may be represented). In the bead frame shown, the gap between the 5th and 6th wire, corresponding to the color change between the 5th and the 6th bead on each wire, suggests the latter use. Teaching multiplication, e.g. 6 times 7, may be represented by shifting 7 beads on 6 wires.

The red-and-white abacus is used in contemporary primary schools for a wide range of number-related lessons. The twenty bead version, referred to by its Dutch name rekenrek ("calculating frame"), is often used, either on a string of beads or on a rigid framework.

Feynman vs the abacus

Physicist Richard Feynman was noted for facility in mathematical calculations. He wrote about an encounter in Brazil with a Japanese abacus expert, who challenged him to speed contests between Feynman's pen and paper, and the abacus. The abacus was much faster for addition, somewhat faster for multiplication, but Feynman was faster at division. When the abacus was used for a really difficult challenge, i.e. cube roots, Feynman won easily. However, the number chosen at random was close to a number Feynman happened to know was an exact cube, allowing him to use approximate methods.

Neurological analysis
Learning how to calculate with the abacus may improve capacity for mental calculation. Abacus-based mental calculation (AMC), which was derived from the abacus, is the act of performing calculations, including addition, subtraction, multiplication, and division, in the mind by manipulating an imagined abacus. It is a high-level cognitive skill that runs calculations with an effective algorithm. People doing long-term AMC training show higher numerical memory capacity and experience more effectively connected neural pathways. They are able to retrieve memory to deal with complex processes. AMC involves both visuospatial and visuomotor processing that generate the visual abacus and move the imaginary beads. Since it only requires that the final position of beads be remembered, it takes less memory and less computation time.

Renaissance abacuses

Binary abacus

The binary abacus is used to explain how computers manipulate numbers. The abacus shows how numbers, letters, and signs can be stored in a binary system on a computer, or via ASCII. The device consists of a series of beads on parallel wires arranged in three separate rows. The beads represent a switch on the computer in either an "on" or "off" position.

Visually impaired users
An adapted abacus, invented by Tim Cranmer, and called a Cranmer abacus is commonly used by visually impaired users. A piece of soft fabric or rubber is placed behind the beads, keeping them in place while the users manipulate them. The device is then used to perform the mathematical functions of multiplication, division, addition, subtraction, square root, and cube root.

Although blind students have benefited from talking calculators, the abacus is often taught to these students in early grades. Blind students can also complete mathematical assignments using a braille-writer and Nemeth code (a type of braille code for mathematics) but large multiplication and long division problems are tedious. The abacus gives these students a tool to compute mathematical problems that equals the speed and mathematical knowledge required by their sighted peers using pencil and paper. Many blind people find this number machine a useful tool throughout life.

Slideshow of various abacuses

See also
 Chinese Zhusuan
 Chisanbop
 Logical abacus
 Mental abacus
 Napier's bones
 Sand table
 Slide rule
 Soroban
 Suanpan

Notes

Footnotes

References

Reading

External links

Tutorials

 Min Multimedia

History

Curiosities

 Abacus in Various Number Systems at cut-the-knot
 Java applet of Chinese, Japanese and Russian abaci
 An atomic-scale abacus
 Examples of Abaci
 Aztex Abacus
 Indian Abacus

Mathematical tools
Chinese mathematics
Egyptian mathematics
Greek mathematics
Indian mathematics
Japanese mathematics
Korean mathematics
Roman mathematics

Abacus


Death Vessel is an American neo-traditional folk band from Rhode Island, signed to Sub Pop and ATP Recordings, and headed by Joel Thibodeau. Their first album, Stay Close was released on North East Indie Records in 2005 to critical acclaim.

Biography
Born in Berlin, Germany and raised in Kennebunkport, Maine, Thibodeau moved to Boston, Massachusetts as a teenager and later to Providence, Rhode Island. From Providence he moved to Brooklyn, New York where he lived until moving back to Rhode Island in 2007. While in Providence he founded the band String Builder with his brother Alec and by early 2003 was playing as part of a duo with Erik Carlson, of Area C (formerly of the Purple Ivy Shadows), who he had met while living in Boston. Thibodeau and Carlson worked closely on the songs that would make up the band's first album, and performed together frequently during this period. A friend from his hometown, Micah Blue Smaldone, formerly of the Pinkerton Thugs and Out Cold also played with Thibodeau at this time and the two have toured as a duo as well. With Carlson (who co-wrote the song "Deep In the Horchata"), Smaldone, Todd Barneson, Brendan Skwire (of Jim and Jennie & The Pinetops), and Pete Donnelly (of The Figgs), Thibodeau began recording what would become Death Vessel's 2005 debut, Stay Close.

