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Many dialects have multiple emphatic allophones of each vowel, depending on the particular nearby consonants. In most MSA accents, emphatic coloring of vowels is limited to vowels immediately adjacent to a triggering consonant, although in some it spreads a bit farther: e.g., 'time'; 'homeland'; 'downtown' (sometimes or similar). In a non-emphatic environment, the vowel in the diphthong is pronounced or : hence 'sword' but 'summer'. However, in accents with no emphatic allophones of (e.g., in the Hejaz), the pronunciation or occurs in all situations. Consonants The phoneme is represented by the Arabic letter () and has many standard pronunciations. is characteristic of north Algeria, Iraq, and most of the Arabian peninsula but with an allophonic in some positions; occurs in most of the Levant and most of North Africa; and is used in most of Egypt and some regions in Yemen and Oman. Generally this corresponds with the pronunciation in the colloquial dialects. In some regions in Sudan and Yemen, as well as in some Sudanese and Yemeni dialects, it may be either or , representing the original pronunciation of Classical Arabic. Foreign words containing may be transcribed with , , , , , or , mainly depending on the regional spoken variety of Arabic or the commonly diacriticized Arabic letter. In northern Egypt, where the Arabic letter () is normally pronounced , a separate phoneme , which may be transcribed with , occurs in a small number of mostly non-Arabic loanwords, e.g., 'jacket'. () can be pronounced as . In some places of Maghreb it can be also pronounced as . and () are velar, post-velar, or uvular. In many varieties, () are epiglottal in Western Asia. is pronounced as velarized in الله , the name of God, q.e. Allah, when the word follows a, ā, u or ū (after i or ī it is unvelarized: bismi l–lāh ). Some speakers velarize other occurrences of in MSA, in imitation of their spoken dialects. The emphatic consonant was actually pronounced , or possibly —either way, a highly unusual sound. The medieval Arabs actually termed their language 'the language of the Ḍād' (the name of the letter used for this sound), since they thought the sound was unique to their language. (In fact, it also exists in a few other minority Semitic languages, e.g., Mehri.) Arabic has consonants traditionally termed "emphatic" (), which exhibit simultaneous pharyngealization as well as varying degrees of velarization (depending on the region), so they may be written with the "Velarized or pharyngealized" diacritic () as: . This simultaneous articulation is described as "Retracted Tongue Root" by phonologists. In some transcription systems, emphasis is shown by capitalizing the letter, for example, is written ; in others the letter is underlined or has a dot below it, for example, . Vowels and consonants can be phonologically short or long. Long (geminate) consonants are normally written doubled in Latin transcription (i.e. bb, dd, etc. ), reflecting the presence of the Arabic diacritic mark , which indicates doubled consonants.

Many dialects have multiple emphatic allophones of each vowel, depending on the particular nearby consonants. In most MSA accents, emphatic coloring of vowels is limited to vowels immediately adjacent to a triggering consonant, although in some it spreads a bit farther: e.g., 'time'; 'homeland'; 'downtown' (sometimes or similar). In a non-emphatic environment, the vowel in the diphthong is pronounced or : hence 'sword' but 'summer'. However, in accents with no emphatic allophones of (e.g., in the Hejaz), the pronunciation or occurs in all situations. Consonants The phoneme is represented by the Arabic letter () and has many standard pronunciations. is characteristic of north Algeria, Iraq, and most of the Arabian peninsula but with an allophonic in some positions; occurs in most of the Levant and most of North Africa; and is used in most of Egypt and some regions in Yemen and Oman. Generally this corresponds with the pronunciation in the colloquial dialects. In some regions in Sudan and Yemen, as well as in some Sudanese and Yemeni dialects, it may be either or , representing the original pronunciation of Classical Arabic. Foreign words containing may be transcribed with , , , , , or , mainly depending on the regional spoken variety of Arabic or the commonly diacriticized Arabic letter. In northern Egypt, where the Arabic letter () is normally pronounced , a separate phoneme , which may be transcribed with , occurs in a small number of mostly non-Arabic loanwords, e.g., 'jacket'. () can be pronounced as . In some places of Maghreb it can be also pronounced as . and () are velar, post-velar, or uvular. In many varieties, () are epiglottal in Western Asia. is pronounced as velarized in الله , the name of God, q.e. Allah, when the word follows a, ā, u or ū (after i or ī it is unvelarized: bismi l–lāh ). Some speakers velarize other occurrences of in MSA, in imitation of their spoken dialects. The emphatic consonant was actually pronounced , or possibly —either way, a highly unusual sound. The medieval Arabs actually termed their language 'the language of the Ḍād' (the name of the letter used for this sound), since they thought the sound was unique to their language. (In fact, it also exists in a few other minority Semitic languages, e.g., Mehri.) Arabic has consonants traditionally termed "emphatic" (), which exhibit simultaneous pharyngealization as well as varying degrees of velarization (depending on the region), so they may be written with the "Velarized or pharyngealized" diacritic () as: . This simultaneous articulation is described as "Retracted Tongue Root" by phonologists. In some transcription systems, emphasis is shown by capitalizing the letter, for example, is written ; in others the letter is underlined or has a dot below it, for example, . Vowels and consonants can be phonologically short or long. Long (geminate) consonants are normally written doubled in Latin transcription (i.e. bb, dd, etc. ), reflecting the presence of the Arabic diacritic mark , which indicates doubled consonants.

