Jan Mossin (1936–1987) was a Norwegian economist. Born in Oslo, he graduated with a siv.øk. degree from the Norwegian School of Economics (NHH) in 1959. After a couple of years in business, he started his PhD studies in the spring semester of 1962 at Carnegie Mellon University.

One of the papers in his doctoral dissertation was a very important contribution (1966) to the Capital Asset Pricing Model (CAPM). At Carnegie Mellon he was, among others, awarded the Alexander Henderson Award for 1968 for this contribution. If Jan Mossin had lived longer he would most likely have been a candidate for the Nobel Prize in Economics in 1990 together with Professors William F. Sharpe and John Lintner.

After he had finished his PhD he returned to NHH where he in 1968 was tenured professor.  During his time at NHH, Mossin was visiting professor at the University of California, Berkeley (1969–1970), New York University (1973–1974), Columbia University (1976), the University of Texas, Austin (1978–1979) and the University of Washington, Seattle (1983–1984). Mossin was elected fellow of the Econometric Society in 1973.

Partial bibliography

Articles
 "Wages, Profits and the Dynamics of Growth", Quarterly Journal of Economics, 80, 1966, pp. 376–399.
 "Equilibrium in a Capital Asset Market", Econometrica, 34, 1966, pp. 768–783.
 "On a Class of Optimal Stock Depletion Policies", Management Science, 13, 1966, pp. 120–130.
 "The Shorter Work Week and the Labor Supply", (with Martin Bronfenbrenner) Southern Economic Journal, 33, 1967, pp. 322–331.
 "Optimal Multiperiod Portfolio Policies", Journal of Business, 41, 1968, pp. 215–229.
 "Aspects of Rational Insurance Purchasing", Journal of Political Economy, 76, 1968, pp. 553–568.
 "Taxation and Risk Taking", Economica, 36, 1968, pp. 74–82.
 "Merger Agreements: Some Game-Theoretic Considerations", Journal of Business, 41, 1968, pp. 460–471.
 "Security Pricing and Investment Criteria in Competitive Markets", American Economic Review, 59, 1969, pp. 749–756.

Books
 Theory of Financial Markets, 1973, Prentice-Hall,
 The Economic Efficiency of Financial Markets, 1977, Lexington Books,

Financial economists
Academic staff of the Norwegian School of Economics
Norwegian School of Economics alumni
Fellows of the Econometric Society
Norwegian expatriates in the United States
1936 births
1987 deaths
Carnegie Mellon University alumni
20th-century  Norwegian  economists

Jan Mossin


Turn & Idrettsforeningen Viking is a Norwegian sports club from Bergenhus, Bergen. It has sections for gymnastics, athletics, race walking, orienteering, volleyball, handball and skiing.

It was founded on 17 May 1892 as IK Viking, but later changed their name. The club had its heyday before and around World War II. Its indoor arena, Vikinghallen, was erected in 1935 and to this day generates most of the club's income. Its outdoor arena and home ground is Skansemyren. Many international athletes represented the club, including Harald Stenerud, Olaf Strand, John Systad and Odd Rasdal. In the 2000s, race walker Trond Nymark became the club's most prominent member.

Former sports include association football (between 1911 and 1919), sport rowing and sport shooting.

References

External links
 Official site

Athletics clubs in Norway
Sport in Bergen
Sports clubs and teams established in 1892
Orienteering clubs in Norway
Defunct football clubs in Norway
Multi-sport clubs in Norway
1892 establishments in Norway

TIF Viking


John R. Jasperse (born October 8, 1963) is an American choreographer and dancer. Since 1990 he has been artistic director and choreographer of the New York City-based John Jasperse Company.

Joyce Morgenroth describes his work as "wry" and "often spoken of in oppositional pairs" of which the most central is "…the interplay between his tightly conceived structures and his elusive movement style." His dancers are involved in an "interactive choreographic process" and "[s]ets are designed to be integral to the dance," with dancers often moving or otherwise interacting with sets and props.

Originally from Rockville, Maryland, Jasperse graduated from Sarah Lawrence College in 1985; since then he has been based in New York City. He worked 1987–1993 with Jennifer Monson; in 1988 and 1989 he performed with Anne Teresa de Keersmaeker's company Rosas in Belgium.

Jasperse's work has been performed in the United States, Brazil, Chile, Israel, Japan, and throughout Europe, including such venues as the Brooklyn Academy of Music's Next Wave Festival, the Venice Biennale, the Walker Art Center (Minneapolis, Minnesota), the Museum of Contemporary Art, Chicago, and Tanz im August in Berlin. Mikhail Baryshnikov's White Oak Dance Project, Batsheva Dance Company and the Lyon Opera Ballet have all commissioned work from him.

Among his and his company's many awards, grants, and fellowships are a John Simon Guggenheim Memorial Foundation award (1998), a Creative Capital Award in Performing Arts, two Bessie Awards (2001 for Jasperse, 2002 for the Company), and grants from the National Endowment for the Arts (1992, 1994, 1995–96) and New York Foundation for the Arts (1988, 1994 and 2000). Jasperse received a 2003 Foundation for Contemporary Arts Grants to Artists Award. In 2011 he was named a Fellow of United States Artists.

Jasperse's evening-length works are Rickety Perch (1989), Eyes Half Closed (1991), furnished/unfurnished (1993), Excessories (1995), Waving to you from here (1997), Madison as I imagine it (1999), Giant Empty (2001), just two dancers (2003), CALIFORNIA (2003), Prone (2005), Becky, Jodi, and John (2007) and Misuse liable to prosecution (2007).

John Jasperse Company
The John Jasperse Company, founded in 1985, has two managing structures: Thin Man Dance, Inc. in New York (since 1998) and Association Chapitre II in Lyon, France (since 2003).

In 2008, Jasperse partnered with Jonah Bokaer of Chez Bushwick to co-found the Center for Performance Research (CPR) in Williamsburg, New York.

Notes

References
 John Jasperse Company, Misuse liable to prosecution, program for performance October 18–October 20 at On the Boards, Seattle, Washington, a co-production with the Brooklyn Academy of Music, commissioned in part by Symphony Space (NYC).
"John Jasperse", 187:204 in Joyce Morgenroth, Speaking Of Dance: Twelve Contemporary Choreographers on Their Craft, Routledge 2004, .

External links
 John Jasperse Company, official site
 John Jasperse Company at On the Boards (2007) includes audio interview

Living people
American choreographers
1963 births
Sarah Lawrence College alumni

John Jasperse


A sperm bank (also semen bank) is an enterprise that collects or stores human sperm from sperm donors for use by women who need sperm to get pregnant.

Sperm banks enable greater control, especially in the relation to access and timing of pregnancies, since they check and screen potential donors. The sperm banks usually 'wash' the sperm sample to extract sperm from the semen.

Biological reproduction

Sperm bank


The Sub-district I of Śródmieście (of Armia Krajowa) (Polish: Obwód II Śródmieście also named as Obwód Radwan) - a territorial organisational unit of the District of Warsaw of Armia Krajowa. It covered the area of Śródmieście in Warsaw, fought in conspiracy during the German occupation of Poland during World War II and openly during the Warsaw Uprising 1944.

Sub-district commander was Edward Pfeiffer, codenamed Radwan.

See also
 Military description of the Warsaw Uprising

References
 Struktura Organizacyjna Armii Krajowej, Marek Ney-Krwawicz w: Mówią wieki nr 9/1986.

Units and formations of the Home Army
Warsaw Uprising

Śródmieście Subdistrict (Home Army)


KTRM (88.7 FM) is an FM non-commercial/educational radio station operated by students at Truman State University in Kirksville, Missouri.  The station features alternative music, with specialty shows hosted in the evenings and on weekends.  KTRM broadcasts at 3,500 watts effective radiated power, covering Adair County and rural areas within a 25-mile radius.

KTRM also streams online using QuickTime.

History
KTRM was originally envisioned in 1975, when the Department of Language and Literature sought to establish a 100,000 watt FM station.  The university, however, decided to pursue an unlicensed operation, regulated by Part 15 of FCC code.  Under the letters KNEU (for Northeast Missouri State University, Truman's previous name), the station debuted in October 1975 at 1600 AM.  Because the power levels allowed by Part 15 only resulted in a small coverage area, transmitters were purchased for each residence hall.

The reception of the 1600 AM signal was not ideal in several of the brick and mortar halls.  In February 1976, KNEU moved to 580 AM and rewired the transmitters in each building.  In the late 1970s, KNEU added FM coverage, but students could only receive the 102.1 FM signal on-campus via Cable FM.  KNEU also broadcast on the university's public service channels.

Ten years after an earlier attempt failed, the Department of Language and Literature filed an application with the FCC for licensing.  The Board of Governors approved the application's submission, and in 1996, Truman received a construction permit from the FCC.  The original license assigned call letters KAVT on June 16, 1997. Because the KNEU call sign was used by a religious station in Utah, the university requested and received the call letters KTRM on August 15, 1997, representative of the university's new name.

At 2 p.m. on February 10, 1998, University President Jack Magruder flipped the switch, powering the antenna and bringing "Kirksville's Tru Alternative" online.  KTRM broadcast from studios on the first floor of the Student Union Building prior to the building undergoing renovation after April 2007.  KTRM and the rest of the campus media relocated to Barnett Hall, on the southern edge of campus, in fall 2007.  While their counterparts Index and News36 restarted operations at the start of the following semester, KTRM remained off the air until December because of delays in installing equipment that will make the station capable of broadcasting with a digital signal.  In December 2008, KTRM returned to the air with a higher power of 2,500 watts broadcasting in HD.

KTRM went to 24-hour operation in October 2006. The station is advised by a faculty member in the Department of Communication at Truman State University.

KTRM has won numerous awards for its broadcast service, including national honors from the Intercollegiate Broadcasting System. In 2013, Geoffrey Woehlk was named Station Manager of the Year and Brooke Giddens received a national IBS award for Program Director of the Year. KTRM has also received numerous regional awards from the Missouri Broadcast Educators Association (MBEA). In addition to the radio shows, the station also hosts concerts and artists on campus, recently including Sir Babygirl and Nyssa. It was recently featured in RadioWorld magazine.

KTRM (AM) Beaumont
The KTRM call sign was previously used by an AM station in Beaumont, Texas.  J.P. Richardson (AKA The Big Bopper) made his debut at that station in 1949 as an announcer before becoming a Top-40 performer. George Jones worked there when he was first starting out. That station, broadcasting at 990 kHz, is now the Gospel Music station KZZB.

