title: DeMolay International

text: A Chapter may also elect a Chapter Princess. The program generally uses the same requirements as set forth for the Sweetheart. Her duties generally include attending Chapter functions and acting as an ambassador of DeMolay while assisting the Sweetheart in her duties.


title: DeMolay International

text: A Chapter may also elect two Chapter Duchesses. The program generally uses the same requirements set forth for the Sweetheart. Her duties generally include attending Chapter functions and acting as an ambassador of DeMolay while assisting both the Sweetheart and Princess in their duties.


title: DeMolay International

text: A Chapter may also elect other females, who may or may not be a member of Job's Daughters International or International Order of Rainbow for Girls, to be a Little Sis. She is usually 14–16 years old. She generally assists both the Princess and the Sweetheart in their duties.


title: DeMolay International

text: Each state or jurisdiction holds an annual (or biennial, in some) event known as a Conclave or Convention. At this event, the members of the state or jurisdiction may vote on the State Master Councilor (or, in some cases the Provincial Master Councilor / Jurisdictional Master Councilor) and other elected positions. Some jurisdictions may elect a Deputy State Master Councilor, Sweetheart, and / or various other positions. In same cases, these officers are appointed by the Executive Officer of jurisdiction. Some jurisdictions may hold a specific event, called Congress, separate and apart from Conclave or Convention to elect their jurisdictional officers and vote on any changes to the jurisdictional by-laws, then install the new officers at their Conclave or Convention.


title: DeMolay International

text: Jurisdictional/State Officers are the leaders of their state/jurisdiction. They plan, lead, and execute all of the events happening in their state. They also serve as a resource for the DeMolays in their state to help them with events, ceremonies, and any other DeMolay related activities.


title: DeMolay International

text: The International Supreme Council is the governing body of DeMolay International. It is composed of dedicated adult leaders from around the world who are responsible for the growth and success of DeMolay. The Grand Master, the Grand Senior Councilor, the Grand Junior Councilor, the Grand Secretary, and the Grand Treasurer are the elected leaders of the International Supreme Council. In certain parts of the world, such as Brazil, for example, DeMolay International has created daughter Supreme Councils and has ceded local control of DeMolay in those regions to the local Supreme Council.


title: DeMolay International

text: The DeMolay Congress is the Senate-style body where two voting delegates represent each DeMolay jurisdiction. The delegates meet once a year and elect an International Master Councilor and an International Congress Secretary, who lead and serve as the heads of the body for a time span of one year. Two Active DeMolays, usually the International Master Councilor and International Congress Secretary, are elected as voting members of the Board of Directors annually. Additionally, delegates discuss and vote on legislative issues.


title: DeMolay International

text: Each chapter must be sponsored by a local Masonic body or some other group composed exclusively of Masons. The sponsoring body is responsible for providing the chapter with adult advisors and a place to meet. Members of the sponsoring body form the chapter's initial "advisory council". The advisory council selects one of its members to be its chairman, and he is the official liaison between the chapter and the sponsoring body. Another member of the advisory council is designated the "chapter advisor," and he is the official liaison between the advisory council and the chapter. The chapter's advisory council is responsible for supervising the chapter and its activities.


title: DeMolay International

text: DeMolays participate in a wide range of social and sports activities that may include: camping, holding dances with members of Rainbow and Job's Daughters, playing basketball, football, baseball, soccer, tennis, paintball, or billiards, going canoeing and kayaking, and taking long distance trips. Both Chapters and individual DeMolays participate in competitions for the best performance of the various Ceremonies of the Order. Winners of local competitions, in ritual and sports, may compete for State Championships, and sometimes State winners compete at higher levels. The Chapter collectively decides what events they enjoy, plans them, and in many cases holds fund raisers to finance those events.


title: DeMolay International

text: DeMolay alumni have gone on to achieve wide recognition outside of the organization. Some have been elected to the DeMolay Hall of Fame.


title: DeMolay International

text: Not all DeMolays who have received recognition have been inducted into the Hall of Fame; some can be found on other lists.


title: DeMolay International

text: The following is a partial list of the members of the DeMolay Hall of Fame. The full list is available on the DeMolay International Web site.


title: Either/Or

text: Either/Or (Danish: "Enten – Eller") is the first published work of the Danish philosopher Søren Kierkegaard. Appearing in two volumes in 1843 under the pseudonymous editorship of "Victor Eremita" (Latin for "victorious hermit"), it outlines a theory of human existence, marked by the distinction between an essentially hedonistic, aesthetic mode of life and the ethical life, which is predicated upon commitment.


title: Either/Or

text: "Either/Or" portrays two life views. Each life view is written and represented by a fictional pseudonymous author, with the prose of the work reflecting and depending on the life view being discussed. For example, the aesthetic life view is written in short essay form, with poetic imagery and allusions, discussing aesthetic topics such as music, seduction, drama, and beauty. The ethical life view is written as two long letters, with a more argumentative and restrained prose, discussing moral responsibility, critical reflection, and marriage. The views of the book are not neatly summarized, but are expressed as lived experiences embodied by the pseudonymous authors. The book's central concern is the primal question asked by Aristotle, "How should we live?" His motto comes from Plutarch, "The deceived is wiser than one not deceived."


title: Either/Or

text: The aesthetic is the personal, subjective realm of existence, where an individual lives and extracts pleasure from life only for their own sake. In this realm, one has the possibility of the highest as well as the lowest. The ethical, on the other hand, is the civic realm of existence, where one's value and identity are judged and at times superseded by the objective world. In simple terms, one can choose either to remain oblivious to all that goes on in the world, or to become involved. More specifically, the ethic realm starts with a conscious effort to choose one's life, with a choice to choose. Either way, however, an individual can go too far in these realms and lose sight of their true self. Only faith can rescue the individual from these two opposing realms. "Either/Or" concludes with a brief sermon hinting at the nature of the religious sphere of existence, which Kierkegaard spent most of his publishing career expounding upon. Ultimately, Kierkegaard's challenge is for the reader to "discover a second face hidden behind the one you see" in themself first, and then in others.


title: Either/Or

text: After writing and defending his dissertation "On the Concept of Irony with Continual Reference to Socrates" (1841), Kierkegaard left Copenhagen in October 1841 to spend the winter in Berlin. The main purpose of this visit was to attend the lectures by the German philosopher Friedrich Wilhelm Joseph Schelling, who was an eminent figure at the time. The lectures turned out to be a disappointment for many in Schelling's audience, including Mikhail Bakunin and Friedrich Engels, and Kierkegaard described it as "unbearable nonsense". During his stay, Kierkegaard worked on the manuscript for "Either/Or", took daily lessons to perfect his German and attended operas and plays, particularly by Wolfgang Amadeus Mozart and Johann Wolfgang von Goethe. He returned to Copenhagen in March 1842 with a draft of the manuscript, which was completed near the end of 1842 and published in February 1843.


title: Either/Or

text: According to a journal entry from 1846, "Either/Or" was written "lock, stock, and barrel in eleven months" (""Rub og Stub, i 11 Maaneder""), although a page from the "Diapsalmata" section in the 'A' volume was written before that time.


title: Either/Or

text: The title "Either/Or" is an affirmation of Aristotelian logic, particularly as modified by Johann Gottlieb Fichte and Immanuel Kant. Is the question, "Who am I?" a scientific question or one for the single individual to answer for themself?


title: Either/Or

text: Kierkegaard argues that Hegel's philosophy dehumanized life by denying personal freedom and choice through the neutralization of the 'either/or'. The dialectic structure of becoming renders existence far too easy, in Hegel's theory, because conflicts are eventually mediated and disappear automatically through a natural process that requires no individual choice other than a submission to the will of the Idea or "Geist". Kierkegaard saw this as a denial of true selfhood and instead advocated the importance of personal responsibility and choice-making.


title: Either/Or

text: The book is the first of Kierkegaard's works written pseudonymously, a practice he employed during the first half of his career. In this case, four pseudonyms are used:


title: Either/Or

text: Kierkegaard published the second edition of "Either/Or" on May 14, 1849, the very same day he published "The Lily of the Field and the Bird of the Air: Three Devotional Discourses". He published three books on the same day October 16, 1843.


title: Either/Or

text: The first volume, the "Either", describes the "aesthetic" phase of existence. It contains a collection of papers, found by 'Victor Eremita' and written by 'A', the "aesthete."


title: Either/Or

text: The aesthete, according to Kierkegaard's model, will eventually find himself in "despair", a psychological state (explored further in Kierkegaard's "The Concept of Anxiety" and "The Sickness Unto Death") that results from a recognition of the limits of the aesthetic approach to life. Kierkegaard's "despair" is a somewhat analogous precursor of existential angst. The natural reaction is to make an eventual "leap" to the second phase, the "ethical," which is characterized as a phase in which rational choice and commitment replace the capricious and inconsistent longings of the aesthetic mode. Ultimately, for Kierkegaard, the aesthetic and the ethical are both superseded by a final phase which he terms the "religious" mode. This is introduced later in "Fear and Trembling".


title: Either/Or

text: The first section of "Either" is a collection of many tangential aphorisms, epigrams, anecdotes and musings on the aesthetic mode of life. The word 'diapsalmata' is related to 'psalms', and means "refrains". It contains some of Kierkegaard's most famous and poetic lines, such as "What is a poet?", "Freedom of Speech" vs. "Freedom of Thought", the "Unmovable chess piece", the tragic clown, and the laughter of the gods.


title: Either/Or

text: If one were to read these as written they would show a constant movement from the outer poetic experience to the inner experience of humor. The movement from the outer to the inner is a theme in Kierkegaard's works.


title: Either/Or

text: An essay discussing the idea that music expresses the spirit of sensuality. 'A' evaluates Mozart's "The Marriage of Figaro", "The Magic Flute" and "Don Giovanni", as well as Goethe's "Faust". 'A' has taken upon himself the task of proving, through the works of Mozart, that "music is a higher, or more spiritual art, than language". During this process he develops the three stages of the musical-erotic.


