Design.

Basic layout.

The locomotive had a tall smokestack chimney at the front, a cylindrical boiler in the middle, and a separate firebox at the rear. The large front pair of wooden wheels was driven by two external cylinders set at an angle. The smaller rear wheels were not coupled to the driving wheels, giving an 0-2-2 wheel arrangement.

Design objectives.

Stephenson designed "Rocket" for the Rainhill Trials, and the specific rules of that contest. As the first railway intended for passengers more than freight, the rules emphasised speed and would require reliability, but the weight of the locomotive was also tightly restricted. Six-wheeled locomotives were limited to six tons, four-wheeled locomotives to four and a half tons. In particular, the weight of the train expected to be hauled was to be no more than three times the actual weight of the locomotive. Stephenson realised that whatever the size of previously successful locomotives, this new contest would favour a fast, light locomotive of only moderate hauling power.

Innovations.

Single pair of driving wheels.

Stephenson's most visible decision was to use a single pair of driving wheels, with a small carrying axle behind. This was the first 0-2-2 and first single driver locomotive. The use of single drivers gave several advantages. The weight of coupling rods was avoided and the second axle could be smaller and lightweight, as it only carried a small proportion of the weight. Rocket placed just over tons of its ton total weight onto its driving wheels, a higher axle load than "Sans Pareil", even though the 0-4-0 was heavier overall at 5 ton, and officially disqualified by being over the ton limit. Early locomotive designers had been concerned that the adhesion of a locomotive's driving wheels would be inadequate, but Stephenson's past experience convinced him that this would not be a problem, particularly with the light trains of the trials contest.

Multiple boiler fire-tubes.

"Rocket" uses a multi-tubular boiler design. Previous locomotive boilers consisted of a single pipe surrounded by water (though the "Lancashire Witch" did have twin flues). "Rocket" had 25 copper fire-tubes that carry the hot exhaust gas from the firebox, through the wet boiler to the blast pipe and chimney. This arrangement resulted in a greatly increased surface contact area of hot pipe with boiler water when compared to a single large flue. Additionally, radiant heating from the enlarged separate firebox helped deliver a further increase in steaming and hence boiler efficiency.  The original innovator of multiple fire-tubes is unclear, between Stephenson and Marc Seguin. It is known that Seguin visited Stephenson to observe "Locomotion" and that he also built two multi-tubular locomotives of his own design for the Saint-Étienne–Lyon railway before "Rocket". "Rocket"s boiler was of the more highly developed form, with the separate firebox and a blastpipe for draught, rather than Seguin's cumbersome fans, but "Rocket" was not the first multi-tubular boiler, although it remains unclear just whose invention it was.  The benefits of increasing the fire-tube area had also been attempted with Ericsson and Braithwaite's "Novelty" at Rainhill. Their design though used a single fire-tube, folded in three. This offered an increased surface area, but only at the cost of a proportionately increased length and so poor draught on the fire. Its arrangement also made tube cleaning impractical.  The advantages of the multiple-tube boiler were quickly recognised, even for heavy, slow freight locomotives. By 1830, Stephenson's past employee Timothy Hackworth had re-designed his return-flued "Royal George" as the return-tubed "Wilberforce" class.

Blastpipe.

"Rocket" also used a blastpipe, feeding the exhaust steam from the cylinders into the base of the chimney so as to induce a partial vacuum and pull air through the fire. Credit for the invention of the blastpipe is disputed, though Stephenson used it as early as 1814. The blastpipe worked well on the multi-tube boiler of "Rocket" but on earlier designs with a single flue through the boiler it had created so much suction that it tended to rip the top off the fire and throw burning cinders out of the chimney, vastly increasing the fuel consumption.

Cylinders closer to the horizontal.

Like the "Lancashire Witch", "Rocket" had two cylinders set at angle from the horizontal, with the pistons driving a pair of diameter wheels. Most previous designs had the cylinders positioned vertically, which gave the engines an uneven swaying motion as they progressed along the track. Subsequently, "Rocket" was modified so that the cylinders were set close to horizontal, a layout that influenced nearly all designs that followed.

Pistons directly connected to driving wheels.

Again like the "Lancashire Witch", the pistons were connected directly to the driving wheels, an arrangement which is found in subsequent steam locomotives.

Separate firebox.

The firebox was separate from the boiler and was double walled, with a water jacket between them. Stephenson recognised that the hottest part of the boiler, and thus the most effective for evaporating water, was that surrounding the fire itself. This firebox was heated by radiant heat from the glowing coke, not just convection from the hot exhaust gas.  Locomotives of "Rocket"s era were fired by coke rather than coal. Local landowners were already familiar with the dark clouds of smoke from coal-fired stationary engines and had imposed regulations on most new railways that locomotives would 'consume their own smoke'. The smoke from a burning coke fire was much cleaner than that from coal. It was not until 30 years later and the development of the long firebox and brick arch that locomotives would be effectively able to burn coal directly.  "Rocket"s first firebox was of copper sheet and of a somewhat triangular shape from the side. The throatplate was of firebrick, possibly the backhead too. When rebuilt around 1831, this was replaced by a wrought iron backhead and throatplate, with a drum wrapper (now missing), presumed to be of copper, between them. This gave a larger internal volume and encouraged better combustion within the firebox, rather than inside the tubes. These early fireboxes formed a separate water space from the boiler drum and were connected by prominent external copper pipes.

Credit for the design.

There have been differences in opinion on who should be given the credit for designing "Rocket". George Stephenson had designed several locomotives before but none as advanced as "Rocket". At the time that "Rocket" was being designed and built at the Forth Banks Works, he was living in Liverpool overseeing the building of the Liverpool and Manchester Railway. His son Robert had recently returned from a stint working in South America and resumed as managing director of Robert Stephenson and Company. He was in daily charge of designing and constructing the new locomotive. Although he was in frequent contact with his father in Liverpool and probably received advice from him, it is difficult not to give the majority of the credit for the design to Robert. A third person who may deserve a significant amount of credit is Henry Booth, the treasurer of the Liverpool and Manchester Railway. He is believed to have suggested to Robert Stephenson that a multi-tube boiler should be used.

Evolution of the Stephenson locomotive design.

Before "Rocket".

"Rocket" was built at a time of rapid development of steam engine technology. It was based on experience gained from earlier designs by George and Robert Stephenson, including the Killingworth locomotive "Blücher" (1814); "Locomotion" (1825); and the "Lancashire Witch" (1828).

"Rocket" type locomotives.

"Rocket" was followed by a number of other engines of similar 0-2-2 layout with rear-mounted cylinders built for the L&MR before it opened on 15 September 1830, culminating in the "Northumbrian" (1830), by which time the cylinders were horizontal. Other engines of the "Rocket" design which were delivered to the Liverpool and Manchester railway included "Arrow", "Comet", "Dart" and "Meteor" all being delivered to the railway during 1830.

After "Rocket".

At around the same time, Stephenson experimented with front-mounted cylinders. The unsuccessful 0-4-0 "Invicta", built in 1829 immediately after "Rocket", still had them at an angle. The successful 2-2-0 locomotive "Planet" (1830) had internal front-mounted cylinders set to the horizontal.  Engines built to the "Planet" design and the subsequent 2-2-2 "Patentee" design of 1833 made the design of "Rocket" obsolete.

Rainhill Trials.

On 20 April 1829 the board of the Liverpool and Manchester Railway project passed a resolution for a competition to be held to prove their railway could be reliably operated by steam locomotives, there being advice from eminent engineers of the age that stationary engines would be required. A prize of £500 was offered as an incentive to the winner, with strict conditions a locomotive would need to meet to enter the trial. Robert Stephenson was able to report to Henry Booth on 5 September 1829 that "Rocket" had performed initial manufacturer tests with flying colours at Killingworth. "Rocket" was dismantled at Newcastle and began the long trip to Rainhill: by horse wagon to Carlisle; lighter to Bowness-on-Solway then by the "Cumberland" steamer to Liverpool for re-assembly on 18 September 1829. "Rocket" passed the trial requirement of achieving an average speed of over by over 40 percent. Demonstrations also saw "Rocket" consistently and easily haul a carriage of over 20 person up the Whiston incline at over, and light engine running of around. No other locomotive at the trials was able to achieve anything like the level of performance reliably, with partners Booth and Stephensons sharing the £500 winnings, and perhaps more importantly the need for stationary engines being demonstrated as unnecessary with sceptics such as Rastrick on the way to conversion.

Operation and subsequent history.

Opening-day accident.

The opening ceremony of the L&MR, on 15 September 1830, was a considerable event, drawing luminaries from the government and industry, including the Prime Minister, the Duke of Wellington. The day started with a procession of eight trains setting out from Liverpool for Manchester. The parade was led by "Northumbrian" driven by George Stephenson, and included "Phoenix" driven by his son Robert, "North Star" driven by his brother Robert Sr. and "Rocket" driven by assistant engineer Joseph Locke. The day was marred by the death of William Huskisson, the Member of Parliament for Liverpool, who was struck and killed by "Rocket" at Parkside.

Service.

History between 1830 and 1840 is only vaguely documented. From 1830 to 1834, "Rocket" served on the Liverpool and Manchester Railway.  After service on the L&MR, "Rocket" was used between 1836 and 1840 on Lord Carlisle's Railway near Brampton, in Cumberland (now Cumbria), England.

Modifications.

Built as a prototype to win a speed trial, the engine was soon superseded by improved designs, such as Stephenson's "Northumbrian" and "Planet" designs, both of 1830.  Within a few years, the "Rocket" itself had been much modified to be similar to the "Northumbrian" class. The cylinders were altered to a near-horizontal position, compared to the angled arrangement as new; the firebox capacity was enlarged and the shape simplified; and the locomotive was given a drum smokebox. These arrangements can be seen in the engine today. Such are the changes in the engine from 1829 that "The Engineer" magazine, circa 1884, concluded that "it seems to us indisputable that the "Rocket" of 1829 and 1830 were totally different engines".