External links
KTRM official website
KTRM internet broadcast

KTRM Spinitron Home Page

Truman State University
TRM
Radio stations established in 1998
1998 establishments in Missouri

KTRM


Imi Knoebel (/i:mi: kno:ʊbəl/) (born  Klaus Wolf Knoebel; 1940) is a German artist. Knoebel is known for his minimalist, abstract painting and sculpture. The "Messerschnitt" or "knife cuts," is a recurring technique he employs, along with his regular use of the primary colors, red, yellow and blue. Knoebel lives and works in Düsseldorf.

Early life and career
Knoebel was born in Dessau, Germany, in 1940. From 1962 to 1964, he studied at the Darmstadt "Werkkunstschule", in a course based on the ideas of the pre-Bauhaus course taught by Johannes Itten and László Moholy-Nagy. From 1964 to 1971, he studied under Joseph Beuys at the Kunstakademie Düsseldorf with fellow students Blinky Palermo (with whom he shared a studio and a love), Jörg Immendorff, Ivo Ringe and Katharina Sieverding.

Work
Knoebel's work explored the relationship between space, picture support, and color. The style and formal concerns of his painting and sculpture have drawn comparisons with the high modernist principles of both Kazimir Malevich and the Bauhaus

Between 1966 and 1969, Knoebel worked on a series of "Linienbildern", or line paintings, encompassing 90 panels Another series of 250,000 "Linienbilder" drawings were done on DIN A4 sheets in the years between 1969 and 1973/75. In 1968 Knoebel created his first major work, an installation with a variety of geometrical objects called Raum 19, named after classroom No. 19, which Beuys had given to his students at the academy. Raum 19 comprises seventy-seven components made from wood and Masonite, including painting stretchers, both assembled and in pieces; large constructions of stretchers with untreated Masonite attached as picture planes; and larger cubic volumes and curved blocks that resemble sections of an arched window or door frame.

In 1992, Knoebel created a second version of "Raum 19" for the Hessisches Landesmuseum Darmstadt (Hessian State Museum Darmstadt) in close proximity to Joseph Beuys' "Block Beuys." In 1968, Knoebel also used photography as an artistic medium.

Beginning in 1968, Knoebel was one of the first Beuys students to use photography as an independent artistic medium. For his Innenprojektionen (Interior Projections; 1968–1970) black-and-white photographs, he started using empty slide projections, creating empty squares of light, projected on a wall or in a darkened, closed-off room. This later evolved to his placing slides covered in copy ink with precisely carved vertical and horizontal lines into the projector and then cast throughout the room. Projecting these lines at various angles throughout a darkened space, at windows, corners, wall fittings and architectural irregularities, offered limitless possibilities for the artist. Knoebel documented these light projections with his camera and displayed the variations in large grids, often with as many as 80 photographs comprising a single work. Knoebel's 1968 Projektion 1, is a series of luminous, disorienting black-and-white photographs of light projections that bring to mind the architectural slicings that Gordon Matta-Clark was conducting at that time. Projection X (1970–71) and Projektion X Remake (2005), two versions of the same video concept, are his only videotapes based on these outdoor projections. During a nocturnal drive through the sleeping city of Darmstadt, a large, luminous X-shaped beam of light was projected from a vehicle onto the walls of buildings.

The collection of the Hessisches Landesmuseum Darmstadt (Hessian State Museum Darmstadt) holds extensive series of photographs, slides, and the video Projection X by Knoebel.

From the mid-1970s on, Knoebel then turned towards a gestural use of color on layered plywood boards or metal plates. From 1975 to date, Knoebel has been working on overlapping coloured rectangles called "Mennigebilder" ("Red Lead Pictures"), named after an anti-corrosion paint used in steel construction by the name of Mennige Paint, which the artist has used in these works. Whereas in his early years his palette was reduced to white, black, and brown, since 1977 he has been producing works with more color. His painting has since been characterized by a gesturally expressive application of colour on panels of layered plywood and metal placed in specific spatial relation. In the 1980s, Knoebel continued his associative loading of geometricizing picture elements and started to focus on the portrait. The arrangement of three, in colour nuanced vertical rectangulars next to and between two horizontal rectangulars is Knoebel's formal solution for depicting the notion 'portrait'.

Knoebel made a series of 24 colorful monochromes in homage to his friend Blinky Palermo after Palermo's death in 1977. The monumental series, acquired by Dia Art Foundation in the 1970s, was meticulously restored by the artist, who installed the work at Dia:Beacon in May 2008, marking its first-ever exhibition in North America. In 1997, the German Bundestag commissioned Knoebel to create the four-part installation Rot Gelb Weiß Blau 1-4 for one of its office buildings. In June 2011, Knoebel's six stained-glass panes within the apse of the Notre-Dame de Reims Cathedral were unveiled alongside the stained-glass works of Marc Chagall completed in 1974.

Kinderstern
In 1988, Knoebel created the work Kinderstern, a Social Sculpture realizing the extended notion of art, formulated in 1967 by Joseph Beuys, his Professor at the Kunstakademie Düsseldorf, by which art also ought to change society. Since 1988, Kinderstern (Children Star) stands for the Children's rights and is the only artwork worldwide where proceeds go 100% to children in need.

Reims Cathedral
More than a century after being severely damaged by German bombing raids, Knoebel designed three new stained glass windows for the Reims Cathedral. Knoebel refused payment for his participation in the project. The creation of the colored, patterned windows, which cost €900,000, was financed by the German Foreign Ministry. They were officially presented on May 12, 2015, during a ceremony attended by the Foreign Ministers Frank-Walter Steinmeier of Germany and Laurent Fabius of France.

Exhibitions
Knoebel's first exhibition, IMI + IMI, with Imi Giese, a fellow student of Beuys's, was held in Copenhagen in 1968. Since that time, he has exhibited his works in documentas 5 (1972), 6 (1977), 7 (1982), and 8 (1987), and at Sonsbeek (1971). In 1996 the Haus der Kunst, Munich, staged a large retrospective of his works which travelled throughout Europe, including such venues as the Stedelijk Museum, Amsterdam, and Institut Valencià d'Art Modern, Centre Julio González, Valencia. Knoebel had a major retrospective in summer 2009 at the Hamburger Bahnhof and the Neue Nationalgalerie in Berlin; the Neue Nationalgalerie showed an arrangement of monumental key works relating to the upper hall of the famous Mies van der Rohe building, as well as gestural painting in various shades of white, which used the glass panes surrounding the upper storey of the building.

Collections
Knoebel's works are held worldwide in numerous public collections, including Dia:Beacon in Beacon, New York, The Museum of Modern Art in New York City, the Fonds Regional d'Art Contemporain (FRAC) in France, the Kunstmuseum St. Gallen in Switzerland, Essl Museum Klosterneuburg in Austria, Albertina in Vienna, Berardo Collection Museum Lisbon in Portugal, National Museum of Contemporary Art Korea, Kunstsammlung Nordrhein-Westfalen in Germany, Gemeentemuseum Den Haag in Netherland and Malmö Konsthall in Sweden. Since its first purchase in 1984, the Deutsche Bank Collection has acquired more than 1,000 works on paper by Knoebel. The artist is represented by Mary Boone in New York, Thaddaeus Ropac in Paris, :de:Galerie nächst St. Stephan Rosemarie Schwarzwälder in Vienna, Bärbel Grässlin in Frankfurt, Gallery Fahnemann in Berlin and Helga de Alvear in Madrid.

Art market
In 2016, Knoebel's Grace Kelly (1989) was sold for a record £365,000 at Christie's in London.

References

External links
 Imi Knoebel at DASMAXIMUM KunstGegenwart
 Imi Knoebel at Hessisches Landesmuseum Darmstadt

Further reading

 Imi Knoebel: Works 1968–1996 (exh. cat, Amsterdam, Stedelijk Mus. and elsewhere, 1996).

20th-century German painters
20th-century German male artists
German male painters
21st-century German painters
21st-century German male artists
German sculptors
1940 births
Living people
Kunstakademie Düsseldorf alumni
20th-century German sculptors
German contemporary artists
People from Dessau-Roßlau
Students of Joseph Beuys

Imi Knoebel


"If Only You Knew" is a single written and produced primarily by Dexter Wansel and Cynthia Biggs for American singer Patti LaBelle's sixth solo album, I'm in Love Again. It was released as the album's official first single in 1983, spending four weeks at #1 on the U.S. R&B chart during January and February 1984; it reached #46 on the Billboard Hot 100.

Overview
By 1982, Patti LaBelle had a 20-year career in music, experiencing minor and major success, first with her longtime group, Patti LaBelle and the Bluebelles (later known as Labelle), and then briefly with her solo career. While LaBelle had enjoyed critical success with her self-titled solo album and four subsequent albums following that on Epic Records, none of the records translated to commercial success, as had been a problem during her long tenure with Labelle, who only had one major hit, "Lady Marmalade", in 1975.

While respected for her longevity in the music business, LaBelle's recordings were not easily marketable as producers struggled to find a hit for the singer. While LaBelle was regarded as an exciting live performer, none of the nine singles LaBelle released as a solo artist  hit the top of either the pop or R&B chart, and her four albums with Epic were only marginally successful. Seeking a change in direction, CBS Records, the parent label for Epic Records, transferred the singer's contract to Philadelphia International Records, co-founded by the singer's hometown friends, Kenny Gamble and Leon Huff.

The label helped to produce her first album for PIR, The Spirit's In It. Due to PIR's fallout with pop audiences at the end of the seventies and again struggling to find a recording suitable to become a major hit for the singer, the album failed to produce hits like her previous four offerings.

Recording
In the summer of 1982, while on a break from the Broadway play, Your Arm's Too Short to Box with God, LaBelle entered Sigma Sound Studios to record with writing-producing team Dexter Wansel and Cynthia Biggs. The duo had composed a previous song for LaBelle, "Shoot Him on Sight", off The Spirit's in It. During the 1982 recording sessions, Wansel and Biggs presented LaBelle with a mid-tempo song titled "If Only You Knew", about a person seeking an unsuspecting love interest. At first LaBelle sought to record the song in a straightforward approach, however, Wansel wanted LaBelle to perform it at her mid-range and smile while singing because "her vocals were clearer when she smiled." LaBelle and Wansel agreed to a compromise: during the verses and during most of the duration of the track, LaBelle would sing at her softer mid-range tone while delivering the final choruses with a full-throated soprano vocal range.

Because LaBelle was busy at work on Broadway and other projects, it took over a year before songs from her second album, I'm in Love Again, were completed the following year. When it came to release a track from the album, Gamble & Huff chose "If Only You Knew" as the first single since they felt the song had "hit potential" among the songs featured on the album. Later, LaBelle recorded another song with Wansel and Biggs showing most of her mid-range, with jazz saxophonist Grover Washington, Jr., on the song "The Best Is Yet to Come", later featured on Washington's album of the same name in 1983. "If Only You Knew" was given its title after Gamble settled a dispute between Wansel and Biggs over a lyric line.