title: Either/Or

text: Here he makes the distinction between a seducer like Don Juan, who falls under aesthetic categories, and Faust, who falls under ethical categories. "The musical Don Juan enjoys the satisfaction of desire; the reflective Don Juan enjoys the deception, enjoys the cunning." Don Juan is split between the esthetic and the ethical. He's lost in the multiplicity of the "1,003 women he has to seduce" (as in the famous "aria" "Madamina, il catalogo è questo"), Faust seduces just one woman. This section deals with theological questions. He asks if God seduces 1,003 people at one time or if he seduces one single individual at a time in order to make a believer. He writes: Achim v. Arnim tells somewhere of a seducer of a very different style, a seducer who falls under ethical categories. About him he uses an expression which in truth, boldness, and conciseness is almost equal to Mozart’s stroke of the bow. He says he could so talk with a woman that, if the devil caught him, he could wheedle himself out of it if he had a chance to talk with the devil’s grandmother. This is the real seducer; the aesthetic interest here is also different, namely: how, the method. There is evidently something very profound here, which has perhaps escaped the attention of most people, in that Faust, who reproduces Don Juan, seduces only one girl, while Don Juan seduced hundreds; but this one girl is also, in an intensive sense, seduced and crushed quite differently from all those Don Juan has deceived, simply because Faust, as reproduction, falls under the category of the intellectual. The power of such a seducer is speech, i.e., the lie.


title: Either/Or

text: The next three sections are essay lectures from 'A' to the 'Symparanekromenoi', a club or fellowship of the dead who practice the art of writing posthumous papers.


title: Either/Or

text: The first essay, which discusses ancient and modern tragedy, is called the "Ancient Tragical Motif as Reflected in the Modern". Once again he is writing about the inner and the outer aspects of tragedy. Can remorse be shown on a stage? What about sorrow and pain? Which is easier to portray? He also discusses guilt, sin, fear, compassion, and responsibility in what can be considered a foreshadowing of "Fear and Trembling" and "Repetition". He then writes a modern interpretation of Antigone which presages his "The Concept of Anxiety".


title: Either/Or

text: The second essay, called "Shadowgraphs: A Psychological Pastime", discusses modern heroines, including Mozart's Elvira and Goethe's Gretchen (Margaret). He studies how desire can come to grief in the single individual. He asks if love can be deceived.


title: Either/Or

text: Historically he is asking if one person can bring the inner life of a historical figure into view. Psychologically he is asking if psychologists can really give an accurate picture of the inner world. Religiously he's asking if one person can accurately perceive the inner world of the spirituality of another person. He conducts several thought experiments to see if he can do it.


title: Either/Or

text: The third essay, called "The Unhappiest One", discusses the hypothetical question: "who deserves the distinction of being unhappier than everyone else?" Kierkegaard has progressed from a search for the highest to the search for the lowest. Now he wants to find the unhappy person by looking once again to the past. Is it Niobe, or Job, or the father of the prodigal son, or is it Periander, Abraham, or Christ?


title: Either/Or

text: In this volume Kierkegaard examines the concept of 'First Love' as a pinnacle for the aestheticist, using his idiosyncratic concepts of 'closedness' ("indesluttethed" in Danish) and the 'demonic' ("demoniske") with reference to Eugène Scribe. Scribe wanted to create a template for all playwrights to follow. He insisted that people go to plays to escape from reality and not for instruction. Kierkegaard is against any template in the field of literature or of Christianity. He was against systematizing anything in literature because the system brings the artist to a stop and they just settle down in the system.


title: Either/Or

text: He wrote about the muse as the occasion for inspiration. How much of the calling of the muse depends on the muse, how much on the single individual, and how much on will or volition? Can we ever know how inspiration happens? Later in "Concluding Unscientific Poscript" he wrote; "inspiration is indeed an object of faith, is qualitatively dialectical, not attainable by means of quantification."


title: Either/Or

text: Kierkegaard has been writing against reading about love instead of discovering love. Scribe's play is 16 pages long and Kierkegaard writes a 50-page review of the book. He wrote against the practice of reading reviews instead of the actual books themselves.


title: Either/Or

text: In his review he goes to the play himself and sees his lover at a play called "First Love"; for him this is a sign, like a four leaf clover, that she must be the one. But confusion sets in for the poor girl because of mistaken identity. She is unable to make up her mind about love and says, "The first love is the true love, and one loves only once." But Kierkegaard says this is sophistry "because the category first, is at the same time a qualitative and a numerical category." Her first impression of love, when she was eight, has become decisive for her whole life. Now she can love only to a certain degree because she's comparing each new experience with the past experience.


title: Either/Or

text: To Kierkegaard's aesthete, boredom is the root of all evil, and so one must go to the ends of the Earth to avoid it. In this section, 'A' explains that, just as a farmer rotates the crops to keep the soil fertile, so must a man forever change himself in order to remain interesting. 'A' speaks out against anything that may prevent this rotation and lock one into boredom, including friends, family, and most importantly for the second half of the book, marriage.


title: Either/Or

text: Written by 'Johannes the Seducer', this volume illustrates how the aesthete holds the "interesting" as his highest value and how, to satisfy his voyeuristic reflections, he manipulates the girl he calls Cordelia from being boring into being interesting - he grooms her to fall in love with him, but then schemes to have her questioning the idea of engagement. Finally, Johannes succeeds in having Cordelia break the engagement herself. He will use irony, artifice, caprice, imagination and arbitrariness to engineer poetically satisfying possibilities; he is not so much interested in the act of seduction as in willfully creating its interesting possibility.


title: Either/Or

text: The Seducer is very reminiscent of Goethe's Faust Part 1, Scene VII (A Street). Faust says to Mephistopheles, "Listen, you must get that girl for me!" Mephistopheles says she's an "innocent" girl, but Faust says she's "older than 14". Mephistopheles says he's "speaking like some Don Juan". Faust then calls the devil a Master Moraliser.


title: Either/Or

text: But Goethe was probably responding to Christopher Marlowe's The Tragical History of Doctor Faustus (1616)


title: Either/Or

text: Goethe and Marlowe have devils and angels as third person or persons between him and his love, but Kierkegaard has a different third person involved in the discussions between Johannes the Seducer and Cordelia. He has this strange power called chance. The Seducer knows the value of chance and wants to use chance to be "a possibility which seems an impossibility."


title: Either/Or

text: Kierkegaard has this seducer speak again in "Stages on Life's Way" where he explores some of the possibilities and then once more where he tries to explain that misunderstanding can be the root of the unity of the tragic and the comic. "Anyone who, when he is twenty years old, does not understand that there is a categorical imperative — Enjoy — is a fool, and anyone who does not start doing it is a Christiansfelder. ... Our young friend will always remain on the outside. Victor is a fanatic; Constantin has paid too much for his intellect; the Fashion Designer is a madman. All four of you after the same girl will turn out to be a fizzle! Have enough fanaticism to idealize, enough appetite to join in the jolly conviviality of desire, enough understanding to break off in exactly the same way death breaks off, enough rage to want to enjoy it all over again — then one is the favorite of the gods and of the girls."


title: Either/Or

text: Kierkegaard has the category of choice and the esthetic as well as the ethical. Both can choose to love each other but the "how" of love is what Kierkegaard is getting at.


title: Either/Or

text: The second volume represents the ethical stage. Victor Eremita found a group of letters from a retired Judge Vilhelm or William (in Danish: "Assessor Wilhelm"), another pseudonymous author, to 'A', trying to convince 'A' of the value of the ethical stage of life by arguing that the ethical person can still enjoy aesthetic values. The difference is that the pursuit of pleasure is tempered with ethical values and responsibilities.


title: Either/Or

text: It's human nature to look to external forces when faced with our own inadequacies but the ethicist is against this. Comparison is an esthetic exercise and has nothing to do with ethics and religion. He says, "Let each one learn what he can; both of us can learn that a person’s unhappiness never lies in his lack of control over external conditions, since this would only make him completely unhappy." He also asks if a person "absolutely in love can know if he is more or less in love than others." He completes this thought later in his "Concluding Unscientific Postscript" and expands on looking inward in "Practice in Christianity".The ethical and the ethical-religious have nothing to do with the comparative. ... All comparison delays, and that is why mediocrity likes it so much and, if possible, traps everyone in it by its despicable friendship among mediocrities. A person who blames others, that they have corrupted him, is talking nonsense and only informs against himself. "Concluding Unscientific Postscript" p. 549-550Comparison is the most disastrous association that love can enter into; comparison is the most dangerous acquaintance love can make; comparison is the worst of all seductions. Søren Kierkegaard, "Works of Love" (1847), Hong, p. 186 Lord Jesus Christ, our foolish minds are weak; they are more than willing to be drawn-and there is so much that wants to draw us to itself. There is pleasure with its seductive power, the multiplicity with its bewildering distractions, the moment with its infatuating importance and the conceited laboriousness of busyness and the careless time-wasting of light-mindedness and the gloomy brooding of heavy-mindedness-all this will draw us away from ourselves to itself in order to deceive us. But you, who are the truth, only you, Savior and Redeemer, can truly draw a person to yourself, which you have promised to do-that you will draw all to yourself. Then may God grant that by repenting we may come to ourselves, so that you, according to your Word, can draw us to yourself-from on high, but through lowliness and abasement. Søren Kierkegaard, "Practice in Christianity", 1850 p.157 Hong


title: Either/Or

text: Introducing the ethical stage it is moreover unclear if Kierkegaard acknowledges an ethical stage without religion. Freedom seems to denote freedom to choose the will to do the right and to denounce the wrong in a secular, almost Kantian style. However, remorse ("angeren") seems to be a religious category specifically related to the Christian concept of deliverance. Moreover, Kierkegaard is constant in his point of view that each single individual can become conscious of a higher self than the externally visible human self and embrace the spiritual self in "an eternal understanding".


title: Either/Or

text: Along with this work, Kierkegaard published, under his own name, "Two Upbuilding Discourses" on May 16, 1843 intended to complement "Either/Or", "The Expectancy of Faith" and "Every Good and Every Perfect Gift is from Above".


title: Either/Or

text: Kierkegaard also published another discourse during the printing of the second edition of "Either/Or" in 1849. Kierkegaard's discourse has to do with the difference between wishing and willing in the development of a particular expectancy. "As thought becomes more absorbed in the future, it loses its way in its restless attempt to force or entice an explanation from the riddle." Expectancy always looks to the future and can hope, but regret, which is what Goethe did in his book "The Sorrows of Young Werther", closes the door of hope and love becomes unhappy. Kierkegaard points to "faith as the highest" expectancy because faith is something that everyone has, or can have. He says: "The person who wishes it for another person wishes it for himself; the person who wishes it for himself wishes it for every other human being, because that by which another person has faith is not that by which he is different from him but is that by which he is like him; that by which he possesses it is not that by which he is different from others but that by which he is altogether like all."