Lord Dundonald's rotary engine.

In 1834, the engine was selected for further (unsuccessful) modifications to test a newly developed rotary steam engine designed by Admiral The 10th Earl of Dundonald. At a cost of nearly £80, "Rocket"s cylinders and driving rods were removed and two of the engines were installed directly on its driving axle with a feedwater pump in between. On 22 October, of that year, an operational trial was held with disappointing results; one witness observing, that "the engine could not be made to draw a train of empty carriages". Due to inherent design flaws and engineering difficulties associated with their design, Lord Dundonald's engines were simply too feeble for the task.

Lord Carlisle's Railway.

In 1836, "Rocket" was sold for £300 and began service on the Brampton Railway, a mineral railway in Cumberland that had recently converted to Stephenson gauge. It remained here at Tindale, after service, until 1862 and its donation to the London museum.

Preservation.

In 1862 "Rocket" was donated to the Patent Office Museum in London (now the Science Museum) by the Thompsons of Milton Hall, near Brampton. It was meant to take part in the Great British Empire Exhibition of 1851 at Crystal Palace but this never happened because the preparation of the locomotive for the event took too long.  The locomotive still exists. It was displayed at the Science Museum for 150 years, although in a form much modified from its state at the Rainhill Trials. In 2018 it was displayed first in Newcastle and then in Manchester at the Science and Industry Museum until 2019. Following this it will be displayed at the National Railway Museum, York from 26 September 2019.

Replicas.

In 1923, Buster Keaton had a functioning replica built for the film, "Our Hospitality". Two years later, the replica was used again in the Al St. John film, "The Iron Mule", directed by Keaton's mentor, Roscoe "Fatty" Arbuckle. The subsequent whereabouts of the replica are unknown. There are, however, at least two other replicas of "Rocket" in the US, both built by Robert Stephenson and Hawthorns in 1929; one is at the Henry Ford Museum in the Metro Detroit suburb of Dearborn, Michigan, the other at the Museum of Science and Industry, Chicago.  The earliest full-size replica of "Rocket" seems to have been one depicted on a London & North Western Railway postcard (therefore pre-1923).  A cut-away static replica (see photo above) was built in 1935 and displayed for many years next to the original at London's Science Museum, and in 1979 a further, working replica "Rocket" was built by Locomotion Enterprises in the Springwell workshops at the Bowes Railway for the 150th anniversary celebrations. It has a shorter chimney than the original to clear the bridge at Rainhill: the trackbed is deeper than in the 19th century, giving less headroom. Both of these replicas are now based at the National Railway Museum, York.

Models.

In 1963 Tri-ang Railways released a 00 Gauge model of "Rocket" containing three coaches and crew members. It was produced until 1969 by Tri-ang Hornby. It was re-introduced to the Hornby range in 1982 until 1983 in Hornby Railways packaging. However this 1982 re-introduced model was un-catalogued, and it was only available through exclusive retailers and from Hornby directly.  In 1980, as part of the Rocket 150 anniversary, Hornby launched a live steam "Rocket" locomotive, with additional track and coaches available separately.  In 2020 as part of their Centenary range Hornby announced a newly tooled 00 Gauge model of Stephenson's "Rocket" with three coaches and crew members. Available as a standard model and a limited edition with commemorative certificate of authentication in retro 1963 Hornby Centenary Tri-ang Railways packaging.

In fiction.

In the "Thomas & Friends" television series, Stephenson's "Rocket" is represented by "Stephen", a friend of Sir Robert Norramby, Earl of Sodor. "Stephen" first appeared in the series' special "King of the Railway". Though his design is based on the post-Rainhill modifications, "Stephen" has identified himself as the original "Rocket", describing the Rainhill trials and his subsequent working years. The name Stephen is derived from the designer, Robert Stephenson.

Stephenson's "Rocket" was an early steam locomotive of 0-2-2 wheel arrangement. It was built for, and won, the Rainhill Trials held by the Liverpool and Manchester Railway in October 1829 for demonstration of improved steam locomotive designs able to demonstrate fixed stationary engines would not be required.

火箭号(Rocket)是1829年罗伯特·史蒂芬森设计的一辆蒸汽机车。它虽然不是世界上第一辆蒸汽机车,但也集合了当时世界上最先进的技术。其引擎在随后的一个多世纪里一直被其他蒸汽机车所模仿。火箭号现藏於伦敦科学博物馆。


History.

Tioman has been used for thousands of years by fishermen as an important navigation point and a source of fresh water and wood. During the past thousand years, it has played host to Chinese, Arab, and European trading ships, and often Chinese porcelain shards can be found on beaches around the island.  In more recent history, Tioman played host to both the British and the Japanese navies during the Second World War, and the waters around the island are littered with war remains (including HMS "Repulse" and HMS "Prince of Wales").  Tioman island does not allow buildings to have more than 3 stories.

Nature.

The marine area around Tioman Island and eight other nearby islands have been declared as marine parks and marine reserves.  Apart from its diverse marine life, the inland rainforest area was protected in 1972 as the Pulau Tioman Wildlife Reserve. However, a large part of the original reserve was sacrificed for agricultural and touristic development in 1984; the remaining area is approximately. There are several protected species of mammals on the island, including the binturong, long-tailed macaque, slow loris, black giant squirrel, red giant flying squirrel, mouse deer, brush-tailed porcupine, and common palm civet, from a total of 45 species of mammals and 138 species of birds, including the majestic frigatebird. Moreover, Tioman has species that are endemic to its shores. The Tioman walking catfish "Clarias batu" can be seen on rainforest walks. Kajang slender litter frog is only known from Mount Kajang.  Tioman's corals have been affected by a mass bleaching event in 2010 whereby the island lost a significant portion of its live coral cover. That resulted in a lot of the corals turning a dull white colour and some even fragmenting into pieces of dead coral skeleton. The 2016 bleaching event only just touched on Tioman's Coral Reefs, and as such, the coral has remained in good and healthy condition.

Politics.

Tioman Island lends its name to the state constituency of Tioman, comprising the island and part of the Rompin District including the town of Kuala Rompin. Its representative to the State Legislative Assembly is Mohd. Johari Hussain from UMNO-Barisan Nasional. Its representative to the Malaysian Parliament is Hasan Ariffin, also from UMNO-Barisan Nasional.

Transportation.

Air.

The island houses the Tioman Airport with flights from Subang.

Water.

The island is served by ferries from the Malaysian mainland.

Legend.

According to legend, Tioman Island is the resting place of a beautiful dragon princess. Whilst flying to visit her prince in Singapore, this beautiful maiden stopped to seek solace in the crystal-clear waters of the South China Sea. Enraptured by the charms of the place, she decided to discontinue her journey. By taking the form of an island, she pledged to offer shelter and comfort to passing travelers.  Local mythology claims that the island is the embodiment of the mighty dragon Sri Gumom. The dragon was on his way to visit his sister Gunung Linga (Lingin Peak) but the great Sri Rama forbade the meeting and Sri Gumom was turned into a stone and fell into the deep sea where he now remains, frozen in eternity as this beautiful island with its distinctive topography.

Radio and television.

Radio.

Community radio within Tioman: From Malaysian mainland:

Television.

Local:

Tioman Island () is a mukim and an island in Rompin District, Pahang, Malaysia. It is located off the east coast of the state, and is some long and wide. It has seven villages, the largest and most populous being Kampung Tekek on the central western coast. The densely forested island is sparsely inhabited, and is surrounded by numerous coral reefs, making it a popular scuba diving, snorkelling, and surfing spot. There are many resorts and chalets for tourists around the island, which has duty-free status.

刁曼岛(),为马来西亚半岛东岸外32公里的一个小型火山岛,属马来西亚彭亨州云冰县管辖,面积约133平方公里,也是县内的一个巫金(区)。当地居民人烟稀少,仅3,000人左右,岛上的村庄分别为Tekek、Juara、Salang、Air Batang、Mukut、Paya、Genting和Lanting。刁曼岛以周边美丽的珊瑚礁闻名,1958年著名美国电影《南太平洋》在此取景,遂使当地成为旅游胜地,尤以潜水著称。


History.

Origin of the name.

Local Native Americans, the Kumeyaay, called this location'(), "land of holes" (' = "land"). The topographic feature that gave rise to the name "holes" is uncertain; it probably refers to sea-level caves located on the north-facing bluffs, which are visible from La Jolla Shores. It is suggested that the Kumeyaay name for the area was transcribed by the Spanish settlers as '. An alternative, pseudo-etymological suggestion for the origin of the name is that it is an alternative spelling of the Spanish phrase ', which means "the jewel". Despite being disputed by scholars, this derivation of the name has been widely cited in popular culture. This supposed origin gave rise to the nickname "Jewel City".

Early history.

During the Mexican period of San Diego's history, La Jolla was mapped as "pueblo" land and contained about 60 lots. When California became a state in 1850, the La Jolla area was incorporated as part of the chartered City of San Diego. In 1870, Charles Dean acquired several of the pueblo lots and subdivided them into an area that became known as La Jolla Park. Dean was unable to develop the land and left San Diego in 1881. A real estate boom in the 1880s led speculators Frank T. Botsford and George W. Heald to further develop the sparsely settled area.  In the 1890s, the San Diego, Pacific Beach, and La Jolla Railway was built, connecting La Jolla to the rest of San Diego. La Jolla became known as a resort area. To attract visitors to the beach, the railway built facilities such as a bath house and a dance pavilion. Visitors were housed in small cottages and bungalows above La Jolla Cove, as well as a temporary tent city erected every summer. Two of the cottages that were built in 1894 still exist: the "Red Roost" and the "Red Rest", also known as the "Neptune and Cove Tea Room"; the two cottages have been vacant since the 1980s, and are covered in tarpaulins. The La Jolla Park Hotel opened in 1893. The Hotel Cabrillo was built in 1908 by "Squire" James A. Wilson and was later incorporated into the La Valencia Hotel.  By 1900, La Jolla comprised 100 buildings and 350 residents. The first reading room (library) was built in 1898. A volunteer fire brigade was organized in 1907; the city of San Diego established a regular fire house in 1914. Livery stable owner Nathan Rannells served successively as La Jolla's volunteer fire captain, first police officer (the only San Diego police officer north of Mission Valley), and first postmaster.  La Jolla Elementary School began educating local children in 1896. The Bishop's School opened in 1909. La Jolla High School was established in 1922. Between 1951 and 1963, other elementary schools (Bird Rock, Decatur, Scripps, and Torrey Pines) were established in the area to ease overcrowding. The La Jolla Beach and Yacht Club (later the La Jolla Beach and Tennis Club) was built in 1927.