Background and composition
"If Only You Knew" was recorded in July 1982 at Philadelphia's Sigma Sound Studios; it was released a year later in October 1983 as the first song off LaBelle's second Philadelphia International album, I'm in Love Again. It was written and composed by Dexter Wansel and Cynthia Biggs with Wansel as its producer. Wansel featured drums, bass, rhythm guitar, and strings; it was arranged by John R. Faith. The song starts off in E major and is D flat in the verses.

Reception
The song had a slow climb to the top of the R&B chart after its debut in October 1983, reaching the top 10 by December of the year and peaking at #1 in January 1984, staying at the top spot of Billboard's Hot Black Singles chart for four weeks. LaBelle wrote in her memoirs, Don't Block the Blessings: Revelations of a Lifetime, that she got so excited hearing the news of the song reaching #1 that she jumped on the top of her bed in celebration.

The song eventually crossed over to pop radio becoming a moderate success reaching #46 on the Billboard Hot 100, marking Patti LaBelle's first-ever entry on the Hot 100 as a solo artist, six and a half years after going solo. It was her first solo single to hit #1 on the R&B chart. Prior to its release, LaBelle's biggest-charting song was the Grover Washington ballad, "The Best Is Yet to Come", which reached #14 on the R&B chart in early 1983, resulting in the singer's first Grammy nomination. "Lady Marmalade" with Labelle, "On My Own" with Michael McDonald, and "If Only You Knew" are Patti's's three #1 hits on the R&B chart.

The success of the song helped I'm In Love Again reach gold status in the U.S., her first solo album to do so. "If Only You Knew" has gone on to be one of the singer's signature songs from her solo career. LaBelle re-recorded the song for her live albums, Live! in 1992, and One Night Only! in 1998, but only performing the first verse of the original song.

Charts

Credits
Lead vocals by Patti LaBelle
Instrumentation by Sigma Sound Studio musicians
Produced by Kenny Gamble, Dexter Wansel and Cynthia Biggs
Arranged by John R. Faith

Covers and samples
The most notable covers of the song were by jazz singer Phil Perry, who recorded it on his 1994 album, Pure Pleasure and Keke Wyatt, who recorded it on her debut solo album, Soul Sista. Wyatt said LaBelle called her to congratulate her on her recording of the song, saying humorously, "you better sing it, heffa". Singer-actress D'Atra Hicks also covered it for her album, Finally My Time and performed it in the Tyler Perry stage play What's Done in the Dark. Singer Oke also covered the song (in its Keke Wyatt-styled cover) in 2001, including the 90's Male Group Soul for Real.

R&B fictional quintet group Milestone sampled that riff as an interpolation for their track "I Care 'Bout You" from their Soul Food album. Chicago-based rap group Do or Die recorded an interpretative rap version with Twista and Syleena Johnson guest vocalizing on their album, D.O.D., as did Remy Ma on her mixtape, BlasRemy, as a dedication to then-boyfriend (now husband), Papoose. Remy's version sampled LaBelle's original. Another sample of the song came from Chicano rapper Capone, who had a song with the same name. Rapper Bizzy Bone included the sample of the song as an interpretation of his composition, "Nobody Can Stop Me", from his Heaven'z Movie album. In 2010, both Jasmine V and Ciara recorded the song "If Only", which interpolated parts of the LaBelle song. Jasmine's version was recorded as a demo while Ciara's version was deleted off the final track list of her album, Basic Instinct.

Other artists such as SWV (and group member Coko), Ledisi, Tamia, and  Brian McKnight have covered the song in concert.

Rachelle Ferrell, Ron Isley, Peabo Bryson, and Tamia sang the song in tribute to LaBelle as she was honored at the 1998 Soul Train Music Awards. Mariah Carey featured LaBelle's rendition of "Over the Rainbow" as part of her live tribute following a brief performance of "If Only You Knew" at the 1998 Essence Awards.

SWV also included a cover on their 2012 album "I Missed Us", which went on to be nominated for Best Traditional R&B Performance at the 55th Annual Grammy Awards. SWV performed the song on the 22nd Annual Trumpet Awards in 2014 during the Gamble & Huff Tribute, other artists such as Joe, Carl Thomas, Lyfe Jennings, and the late Billy Paul was also part of that tribute. In 2015, Patti, Grammy-nominated singer Tamar Braxton, and R&B singer K. Michelle sang the song at the 15th annual BET Awards. R&B singer Tank sampled the song for his 2016 single "You Don't Know" featuring rapper Wale.

See also
List of number-one R&B singles of 1984 (U.S.)

References

1982 songs
1983 singles
Patti LaBelle songs
Philadelphia International Records singles
Pop ballads
Songs written by Dexter Wansel
Songs written by Cynthia Biggs
Soul ballads
Songs written by Kenny Gamble
Keke Wyatt songs
Contemporary R&B ballads
1980s ballads
Quiet storm songs

If Only You Knew


Catharsis is from the Ancient Greek word , , meaning "purification" or "cleansing". In English it can refer to a number of different excreting acts.

It is most commonly used today to refer to the purification and purgation of thoughts and emotions, and to a resulting emotional state that results in renewal and restoration.

In dramaturgy, the term usually refers to arousing negative emotion in an audience, which then expels it, making them feel happier. In psychology, the term is associated with Freudian psychoanalysis where it specifically relates to the expression of buried trauma (the cause of a neurosis), bringing it into consciousness and releasing it, increasing happiness.

The term also has uses relating to the physical body. In medicine, it refers to the evacuation of the catamenia ("monthlies", menstrual fluid) from someone. Similarly, a cathartic is a substance that accelerates the defecation of faeces.

In Greek the term originally had a physical meaning only. This began with its use to describe purification practices. The first recorded use of the term being used in the mental sense was by Aristotle in the Politics and Poetics, comparing the effects of tragedy on the mind of a spectator to the effect of catharsis on the body.

The term is additionally used in Greek to refer to the spiritual purging process that occurs in the Christian Purgatory. Greek Neoplatonists also used the term to refer to spiritual purification.

Catharism was a term used by outsiders to describe the thinking of a European Christian group, so named because of its interest in purity.

Purification ritual
The term "kathairein" and its relatives appear in the work of Homer, referring to purification rituals. The words "kathairein" and "katharos" became common in Greek. It is thought that they are derived from the Semitic word "qatar" ("fumigate").

Aithiopis, a later epic set in the Trojan War cycle, narrates the purification of Achilles after his murder of Thersites.

Later, the Greeks took certain new measures to cleanse away blood-guilt—"blood is purified through blood", a process in the development of Hellenistic culture in which the oracle of Delphi took a prominent role. The classic example—Orestes—belongs to tragedy, but the procedure given by Aeschylus is ancient: the blood of a sacrificed piglet is allowed to wash over the blood-polluted man, and running water washes away the blood. The identical ritual is represented, Burkert informs us, on a krater found at Canicattini, wherein it is shown being employed to cure the daughters of Proetus from their madness, caused by some ritual transgression.

To the question of whether the ritual obtains atonement for the subject, or just healing, Burkert answers: "To raise the question is to see the irrelevance of this distinction".

Platonism

In Platonism, catharsis is part of the soul's progressive ascent to knowledge. It is a means to go beyond the senses and embrace the pure world of the intelligible. Specifically for the Neoplatonists Plotinus and Porphyry, catharsis is the elimination of passions. This leads to a clear distinction in the virtues. In the second tractate of the first Ennead, Plotinus lays out the difference between the civic virtues and the cathartic virtues and explains that the civic, or political, virtues are inferior. They are a principle of order and beauty and concern material existence. (Enneads, I,2,2) Although they maintain a trace of the Absolute Good, they do not lead to the unification of the soul with the divinity. As Porphyry makes clear, their function is to moderate individual passions and allow for peaceful coexistence with others. (Sentences, XXXIX) The purificatory, or cathartic, virtues are a condition for assimilation to the divinity. They separate the soul from the sensible, from everything that is not its true self, enabling it to contemplate the Mind (Nous).

Passive psychological
Catharsis is a term used in dramatic art that describes a particular effect of a performance on its audience.

The first recorded use of the term being used in the mental sense was by Aristotle in his work Politics, regarding the use of music:And since we accept the classification of melodies made by some philosophers, as ethical melodies, melodies of action, and passionate melodies, distributing the various harmonies among these classes as being in nature akin to one or the other, and as we say that music ought to be employed not for the purpose of one benefit that it confers but on account of several (for it serves the purpose both of education and of purgation [κάθαρσις]—the term purgation we use for the present without explanation, but we will return to discuss the meaning that we give to it more explicitly in our treatise on poetry—and thirdly it serves for amusement, serving to relax our tension and to give rest from it), it is clear that we should employ all the harmonies, yet not employ them all in the same way, but use the most ethical ones for education, and the active and passionate kinds for listening to when others are performing (for any experience that occurs violently in some souls is found in all, though with different degrees of intensity—for example pity and fear, and also religious excitement; for some persons are very liable to this form of emotion, and under the influence of sacred music we see these people, when they use tunes that violently arouse the soul, being thrown into a state as if they had received medicinal treatment and taken a purge [καθάρσεως]; the same experience then must come also to the compassionate and the timid and the other emotional people generally in such degree as befalls each individual of these classes, and all must undergo a purgation [κάθαρσις] and a pleasant feeling of relief; and similarly also the purgative [κάθαρσιν] melodies afford harmless delight to people). (As translated by Harris Rackham)In his treatise on poetry, Poetics, he describes the relief brought about by a staged tragedy:We must now treat of tragedy after first gathering up the definition of its nature which results from what we have said already. Tragedy is, then, a representation of an action that is heroic and complete and of a certain magnitude—by means of language enriched with all kinds of ornament, each used separately in the different parts of the play: it represents men in action and does not use narrative, and through pity and fear it effects relief [κάθαρσις] to these and similar emotions. (As translated by Harris Rackham)

Purgation or purification?
In his works prior to the Poetics, Aristotle had usually used the term catharsis purely in its literal medical sense (usually referring to the evacuation of the katamenia—the menstrual fluid or other reproductive material) from the patient.
F. L. Lucas opposes, therefore, the use of words like purification and cleansing to translate catharsis; he proposes that it should rather be rendered as purgation. "It is the human soul that is purged of its excessive passions."