title: Either/Or

text: The characters in "Either/Or" believe everyone is alike in that everyone has talent or everyone has the conditions that would allow them to live an ethical life. Goethe wanted to love and complained that he couldn't be loved, but everyone else could be loved. But he wished, he didn't have an expectancy to work his will to love. Kierkegaard responds to him in this way:


title: Either/Or

text: The "Ultimatum" at the end of the second volume of "Either/Or" hinted at a future discussion of the religious stage in "The Two Upbuilding Discourses", "Ask yourself and keep on asking until you find the answer, for one may have known something many times, acknowledged it; one may have willed something many times, attempted it-and yet, only the deep inner motion, only the heart’s indescribable emotion, only that will convince you that what you have acknowledged belongs to you, that no power can take it from you-for only the truth that builds up is truth for you." This discussion is included in "Stages on Life's Way" (1845). The first two sections revisit and refine the aesthetic and ethical stages elucidated in "Either/Or", while the third section, "Guilty/Not Guilty" is about the religious stage and refers specifically to Goethe's other book, "The Autobiography of Goethe: Truth and Poetry, from My Own Life" vol 1, 2


title: Either/Or

text: In addition to the discourses, one week after "Either/Or" was published, Kierkegaard published a newspaper article in "Fædrelandet", titled "Who Is the Author Of Either/Or?", attempting to create authorial distance from the work, emphasizing the content of the work and the embodiment of a particular way of life in each of the pseudonyms. Kierkegaard, using the pseudonym 'A.F.', writes, "most people, including the author of this article, think it is not worth the trouble to be concerned about who the author is. They are happy not to know his identity, for then they have only the book to deal with, without being bothered or distracted by his personality."


title: Either/Or

text: The various essays in "Either/Or" help elucidate the various forms of aestheticism and ethical existence. Both A and Judge Vilhelm attempt to focus primarily upon the best that their mode of existence has to offer.


title: Either/Or

text: A fundamental characteristic of the aesthete is "immediacy". In "Either/Or", there are several levels of immediacy explored, ranging from unrefined to refined. Unrefined immediacy is characterized by immediate cravings for desire and satisfaction through enjoyments that do not require effort or personal cultivation (e.g. alcohol, drugs, casual sex, sloth, etc.) Refined immediacy is characterized by planning how best to enjoy life aesthetically. The "theory" of social prudence given in "Crop Rotation" is an example of refined immediacy. Instead of mindless hedonistic tendencies, enjoyments are contemplated and "cultivated" for maximum pleasure. However, both the refined and unrefined aesthetes still accept the fundamental given conditions of their life, and do not accept the responsibility to change it. If things go wrong, the aesthete simply blames existence, rather than one's self, assuming some unavoidable tragic consequence of human existence and thus claims life is meaningless. Kierkegaard spoke of immediacy this way in his sequel to "Either/Or", "Stages on Life's Way".


title: Either/Or

text: Commitment is an important characteristic of the ethicist. Commitments are made by being an active participant in society, rather than a detached observer or outsider. The ethicist has a strong sense of responsibility, duty, honor and respect for his friendships, family, and career. Judge Vilhelm uses the example of marriage as an example of an ethical institution requiring strong commitment and responsibility. Whereas the aesthete would be bored by the repetitive nature of marriage (e.g. married to one person only), the ethicist believes in the necessity of self-denial (e.g. self-denying unmitigated pleasure) in order to uphold one's obligations.


title: Either/Or

text: Kierkegaard stresses the "eternal" nature of marriage and says "something new comes into existence" through the wedding ceremony. The aesthete doesn't see it that way. The aesthete makes a "half hour’s resolution" but the ethical person, and especially the religious person, makes the "good resolution". Someone devoted to pleasure finds it impossible to make this kind of resolution. The ethical and "Christian religious" person make the resolution because they have the "will" to have "a true conception of life and of oneself"." A resolution involves change but for the single individual this involves only change in oneself. It never means changing the whole world or even changing the other person.


title: Either/Or

text: The extremely nested pseudonymity of this work adds a problem of interpretation. A and B are the authors of the work, Eremita is the editor. Kierkegaard's role in all this appears to be that he deliberately sought to disconnect himself from the points of view expressed in his works, although the absurdity of his pseudonyms' bizarre Latin names proves that he did not hope to thoroughly conceal his identity from the reader. Kierkegaard's "Papers" first edition VIII(2), B 81 - 89 explain this method in writing. He discussed Either/Or in first and second edition in his 1848, 1859 book "The Point of View of My Work as an Author". In my career as an author, a point has now been reached where it is permissible to do what I feel a strong impulse to do and so regard as my duty — namely, to explain once for all, as directly and frankly as possible, what is what: what I as an author declare myself to be. The moment (however unpropitious it may be in another sense) is now appropriate; partly because (as I have said) this point has been reached, and partly because I am about to encounter for the second time in the literary field my first production.


title: Either/Or

text: "Either/Or," in its second edition, which I was not willing to have published earlier. Point of View, Lowrie translation 1962 p. 5


title: Either/Or

text: Furthermore, Kierkegaard was a close reader of the aesthetic works of Johann Wolfgang von Goethe and the ethical works of Georg Wilhelm Friedrich Hegel. Each presented a way of living one's life in a different manner. Kierkegaard's writings in this book are close to what Goethe wrote in his Autobiography.


title: Either/Or

text: A common interpretation of "Either/Or" presents the reader with a choice between two approaches to life. There are no standards or guidelines which indicate how to choose. The reasons for choosing an ethical way of life over the aesthetic only make sense if one is already committed to an ethical way of life. Suggesting the aesthetic approach as evil implies one has already accepted the idea that there is a good/evil distinction to be made. Likewise, choosing an aesthetic way of life only appeals to the aesthete, ruling Judge Vilhelm's ethics as inconsequential and preferring the pleasures of seduction. Thus, existentialists see Victor Eremita as presenting a radical choice in which no pre-ordained value can be discerned. One must choose, and through one's choices, one creates what one is.


title: Either/Or

text: However, the aesthetic and the ethical ways of life are not the only ways of living. Kierkegaard continues to flesh out other stages in further works, and the "Stages on Life's Way" is considered a direct sequel to "Either/Or". It is not the same as "Either/Or" as he points out in "Concluding Postscript" in 1846.


title: Either/Or

text: The whole book can be viewed as the struggle individuals go through as they attempt to find meaning in their lives. Victor Eremita bought a secretary (desk), which was something external, and said, "a new period of your life must begin with the acquisition of the secretary".


title: Either/Or

text: "A" desires the absolute highest. He can find no meaning in his life until he begins to study. He writes letters for the dead like the historians do. He's trying to find God by studying the past as Hegel did. Don Juan seduces him away from God and Faust robs him of his innocent faith through the power of language. For him, tautology is the highest realm of thought. He's someone who is in complete "conflict with his environment" because he is relating himself to externals.


title: Either/Or

text: "B" argues with "A". He says ethics are the highest. "A" wants to remain a mystery to himself but "B" says it's the meaning of life to become open to yourself. It's more important to know yourself than historical persons. The more you know about yourself the more you can find your eternal validity. God will bless the most ethical person. Each one knows what's best for the other but neither knows what's best for himself.


title: Either/Or

text: Kierkegaard, speaking in the voice of the upbuilding discourse at the end, says they are both wrong. They're both trying to find God in a childish way. Whatever they relate to in an external way will never make them happy or give them meaning. Art, science, dogma and ethics constantly change. We all want to be in the right and never in the wrong. Once we find what we desire we find that it wasn't what we imagined it to be. So Kierkegaard says to leave it all to God.


title: Either/Or

text: A recent way to interpret "Either/Or" is to read it as an applied Kantian text. Scholars for this interpretation include Alasdair MacIntyre and Ronald M. Green. In "After Virtue", MacIntyre claims Kierkegaard is continuing the Enlightenment project set forward by Hume and Kant. Green notes several points of contact with Kant in "Either/Or":


title: Either/Or

text: However, other scholars think Kierkegaard adopts Kantian themes in order to criticize them, while yet others think that although Kierkegaard adopts some Kantian themes, their final ethical positions are substantially different. George Stack argues for this latter interpretation, writing, "Despite the occasional echoes of Kantian sentiments in Kierkegaard's writings (especially in "Either/Or"), the bifurcation between his ethics of self-becoming and Kant's formalistic, meta-empirical ethics is, "mutatis mutandis", complete ... Since radical individuation, specificity, inwardness, and the development of subjectivity are central to Kierkegaard's existential ethics, it is clear, essentially, that the spirit and intention of his practical ethics is divorced from the formalism of Kant."


title: Either/Or

text: From a purely literary and historical point of view, "Either/Or" can be seen as a thinly veiled autobiography of the events between Kierkegaard and his ex-fiancée Regine Olsen. Johannes the Seducer in "The Diary of a Seducer" treats the object of his affection, Cordelia, much as Kierkegaard treats Regine: befriending her family, asking her to marry him, and breaking off the engagement. "Either/Or", then, could be the poetic and literary expression of Kierkegaard's decision between a life of sensual pleasure, as he had experienced in his youth, or a possibility of marriage and what social responsibilities marriage might or ought to entail. Ultimately however, "Either/Or" stands philosophically independent of its relation to Kierkegaard's life.


title: Either/Or

text: Yet, Kierkegaard was concerned about Regine because she tended to assume the life-view of characters she saw in the plays of Shakespeare at the theater. One day she would be "Beatrice in "Much Ado about Nothing"" and another Juliet.


title: Either/Or

text: "Either/Or" established Kierkegaard's reputation as a respected author. Henriette Wulff, in a letter to Hans Christian Andersen, wrote, "Recently a book was published here with the title "Either/Or"! It is supposed to be quite strange, the first part full of Don Juanism, skepticism, et cetera, and the second part toned down and conciliating, ending with a sermon that is said to be quite excellent. The whole book attracted much attention. It has not yet been discussed publicly by anyone, but it surely will be. It is actually supposed to be by a Kierkegaard who has adopted a pseudonym..."


title: Either/Or

text: Johan Ludvig Heiberg, a prominent Hegelian, at first criticized the aesthetic section, "Either" (Part I), then he had much better things to say about "Or", Part II. Julia Watkin said "Kierkegaard replied to Heiberg in "The Fatherland" as Victor Eremita, blaming Heiberg for not reading the preface to Either/Or which would have given him the key to the work." Kierkegaard later used his book "Prefaces" to publicly respond to Heiberg and Hegelianism. Kierkegaard also published a short article, "Who is the Author of Either/Or?", a week after the publication of "Either/Or" itself.