Stay Close was widely heralded for its solid songwriting, its musical ingenuity and for the unique quality of Thibodeau's crooning. His soprano register is exceptionally high for a male. Death Vessel has toured with Iron & Wine, Low, José González, and The Books, among others. In 2006 the band was signed to Seattle's venerated Sub Pop Records and London's ATP Recordings. Both labels gave Stay Close a wider release in their respective territories.

On 19 August 2008, Death Vessel's follow up to Stay Close, Nothing Is Precious Enough For Us, was released in the United States via Sub Pop Records.

In 2014, Death Vessel's third album, Island Intervals, was also by Sub Pop. Island Intervals was recorded in Reykjavik, Iceland by producer Alex Somers (Jónsi & Alex, Julianna Barwick). Jónsi of Sigur Rós appears on the song "Ilsa Drown".

Band members
Joel Thibodeau

Honorary and/or performing members
Erik Carlson - collaborations, guitars & noises
John Carpenter - bass & singing
Kyla Cech - violin & singing
Pete Donnelly - recording engineer/producer & many instruments
Mike Gent - drums & singing
Don Larson - banjo, guitar, ukulele
Matthew Loiacono - mandolin & singing
Matt McLaren - drums & maracas
Stephanie Rabins - fiddle, guitar & singing
Pat Rock - bass & singing
Christopher Sadlers - upright bass
Mike Savage - drums
Micah Blue Smaldone - guitars & singing
Alec Thibodeau - bass & singing
Jeffrey Underhill - drums, guitar & singing
Rachel Blumberg - drums

Guest musicians (in the studio)
Laura Baird - banjo & singing
Meg Baird - singing
Todd Barneson - guitars & singing
Freddie Berman - drums
Jennifer Black - singing
Lisa Corson - singing
Tim Harbeson - coronet & pump organ
Jesse Honig - drums
Bon Lozaga - guitar
Daneil Mazone - drums
Jason McGill - alto saxophone
Matty Muir - drums
Hansford Rowe - singing
Brendan Skwire - upright bass
Chuck Treece - drums
Jónsi - vocals

Discography

Albums
Stay Close (2005)  (North East Indie Records / ATP Recordings, Immune Records/ Sub Pop)
Nothing Is Precious Enough For Us (2008, Sub Pop)
Island Intervals (2014, Sub Pop)

References

External links
Death Vessel official page
Death Vessel page at ATP Recordings
2009 Death Vessel Interview at Bandega.com
Video for "Circa" directed by Scott Coffey

Musical groups from New York (state)
Sub Pop artists
ATP Recordings artists

Death Vessel


Joe Holmes (born June 11, 1963) is an American heavy metal guitarist best known for his stint with Ozzy Osbourne between 1995 and 2001. He has also played with Van Halen frontman David Lee Roth and the L.A. band Lizzy Borden in addition to leading his own bands, Terriff, and currently, Farmikos.

Biography
Born in New Jersey and raised in Los Angeles, Holmes took lessons from guitarist Randy Rhoads in 1979. Holmes formed Terriff in 1983 but left to join Lizzy Borden in 1987, appearing on the Visual Lies album. He left Lizzy Borden in 1988 and reformed Terriff, staying with the latter group until 1990.

David Lee Roth
Holmes then joined David Lee Roth's band for a tour in 1991, replacing Jason Becker who was diagnosed with ALS while recording the album A Little Ain't Enough.  Back in L.A., Holmes once again re-activated Terriff trying out and rehearsing with different singers, including former Badlands vocalist Ray Gillen.  Eventually, the band recruited Jeff Biebuyck to be their new frontman and changed the name from Terriff to Dogma and, finally, Alien Ink recording an album's worth of material with producer Rich Mouser.

