Playing career.

Early career.

Souness was brought up in the Saughton Mains area of Edinburgh, and supported local side Hearts and Rangers. As a teenager, Souness played for local boys' club North Merchiston.  Souness' career began as an apprentice at Tottenham Hotspur under Bill Nicholson. He signed professional forms as a 15-year-old in

Middlesbrough.

Spurs sold Souness to Middlesbrough for £30,000 in 1972. He made his first appearance for Middlesbrough on 6 January 1973 in a 2–1 league defeat to Fulham at Craven Cottage. His first goal came on 11 December 1973 in a 3–0 league victory over Preston North End at Ayresome Park.  Souness' tenacious style began to garner acclaim during his

Liverpool.

Souness' playing career is best remembered for his seven seasons at Liverpool, where he won five League Championships, three European Cups and four League Cups.  Souness' time at Anfield began in January 1978 as a replacement for veteran Ian Callaghan. After winning his first European Cup in 1977, Liverpool manager Bob Paisley sought reinforcements by signing three Scottish players, all of whom were to contribute substantially to further success. Central defender Alan Hansen arrived from Partick Thistle for £110,000. Kenny Dalglish – an

Sampdoria.

Souness left Liverpool in 1984, joining Sampdoria for a fee of £650,000. Souness and England international Trevor Francis – a player at the Genoa-based club since 1982 – added experience

Rangers.

Souness' career in Italy ended in 1986 as he took up the position of player-manager at Rangers. His playing career at Ibrox began inauspiciously. His competitive debut – in the opening match of the 1986–87 season, against Hibernian in his hometown of Edinburgh – saw him sent off after two yellow cards in the first 34 minutes.  Disciplinary problems –

International.

While a Middlesbrough player, Souness received his first international cap for Scotland on 30 October 1974 in a 3–0 friendly victory over East Germany at Hampden Park. By the time Souness was selected by manager Ally McLeod for the Scotland squad for the 1978 FIFA World Cup in Argentina, he had been awarded only six caps. His move to Liverpool increased his profile. Souness missed Scotland's first two matches, a defeat to Peru and a draw with Iran, due to injury. He was selected for the final group match against the Netherlands. Souness contributed to a 3–2 victory that nevertheless saw Scotland eliminated from the tournament on goal difference.  Souness played in two further World Cups. The first, in 1982

Coaching career.

Rangers.

Souness was appointed Rangers' first player-manager in April 1986, signing from Sampdoria for a fee of £300,000 and succeeding Jock Wallace. Financed initially by the club's then owner, Lawrence Marlborough, Souness and club chairman David Holmes embarked upon a bold strategy of reclaiming the footballing ascendancy Rangers had been desperately seeking in Scotland after years in the wilderness due to the dominance of arch-rivals, Celtic, and the emergence of the "New Firm" of Aberdeen and Dundee United. Souness' appointment as Rangers' manager garnered most attention, but his arrival as a player was also of significance. Souness arrived at Ibrox with a reputation as one of Europe's leading midfielders, a view evidenced by his

Liverpool.

Kenny Dalglish, who had played alongside Souness at Liverpool, resigned as Liverpool manager in February 1991. Coach Ronnie Moran was put in temporary charge following Dalglish's sudden resignation, but he did not want the job permanently. Souness was appointed Liverpool manager, having signed a five-year contract, on 16 April.  Souness' appointment came just before Liverpool finished second to Arsenal in the race for the 1990–91 league title. He made a major reorganisation of the squad for the following season, bringing in Dean Saunders for an English record of £2.9 million as well as defenders Mark Wright and Rob Jones and midfielder Mark Walters. He also gave a regular place in the team to 19-year-old midfielder Steve McManaman, whose debut had come under Dalglish in December 1990, and near the end of that campaign, he gave a professional contract to youth team striker Robbie Fowler.  During the early stages of the 1991–92 season, Liverpool were looking like serious title contenders, but it soon became an effective two-horse race between Manchester United and Leeds United. Leeds eventually took the title, while Liverpool came sixth. They returned to European competition that season after six years of isolation following the Heysel disaster of 1985, and reached the UEFA Cup quarter-finals, where they were eliminated by Genoa.  Souness had major heart surgery in April 1992. A controversy arose after the FA Cup semi-final against

Galatasaray.

After leaving Liverpool, Souness was out of work for over a year, despite reports at the end of the 1993–94 season linking him with a return to Middlesbrough, this time as a manager, a job which went to Bryan Robson instead.  Souness went to manage Galatasaray in Turkey in June 1995, and again

Southampton.

Souness then returned to England to manage Southampton, but after one season he resigned, citing differences with chairman Rupert Lowe. Souness is perhaps best remembered at Southampton for signing Senegalese player Ali Dia, supposedly on the recommendation of former FIFA World Player of the Year and former Liberian striker George Weah. Souness did not check any of Dia's credentials as a good

Torino.

After his stint at Southampton, Souness went back to Italy to become the coach at Torino. When he arrived, it

Benfica.

In 1997, Souness was signed by Benfica's new chairman João Vale e Azevedo, who promised to return the club to its former glory. The Scottish manager brought several British players from the Premier League, including

Blackburn Rovers.

Souness then became manager of Blackburn Rovers, earning promotion back to the Premier League in his first full season. During his four-year spell at Blackburn, he initially got the very best out of talented youngsters such as Damien Duff, David Dunn and Matt Jansen; brought Henning Berg back to the club and signed big name players like Andy Cole, Tugay Kerimoğlu, Brad Friedel and Dwight Yorke. Cole and Jansen scored in Blackburn's 2–1 League Cup victory over Tottenham Hotspur in 2002.  Souness then guided Blackburn to

Newcastle United.

Souness left Blackburn in 2004 to become manager of Newcastle United.  Despite a promising start to his role with results back to back, Souness quickly fell out with a number of players, including Welsh international Craig Bellamy, who left the club to join Souness' former employers, Blackburn, after being farmed out on loan to Celtic. Laurent Robert, Olivier Bernard and Jermaine Jenas are also believed to have left the club on bad terms with Souness. The club finished 14th in the league and despite making it to the quarter-finals of the UEFA Cup and the semi-finals of the FA Cup, Souness found himself under mounting pressure from "Toon" supporters.  Newcastle began the 2005–06 season in poor form, but Souness was hoping that the purchase of Michael Owen from Real Madrid on 30 August for an estimated club-record fee of £17 million would help to turn the club's fortunes around. Newcastle recorded a win in the Tyne-Wear derby against Sunderland (3–2), and went on to win their next three matches, keeping three clean sheets. Souness seemed to be tightening up Newcastle in defence, with six clean sheets in Newcastle's

Stevens inquiry.

In the report of the Stevens inquiry into football corruption published in June 2007, Souness was criticised for an apparent lack of consistency:Souness issued a statement denying any wrongdoing:The Stevens inquiry then issued a clarification:In July 2007, Newcastle United was raided by the City of London Police, who were investigating transfer deals involving Newcastle, Rangers and Portsmouth. Two Souness transfers, Jean-Alain Boumsong and Amdy Faye, were among a list of 17 transfers not cleared by Quest. The Boumsong deal in particular was so odd that it was widely commented upon at the time. Four months after succeeding Sir Bobby Robson as manager, Souness was in his first transfer window as Newcastle

Career after management.

Media work.

Souness has appeared as a television analyst in the UK and Ireland regularly since his managerial career ended. He is currently one of the main analysts on Sky Sports coverage of the Premier League, regularly appearing on the Super Sunday programme featuring the biggest head-to-head matches, and was one of the main pundits used on their UEFA Champions League coverage until they lost the rights in 2015. Souness now also works for TV3 in Ireland and BEIN Sports in Qatar, mainly during international summer tournaments and Champions League game weeks. He also appears

Possible returns to management.

In June 2006, the chairman of Crystal Palace, Simon Jordan, claimed he wished to discuss with Souness a role in managing the club following the departure of Iain Dowie. However, no contract materialized.  Souness looked to be the front-runner for the Bolton Wanderers manager's job following the departure of his former Liverpool teammate Sammy Lee in October 2007, but later pulled out of the running when it became apparent the job was set to be given to Gary Megson. At around the same time, Souness was linked with taking over the Republic of Ireland national team.  In January 2008, Souness announced he would be willing to

Bid for Wolverhampton Wanderers.

In January 2007, it was reported by the "Daily Mirror" that Souness was heading a £20 million consortium to take over EFL Championship club Wolverhampton Wanderers. He attended a Wolves game as

Biographies.

In 1985, Souness wrote an autobiography called "No Half Measures". In 1999, he

Souness' life and views outside football.

Personal life.

Souness' first wife was Danielle Wilson; they met in 1982 and married in 1984. He adopted her young daughter, and they had three more children together. They separated in 1989 and later divorced.  Souness has been married to

Political views.

Souness' political views have, at various points in his career, generated comment.  In 1982, Souness and teammate Sammy Lee made cameo appearances, as themselves, in an episode of the BBC's Liverpudlian drama series "Boys from the Blackstuff". Written by Alan Bleasdale, the series offered a

Reputation.

His Liverpool team-mate, Michael Robinson said of Souness in 2016: "I found him a very personal, cuddly chap who was

Honours.

Player.

Tottenham Hotspur  Middlesbrough

Manager.

Rangers  Liverpool

Inductions.

Inducted into the Scotland national football team roll of honour in 1985, when he gained his 50th international cap. In 1998, Souness was included in the Football League 100 Legends list. A poll of 110,000 Liverpool supporters – "100

Career statistics.

Club.

^ Includes

Graeme James Souness (; born 6 May 1953) is a Scottish former professional footballer, football manager and a current football pundit on Sky Sports.