title: Either/Or

text: In 1886, Georg Brandes compared "Either/Or" with Frederik Paludan-Müller's "Kalanus" in "Eminent Authors of the Nineteenth Century", which was translated into English at that time. Later, in 1906, he compared Kierkegaard's "Diary of the Seducer" with Rousseau's "Julie, or the New Heloise" and with Goethe's "Sorrows of Young Werther". He also compared "Either/Or" to Henrik Ibsen's "Brand" but Edmund Gosse disagreed with him.


title: Either/Or

text: Kierkegaard later referred to his concept of choosing yourself as the single individual in "The Concept of Anxiety", June 17, 1844, and then in his "", August 31, 1844, and once again in "Upbuilding Discourses in Various Spirits", 1847. William James echoed Kierkegaard in his lecture on "The Sick Soul" where he wrote, "the man must die to an unreal life before he can be born into the real life."


title: Either/Or

text: August Strindberg was familiar with "Either/Or" and this book made him "forever a champion of the ethical as juxtaposed to the aesthetic life conception and he always remained faithful to the idea that art and knowledge must be subservient to life, and that life itself must be lived as we know best, chiefly because we are part of it and cannot escape from its promptings." Strindberg was obviously attracted to "Either/Or Part II" where Kierkegaard developed his categorical imperative. He wrote the following in "Growth of a Soul" published posthumously in 1913 about Kierkegaard's "Either—Or": "it was valid only for the priests who called themselves Christians and the seducer and "Don Juan" were the author himself, who satisfied his desires in imagination". Part II was his "Discourse on Life as a Duty, and when he reached the end of the work he found the moral philosopher in despair, and that all this teaching about duty had only produced a Philistine." He then states that Kierkegaard's discourses might have led him closer to Christianity but he didn't know if he could come back to something "which had been torn out, and joyfully thrown into the fire". However, after reading the book he "felt sinful".


title: Either/Or

text: Kierkegaard put an end to his own double-mindedness about devoting himself completely to aesthetics or developing a balance between the aesthetic and the ethical and going on to an ethical/Christian religious existence in the first part of his authorship (1843-1846) and then described what he had learned about himself and about being a Christian beginning with "Upbuilding Discourses in Various Spirits" (1847). He learned to choose his own Either/Or.


title: Either/Or

text: Although "Either/Or" was Kierkegaard's first major book, it was one of his last books to be translated into English, as late as 1944. Frederick DeW. Bolman Jr. insisted that reviewers consider the book in this way: "In general, we have a right to discover, if we can, the meaning of a work as comprehensive as "Either/Or", considering it upon its own merits and not reducing the meaning so as to fit into the author's later perspective. It occurred to me that this was a service to understanding Kierkegaard, whose esthetic and ethical insights have been much slighted by those enamored of his religion of renunciation and transcendence. ... Kierkegaard's brilliance seems to me to be showing that while goodness, truth, and beauty can not speculatively be derived one from another, yet these three are integrally related in the dynamics of a healthy character structure".


title: Either/Or

text: David F. Swenson, a professor at the University of Minnesota, introduced three lectures about Kierkegaard in 1918 in which he "presented Soren Kierkegaard’s delineation of three fundamental modes of life: First, the Life of Enjoyment – Folly and Cleverness in the Pursuit of Pleasure; second, the Life of Duty – Realizing the Self through Victorious Accomplishments; third, the Life of Faith – The Religious Transformation of the Self through Suffering.


title: Either/Or

text: Miguel de Unamuno published his 1914 novel Mist in response to his reading of Kierkegaard's Diary of a Seducer.


title: Either/Or

text: Thomas Henry Croxall was impressed by 'A's thoughts on music in the essay, "The Immediate Stages of the Erotic, or Musical Erotic". Croxall argues that "the essay should be taken seriously by a musician, because it makes one think, and think hard enough to straighten many of one's ideas; ideas, I mean, not only on art, but on life" and goes on to discuss the psychological, existential, and musical value of the work.


title: Either/Or

text: Reinhold Niebuhr questioned Kierkegaard's emphasis in his pastoral epistle at the end of Or. He wrote the following in 1949.


title: Either/Or

text: Johannes Edouard Hohlenberg wrote a biography about Søren Kierkegaard in 1954 and in that book he speculated that the "Diary of the Seducer" was meant to depict the life of P.L. Moller who later (1845) wrote the articles in "The Corsair" detrimental to the character of Kierkegaard. The "Diary of a Seducer" by itself, is a provocative novella, and has been reproduced separately from "Either/Or" several times. John Updike said of the "Diary", "In the vast literature of love, "The Seducer's Diary" is an intricate curiosity – a feverishly intellectual attempt to reconstruct an erotic failure as a pedagogic success, a wound masked as a boast".


title: Either/Or

text: Many authors were interested in separating the esthetic, the ethical and the religious but it may have been, as far as Kierkegaard was concerned, of more importance for the single individual to have a way to decide when one was becoming dominant over the other two. Henrik Stangerup, (1937-1998) a Danish writer, wrote three books as a way to illustrate Kierkegaard's three stages of existence, 1981, "The Road to Lagoa Santa", which was about Kierkegaard's brother-in-law Peter Wilhelm Lund (the ethicist), 1985 "The Seducer: It Is Hard to Die in Dieppe", Peder Ludvig Moller was the esthetic in that novel, and in 1991 "Brother Jacob" which describes Søren Kierkegaard as a Franciscan friar.


title: Either/Or

text: In contemporary times, "Either/Or" received new life as a grand philosophical work with the publication of Alasdair MacIntyre's "After Virtue" (1981), where MacIntyre situates "Either/Or" as an attempt to capture the Enlightenment spirit set forth by David Hume and Immanuel Kant. "After Virtue" renewed "Either/Or" as an important ethical text in the Kantian vein, as mentioned previously. Although MacIntyre accuses Victor Eremita of failing to provide a criterion for one to adopt an ethical way of life, many scholars have since replied to MacIntyre's accusation in "Kierkegaard After MacIntyre".


title: Big Narstie

text: Tyrone Mark Lindo (born 16 November 1985), known by his stage name Big Narstie, is a British MC, author, rapper, singer, songwriter, comedian and television presenter. He started his career in 2002 as a member of grime crew "N Double A," though he is better known for his solo work and as an internet personality performing comedy relating to grime music and the surrounding culture. He is also known for hosting his own chat show, "The Big Narstie Show".


title: Big Narstie

text: In 2007, Big Narstie signed to independent label, Dice Recordings. His track "Brushman" was also named "RWD" magazine's "Song of the Year". Sampling Coldplay, it was supported by personalities from multiple mainstream radio stations.


title: Big Narstie

text: Big Narstie has featured on records including Professor Green's "Before I Die Remix" and N-Dubz's "N-Dubz vs N.A.A", from their debut album "Uncle B." Big Narstie continued to record and released BIG NARSTIE three other mixtapes: "Mind of a Fat Guy", "Drugs and Chicken", and "I'm Betta Than U", which had guest appearances from Giggs, Scorcher, and Wretch 32.


title: Big Narstie

text: Big Narstie released his first mix CD of the year in February 2012, called "Pain Overload". Shortly after, "Pain Is Love" was released in July for free download via SB.TV. Big Narstie's first official E.P, "#PAIN" was released in October and entered at number 5 in the iTunes UK Hip Hop chart and he won the 2012 Urban Music Award (UMAs) for Best Grime Act beating artists like Skepta, Lethal Bizzle and Dot Rotten.


title: Big Narstie

text: In 2013, Big Narstie released his second EP "Don't Fuck Up the Base". The EP "Big Narstie" was the highest selling grime EP of 2013. He also had a "Don't Fuck up the Base" EP launch party, which featured music artists, Flirta D, Mic Righteous, Scrufizzer, Kozzie and DJ's, DJ Cameo, Charlie Sloth, DJ Logan Sama.


title: Big Narstie

text: He performed at a number of festivals across Europe including The Wireless Festival, A Day in Dam with English Frank and Black The Ripper, the Hip Hop Kemp Festival in Czech Republic and The Outlook Festival in Croatia. He also won UMA 2013 Best Grime Act award for the second year in a row. At the end of 2013 he released an EP "Hello Hi." with True Tiger. Noisey named Big Narstie as their name of 2013. and he also reviewed the year at "Fact" magazine.


title: Big Narstie

text: In 2014, Big Narstie released "What's the Story Brixton Glory Part II", where he covered various Britpop classics by artists such as Oasis. He then embarked on the Base Defence League (BDL) Tour around the UK, which had a host of music artists supporting him.


title: Big Narstie

text: Big Narstie was featured in Craig David's single, "When the Bassline Drops", which was released on 27 November 2015. The song saw commercial success, entering the UK top 10 and being certified Gold. In 2017 he rapped on the Enter Shikari single "Supercharge".


title: Big Narstie

text: Channel 4 announced they had commissioned "The Big Narstie Show" following appearances from him on Gogglebox: Celebrity Special for Stand Up To Cancer and The Big Fat Quiz of the Year 2017. In 2019 he reappeared in the Big Fat Quiz, this time the Big Fat Quiz Of Everything


title: Big Narstie

text: The first series of the show features guests including Ed Sheeran, Jonathan Ross, David Schwimmer, David Haye and Keith Lemon having joined hosts Big Narstie and Mo Gilligan.


title: Big Narstie

text: The programme performed strongly for the network, with The Big Narstie Show rating as one of Channel 4's most popular programmes for young audiences. It was up 94% on the channel's share of 16–24-year-old viewers; up 129% on share for BAME viewers; and up 144% on share for black audiences. A second series has been commissioned.


title: Big Narstie

text: During 2018 Big Narstie also appeared on "Good Morning Britain" reading the weather report which went viral. He also appeared on "Celebrity Crystal Maze" for Stand Up To Cancer, "Celebrity Juice", "Would I Lie to You?" and "The Chris Ramsey Show". He also started in the cinema hit "The Festival".


title: Big Narstie

text: Big Narstie was caught up in controversy in 2018 during an episode of "Britain's Got More Talent" when he appears to push contestant Robert White during a live show. The pair resolved the issue publicly on Twitter.


title: Big Narstie

text: In 2020, Big Narstie featured on the track 'Catch 22' by NAHLI produced by DaVinChe. The track is described as luxurious, defiantly old-skool UK garage-inspired track.


title: Big Narstie

text: Big Narstie was cited by music blog 'RansomNote' as one of the first in the 'grime comedy' genre. The blog states "Big Narstie is probably the don of this – at either end of his career you can find lyrics and beats drenched with sorrow, regret and nostalgia" and goes onto talk about the subjective opinion of the audience – "the fact that most outsiders can't tell the difference between rage and satire tells you more about the audience than the performer".