Gerald F. Else made the following argument against the "purgation" theory:

Lessing (1729–1781) sidesteps the medical attribution. He interprets catharsis as a purification (),
an experience that brings pity and fear into their proper balance: "In real life", he explained, "men are sometimes too much addicted to pity or fear, sometimes too little; tragedy brings them back to a virtuous and happy mean."
Tragedy is then a corrective; through watching tragedy, the audience learns how to feel these emotions at proper levels.

G. F. Else argues that traditional, widely held interpretations of catharsis as "purification" or "purgation" have no basis in the text of the Poetics, but are derived from the use of catharsis in other Aristotelian and non-Aristotelian contexts. For this reason, a number of diverse interpretations of the meaning of this term have arisen. The term is often discussed along with Aristotle's concept of anagnorisis.

Elizabeth Belfiore held an alternate view of catharsis as an allopathic process in which pity and fear produce a catharsis of emotions unlike pity and fear, which she described in her book,Tragic Pleasures: Aristotle on Plot and Emotion.

Intellectual clarification?
In the twentieth century a paradigm shift took place in the interpretation of catharsis: a number of scholars contributed to the argument in support of the intellectual clarification concept. The clarification theory of catharsis would be fully consistent, as other interpretations are not, with Aristotle's argument in chapter 4 of the Poetics (1448b4-17) that the essential pleasure of mimesis is the intellectual pleasure of "learning and inference".

It is generally understood that Aristotle's theory of mimesis and catharsis represent responses to Plato's negative view of artistic mimesis on an audience. Plato argued that the most common forms of artistic mimesis were designed to evoke from an audience powerful emotions such as pity, fear, and ridicule which override the rational control that defines the highest level of our humanity and lead us to wallow unacceptably in the overindulgence of emotion and passion. Aristotle's concept of catharsis, in all of the major senses attributed to it, contradicts Plato's view by providing a mechanism that generates the rational control of irrational emotions. Most scholars consider all of the commonly held interpretations of catharsis, purgation, purification, and clarification to represent a process in which pity and fear accomplish the catharsis of emotions like themselves.

D. W. Lucas, in an authoritative edition of the Poetics, comprehensively covers the various nuances inherent in the meaning of the term in an Appendix devoted to "Pity, Fear, and Katharsis". Lucas recognizes the possibility of catharsis bearing some aspect of the meaning of "purification, purgation, and 'intellectual clarification,'" although his approach to these terms differs in some ways from that of other influential scholars. In particular, Lucas's interpretation is based on "the Greek doctrine of Humours," which has not received wide subsequent acceptance. The conception of catharsis in terms of purgation and purification remains in wide use today, as it has for centuries. However, since the twentieth century, the interpretation of catharsis as "intellectual clarification" has gained recognition in describing the effect of catharsis on members of the audience.

Attempts to avoid passive catharsis
There have been, for political or aesthetic reasons, deliberate attempts made to subvert the effect of catharsis in theatre.

For example, Bertolt Brecht viewed catharsis as a pap (pabulum) for the bourgeois theatre audience, and designed dramas which left significant emotions unresolved, intending to force social action upon the audience. Brecht then identified the concept of catharsis with the notion of identification of the spectator, meaning a complete adhesion of the viewer to the dramatic actions and characters. Brecht reasoned that the absence of a cathartic resolution would require the audience to take political action in the real world, in order to fill the emotional gap they had experienced vicariously. This technique can be seen as early as his agit-prop play The Measures Taken, and is mostly the source of his invention of an epic theatre, based on a distancing effect (Verfremdungseffekt) between the viewer and the representation or portrayal of characters.

Brazilian dramatist Augusto Boal, inventor of the Theater of the Oppressed, which seeks to eliminate the distinction between spectator and actor, also considers this kind of catharsis "something very harmful". "In me, too, and in everyone else, there is the power to change. I want to release and develop these skills. The bourgeois theater oppresses them."

Active and conversational psychological

Psychoanalysis
Jakob Bernays was a German philosopher who wrote books about Aristotle's views of drama in 1857 and 1880. These prompted a lot of writing about catharsis in the German speaking world.

In this environment, Austrian psychiatrist Josef Breuer developed a cathartic method of treatment using hypnosis for persons who have intensive hysteria in the early 1890s. While under hypnosis, Breuer's patients were able to recall traumatic experiences, and through the process of expressing the original emotions that had been repressed and forgotten (and had formed neuroses), they were relieved of their neurotic hysteria symptoms. Breuer became a mentor to fellow Austrian psychiatrist Sigmund Freud (who was married to Bernays' niece). Breuer and Freud released the book Studies on Hysteria in 1895. This book explained the cathartic method to the world, and was the first published work about psychoanalysis.The injured person's reaction to the trauma only exercises a completely 'cathartic' effect if it is an adequate reaction as, for instance, revenge. But language serves as a substitute for action; by its help, an affect can be 'abreacted' almost as effectively.As Freud developed psychoanalysis, catharsis remained a central part of it. After trying hypnotherapy and finding it wanting, Freud replaced it with free association. Catharsis has remained an important part of "talking therapies" ever since.

The term cathexis has also been adopted by modern psychotherapy, particularly Freudian psychoanalysis, to describe the act of experiencing the deep emotions associated with events in the individual's past which had originally been repressed or ignored, and had never been adequately addressed or experienced.

Psychodrama
Psychodrama involves people expressing themselves using spontaneous dramatization, role playing, and dramatic self-presentation to investigate and gain insight into their lives. Psychodrama includes elements of theater, often conducted on a stage, or a space that serves as a stage area, where props can be used.

The therapy was developed by American Jacob Moreno (a psychiatrist previously from Romania and Austria) and later also his wife Zerka Moreno (a psychologist previously from the Netherlands and the UK). Jacob was a contemporary of Freud, but rejected many of his ideas of psychoanalysis. He developed psychodrama in New York from 1925. In 1929, he founded an Impromptu Theater at Carnegie Hall. In 1936, he founded the Beacon Hill Sanitarium, and the adjacent Therapeutic Theater. The Morenos established the Psychodramatic Institute in New York in 1942.

A psychodrama therapy group, under the direction of a psychodramatist, reenacts real-life, past situations (or inner mental processes), acting them out in present time. Participants then have the opportunity to evaluate their behavior, reflect on how the past incident is getting played out in the present and more deeply understand particular situations in their lives.

Other forms of cathartic drama therapy have since been developed, including Theater of the Oppressed.

Playback Theatre is a form of improvisational theatre in which audience or group members tell stories from their lives and watch them enacted on the spot. This can have therapeutic uses.

There are additionally other forms of expressive therapies which make use of various kinds of art.

Primal therapy
Primal therapy is a trauma-based psychotherapy created by American psychologist Arthur Janov, who argues that neurosis is caused by the repressed pain of childhood trauma. Janov argues that repressed pain can be sequentially brought to conscious awareness for resolution through re-experiencing specific incidents and fully expressing the resulting pain during therapy. Primal therapy was developed as a means of eliciting the repressed pain; the term Pain is capitalized in discussions of primal therapy when referring to any repressed emotional distress and its purported long-lasting psychological effects. Janov criticizes the talking therapies as they deal primarily with the cerebral cortex and higher-reasoning areas and do not access the source of Pain within the more basic parts of the central nervous system.

Primal therapy is used to re-experience childhood pain—i.e., felt rather than conceptual memories—in an attempt to resolve the pain through complete processing and integration, becoming real. An intended objective of the therapy is to lessen or eliminate the hold early trauma exerts on adult behaviour.

Social catharsis
Emotional situations can elicit physiological, behavioral, cognitive, expressive, and subjective changes in individuals. Affected individuals often use social sharing as a cathartic release of emotions.

Bernard Rimé studies the patterns of social sharing after emotional experiences. His works suggest that individuals seek social outlets in an attempt to modify the situation and restore personal homeostatic balance. Rimé found that 80–95% of emotional episodes are shared. The affected individuals talk about the emotional experience recurrently to people around them throughout the following hours, days, or weeks. These results indicate that this response is irrespective of emotional valence, gender, education, and culture. His studies also found that social sharing of emotion increases as the intensity of the emotion increases.

If emotions are shared socially and elicits emotion in the listener then the listener will likely share what they heard with other people. Rimé calls this process "secondary social sharing". If this repeats, it is then called "tertiary social sharing".

Stages
Émile Durkheim proposed emotional stages of social sharing:
 Directly after emotional effects, the emotions are shared. Through sharing, there is a reciprocal stimulation of emotions and emotional communion.
 This leads to social effects like social integration and strengthening of beliefs.
 Finally, individuals experience a renewed trust in life, strength, and self-confidence.

Motives
Affect scientists have found differences in motives for social sharing of positive and negative emotions.

A study by Christopher Langston found that individuals share positive events to capitalize on the positive emotions they elicit. Reminiscing the positive experience augments positive affects like temporary mood and longer-term well-being. A study by Shelly Gable et al. confirmed Langston's "capitalization" theory by demonstrating that relationship quality is enhanced when partners are responsive to positive recollections. The responsiveness increased levels of intimacy and satisfaction within the relationship. In general, the motives behind social sharing of positive events are to recall the positive emotions, inform others, and gain attention from others. All three motives are representatives of capitalization.

Bernard Rimé studies suggest that the motives behind social sharing of negative emotions are to vent, understand, bond, and gain social support. Negatively affected individuals often seek life meaning and emotional support to combat feelings of loneliness after a tragic event.

Reactions to emotional events
When communities are affected by an emotional event, members repetitively share emotional experiences. After the 2001 New York and the 2004 Madrid terrorist attacks, more than 80% of respondents shared their emotional experience with others. According to Bernard Rimé, every sharing round elicits emotional reactivation in the sender and the receiver. This then reactivates the need to share in both. Social sharing throughout the community leads to high amounts of emotional recollection and "emotional overheating".

James Pennebaker and Kent Harber defined three stages of collective responses to emotional events:

 a state of "emergency" takes place in the first month after the emotional event. In this stage, there is an abundance of thoughts, talks, media coverage, and social integration based on the event.
 the "plateau" occurs in the second month. Abundant thoughts remain, but the amount of talks, media coverage, and social integration decreases.
 the "extinction" occurs after the second month. There is a return to normalcy.

A critical perspective of collective catharsis
Frantz Fanon, in his book Black Skin, White Masks, provides a multi-dimensional and critical analysis of the manifestations and implications of colonial racism in early 1900 France, including a critical conceptualization of collective catharsis within the context of colonial states. Fanon's perspective on collective catharsis highlights the psychological impact of cultural and social narratives on white as well as black individuals in European-colonized contexts, exploring how these narratives serve as a means of channeling collective aggression and establishing social norms and attitudes that perpetuate racial stereotypes and negative self-perceptions among black individuals.