In actual pronunciation, doubled consonants are held twice as long as short consonants. This consonant lengthening is phonemically contrastive: 'he accepted' vs. 'he kissed'. Syllable structure Arabic has two kinds of syllables: open syllables (CV) and (CVV)—and closed syllables (CVC), (CVVC) and (CVCC). The syllable types with two morae (units of time), i.e. CVC and CVV, are termed heavy syllables, while those with three morae, i.e. CVVC and CVCC, are superheavy syllables. Superheavy syllables in Classical Arabic occur in only two places: at the end of the sentence (due to pausal pronunciation) and in words such as 'hot', 'stuff, substance', 'they disputed with each other', where a long occurs before two identical consonants (a former short vowel between the consonants has been lost). (In less formal pronunciations of Modern Standard Arabic, superheavy syllables are common at the end of words or before clitic suffixes such as 'us, our', due to the deletion of final short vowels.) In surface pronunciation, every vowel must be preceded by a consonant (which may include the glottal stop ). There are no cases of hiatus within a word (where two vowels occur next to each other, without an intervening consonant). Some words do have an underlying vowel at the beginning, such as the definite article al- or words such as 'he bought', 'meeting'. When actually pronounced, one of three things happens: If the word occurs after another word ending in a consonant, there is a smooth transition from final consonant to initial vowel, e.g., 'meeting' . If the word occurs after another word ending in a vowel, the initial vowel of the word is elided, e.g., 'house of the director' . If the word occurs at the beginning of an utterance, a glottal stop is added onto the beginning, e.g., 'The house is ...' . Stress Word stress is not phonemically contrastive in Standard Arabic. It bears a strong relationship to vowel length. The basic rules for Modern Standard Arabic are: A final vowel, long or short, may not be stressed. Only one of the last three syllables may be stressed. Given this restriction, the last heavy syllable (containing a long vowel or ending in a consonant) is stressed, if it is not the final syllable. If the final syllable is super heavy and closed (of the form CVVC or CVCC) it receives stress. If no syllable is heavy or super heavy, the first possible syllable (i.e. third from end) is stressed. As a special exception, in Form VII and VIII verb forms stress may not be on the first syllable, despite the above rules: Hence 'he subscribed' (whether or not the final short vowel is pronounced), 'he subscribes' (whether or not the final short vowel is pronounced), 'he should subscribe (juss.)'. Likewise Form VIII 'he bought', 'he buys'.