Ozzy Osbourne
In 1995, after Ozzy Osbourne had finished recording the Ozzmosis album, a replacement for Zakk Wylde was needed for the tour. While working on his own band, Joe got a call from Deen Castronovo (Ozzy's drummer) to let him know they were seeking a guitar player. Joe went down to Audible Studios in Los Angeles and played three Ozzy classics. Holmes did not mention that he had taken lessons from Randy Rhoads (former guitarist for Osbourne) as he thought it would hurt his chances at the job. He succeeded though and got the part.

In Ozzy's book "Diary of a Madman: Ozzy Osbourne - The Stories Behind the Songs" it says "Always on the lookout for a bright, new talent, Ozzy spotted a guitarist who plays like a motherfucker" referring to Joe Holmes who had previously worked with David Lee Roth and was a pupil of Randy Rhoads. While on tour, Rhoads would himself take classical guitar tuition and  arrange workshops in which he gave lessons to young players. "It's really spooky." said Ozzy, "because when Joe plays the Randy Rhoads stuff, he plays just like him - it's like I can see Randy's fingers."

Holmes performed on the Ozzmosis tour with Osbourne.  He started the tour 19 August 1995 at the Austin Music Hall in Austin, Texas. He remained Ozzy's guitarist playing Ozzfest 96 through 2000 tours. Holmes left the band while recording and writing the Down to Earth album. While Holmes does not play on the album, the songs "Can You Hear Them?", "Junkie", and "That I Never Had", which were co-written by Holmes, appear on the album. The only songs from his work with Ozzy that have been released is "Walk on Water", which first appeared on the Beavis and Butt-Head Do America soundtrack, before appearing on the bonus disc for Ozzy's 1997's compilation The Ozzman Cometh and "Perry Mason" live from the 1997 Ozzfest Live CD.

He also participated in the Perry Mason music video.

Farmikos
In late December 2012, news broke of Holmes' new band Farmikos, featuring former Laidlaw vocalist Robert Locke.
The band's name has no particular meaning and was derived from their song "Scapegoat", which was originally titled "Pharmikos".  "Pharmikos" was then changed to "Farmikos" for aesthetics.  It became the band's name.
In early January 2013, the band's website began to stream the song "Scapegoat", the first Farmikos song to surface, with guest contributions from Holmes' former Ozzy Osbourne bandmate, Metallica bassist Robert Trujillo, and Bad Religion drummer Brooks Wackerman.  Another song, "The Sound Of My Gun", also featuring Trujillo and Wackerman, premiered in early March 2013.  Farmikos continues to record new music with longtime Holmes studio affiliate, engineer/producer Rich Mouser. In late July 2013 Farmikos released a video teaser for the song "Exit Stencils" on the official FARMIKOS YouTube channel. The Video features footage of Holmes recording solo tracks in the studio. In December 2013 two more video teasers were released on the official FARMIKOS YouTube channel for the songs "Spoon and Sun" and "Scapegoat". An EP was announced for February 2014. Recorded at the Mouse House in Pasadena, California with engineer/mixer Rich Mouser (SPOCK'S BEARD, TRANSATLANTIC, VAST), the EP also features guest contributions from Holmes' former Ozzy Osbourne bandmate, bassist Robert Trujillo, and drummer Brooks Wackerman. However, on March 18, 2014, instead of an EP, Farmikos released four digital singles: "Scapegoat", "Kings Of Dust", "Exit Stencils" and "The Sound Of My Gun".  The band then continued to release new singles: "Spoon and Sun" was released in May and "Am I One" was released in July,
 adding, "Fragile", "Ascension" and "I Was Them" as the year went on.  In early January 2015, they released "Facing East", just before an album became available on January 15, 2015.  This album compiles all the songs released as singles, to date.

On Eddie Trunk's radio show, January 12, 2015, Joe Holmes revealed his intentions to shoot a couple videos in February for the songs "Scapegoat" and "Am I One", as well as doing some live shows in 2015.  He also mentioned that the band has six or seven songs almost finished, ready for a future release.

Discography

with Lizzy Borden
Visual Lies (1987)
The Decline of Western Civilization Part II: The Metal Years (1988) documentary film
Best of Lizzy Borden (1994)

with Ozzy Osbourne
Walk on Water (1996) soundtrack to the Mike Judge film Beavis and Butt-Head Do America
Ozzfest Live (1997)
Prince of Darkness (2005)

with Farmikos
FARMIKOS (2015) self-titled debut

References

External links

1963 births
Living people
20th-century American guitarists
American heavy metal guitarists
American male guitarists
The Ozzy Osbourne Band members
Guitarists from New Jersey
Guitarists from Los Angeles
The David Lee Roth Band members

Joe Holmes


Growth hormone (GH or HGH), also known as somatotropin or somatropin, is a hormone responsible for growth, cell reproduction and regeneration in humans and other animals. It is specific only to certain kinds of cells.