Intertwining social psychology and psychoanalysis, Fanon conceptualizes collective catharsis as a release of aggressive impulses, "a channel, an outlet through which the forces accumulated in the form of aggression can be released," and analyzes how this aggressive release manifests for the white colonizers in the 'civilized' context. In an era where overtly cruel acts of racism such as lynching and slavery are frowned upon and no longer a commonplace reality, Fanon explores how the white population finds more subtle outlets for their aggressive impulses through acts of collective catharsis.

"Did the little black child see his father beaten or lynched by a white man? Has there been a real traumatism? To all of this we have to answer no. Well, then?

If we want to answer correctly, we have to fall back on the idea of collective catharsis."

Fanon highlights how popular entertainment, such as children's magazines or comic books, often portrays "Evil Spirits" as black individuals and other racialized figures and thereby serves as a cathartic release for the collective aggression of the white colonizers. In these stories, the socially unacceptable racist desires of white individuals are sublimated through fiction and pop culture, allowing for the dehumanization and derogation of black individuals. And so too, in this way, are the establishment of social norms and attitudes that perpetuate racial stereotypes argued as acts of collective catharsis by the dominant white hegemony.

Fanon underscores that because the black individual is immersed in this white-centric hegemonic state, they are implicated in this collective catharsis as not only the target of the aggressive release but also as the perpetrators. In engagement with these derogatory fictions or channels of collective catharsis, the black individual identifies with the white hero and encourages their defeat of the 'uncivilized' black antagonists. This co-perpetration and identification with the white protagonists (of fiction and society) results in the black individual internalizing these oppressive narratives, thereby developing an incongruence between their actual and ideal selves that is inherently unbreachable.

Effects
This cathartic release of emotions is often believed to be therapeutic for affected individuals. Many therapeutic mechanisms have been seen to aid in emotional recovery. One example is "interpersonal emotion regulation", in which listeners help to modify the affected individual's affective state by using certain strategies. Expressive writing is another common mechanism for personal catharsis. Joanne Frattaroli published a meta-analysis suggesting that written disclosure of information, thoughts, and feelings enhances mental health.

There has been much debate about the use of catharsis in the reduction of anger. Some scholars believe that "blowing off steam" may reduce physiological stress in the short term, but this reduction may act as a reward mechanism, reinforcing the behavior and promoting future outbursts. However, other studies have suggested that using violent media may decrease hostility under periods of stress.

Legal scholars have linked personal "catharsis" to "closure" (an individual's desire for a firm answer to a question and an aversion toward ambiguity) and "satisfaction" which can be applied to affective strategies as diverse as retribution, on one hand, and forgiveness on the other.

Some studies question the benefits of social catharsis. Catrin Finkenauer and colleagues found that non-shared memories were no more emotionally triggering than shared ones. Other studies have also failed to prove that social catharsis leads to any degree of emotional recovery. Emmanuelle Zech and Bernard Rimé asked participants to recall and share a negative experience with an experimenter. When compared with the control group that only discussed unemotional topics, there was no correlation between emotional sharing and emotional recovery.

Some studies even found adverse effects of social catharsis. Contrary to the Frattaroli study, David Sbarra and colleagues found expressive writing to greatly impede emotional recovery following a marital separation. Similar findings have been published regarding trauma recovery. A group intervention technique is often used on disaster victims to prevent trauma-related disorders. However, meta-analysis showed negative effects of this cathartic "therapy".

See also

Notes

References

Dictionary of the History of Ideas: "Catharsis"
Catholic Encyclopedia: "Mysticism" and "NeoPlatonism"
Blackwell Reference

"Catharsis in Psychology and Beyond: A Historic Overview" by Esta Powell

External links

Psychoanalytic terminology
Emotion
Ancient Greek theatre
Narratology
Plot (narrative)
Poetics
Hesychasm
Concepts in ancient Greek aesthetics

Catharsis


A Black Knight is a knight who does not serve a lord.

Black Knight can also mean:
Black Knight (Arthurian legend), any of several knights clad in black armor in Arthurian legend
Black Knight (comics), the name of several characters in the Marvel Comics universe
Black Knight (Monty Python), character in the movie Monty Python and the Holy Grail
The Black Knight (1954 movie), a movie starring Alan Ladd
Black Knight (movie), a 2001 movie starring Martin Lawrence
Black Knight (rocket), part of the British rocketry program in the 1950s
The Black Knights (band), an underground hiphop group
Knight of Glin, an Irish hereditary title
Black Knight (Unmanned Combat Vehicle), unmanned vehicle designed by BAE Systems

Black Knight (disambiguation)


Christmas-Eve and Easter-Day, a Poem (1850) is, despite the title, often treated as two poems by Robert Browning, rather than as one poem in two parts.  It was the first new work published by Robert Browning after his marriage to Elizabeth Barrett Browning and their departure for Italy, and is widely considered to show the influence of his wife's religious beliefs.  "Christmas-Eve" is an account of a vision in which the narrator is taken to a Nonconformist church, to St. Peter's in Rome, to a Göttingen lecture theatre where a practitioner of the Higher criticism is discoursing on the Christian myth, and back to the Nonconformist church.  In "Easter-Day" a Christian and a sceptic debate the nature of faith.  Christmas-Eve and Easter-Day gives valuable clues to the religious opinions of Browning himself, as opposed to those of his characters, but, as his wife warned a correspondent, "Certainly the poem does not represent his own permanent state of mind, which was what I meant when I told you it was dramatic."

Christmas-Eve and Easter-Day was first published by Chapman & Hall in 1850.  In recent years it has been edited by Ian Jack, Rowena Fowler and Margaret Smith as part of The Poetical Works of Robert Browning, vol. 4 (Oxford: Clarendon Press, 1991), and by John Woolford, Daniel Karlin and Joseph Phelan as part of The Poems of Browning, vol. 3 (London: Longman, 1993).

References

External links
 Online edition at Google Books
 Discussion of Christmas Eve and Easter Day, in The Cambridge History of English and American Literature

Poetry by Robert Browning
1850 poems
Chapman & Hall books

Christmas-Eve and Easter-Day


Neilson and Company was a locomotive manufacturer in Glasgow, Scotland.

The company was started in 1836 at McAlpine Street by Walter Neilson and James Mitchell to manufacture marine and stationary engines. In 1837 the firm moved to Hyde Park Street and was known as Kerr, Mitchell and Neilson and, in 1840,  Kerr, Neilson and Company, becoming Neilson and Mitchell in 1843.

Locomotive building began in 1843 for the local railways. In 1855 production of marine and stationary engines discontinued and the company changed its name again to Neilson and Company.
Among those who later became notable in the field were Henry Dübs and Patrick Stirling.

By 1861, business had increased to such an extent, that a new works was built at Springburn, also named "Hyde Park Works." In 1864, Henry Dübs set up in business on his own at Queens Park Works, as Dübs and Company, taking a number of key staff with him. James Reid, who had previously worked for Neilson, however, returned and became a partner.

Stationary Engines
When the Edinburgh and Glasgow Railway was opened in 1842, it used a pair of Neilson & Mitchell beam engines to work the rope incline from Glasgow to Cowlairs station. The engines were covered by an article illustrated with drawings in The Practical Mechanic and Engineer's Magazine in Jan 1844. They were beam engines mounted on an entablature supported on fluted columns. The engines had 28 inch cylinders, and 6 foot stroke. They were supplied with steam at 50psi by 8 boilers, each 30 foot long and 5 foot diameter.

Locomotives

By 1855, the company was building four-coupled tank engines, along with 2-4-0 and 0-4-2 tender locos. Some of these were for Cowlairs and St. Rollox, but many more went to India.

Through the 1870s considerable numbers of 0-4-4 tank engines were built for the London, Chatham and Dover Railway, the Midland and the Great Eastern. Many other types were built for railways at home and abroad, including fifty 0-4-2s for India. The company's first eight-coupled locos were built in 1872, also for India.

In 1879 the first 2-6-0s to run on British rails were built for William Adams of the Great Eastern. One of these was named "Mogul" and this became the name applied to all locomotives of this wheel arrangement. (However, the name had already been employed in the USA about ten years earlier.)

More overseas orders followed, with engines for South Africa and South America. The Engineer journal in 1883 carried a photograph of a Neilson 4-6-0 with Joy valve gear produced for the Cape Government Railways.

Turn of the 20th century
In 1884, Neilson left to form a new company, the Clyde Locomotive Company; although Reid became the sole owner of Neilson & Co., it was not until 1898 that the company changed its name to Neilson, Reid and Company.

However, by this time, intense competition from United States meant that small companies were unable to survive. There was a need for amalgamation, and in 1903 Neilson Reid combined with Dübs and Company and Sharp Stewart and Company to form the North British Locomotive Company, the largest locomotive company in the world outside the United States.

Preserved Neilson engines

Argentina
General Urquiza Railway

• 3804 1888 FCNEA #5, FCNGU #66. 2-6-0+4 "San Martín" Preserved at Cerrito, province of Entre Ríos.

• 3854 1888 FCNEA #11, FCNGU #68. 2-6-0+4 "Yatay" Preserved on restoration at Ferroclub Argentino, province of Buenos Aires.

• 3864 1890 FCNEA #21, FCNGU #36. 0-6-0+4 "Itatí" Preserved at Liniers Club APDFA, Ciudad Autónoma de Buenos Aires.

• 3870 1890 FCNEA #27, FCNGU #41. 0-6-0+4 "Monte Caseros" Preserved on work at Ferroclub Argentino, province of Buenos Aires.

• 3872 1890 FCNEA #29, FCNGU #43. 0-6-0+4 "Juarez Celman" Preserved at Basavilbaso, province of Entre Ríos.

• 3873 1890 FCNEA #30, FCNGU #44. 0-6-0+4 "Sarmiento" Preserved at Oro Verde, province of Entre Ríos.

Australia
 The Workshops, Ipswich 0-4-2 No 1170 of 1865 Queensland A10 Neilson class locomotive
 The Workshops, Ipswich 0-4-2 No 1214 of 1866 Queensland A10 Neilson class locomotive
 Rail Heritage WA 0-6-0T No 3631 of 1888 WAGR H class

Finland
 Finnish Railway Museum at Hyvinkaa 0-6-0 Finnish Steam Locomotive Class C1 No 1427 of 1869

Ireland
 GNR(I) Q class 4-4-0 No. 131 (works number 5727) of 1901, preserved at Railway Preservation Society of Ireland

New Zealand
 Ferrymead Railway – "Peveril" No. 1692 of 1872 (F13)
 Silver Stream Railway – No. 1847 of 1874 (D143)
 Pleasant Point Railway – No. 2306 of 1878 (D16)
 Helensville Railway Station – No. 2563 of 1880 (D170)
 Ocean Beach Railway – No. 2564 of 1880 (D6)
 Kaitaia Township – No. 2565 of 1880 (D221)
 Bush Tramway Club – No. 3751 of 1888 (F216)

Neilson and Company supplied the first (F13 of 1872) and last (F216 of 1888) members of the 88-strong New Zealand Railways F class. Six builders supplied F class engines between the arrivals of F13 and F216.