-{zh-hans:格雷姆·詹姆斯·索内斯; zh-hk:格林美·占士·桑拿士;}-(英语:Graeme James Souness,1953年-5月6日)出生于苏格兰爱丁堡,苏格兰前足球运动员,现为教练员。2007年获选入英格兰足球名人堂。


Dr. Fell and Sir Henry Merrivale.

Carr's two major detective characters, Dr. Fell and Sir Henry Merrivale, are superficially quite similar. Both are large, upper-class, eccentric Englishmen somewhere between middle-aged and elderly. Dr. Fell, who is fat and walks only with the aid of two canes, was clearly modeled on the British writer G. K. Chesterton and is at all times civil and genial. He has a great mass of untidy hair that is often covered by a "shovel hat" and he generally wears a cape. He lives in a modest cottage and does not have any official association with public authorities.  Henry Merrivale or "H.M.", on the other hand, although stout and with a majestic "corporation", is active physically and is feared for his ill-temper and noisy rages. In a 1949 novel, "A Graveyard To Let", for example, he demonstrates an unexpected talent for hitting baseballs improbable distances. A wealthy descendant of the "oldest baronetcy" in England, he is part of the Establishment (even though he frequently rails against it) and in the earlier novels is the director of the British Secret Service. In "The Plague Court Murders" he is said to be qualified as both a barrister and a medical doctor. Even in the earliest books the bald, bespectacled, and scowling H.M. is clearly a Churchillian figure and in the later novels this similarity is somewhat more consciously evoked. Many of the Merrivale novels, written using the Carter Dickson byline, rank with Carr's best work, including the much-praised "The Judas Window" (1938).  Many of the Fell novels feature two or more different impossible crimes, including "He Who Whispers" (1946) and "The Case of the Constant Suicides" (1941). The novel "The Crooked Hinge" (1938) combines a seemingly impossible throat-slashing, witchcraft, a survivor of the ship "Titanic", an eerie automaton modeled on Wolfgang von Kempelen's chess player, and a case similar to that of the Tichborne Claimant into what is often cited as one of the greatest classics of detective fiction. But even Carr's biographer, Douglas G. Greene, notes that the explanation, like many of Carr's in other books, seriously stretches plausibility and the reader's credulity.  Dr. Fell's own discourse on locked room mysteries in chapter 17 of "The Hollow Man" is acclaimed critically and is sometimes printed as a stand-alone essay in its own right.

Other works.

Besides Dr. Fell and Sir Henry Merrivale, Carr mysteries feature two other series detectives: Henri Bencolin and Colonel March.  A few of his novels do not feature a series detective. The most famous of these, "The Burning Court" (1937), involves witchcraft, poisoning, and a body that disappears from a sealed crypt in suburban Philadelphia; it was the basis for the French movie "La chambre ardente" (1962).  Carr wrote in the short story format as well. Julian Symons, in "Bloody Murder: From the Detective Story to the Crime Novel: A History" (1972), said: "Most of Carr's stories are compressed versions of his locked-room novels, and at times they benefit from the compression. Probably the best of them are in the Carter Dickson book, "The Department of Queer Complaints" (1940), although this does not include the brilliantly clever H.M. story "The House in Goblin Wood" or a successful pastiche which introduces Edgar Allan Poe as a detective."  During 1950, Carr wrote the novel, "The Bride of Newgate", set during 1815 at the close of the Napoleonic Wars, one of the earliest full-length historical mysteries. "The Devil in Velvet" and "Fire, Burn!" are the two historical novels (involving also Time travel) with which he said he himself was most pleased. With Adrian Conan Doyle, the youngest son of Arthur Conan Doyle, Carr wrote Sherlock Holmes stories that were published in the 1954 collection "The Exploits of Sherlock Holmes". He was also honored by the estate of Sir Arthur Conan Doyle by being asked to write the biography for the legendary author. The book, "The Life of Sir Arthur Conan Doyle", was published during 1949 and received generally favorable reviews for its vigor and entertaining style.

Critical appraisal.

Dr. Fell has generally been considered to be Carr's major creation. The British novelist Kingsley Amis, for instance, writes in his essay, "My Favorite Sleuths", that Dr. Fell is one of the three great successors to Sherlock Holmes (the other two are Father Brown and Nero Wolfe) and that H.M., "according to me is an old bore." This may be in part because in the Merrivale novels written after World War II, H.M. frequently became a comic caricature of himself, especially in the physical misadventures in which he found himself at least once in every novel. Humorous as these episodes were intended to be, they also tended to have the effect of decreasing the mystique of the character. Earlier, however, H.M. had been regarded more favorably by a number of critics. Howard Haycraft, author of the seminal "Murder for Pleasure: The Life and Times of the Detective Story", wrote during 1941 that H.M. or "The Old Man" was "the present writer's admitted favorite among contemporary fictional sleuths". During 1938 the British mystery writer R. Philmore wrote in an article called "Inquest on Detective Stories" that Sir Henry was "the most amusing of detectives". And further: "Of course, H.M. is so much the best detective that, once having invented him, his creator could get away with any plot."  There is a book-length critical study by S. T. Joshi, "John Dickson Carr: A Critical Study" (1990) () and a chapter on Carr in Joshi's book "Varieties of Crime Fiction" (2019). The definitive biography of Carr is by Douglas G. Greene, "John Dickson Carr: The Man Who Explained Miracles" (1995) (). From an obituary published in Greenville, South Carolina, Carr allegedly also published using the name of Fenton Carter, but no works by anyone of this name have yet been identified.

Radio plays.

Carr also wrote many radio scripts, particularly for the "Suspense" radio anthology series in America and for its UK equivalent "Appointment With Fear" introduced by Valentine Dyall, as well as many other dramas for the BBC, and some screenplays. His 1943 half-hour radio play "Cabin B-13" was expanded into a series on CBS during 1948–49 for which Carr wrote all 25 scripts, basing some on earlier works or re-presenting devices that Chesterton had used. The 1943 play "Cabin B-13" was also expanded into the script for the 1953 movie "Dangerous Crossing", directed by Joseph M. Newman and featuring Michael Rennie and Jeanne Crain. Carr worked extensively for BBC Radio during World War II, writing both mystery stories and propaganda scripts. During the late 1940s he hosted "Murder by Experts" transmitted by Mutual radio. He introduced works by other mystery writers who were the week's guest writers. The show originated from Mutual's main station WOR in New York City. Many of these shows are available for free listening or downloading at the Internet Archive.

Film and television.

Carr's works were the basis for several movies, including "The Man With a Cloak" (1951) and "Dangerous Crossing" (1953). "The Emperor's Snuffbox" was filmed as "That Woman Opposite" (1957), and "La chambre ardente" (1962) was a loose adaptation of "The Burning Court".  Various Carr stories formed the basis for episodes of television series, particularly those without recurring characters such as "General Motors Presents". During 1956, the television series Colonel March of Scotland Yard, featuring Boris Karloff as Colonel March, was based on Carr's character and his stories and was broadcast for 26 episodes.

John Dickson Carr (November 30, 1906 – February 27, 1977) was an American author of detective stories, who also published using the pseudonyms Carter Dickson, Carr Dickson, and Roger Fairbairn.

约翰·狄克森·卡尔(John Dickson Carr,1906年11月30日—1977年2月27日),美籍推理小说家,曾用笔名“卡尔·狄克森”、“卡特·狄克森”和“罗杰·费尔拜恩”。卡尔是推理小说黄金时期最重要的一位作家,和阿加莎·克里斯蒂、艾勒里·昆恩并称“黄金时期三巨头”,而独以密室题材的构思见长,一生共设计出五十余种不同类型的密室,故有“密室推理之王”的美誉。


弗拉基米尔·阿尔谢尼耶夫

Early life.

Arseniev was born in St. Petersburg, Russian Empire. His father, born a serf, became the chief of the Moscow District Railway. After a military education, Arseniev began his expeditions to the forests of the Far East. He lived in Vladivostok through the years of the Russian Civil War and was a Commissar for Ethnic Minorities (Komisar po delam inrodcheskim) of the independent Far Eastern Republic. After the Far Eastern Republic was absorbed by Soviet Russia in 1922 Arsenyev refused to emigrate and stayed in Vladivostok.

Work.

Arseniev is most famous for authoring many books about his explorations, including some 60 works on the geography, wildlife and ethnography of the regions he traveled. Arseniev's most famous book, "Dersu Uzala", is a memoir of three expeditions in the Ussurian "taiga" (forest) of Northern Asia along the Sea of Japan and North to Vladivostok. The book is named after Arseniev's guide, an Ussurian native of the Nanai/Goldi tribe. Eventually the book was made into two films, one by Soviet director Agasi Babayan in 1961, the other by Japanese filmmaker Akira Kurosawa in 1975. The latter Dersu Uzala version won that year's Oscar for Best Foreign-Language Film. The third book of Arsenyev's trilogy, "In the Sikhote-Alin mountains", was published posthumously in 1937.

Personal life.

Arseniev died in 1930 in Vladivostok at the age of 57. His widow, Margarita Nikolaevna Arsenieva, was arrested in 1934 and again in 1937 after being accused of being a member of an underground organization of spies and saboteurs allegedly headed by her late husband. The military court hearings of the case (21 August 1938) took only 10 minutes and sentenced her to death. She was executed immediately. Arsenyev's daughter Natalya also was arrested in April 1941 and sentenced to the Gulag.

Legacy.

Arsenyev’s family home in Vladivostok has been made into a museum. Arsenyev, a town located in Primorsky Krai, was named after him. In 2018 Vladivostok International airport was renamed after him.