Human growth hormone
Growth hormone is used as a prescription drug in medicine to treat children's and adults growth disorders. In the United States, it is only available legally by prescription from a doctor. HGH is a very complex hormone, and many of its functions are still unknown.

Synthetic human growth hormone was developed in 1985 and approved by the FDA for specific uses in children and adults. In children, HGH injections are approved for treating short stature of unknown cause as well as poor growth due to a number of medical causes, including:
 Turner's syndrome, a genetic disorder that affects a girl's development
 Prader-Willi syndrome, an uncommon genetic disorder causing poor muscle tone, low levels of sex hormones, and a constant feeling of hunger
 Chronic kidney disease
 HGH deficiency or insufficiency
 Children born small for gestational age

Related pages
Peptide hormone
List of chemicals in doping cases in sport

References

Hormones

Growth hormone


The Clear Creek Trail is a hiking trail below the North Rim, from lower Bright Angel Canyon into lower Clear Creek Canyon of the Grand Canyon National Park, located in the U.S. state of Arizona.

Description

The trail begins near the Colorado River at the bottom of the Grand Canyon, about  north of Phantom Ranch at a junction with the North Kaibab Trail. From the trail head, the trail ascends  to the Tonto Platform over the first . Once on the platform, the trail heads east around the south side of Zoroaster Temple, a large butte on the north side of the river that's easily identified from Grand Canyon Village on the south rim. The trail follows contours around the temple for several miles until it reaches the Ottoman Amphitheater, and then descends into the Clear Creek drainage. Total trail length to Clear Creek is about .

Camping in the Clear Creek area is "at large" with two exceptions: No camping is allowed between the trail head at the junction with the North Kaibab Trail and Sumner Wash, and in the Clear Creek drainage from its mouth at the Colorado River upstream to the first major side-canyon entering from the east. Most creek beds along the trail are dry. Perennial water is only available at Clear Creek at the eastern terminus of the trail. All water in the Clear Creek area must be filtered, treated, or boiled before consuming.

History
Construction of the trail was a Civilian Conservation Corps project during 1934 and 1935. It was originally used as a mule trail for visitors from Phantom Ranch, but this ended during World War II. Clear Creek Trail is the only trail that traverses the Tonto Platform on the north side of the Colorado River.

See also

 The Grand Canyon
 List of trails in Grand Canyon National Park

References

External links
 Grand Canyon National Park, Official site
 Clear Creek Trail National Park Service factsheet.
 Grand Canyon National Park, Backcountry Trails and Use Areas

Hiking trails in Grand Canyon National Park
Grand Canyon, North Rim
Civilian Conservation Corps in Arizona

Clear Creek Trail


Japanese Chinese cuisine, also known as Chūka, represents a unique fusion of Japanese and Chinese culinary traditions that have evolved over the late 19th century and more recent times. This style, served predominantly by Chinese restaurants in Japan, stands distinct from the "authentic Chinese food" found in areas such as Yokohama Chinatown. Despite this difference, the cuisine retains strong influences from various Chinese culinary styles, as seen in the Shippoku cooking style.

A significant number of these dishes were introduced to Japan either by Chinese immigrants or Japanese soldiers returning from the invasion and colonization of China, creating a unique gastronomic landscape that reinterprets Chinese cuisine through a Japanese lens. This style of cuisine has found its expression in three main types of restaurants: Ramen restaurants, Dim sum houses, and standard Chinese-style restaurants. The resulting adaptations span various regional Chinese cooking styles and techniques, from Sichuan's spicy stir-fries to Zhejiang's slow-cooked stews, contributing to the rich and diverse character of Chūka.