Ellen Browning Scripps.

In 1896 journalist and publisher Ellen Browning Scripps settled in La Jolla, where she lived for the last 35 years of her life. She was wealthy in her own right from her investments and writing, and she inherited a large sum from her brother George H. Scripps in 1900. She devoted herself to philanthropic endeavors, particularly those benefiting her adopted home of La Jolla. She commissioned many of La Jolla's most notable buildings, usually designed by Irving Gill or his nephew and partner Louis John Gill. Many of these buildings are now on the National Register of Historic Places or are listed as historic by the city of San Diego; these include the La Jolla Woman's Club (1914), the La Jolla Recreational Center (1915), the earliest buildings of The Bishop's School, and the Old Scripps Building at the Scripps Institution of Oceanography, as well as her own residence, built in 1915 and now housing the Museum of Contemporary Art San Diego. Her donations also launched the Scripps Memorial Hospital in 1924 (originally located on Prospect Street in La Jolla until it moved to its present site in 1964), the Scripps Metabolic Clinic (now the Scripps Research Institute), and the Children's Pool. Ellen Browning Scripps also founded Scripps College, a women's college, in 1926. Scripps College is located in Claremont in Los Angeles County (not to be confused with Clairemont, a community of San Diego).

Scripps Institution of Oceanography.

The Scripps Institution of Oceanography, one of the nation's oldest oceanographic institutes, was founded in 1903 by William Emerson Ritter, chair of the zoology department at the University of California, Berkeley, with financial support from Scripps and her brother E. W. Scripps. At first the institution operated out of a boathouse in Coronado. In 1905 they purchased a site in La Jolla where the Institution still stands today. The first laboratory buildings there opened in 1907. The institution became part of the University of California in 1912. Ultimately it became the nucleus for the establishment of the University of California San Diego.

Camp Matthews.

From 1917 through 1964 the United States Marine Corps maintained a military base in La Jolla. The base was used for marksmanship training and was known as Camp Calvin B. Matthews. During and after World War II the population of La Jolla grew, causing residential development to draw close to the base, so that it became less and less suitable as a firing range because of risk to the adjacent civilian population. Meanwhile, the site was being eyed as a location for a proposed new campus of the University of California. In 1962 Camp Matthews was declared surplus by the Marine Corps. The base formally closed in 1964, and that same year the first class of undergraduates enrolled in the University of California San Diego.

University of California, San Diego.

Local civic leaders had long toyed with the idea of a San Diego campus of the University of California, and the quest became more definite following World War II. The Scripps Institution of Oceanography, under its director Roger Revelle, had become an important defense contractor, and local aerospace companies like Convair were pressing for local training for their scientists and engineers. The state legislature proposed the idea in 1955, and the Regents of the University formally approved it in 1960. During the planning stage of the university's establishment, it was briefly known as the "University of California, La Jolla", but the name was changed to "University of California, San Diego" before its founding in 1960. The founding chancellor was Herbert York, named in 1961, and the second chancellor was John Semple Galbraith, named in 1964. The university was designed to have a "college" system; there are now six colleges. The first college was established in 1965 and was named Revelle College after Roger Revelle, who is regarded as the "father" of the university. A medical school was established in 1968. The landmark Geisel Library with its Brutalist architecture opened in 1970.

Antisemitism.

The Camp Matthews site for the University was selected with some hesitation; one of the concerns was "whether La Jollans in particular would lay aside old prejudices in order to welcome a culturally, ethnically, and religiously diverse professoriate into their midst". La Jolla had a history of restrictive housing policies, often specified in deeds and ownership documents. In La Jolla Shores and La Jolla Hermosa, only people with pure European ancestry could own property; this excluded Jews, who were not considered white. Such "restrictive covenants" were once fairly common throughout the United States; the 1948 Supreme Court case "Shelley v. Kraemer" ruled them to be unenforceable, and Congress outlawed them twenty years later via the Fair Housing Act (Title VII of the Civil Rights Act of 1968). However, realtors and property owners in La Jolla continued to use more subtle ways of preventing or discouraging Jews from owning property there. Revelle stated the issue bluntly: "You can't have a university without having Jewish professors. The Real Estate Broker's Association and their supporters in La Jolla had to make up their minds whether they wanted a university or an anti-Semitic covenant. You couldn't have both." The issue was overcome; La Jolla now boasts a thriving Jewish population, and there are four synagogues in La Jolla.

Mount Soledad cross.

Mount Soledad is an hill on the eastern edge of La Jolla and one of the highest points in San Diego. A large Christian cross was placed at the top in 1913 as a prominent landmark. It has been replaced twice, most recently in 1954 with a cross ( tall including the base). Originally known as the "Mount Soledad Easter Cross", its presence on publicly owned land was challenged in the 1980s as a violation of the separation of church and state. Since then the cross has had a war memorial built around it and was renamed "Mount Soledad Veterans War Memorial".  The issue has been in almost continual litigation ever since, with the city attempting to sell or give away the land under the cross. By an act of Congress, the federal government took possession of it under eminent domain in 2006. The United States Court of Appeals for the Ninth Circuit declared the cross unconstitutional in 2011, and the Supreme Court of the United States declined to hear an appeal. In December 2013, U.S. District Judge Larry Burns ordered that the cross be removed within 90 days, but stayed the order pending a forthcoming appeal by the government.  On July 20, 2015, a group called the Mt. Soledad Memorial Association reported that it had bought the land under the cross from the Department of Defense for $1.4 million. On September 7, 2016, the 9th U.S. Circuit Court of Appeals issued a one-page ruling, ordering dismissal of the case and an end to all current appeals, stating that the case was now moot because the cross was no longer on government land. Both sides agreed that this decision puts a final end to the case.

Arts.

La Jolla became an art colony in 1894 when Anna Held (also known as Anna Held Heinrich) established the Green Dragon Colony. This was a cluster of twelve cottages designed by Irving Gill, who had moved to San Diego only a year earlier and later became San Diego's best-known architect.  The La Jolla Playhouse was founded in 1947 by Gregory Peck, Dorothy McGuire, and Mel Ferrer. It became inactive in 1959, but was revived in 1983 on the University of California campus under the leadership of Des McAnuff. It now incorporates three theaters: the Mandell Weiss Theatre (1983), the Mandell Weiss Forum (1991) and the Potiker Theater (2005).  The Museum of Contemporary Art San Diego was founded in 1941 in La Jolla, in the former home of Ellen Browning Scripps (designed by Irving J. Gill). The museum has undergone several renovations and expansions, and is working on plans to triple its size.  The La Jolla Music Society was founded in 1941 as the Musical Arts Society of La Jolla by Nikolai Sokoloff, former conductor of the Cleveland Orchestra. It presented the premieres of commissioned works in the auditorium of La Jolla High School before presenting their concerts in the Sherwood Auditorium of the Museum of Contemporary Art San Diego. Since April 2019, the Conrad Prebys Performing Arts Center is the permanent home of La Jolla Music Society and hosts world-class performances presented by LJMS as well as other San Diego arts presenters. Additionally, The Conrad will see a wide range of conferences, corporate meetings, and private events.

Geography.

Demarcation.

The community's border starts at Pacific Beach to the south and extends along the Pacific Ocean shoreline north to include Torrey Pines State Natural Reserve ending at Del Mar, California. La Jolla encompasses the neighborhoods of Bird Rock, Windansea Beach, the commercial center known as the Village of La Jolla, La Jolla Shores, La Jolla Farms, Muirlands, Torrey Pines, and Mount Soledad to name a few.  The City of San Diego defines the community's eastern boundary as Gilman Drive and the Interstate 5 freeway and the northern boundary as UCSD.  The United States Postal Service defines a somewhat larger area, assigning the community the 92037 ZIP Code, recognizing it as a historically and geographically distinct area. This unique ZIP code allows addresses to read La Jolla, CA, and is the only community within the City of San Diego so recognized. Additionally, it is in the 919xx/920xx sequence used for suburban and rural ZIP Codes in San Diego County, rather than the 921xx sequence used for the remainder of the City of San Diego proper. These conditions sometimes lead to the erroneous impression that La Jolla is a separate city, rather than a part of San Diego. The 92037 ZIP code extends the northeasterly boundary to Genesee Avenue and the northerly boundary to Del Mar, California. The UCSD campus, although it is part of La Jolla, has ZIP Codes 92092 and 92093.  Despite the city and postal service definitions, La Jolla does not have universally accepted boundaries. In the 1980s, the trustees of Scripps Hospital voted to move the campus from downtown La Jolla to University City, east of Interstate 5 and not within the traditional boundaries of La Jolla. The governing documents of the hospital required it to be located in La Jolla, however. A court ruled that "La Jolla" exists merely as a "state of mind" and thus allowed the relocation of the hospital. Several businesses and housing developments east of Interstate 5 use "La Jolla" in their names despite being geographically located in the University City neighborhood of San Diego which incorporates everything east of Interstate 5.

Geology.