title: Big Narstie

text: Away from music, Big Narstie has featured in the Channel 4 sitcom "Dubplate Drama" alongside N-Dubz and Shystie. He has also had a guest appearance in the films "Anuvahood" and "London State of Mind". He is set to appear in the series "Krish and Lee" and the film "Rise of the Foot Soldier 2". From 29 June 2018, he hosted "The Big Narstie Show."


title: Big Narstie

text: Big Narstie is a keen football fan and supports both Millwall and Manchester United. He also began training in Brazilian Jiu Jitsu in 2020 in a bid to improve his fitness.


title: Big Narstie

text: He has appeared on a number of panel shows including "The Big Fat Quiz of the Year" 2017 in a team with Katherine Ryan and again in 2019, and "Would I Lie to You?" on David Mitchell's team.


title: Big Narstie

text: Big Narstie appeared in "The Great British Bake Off" "The Great Stand Up to Cancer Bake Off", series 2, episode 3. He completed two of three challenges; he did not appear at the third challenge due to being taken ill; he was replaced in the challenge by presenter Sandi Toksvig.


title: Palomino

text: Palomino is a genetic color in horses, consisting of a gold coat and white mane and tail; the degree of whiteness can vary from bright white to yellow. Genetically, the palomino color is created by a single allele of a dilution gene called the cream gene working on a "red" (chestnut) base coat. Palomino is created by a genetic mechanism of incomplete dominance, hence it is not considered true-breeding. However, most color breed registries that record palomino horses were founded before equine coat color genetics were understood as well as they are today, therefore the standard definition of a palomino is based on the visible coat color, not heritability nor the underlying presence of the dilution gene.


title: Palomino

text: Due to their distinct color, palominos stand out in a show ring, and are much sought after as parade horses. They were particularly popular in movies and television during the 1940s and 1950s. One of the most famous palomino horses was Trigger, known as "the smartest horse in movies", the faithful mount of the Hollywood cowboy star Roy Rogers. Another famous palomino was Mister Ed (real name Bamboo Harvester) who starred on his own TV show in the 1960s. A palomino was also featured in the show "" (1995–2001). Xena's horse Argo was portrayed by a palomino mare named Tilly. In today's horse breeding the palomino color can be created by crossing a chestnut with a cremello.


title: Palomino

text: "Palomino" is a Spanish word meaning "juvenile pigeon" (the diminutive of "paloma", pigeon) and its equine usage refers to the color of such birds.


title: Palomino

text: Palomino horses have a yellow or gold coat, with a white or light cream mane and tail. The shades of the body coat color range from cream to a dark gold.


title: Palomino

text: Unless also affected by other, unrelated genes, palominos have dark skin and brown eyes, though some may be born with pinkish skin that darkens with age. Some have slightly lighter brown or amber eyes. A heterozygous cream dilute (CR) such as the palomino must not be confused with a horse carrying champagne dilution. Champagne (CH) dilutes are born with pumpkin-pink skin and blue eyes, which darken within days to amber, green or light brown, and their skin acquires a darker mottled complexion around the eyes, muzzle, and genitalia as the animal matures.


title: Palomino

text: A horse with rosy-pink skin and blue eyes in adulthood is most often a cremello or a perlino, a horse carrying two cream dilution genes.


title: Palomino

text: Sooty palomino horses may have darker hairs in the mane, tail and coat. The summer coat of a palomino is usually a slightly darker shade than the winter coat.


title: Palomino

text: In the United States, some palomino horses are classified as a color breed. However, unlike the Appaloosa or the Friesian, which are distinct breeds that also happen to have a unique color preference, Palomino color breed registries often accept a wide range of breed or type if the animals are properly golden-colored. The Palomino cannot be a true horse breed, however, because palomino color is an incomplete dominant gene and does not breed "true". A palomino crossed with a palomino may result in a palomino about 50% of the time, but could also produce a chestnut (25% probability) or a cremello (25% probability). Thus, palomino is simply a partially expressed color allele and not a set of characteristics that make up a "breed".


title: Palomino

text: Because registration as a palomino with a color breed registry is based primarily on coat color, horses from many breeds or combination of breeds may qualify. Some breeds that have palomino representatives are the American Saddlebred, Tennessee Walking Horse, Morgan and Quarter Horse. The color is fairly rare in the Thoroughbred, but does in fact occur and is recognized by The Jockey Club. Some breeds, such as the Haflinger and Arabian, may appear to be palomino, but are genetically chestnuts with flaxen manes and tails, as neither breed carries the cream dilution gene. However, in spite of their lack of cream DNA, some palomino color registries have registered such horses if their coat color falls within the acceptable range of shades.


title: Palomino

text: While the color standard used by palomino organizations usually describes the ideal body color as that of a "newly minted gold coin" (sometimes mistakenly claimed to be a penny), a wider a body color range is often accepted, ranging from a cream-white color to a deep, dark, chocolate color ("chocolate palomino") that may actually be silver dapple or liver chestnut with a flaxen mane and tail.


title: Palomino

text: In the United States, there are two primary color breed registries for Palomino-colored horses: the Palomino Horse Association (PHA), and the Palomino Horse Breeders of America (PHBA).


title: Palomino

text: The Palomino Horse Association (PHA) registers palomino horses of any breed and type "on color and conformation". The shade of color considered ideal by the PHA is the color of a gold coin, but shades of palomino from light to dark gold are accepted. The mane and tail are required to be white, silver, or ivory, but up to 15% dark or reddish-brown hair is accepted. In the interest of breeding palomino horses, the PHA also registers full double-dilute blue-eyed cremellos, erroneously called "cremello palominos" by the PHA. Horses that are not recorded by any other registry of unknown pedigree are accepted if their color meets the PHA definition of "palomino".


title: Palomino

text: The Palomino Horse Breeders of America (PHBA) has stricter requirements. To be accepted by the PHBA, in addition to color, a horse must have the general structure appropriate to the breeds of light riding type recognized by the PHBA. The adult height of the PHBA horse should be , and the horse must not show draft horse or pony characteristics. An individual that does not meet the height requirements may still be accepted if it is registered in one of the breed registries recognized by the PHBA. The PHBA usually requires horses or both parents of the horse to be registered by or eligible for registration with certain recognized breed registries, including those for the American Quarter Horse, Paint, Appaloosa, Saddlebred, Morgan, Holsteiner, Arabian, assorted part-Arabian registries, Pinto (horse division only), Thoroughbred, and assorted gaited horse breeds. Horses with PHBA-registered parents are also eligible even if they are not recorded with any other breed registry. In some situations, mares and geldings may be registered without pedigree on account of their conformation and color only, but stallions must always have pedigrees that are "verified in fact".


title: Palomino

text: The ideal PHBA body color is the shade of "a United States gold coin". The mane and tail must be naturally white, and may not have more than 15% black, brown or off-colored hairs. Brown or dark primitive markings are not accepted. PHBA also does not accept horses that are gray or show color characteristics of Paints, pintos, Appaloosas or cremellos or perlinos. The skin must be dark, other than pink skin on the face connected to a white marking. The PHBA will not accept a horse for regular registration if it has all three characteristics of a double-dilute cream: light (or pink) skin over the body; white or cream-colored hair over the body; and eyes of a bluish cast. White markings on the face and legs may not exceed certain limits. Leg white may not be higher than the level of the elbow or the stifle, white on the face may not extend past the throatlatch. Spotting and characteristics of the Leopard complex and the various pinto patterns are not accepted, and body spots of less than a 4-inch diameter may be allowed. Horses with non-dark skin on the body, white or creamy coat and pink skin around the eyes are not accepted. Spots of pink skin visible in the muzzle or around the eyes, under the tail and between the hind legs are not accepted. An exception is made for horses registered with the American Saddlebred Horse Association, which may have skin of any color. Accepted eye colors are black, brown, blue and hazel. However, horses with blue or partially blue eyes are accepted only if their registration certificate from a recognized breed association mentions the eye color; they are also accepted on horses of unknown pedigree if they are gelded or spayed.


title: Turtle soup

text: Turtle soup, also known as Terrapin soup, is a soup or stew made from the meat of turtles. Differing versions of the soup exist in some cultures and are viewed as a delicacy.


title: Turtle soup

text: In China, and in several countries in Southeast Asia such as Singapore, turtle soup is a delicacy. The meat, skin and innards of the turtle are used in the soup. Soft-shelled turtles such as "Pelodiscus sinensis" are commonly consumed in this manner in Chinese cuisine, while consumption of hard-shelled turtles is often avoided due to their mythical connotations. However, the hard shells of certain turtles are used in the preparation of a dish called "Guilinggao" or "turtle jelly".


title: Turtle soup

text: Turtle soup gained popularity in England in the 1750s but declined rapidly about 150 years later due to overfishing. According to food historian Janet Clarkson, the dish, which she describes as one of several "noteworthy soups", became a symbol for civic dinners and


title: Turtle soup

text: Green sea turtle first became popular in England as "sea-tortoise" circa 1728: "Its Flesh is between that of Veal, and that of a Lobster, and is extremely pleasant ... They are frequently brought to England in Tubs of Sea Water, and will keep alive a long time." The earliest English recipes are for roast or boiled turtle, only later being used in a soup. About 1740–1750, it began to be widely imported to England, from Ascension Island or the West Indies. Samuel Birch is credited with being the first to serve turtle soup in London, spicing it with lemons and cayennes; it quickly became immensely popular, and Lord Dudley stated, "Of British soup, turtle always takes precedence in the list of honour". Giles Rose made turtle soup as follows: "Take your tortoises and cut off their heads and feet and boyl them in fair water, and when they are almost boyl'd, put to them some white wine, some sweet herbs, and a piece of bacon, and give them a brown in the frying pan with good butter, then lay upon your bread a-steeping in good strong broth, and well-seasoned; garnish the dish with green sparrow-grass [asparagus] and lemon over it." In "Cookery and Domestic Economy" (1862), the recipe begins as follows: "take the turtle out of the water, turn it on its back, tie its feet, cut off its head". By about 1800, a good dinner portion was of turtle, live weight, and in London Tavern in August, 1808, 400 men ate of turtle in their dinner soup.