Overview
 is the adjective for Japanese style "Chinese" dishes, or the restaurants in Japan which serve them. Chuka dishes originated in China, but have become modified over the years to suit Japanese taste, often with Japanese or even Western foods. Japanese cooking styles have been added, such as in the case of miso-ramen.  In other cases, only the noodles are "Chinese", as in the case of hiyashi chūka, which was invented in Sendai in 1937, and uses Western food influences such as sliced cured ham. As meat (other than fish) was not common in Japanese cooking until recently, many meat dishes, particularly pork dishes, are of Chinese origin or influence.

Though formerly Chinese cuisine would have been primarily available in Chinatowns such as those in port cities of Kobe, Nagasaki, or Yokohama, and a number of the dishes are considered meibutsu (regional specialties) of these cities, Japanese-style Chinese cuisine is now commonly available all over Japan.  As Japanese restaurants are often specialized to offer only one sort of dish, cuisine is focused primarily on dishes found within three distinct types of restaurants: Ramen restaurants, Dim sum houses, and standard Chinese-style restaurants.

Ramen
Ramen (拉麵)(ラーメン), a dish of noodles in broth, usually with meat and vegetable toppings, is occasionally referred to as Chuka Soba (中華そば, lit. "Chinese noodles.") In Japan, ramen is one of the most popular fast-food options. Though every Japanese city has numerous inexpensive ramen restaurants specializing in these noodles, numerous varieties of instant ramen (much like the Japanese equivalent of the frozen TV dinner) are available. The ramen primarily derives from the noodle soups of noodles in Cantonese cuisine but these noodles have changed much since their origin in China. Four main types of ramen are widely available in Japan: shio ("salt"), shōyu ("soy sauce"), tonkotsu ("pork bone") and miso ("soybean paste"). While the toppings used in ramen are generalized based on the broth type, this can vary from shop to shop. As complements to the noodles, ramen restaurants also commonly offer Japanese-style fried rice and gyoza (pan-fried dumplings).

Dim sum in Japan
Dim sum (点心 tenshin or 飲茶 yamucha in Japanese) in Japan is often very different from that which has been popularized in Chinatowns in the United States and Canada. In Japan's Chinatown areas, restaurants in which numerous dishes are brought around to diner's tables on carts do exist. But, in general, dim sum items have only recently begun to gain popularity around Japan. Instead of carrying full menus of authentic, Chinese-oriented items such as stewed chicken's feet or tripe, Japanese dim sum restaurants, now found in larger cities such as Osaka and Tokyo seem to promote a cafe-like atmosphere. At these cafes, tea and snacks often become the focus, instead of full meals. In general, the menus seem to focus on cafe items, such as Shumai (燒賣, minced pork or shrimp dumplings), sho lon po (小籠包, steamed dumplings with juicy meat inside) and the like. These are usually served alongside of pots of oolong or jasmine tea.

Chinese restaurants in Japan

Chinese restaurants (中華料理屋/chūka ryōriya or 中華飯店/chūka hanten) serve a distinct set of popular dishes that are not necessarily typical of authentic Chinese cuisine. They also cater to Japanese tastes. Currently, most towns in Japan have at least one Chinese eatery, as the cuisine is very popular. There are also many packaged sauces available to easily cook favorite Chinese-Japanese dishes right at home. Some of these typical dishes are:

Dishes derived from Sichuan cuisine:
Mābō-dōfu (麻婆豆腐) are stir fried dishes of ground pork mixture with tofu cubes (mābō-dōfu) in a slightly spicy sauce.
Mābō-nasu (麻婆茄子) are stir fried dishes of ground pork with eggplant (mābō-chezu) in a slightly spicy sauce. The dish was popularized in Japan by Chen Kenmin in 1952.
Ebi no Chili Sauce (えびのチリソース) is a spicy, thick-sauced shrimp dish. As the name suggests, chili sauce is used.
Hoi Kō Rō (回鍋肉) is a stir-fry of thinly sliced pork and cabbage in a miso-based sauce and pinch of chilli .
Banbanji (棒棒鶏) is a cold dish of steamed chicken which is shredded and covered in a sesame sauce. It is often accompanied by cold vegetables such as carrot and cucumber as a salad or appetizer.
Dishes derived from Fujian cuisine:
Chin-jao Rōsu (青椒肉絲; also called pepper steak) is a stir-fry of thinly sliced beef strips with Japanese green peppers and often bean sprouts in an oyster sauce.
Champon (ちゃんぽん) is a ramen-like dish, topped with fried pork, seafood, and vegetables
Dishes derived from Cantonese cuisine:
Subuta (酢豚) is the Japanese take on sweet and sour pork. It usually has a thicker, amber-colored sauce, unlike the striking orange or red of the Americanized version. Also unlike the American version, it does not typically contain pineapple. Another common dish substitutes the fried pork in this dish with small fried meat-balls, called "niku-dango".  Chicken is sometimes used as a substitute to pork for this dish .
Chāshū (チャーシュー) is derived from char siu (叉燒 barbecued pork tenderloin ). However, while the original Cantonese version is roasted after marinating in a sweet sauce that gives it a red colour, the Japanese version is instead stewed in honey and soy sauce and is in light brown colour .
Shumai (焼売 or シュウマイ) is a type of traditional Chinese dumpling made with pork or glutinous rice .
Chūkadon (中華丼) is a Cantonese-style stir fry of vegetables and meat on top of rice.
Dishes derived from Northeast Chinese cuisine:
Gyōza (餃子 or ギョーザ), as mentioned before, are a very popular dish in Japan. Most often, they are seen in their pan-fried form, but they can be served boiled as dumplings or even deep fried, as well.  They are also commonly found in Ramen shops as well as general Chuka restaurants.
Kani-tama (かに玉 or 蟹玉) is very similar to the Americanized Egg foo young, but exclusively using crabmeat as the filling. It is served with a thick, brownish sauce, like its American counterpart.

Dishes derived from Jiangsu cuisine:

Chāhan (炒飯 or チャーハン) is sometimes called "yakimeshi", literally meaning fried rice. It is very different from fried rice found in American Chinese or authentic Chinese restaurants, as it uses Japanese short-grain rice, which generally has a stickier consistency than that used in other countries. Additionally, though there are many different recipes using such diverse ingredients as Welsh onion, ground pork, crab, bamboo shoots, the classic Japanese fried rice does not use soy sauce, remaining white when served. It typically uses egg, green peas, and thinly sliced ham.
Shoronpo is the Japanese pronunciation of Xiao Long Bao (小籠包), a steamed juicy pork dumpling (also called a "soup dumpling"), popularized in Shanghai.

Dishes derived from Zhejiang cuisine:

Buta no Kakuni (豚の角煮) is thick slices of pork bellies stewed in a soy sauce based mixture, often served with Shanghai bok choi and Chinese mustard.

Other dishes:
Kara-age (唐揚, lit. Chinese Fry) are bite-sized pieces of chicken thigh, dipped in a thick batter and fried. Usually, it is served without sauce. Some restaurants serve this with a salt and pepper mixture on the side for dipping, and some recipes call for a mixture of soy sauce, vinegar and scallions similar to that used on dumplings.
Yūrinchi (油淋鶏, lit. "oil-drenched chicken") is deep-fried chicken or karaage topped with a vinegar and soy sauce-based sweet-and-sour sauce and chopped scallions, often served on a bed of shredded lettuce.
Harumaki (春巻き, lit. "Spring Rolls") are very similar to those found in Americanized Chinese restaurants, with a thin wrapper and vegetables inside.
Nikuman (肉まん) or Chukaman (中華まん, lit. Chinese-style steamed bun) is the Japanese name for Chinese baozi, steamed buns filled with cooked ground pork, beef, and/or other ingredients.
Tenshindon (天津丼), also known as Tenshinhan (天津飯), is a dish of crab meat omelette (Kani-tama) over rice. The dish name derived from the port city of Tianjin in China.

See also

 Chinese cuisine
 Japanese cuisine
 Korean Chinese cuisine
 Chinese people in Japan

References

External links

 Outdoor Japan - Contains a brief overview of ramen and Chinese-Japanese cooking, as well as other Japanese cooking styles.
 World Ramen.net - Comprehensive Ramen site with pictures and reviews.

Japanese cuisine
Chinese-Japanese culture
Chinese cuisine

Japanese Chinese cuisine


Lieutenant General George Edward Stratemeyer (24 November 1890 – 9 August 1969) was a senior commander in the United States Air Force. He held senior command appointments in the China Burma India Theater of World War II and was Far East Air Forces commander during the first year of the Korean War.