La Jolla is an area of mixed geology, including sandy beaches and rocky shorelines. The area is occasionally susceptible to flooding and ocean storms, as occurred in January and December 2010.  Mount Soledad is covered with the narrow roads that follow its contours and hundreds of homes overlooking the ocean on its slopes. It is the home of the large concrete Mount Soledad Easter Cross built in 1954, later designated a Korean War Memorial, that became the center of a controversy over the display of religious symbols on government property.  The most compelling geographical highlight of La Jolla is its ocean front, with alternating rugged and sandy coastline that serves as habitat for many wild seal congregations. Popular beaches and coastal access points, listed from north to south, include:

Demographics.

According to United States Census Bureau figures, the ethnic/racial makeup of La Jolla is 82.5% White, 0.8% Black, 0.2% American Indian, 11.2% Asian, 0.1% Pacific Islander, 2.0% some other race, and 3.1% two or more races. Latinos, who may be of any race, form 7.2% of La Jolla's population.  La Jolla had the highest home prices in the nation in 2008 and 2009, according to a survey by Coldwell Banker. The survey compares the cost of a standardized four-bedroom home in communities across the country. The average price for such a home in La Jolla was reported as US$1.842 million in 2008 and US$2.125 million in 2009.

Community groups.

The La Jolla Community Planning Association advises the city council, Planning Commission, City Planning Department as well as other governmental agency as appropriate in the initial preparation, adoption of, implementation of, or amendment to the General or Community Plan as it pertains to the La Jolla area as well as review specific development proposals. The nonprofit La Jolla Town Council represents the interests of La Jolla businesses and residents that belong to the Council. The Bird Rock Community Council serves the Bird Rock neighborhood, while the La Jolla Shores Association serves the La Jolla Shores neighborhood. La Jolla Village Merchants Association, Inc. is a non-profit organization formed in February 2011 to manage the La Jolla Village Business Improvement District for the City of San Diego.  Community organizations include Independent La Jolla, a membership-based citizens group seeking to secede from the city of San Diego. Service clubs in La Jolla include Kiwanis, Rotary, La Jolla Woman's Club and the Social Service League of La Jolla, to name a few.

Attractions and activities.

La Jolla is the location of Torrey Pines Golf Course, the site each January or February of a PGA Tour event formerly known as the Buick Invitational and since 2010, called the Farmers Insurance Open. Torrey Pines also hosted the 2008 U.S. Open, and will host the 2021 U.S. Open. Nearby are the de facto nude beach, Black's Beach, and the Torrey Pines Gliderport.  Downtown La Jolla is noted for jewelry stores, boutiques, upmarket restaurants and hotels. Prospect Street and Girard Avenue are also shopping and dining districts. The Museum of Contemporary Art, founded in 1941, is located just above the waterfront in what was originally the 1915 residence of philanthropist Ellen Browning Scripps. The museum has a permanent collection with more than 3,500 post-1950 American and European works, including paintings, works on paper, sculptures, photographic art, design objects and video works. The museum was renamed Museum of Contemporary Art San Diego in 1990 to recognize its regional significance.  Beaches and ocean access include Windansea Beach, La Jolla Shores, La Jolla Cove and Children's Pool Beach. For many years, La Jolla has been the host of a rough water swim at La Jolla Cove.  In 2011, the La Jolla Community Foundation commissioned various artists to contribute to the scenery of the town, through various murals. Some of the artists that are featured in the series are John Baldessari, Julian Opie, and Kim MacConnel. There are 11 murals in the series, all of which will be on display for two years.

Education.

Higher education.

The University of California San Diego is the center of higher education in La Jolla. The campus' name was briefly UC La Jolla during the planning stage of the university's development. UCSD includes the Scripps Institution of Oceanography and the San Diego Supercomputer Center.  National University is also headquartered in La Jolla, with several academic campuses located throughout the county and the state. Among the several research institutes near UCSD and in the nearby Torrey Pines Science Park are Scripps Research Institute, the Sanford Burnham Prebys Medical Discovery Institute (formerly called the La Jolla Cancer Research Foundation), La Jolla Institute for Allergy and Immunology (LJI), and the Salk Institute for Biological Studies.

Other schools.

La Jolla is served by the San Diego Unified School District. Public schools include La Jolla High School, La Jolla Elementary, Muirlands Middle School, Torrey Pines Elementary, and Bird Rock Elementary, as well as Preuss School, a public charter school. The community's prep schools are The Bishop's School, The Children's School, Delphi Academy, Stella Maris Academy, The Gillispie School, and the Evans School. La Jolla Country Day School is located in the nearby community of University City.

Religious institutions.

Christian:  Jewish:

Business and media.

La Jolla (under the fictionalized name "Esmerelda") is the setting for Raymond Chandler's final Philip Marlowe novel, "Playback", published in 1958. Chandler lived in La Jolla for the previous decade. La Jolla's Hotel del Charro becomes "Rancho Descansado" in the novel. A number of landmarks described can still be found today.  La Jolla was home to the comic book publisher WildStorm Productions, from its founding by Jim Lee in 1993, until its closing in 2012 when DC Comics, which had purchased the publisher as an imprint in 1998, absorbed the company and moved the office to Burbank, California.  La Jolla is the setting for the 2011 season of "", the twenty-sixth season of the long-running MTV reality television series.  La Jolla is the base for the Sundt Memorial Foundation, a national organization aimed at discouraging youth from getting involved in drugs.  La Jolla is mentioned in the Beach Boys' 1963 song Surfin' U.S.A. and in The Network's 2003 song Spike.  In The Big Lebowski (1998), Walter Sobchak eulogizes his friend thus: ""Donny was a good bowler, and a good man. He was one of us. He was a man who loved the outdoors... and bowling, and as a surfer he explored the beaches of Southern California, from La Jolla to Leo Carrillo and... up to... Pismo.""  The Netflix sitcom "Grace and Frankie" is set in La Jolla, although exteriors are filmed in other parts of California.

Notable people.

La Jolla has been the home to many notable people, including prominent scientists, business people, artists, writers, surfers and performers.

La Jolla (, ) is a hilly, seaside community within the city of San Diego, California, occupying of curving coastline along the Pacific Ocean within the northern city limits. The population reported in the 2010 census was 46,781.

拉荷雅(La Jolla)是一个富裕、多山的海滨度假胜地社区,占地,位于南加州圣迭戈市北部,沿太平洋弯曲的海岸线。拉霍亚在2008年和2009年的房价在全美国最高,平均价格为184.2万美元(2008年)和212.5万美元(2009年)。2004年人口估计值42,808 。拉霍亚三面环绕着峭壁和海滩,位于圣迭戈市中心以北,橙县以南,气候温和,平均70.5华氏度(21.4 ° C)。


Etymology.

The title admiral of the fleet can trace its origins to the Middle Ages, where the title was typically granted to a nobleman who was appointed by a monarch to raise and command a navy for a specific campaign.

Usage in specific countries.

The following articles contain specific information on the rank as it pertains to individual countries:  Ambiguity exists when translating the French "amiral" into English (into admiral of the fleet or admiral). A French title of "amiral de la flotte", outranking a full admiral was invented in 1939 for Darlan, who was the only person in French history to hold that title.  Before the fall of the monarchy in 1952, the Egyptian Navy had the equivalent rank of "sayed elbehar elazam".  In the Turkish Navy, the corresponding rank "büyük amiral", literally meaning "grand admiral", can only be bestowed by the National Assembly, and only given to an admiral who leads the navy successfully in and out of a war, criteria tougher than those for equivalent ranks. No one has ever been bestowed this rank yet in the republican era. During the period of the Ottoman Empire, commanders of the navy carried the rank of "kapudan-i derya" as equivalent.

Poland.

In Poland, the rank is the second highest and is a 3--star rank. The stars are not used; however, except in the very admiral's flag.

Admiral insignia by country.

The rank insignia for an admiral often involves four stars or similar devices and/or 3 stripes over a broad stripe, but as one can see below, there are many cases where the insignia do "not" involve four stars or similar devices.

Other countries.

The rank also exists or has existed (on paper at least) in Bangladesh, India, Indonesia, Nigeria, Oman and Pakistan, although not all of these countries have actually bestowed the rank on an individual.

An admiral of the fleet or fleet admiral (sometimes also known as admiral of the navy or grand admiral) is a military naval officer of the highest rank. In many nations the rank is reserved for wartime or ceremonial appointments. It is usually a rank above admiral (which is now usually the highest rank in peacetime for officers in active service), and is often held by the most senior admiral of an entire naval service.

海军元帅(英语:Admiral of the fleet)是海军军衔中等级最高者,在很多国家该军衔仅在战争时授予。美国海军此等级的军衔译作海军五星上将(英语:Fleet Admiral)。


Plot summary.