title: Turtle soup

text: According to Clarkson, "It is difficult to overestimate the magnitude of the demand for turtles" during the period of the soup's popularity. As many as 15,000 turtles were shipped live to Britain from the West Indies. Because of its popularity, the green turtle population plummeted, and its cost rose correspondingly. Isabella Beeton noted in 1861, "This is the most expensive soup brought to the table". Thus, long before that time, mock turtle soup made from calf's head was widely adopted as a more economical substitute and became popular in its own right, with the two dishes sometimes being served at the same banquet.


title: Turtle soup

text: In the United States, the common snapping turtle has long been the principal species used for turtle soup. In this case the soup is also referred to as "snapper turtle soup", or simply "snapper soup" (not to be confused with "red snapper soup", which is made from the fish red snapper). It is a heavy, brown soup with an appearance similar to thick meat gravy.


title: Turtle soup

text: In the Chesapeake Bay, the diamondback terrapin was the species exploited in a turtle soup "fishery". Canneries processed and exported tons of product until the turtle populations collapsed. Similarly in the San Francisco Bay, the Pacific pond turtle was the base of a minor industry with the canned product sent to eastern markets by rail.


title: Turtle soup

text: , various dishes made using turtle, including turtle soup, were served by a restaurant in Minnesota, mostly during Lent. The owner said that it was primarily older customers who have previously eaten turtle who order the turtle dishes; younger diners are much less interested.


title: Turtle soup

text: The 27th U.S. president, William Howard Taft, hired a chef at the White House for the specific purpose of preparing turtle soup.


title: Turtle soup

text: Eating the flesh of some marine turtles can cause a rare, but possibly lethal, type of food poisoning called chelonitoxism.


title: Intel 8080

text: The Intel 8080 (""eighty-eighty"") is the second 8-bit microprocessor designed and manufactured by Intel. It first appeared in April 1974 and is an extended and enhanced variant of the earlier 8008 design, although without binary compatibility. The initial specified clock rate or frequency limit was 2 MHz, with common instructions using 4, 5, 7, 10, or 11 cycles. As a result, the processor is able to execute several hundred thousand instructions per second. Two faster variants, the 8080A-1 (sometimes referred to as the 8080B) and 8080A-2, became available later with clock frequency limits of 3.125 MHz and 2.63 MHz respectively.


title: Intel 8080

text: The 8080 needs two support chips to function in most applications: the i8224 clock generator/driver and the i8228 bus controller. It is implemented in N-type metal-oxide-semiconductor logic (NMOS) using non-saturated enhancement mode transistors as loads thus demanding a +12 V and a −5 V voltage in addition to the main transistor–transistor logic (TTL) compatible +5 V.


title: Intel 8080

text: Although earlier microprocessors were commonly used in mass-produced devices such as calculators, cash registers, computer terminals, industrial robots, and other applications, the 8080 saw greater success in a wider set of applications, and is largely credited with starting the microcomputer industry. Several factors contributed to its popularity: its 40-pin package made it easier to interface than the 18-pin 8008, and also made its data bus more efficient; its NMOS implementation gave it faster transistors than those of the P-type metal-oxide-semiconductor logic (PMOS) 8008, while also simplifying interfacing by making it TTL-compatible; a wider variety of support chips were available; its instruction set was enhanced over the 8008; and its full 16-bit address bus (versus the 14-bit one of the 8008) enabled it to access 64 KB of memory, four times more than the 8008's range of 16 KB. It was used in the Altair 8800 and subsequent S-100 bus personal computers until it was replaced by the Z80 in this role, and was the original target CPU for CP/M operating systems developed by Gary Kildall.


title: Intel 8080

text: The 8080 directly influenced the later x86 architecture. Intel designed the 8086 to have its assembly language be similar enough to the 8080, with most instructions mapping directly onto each other, that transpiled 8080 assembly code could be executed on the 8086.


title: Intel 8080

text: Microprocessor customers were reluctant to adopt the 8008 because of limitations such as the single addressing mode, low clock speed, low pin count, and small on-chip stack, which restricted the scale and complexity of software. There were several proposed designs for the 8080, ranging from simply adding stack instructions to the 8008 to a complete departure from all previous Intel architectures. The final design was a compromise between the proposals.


title: Intel 8080

text: Federico Faggin, the originator of the 8080 architecture in early 1972, proposed the chip to Intel's management and pushed for its implementation. He finally got the permission to develop it six months later. Faggin hired Masatoshi Shima, who helped design the 4004 with him, from Japan in November 1972. Shima did the detailed design under Faggin's direction, using the design methodology for random logic with silicon gate that Faggin had created for the 4000 family.


title: Intel 8080

text: The 8080 was explicitly designed to be a general-purpose microprocessor for a larger number of customers. Much of the development effort was spent trying to integrate the functionalities of the 8008's supplemental chips into one package. It was decided early in development that the 8080 was not to be binary-compatible with the 8008, instead opting for source compatibility once run through a transpiler, to allow new software to not be subject to the same restrictions as the 8008. For the same reason, as well as the expand the capabilities of stack-based routines and interrupts, the stack was moved to external memory.


title: Intel 8080

text: Noting the specialized use of general-purpose registers by programmers in mainframe systems, Stanley Mazor, the chip architect, decided the 8080's registers would be specialized, with register pairs having a different set of uses. This also allowed the engineers to more effectively use transistors for other purposes.


title: Intel 8080

text: Shima finished the layout in August 1973. After the regulation of NMOS fabrication, a prototype of the 8080 was completed in January 1974. It had a flaw, in that driving with standard TTL devices increased the ground voltage because high current flowed into the narrow line. Intel had already produced 40,000 units of the 8080 at the direction of the sales section before Shima characterized the prototype. It was released as requiring Low-power Schottky TTL (LS TTL) devices. The 8080A fixed this flaw.


title: Intel 8080

text: Intel offered an instruction set simulator for the 8080 named INTERP/80 to run compiled PL/M programs. It was written by Gary Kildall while he worked as a consultant for Intel.


title: Intel 8080

text: The Intel 8080 is the successor to the 8008. It uses the same basic instruction set and register model as the 8008, although it is neither source code compatible nor binary code compatible with its predecessor. Every instruction in the 8008 has an equivalent instruction in the 8080. The 8080 also adds 16-bit operations in its instruction set. Whereas the 8008 required the use of the HL register pair to indirectly access its 14-bit memory space, the 8080 added addressing modes to allow direct access to its full 16-bit memory space. The internal 7-level push-down call stack of the 8008 was replaced by a dedicated 16-bit stack-pointer (SP) register. The 8080's 40-pin DIP packaging permits it to provide a 16-bit address bus and an 8-bit data bus, enabling access to 64 KiB (2 bytes) of memory.


title: Intel 8080

text: The processor has seven 8-bit registers (A, B, C, D, E, H, and L), where A is the primary 8-bit accumulator. The other six registers can be used as either individual 8-bit registers or in three 16-bit register pairs (BC, DE, and HL, referred to as B, D and H in Intel documents) depending on the particular instruction. Some instructions also enable the HL register pair to be used as a (limited) 16-bit accumulator. A pseudo-register M, which refers to the dereferenced memory location pointed to by HL, can be used almost anywhere other registers can be used. The 8080 has a 16-bit stack pointer to memory, replacing the 8008's internal stack, and a 16-bit program counter.


title: Intel 8080

text: The processor maintains internal flag bits (a status register), which indicate the results of arithmetic and logical instructions. Only certain instructions affect the flags. The flags are:


title: Intel 8080

text: The carry bit can be set or complemented by specific instructions. Conditional-branch instructions test the various flag status bits. The flags can be copied as a group to the accumulator. The A accumulator and the flags together are called the PSW register, or program status word.


title: Intel 8080

text: As with many other 8-bit processors, all instructions are encoded in one byte (including register numbers, but excluding immediate data), for simplicity. Some can be followed by one or two bytes of data, which can be an immediate operand, a memory address, or a port number. Like more advanced processors, it has automatic CALL and RET instructions for multi-level procedure calls and returns (which can even be conditionally executed, like jumps) and instructions to save and restore any 16-bit register pair on the machine stack. Eight one-byte call instructions () for subroutines exist at the fixed addresses 00h, 08h, 10h, ..., 38h. These are intended to be supplied by external hardware in order to invoke a corresponding interrupt service routine, but are also often employed as fast system calls. The instruction that executes slowest is , which is used for exchanging the register pair HL with the value stored at the address indicated by the stack pointer.


title: Intel 8080

text: All 8-bit operations with two operands can only be performed on the 8-bit accumulator (the A register). The other operand can be either an immediate value, another 8-bit register, or a memory byte addressed by the 16-bit register pair HL. Increments and decrements can be performed on any 8 bit register or an HL-addressed memory byte. Direct copying is supported between any two 8-bit registers and between any 8-bit register and an HL-addressed memory byte. Due to the regular encoding of the instruction (using a quarter of available opcode space), there are redundant codes to copy a register into itself (, for instance), which are of little use, except for delays. However, the systematic opcode for is instead used to encode the halt () instruction, halting execution until an external reset or interrupt occurs.


title: Intel 8080

text: Although the 8080 is generally an 8-bit processor, it has limited abilities to perform 16-bit operations. Any of the three 16-bit register pairs (BC, DE, or HL, referred to as B, D, H in Intel documents) or SP can be loaded with an immediate 16-bit value (using ), incremented or decremented (using and ), or added to HL (using ). By adding HL to itself, it is possible to achieve the same result as a 16-bit arithmetical left shift with one instruction. The only 16-bit instructions that affect any flag is , which sets the CY (carry) flag in order to allow for programmed 24-bit or 32-bit arithmetic (or larger), needed to implement floating-point arithmetic. A stack frame can be allocated using and . A branch to a computed pointer can be executed with . loads HL from directly addressed memory and stores HL likewise. The instruction exchanges the values of the HL and DE register pairs. exchanges last item pushed on stack with HL.


title: Intel 8080

text: The 8080 supports up to 256 input/output (I/O) ports, accessed via dedicated I/O instructions taking port addresses as operands. This I/O mapping scheme is regarded as an advantage, as it frees up the processor's limited address space. Many CPU architectures instead use so-called memory-mapped I/O (MMIO), in which a common address space is used for both RAM and peripheral chips. This removes the need for dedicated I/O instructions, although a drawback in such designs may be that special hardware must be used to insert wait states, as peripherals are often slower than memory. However, in some simple 8080 computers, I/O is indeed addressed as if they were memory cells, "memory-mapped", leaving the I/O commands unused. I/O addressing can also sometimes employ the fact that the processor outputs the same 8-bit port address to both the lower and the higher address byte (i.e., would put the address 0505h on the 16-bit address bus). Similar I/O-port schemes are used in the backward-compatible Zilog Z80 and Intel 8085, and the closely related x86 microprocessor families.