United Kingdom

 0-4-0ST  (works number 386) of 1869, preserved at the Museum of Science and Industry (Manchester)
 GER Class 209 0-4-0ST No. 229 (works number 2119) of 1876, in store at The Flour Mill, Gloucestershire
 0-4-0ST (works number 2203) of 1876, preserved at the Scottish Railway Preservation Society
 0-4-0ST (works number 2937) of 1882, preserved at Chasewater Railway
 LSWR 415 class 4-4-2T No. 488 (works number 3209) of 1885, preserved at the Bluebell Railway
 Caledonian Railway Single 4-2-2 No. 123 of 1886, preserved at the Riverside Museum
 Beckton Gas Works 0-4-0WT No. 1 (works number 4444) of 1892, awaiting sale at Preston Services, Kent
 Beckton Gas Works 0-4-0ST No. 25 (works number 5087) of 1896, preserved at Bressingham Steam and Gardens
 Taff Vale Railway O2 class 0-6-2T No. 85 of 1899, preserved on the Keighley and Worth Valley Railway

Hyde Park Locomotive Works F.C.

In 1876, the company founded an association football club, called the Hyde Park Locomotive Works, playing in red and white 2 inch hoops.  The club entered the 1876–77 Scottish Cup and lost in the first round, 2–1 at home to Crosshill, the club's goal scored by Watt.

The club entered for the following year's competition, and was drawn to play Blackfriars of Parkhead, but the club had already broken up,  its last noted fixture being against Petershill in January 1877.

Fiction
A character in The Railway Series by the Rev. W. Awdry is based on a Neilson prototype. Neil is a 'box tank' locomotive, who worked on the Sodor & Mainland Railway between 1853 and 1901.

See also
 Finnish Railway Museum
 :Category:Neilson locomotives

References

 Lowe, J.W., (1989) British Steam Locomotive Builders, Guild Publishing

External links

Finnish Railway Museum
Steam Locomotives in Finland Including the Finnish Railway Museum

British companies established in 1836
Locomotive manufacturers of the United Kingdom
Manufacturing companies based in Glasgow
Neilson family
1836 establishments in Scotland
Springburn
Manufacturing companies established in 1836
Vehicle manufacturing companies disestablished in 1903
British companies disestablished in 1903
1903 disestablishments in Scotland

Neilson and Company


The Bellary Fort ("Bellary Kote") was built on top of a hill called the "Ballari Gudda" or the Fort Hill. It is situated in the historic city of Bellary, in the Bellary district, in Karnataka state, India. It was built in two parts namely, the Upper Fort and the Lower Fort. The Upper Fort was built by Hanumappa Nayaka, a feudatory of Vijayanagara Empire, but the Lower Fort was built by Hyder Ali in later part of the 18th century.

A French engineer was the architect and builder of the Lower Fort. He refurbished the Upper Fort also. After the forts were completed, Haider Ali found that the forts built were at a lower elevation vis-a-vis an opposite hill called the 'Kumbara Gudda', thus putting the new forts militarily at a strategic disadvantage. As a result, Haider Ali was annoyed with this lapse and it is said that he ordered hanging of the French engineer at the east gate of the fort. The French engineer's grave, dated 1769 (inscribed as unknown French Engineer), is located at the east gate of the fort and has been preserved due to efforts of local Muslims who also claim that it was the tomb that belonged to a Muslim saint.

The forts have fine ramparts with a rich history with several historical and religious monuments. A citadel was in the upper fort with several ancient tanks while the lower fort on the east housed the arsenal.

Legends
There are several legends attributed to Bellary, the city where the fort is located.

A mythological legend states that the city is named after Indra, the king of gods, who destroyed the Rakshasa (demon) ''Balla'' who resided in that place.

Another ancient legend links this place to some events in the epic Ramayana. It is said that Rama while searching for Sita met Sugreeva and Hanuman at a place near Hampi, , from Bellary, the celebrated capital of the Vijayanagara Empire.

The historically linked legend states that Bellary is the name derived from the old Telugu word "Vallari" and "Vallapuri". An inscription from the time of the rule of Ganga Dynasty of Talakad, testifies to the territory of Sindha Vishaya, which today consists of Bellary and Dharwad districts. In the Hoysala period, the dynasty of "Bellariya Naredu" had sovereignty over Bellary when it was known as Kuntala Desha, though it subsequently came to be known by the name 'Vallari-Vallapuri'.

Geography
The fort and the town are located around two prominent and large rocky granite hills: the Ballari Gudda (ಬಳ್ಳಾರಿ ಗುಡ್ಡ) (with the fort built on this hill) and Kumbara Gudda (ಕುಂಬಾರ ಗುಡ್ಡ) (Gudda means "hill" in Kannada). The two hills provide the dominant backdrop to the city, and can be seen from all parts of the city. Apart from these two hills, there are smaller hills such as the Kaate Gudda (ಕಾಟೇ ಗುಡ್ಡ) (near the present Municipal Junior College), the Eeshwara Gudda (ಈಶ್ವರ ಗುಡ್ಡ) (behind the Anaadi Lingeshwara Temple), one hill adjacent to the St. John's High School in the Fort Area and another hill near to the Bellary Central Jail. The fort located on the Ballari Gudda, on a spur of the Sandur range at the border of Karnataka and Andhra Pradesh has abundant granite outcrops. There is hardly any vegetation on the barren rocky countryside. The fort has a commanding view of the plains that form the present day Bellary town. The terrain in and around the Bellary fort consists of granite rocks, which rises suddenly above the plains in the form of a very large mountain. The semi-elliptical shape of the hill has a longer northern side vis-a-vis the southern side. The rock formations consist of a mixture of granite with felspar in large rhomboidal prismatic form. This type of rock creates a strong reflection of the Sun's rays causing very hot climatic conditions in the fort and the town (Bellary is considered one of the hottest places in India). The climatic condition of the place is explained as hot and arid, but is stated to be healthy weather.

History
Bellary town and the district has a hoary history dating from 300 BC till 1365 AD, the beginning of the Vijayanagar empire. It was ruled by Mauryas, Satavahanas, Kadambas, Chalukyas of Kalyana, Kalachuryas, Sevunas and Hoysalas. But the specific history of the fort (Upper Fort) starts with the rule of the chieftain named Hanumappa Nayaka, a feudatory of the Vijayanagar empire, who built the Upper Fort. With the fall of the Vijayanagar empire in 1565, the area witnessed political upheaval till the British took control of the region, around 1800 AD. The region subsequently came under the control of the Bijapur Sultans. Shivaji, who during one of his campaigns was passing through the fort seized the fort, in 1678, as some of his advance scouting parties were ambushed by the garrison stationed in the fort. He later restored the fort on condition of tribute payment. Under force, in 1761, the fort came under the control of Basalat Jung of Adoni. The Nayaka chieftain of the fort quarrelled with Basalat Jung and refused to pay the tribute money. The Nayaka sought the help of Haider Ali of Mysooru (Mysore) to attack the Adoni Sultan. Haider Ali convincingly defeated the Adonis. But subsequently, Haider Ali himself usurped the fort and the region. It was during his time that the Upper Fort was restored and the Lower Fort was newly constructed with the help of a French engineer.

Bellary was a stronghold of Haidar Ali after he overthrew the local chieftains. He surprised the forces sent by Nizam under the military command of a Frenchman named M. de Lally and besieged the fort and took total control. But after the defeat of Tipu Sultan, Hyder Ali's son, at the hands of the British during the Third Anglo-Mysore War, the territory was divided and the Bellary district with the fort was given to the then Nizam Salabat Jang. After the defeat and death of Tippu Sultan in 1799 in the Fourth Anglo-Mysore War at Srirangapattanam (Seringapatam), the Mysore territories were further divided up between the Wodeyars, Asaf Jah II and the British. In 1796 AD, Asaf Jah II, harassed by the Marathas and Tipu Sultan, had opted to get British military protection under Lord Wellesley's doctrine of Subsidiary Alliance. Now, as part of this agreement, the Asif Jah II ceded a large portion of the acquired territory, including Bellary, to the British, to be added to the Madras Presidency as 'Bellary District'. This area was also known as the Ceded Districts (see map at), a term constantly used then for the areas, and was considerably larger than the present district, including the present districts of Kadapa (Cuddapah), Anantapuram and much of Karnoolu (Kurnool). This was also a deal or an agreement that was meant to compensate the company for the expenses they incurred to maintain the British Subsidiary Force at Hyderabad.

The fort was classified as 1st class by the British Administration. This fort gave Bellary its ancient importance, and led to its selection by the British rulers as the site of a cantonment.

Muzzaffar Khan, the Nawab of Kurnool, was confined here from 1823 to 1864 for the murder of his wife.

Fort structure

The fort has two parts, one is the ancient Upper Fort built during the Vijayanagar reign and the other is the Lower Fort built during Haider Ali's rule. The Upper Fort was called the Fort Hill. The Lower Fort was called the Face Hill, since some of the rocks in the fort area resembled the face of a human being.

The Upper Fort (wikimapia) houses the citadel, at the summit of the spur of the Ballar Gudda with a three-tier fortification, one below the other. It is at an elevation  m.s.l. It is quadrangular in plan, with a circumference of about , and rises by about  above the plains below; it can be accessed only through a winding rocky path amongst scattered boulders, which was considered impregnable. On the top, outside the citadel, is a small temple, the remains of some cells and several deep pools of water. Within the citadel, there are several strongly constructed buildings, and an ample water supply from reservoirs constructed in the clefts of the rocks. There are no garrisons in this fort. It contains several cisterns, which have been excavated in the rocks to provide for water storage. Outside the turreted ramparts is a ditch and a covered passage. The main turret on the east currently features a huge mural of the Indian Flag, facing east.

The Lower fort, ( wikimapia), located at the eastern base of the rock, is about  in diameter. It probably had an arsenal and barracks in the past. The fort structure is encircled by ramparts with numerous bastions surrounded by a deep ditch and glacis. The lower fort has two entrance gates; one on the western end and the other on the eastern side. Just outside the eastern gate of the lower fort is a temple dedicated to Hanuman – the Kote Anjaneya Temple (Kote (ಕೋಟೆ) – fort in Kannada). In the past. the lower fort was inhabited by people who had flocked here seeking protection. During the British period, more buildings were added namely the Commissariat stores, the Protestant church, orphanage, Masonic lodge, post-office, and numerous private dwellings. At present, it houses a number of public buildings, offices, educational institutions, temples and churches.