Vladimir Klavdiyevich Arsenyev, (; 10 September 1872 – 4 September 1930) was a Russian explorer of the Far East who recounted his travels in a series of books — "По Уссурийскому Краю" ("Along the Ussury land") (1921) and "Дерсу Узала" ("Dersu Uzala") (1923) — telling of his military journeys to the Ussuri basin with Dersu Uzala, a native hunter, from 1902 to 1907. He was the first to describe numerous species of Siberian flora and the lifestyles of native ethnic peoples.

弗拉基米尔·克拉夫季耶维奇·阿尔谢尼耶夫(,1872年-9月10日-1930年-9月4日),俄罗斯探险家、作家。


Chemical synthesis.

Hydroxyapatite can be synthesized via several methods, such as wet chemical deposition, biomimetic deposition, sol-gel route (wet-chemical precipitation) or electrodeposition. Yagai and Aoki proposed the hydroxyapatite nanocrystal suspension can be prepared by a wet chemical precipitation reaction following the reaction equation below:  10 Ca(OH) + 6 HPO → Ca(PO)(OH) + 18 HO  Several studies have shown that hydroxyapatite synthesis via the wet-chemical route can be improved by high-power ultrasound. The ultrasonically assisted synthesis (sono-synthesis) of hydroxyapatite is a successful technique for the production of nanostructured hydroxyapatite to high quality standards. The ultrasonic route allows the production of nano-crystalline hydroxyapatite as well as modified particles, e.g. core-shell nanospheres and composites.

Calcium-deficient hydroxyapatite.

Calcium-deficient (non-stochiometric) hydroxyapatite, Ca(PO)(HPO)(OH) (where "x" is between 0 and 1) has a Ca/P ratio between 1.67 and 1.5. The Ca/P ratio is often used in the discussion of calcium phosphate phases. Stoichiometric apatite Ca(PO)(OH) has a Ca/P ratio of 10:6 normally expressed as 1.67. The non-stoichiometric phases have the hydroxyapatite structure with cation vacancies (Ca) and anion (OH) vacancies. The sites occupied solely by phosphate anions in stoichiometric hydroxyapatite, are occupied by phosphate or hydrogen phosphate, HPO, anions. Preparation of these calcium-deficient phases can be prepared by precipitation from a mixture of calcium nitrate and diammonium phosphate with the desired Ca/P ratio, for example, to make a sample with a Ca/P ratio of 1.6:  Sintering these non-stoichiometric phases forms a solid phase which is an intimate mixture of tricalcium phosphate and hydroxyapatite, termed biphasic calcium phosphate:

Biological function.

Mantis shrimp.

The clubbing appendages of the "Odontodactylus scyllarus" (peacock mantis shrimp) are made of an extremely dense form of the mineral which has a higher specific strength and toughness than any synthetic composite material; these properties have led to its investigation for potential synthesis and engineering use. Their dactyl appendages have excellent impact resistance due to the impact region being composed of mainly crystalline hydroxyapatite, which offers significant hardness. A periodic layer underneath the impact layer composed of hydroxyapatite with lower calcium and phosphorus content (thus resulting in a much lower modulus) inhibits crack growth by forcing new cracks to change directions. This periodic layer also reduces the energy transferred across both layers due to the large difference in modulus, even reflecting some of the incident energy.

Mammal/primate/human.

Hydroxyapatite is present in bone and teeth; bone is made primarily of HA crystals interspersed in a collagen matrix—65 to 70% of the mass of bone is HA. Similarly HA is 70 to 80% of the mass of dentin and enamel in teeth. In enamel, the matrix for HA is formed by amelogenins and enamelins instead of collagen.  Hydroxyapatite deposits in tendons around joints results in the medical condition calcific tendinitis.

Uses.

Cosmetic.

Hydroxyapatite is added to some variations of cornstarch based baby powder such as Johnson's Aloe & Vitamin E powder. According the website, the mineral is added as an emollient to "help moisturize and soften skin."

Medical.

HA is increasingly used to make bone grafting materials as well as dental prosthetics and repair. Some implants, e.g. hip replacements, dental implants and bone conduction implants, are coated with HA. As the native dissolution rate of hydroxyapatite in-vivo, around 10 wt% per year, is significantly lower than the growth rate of newly formed bone tissue, in its use as a bone replacement material, ways are being sought to enhance its solubility rate and thus promote better bioactivity.

Supplement.

Microcrystalline hydroxyapatite (MCHA) is marketed as a "bone-building" supplement with superior absorption in comparison to calcium.  It is a second-generation calcium supplement derived from bovine bone. In the 1980s, bone meal calcium supplements were found to be contaminated with heavy metals, and although the manufacturers claim their MCHA is free from contaminants, it isn't recommended because its effect in the body has not been well-tested.

Chromatography.

The mechanism of hydroxyapatite chromatography is complicated and has been described as "mixed-mode". It involves ionic interactions between positively charged groups on a biomolecule (often a protein) and the phosphate groups in hydroxyapatite, and metal chelation between hydroxyapatite calcium ions and negatively charged phosphate and/or carboxyl groups on the biomolecule. It may be difficult to predict the effectiveness of hydroxyapatite chromatography based on physical and chemical properties of the desired protein to be purified. For elution, a buffer with increasing phosphate and/or neutral salt concentration is typically used.

Use in archaeology.

In archaeology, hydroxyapatite from human and animal remains can be analysed to reconstruct ancient diets, migrations and paleoclimate. The mineral fractions of bone and teeth act as a reservoir of trace elements, including carbon, oxygen and strontium. Stable isotope analysis of human and faunal hydroxyapatite can be used to indicate whether a diet was predominantly terrestrial or marine in nature (carbon, strontium); the geographical origin and migratory habits of an animal or human (oxygen, strontium) and to reconstruct past temperatures and climate shifts (oxygen). Post-depositional alteration of bone can contribute to the degradation of bone collagen, the protein required for stable isotope analysis.

Defluoridation.

Hydroxyapatite is a potential adsorbent for the defluoridation of drinking water, as it forms fluorapatite in a 3 step process. Hydroxyapatite removes F from the water to replace OH forming fluorapatite. However, during the defluoridation process the HA dissolves, and increases the pH and phosphate ion concentration which makes the defluoridated water unfit for drinking. Recently, a ′′calcium amended-hydroxyapatite′′ defluoridation technique was suggested to overcome the phosphate leaching from HA. This technique can also affect fluorosis reversal by providing calcium-enriched alkaline drinking water to fluorosis affected areas.

Hydroxyapatite, also called hydroxylapatite (HA), is a naturally occurring mineral form of calcium apatite with the formula Ca(PO)(OH), but it is usually written Ca(PO)(OH) to denote that the crystal unit cell comprises two entities. Hydroxyapatite is the hydroxyl endmember of the complex apatite group. The OH ion can be replaced by fluoride, chloride or carbonate, producing fluorapatite or chlorapatite. It crystallizes in the hexagonal crystal system. Pure hydroxyapatite powder is white. Naturally occurring apatites can, however, also have brown, yellow, or green colorations, comparable to the discolorations of dental fluorosis.

磷灰石(英语:hydroxyapatite),又称氢氧基磷灰石,是一种天然的磷灰石矿物,其分子式为Ca(PO)(OH),不过常写成Ca(PO)(OH)以表示由二个分子组成的晶体结构。羟磷灰石是磷灰石中含氢氧根的纯正端元。OH离子可以被氟离子、氯离子或碳酸根离子取代,形成氟磷灰石或氯磷灰石。羟磷灰石的晶系为六方晶系,比重为3.08,摩氏硬度为5。纯的羟磷灰石粉末是白色,但天然的羟磷灰石会夹杂着棕色、黄色或绿色。也可以用人工的方式合成,应用于骨组织修复。


Historical Aspects.

Christian philosophy began around the 2nd century. It arises through the movement of the Christian community called Patristics, which had as main objective the defense of the christian faith. It is likely that Patristics ended around the 8th century. From the 11th century onwards, Christian philosophy was manifested through Scholasticism. This is the period of medieval philosophy or the Medieval Age that extended until the 15th century, as pointed out by T. Adão Lara. From the 16th century onwards, Christian philosophy, with its theories, started to coexist with independent scientific and philosophical theories.  The development of Christian ideas represents a break with the philosophy of the Greeks, bearing in mind that the starting point of Christian philosophy is the Christian religious message. The missionary activity of the apostles, followers of Jesus Christ, contributed to the spread of the Christian message, even though in the beginning Christianity was the target of persecution.  The structure of T. Adão Lara's work indicates an important division of aspects of Christian philosophy in the Middle Ages:

Characteristics.

Natural demonstration.

in Christian philosophy the propositions need to be demonstrated in a natural way and he uses reflections conditioned by experience - with the use of reason. The philosophical starting point of Christian philosophy is logic, not excluding Christian theology. Although there is a relationship between theological doctrines and philosophical reflection in Christian philosophy, its reflections are strictly rational.

Justification of truths of faith.

Fundamentally, Christian philosophical ideals are to make religious convictions rationally evident through natural reason. The Christian philosopher's attitude is determined by faith in matters relating to cosmology and everyday life. Unlike the Secular philosopher, the Christian philosopher seeks conditions for the identification of eternal truth, being characterized by religiosity  There is criticism of Christian philosophy because the Christian religion is hegemonic at this time and centralizes the elaboration of all values. The coexistence of philosophy and religion is questioned, as philosophy itself is critical and religion founded on revelation and established dogmas. Lara believes that there was questioning and writings with philosophical characteristics in the Middle Ages, although religion and theology predominated. In this way it was established by dogmas, in some aspects, did not prevent significant philosophical constructions.

Tradition.