The story starts with the del Valle family, focusing upon the youngest and the oldest daughters of the family, Clara and Rosa. The youngest daughter, Clara del Valle, has paranormal powers and keeps a detailed diary of her life. Using her powers, Clara predicts an accidental death in the family. Shortly after this, Clara's sister, Rosa the Beautiful, is killed by poison intended for her father who is running for the Senate. Rosa's fiancé, a poor miner named Esteban Trueba, is devastated and attempts to mend his broken heart by devoting his life to restoring his family hacienda, Las Tres Marías, which has fallen into poverty and disrepair. He sends money to his spinster sister who takes care of his arthritic mother in town. Through a combination of intimidation and reward he quickly earns/forces respect and labor from the fearful peasants and turns Tres Marías into a "model hacienda". He turns the first peasant who spoke to him upon arrival, Pedro Segundo, into his foreman, who quickly becomes the closest thing that Trueba ever has to an actual friend during his life. He rapes many of the peasant women, and his first victim, Pancha García, becomes the mother of his bastard son, Esteban García.  Esteban returns to the city to see his dying mother. After her death, Esteban decides to fulfill her dying wish: for him to marry and have legitimate children. He goes to the Del Valle family to ask for Clara's hand in marriage. Clara accepts Esteban's proposal; she herself has predicted her engagement two months prior, speaking for the first time in nine years. During the period of their engagement, Esteban builds what everyone calls "the big house on the corner," a large mansion in the city where the Trueba family will live for generations. After their wedding, Esteban's sister Férula comes to live with the newlyweds in the big house on the corner. Férula develops a strong dedication to Clara, which fulfills her need to serve others. However, Esteban's wild desire to possess Clara and to monopolize her love causes him to throw Férula out of the house. She curses him, telling him that he will shrink in body and soul, and die like a dog. Although she misses her sister-in-law, Clara is unable to find her sister-in-law by any means and the gap between her and her husband widens as she devotes her time to her daughter and the mystic arts.  Clara gives birth to a daughter named Blanca and later, to twin boys Jaime and Nicolás. The family, which resides in the capital, stays at the hacienda during the summertime. Upon arriving at Tres Marías for the first time, Blanca immediately befriends a young boy named Pedro Tercero, who is the son of her father's foreman. Blanca and Pedro grow up together as best friends despite them being of two different social and economic classes. During their teenage years, Blanca and Pedro Tercero eventually become lovers. After an earthquake that destroys part of the hacienda and leaves Esteban injured, the Truebas move permanently to Las Tres Marías. Clara spends her time teaching, caring for her husband's battered body, and writing in her journals while Blanca is sent to a convent school and the twin boys back to an English boarding school, both of which are located in the city. Blanca fakes an illness so as to be sent back to Las Tres Marías, where she can be with Pedro Tercero, but when she arrives home she finds that Pedro Tercero has been banished from the hacienda by Esteban, on account of his revolutionary communist/socialist ideas. Pedro Tercero meets with Blanca in secret adopting disguises while also spreading his ideas in the form of song to neighboring haciendas.  A visiting French count to the hacienda, Jean de Satigny, reveals Blanca's nightly romps with Pedro Tercero to her father. Esteban furiously goes after his daughter and brutally whips her. When Clara expresses horror at his actions, Esteban slaps her, knocking out her front teeth. Clara decides to never speak to him again, reclaims her maiden name and moves out of Tres Marías and back to the city, taking Blanca with her. Esteban, furious and lonely, blames Pedro Tercero for the whole matter; putting a price on the boy's head with the corrupt local police. At this point, Pedro Segundo deserts Esteban, telling him he does not want to be around when Trueba inevitably catches his son. Enraged by Pedro Segundo's departure, Trueba begins hunting for Pedro Tercero himself, eventually tracking him down to a small shack near his hacienda. He only succeeds in cutting off three of Pedro's fingers, and is filled with regret for his uncontrollable furies.  Blanca finds out she is pregnant with Pedro Tercero's child. Esteban, desperate to save the family honor, gets Blanca to marry the French count by telling her that he has killed Pedro Tercero. At first, Blanca gets along with her new husband, but she leaves him when she discovers his participation in sexual fantasies with the servants. Blanca quietly returns to the Trueba household and names her daughter Alba. Clara predicts that Alba will have a very happy future and good luck. Her future lover, Miguel, happens to watch her birth, as he had been living in the Trueba House with his sister, Amanda. They move out shortly after Alba's birth.  Esteban Trueba eventually moves to the Trueba house in the capital as well, although he continues to spend periods of time in Tres Marías. He becomes isolated from every member of his family except for little Alba, whom he is very fond of. Esteban runs as a senator for the Conservative Party but is nervous about whether or not he will win. Clara speaks to him, through signs, informing him that "those who have always won will win again" – this becomes his motto. Clara then begins to speak to Esteban through signs, although she keeps her promise and never actually speaks to him again. A few years later, Clara dies peacefully and Esteban is overwhelmed with grief.  Alba is a solitary child who enjoys playing make-believe in the basement of the house and painting the walls of her room. Blanca has become very poor since leaving Jean de Satigny's house, getting a small income out of selling pottery and giving pottery classes to mentally handicapped children, and is once again dating Pedro Tercero, now a revolutionary singer/songwriter. Alba and Pedro are fond of each other, but do not know they are father and daughter, although Pedro suspects this. Alba is also fond of her uncles. Nicolás is eventually kicked out by his father, moving, supposedly, to North America.  When she is older, Alba attends a local college where she meets Miguel, now a grown man, and becomes his lover. Miguel is a revolutionary, and out of love for him, Alba involves herself in student protests against the conservative government. After the victory of the People's Party (a socialist movement), Alba celebrates with Miguel.  Fearing a Communist dictatorship, Esteban Trueba and his fellow politicians plan a military coup of the socialist government. However, when the military coup is set into action, the military men relish their power and grow out of control. Esteban's son Jaime is killed by power-driven soldiers along with other supporters of the government. After the coup, people are regularly kidnapped and tortured. Esteban helps Blanca and Pedro Tercero flee to Canada, where the couple finally find their happiness.  The military regime attempts to eliminate all traces of opposition and eventually comes for Alba. She is made the prisoner of Colonel Esteban García, the son of Esteban Trueba's and Pancha Garcia's illegitimate son, and hence the grandson of Esteban Trueba. During an earlier visit to the Trueba house, García had molested Alba as a child. In pure hatred of her privileged life and eventual inheritance, García tortures Alba repeatedly, looking for information on Miguel. He rapes her, thus completing the cycle that Esteban Trueba put into motion when he raped Pancha García. When Alba loses her will to live, she is visited by Clara's spirit who tells her not to wish for death, since it can easily come, but to wish to live.  Esteban Trueba manages to free Alba with the help of Miguel and Tránsito Soto, an old friend/prostitute from his days as a young man. After helping Alba write their memoir, Esteban Trueba dies in the arms of Alba, accompanied by Clara's spirit; he is smiling, having avoided Férula's prophecy that he will die like a dog. Alba explains that she will not seek vengeance on those who have injured her, suggesting a hope that one day the human cycle of hate and revenge can be broken. Alba writes the book to pass time while she waits for Miguel and for the birth of her child.

Main characters.

Some of the characters' names are significant, particularly the women's names, which often indicate the personalities of the characters. The names Nívea, Clara, Blanca, and Alba are more or less synonyms, and this is mentioned as a family tradition. (Nívea means snow-white, and can be translated as "white" as can all the others, though they have specific meanings.) Férula's name means "rod" in Latin; when used in Spanish it refers to an object used to immobilize a limb, such as a splint or cast.

Clara del Valle Trueba.

Clara (one of its translations is the equivalent of English "clear", although it is also a common female name) is the key female figure in the novel. She is a clairvoyant and telekinetic who is rarely attentive to domestic tasks, but she holds her family together with her love for them and her uncanny predictions. She is the youngest daughter of Severo and Nívea del Valle, wife of Esteban Trueba, and mother of Blanca, Jaime, and Nicolás. Even as a child her strangeness is noticed and seen as a threat to many in her community. Otherwise, her family and devoted Nana protect her from her strangeness. She and her uncle Marcos use her powers to run a fortune-telling centre as she develops other paranormal activities like dream reading. Her uncle eventually leaves in a primitive airplane he built himself, disappearing for many months, assumed dead but later is found to die instead as the result of a'mysterious African plague' contracted during his travels. Clara practices divining and moving inanimate objects, most notably a three-legged table, and she is surrounded by friends such as the psychic Mora sisters and The Poet. Severo and Nívea del Valle are main characters in another Allende novel. As Clara grows up, she developed her abilities and is even able to communicate with ghosts and spirits. Clara represents love and cherishment. Clara's marriage to Esteban Trubea is something she accepts but she never truly loves him and knows from the beginning that she will never do so. She is uninterested in material things and takes for granted what is her high economic standing. It is not until later after great tragedy that she takes the role of helper/servant instead of dreamy bystander.

Esteban Trueba.

Esteban Trueba is the central male character of the novel, and along with his granddaughter Alba, is one of the story's main narrators. In his youth, he seeks the mermaid-like and green-haired Rosa the Beautiful, daughter of Severo and Nívea del Valle, and so he toils in the mines to earn a suitable fortune so that he can support her. However, while he is working in the mines she dies by accidental poisoning: a cruel stroke of fate that changes Esteban's life and hardens his heart. Although he eventually marries Clara (Rosa's sister and youngest daughter of the Del Valles) and raises a large family, Esteban's stubborn and violent ways alienate all those around him. Esteban has a tense relationship with his daughter Blanca but shows genuine love and devotion to his granddaughter Alba. Despite his often violent behavior, he is also devoted to his wife Clara, entering into a state of permanent mourning following her death. As a self-made man who earned all of his wealth from years of work spent improving Tres Marías, Esteban scorns communists and believes them to be lazy and stupid. Later in life he turns to politics where he spends his money and effort trying to prevent the rising Socialist movement within the country. However, after the military coup he loses much of his power and suddenly has to face the fact that he has become an old and weak man. Yet it is not the loss of power, so much as the injury done to his country, that agonizes the highly patriotic Esteban. His realization that he desires the love of his family and peace in his country leads to a pivotal change in his character. In his last days, he slowly loses the rage that has been driving him all his life. He begins to make amends with what's left of his family by helping Blanca and Pedro Tercero escape the country so they can live happily and when Alba is kidnapped by the military he asks his longtime friend Tránsito Soto (who had influence in the military) to help him, so he is ecstatic when Alba is rescued. Esteban dies happily, knowing that he has achieved Clara's posthumous forgiveness.

Blanca Trueba.

Blanca is Clara and Esteban's first-born daughter. She spends her childhood between the Truebas' house in the capital and Tres Marías, where she forms an intense connection with a boy named Pedro Tercero García, the son of Esteban's foreman. Their friendship endures, though they only see each other in the summer, and upon adolescence they become lovers. Their love persists even after Pedro is run out of the hacienda by Esteban, because he is putting communist ideas in the other workers' heads. After she becomes pregnant with Pedro Tercero's child, her father forces her to marry Count Jean de Satigny, whom she does not love. After Blanca leaves the Count and returns to the Trueba home, she sees Pedro sporadically, resisting his attempts to persuade her to marry, but their relationship continues. Blanca's reconciliation with her father eventually allows her to flee to Canada with Pedro, where they finally are able to achieve happiness together. Blanca is also able to earn large amounts of money for the first time by selling her clay figurines, which are seen as folk art by Canadians.