title: Intel 8080

text: One of the bits in the processor state word (see below) indicates that the processor is accessing data from the stack. Using this signal, it is possible to implement a separate stack memory space. This feature is seldom used.


title: Intel 8080

text: For more advanced systems, during one phase of its working loop, the processor set its "internal state byte" on the data bus. This byte contains flags that determine whether the memory or I/O port is accessed and whether it is necessary to handle an interrupt.


title: Intel 8080

text: The interrupt system state (enabled or disabled) is also output on a separate pin. For simple systems, where the interrupts are not used, it is possible to find cases where this pin is used as an additional single-bit output port (the popular Radio-86RK computer made in the Soviet Union, for instance).


title: Intel 8080

text: The following 8080/8085 assembler source code is for a subroutine named that copies a block of data bytes of a given size from one location to another. The data block is copied one byte at a time, and the data movement and looping logic utilizes 16-bit operations.


title: Intel 8080

text: The address bus has its own 16 pins, and the data bus has 8 pins that are usable without any multiplexing. Using the two additional pins (read and write signals), it is possible to assemble simple microprocessor devices very easily. Only the separate IO space, interrupts, and DMA need added chips to decode the processor pin signals. However, the pin load capacity is limited; even simple computers often require bus amplifiers.


title: Intel 8080

text: The processor needs three power sources (−5, +5, and +12 V) and two non-overlapping high-amplitude synchronizing signals. However, at least the late Soviet version КР580ВМ80А was able to work with a single +5 V power source, the +12 V pin being connected to +5 V and the −5 V pin to ground.


title: Intel 8080

text: A key factor in the success of the 8080 was the broad range of support chips available, providing serial communications, counter/timing, input/output, direct memory access, and programmable interrupt control amongst other functions:


title: Intel 8080

text: The 8080 integrated circuit uses non-saturated enhancement-load nMOS gates, demanding extra voltages (for the load-gate bias). It was manufactured in a silicon gate process using a minimal feature size of 6 µm. A single layer of metal is used to interconnect the approximately 4,500 transistors in the design, but the higher resistance polysilicon layer, which required higher voltage for some interconnects, is implemented with transistor gates. The die size is approximately 20 mm.


title: Intel 8080

text: The 8080 is used in many early microcomputers, such as the MITS Altair 8800 Computer, Processor Technology SOL-20 Terminal Computer and IMSAI 8080 Microcomputer, forming the basis for machines running the CP/M operating system (the later, almost fully compatible and more able, Zilog Z80 processor would capitalize on this, with Z80 & CP/M becoming the dominant CPU and OS combination of the period circa 1976 to 1983 much as did the x86 & DOS for the PC a decade later).


title: Intel 8080

text: In 1979, even after the introduction of the Z80 and 8085 processors, five manufacturers of the 8080 were selling an estimated 500,000 units per month at a price around $3 to $4 each.


title: Intel 8080

text: The first single-board microcomputers, such as MYCRO-1 and the "dyna-micro" / MMD-1 (see: Single-board computer) were based on the Intel 8080. One of the early uses of the 8080 was made in the late 1970s by Cubic-Western Data of San Diego, CA in its Automated Fare Collection Systems custom designed for mass transit systems around the world. An early industrial use of the 8080 is as the "brain" of the DatagraphiX Auto-COM (Computer Output Microfiche) line of products which takes large amounts of user data from reel-to-reel tape and images it onto microfiche. The Auto-COM instruments also include an entire automated film cutting, processing, washing, and drying sub-system. Several early video arcade games were built around the 8080 microprocessor, including "Space Invaders", one of the most popular arcade games ever made.


title: Intel 8080

text: Zilog introduced the Z80, which has a compatible machine language instruction set and initially used the same assembly language as the 8080, but for legal reasons, Zilog developed a syntactically-different (but code compatible) alternative assembly language for the Z80. At Intel, the 8080 was followed by the compatible and electrically more elegant 8085.


title: Intel 8080

text: Later, Intel issued the assembly-language compatible (but not binary-compatible) 16-bit 8086 and then the 8/16-bit 8088, which was selected by IBM for its new PC to be launched in 1981. Later NEC made the NEC V20 (an 8088 clone with Intel 80186 instruction set compatibility) which also supports an 8080 emulation mode. This is also supported by NEC's V30 (a similarly enhanced 8086 clone). Thus, the 8080, via its instruction set architecture (ISA), made a lasting impact on computer history.


title: Intel 8080

text: A number of processors compatible with the Intel 8080A were manufactured in the Eastern Bloc: the KR580VM80A (initially marked as KP580ИK80) in the Soviet Union, the MCY7880 made by Unitra CEMI in Poland, the MHB8080A made by TESLA in Czechoslovakia, the 8080APC made by Tungsram / MEV in Hungary, and the MMN8080 made by Microelectronica Bucharest in Romania.


title: Intel 8080

text: The 8080 also changed how computers were created. When the 8080 was introduced, computer systems were usually created by computer manufacturers such as Digital Equipment Corporation, Hewlett Packard, or IBM. A manufacturer would produce the whole computer, including processor, terminals, and system software such as compilers and operating system. The 8080 was designed for almost any application "except" a complete computer system. Hewlett Packard developed the HP 2640 series of smart terminals around the 8080. The HP 2647 is a terminal which runs the programming language BASIC on the 8080. Microsoft's founding product, Microsoft BASIC, was originally programmed for the 8080.


title: Intel 8080

text: The 8080 and 8085 gave rise to the 8086, which was designed as a source code compatible, albeit not binary compatible, extension of the 8080. This design, in turn, later spawned the x86 family of chips, which continue to be Intel's primary line of processors. Many of the 8080's core machine instructions and concepts survive in the widespread x86 platform. Examples include the registers named "A", "B", "C", and "D" and many of the flags used to control conditional jumps. 8080 assembly code can still be directly translated into x86 instructions, for all of its core elements are still present.


title: Ironwood

text: Ironwood is a common name for many woods or plants that have a reputation for hardness, or specifically a wood density that is heavier than water (approximately 1000 kg/m, or 62 pounds per cubic foot), although usage of the name ironwood in English may or may not indicate a tree that yields such heavy wood.


title: Almost Paradise (TV series)

text: Almost Paradise is an American-Filipino crime drama television series produced by Dean Devlin and Gary Rosen. The series is the first American television series to be filmed entirely in the Philippines. It premiered March 30, 2020 on WGN America (now known as NewsNation) in the United States, and in the Philippines, it premiered on March 21, 2021 to May 23, 2021 on Kapamilya Channel, Kapamilya Online Live and A2Z Channel 11 and was replaced by "He's Into Her". The series has been renewed for a second season on Amazon Freevee.


title: Almost Paradise (TV series)

text: Former DEA Agent Alex Walker, forced into retirement, moves to the island of Cebu in the Philippines. He purchases the hotel gift shop in the hopes of managing his stress and high blood pressure, but the wealthy and criminal element on the island keep drawing him back into law enforcement.


title: Almost Paradise (TV series)

text: "Almost Paradise" is the first American television series to be shot entirely in the Philippines. The show boasts an all-Filipino staff and crew, assisted by Cebu locals for the shoot.


title: Almost Paradise (TV series)

text: It was announced in September 2019 that ABS-CBN would be venturing into Hollywood television production for the U.S. film and TV producers Electric Entertainment, which is headed by Filipino-American producer Dean Devlin. A U.S. crime series set in Cebu, Almost Paradise aired in the United States via the cable company WGN America. The series began filming at Bigfoot Soundstage Cebu in November 2019.


title: Almost Paradise (TV series)

text: Devlin mentioned in an interview on June 4, 2020, that WGN would not renew the show for a second season, but that an unnamed streaming platform was willing to stream all of the episodes to gauge public response for another season. On January 19, 2021 it was announced that Almost Paradise was streaming online on Amazon Freevee. All episodes of the show were made available on demand as of February 1, 2021. It was IMDb TV who would end up renewing the show for a second season on February 8, 2022.


title: Almost Paradise (TV series)

text: The show is distributed by Electric Entertainment in Europe, South America and the Middle East, and by ABS-CBN Entertainment in the Philippines.


title: Almost Paradise (TV series)

text: On January 19, 2020, the first trailer was released along with the announcement that the series would premiere on March 30, 2020.


title: Naani

text: Naani is an 2004 Indian Telugu-language science-fiction romantic comedy film released in 2004. It was directed by S. J. Surya and stars Mahesh Babu, Ameesha Patel. The film is bilingual, simultaneously shot in Tamil as "New" with a slightly different cast and features music composed by A. R. Rahman. Made on a budget of ₹12 crore, the film released on 14 May 2004 theatrically with negative reviews criticising the runtime and adult comedy but praising the Mahesh's performance and Rahman's music. It was a flop at the box-office.


title: Naani

text: Naani is a mischievous eight-year-old boy who is always troubling his mother. His mother scolds him for his behavior, such as when he eats toothpaste or urinates in bed. Naani falls down on a road one day and a young woman helps him. Naani's elder brother plans to watch a movie with his friends in the absence of their parents and Naani demands to join him, which his brother does not allow. Angered, Naani cuts off the power which creates a short circuit at home. Naani's mother scolds him and shouts at her husband for not stopping with one child. This hurts Naani and he runs away from home to jump into a river. But he is stopped by an old man who takes Naani to his place. The old man introduces himself as a scientist who has his own laboratory. He insists that Naani help him in his research. Naani agrees and the scientist uses his research to transform him into a young man. Naani starts to live as a young man physically, but remains a child mentally. He stays away from his family. The only person other than the scientist who knows the truth is his child friend. Naani meets a girl (Priya) at a park who helped him once when he fell down. Naani helps remove dust from her eyes, smiles at her, and leaves. The girl is attracted to him and looks for him.


title: Naani

text: Naani goes for a job interview at a toy manufacturing company. The owner who interviews him demands that he have childhood memories and be like a child to understand children's tastes. Naani grabs the job easily. The company falls into the hands of the owner's daughter who turns out to be Priya. Priya is happy to see Naani in her company. Their friendship makes Raj (another employee) jealous. Naani overcomes Raj's idea for a new type of bed for kids and introduces his own idea. Naani meets his brother as an anonymous man and hears that his mother is depressed over Naani's disappearance. Naani meets his mother who had fallen ill. Naani asks the scientist to change him back. The scientist complies and Naani reconciles with his mother. That night he changes back into the young man, shocking the scientist.