In actual pronunciation, doubled consonants are held twice as long as short consonants. This consonant lengthening is phonemically contrastive: 'he accepted' vs. 'he kissed'. Syllable structure Arabic has two kinds of syllables: open syllables (CV) and (CVV)—and closed syllables (CVC), (CVVC) and (CVCC). The syllable types with two morae (units of time), i.e. CVC and CVV, are termed heavy syllables, while those with three morae, i.e. CVVC and CVCC, are superheavy syllables. Superheavy syllables in Classical Arabic occur in only two places: at the end of the sentence (due to pausal pronunciation) and in words such as 'hot', 'stuff, substance', 'they disputed with each other', where a long occurs before two identical consonants (a former short vowel between the consonants has been lost). (In less formal pronunciations of Modern Standard Arabic, superheavy syllables are common at the end of words or before clitic suffixes such as 'us, our', due to the deletion of final short vowels.) In surface pronunciation, every vowel must be preceded by a consonant (which may include the glottal stop ). There are no cases of hiatus within a word (where two vowels occur next to each other, without an intervening consonant). Some words do have an underlying vowel at the beginning, such as the definite article al- or words such as 'he bought', 'meeting'. When actually pronounced, one of three things happens: If the word occurs after another word ending in a consonant, there is a smooth transition from final consonant to initial vowel, e.g., 'meeting' . If the word occurs after another word ending in a vowel, the initial vowel of the word is elided, e.g., 'house of the director' . If the word occurs at the beginning of an utterance, a glottal stop is added onto the beginning, e.g., 'The house is ...' . Stress Word stress is not phonemically contrastive in Standard Arabic. It bears a strong relationship to vowel length. The basic rules for Modern Standard Arabic are: A final vowel, long or short, may not be stressed. Only one of the last three syllables may be stressed. Given this restriction, the last heavy syllable (containing a long vowel or ending in a consonant) is stressed, if it is not the final syllable. If the final syllable is super heavy and closed (of the form CVVC or CVCC) it receives stress. If no syllable is heavy or super heavy, the first possible syllable (i.e. third from end) is stressed. As a special exception, in Form VII and VIII verb forms stress may not be on the first syllable, despite the above rules: Hence 'he subscribed' (whether or not the final short vowel is pronounced), 'he subscribes' (whether or not the final short vowel is pronounced), 'he should subscribe (juss.)'. Likewise Form VIII 'he bought', 'he buys'.

In actual pronunciation, doubled consonants are held twice as long as short consonants. This consonant lengthening is phonemically contrastive: 'he accepted' vs. 'he kissed'. Syllable structure Arabic has two kinds of syllables: open syllables (CV) and (CVV)—and closed syllables (CVC), (CVVC) and (CVCC). The syllable types with two morae (units of time), i.e. CVC and CVV, are termed heavy syllables, while those with three morae, i.e. CVVC and CVCC, are superheavy syllables. Superheavy syllables in Classical Arabic occur in only two places: at the end of the sentence (due to pausal pronunciation) and in words such as 'hot', 'stuff, substance', 'they disputed with each other', where a long occurs before two identical consonants (a former short vowel between the consonants has been lost). (In less formal pronunciations of Modern Standard Arabic, superheavy syllables are common at the end of words or before clitic suffixes such as 'us, our', due to the deletion of final short vowels.) In surface pronunciation, every vowel must be preceded by a consonant (which may include the glottal stop ). There are no cases of hiatus within a word (where two vowels occur next to each other, without an intervening consonant). Some words do have an underlying vowel at the beginning, such as the definite article al- or words such as 'he bought', 'meeting'. When actually pronounced, one of three things happens: If the word occurs after another word ending in a consonant, there is a smooth transition from final consonant to initial vowel, e.g., 'meeting' . If the word occurs after another word ending in a vowel, the initial vowel of the word is elided, e.g., 'house of the director' . If the word occurs at the beginning of an utterance, a glottal stop is added onto the beginning, e.g., 'The house is ...' . Stress Word stress is not phonemically contrastive in Standard Arabic. It bears a strong relationship to vowel length. The basic rules for Modern Standard Arabic are: A final vowel, long or short, may not be stressed. Only one of the last three syllables may be stressed. Given this restriction, the last heavy syllable (containing a long vowel or ending in a consonant) is stressed, if it is not the final syllable. If the final syllable is super heavy and closed (of the form CVVC or CVCC) it receives stress. If no syllable is heavy or super heavy, the first possible syllable (i.e. third from end) is stressed. As a special exception, in Form VII and VIII verb forms stress may not be on the first syllable, despite the above rules: Hence 'he subscribed' (whether or not the final short vowel is pronounced), 'he subscribes' (whether or not the final short vowel is pronounced), 'he should subscribe (juss.)'. Likewise Form VIII 'he bought', 'he buys'.