A Christian philosophy developed from predecessor philosophies. Justin is based on Greek philosophy, an academy in Augustine and Patristics. It is in the tradition of Christian philosophical thought or Judaism, from whom it was inherited from the Old Testament and more fundamentally in the Gospel message, which records or at the center of the message advocated by Christianity.  Scholasticism received influence from both Jewish philosophy and Islamic philosophy. This Christian Europe did not remain exclusively influenced by itself, but it suffered strong influences from other cultures.

Systematizing view.

There is an attempt to systematically and comprehensively systematize the problems of reality in a harmonic whole. There is a lack of creative spirit, which is compensated by the overall vision. Christian Revelation itself provides the Christian with an overview.

Christian philosophy is the set of philosophical ideas initiated by Christians from the 2nd century to the present day.

基督教哲学是包括所有代表二千年来试图用哲学的知识中的理性思考来阐释基督教的教导的理性思考的传统。


History.

In 1953, efforts to find oil in southern Libya led to the discovery of large quantities of potable fossil water underground. The Great Man-made River Project (GMRP) was conceived in the late 1960s and work on the project began in 1984. The project's construction was divided into five phases. The first phase required 85 million m3 of excavation and was inaugurated on 28 August 1991. The second phase (dubbed "First water to Tripoli") was inaugurated on 1 September 1996.  The project is owned by the Great Man-Made River Project Authority and was funded by the Gaddafi government. The primary contractor for the first phases was Dong Ah Consortium and the present main contractor is Al Nahr Company Ltd.  The imported goods were made in Korea and destined to the construction of the GMR arrived by sea via the entry port of Brega (Gulf of Sidra). Cathodic corrosion protection on the pipeline was supplied by an Australian company, AMAC Corrosion Protection, based in Melbourne and delivered via Port of Benghazi. The rest of goods were made in Libya.  The total cost of the project is projected at more than US$25 billion. Libya has completed the work to date without the financial support of major countries or loans from world banks. Since 1990 UNESCO has provided training to engineers and technicians involved with the project.  The fossil aquifer from which this water is being supplied is the Nubian Sandstone Aquifer System. It accumulated during the last ice age and is not currently being replenished. If 2007 rates of retrieval are not increased, the water could last a thousand years. Independent estimates indicate that the aquifer could be depleted of water in as soon as 60 to 100 years. Analysts say that the costs of the $25 billion groundwater extraction system are 10% those of desalination.  In this project 1,000 million euros were invested for the installation of 50,000 artificial palm trees for water condensation. This project was carried out by the Spanish engineer Antonio Ibáñez de Alba  On 22 July during the 2011 Libyan civil war, one of the two plants making pipes for the project, the Brega Plant, was hit by a NATO air strike. At a press conference on 26 July, NATO explained that rockets had been fired from within the plant area, and that military material, including multiple rocket launchers, was stored there according to intelligence findings, presenting a photo showing a BM-21 MRL as an example.  Due to the ongoing civil war in Libya, the water infrastructure has suffered neglect and occasional breakdowns. As of July 2019, 101 of 479 wells on the western pipeline system had been dismantled.  On 10 April 2020, a station controlling water flow to Tripoli and neighboring towns was seized by an unknown armed group. The flow of water was cut to over two million people as a result, and as such the attack was condemned by the United Nations on humanitarian grounds.

The Great Man-Made River (GMMR, ) is a network of pipes that supplies fresh water obtained from the Nubian Sandstone Aquifer System fossil aquifer across Libya. It is the world's largest irrigation project. The project utilizes a pipeline system that pumps water from the Nubian Sandstone Aquifer System from down south in Libya to cities in the populous Libyan northern Mediterranean coast including Tripoli and Benghazi. The water covers a distance of up to 1,600 kilometers and provides 70% of all freshwater used in Libya.

大人工河(,英语:Great Man-Made River,简称GMR)是处于利比亚境内的大型人工供水与灌溉工程。该供水工程将位于撒哈拉沙漠中的贮藏的古地下水通过巨型管道输送到地中海沿岸的利比亚各大城市。整个工程包括一千三百余座水井,其中大部分的井的深度超过500米,每天可以为的黎波里、班加西、苏尔特和其余城市提供六百五十万立方米的淡水,是迄今世界最大的灌溉工程。前利比亚领导人卡扎菲将其称为“世界第八大奇迹”。


User interfaces.

"aptitude" is based on the ncurses computer terminal library, with which it provides an interface that incorporates some elements commonly seen in graphical user interfaces (GUIs) (such as pull-down menus).  In addition to the ncurses interface, aptitude provides an extensive command-line interface (CLI). Even though aptitude is one executable file, it provides command-line functions similar to those of apt- family of tools (apt-get, apt-cache, apt-listchanges, etc.). aptitude also emulates most command-line arguments, allowing it to act as a full replacement for. In the past, it was recommended that aptitude and apt-get not be used interchangeably. This is no longer true, as both programs now correctly track and share a common list of packages that were automatically installed to satisfy dependencies.

History.

"aptitude" was created in 1999. At the time two other terminal-based APT-like front-ends were available: the dselect program, which had been used to manage packages on Debian since before APT was created, and the console-apt program, a project that was considered to be the heir apparent to dselect. "aptitude" was created to experiment with a more object-oriented programming design than that used in console-apt, in the hope that this would result in a more flexible program with a broader set of features.  The first public release of "aptitude" was version 0.0.1 on November 18, 1999. It was very limited: it had the ability to view the list of available packages, but could not actually download or install any packages. By version 0.0.4a, this ability had been added, with many other improvements; this version was included in Debian 2.2, code name:.  In late 2000, the whole user interface module was rewritten; a new architecture was created, based on the libsigc++ callback library and concepts from modern widget toolkits such as GTK+ and Qt. This enabled the interface to become much more similar to GUIs than it had been previously, with features such as pull-down menus and pop-up dialogs. One of "aptitude's" more unusual features, a tiny implementation of Minesweeper, was added at this time. The first official "aptitude" release following this rewrite was 0.2.0., "aptitude" 0.2.11.1 was released with Debian 3.0 "Woody". By this time, the project (renamed to ) had been effectively abandoned by its maintainers, and it was removed from Woody. aptitude has also been ported to jailbroken iOS as part of the Cydia package manager.

Easter egg.

"aptitude" states that, unlike Advanced Packaging Tool, it "does not have Super Cow Powers". In apt-get "super cow powers" can be found by issuing the command. However, in aptitude issuing moo will give the user a prompt saying there are no Easter eggs.  However, by issuing, then, and so on the user will see a series of statements denying the "Super Cow Powers" or telling them to go away, some ending with a picture (a reference to Antoine de Saint-Exupéry's "The Little Prince") not unlike the original apt-get Easter egg. Different versions of the program have different sequences.  In addition, the package description states that "aptitude is also Y2K-compliant, non-fattening, naturally cleansing, and housebroken."

aptitude is a front-end to APT, the Debian package manager. It displays a list of software packages and allows the user to interactively pick packages to install or remove. It has an especially powerful search system utilizing flexible search patterns. It was initially created for Debian, but has appeared in RPM Package Manager (RPM) based distributions as well (such as Conectiva).

Aptitude,一个基于Ncurses的Apt文字接口前端程序,是Debian及其衍生系统中功能极其强大的软件包管理系统。以交互形式运行时,它可以显示出所有可用的软件包,并允许用户选择包来安装或卸载。它还有一个强大的搜索系统,可通过多种搜索模式进行搜索。


Alternative names.

Potato bread goes by many regional names, including slims, fadge, potato cake, potato farls, and tatie bread in Ireland.

Varieties.

Chile.

Potato bread, in different forms, is a common element of the cuisine of Chiloé in Southern Chile. The most popular breads are milcao and chapalele, which are part of the traditional curanto.

Germany.

"Kartoffelbrot" is a potato bread that may contain spelt and rye flour.  "Berches" is a German-Jewish bread made for Shabbat. Like other Ashkenazi challot, it is typically braided, but unlike the sweet, eggy challah of eastern Ashkenazi cuisine, "berches" bread contains boiled, mashed, and cooled potato, and has no egg and very little sugar in the dough. Some recipes contain oil, and some do not. It is often topped with an egg wash (even if there is no egg incorporated into the dough itself), and poppy seeds. While there are few German Jews left living in Germany, the tradition of making "berches" has been carried on by non-Jewish bakers, who are aware of the bread's Jewish history.

Hungary.

Potato bread is a part of the cuisine of Hungary.

Ireland.

In Ireland, potato bread or cakes known as boxty () were popular, and may have been a result of the floury types of potatoes that were common in the country.  Potato farls are one large round divided into four quadrants or square slices (usually around 0.5–1 cm in thickness) of soft potato bread, lightly powdered with flour and are common in Ulster, especially Northern Ireland. They are traditionally used as one of the distinguishing items of food in an Ulster fry, where they are shallow-fried on both sides for a short time and served with soda farls cooked in the same way. They can also be grilled and buttered, or eaten with a variety of toppings.  Apple potato cake or "fadge" was cooked in Ireland in autumn, when cooking apples were available, and very popular in the north-east of the country. Freshly cooked potatoes is mixed with melted butter, salt, and flour. It is a potato bread wrapped, pastry-like, around a sweet filling of apples.

Poland.

"Okrągły chleb kartoflany" is a light and airy potato bread.

Scotland.

The Scottish tattie scone, also known as a "tottie scone" or "potato scone", is similar to the Irish potato farl. They are generally shaped as one large round divided into four quadrants, in a similar fashion to traditional Scottish oatcakes, or as small rounds.

United States.

Potato bread is commercially available in the United States as a light and airy bread very similar to normal mass-produced white bread, but with a yellow tint, thicker texture, and a light potato flavor.  Cherokee sweet potato bread is a variation on potato bread that uses sweet potatoes.