Early career

Stratemeyer was born in Cincinnati, Ohio, in 1890. He graduated from the United States Military Academy in June 1915 ("the class the stars fell on") as a second lieutenant of Infantry. He served with the 7th and 34th Infantry regiments in Texas and Arizona until September 1916 when he was detailed to the Aviation Section, U.S. Signal Corps, for flying training at Rockwell Field, San Diego, California. Stratemeyer became a first lieutenant in June 1916. He became commanding officer of the United States Army Air Service Flying and Technical Schools at Kelly Field, Texas in May 1917. He became a captain in August 1917, assigned as school commandant of the School of Military Aeronautics Division ground school at Ohio State University, and later commanding officer of Chanute Field, Illinois. Stratemeyer was promoted to major in August 1918. With official transfer to the Air Corps from the Infantry in 1920 he went to Luke Field, Hawaii as commanding officer of the 10th Air Park.

Stratemeyer returned to West Point in August 1924 as instructor in tactics. He graduated from the Air Corps Tactical School at Langley Field, Virginia, in June 1930 and from the Command and General Staff School at Fort Leavenworth, Kansas, in 1932. He remained at Leavenworth as an instructor for the next four years. Stratemeyer was promoted to lieutenant colonel in June 1936 and assigned to command the 7th Bomb Group at Hamilton Field, California. He graduated from the Army War College in 1939 and went to the office of the Chief of the United States Army Air Corps as head of the Training and Operations Division, with promotion to colonel in March 1940.

A year later Stratemeyer became executive officer to General Henry H. Arnold, the chief of the Air Corps, and in August he was promoted to brigadier general. Stratemeyer commanded the Southeast Air Corps Training Center at Maxwell Field, Alabama, for five months and returned to Washington in June 1942 as chief of Air Staff for General Arnold. He had been promoted to major general in February 1942.

World War II
Stratemeyer went to the China Burma India Theater in mid-1943, appointed Commanding General of the Army Air Forces' India-Burma Sector, deputy Air Commander Southeast Asia, and commander of the Eastern Air Command, South East Asia Command (SEAC). Although officially air advisor to General Joseph Stilwell, his status was comparable to that of Stilwell.

Part of Stratemeyer's command, the Tenth Air Force, had been integrated with the RAF Third Tactical Air Force in India in December 1943 and was operating under Lord Louis Mountbatten, Supreme Allied Commander of SEAC. Another part of it, the Fourteenth Air Force in China, was under the jurisdiction of Generalissimo Chiang Kai-shek as commander of the China Theater. And although the India-China Wing, Air Transport Command received its allocations of tonnage requirements for the Hump airlift from Stratemeyer as Stilwell's deputy, control of ICWATC resided with Headquarters ATC, in Washington. One of Stratemeyer's favorite cartoons showed him sitting at his desk surrounded by pictures of his eight bosses (Stilwell, Mountbatten, General George C. Marshall, Chiang, Arnold, Royal Air Force Air Marshal Sir Richard Peirse, Major General Daniel I. Sultan, and FDR), all of whom could give him orders in one or another of his capacities.

Stratemeyer was promoted to lieutenant general in May 1945 and from April 1944 until March 1946 was commander of the Army Air Forces in the China Theater with headquarters at Chungking. Stratemeyer was a major figure in the retaliatory maneuvering after Stilwell's recall to force General Claire Chennault out as commander of the 14th Air Force, headquartered in Kunming.

After the war, Stratemeyer commanded the Air Defense Command at Mitchel Field, New York, and the Continental Air Command, which was organized there in November 1948. At both positions, Stratemeyer tried to improve America's warning system.

Korean War
Stratemeyer went to Tokyo in April 1949 as commanding general of Far East Air Forces, which he led through the first year of the Korean War. His units responded rapidly to the North Koreans' invasion of the South and provided South Korea and General Douglas MacArthur with the vital air arm. General Stratemeyer had a serious heart attack in Tokyo in May 1951 and was confined to the Air Force hospital at nearby Tachikawa Air Base.

Stratemeyer retired on 31 January 1952. He died in Winter Park, Florida on 9 August 1969.