Examples: 'book', 'writer', 'desk', 'desks', 'library' (but 'library' in short pronunciation), (Modern Standard Arabic) 'they wrote' = (dialect), (Modern Standard Arabic) 'they wrote it' = (dialect), (Modern Standard Arabic) 'they (dual, fem) wrote', (Modern Standard Arabic) 'I wrote' = (short form or dialect). Doubled consonants count as two consonants: 'magazine', "place". These rules may result in differently stressed syllables when final case endings are pronounced, vs. the normal situation where they are not pronounced, as in the above example of 'library' in full pronunciation, but 'library' in short pronunciation. The restriction on final long vowels does not apply to the spoken dialects, where original final long vowels have been shortened and secondary final long vowels have arisen from loss of original final -hu/hi. Some dialects have different stress rules. In the Cairo (Egyptian Arabic) dialect a heavy syllable may not carry stress more than two syllables from the end of a word, hence 'school', 'Cairo'. This also affects the way that Modern Standard Arabic is pronounced in Egypt. In the Arabic of Sanaa, stress is often retracted: 'two houses', 'their table', 'desks', 'sometimes', 'their school'. (In this dialect, only syllables with long vowels or diphthongs are considered heavy; in a two-syllable word, the final syllable can be stressed only if the preceding syllable is light; and in longer words, the final syllable cannot be stressed.) Levels of pronunciation The final short vowels (e.g., the case endings -a -i -u and mood endings -u -a) are often not pronounced in this language, despite forming part of the formal paradigm of nouns and verbs. The following levels of pronunciation exist: Full pronunciation with pausa This is the most formal level actually used in speech. All endings are pronounced as written, except at the end of an utterance, where the following changes occur: Final short vowels are not pronounced. (But possibly an exception is made for feminine plural -na and shortened vowels in the jussive/imperative of defective verbs, e.g., irmi! 'throw!'".) The entire indefinite noun endings -in and -un (with nunation) are left off. The ending -an is left off of nouns preceded by a tāʾ marbūṭah ة (i.e. the -t in the ending -at- that typically marks feminine nouns), but pronounced as -ā in other nouns (hence its writing in this fashion in the Arabic script). The tāʼ marbūṭah itself (typically of feminine nouns) is pronounced as h. (At least, this is the case in extremely formal pronunciation, e.g., some Quranic recitations. In practice, this h is usually omitted.) Formal short pronunciation This is a formal level of pronunciation sometimes seen. It is somewhat like pronouncing all words as if they were in pausal position (with influence from the colloquial varieties). The following changes occur: Most final short vowels are not pronounced. However, the following short vowels are pronounced: feminine plural -na shortened vowels in the jussive/imperative of defective verbs, e.g., irmi! 'throw!' second-person singular feminine past-tense -ti and likewise anti 'you (fem. sg.)'

Examples: 'book', 'writer', 'desk', 'desks', 'library' (but 'library' in short pronunciation), (Modern Standard Arabic) 'they wrote' = (dialect), (Modern Standard Arabic) 'they wrote it' = (dialect), (Modern Standard Arabic) 'they (dual, fem) wrote', (Modern Standard Arabic) 'I wrote' = (short form or dialect). Doubled consonants count as two consonants: 'magazine', "place". These rules may result in differently stressed syllables when final case endings are pronounced, vs. the normal situation where they are not pronounced, as in the above example of 'library' in full pronunciation, but 'library' in short pronunciation. The restriction on final long vowels does not apply to the spoken dialects, where original final long vowels have been shortened and secondary final long vowels have arisen from loss of original final -hu/hi. Some dialects have different stress rules. In the Cairo (Egyptian Arabic) dialect a heavy syllable may not carry stress more than two syllables from the end of a word, hence 'school', 'Cairo'. This also affects the way that Modern Standard Arabic is pronounced in Egypt. In the Arabic of Sanaa, stress is often retracted: 'two houses', 'their table', 'desks', 'sometimes', 'their school'. (In this dialect, only syllables with long vowels or diphthongs are considered heavy; in a two-syllable word, the final syllable can be stressed only if the preceding syllable is light; and in longer words, the final syllable cannot be stressed.) Levels of pronunciation The final short vowels (e.g., the case endings -a -i -u and mood endings -u -a) are often not pronounced in this language, despite forming part of the formal paradigm of nouns and verbs. The following levels of pronunciation exist: Full pronunciation with pausa This is the most formal level actually used in speech. All endings are pronounced as written, except at the end of an utterance, where the following changes occur: Final short vowels are not pronounced. (But possibly an exception is made for feminine plural -na and shortened vowels in the jussive/imperative of defective verbs, e.g., irmi! 