Potato bread is a form of bread in which potato flour or potato replaces a portion of the regular wheat flour. It is cooked in a variety of ways, including baking it on a hot griddle or pan, or in an oven. It may be leavened or unleavened, and may have a variety of other ingredients baked into it. The ratio of potato to wheat flour varies significantly from recipe to recipe, with some recipes having a majority of potato, and others having a majority of wheat flour. Some recipes call for mashed potatoes, with others calling for dehydrated potato flakes. It is available as a commercial product in many countries, with similar variations in ingredients, cooking method, and other variables.

马铃薯面包是一种用马铃薯粉或马铃薯取代部分小麦面粉制成的面包。 有很多制作方式,包括用平板炉或装在平底锅加热,或用烤箱烤熟。加或不加膨松剂都可以,也可以加入各式配料一起烤。马铃薯和面粉的比例因食谱不同各有差异,有些食谱以马铃薯为主成分,有些则大部分是面粉。有些食谱要捣碎马铃薯,有些则要把马铃薯除去水分。很多国家都买得到马铃薯面包商品,烹调方式和材料都大同小异。


History.

"Raku" means "enjoyment".  In the 16th century, Sen no Rikyū, the Japanese tea master, was involved with the construction of the Jurakudai and had a tile-maker, named Chōjirō, produce hand-moulded tea bowls for use in the wabi-styled tea ceremony that was Rikyū's ideal. The resulting tea bowls made by Chōjirō were initially referred to as "ima-yaki" ("contemporary ware") and were also distinguished as Juraku-yaki, from the red clay (Juraku) that they employed. Hideyoshi presented Jokei, Chōjirō's son, with a seal that bore the Chinese character for "raku". Raku then became the name of the family that produced the wares. Both the name and the ceramic style have been passed down through the family (sometimes by adoption) to the present 15th generation (Kichizaemon). The name and the style of ware has become influential in both Japanese culture and literature.  In Japan, there are "branch kilns" ("wakigama"), in the raku-ware tradition, that have been founded by Raku-family members or porters who apprenticed at the head family's studio. One of the most well-known of these is Ōhi-yaki (Ōhi ware).  After the publication of a manual in the 18th century, raku ware was also made in numerous workshops by amateur potters and tea practitioners in Kyoto, and by professional and amateur potters around Japan.  Raku ware marked an important point in the historical development of Japanese ceramics, as it was the first ware to use a seal mark and the first to focus on close collaboration between potter and patron. Other famous Japanese clay artists of this period include Dōnyū (grandson of Chōjirō, also known as Nonkō; 1574–1656), Hon'ami Kōetsu (1556–1637) and Ogata Kenzan (1663–1743).  It influenced Hōraku ware from Nagoya, Owari province in the later Edo period.

Western raku.

Raku became popular with American potters in the late 1950s with the help of Paul Soldner. Americans kept the general firing process, that is, heating the pottery quickly to high temperatures and cooling it quickly, but continued to form their own unique style of raku.  Raku's unpredictable results and intense color attracts modern potters. These patterns and color result from the harsh cooling process and the amount of oxygen that is allowed to reach the pottery. Depending on what effect the artist wants, the pottery is either instantly cooled in water, cooled slowly in the open air, or placed in a barrel filled with combustible material, such as newspaper, covered, and allowed to smoke. Water immediately cools the pottery, stopping the chemical reactions of the glaze and fixing the colors. The combustible material results in smoke, which stains the unglazed portions of the pottery black. The amount of oxygen that is allowed during the firing and cooling process affects the resulting color of the glaze and the amount of crackle.  Unlike traditional Japanese raku, which is mainly hand built bowls of modest design, western raku tends to be vibrant in color, and comes in many shapes and sizes. Western raku can be anything from an elegant vase, to an eccentric abstract sculpture. Although some do hand build, most western potters use throwing wheels while creating their raku piece. Western culture has even created a new sub branch of raku called horse hair raku. These pieces are often white with squiggly black lines and smoke-like smudges. These effects are created by placing horse hair, feathers, or even sugar on the pottery as it is removed from the kiln and still extremely hot.  Amongst some of the western raku artists are the French ceramist Claude Champy, who received the Suntory Museum Grand Prix. Jane Malvisi is a British artist making raku figurines.

Kilns and firing.

The first Japanese-style kiln in the west was built by Tsuronosuke Matsubayashi at Leach Pottery, St Ives in 1922.  The type and the size of kilns that are used in raku are crucial in the outcome. One aspect that can affect the results is the use of electric versus gas kilns. Electric kilns allow easy temperature control. Gas kilns, which comprise brick or ceramic fibers, can be used in either oxidation or reduction firing and use propane or natural gas. Gas kilns also heat more quickly than electric kilns, but it is more difficult to maintain temperature control. There is a note-worthy difference when using an updraft kiln rather than a downdraft kiln. An updraft kiln has shelves that trap heat. This effect creates uneven temperatures throughout the kiln. Conversely, a downdraft kiln pulls air down a separate stack on the side and allows a more even temperature throughout and allows the work to be layered on shelves.  It is important for a kiln to have a door that is easily opened and closed, because, when the artwork in the kiln has reached the right temperature (over 1000 degrees Celsius), it must be quickly removed and put in a metal or tin container with combustible material, which reduces the pot and leaves certain colors and patterns.  The use of a reduction chamber at the end of the raku firing was introduced by the American potter Paul Soldner in the 1960s to compensate for the difference in atmosphere between wood-fired Japanese raku kilns and gas-fired American kilns. Typically, pieces removed from the hot kiln are placed in masses of combustible material (e.g., straw, sawdust, or newspaper) to provide a reducing atmosphere for the glaze and to stain the exposed body surface with carbon.  Western raku potters rarely use lead as a glaze ingredient, due to its serious level of toxicity, but may use other metals as glaze ingredients. Japanese potters substitute a non-lead frit. Although almost any low-fire glaze can be used, potters often use specially formulated glaze recipes that "crackle" or craze (present a cracked appearance), because the crazing lines take on a dark color from the carbon.  Western raku is typically made from a stoneware clay body, bisque fired at and glost or glaze fired (the final firing) between, which falls into the cone 06 firing temperature range. The process is known for its unpredictability, particularly when reduction is forced, and pieces may crack or even explode due to thermal shock. Pots may be returned to the kiln to re-oxidize if firing results do not meet the potter's expectations, although each successive firing has a high chance of weakening the overall structural integrity of the pot. Pots that are exposed to thermal shock multiple times can break apart in the kiln, as they are removed from the kiln, or when they are in the reduction chamber.  The glaze firing times for raku ware are short: an hour or two as opposed to up to 16 hours for high-temperature cone 10 stoneware firings. This is due to several factors: raku glazes mature at a much lower temperature (under, as opposed to almost for high-fire stoneware); kiln temperatures can be raised rapidly; and the kiln is loaded and unloaded while hot and can be kept hot between firings.  Because temperature changes are rapid during the raku process, clay bodies used for raku ware must be able to cope with significant thermal stress. The usual way to add strength to the clay body and to reduce thermal expansion is to incorporate a high percentage of quartz, grog, or kyanite into the body before the pot is formed. At high additions, quartz can increase the risk of dunting or shivering. Therefore, kyanite is often the preferred material, as it contributes both mechanical strength and, in amounts up to 20%, significantly reduces thermal expansion. Although any clay body can be used, white stoneware clay bodies are unsuitable for the western raku process unless some material is added to deal with thermal shock. Porcelain, however, is often used but it must be thinly thrown.  Aesthetic considerations include clay color and fired surface texture, as well as the clay's chemical interaction with raku glazes.  In a craft conference in Kyoto in 1979, a heated debate sprang up between Western raku artists Paul Soldner and the youngest in the dynastic raku succession, Kichiemon, (of the fourteenth generation of the "Raku" family of potters) concerning the right to use the title "raku". The Japanese artists maintain that any work by other craftsman should hold their own name, (i.e., Soldner-ware, Hirsh-ware), as that was how "raku" was intended.  Raku in the west has been abstracted and is now a more philosophical approach with the emphasis on the spontaneity of surface pattern creation rather than purely a firing technique. Consequently, this has expanded its application from pots to sculptural ceramics.

Reduction process.

Reduction firing is when the kiln atmosphere, which is full of combustible material, is heated up. "Reduction is incomplete combustion of fuel, caused by a shortage of oxygen, which produces carbon monoxide" (Arbuckle, 4) Eventually, all of the available oxygen is used. This then draws oxygen from the glaze and the clay to allow the reaction to continue. Oxygen serves as the limiting reactant in this scenario because the reaction that creates fire needs a constant supply of it to continue; when the glaze and the clay come out hardened, this means that the oxygen was subtracted from the glaze and the clay to accommodate the lack of oxygen in the atmosphere. Consequently, the Raku piece appears black or white, which depends upon the amount of oxygen that was lost from each area of the piece. The empty spaces that occur from the reduction of oxygen are filled in by carbon molecules in the atmosphere of the container, which makes the piece blacker in spots where more oxygen was retracted.

Raku reduction.

In the western style of raku firing, the aluminium container acts as a reduction chamber, which is a container that allows the carbon dioxide to pass through a small hole. A reduction atmosphere is created by closing the container. A reduction atmosphere induces a reaction between oxygen and the clay minerals, which affects the color. It also affects the metal elements of the glaze. Reduction is a decrease in oxidation number. Closing the can reduces the oxygen content after the combustible materials such as sawdust catch fire and forces the reaction to pull oxygen from the glazes and the clay minerals. For example, luster gets its color from deprivation of oxygen. The reduction agent is a substance from which electrons are being taken by another substance. The reaction uses oxygen from the atmosphere within the reduction tube, and, to continue, it receives the rest of the oxygen from the glazes. This leaves ions and iridescent luster behind. This creates a metallic effect. Pieces with no glaze have nowhere to get the oxygen from, so they take it from clay minerals. This atmosphere will turn clay black, making a matte color.