Decorations
Stratemeyer awards include the Distinguished Service Cross, Distinguished Service Medal with three oak leaf clusters; Distinguished Flying Cross; Air Medal with oak leaf cluster; American Defense Service Medal; Asiatic-Pacific Campaign Medal with five service stars; European-African-Middle Eastern Campaign Medal with service star; World War I Victory Medal; World War II Victory Medal; American Campaign Medal with service star; National Defense Service Medal; Korean Service Medal with four service stars; Mexican Border Service Medal; Ho-Tu Medal of Chinese Air Force; Tashou Cloud Banner (Chinese); British Companion of the Order of the Bath Chinese Special; Chinese Pilot's Badge; Polish Order of Polonia Restituta Commander's Cross; Knight Commander of the Order of the British Empire; Yugoslavian pilot's badge.

References

 This article includes content from Official United States Air Force Biography of George E. Stratemeyer, which as a work of the U.S. Government is presumed to be a public domain resource.

External links
Website about George E. Stratemeyer

1890 births
1969 deaths
Military personnel from Cincinnati
Air Corps Tactical School alumni
United States Air Force personnel of the Korean War
United States Army personnel of World War II
Commanders of the Order of Polonia Restituta
Graduates of the United States Military Academy Class of 1915
Honorary Companions of the Order of the Bath
Honorary Knights Commander of the Order of the British Empire
Recipients of the Air Medal
Recipients of the Distinguished Flying Cross (United States)
Recipients of the Distinguished Service Cross (United States)
Recipients of the Distinguished Service Medal (US Army)
United States Air Force generals
United States Army Air Forces generals
United States Army Air Service pilots of World War I
United States Army officers
United States Army Air Forces generals of World War II
United States Army personnel of World War I

George E. Stratemeyer


The Search for Roots: A Personal Anthology is a compilation of thirty pieces of prose and poetry selected by Italian-Jewish author and Holocaust survivor Primo Levi as part of an abortive project by his original Italian publisher Einaudi to identify the texts which most influenced major Italian writers.

Contents

 "The Just Man Oppressed by Injustice": "The Book of Job", The Bible'
 "A Man of No Account": Homer, New Coasts and Poseidon's Son, The Odyssey "Why are Animals Beautiful?": Charles Darwin, The Origin of Species "To See Atoms": Sir William Bragg, Concerning the Nature of Things "The Pact with the Mammoths": Joseph-Henri Rosny, La Guerre du Feu "The Hobbies": Giuseppe Parini, "The Day"
 "A Deadly Nip": Carlo Porta, "Olter Desgrazzi de Giovannin Bongee"
 "Dystopia": Jonathan Swift, Gulliver's Travels "A Testing Time": Joseph Conrad, "Youth"
 "The Words of the Father": Ludwig Gattermann, Laboratory Methods of Organic Chemistry "Better to Write of Laughter Than Tears": François Rabelais, Gargantua and Pantagruel "A Different Way of Saying 'I'": Thomas Mann, Joseph and His Brothers#The Tales of Jacob "The Romance of Technology": Roger Vercel, Tug-Boat "The Dark Well of the Human Spirit": Herman Melville, Moby Dick "Survivors in the Sahara": Antoine de Saint-Exupéry, Wind, Sand and Stars "The Curious Merchant": Marco Polo, The Travels "The Poet-Researcher": Lucretius, On the Nature of the Universe "The Jew on Horseback": Isaac Babel, Collected Stories "An Irrepressible Quibbler": Sholem Aleichem, Tevye the Dairyman and the Railroad Stories "Pity Hidden beneath Laughter": Giuseppe Belli, The Sonnets "Why We are Not Happy": Bertrand Russell, The Conquest of Happiness "We are the Aliens": Fredric Brown, "Sentry"
 "The Measure of All Things": ASTM D 1382 - 55 T, American Society for Testing Materials
 "Urchin Death": Stefano D'Arrigo, Horcynus Orca "TV According to Leonardo": Arthur C. Clarke, Profiles of the Future: An Enquiry into the Limits of the Possible "Before and after the Crime": T. S. Eliot, Murder in the Cathedral "Death Fugue": Paul Celan, Poems of Paul Celan "Tonie the Winterer": Mario Rigoni Stern, The Story of Tönle "Trying to Understand": Hermann Langbein, Menschen in Auschwitz "We are Alone": Kip S. Thorne, The Search for Black Holes "Afterword": The Four Paths of Primo Levi'' by Italo Calvino

References

Short story collections by Primo Levi
Poetry by Primo Levi
1981 books
Italian poetry collections
Giulio Einaudi Editore books

The Search for Roots