'throw!'".) The entire indefinite noun endings -in and -un (with nunation) are left off. The ending -an is left off of nouns preceded by a tāʾ marbūṭah ة (i.e. the -t in the ending -at- that typically marks feminine nouns), but pronounced as -ā in other nouns (hence its writing in this fashion in the Arabic script). The tāʼ marbūṭah itself (typically of feminine nouns) is pronounced as h. (At least, this is the case in extremely formal pronunciation, e.g., some Quranic recitations. In practice, this h is usually omitted.) Formal short pronunciation This is a formal level of pronunciation sometimes seen. It is somewhat like pronouncing all words as if they were in pausal position (with influence from the colloquial varieties). The following changes occur: Most final short vowels are not pronounced. However, the following short vowels are pronounced: feminine plural -na shortened vowels in the jussive/imperative of defective verbs, e.g., irmi! 'throw!' second-person singular feminine past-tense -ti and likewise anti 'you (fem. sg.)'

Examples: 'book', 'writer', 'desk', 'desks', 'library' (but 'library' in short pronunciation), (Modern Standard Arabic) 'they wrote' = (dialect), (Modern Standard Arabic) 'they wrote it' = (dialect), (Modern Standard Arabic) 'they (dual, fem) wrote', (Modern Standard Arabic) 'I wrote' = (short form or dialect). Doubled consonants count as two consonants: 'magazine', "place". These rules may result in differently stressed syllables when final case endings are pronounced, vs. the normal situation where they are not pronounced, as in the above example of 'library' in full pronunciation, but 'library' in short pronunciation. The restriction on final long vowels does not apply to the spoken dialects, where original final long vowels have been shortened and secondary final long vowels have arisen from loss of original final -hu/hi. Some dialects have different stress rules. In the Cairo (Egyptian Arabic) dialect a heavy syllable may not carry stress more than two syllables from the end of a word, hence 'school', 'Cairo'. This also affects the way that Modern Standard Arabic is pronounced in Egypt. In the Arabic of Sanaa, stress is often retracted: 'two houses', 'their table', 'desks', 'sometimes', 'their school'. (In this dialect, only syllables with long vowels or diphthongs are considered heavy; in a two-syllable word, the final syllable can be stressed only if the preceding syllable is light; and in longer words, the final syllable cannot be stressed.) Levels of pronunciation The final short vowels (e.g., the case endings -a -i -u and mood endings -u -a) are often not pronounced in this language, despite forming part of the formal paradigm of nouns and verbs. The following levels of pronunciation exist: Full pronunciation with pausa This is the most formal level actually used in speech. All endings are pronounced as written, except at the end of an utterance, where the following changes occur: Final short vowels are not pronounced. (But possibly an exception is made for feminine plural -na and shortened vowels in the jussive/imperative of defective verbs, e.g., irmi! 'throw!'".) The entire indefinite noun endings -in and -un (with nunation) are left off. The ending -an is left off of nouns preceded by a tāʾ marbūṭah ة (i.e. the -t in the ending -at- that typically marks feminine nouns), but pronounced as -ā in other nouns (hence its writing in this fashion in the Arabic script). The tāʼ marbūṭah itself (typically of feminine nouns) is pronounced as h. (At least, this is the case in extremely formal pronunciation, e.g., some Quranic recitations. In practice, this h is usually omitted.) Formal short pronunciation This is a formal level of pronunciation sometimes seen. It is somewhat like pronouncing all words as if they were in pausal position (with influence from the colloquial varieties). The following changes occur: Most final short vowels are not pronounced. However, the following short vowels are pronounced: feminine plural -na shortened vowels in the jussive/imperative of defective verbs, e.g., irmi! 'throw!' second-person singular feminine past-tense -ti and likewise anti 'you (fem. sg.)'