Design considerations.

Raku is a unique form of pottery making; what makes it unique is the range of designs that can be created by simply altering certain variables. These variables—which include wax resist, glazes, slips, temperature, and timing—ultimately determine the outcome when firing a piece of clay.  Wax resist: which is painted over the bare untainted clay, results in the suspension of wax in water before the raku glaze goes on. This is done so that the glaze does not cover the area where the wax resist was applied, thus creating a design. When in the kiln, the wax melts off and the carbon, that results from oxygen reduction, replaces the wax. This is the result of the combustion reaction. Raku glazes contain alumina, which has a very high melting point. Therefore, carbon will not replace the glaze as it does the melted wax. Any unglazed areas turn black due to the carbon given off from the reduction of oxygen. Next, the clay is moved from the kiln to a container, usually a trashcan, which contains combustible organic materials such as leaves, sawdust, or paper.  Crackle glazes: is a glaze with a clear base that contain metallic compounds to add color. Metals such as copper, iron, and cobalt; which produce different colors. After the glaze has reached a certain temperature, the metal in the glaze reacts taking on a specific color. For example, cobalt produces dark-blue, and copper produces green but can also produce a red when the oxygen in the glaze is completely gone. Once the lid of the container is closed, the reduction oxidation (redox) process begins. The temperature change from the kiln to the container is where the magic of raku occurs. The change in temperature and in the redox sometimes cause cracking or crazing. Crazing is a consistent cracking in the glaze of a piece, as is seen on the white crackle glaze. This either enhances or detracts from the design. The timing of removal and placement in water directly affects the shades of each color.  Copper glazes: are treated completely different than crackle glazes. While with the crackle glazes you want the piece to go through an oxidation process and to cool so the glaze will crackle while transferring from the kiln to the reduction chamber, the copper glazes should soak up as little oxygen as possible, you want the piece to go from the kiln to the reduction chamber as quickly as possible. This causes the glaze to have as much reduction as possible and can pull out vibrant flashes of color from the glaze and end with either a matte or glossy depending on the type of glaze that you use colorful look.  Naked Raku is done by coating a section of the exterior of the piece with the slip taping off anywhere on the piece that you want to turn black after reduction. Then you place the piece directly into the kiln and slowly heat up to about until the slip has dried. Once dry continue heating until. When you reach temperature you can pull the piece from the kiln and place the piece into the reduction chamber. In reduction the carbon will soak into the clay where the slip has cracked and turn black, but where the slip is stuck on the clay will keep its natural color. Once the piece has cooled enough you can use your finger nails or a credit card to chip off the slip and reveal the design.  Horse hair: Horse hair decoration is a process where the piece is left without glaze and brought up to temperature in the kiln and when removed from the kiln it is not placed into the reduction chamber; instead it is placed in the open where horse hair is strategically arranged on the piece. The horse hair will immediately burn and leave thin linear markings on the pottery.

In literature.

Hiroshi Teshigahara made the film "Rikyu", which is a nearly documentary story showing how Sen no Rikyu met Chojiro, who made the first genuine Raku tea bowl (chawan) and how Rikyu trained the shogun Toyotomi Hideyoshi in the tea ceremony with Raku chawans.(Ashton D 1997).

The Western version of raku was developed in the 20th century by studio potters. Typically wares are fired at a high temperature, and after removing pieces from the kiln, the wares are placed in an open-air container filled with combustible material, which is not a traditional Raku practice in Japan. The Western process can give a great variety of colors and surface effects, making it very popular with studio and amateur potters.

乐烧()是桃山时代最具代表性的茶碗之一,为乐家初代名匠长次郎(? – 1625)继承千利休(1522 – 1591)于天正年间(1573 – 591)所倡议的茶道理念所烧制。


第101号交响曲 (海顿)

Composition, premiere, and reception.

Haydn completed the symphony in 1793 or 1794. He wrote it for the second of his two visits to London. Having heard one of his symphonies played in London with an orchestra of 300-strong, his "Clock" Symphony has that large scale grandeur written in it. On 3 March 1794, the work was premiered with an orchestra of 60 personally gathered by Haydn's colleague and friend Johann Peter Salomon, who also acted as concertmaster, in the Hanover Square Rooms, as part of a concert series featuring Haydn's work organized by Salomon; a second performance took place a week later.  As was generally true for the London symphonies, the response of the audience was very enthusiastic. The "Oracle" reported that "the connoisseurs admit [it] to be his best work." Additionally, the "Morning Chronicle" reported:  As usual the most delicious part of the entertainment was a new grand Overture [that is, symphony] by HAYDN; the inexhaustible, the wonderful, the sublime HAYDN! The first two movements were encored; and the character that pervaded the whole composition was heartfelt joy. Every new Overture he writes, we fear, till it is heard, he can only repeat himself; and we are every time mistaken.  The work has always been popular and continues to appear frequently on concert programs and in recordings. An average performance lasts about 27 minutes.

The music.

It is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.  The work is in standard four-movement form, as follows:  The opening movement starts with a minor introduction consisting of 23 measures. A rising scale motif opens the Adagio, similar to the opening of the main theme of the Presto, and connects the Adagio to the main movement. The main theme of the Presto is meant to catch attention — the rising scale motif begins and ends on the dominant, and two broken chords follow — the tonic and the second degree minor, and ends on the tonic. This phrase also consists of 10 bars, broken into two parts of an odd 1+4 bar distribution. After the main theme, this phrase returns and starts the modulation by the usage of the A diminished chord, leading to E minor, which finally leads to E major, the dominant of A major. The secondary theme has a similar rhythmic pattern, also beginning with scales in the violins but descending this time, but it has more subtlety. A triumphant codetta concludes the exposition. The development begins with the secondary theme motif reoccurring in different instruments in counterpoint, and transitions into the different motifs of the main theme, also playing contrapuntally. The development turns toward conclusion with the secondary theme once more, and ends with a long falling scale. The recapitulation is straightforward, and the triumphant coda finishes this grand movement. The "Morning Chronicle" said, "Nothing can be more original than the subject of the first movement, and having found a happy subject, no man knows like Haydn how to produce incessant variety, without once departing from it."  The second movement, from which the symphony gets its name, begins with plucked strings and a bassoon. Towards the middle of the movement, there is a dark, fierce passage in G minor, followed by Haydnesque humor and finally the clock theme once again. Michael Steinberg said, "Haydn has a gratifying number of different clocks in his shop, offering 'tick-tock' in a happy variety of colors."  In 1793, Haydn had given his employer Prince Esterházy an elaborate musical clock, for which he wrote 12 short pieces, one of them being the basis for the third movement. This movement, a minuet, is one of Haydn's longest. The trio evokes a bungling village band, with more Haydnesque humor, similar to what Beethoven would use in the trio of his "Pastoral" Symphony. Many scholars, publishers, and musicians, not knowing Haydn's humor, would often "correct" the trio.  The finale of the work is a monothematic rondo-sonata. This means that the main theme and the secondary theme are similar, or in this case, almost identical, and the main theme is played every time a theme ends. Haydn vastly changes the main theme with each occurrence — something that is not done in rondo works. Even the bridges in between themes are similar to the main theme. Haydn also builds a fugue into the last movement.

The Symphony No. 101 in D major (Hoboken 1/101) is the ninth of the twelve London symphonies written by Joseph Haydn. It is popularly known as The Clock because of the "ticking" rhythm throughout the second movement.

海顿第101号交响曲(D大调第101号交响曲,Symphony No.101 in D Major)是约瑟夫·海顿十二首伦敦交响曲中的第九首,创作于1793～1794年。因为第二乐章低音部的伴奏,充满着规则的八分音符节奏,有如时钟的「滴答」声,因此又有「时钟交响曲」的别名。


Taxonomy.

The family Parulidae was introduced for the New World warblers in 1947 by the American ornithologist Alexander Wetmore and colleagues with "Parula" as the type genus.  The family is sister to a clade containing the yellow-breasted chat in its own family Icteriidae, the wrenthrush in its own family Zeledoniidae, the two Cuban warblers in the family Teretistridae and the 109 species in the family Icteridae.  A molecular phylogenetic study of the Parulidae published in 2010 found that the species formed several major clades that did not align with the traditional genera. This led to a major reorganization of the species within the family to create monotypic genera. The changes have generally followed the recommendations of the authors of the study except in a few cases where the proposed genera were split to separate basal species from their proposed conspecifics.  A large clade that included the 29 species then placed in the genus "Dendroica", also included four species of "Parula", one of the three species of "Wilsonia" and the monotypic genera "Catharopeza" and "Setophaga". All members of the clade apart from the basal "Catharopeza" were placed in the expanded genus "Setophaga" Swainson, 1827, which under the rules of the International Code of Zoological Nomenclature, had priority over "Dendroica" Gray, 1842, "Wilsonia" Bonaparte, 1838, and "Parula" Bonaparte, 1838.  The species that had traditionally been placed in "Basileuterus" formed two clades. One group retains the genus name as it includes the golden-crowned warbler, the type species for the genus. The other larger group, now with 18 species, is placed in the resurrected genus "Myiothlypis" Cabanis, 1850, as it contains the type species, the black-crested warbler.  The genus "Myioborus" containing the whitestarts remained unchanged after the reorganization but six genera were no longer used: "Dendroica", "Ergaticus", "Euthlypis", "Parula", "Wilsonia" and "Phaeothlypis".

Extant Genera.