The impressive fort is illuminated during Sundays and holidays of state and national importance.

Access
The fort is well connected by road, rail and air transport facilities linking all parts of the country; all linked to the Bellary city where the fort is located.

National Highways (NH 13 & NH 63) and State Highway road networks provide an excellent net work of road communications in the district and to the town. It is located at  from Bangalore, the capital of Karnataka state. Distances to other important towns around Bellary are: Chennai – , Hadagali – , Hospet – , H.B.Halli – , Hampi – , Hyderabad – , Kudligi – , Pune – , Sandur –  and Siriguppa – .

The city has two railway stations, both built during the British rule – the City station (Bellary Junction) and the Cantonment station (Cantonment). Railway links available are the Hubli-Guntakal line and the extended Bellary-Rayadurgam-Chitradurga line and falls under the jurisdiction of South Western Railway. Bellary is also well connected by Rail to Bengaluru, Raichur, Anantapuram, Hindupuram, Tirupati, Hubballi, Guntakal, Vijayawada, Howrah etc. Guntakal is an important junction near Bellary from where trains to Delhi, Chennai, Mumbai and to most of the places in India are available. In the past, during British rule, the Southern Mahratta Railway passed through the town connecting to Madras ( now Chennai) via Hubli on the west and Guntakal on the east.

The civilian Bellary Airport is located at the far end of the Cantonment area with regular flights operating from Bangalore and Goa. An air strip located at the Jindal Vijayanagar Steels complex, Toranagallu in Sandur taluk,  from Bellary, is used by private airlines to operate sightseeing charter flights to Hampi and Mysore since October 2002.

Gallery

References

16th-century forts in India
Forts in Karnataka
Bellary
Buildings and structures in Bellary district
Tourist attractions in Ballari district

Bellary Fort


Johannes Masing (born 9 January 1959 in Wiesbaden) is a German jurisprudent, public law and former judge of the Federal Constitutional Court of Germany.

Career
Between 1979 and 1986, Masing studied law and philosophy at the University of Freiburg as well as Piano at the Freiburg Conservatory of Music (Music teacher diploma) and the State University of Music and Performing Arts Stuttgart (Artistic final exam).

In 2002, Masing was a visiting scholar at the University of Michigan Law School, Ann Arbor/USA. Since 2007, he has been a full professor at the Faculty of Law of the University of Freiburg.

A nominee of the Social Democratic Party of Germany, on 15 February 2008 he was elected to succeed Wolfgang Hoffmann-Riem as sitting Justice of the Federal Constitutional Court of Germany in the court's first senate. He was inaugurated on 2 April 2008 and is chiefly responsible for constitutional complaints concerning data protection, privacy and the right to demonstrate.

In a unanimous 2014 decision by the eight-judge First Senate on abolishing a law allowing companies to be passed from generation to generation tax free, Masing – alongside fellow members Reinhard Gaier and Susanne Baer – issued a supplementary decision saying the judgment should have included wording to ensure that revised tax rules did not undercut the basic purpose of inheritance law, which was to hinder excessive concentration of wealth among a privileged few: "The inheritance tax serves not only to generate tax revenue. Rather it is also an instrument of the state to hinder disproportionate accumulation of wealth from generation to generation solely as a result of origin or personal connection."

Other activities
 German Academic Scholarship Foundation, Board of Trustees
 Schwetzingen Festival, Member of the Board of Trustees

Recognition
2008 – Gay-Lussac-Humboldt Prize for Franco-German Research Cooperation

See also
Federal Constitutional Court of Germany

External links
 Bundesverfassungsgericht -- Justice Masings's website

References

1959 births
Living people
21st-century German judges
German legal scholars
People from Wiesbaden
Justices of the Federal Constitutional Court

Johannes Masing


Liverpool Software Gazette was a short-lived computer magazine published by Microdigital Ltd, a company who were based in Liverpool, England and run by Bruce Everiss.

History
The magazine was in print for only eight issues of which the last was a double issue. Issues were bi-monthly from November 1979 to February 1981 though the last was actually dated February/April 1981. Initially costing 50p, the price increased to 75p by the fifth edition while the final double edition cost £1.50. The page count started at around 50 though by the fifth edition had reached 100 pages.

The pressure of running both Microdigital and the magazine soon took its toll on the company, and the magazine was put up for sale during the final edition. It was sold to and incorporated into an Apple magazine where all non-Apple content was immediately dropped.

The magazine was intended for an audience of sophisticated and experienced computer users and tackled a wide range of subjects from languages, machine code and CPUs, systems (both large and small), games, programming techniques, astronomy. In many cases the articles went far deeper than those normally tackled by the computer magazines of the day.

Content
There were some regular columns such as Pets Corner (for the Commodore PET), Apple Pips (for the Apple II), Nascom Notes and Nybbles (small BASIC tips and routines).

Below are some of the contents from each of the issues. Note the general term for computers back then was Microcomputers (sometimes spelt as two words). In some cases the original spelling/typos have been left intact.

Issue 1:
 Sargon meets the Nascom
 Programming Practices and Technics
 M5 System - an Interpreter for the Nascom One
 I'm Pilot, fly me
 Acorn Mastermind
 Pascal bytes the Apple

Issue 2:
 Dungeons & Dragons Revisited
 Numerical Accuracy of Microcomputers
 Cesil - an introduction
 Acorn and the Kim
 Z-80 Processor Profile
 Revas & Zeap
 Application Software for Microcomputers
 Trekking by 'JTK'
 Byting more off your Disk

Issue 3:
 AIM 65 Assembler
 Graphics Shapes (Series)
 Pilot Takes Off
 Pascal - an Introduction (series)
 Algol 68C on the Z80
 Microcomputers and Biochemistry
 Sharp Machine Language
 Super Sort

Issue 4:
 Star Gate
 Jet Set
 6800 Processor Profile
 A Forth Introduction
 A Useful Pascal Program (series)
 A Marvel Called the MC6809
 A Number Processor for the Acorn
 Architectural Software on the Cheap
 Commercial Micro Software Fundamentals
 Social Effects of Micro Computers

Issue 5:
 Xtal Basic - The Extendable One
 Analysis of Systems Analysis
 Cesil Interpreted in Basic
 Algol 68
 Fortran 77
 Lisp
 Forms Processing
 Compiling Systems
 The Users View of Visicalc

Issue 6 (Pascal special):
 'Warning' Prolonged use of Pascal may seriously damage your mental health
 Integer Pascal on the Nascom
 Structured and not so Structured Programming
 TCL Pascal
 A Readers Contribution
 Alarming Your Computer
 The Romplus and Keyboard Filter
 Stargate Unlocked
 Tangerine Article
 MPL Language

Issue 7 (CP/M special):
 Microcomputer Disk Operating Systems
 CP/M on the Sharp MZ-80K
 Z0 Article
 Graphics Software for the Apple II
 Introduction to Hi Resolution Graphics on the Apple
 Sharp PC 1211
 Getting More From Your Genie
 Micro Chips in Use Now
 A Simple Machine

Issue 8/9:
 Curing 'Clear' Keys
 Systems Programming with High Level Languages
 Macro's and Micro's
 Pilot Takes Off
 A Useful Romplus Programme
 M.P.L. Language
 Connecting the General Instruments AY-3-8910 Programmable Sound Generator to the 6502/6800 bus
 Sharp Basics
 Flashy Graphics
 Writing Decent Basic Programmes
 Microcomputer Communications for the Hobbyist
 Introduction to the Main Features of Algol 68
 The TRS-80's Hidden Keyboard
 Apple D.O.S. 3.3

Notable articles
The article in issue number 4, "Architectural software on the cheap" was contributed by Paul Coates, then working in the School of Architecture at Liverpool Polytechnic. In the opinion of the author, this was one of the earliest examples of the serious use of cheap micros for CAD. In those days the conventional wisdom was that CAD required a much larger computer and  expensive graphics hardware. The article illustrated the use of the relatively cheap combination of a PET micro and an A3 plotter for generating floor plans, shadow casting and daylight calculation. The work illustrated was funded by a small RIBA (The Royal Institute of British Architects) grant for teaching architecture using computers.

The article on TCL Pascal in issue 6 was by Anne Scott and John Stout.

External links
 Article Architectural software on the cheap from Liverpool Software Gazette issue 4
 Computer magazine history featuring Liverpool Software Gazette
 Profile of Bruce Everiss
 PDFs of four issues can be found here
 Microdigital in Liverpool from Bruceongames
 Article by Bruce Everiss giving background to Liverpool Software Gazette

Home computer magazines
Defunct computer magazines published in the United Kingdom
Magazines established in 1979
Magazines disestablished in 1981
Bi-monthly magazines published in the United Kingdom
Mass media in Liverpool

Liverpool Software Gazette


(18 November 1903 – 16 September 1981) was a prominent left-wing Japanese film critic, historian, and producer. Born in Tokyo, he became interested in film from his student days at Tokyo University. Early on, he helped introduce German experimental film in Japan, and was instrumental in getting Teinosuke Kinugasa's masterpiece A Page of Madness screened in Tokyo. Afterward, he became involved in Marxist politics and established a career promoting progressive cinema and criticism. He wrote or edited over thirty books of film criticism, history, theory and biography during his career. He was also involved in film production, first serving from the late 1920s as a central member of the Proletarian Film League of Japan (Prokino), where he acted as not only the theoretical brain of the movement alongside Genjū Sasa, but also as a filmmaker. When Prokino was effectively eliminated by police oppression under the Peace Preservation Law, Iwasaki continued his critical activities, becoming involved in the Yuibutsuron Kenkyūkai with such thinkers as Jun Tosaka, but was eventually arrested in 1940, in part for his opposition to the Film Law, which authorized increased government control of the film industry. He was the only film critic arrested by the ideological police during the war. After his release, he worked for a time at the Tokyo office of the Manchukuo Film Association thanks to the help of Kan'ichi Negishi.

After Japan's defeat in World War II, Iwasaki was active in criticizing those who participated in the war effort. He joined Nihon Eigasha (Nichiei), primarily a documentary film company, and helped produce two important, but ill-fated documentaries: The Effects of the Atomic Bomb on Hiroshima and Nagasaki, which was confiscated by Occupation authorities, and The Japanese Tragedy, directed by Fumio Kamei, which was banned for its critical depiction of Emperor Hirohito. While continuing to work as a film critic from the 1950s on, including pursuing a vigorous debate on the nature of cinematic realism with Taihei Imamura, Iwasaki helped produce some of the independent films made by Tadashi Imai and Satsuo Yamamoto after many left-wingers were expelled from the major studios in the Red Purge.