sometimes, first-person singular past-tense -tu sometimes, second-person masculine past-tense -ta and likewise anta 'you (masc. sg.)' final -a in certain short words, e.g., laysa 'is not', sawfa (future-tense marker) The nunation endings -an -in -un are not pronounced. However, they are pronounced in adverbial accusative formations, e.g., تَقْرِيبًا 'almost, approximately', عَادَةً 'usually'. The tāʾ marbūṭah ending ة is unpronounced, except in construct state nouns, where it sounds as t (and in adverbial accusative constructions, e.g., عَادَةً 'usually', where the entire -tan is pronounced). The masculine singular nisbah ending is actually pronounced and is unstressed (but plural and feminine singular forms, i.e. when followed by a suffix, still sound as ). Full endings (including case endings) occur when a clitic object or possessive suffix is added (e.g., 'us/our'). Informal short pronunciation This is the pronunciation used by speakers of Modern Standard Arabic in extemporaneous speech, i.e. when producing new sentences rather than simply reading a prepared text. It is similar to formal short pronunciation except that the rules for dropping final vowels apply even when a clitic suffix is added. Basically, short-vowel case and mood endings are never pronounced and certain other changes occur that echo the corresponding colloquial pronunciations. Specifically: All the rules for formal short pronunciation apply, except as follows. The past tense singular endings written formally as -tu -ta -ti are pronounced -t -t -ti. But masculine is pronounced in full. Unlike in formal short pronunciation, the rules for dropping or modifying final endings are also applied when a clitic object or possessive suffix is added (e.g., 'us/our'). If this produces a sequence of three consonants, then one of the following happens, depending on the speaker's native colloquial variety: A short vowel (e.g., -i- or -ǝ-) is consistently added, either between the second and third or the first and second consonants. Or, a short vowel is added only if an otherwise unpronounceable sequence occurs, typically due to a violation of the sonority hierarchy (e.g., -rtn- is pronounced as a three-consonant cluster, but -trn- needs to be broken up). Or, a short vowel is never added, but consonants like r l m n occurring between two other consonants will be pronounced as a syllabic consonant (as in the English words "butter bottle bottom button"). When a doubled consonant occurs before another consonant (or finally), it is often shortened to a single consonant rather than a vowel added. (However, Moroccan Arabic never shortens doubled consonants or inserts short vowels to break up clusters, instead tolerating arbitrary-length series of arbitrary consonants and hence Moroccan Arabic speakers are likely to follow the same rules in their pronunciation of Modern Standard Arabic.) The clitic suffixes themselves tend also to be changed, in a way that avoids many possible occurrences of three-consonant clusters. In particular, -ka -ki -hu generally sound as -ak -ik -uh. Final long vowels are often shortened, merging with any short vowels that remain.

sometimes, first-person singular past-tense -tu sometimes, second-person masculine past-tense -ta and likewise anta 'you (masc. sg.)' final -a in certain short words, e.g., laysa 'is not', sawfa (future-tense marker) The nunation endings -an -in -un are not pronounced. However, they are pronounced in adverbial accusative formations, e.g., تَقْرِيبًا 'almost, approximately', عَادَةً 'usually'. The tāʾ marbūṭah ending ة is unpronounced, except in construct state nouns, where it sounds as t (and in adverbial accusative constructions, e.g., عَادَةً 'usually', where the entire -tan is pronounced). The masculine singular nisbah ending is actually pronounced and is unstressed (but plural and feminine singular forms, i.e. when followed by a suffix, still sound as ). Full endings (including case endings) occur when a clitic object or possessive suffix is added (e.g., 'us/our'). Informal short pronunciation This is the pronunciation used by speakers of Modern Standard Arabic in extemporaneous speech, i.e. when producing new sentences rather than simply reading a prepared text. It is similar to formal short pronunciation except that the rules for dropping final vowels apply even when a clitic suffix is added. Basically, short-vowel case and mood endings are never pronounced and certain other changes occur that echo the corresponding colloquial pronunciations. Specifically: All the rules for formal short pronunciation apply, except as follows. The past tense singular endings written formally as -tu -ta -ti are pronounced -t -t -ti. But masculine