The family Parulidae now contains 119 species divided into 18 genera.

Former species.

Some species that were previously placed in Parulidae have been moved to other families:

Description.

All the warblers are fairly small. The smallest species is Lucy's warbler ("Oreothlypis luciae"), around 6.5 g and. Which species is the largest depends upon which are to be included in the family. Traditionally, this was considered to be the yellow-breasted chat, at. Since this may not be a parulid, the "Parkesia" waterthrushes, the ovenbird, the russet-crowned warbler, and Semper's warbler, all of which can exceed and 21 g, might be considered the largest.  The migratory species tend to lay larger clutches of eggs, typically up to six, since the hazards of their journeys mean that many individuals will have only one chance to breed. In contrast, the laying of two eggs is typical for many tropical species, since the chicks can be provided with better care, and the adults are likely to have further opportunities for reproduction.  Many migratory species, particularly those which breed further north, have distinctive male plumage at least in the breeding season, since males need to reclaim territory and advertise for mates each year. This tendency is particularly marked in the large genus "Setophaga" (formerly "Dendroica"). In contrast, resident tropical species, which pair for life, show little if any sexual dimorphism, but exceptions occur. The "Parkesia" waterthrushes and ovenbird] are strongly migratory, but have identical male and female plumage, whereas the mainly tropical and sedentary yellowthroats are dimorphic. The "Granatellus" chats also show sexual dimorphism, but due to recent genetic work, have been moved into the family Cardinalidae (New World buntings and cardinals).

The New World warblers or wood-warblers are a group of small, often colorful, passerine birds that make up the family Parulidae and are restricted to the New World. They are not closely related to Old World warblers or Australian warblers. Most are arboreal, but some, like the ovenbird and the two waterthrushes, are primarily terrestrial. Most members of this family are insectivores.

森莺科(学名:),亦称为林莺科,是雀形目的一科,由生活于新大陆的小型鸣禽构成,又称为新大陆莺。它们与旧大陆莺与澳洲莺并没有直接的亲缘关系。


Early life.

Blake was born in 1932 in Sidcup, Kent, and was evacuated to the West Country during World War II. He attended Holy Trinity Lamorbey Church of England Primary School and Chislehurst and Sidcup Grammar School, where his English teacher, J. H. Walsh, influenced him into literature. His artistic development during his school years was helped by contact with the painter and cartoonist Alfred Jackson, the husband of Blake's Latin teacher, who encouraged his first submissions to "Punch", resulting in his first publication at the age of 16. In the sixth form, the school's art teacher, the painter Stanley Simmonds recognized Blake's talents and provided support and exposure to the work of other artists. He read English Literature at Downing College, Cambridge, under F. R. Leavis, from 1953 to 1956, received his postgraduate teaching diploma from the University of London, and later studied part-time at the Chelsea School of Art and later Camberwell College of Art. He has since denied that studying at the University of Cambridge contributed to his artistic or creative talent. He gained a teaching diploma at the Institute of Education.

Career.

During the 1960s, Blake taught English at the Lycée Français de Londres which cemented his long association with France and culminated in the award of the Legion of Honour. He taught at the Royal College of Art for over twenty years, where he was head of the Illustration department from 1978 to 1986.  The first book that Blake illustrated was "The Wonderful Button" by Evan Hunter, published by Abelard-Schuman in 1961. In his subsequent career he gained a reputation as a loyal, reliable and humorous illustrator of more than 300 children's books, including some written by Joan Aiken, Elizabeth Bowen, Sylvia Plath, Roald Dahl, Nils-Olof Franzén, William Steig, and Dr. Seuss. He illustrated the first Seuss book that Seuss did not illustrate himself, "Great Day for Up!" (1974). By 2006, Blake had illustrated 323 books, of which he had written 35 and Dahl had written 18. To date, Blake has illustrated two of David Walliams' books and has illustrated Folio Society Limited Editions such as "Don Quixote", "Candide" and "50 Fables of La Fontaine".  In the 1970s, Blake was an occasional presenter of the BBC children's story-telling programme "Jackanory", when he would illustrate the stories on a canvas as he was telling them. In 1993, he designed the five British Christmas issue postage stamps featuring episodes from "A Christmas Carol" by Charles Dickens.  Blake is a member of the Chelsea Arts Club. He is patron of the Blake Society, Downing College's arts and humanities society. He is also a patron of "The Big Draw" which aims to get people drawing throughout the United Kingdom, and of The Nightingale Project, a charity that provides art to hospitals. Since 2006 he has produced work for several hospitals and mental health centres in the London area, a children's hospital (hopital Armand Trousseau) in Paris, and a maternity hospital in Angers, France. These projects are detailed in Blake's 2012 book "Quentin Blake: Beyond the Page", which describes how, in his seventies, his work has increasingly appeared outside the pages of books, in public places such as hospitals, theatre foyers, galleries and museums.  Blake is a supporter of and ambassador for the indigenous rights NGO Survival International. In 2009, he said, "For me, Survival is important for two reasons; one is that I think it’s right that we should give help and support to people who are threatened by the rapacious industrial society we have created; and the other that, more generally, it gives an important signal about how we all ought to be looking after the world. It's message is the most fundamental of any charity I'm connected with."  Blake is a trustee of The House of Illustration, a centre in London for exhibitions, educational events and activities related to the art of illustration. He was also the subject of the first exhibition at this venue, entitled Inside Stories", which opened in July 2014. Besides children's books, he is also the designer of Ben, the logo of the shop chain Ben's Cookies. He designed several illustrations for the story time segments for the Scottish TV series "Squeak!"

Personal life.

Blake has never married and has no children.

Selected works.

The following books were both written and illustrated by Blake:  Blake has illustrated a score of books by Roald Dahl.  He also illustrated the British edition of Agaton Sax, a Swedish-language series of comedy detective novels by Nils-Olof Franzén (originally illustrated by Åke Lewerth, 1955 to 1978).

Honours and awards.

Blake was the inaugural British Children's Laureate (1999–2001) and he received the biennial Hans Christian Andersen Award from the International Board on Books for Young People for his career contribution to children's literature in 1987. He was appointed Commander of the Order of the British Empire (CBE) in the 2005 New Year Honours for his services to children's literature. In France he was made a Knight of the Ordre des Arts et des Lettres in 2002 and elevated to Officer in 2007.  For "Mister Magnolia", which he also wrote, Blake won the 1980 Kate Greenaway Medal from the Library Association, recognising the year's best children's book illustration by a British subject. For the 50th anniversary of the Medal (1955–2005), a panel of experts named it one of the top ten winning works, which composed the ballot for a public election of the nation's favourite. He was also a highly commended Greenaway runner-up for "The Wild Washerwomen: A new folk tale", by John Yeoman (1979), and a commended runner-up for "Clown" (1995), which he wrote himself. He made the Greenaway shortlist for "Zagazoo" (1998), which he wrote, and for "Sad Book" (2004) by Michael Rosen.  He won the Kurt Maschler Award, or the Emil, for "All Join In" (Jonathan Cape, 1990), which he wrote and illustrated. The award from Maschler Publications and Booktrust annually recognised one British "work of imagination for children, in which text and illustration are integrated so that each enhances and balances the other." Blake was awarded the Prince Philip Designers Prize in 2011, and received the Eleanor Farjeon Award in November 2012. This annual award administered by Children's Book Circle recognises outstanding commitment and contribution to the world of British children's books. Blake was created a Knight Bachelor in the 2013 New Year Honours for his services to illustration. In March 2014 he was awarded the insignia of a Chevalier de la Légion d'honneur at a ceremony at the Institut Français in London.

Sir Quentin Saxby Blake, CBE, FCSD, FRSL, RDI (born 16 December 1932) is an English cartoonist, illustrator and children's writer. He has illustrated over 300 books, including 18 written by Roald Dahl, which are among his most popular works. For his lasting contribution as a children's illustrator he won the biennial, international Hans Christian Andersen Award in 2002, the highest recognition available to creators of children's books. From 1999 to 2001 he was the inaugural British Children's Laureate. He is a patron of the Association of Illustrators.

昆丁·萨克斯比·布雷克爵士,CBE,FCSD,RDI(Sir Quentin Saxby Blake,1932年-12月16日)是位英国的插画家、卡通画家与儿童绘本作者。


Name.

The name "Balor" may come from Common Celtic "*Boleros", meaning "the flashing one".  In the early literature he is also referred to as "Balor Béimnech" (Balor the smiter), "Balor Balcbéimnech" (Balor the strong smiter), "Balor Birugderc" (Balor of the piercing-eye), "Balor mac Doit meic Néid" (Balor, son of Dot son of Nét) or "Balor ua Néit" (Balor, grandson of Nét).  Later forms are "Balor Béimeann" or "Balar Bemen" ("Ogygia", 1685), and "Balór na Súile Nimhe" (Balor of the Evil Eye).

Mythological Cycle.

Balor first appears in the medieval texts that make up the Mythological Cycle.

Family.

Balor was the son of Dot son of Néit according to the "Cath Maige Tuired" ("CMT"), but called Balor son of Buarainech in the list of renowned rath- and castle-builders of the world, preserved in the "Book of Leinster". Cethlenn was Balor's wife according to O'Flaherty's "Ogygia" (1685). Cethlenn is mentioned by name in the "Lebor Gabála Érenn" ("LGE"), but not as a wife of Balor.

Formorian rank.

The Mythological Cycle tells of a struggle between the divine Tuatha Dé Danann and the demonic Fomorians. At the behest of Bres, the Fomorians go to war against the Tuath Dé. Balor appears as champion of the Fomorians and king of the Isles (the Hebrides), while Indech mac De was the Fomorian king; the two of them leading the Fomorian army. Balor built for Bres the fort of Rath Breisi in Connacht, according to the rath-builder list.