title: Naani

text: Naani lives as an eight-year-old boy during the day and as a twenty eight-year man (Vichu) at night. Priya expresses her love, but Vichu tells her to love a man suitable for her age. The scientist tells Vichu to accept Priya. Priya asks him to accompany her to a matinee. Young boy Naani cannot appear. He sees Priya angrily waiting for Vichu at the theatre while going home with his mother. Naani's mother befriends Priya and Priya comes to like Naani. Priya gets angry at Vichu's absence. She finally decides to marry Vichu. Raj kidnaps him on the wedding day, but then Vichu becomes Naani. The kidnappers release him. Naani becomes Vichu and marries Priya that evening. (Hindu marriages usually take place at Night). Vichu knows nothing about marital life.


title: Naani

text: Naani somehow manages his mother by disappearing at night. Priya needs a child so she intentionally shows her skin to Vichu, who responds. Priya becomes pregnant. Vichu once meets his mother and understands the difficulties of pregnancy for a woman. Naani's child friend demands to play with him, but Naani's schedule is too complicated. Naani slaps his friend and to make him angry and reveals the truth to Priya. Priya is shocked to hear that she is bearing the child of a child.


title: Naani

text: Priya argues with Vichu for marrying her and making her pregnant, but Vichu blames her arrogance for involving him. Naani turns into Vichu in front of her, shocking Priya. Vichu reveals that he loves her. Priya now goes into labour and Vichu takes her to hospital. On the way Vichu is stopped by Raj's men seeking revenge. Vichu overcomes them. Everybody learns the truth about Naani and Priya.


title: Naani

text: Twenty years pass. Naani reaches twenty-eight. He lives with Priya as her husband. He goes inside his room as Naani and comes out as a forty-eight-year-old Vichu, father of a twenty-year-old son.


title: Naani

text: After the success of "Kushi" (2001), Surya began pre-production work on a third story titled "Naani".


title: Naani

text: Idlebrain.com rated the film 2 out of 5, writing, "the movie suffers from artificialness and [a] bad script." The Tamil version performed well, while the Telugu version was not as strong commercially.


title: M230 chain gun

text: The M230 Chain Gun is a 30 mm (30×113 mm), single-barrel chain-driven autocannon, using external electrical power (as opposed to recoil or expanding gas generated by the firing cartridge) to cycle the weapon between shots. It was designed and manufactured originally by Hughes Helicopters in Culver City, California. The company was acquired by McDonnell Douglas Helicopters in 1985, which merged into Boeing Corporation in 1997. In 2002, it was sold again to Alliant Techsystems, which merged with Orbital Sciences Corporation in 2015 to form Orbital ATK and was, in turn, bought out by Northrop Grumman in 2018. , it is produced by Northrop Grumman Innovation Systems.


title: M230 chain gun

text: In 1972, Hughes Helicopters began a company-funded research effort to design a single machine gun to fire the U.S. Army's M50 round. By April 1973, the program had fired test rounds in more powerful WECOM linked ammunition, from a prototype (A model). In January 1975 a model "C" was added, a linkless version for the proposed Advanced Attack Helicopter YAH-64; the helicopter was eventually adopted as the AH-64 Apache, with the model C as standard armament. The linked ammunition version was intended for use on the AH-1S Cobra as the M230E1, but was later dropped.


title: M230 chain gun

text: The M230 Chain Gun is the "Area Weapon System" on the Boeing AH-64 Apache attack helicopter and is also used on the MH-60L Direct Action Penetrator (DAP). The M230 is mounted on the chin turret. It uses a electric motor to fire linkless ammunition at a rate of 625±25 rounds per minute. The practical rate of fire is about 300 rounds per minute with a 10-minute cooling period as the gun is air cooled. The gun has a positive cook-off safety for open bolt clearing, and double ram prevention. Spent casings are ejected overboard through the bottom of the gun.


title: M230 chain gun

text: The mount on the AH-64 uses secondary hydraulics to move the gun. The elevation is provided via a single hydraulic actuator located on the gun's centerline just forward of the pivot point. The gun is spring-loaded to return to its centerline stowed position with the barrel angled up about eleven degrees in the event of a loss of hydraulic power. This allows the gun, which is mounted below the copilot station, to collapse cleanly into its designed space between the pilot stations in the event of a hard landing. This prevents the gun from entering the pilot's stations and becoming a hazard.


title: M230 chain gun

text: The Apache is capable of carrying up to 1,200 rounds for the gun in a device known as the 12-PAK, designed and manufactured by Meggitt Defense Systems, Inc. However, utilization by the US Army of a special internal fuel tank, the Robertson IAFS (known as the "Robby Tank" to the crews), reduces this capacity to 300 rounds. The ammunition is loaded into the AH-64D Longbow Apache by armament personnel using an aircraft-mounted motorized loader and special ammunition handling tray. The AH-64A requires specialized ground support equipment for loading.


title: M230 chain gun

text: The M230 is capable of firing the 30×113mm rounds used in the ADEN cannon and DEFA cannon, however, the Lightweight rounds (M788, M789, M799) used in the M230 are constructed with a light alloy as opposed to brass (ADEN) or steel (DEFA) cases to save weight and are in use with the US Army. The M230 rounds are not backwards compatible with weapons designed for the ADEN or DEFA rounds. The M788 rounds can be distinguished by the blue band near the nose, the M789 by a yellow stripe atop a black band and the M799 a red stripe atop a yellow band. The M799 HEI round is not used by the US Army due to the danger of a round exploding in the gun barrel. The M789 High Explosive Dual Purpose (HEDP) ammunition cartridge is the primary tactical round of the Apache AH-64 helicopter, widely used in current combat operations. The Apache's ability to provide accurate air support with minimal collateral damage led to increased use and volume demands for M789 ammunition.


title: M230 chain gun

text: The M789 is typically used in the M230. Each round contains of explosive charge sealed in a shaped-charge liner. The liner collapses into an armor-piercing jet of metal that is capable of penetrating of rolled homogeneous armour at 500m. Additionally, the shell is also designed to fragment upon impact. The lethal radius against unprotected, standing targets is about under optimum conditions.


title: M230 chain gun

text: The M230LF, offered by Orbital ATK, is a more capable version of the Apache autocannon. Features include an anti-hangfire system, a delinking feeder that exploits linked ammunition, and an extended-length barrel, which results in greater muzzle velocity and hitting power from the same M789 HEDP and NATO standard ADEN/DEFA projectiles. The rate of fire is reduced to 200 rounds/minute and overall length decreased to . The chain gun can be installed in an enclosed turret on patrol boats and ground vehicles.


title: M230 chain gun

text: The MAWS (Modular Advanced Weapon System) lightweight gun system, developed in partnership with the U.S. Navy, utilizes a remotely operated M230LF in an open mount. It is controlled by a Remote Operator's Console (ROC)—with either dual grips or a joystick—from a touch panel display and extended day color TV.


title: M230 chain gun

text: In February 2015, Oshkosh Defense and ATK conducted a firing demonstration of the M230LF on an Oshkosh M-ATV MRAP to demonstrate the viability and effectiveness of a medium caliber weapon system for light tactical vehicles. The live fire demonstration showcased improved accuracy in mobile engagements and improved lethality on the M-ATV using the gun, mounted on the R400S-Mk2, a 3-axis stabilized remote weapon station weighing less than . The addition of the M230LF stabilized on the RWS provides mobile precise lethality, usually reserved for heavier combat vehicles, with increased off-road mobility and MRAP levels of protection, along with optional Stinger missiles. Oshkosh has also fitted the M230LF to the L-ATV to fulfil the U.S. Army's light reconnaissance vehicle (LRV) role.


title: M230 chain gun

text: On 28 February 2018, the US Army announced that Stryker vehicles would be modified with sensors and weapons to fulfill an interim Maneuver-Short-Range Air Defense (M-SHORAD) requirement. This is in response to a capability gap identified in Europe against Russian unmanned aerial vehicles (UAVs).


title: M230 chain gun

text: In June 2018, the Army chose Leonardo DRS to supply the mission equipment package, which partnered with Moog Inc. to integrate the Reconfigurable Integrated-weapons Platform (RIwP) onto the vehicle. The system can be fitted with a Stinger pod and Longbow Hellfire missile rails and comes equipped with a 30 mm M230LF chain gun and the 7.62 mm coaxial machine gun, as well as non-kinetic defeat capabilities and a Rada onboard multimission hemispheric radar. The Army chose DRS because of the flexibility of the reconfigurable turret to allow for growth opportunities and alternate weapon options, it posed less intrusion to the existing vehicle platform, as they have a desire to keep the Stryker as common across the fleet as possible, and it provided increased protection as the crew can reload ammunition under armor. All 144 M-SHORAD systems are planned to be delivered by 2022. The turret can mount one four-shot Stinger pod or two Hellfire missiles on either side, and reloading of the M230LF and Stingers can be done through roof hatches giving partial protection. The system can act in a secondary anti-vehicle role, as the 30 mm cannon is larger than the 25 mm gun mounted on the M2 Bradley and the Hellfire has greater range than TOW missiles typically used by ground vehicles.


title: M230 chain gun

text: In September 2020, the US Marines contracted Kongsberg to qualify the XM914 RWS on the JLTV, equipped with an XM914E1 30 mm cannon, 7.62 mm coaxial machinegun, and Stinger missiles to fulfill an air defense role. The Marine Air Defense Integrated System (MADIS) fills the gap left by the retirement of the AN/TWQ-1 Avenger by the USMC in the mid-2000s. It consists of two JLTVs, one with the turret fitted with a 30 mm cannon, 4-round Stinger pod, and an optical sensor and the other with an RPS-42 360-degree radar, 7.62 mm M134 minigun, and EO/IR sensors; both have the Modi II dismounted electronic countermeasures system and shoulder-fired Stingers. The indefinite delivery / indefinite quantity (IDIQ) contract was signed in October 2021.


title: Dopamine agonist

text: A dopamine agonist (DA) is a compound that activates dopamine receptors. There are two families of dopamine receptors, D-like and D-like, and they are all G protein-coupled receptors. D- and D-receptors belong to the D-like family and the D-like family includes D, D and D receptors. Dopamine agonists are primarily used to treat Parkinson's disease. They are also used, to a far lesser extent, in treating hyperprolactinemia and restless legs syndrome. They are not intended for treatment of clinical depression, and studies have shown severe detrimental side effects resulting from off-label use of dopamine agonists in treating depression, particularly in their tendency to produce impulse control disorders and extreme cases of withdrawal syndrome.