Pedro Tercero García.

Pedro is the son of the tenant/foreman of Tres Marías, Pedro Segundo García. At a young age, he falls in love with Blanca and is the father of her only child, Alba. In his youth, he spreads socialist ideals to the workers on the hacienda, and later he becomes a revolutionary and a songwriter (his character may be modeled after revolutionary songwriter Victor Jara). After the coup d'état in his country, he and Blanca exile themselves in Canada with Esteban's help. It is mentioned that he resumes his political crusade during his exile in Canada where his music is embraced in translation even if "chickens and foxes are underdeveloped creatures" in comparison with the "eagles and wolves" of the North.

Alba Trueba de Satigny.

Alba (Spanish for "Dawn," while in Latin its meaning is "white") is the daughter of Blanca and Pedro Tercero García, although for many years of her life she was led to believe that Count de Satigny was her father. From before her birth, her grandmother Clara decreed that she was blessed by the stars. Because of this, Clara said she didn't need to go to school and was raised at home until she was seven. The novel ends with Esteban's death, and Alba sits alone in the vast Trueba mansion beside his body. The last paragraph reveals that she is pregnant, although she does not know (or care) whether the child is Miguel's or the product of the rapes that she endured at the hands of security police, during her imprisonment.

Severo and Nívea del Valle.

Severo and Nívea are the parents of Rosa, Clara and several other children. Severo's candidacy for the Liberal Party of Chile promptly came to an end after someone tried to poison him, but got his daughter Rosa instead. Nívea, however, would come to become a prominent social activist for women's liberation. The couple pass away in a gruesome car accident in which Nívea is decapitated and her head lost. The details of the accident were hidden from their daughter Clara, because she was pregnant at the time. However, her intuition brings her to the location of the lost head, which ends up being hidden in the basement since the body had already been buried.

La Nana.

Having served the Del Valle and Trueba families all her life, Nana is close with all the children that she had taken care of, especially Clara. She even takes care of Clara's children after Severo's and Nívea's death. Nana passes away in an earthquake and was buried without fanfare. Her body is later moved to the mausoleum with Clara's and Rosa's bodies.

Rosa del Valle.

The oldest daughter of Severo and Nívea, Rosa was born with green hair and great beauty. Her unearthly beauty intimidated everyone in the village except for Esteban Trueba, who was enamored with her and sought her hand in marriage. Rosa waits patiently while Esteban slowly accumulates wealth working in the mines in order to feel worthy of Rosa. Esteban returns to find that Rosa had died from consuming poison meant for her father. Though never truly forgetting Rosa, Esteban marries her sister Clara instead. many critics note the similarities to Remedios, La Bella in Márquez's Cien años de soledad.

Jaime Trueba.

Jaime is the son of Clara and Esteban Trueba. As a shy, bookish and compassionate doctor who treats the poor, he stands out against his outgoing twin brother Nicolas and his cantankerous father. Jaime had always had a strenuous relationship with his father, especially with Jaime's revolutionary ideals. He becomes friends with the Candidate whilst under the impression that the revolution was to be peaceful. Jaime also becomes good friends with Alba, whom he treats as a sister. He is summoned to the Presidential Palace during the coup and was killed for refusing to announce that the president had drunkenly committed suicide. Esteban doesn't believe it until Jaime appears in spirit to Clara, showing her how he had been murdered by the regime.  Jaime may be inspired by the personal doctor of the Chilean president Salvador Allende.

School curricula.

The novel has been used in a wide number of school curricula around the world, notably for its use of magical realism, and as a translated Latin American novel. Educational organizations such as the International Baccalaureate recognize it as a world literature study book.

Traditions.

After the debut of "The House of the Spirits", Allende began to follow a rule of starting to write all her books on January 8. She is quoted as saying:

Film and theatrical adaptations.

In 1993 the book was adapted into a film ("The House of the Spirits") by Danish director Bille August. The movie starred Jeremy Irons as Esteban Trueba, Meryl Streep as Clara del Valle Trueba, Winona Ryder as Blanca Trueba, Glenn Close as Férula Trueba and Antonio Banderas as Pedro Tercero García. While the film won some minor awards (Bavarian Film Awards, German Film Awards, Golden Screen (Germany), Havana Film Festival, Robert Festival (Denmark), German Phono Academy, Guild of German Art House Cinemas), it was widely viewed as a critical failure (two oft-cited reasons were its diffusely episodic structure and a cast of mostly Anglo American actors in Latin American roles) and a box office bomb (it made back only $6.2 million of its $40 million budget).  The novel has received a theatrical adaptation at Seattle's Book-It Repertory Theatre in 2007.  The novel has received another theatrical adaptation written by Caridad Svich, which was commissioned by Repertorio Espanol in New York City, where it premiered in 2009 and received the HOLA Award for Outstanding Achievement in Playwriting from the Hispanic Organization of Latin Actors. This version was written and performed in Spanish and has been staged in Latin American countries such as Chile and Costa Rica. Svich's English language version of the play is the recipient of the 2011 American Theatre Critics Association Primus Prize on the basis of its production at Denver Center Theatre Company in 2010.  On May 23, 2018, it was announced that Hulu was developing a television series adaptation of the novel with production company FilmNation Entertainment. Allende is expected to serve as an executive producer on the project.

The House of the Spirits (, 1982) is the debut novel of Isabel Allende. The novel was rejected by several Spanish-language publishers before being published in Buenos Aires in 1982. It became an instant best seller, was critically acclaimed, and catapulted Allende to literary stardom. The novel was named Best Novel of the Year in Chile in 1982, and Allende received the country's "Panorama Literario" award. "The House of the Spirits" has been translated into over 37 languages.

《精灵之屋》或《幽灵之家》(西班牙语:"")是流亡委内瑞拉的智利作家伊莎贝拉·阿言德的作品,于1982年首度出版,曾被改拍成电影《金色豪门》。


Basic coat colors.

The two basic hair colors of horses are red (a reddish brown color) and black.  These two hair colors give three basic coat colors: bay, which has both red and black hairs, chestnut, which is fully red, and black, which is fully black.  Genetically, a chestnut horse is a bay or black horse that cannot signal pigment cells to produce black pigment, while a black horse is a bay horse that cannot cancel the signal to produce black pigment. The extension gene determines whether the cells can decide to produce black, and can be either "E" (able to produce black) or "e" (only able to produce red, as in chestnut). To be chestnut a horse must have two copies of "e", so the genotype is "e"/"e". A horse with a genotype of "E"/"E" or "E"/"e" can still make black pigment and will be bay or black. Meanwhile the agouti gene determines whether the cells can stop producing black. The "A" version of "agouti" means that it can, so as long as has "E" at "extension" the base color will be bay. The "a" version of "agouti" means the cells cannot stop producing black, so a horse with two copies of "a" (genotype "a"/"a") and "E" at "extension" will be black rather than bay.  So together these two genes control the two pigments to make the three base colors. The vast range of all other coat colors are created by additional genes' action upon one of these base colors.

Graying with age.

A gray horse can be born any color, but as it gets older some hairs turn white. Most will eventually gray out to either a complete white or to a "fleabitten" coat, which retains speckles of the horse's original colour. Most "white" horses are actually grays with a fully white hair coat. A gray horse is distinguished from a white horse by dark skin, particularly noticeable around the eyes, muzzle, flanks, and other areas of thin or no hair. Gray horses are prone to equine melanoma.  Variations of gray that a horse may exhibit over its lifetime include:

Lightened colors.

These colors are lighter versions of the base colors, caused by dilution genes.

White patterns.

These patterns all have white hairs and often pink skin, varying from a fully white horse through the pinto patterns and smaller white markings to roan which only adds a few white hairs spread throughout the coat. These patterns can occur on top of any other color. The base color determines the color of the colored hairs, while the white patterns determine where and how many white hairs are present. Biologically the white comes from a lack of pigment cells.

Leopard complex.

There are a group of coat patterns caused by the leopard gene complex. Not every horse with leopard genetics will exhibit hair coat spotting. However, even solid individuals will exhibit secondary characteristics such as vertically striped hooves and mottled skin around the eyes, lips, and genitalia, plus a white sclera of the eye. Several breeds of horse can boast leopard-spotted (a term used collectively for all patterns) individuals including the Knabstrupper, Noriker, and the Appaloosa. There are several distinct leopard patterns:

Pinto.

A pinto is multi-colored with large patches of white and another color such as brown or black. Often confused with Paint, which is a narrower term referring to a specific breed of mostly pinto horses with known Quarter Horse and/or Thoroughbred bloodlines.  Pinto can look like any of the other colors, but with white added. Variations of pinto based on the color include:  Variations based on the shape of the white include:

Roaning.

Roaning adds white hairs to any of the other colors.

White.

One of the rarest colors, a white horse has white hair and fully or largely unpigmented (pink) skin. These horses are born white, with blue or brown eyes, and remain white for life. The vast majority of so-called "white" horses are actually grays with a fully white hair coat. A truly white horse that lives to adulthood occurs one of two ways: either by inheriting one copy of a dominant white ("W") gene, of which several have been identified, or is a particular type of sabino that is homozygous for the "SB-1" gene. However, a foal with the genetic disease known as lethal white syndrome dies shortly after birth. There are no "albinos" in the horse world. Albino, defined as animals with a white coat with pink skin and reddish eyes, is created by genetic mechanisms that do not exist in horses. In some cases, homozygous dominant white is thought to be an embryonic lethal, though this has not been established for all white horses.

White markings.