In 1974, he was a member of the jury at the 24th Berlin International Film Festival.

References

Bibliography

 Prewar Proletarian Film Movements Collection. Center for Japanese Studies, University of Michigan. Full text of many Prokino publications, including some of Iwasaki's articles.

Japanese film critics
Japanese film producers
1903 births
1981 deaths
Japanese documentary filmmakers

Akira Iwasaki


"Teddy" is a short story by J. D. Salinger, completed on November 22, 1952, and originally published in the January 31, 1953,
issue of The New Yorker. Under the influence of The Gospel of Sri Ramakrishna, Salinger created an engaging child character, Teddy McArdle, to introduce to his readership some of the basic concepts of Zen enlightenment and Vedanta reincarnation – a task that Salinger recognized would require overcoming some 1950s American cultural chauvinism.

Salinger wrote "Teddy" while he was arranging publication for a number of his short stories and crafted the story to balance and contrast the collections' intended opening work "A Perfect Day for Bananafish".

In Salinger's novella, "Seymour: An Introduction", a meditation written by a member of the fictional Glass family, Buddy Glass about his brother, Seymour, Buddy claims authorship to "Teddy" as well as other pieces in Nine Stories.

Summary

The story comprises several vignettes which take place aboard a luxury liner. The events occur roughly between 10:00 and 10:30 am on October 28, 1952.

Teddy is Theodore "Teddy" McArdle, a 10-year-old mystic-savant returning home to America with his entertainer-socialite parents and his younger sister. As part of their tour of Great Britain, Teddy has been interviewed as an academic curiosity by professors of religious and philosophical studies - the "Leidekker examining group" - from various European universities in order to test his claims of advanced spiritual enlightenment.

The first scene opens in the McArdles' stateroom. Teddy is standing on his father's expensive suitcase, peering out of the porthole. Mr. McArdle, apparently hung-over, is attempting to verbally assert control over his son; Mrs. McArdle indulges the boy as a provocative counterpoint to her husband's bullying: neither adult has any real effect on the child's behavior.

Responding to his parents' outbursts impassively, he contemplates the nature of existence and physical permanence while observing fragments of orange peel that have been discarded overboard. The concepts that the preternatural child ponders are evidently derived from Zen and Vedantic religious philosophy, and suggest that Teddy possesses advanced enlightenment or God-consciousness. When Teddy conveys his spiritual insights to his father and mother, they interpret them merely as the products of his precociousness, eliciting annoyance or indifference from the adults.

Teddy is ordered to retrieve his six-year-old sister, Booper, who has absconded to the sport deck with her father's expensive camera, which Teddy -  indifferent to its material value -  has bestowed upon her as a plaything.
As he departs, Teddy delivers a short, cryptic caveat to his parents, informing them that they may never see him again outside the realm of memory.

On the Main Deck, Teddy has a brief encounter with one of the ship's female officers, Ensign Mathewson. Forthright and exacting,  the boy questions the officer and obtains information about a shipboard word game competition - and disabuses the bemused woman as to her misapprehensions regarding his advanced intellectual development.

Teddy proceeds to the Sport Deck and locates his little sister, Booper, at play with another young passenger. Booper is a domineering and hateful child, contrasting sharply with her older brother's equanimity. Teddy, with firmness, politely exhorts the girl to return with the camera to the cabin and report to their mother. Ignoring his sister's verbal ripostes, he reminds her to meet him shortly for their swimming lesson at the swimming pool. She submits with bad grace as he departs.

The final scene takes place on the Sun Deck, where Teddy, reclining on one of his family's reserved deckchairs, reviews his recent diary entries. The document has been conscientiously edited and neatly written. It contains reminders to foster better relations with his father; commentary on a letter from a Professor of Literature; a list of vocabulary words to study and notes on his meditation schedule - all matters of self-improvement. While making his daily entry, he writes the following non sequitur: "It will either happen today or February 14, 1958 when I am sixteen. It is ridiculous to mention it even."

Teddy is interrupted by a passenger named Bob Nicholson, a graduate of an unnamed university, who teaches curriculum and instruction. Nicholson is on a first name basis with the Leidekker group and has listened to a taped interview with Teddy, in which he shows a lurid interest. He peppers Teddy with questions on the boy's commitment to the precepts of Vedantic reincarnation; Teddy remains composed in the face of the young man's veiled hostility, and provides him with a brief sketch of this discovery of God, his relationships with his parents and his views on Zen philosophy. The boy offers Nicholson an extended metaphor on the nature of logic that challenges the young man's rational and orthodox commitment to material reality. Teddy, in explaining his position on death and reincarnation gives a hypothetical example describing a series of events at his upcoming swimming lesson in which a fatality occurs: his own.

Teddy disengages from the interview and hurries to his lesson. Nicholson pursues him through the levels of the ship's decks, and as he begins to descend the stairs to the swimming pool, he hears the scream of "a small, female child" emanating from the enclosed walls of the indoor pool. The story ends on this ambiguous note.

Analysis

The porthole and the orange peel

In the opening scene set in the Mr. and Mrs. McArdle's state room, Salinger presents two facets of Zen enlightenment: "God-consciousness", a profound awareness of "inner spirit", in contrast to material concerns, and secondly, "the notion of impermanence", based on "the Vedantic belief that separate existence is an illusion."

Teddy, perched on a piece of luggage, pokes his head through the open porthole, penetrating figuratively into a zone of enlightenment and sublimity; his body remains in the cabin, where his parents – "materialistic and self-centered" – engage in mildly abusive repartee, issuing petulant and ineffectual commands to their son, who endures them with tolerant detachment. Teddy's astonishing self-possession is a product of his adherence to Vedantic "philosophy of non-attachment", enabling him to distinguish between "the world of illusion" – the material world – and "the world of reality", where "only unity of God is real."

The boy focuses his attention on some discarded orange peel suspended momentarily on the ocean surface; as they sink out of sight, he engages in "solipsistic contemplation. Teddy conveys his revelation to his parents: "After I go out this door, I may only exist in the minds of all my acquaintances…I may be an orange peel." His mother and father, victims of their spiritual "immaturity", are incapable of grasping his warning that they may never see him again. Salinger issues this Vedantic premonition to the reader as a clue to Teddy's fate.

Booper

The same studied disengagement that characterizes Teddy's relationship with his parents also informs the "amazing" toleration he exhibits toward his younger sister – a child that biographer Kenneth Slawenski describes as "a cruel little girl" and "perhaps the most vicious child ever discharged by Salinger's imagination."

When Booper announces that she "hates everybody in the ocean", Salinger calls attention to the setting of his story: the sea, with its infinite horizons and indefinite boundaries where his characters drift – a seascape that reflects "the Zen and Vedantic concepts of existence."

Teddy's tolerance of his sister is due to his understanding that few reincarnations have contributed to the six-year old's spiritual development. Booper's misanthropic persona make plausible her role in the sinister and unsettling denouement at the swimming  pool.

Bob Nicholson

The final vignette occurs on the Sun Deck. Bob Nicholson, a teacher at Trinity College, Dublin, is acquainted with some members of the Leidekker group who examined Teddy; he engages the boy in an ad hoc interview. This serves two purposes in Salinger's story. First, he functions as a foil to Teddy,  posing logical questions challenging the tenets of Vendantic and Zen philosophy. Salinger uses this device to respond to hostile skeptics among his readers. According to Slawenski, Nicholson "embodies the logic that poisons God-consciousness, and he represents the power of the intellect to blind individuals from spiritual truth."

Nicholson additionally functions as a witness to Teddy's final discourse on the nature of existence and death, in which the boy formulates the circumstances that might lead to his reincarnation. In a lull in their exchange, Teddy becomes momentarily distracted by an inner voice or vision, and spontaneously recites to Nicholson two haiku by the 17th Century poet Bashō: "Nothing in the voice of the cicada intimates how soon it will die" and "Along this road goes no one, this autumn eve."

Nicholson, pursuing Teddy to the indoor swimming pool, hears, but does not see, the event that the boy prophesied, providing the reader with tantalizing evidence that leaves the boy's ultimate fate a mystery.

The "swimming pool ending"

The ending of Salinger's "Teddy" has been described as "controversial"  and "the most widely criticized ending of any story that he ever wrote."

Salinger thrice provides the  reader with intimations of Teddy's demise: in statements to his parents, in his diary and to Nicholson. This has led readers to interpret the final passage as confirmation of the boy's premonition  i.e. Booper shoves her older brother into the empty concrete pool and screams when she sees the deadly consequences.

Slawenski reports two additional interpretations that might be derived from the final passage. One option is that Teddy "recognizing the threat his sister poses" evades her thrust and pushes her to her death, as act of premeditated murder. A third option is that both children plunge into the empty basin when Teddy carries Booper with him off the precipice – in order to advance her into her next reincarnation. "None of these" says Slawenski, "is very satisfying."

Critics of the story may have targeted the ending for disapproval, rather than engage in a culturally biased critique of Salinger's foray into Zen philosophy.

Salinger himself regarded the work as "exceptionally Haunting [sic]" and "memorable" yet "unpleasantly controversial" and "thoroughly unsuccessful."

Notes

Sources
 Alexander, Paul. 1999. Salinger: A Biography. Renaissance Books. Los Angeles, CA.
 Slawenski, Kenneth. 2010. J.D. Salinger: A Life. Random House. New York, NY.
 Wenke, J.P. 1991. J.D. Salinger: A Study of the Short Fiction. Twayne Publishers. Woodbridge, CT.

External links

Short stories by J. D. Salinger
1953 short stories
Hindu studies
Works originally published in The New Yorker

Teddy (story)


A peasant is a name for a person that worked for others on a farm and never had much money. They usually wore rough, uncomfortable clothes and lived in small houses.

The word peasant came from the French word for "country" in the medieval era (15th century). In feudalism peasants, like other farmers, had to be able to do a number of jobs on the farm. They lived in rural areas and made up a large amount of the population. Most peasants could not read or write. They did not usually talk with the higher society unless it was about work. Some were serfs meaning they were not free to leave their lord's land.

Male peasants were not the only ones who worked in the fields. Their wives and other woman also worked in the fields if necessary. Female peasants usually did women's work in the house such as cooking, cleaning, making clothes, and looking after children.

They worked all the time, except sometimes on Sundays they would get a break, and when the harvesting season was over they got a longer break.

People by wealth or status

Peasant