Death in battle.

In the ensuing battle, the second Battle of Mag Tuired, Balor kills the Tuath Dé king Nuada Airgetlám, but Balor is himself killed by his own grandson Lugh before he had a chance to use his destructive eye. Balor's eye wreaked destruction when opened, unleashing some "power of poison", but it took the strength of four warriors to lift the eyelid, by grabbing the ring (handle) attached to it. Lugh shot a sling-stone (, "stone from the sling") at the eye, which came out the other side and harmed the Fomorian army. Balor's body then crushed 27 Fomorian soldiers, and his head touched the king, Indech.  Though not stated outright, the supposition is that Balor here is a "one-eyed giant". In one account of the battle, Lugh also killed a Fomorian leader named Goll (meaning "one-eyed"), who may be a duplication of Balor. The "CMT" says that Balor's eye gained its baleful power from exposure to the fumes from the magic potion his father's druids were brewing. O'Curry tantalizingly stated he was in possession of a manuscript with an alternate explanation on how Balor got his power, but does not elaborate due to lack of space.  Another description of Balor's death, dating from at least the 12th century, says he survived the loss of his eye and was chased by Lugh to Mizen Head. Lugh beheads Balor and sets the head on a large rock, which then shatters. This is said to be the origin of the headland's Irish name, "Carn Uí Néit" ("cairn of Nét's grandson").

Folktale.

In one early collected and published folktale (mid-19th century) Balor is a famous warrior on Tory Island. Balor hears a prophecy that he would be killed by his grandson. To avoid his fate, he locks his only daughter, Ethnea ("recte" Eithne), in a tower to keep her from becoming pregnant. Balor goes to Donegal across the sea, and steals the magical cow of abundance Glas Gaibhnenn belonging to MacKineely ("recte" Cian mac Cáinte) MacKineely/Cian learns he can only get the cow back when Balor is dead, and with the help of his female familiar spirit ("leanan sídhe") named Biróg, enters the tower, finds Ethnea and impregnates her. Balor orders the three children born to be drowned, but one survives. The grandson is fostered by the smith who is his uncle Balor eventually encounters his grandson by chance and is killed by him.  The unnamed grandson in the tale is recognizable as Lugh. In "Balor on Tory Island" and its variant, the child is called Lui Lavada (Lui Longhand), and are recognized as equivalents of Lugh. In the closely similar Irish text "Balor agus Mac Cionnfhaolaidh", the child is Lugh Fadlámhach, i.e., "Lugh the long-armed". In another variant, the child is called Dul Dauna, which has been explained as a corruption of "Ildanach" "master of all knowledge", Lugh's nickname.  The weapon used against Balor by his grandson may be a red-hot heated iron rod, or a special red spear crafted by the smith Gaivnin Gow, the latter being of special interest to A. C. L. Brown who tries to establish connection to Arthurian lore.

Balor's eye.

"Balor himself may have one, two or three eyes, one of which is poisonous, incendiary, or otherwise malignant; he may have two eyes in front, one each in front and back, an extra eye in the middle of his forehead. Lug always puts the evil eye out", as summarized by Mark Scowcroft.  In O'Donovan's version of the folktale above, Balor has one eye in the middle of the forehead, and a deadly eye on the back of his head. It is described as both venomous, and issuing some sort of petrifying beam with powers like unto a basilisk. O'Curry deplored the dissemination of such a "peasantry" version, assisted by O'Donovan printing it. This second eye in the back does not preclude comparison with the one-eyed Cyclops of Greek myth.

Number of eyes and eye-cover.

In "Balor on Tory Island", Balor covers the eye in the middle of his forehead with nine leather shields, but Lugh (Lui Lavada "the Longhand") sends a red spear crafted by Gavidin Gow through all the layers.  It may be that this forehead eye should be interpreted an "extra eye in the middle of his forehead" (one of three) as Scowcroft puts it, otherwise Balor would be rendered blind most of the time. But Scowcroft does not specify the work he is alluding to. Balor is explicitly three-eyed in a version published by William Hamilton Maxwell.  But another version of the folktale (from County Mayo) says that Balor was single-eyed, yet it was usually covered: "He had a single eye in his forehead, a venomous fiery eye. There were always seven coverings over this eye. One by one Balar removed the coverings. With the first covering the bracken began to wither, with the second the grass became copper-coloured, with the third the woods and timber began to heat, with the fourth smoke came from the trees, with the fifth everything grew red, with the sixth it sparked. With the seventh, they were all set on fire, and the whole countryside was ablaze!"

Severed head and lake origin tales.

According to a lay in "Duanaire Finn", Balor's severed head being set in the fork of an oak, and that tree which absorbed the venom became the timber-wood made into the shield of Fionn mac Cumhaill.  In "Balor on Tory Island" and the Irish text close to it, Lui Lavada (or Lugh) sets Balor's head on a rock, and a lake forms from the dripping pool of liquid. The Irish text does not specify location, but Curtin's tale in English Gweedore Loch (in County Donegal, local to the storyteller).  But according to a piece of folklore from County Sligo, Balor was said to have a glass through which he would look to destroy a person with his eye. He used the glass to burn and wither all of the plants at Moytura, which prompted a hero to ask how he did this. Balor, being duped by the trick, removed the glass from his eye long enough for the hero to put the eye out. The blood running from Balor's eye created a lake called "Suil Balra" or "Lochan na Súil" (Lough Nasool, "lake of the eye"), near Ballindoon Abbey.

Localization of the legend.

The placing of Balor's stronghold on Tory Island derives from the medieval literature, which places the Fomorians' stronghold there. On Tory Island there are geological features called "Dún Bhalair" ("Balor's fortress") and "Túr Bhalair" ("Balor's tower"), and a tall rock formation called "Tór Mór" ("great tower").  Although the Tory Island version of the folktale printed by O'Donovan was influential, this may have misled the public with the impression that "Tory has almost a monopoly of Balor traditions", so argues Henry Morris. O'Donovan said that Balor was remembered "throughout Ireland". The Balor tales involving the magic cow were also being told plentifully elsewhere, particularly "South of Ulster". Morris stated he had collected "remnants" in Farney, Monaghan c. 1900, and that these versions connected Balor and the cow Glasgaivlen with places as far afield as "south Monaghan to Rockabill Island off the coast of Dublin".

Interpretations.

Balor has been seen as symbolic of solar deity the old year, struggling with the solar god of the new year, namely Lugh.  Folklorist Alexander Haggerty Krappe subscribed to this notion, and hypothesized that the additional motif of the Balor figure, (the old man representing winter and the old year), confining the woman representing the fertile earth is of ancient mythical origin.  Dáithí Ó hÓgáin espouses the interpretation that Balor personifies the harmful aspects of the sun, such as the scorching sun that would bring crop failure and drought. He speculates that the imagery of Balor is a conflation of a Bronze Age Celtic sun god with the Greek Cyclops. Both Ó hÓgáin and Máire MacNeill believe that Lugh's slaying of Balor was originally a harvest myth associated with the festival of Lughnasa and the later tale of Saint Patrick overcoming Crom Dubh. Ó hÓgáin also believes that the hero Fionn's conflict with figures named Goll (meaning "one-eyed"), Áed (meaning "fire") and Aillen (the burner) stems from Lugh's conflict with Balor.

Parallels.

The parallel between Balor and Ysbaddaden from Welsh mythology has been noted by several commentators, but for different reasons. Each is a giant whose eyelid takes several men to lift (using a ring handle vs. lifting with forks); each has a spear cast at him and loses an eye; and each is unwilling to give away his daughter to the bridal-quester.  Since the mid-19th century, Balor has been likened to figures from Greek mythology, especially the Cyclops. James O'Laverty noted the parallel with Acrisius, the King of Argos who was fated to be killed by his grandson, the hero Perseus. This parallel has been pursued at length by others.  O'Laverty also ventured that the name "Balor" may be linked to the name of the Greek hero Bellerophon. Arbois de Jubainville argued that the name "Bellerophon" means "slayer of Belleros" and that this is another name for the Chimera. He asserts that both the Chimera and Balor are monsters that spew flame or thunderbolts.  However, de Jubainville (and others) also seized on another comparison: between Balor and Argos the many-eyed watchman of the white cow Io. Since the destroyer of the former is Lugh, and of the latter is Hermes, this neatly fits into the framework of identifying the Celtic Hermes with Lugh.  Krappe lists six elements that are found in other myths: the prophecy of being slain by his own descendant; the precaution of locking the daughter in a tower; the seduction of the daughter by a stranger, who needs to use magic to gain access; the birth of a boy and the attempt to drown him; the fostering of the boy, and the fulfillment of the prophecy by the boy killing his grandparent. Krappe drew parallel with the (vy), the heavy eye-lidded creature that appears in Gogol's story "Viy", which W. R. S. Ralston believed was the identity of the witch's husband in the skazka "Ivan the Bull's Son", but the existence of such a being in East Slavic folklore has been met with skepticism.

In Irish mythology, Balor or Balar was a leader of the Fomorians, a group of malevolent supernatural beings. He is often described as a giant with a large eye that wreaks destruction when opened. Balor takes part in the Battle of Mag Tuired, and is primarily known from the tale in which he is killed by his grandson Lugh of the Tuatha Dé Danann. He has been interpreted as a personification of the scorching sun, and has also been likened to figures from other mythologies, such as the Welsh Ysbaddaden and Greek Cyclops.

巴罗尔(Balor),弗摩尔(Fomor)之王,凯尔特神话中的恶神。与爱尔兰的达南神族展开战争,最后被其后裔太阳神鲁格(Lugh)所击败。