White markings are present at birth and unique to each horse, making them useful in identifying individual animals. Markings usually have pink skin underneath them, though some faint markings may not, and white hairs may extend past the area of underlying pink skin. Though markings that overlie dark skin may appear to change, the underlying skin color and hair growing from pink skin will not.

Other colors and modifiers.

Horses may also be uniquely identified by an unusual eye color, whorls, brands and chestnuts.

Color breeds.

Registries have opened that accept horses (and sometimes ponies and mules) of almost any breed or type, with color either the only requirement for registration or the primary criterion. These are called "color breeds". Unlike "true" horse breeds, there are few if any unique physical characteristics required, nor is the stud book limited to only certain breeds or offspring of previously registered horses. As a general rule, the color also does not always breed on (in some cases, due to genetic improbability), and offspring without the stated color are usually not eligible for recording with the color breed registry. The best-known color breed registries are for buckskins, palominos, and pintos.  Some "true" breeds also have color that usually breeds on as well as distinctive physical characteristics and a limited stud book. These horses are true breeds that are said to have a "color preference". They are not color breeds, and include the Friesian horse (must be uniformly black for mainstream registration), the Appaloosa (Leopard or other Leopard complex patterns) and the American Paint Horse. In some breeds, though not all, offspring of animals registered in these stud books can also be registered, sometimes with restrictions, even if they do not have the desired color.

Horses exhibit a diverse array of coat colors and distinctive markings. A specialized vocabulary has evolved to describe them.

马匹毛色(Equine coat color)为马匹毛发身上呈现的颜色,现有已定义的毛色有十多种,如包括未定义的毛色,会超过一百种。而其中黑色、枣色、棕色、栗色、白色为主要的马匹毛色。


Formal deductions.

In a Hilbert-style deduction system, a formal deduction is a finite sequence of formulas in which each formula is either an axiom or is obtained from previous formulas by a rule of inference. These formal deductions are meant to mirror natural-language proofs, although they are far more detailed.  Suppose formula_1 is a set of formulas, considered as hypotheses. For example, formula_1 could be a set of axioms for group theory or set theory. The notation formula_3 means that there is a deduction that ends with formula_4 using as axioms only logical axioms and elements of formula_1. Thus, informally, formula_3 means that formula_4 is provable assuming all the formulas in formula_1.  Hilbert-style deduction systems are characterized by the use of numerous schemes of logical axioms. An axiom scheme is an infinite set of axioms obtained by substituting all formulas of some form into a specific pattern. The set of logical axioms includes not only those axioms generated from this pattern, but also any generalization of one of those axioms. A generalization of a formula is obtained by prefixing zero or more universal quantifiers on the formula; for example formula_9 is a generalization of formula_10.

Logical axioms.

There are several variant axiomatisations of predicate logic, since for any logic there is freedom in choosing axioms and rules that characterise that logic. We describe here a Hilbert system with nine axioms and just the rule modus ponens, which we call the one-rule axiomatisation and which describes classical equational logic. We deal with a minimal language for this logic, where formulas use only the connectives formula_11 and formula_12 and only the quantifier formula_13. Later we show how the system can be extended to include additional logical connectives, such as formula_14 and formula_15, without enlarging the class of deducible formulas.  The first four logical axiom schemes allow (together with modus ponens) for the manipulation of logical connectives.  The axiom P1 is redundant, as it follows from P3, P2 and modus ponens. These axioms describe classical propositional logic; without axiom P4 we get positive implicational logic. Minimal logic is achieved either by adding instead the axiom P4m, or by defining formula_20 as formula_21.  Intuitionistic logic is achieved by adding axioms P4i and P5i to positive implicational logic, or by adding axiom P5i to minimal logic. Both P4i and P5i are theorems of classical propositional logic.  Note that these are axiom schemes, which represent infinitely many specific instances of axioms. For example, P1 might represent the particular axiom instance formula_25, or it might represent formula_26: the formula_4 is a place where any formula can be placed. A variable such as this that ranges over formulae is called a'schematic variable'.  With a second rule of uniform substitution (US), we can change each of these axiom schemes into a single axiom, replacing each schematic variable by some propositional variable that isn't mentioned in any axiom to get what we call the substitutional axiomatisation. Both formalisations have variables, but where the one-rule axiomatisation has schematic variables that are outside the logic's language, the substitutional axiomatisation uses propositional variables that do the same work by expressing the idea of a variable ranging over formulae with a rule that uses substitution.  The next three logical axiom schemes provide ways to add, manipulate, and remove universal quantifiers.  These three additional rules extend the propositional system to axiomatise classical predicate logic. Likewise, these three rules extend system for intuitionstic propositional logic (with P1-3 and P4i and P5i) to intuitionistic predicate logic.  Universal quantification is often given an alternative axiomatisation using an extra rule of generalisation (see the section on Metatheorems), in which case the rules Q6 and Q7 are redundant.  The final axiom schemes are required to work with formulas involving the equality symbol.

Conservative extensions.

It is common to include in a Hilbert-style deduction system only axioms for implication and negation. Given these axioms, it is possible to form conservative extensions of the deduction theorem that permit the use of additional connectives. These extensions are called conservative because if a formula φ involving new connectives is rewritten as a logically equivalent formula θ involving only negation, implication, and universal quantification, then φ is derivable in the extended system if and only if θ is derivable in the original system. When fully extended, a Hilbert-style system will resemble more closely a system of natural deduction.

Metatheorems.

Because Hilbert-style systems have very few deduction rules, it is common to prove metatheorems that show that additional deduction rules add no deductive power, in the sense that a deduction using the new deduction rules can be converted into a deduction using only the original deduction rules.  Some common metatheorems of this form are:

Alternative axiomatizations.

The axiom 3 above is credited to Łukasiewicz. The original system by Frege had axioms P2 and P3 but four other axioms instead of axiom P4 (see Frege's propositional calculus). Russell and Whitehead also suggested a system with five propositional axioms.

Further connections.

Axioms P1, P2 and P3, with the deduction rule modus ponens (formalising intuitionistic propositional logic), correspond to combinatory logic base combinators I, K and S with the application operator. Proofs in the Hilbert system then correspond to combinator terms in combinatory logic. See also Curry–Howard correspondence.

In logic, especially mathematical logic, a Hilbert system, sometimes called Hilbert calculus, Hilbert-style deductive system or Hilbert–Ackermann system, is a type of system of formal deduction attributed to Gottlob Frege and David Hilbert. These deductive systems are most often studied for first-order logic, but are of interest for other logics as well.

在逻辑特别是数理逻辑中,希尔伯特风格演绎系统是归功于弗雷格和希尔伯特的一类形式演绎系统。这种演绎系统最经常为一阶逻辑而研究,但对其他逻辑也是有价值的。


Biography.

Tan Dun was born in 1957 in a village in Changsha in the Hunan province of China. As a child, he was fascinated by the rituals and ceremonies of the village shaman, which were typically set to music made with natural objects such as rocks and water. Due to the bans enacted during the Cultural Revolution, he was discouraged from pursuing music and was sent to work as a rice planter on the Huangjin commune. He joined an ensemble of other commune residents and learned to play traditional Chinese string instruments. Following a ferry accident that resulted in the death of several members of a Peking opera troupe, Tan Dun was called upon as a violist and arranger. This initial success earned him a seat in the orchestra, and from there he went to study at the Central Conservatory of Music in Beijing in 1977. While at the Conservatory, Tan Dun came into contact with composers such as Toru Takemitsu, George Crumb, Alexander Goehr, Hans Werner Henze, Isang Yun, and Chou Wen-Chung, all of whom influenced his sense of musical style.  In 1986, he moved to New York City as a doctoral student at Columbia University, once again studying with Chou Wen-Chung, who had studied under Edgard Varèse. At Columbia, Tan Dun discovered the music of composers such as Philip Glass, John Cage, Meredith Monk, and Steve Reich, and began incorporating these influences into his compositions. He completed his dissertation, "Death and Fire: Dialogue with Paul Klee", in 1993. Inspired by a visit to the Museum of Modern Art, "Death and Fire" is a short symphony that engages with the paintings of Paul Klee. On June 15, 2016, he created the Grand Opening Theme Song of Shanghai Disney Resort. On August 1, 2019 he was appointed as dean of the Bard College Conservatory of Music.

Career and works.

Opera.

During his time at Columbia University, Tan Dun created his first opera, a setting of nature poems by Qu Yuan called "Nine Songs" (1989). The poems are sung in both Classical Chinese and contemporary English alongside a small ensemble of Western and Chinese instruments. Among these are a specially built set of 50 ceramic percussion, string, and wind instruments, designed in collaboration with potter Ragnar Naess. To emphasize the shamanistic nature of Qu Yuan's poetry, the actors dance and move in a ritualized manner.  Tan Dun's second work in the genre, "Marco Polo" (1996), set to a libretto by Paul Griffiths, is an opera within an opera. It begins with the spiritual journey of two characters, Marco and Polo, and their encounters with various historic figures of literature and music, including Dante Alighieri, William Shakespeare, Scheherazade, Sigmund Freud, John Cage, Gustav Mahler, Li Po, and Kublai Khan. These sections are presented in an abstract, Peking opera style. Interwoven with these sections are the travels of the real-life Marco Polo, presented in a Western operatic style. Though the score calls for traditional Western orchestral instrumentation, additional instruments are used to indicate the location of the characters, including recorder, rebec, sitar, tabla, singing bowls, Tibetan horn, sheng, and pipa. The opera won the Grawemeyer Award for Music Composition in 1998.  That same year, Tan Dun premiered his next opera, an adaptation of Tang Xianzu's 1598 Kunqu opera "The Peony Pavilion". Directed by Peter Sellars in its original production, Tan Dun's "The Peony Pavilion" is performed entirely in English, though one of the characters must be trained in Peking or Kunqu style. The small ensemble of six musicians performs electronics and Chinese instruments onstage with the actors. Stylistically, the music is a blend of Western avant-garde and Chinese opera.  At this point in his career, Tan Dun had created many works for "organic instruments," i.e. instruments constructed from materials such as paper, water, ceramic, and stone. For his fourth opera, "Tea: A Mirror of Soul" (2002), co-authored by librettist Xu Ying, organic instruments factor prominently into the structure of the opera itself. The title of each act corresponds to the materials of the instruments being used, as well as the opera's plot. The first act, entitled "Water, Fire", opens with a tea ceremony onstage while percussionists manipulate glass bowls of water. The second act, "Paper", features music on rice paper drums and depicts the characters' search for "The Classic of Tea", the first book to codify tea production and preparation in China. The third and final act, "Ceramic, Stones", depicts the death of the protagonist's love. Percussionists play on pitched flowerpots, referred to as "Ceramic chimes" in the score.  Tan Dun's most recent opera, "The First Emperor" (2006), was commissioned by the Metropolitan Opera with the title role created for Plácido Domingo. Co-authored by Tan Dun and Chinese novelist Ha Jin, the opera focuses on the unification of China under Qin Shi Huang, first emperor of the Qin Dynasty, and his relationship with the musician Gao Jianli. Like Tan Dun's previous operas, "The First Emperor" calls for Chinese instruments in addition to a full orchestra, including guzheng and bianzhong. The original Met production was directed by Zhang Yimou, with whom Tan Dun had collaborated on the film "Hero.

Film and multimedia.

Tan Dun earned more widespread attention after composing the score for Ang Lee's "Crouching Tiger, Hidden Dragon" (2000), for which he won an Academy Award, a Grammy Award, and a BAFTA Award. Other film credits include the aforementioned "Hero" (Zhang Yimou, 2002), Gregory Hoblit's "Fallen" (1998), and Feng Xiaogang's "The Banquet (2006).  Following the composition of the film score for "Crouching Tiger, Hidden Dragon", Tan Dun rearranged the music to create the "Crouching Tiger Concerto" for cello, video, and chamber orchestra. Containing edited footage from the film, this work reverses the role of music in film by treating video as secondary. This same technique was later applied to his film scores for "Hero" and "The Banquet", resulting in the larger work known as the "Martial Arts Cycle".  In 2002, Tan Dun continued experimenting with application of video in music "The Map", also for cello, video, and orchestra. "The Map" features documentary footage depicting the lives of China's Tujia, Miao, and Dong ethnic minorities. The musicians onstage, including the cello soloist, interact with the musicians onscreen—a duet of live and recorded performance. The work was premiered and commissioned by the Boston Symphony Orchestra with Yo-Yo Ma.  Tan Dun's most recent multimedia work, "Nu Shu: The Secret Songs of Women" (2013), is a 13-movement work for video, solo harp, and orchestra. Following years of ethnomusicological research in Hunan, the work captures the sounds of Nüshu script, a phonetic writing system devised by women speakers of the Shaozhou Tuhua dialect who had been disallowed from receiving formal education. Considered a dying language, Tan Dun's research resulted in a series of short films of women singing songs written in Nüshu, which are presented alongside the orchestral performance. As with "The Map", the songs in the video are used in counterpoint to the live music.

"Orchestral Theatre" series.

In the 1990s, Tan Dun began working on a series of orchestral pieces that would analyze the relationship between performer and audience by synthesizing Western classical music and Chinese ritual. According to the composer, If we look at the idea of 'art music' with its firm separation of performer and audience, we see that its history is comparatively short. Yet the history of music as an integral part of spiritual life, as ritual, as partnership in enjoyment and spirit, is as old as humanity itself.  In the first piece of the series, "Orchestral Theatre I: O" (1990), members of the orchestra make various vocalizations—chanting nonsense syllables, for instance—while playing their instruments using atypical techniques. For examples, the harp is played as a gushing, and the violins are played as percussion instruments.  "Orchestral Theatre II: Re" (1992) expands the concept of ritual by involving the audience. The orchestra is split, with the strings, brass, and percussion onstage, while the woodwinds surround the audience. The score also calls for two conductors, with one facing the stage, and the other facing the audience. The latter conductor cues the audience to hum along with the orchestra in certain sections of the music. The work's namesake derives from humming the solfège pitch "re".  The third piece in the series, "Red Forecast (Orchestral Theatre III)" (1996), involves more staging elements than its predecessors, adding television monitors, lighting, and even stage directions for the musicians. In this multimedia work, the orchestra is led by both a human conductor and a virtual conductor who appears on the monitors. While the human conductor leads, the monitors depict a variety of images from the 1960s and the Cold War: a collage of Mao Zedong, the Cultural Revolution, Martin Luther King, Jr., John F. Kennedy, The Beatles, Nikita Khrushchev, and hydrogen bomb testing. In addition to the video, an audio recording of a weather forecast is played.  The final piece in the series, "The Gate (Orchestral Theatre IV)" (1999), focuses on three women of literary fame: Yu from "The Hegemon-King Bids His Concubine Farewell", Juliet from "Romeo and Juliet", and Koharu from "The Love Suicides at Amijima". Based on the theme of sacrifice for love, "The Gate" is structured as a theme and variations. The style of each section corresponds to its respective character's country of origin. Additionally, Yu is played by a Peking opera singer (Shi Min), Juliet by a Western opera soprano (Nancy Allen Lundy), and Koharu by a Japanese puppeteer (Jusaburō Tsujimura). As in "Orchestra Theatre II: Re", the orchestra is distributed onstage and amongst the audience. "The Gate" also incorporates video, but unlike the prerecorded images used in "Red Forecast", a projection screen displays live images of the three actress-soloists, manipulated in real time by a video artist. The video artist for the 1999 premiere was Elaine J. McCarthy.

Organic music.

Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his "Water Concerto for Water Percussion and Orchestra" (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins.  The techniques devised in the "Water Concerto" were used again in Tan Dun's "Water Passion After St. Matthew" (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with "Orchestral Theatre I: O", members of the orchestra play their instruments with techniques borrowed from non-Western traditions.  Tan Dun's next major organic work, "Paper Concerto for Paper Percussion and Orchestra" (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall.  "Earth Concerto for stone and ceramic percussion and orchestra" (2009) draws from Gustav Mahler's "Das Lied von der Erde (The Song of the Earth)", which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun.

Symphonies, concertos, and chamber works.

In the mid-1990s, Tan Dun began working on another series of orchestral works known as the "Yi" series, named for the "I Ching" (Yi Jing in pinyin). Each numbered work in the series builds upon the original, "Yi°: Concerto for Orchestra" (published 2002), by adding a solo instrument. The first concerto in the series, "Yi1: Intercourse of Fire and Water" (1994), was written for and premiered by cellist Anssi Karttunen. The second work, "Yi2: Concerto for Guitar and Orchestra" (1996), combines flamenco and pipa techniques and was premiered by Sharon Isbin.  Originally titled "Secret Land", Tan Dun wrote a concerto for twelve solo cellos and orchestra called "Four Secret Road of Marco Polo" (2004). Commissioned and premiered by the Berlin Philharmonic, the work is a musical exploration of the Silk Road. To achieve these sounds, the cello soloists employ sitar and pipa techniques.  Tan Dun wrote a concerto for Lang Lang titled "Piano Concerto: "The Fire"" (2008), a commission by the New York Philharmonic. The concerto is reportedly inspired by the composer's love for martial arts, and the soloist is instructed to play certain passages of the music with fists and forearms. Other more tranquil sections evoke ancient Chinese instruments such as the guqin.  In 2008, Tan Dun was commissioned by Google and YouTube to write an inaugural symphony for the YouTube Symphony Orchestra (YTSO) project. The resultant work, Internet Symphony No. 1 "Eroica", was recorded by the London Symphony Orchestra and uploaded to YouTube in November 2008, thus beginning the open call for video audition submissions. Voted on by members of the YouTube community as well as professional musicians, the YTSO was assembled of 96 musicians from over 30 countries. In April 2009, a mashup video of the submissions was premiered at Carnegie Hall, followed by a live performance of the work.

Theatre-inspired works.

Though not explicitly opera, many of Tan Dun's works borrow operatic elements, in terms of both melody and staging. For example, his violin concerto, "Out of Peking Opera" (1987, revised 1994), quotes jinghu fiddling music often heard in Peking opera. Additionally, "Ghost Opera" (1994), for pipa and string quartet, includes minimal sets and lighting. Originally composed on commission for Kronos Quartet and Wu Man, "Ghost Opera" has been performed globally and recorded by Kronos for Nonesuch Records.

List of works by genre.

Some of the generic classifications included below are Tan Dun's own concepts, including "organic music" and "music ritual." "Organic music" refers to musical works performed on non-traditional instruments, typically involving organic materials such as paper, water, or stone. "Music ritual" refers to works derived from Chinese spiritual traditions.  "Eight Memories in Watercolor played by Cheng Wai is even better than what I have composed."

Tan Dun (, ; born 18 August 1957) is a Chinese contemporary classical composer, pianist, viola d'amore player and conductor, most widely known for his scores for the movies "Crouching Tiger, Hidden Dragon" and "Hero", as well as composing music for the medal ceremonies at the 2008 Beijing Olympics. His works often incorporate audiovisual elements; use instruments constructed from organic materials, such as paper, water, and stone; and are often inspired by traditional Chinese theatrical and ritual performance. In 2013, he was named a UNESCO Goodwill Ambassador. He has won numerous awards for his works, including an Academy Award, a Grammy Award and a BAFTA award.

谭盾(1957年-8月18日),出生于湖南长沙,祖籍湖南湘潭,作曲家、指挥家。他创作的著名作品包括电影配乐《卧虎藏龙》、《英雄》、2008年北京奥运会颁奖仪式音乐等等。谭盾的作品视听元素多样,常借鉴中国传统音乐风格,并运用非常规乐器等进行实验音乐的探索。