is pronounced in full. Unlike in formal short pronunciation, the rules for dropping or modifying final endings are also applied when a clitic object or possessive suffix is added (e.g., 'us/our'). If this produces a sequence of three consonants, then one of the following happens, depending on the speaker's native colloquial variety: A short vowel (e.g., -i- or -ǝ-) is consistently added, either between the second and third or the first and second consonants. Or, a short vowel is added only if an otherwise unpronounceable sequence occurs, typically due to a violation of the sonority hierarchy (e.g., -rtn- is pronounced as a three-consonant cluster, but -trn- needs to be broken up). Or, a short vowel is never added, but consonants like r l m n occurring between two other consonants will be pronounced as a syllabic consonant (as in the English words "butter bottle bottom button"). When a doubled consonant occurs before another consonant (or finally), it is often shortened to a single consonant rather than a vowel added. (However, Moroccan Arabic never shortens doubled consonants or inserts short vowels to break up clusters, instead tolerating arbitrary-length series of arbitrary consonants and hence Moroccan Arabic speakers are likely to follow the same rules in their pronunciation of Modern Standard Arabic.) The clitic suffixes themselves tend also to be changed, in a way that avoids many possible occurrences of three-consonant clusters. In particular, -ka -ki -hu generally sound as -ak -ik -uh. Final long vowels are often shortened, merging with any short vowels that remain.

sometimes, first-person singular past-tense -tu sometimes, second-person masculine past-tense -ta and likewise anta 'you (masc. sg.)' final -a in certain short words, e.g., laysa 'is not', sawfa (future-tense marker) The nunation endings -an -in -un are not pronounced. However, they are pronounced in adverbial accusative formations, e.g., تَقْرِيبًا 'almost, approximately', عَادَةً 'usually'. The tāʾ marbūṭah ending ة is unpronounced, except in construct state nouns, where it sounds as t (and in adverbial accusative constructions, e.g., عَادَةً 'usually', where the entire -tan is pronounced). The masculine singular nisbah ending is actually pronounced and is unstressed (but plural and feminine singular forms, i.e. when followed by a suffix, still sound as ). Full endings (including case endings) occur when a clitic object or possessive suffix is added (e.g., 'us/our'). Informal short pronunciation This is the pronunciation used by speakers of Modern Standard Arabic in extemporaneous speech, i.e. when producing new sentences rather than simply reading a prepared text. It is similar to formal short pronunciation except that the rules for dropping final vowels apply even when a clitic suffix is added. Basically, short-vowel case and mood endings are never pronounced and certain other changes occur that echo the corresponding colloquial pronunciations. Specifically: All the rules for formal short pronunciation apply, except as follows. The past tense singular endings written formally as -tu -ta -ti are pronounced -t -t -ti. But masculine is pronounced in full. Unlike in formal short pronunciation, the rules for dropping or modifying final endings are also applied when a clitic object or possessive suffix is added (e.g., 'us/our'). If this produces a sequence of three consonants, then one of the following happens, depending on the speaker's native colloquial variety: A short vowel (e.g., -i- or -ǝ-) is consistently added, either between the second and third or the first and second consonants. Or, a short vowel is added only if an otherwise unpronounceable sequence occurs, typically due to a violation of the sonority hierarchy (e.g., -rtn- is pronounced as a three-consonant cluster, but -trn- needs to be broken up). Or, a short vowel is never added, but consonants like r l m n occurring between two other consonants will be pronounced as a syllabic consonant (as in the English words "butter bottle bottom button"). When a doubled consonant occurs before another consonant (or finally), it is often shortened to a single consonant rather than a vowel added. (However, Moroccan Arabic never shortens doubled consonants or inserts short vowels to break up clusters, instead tolerating arbitrary-length series of arbitrary consonants and hence Moroccan Arabic speakers are likely to follow the same rules in their pronunciation of Modern Standard Arabic.) The clitic suffixes themselves tend also to be changed, in a way that avoids many possible occurrences of three-consonant clusters. In particular, -ka -ki -hu generally sound as -ak -ik -uh. Final long vowels are often shortened, merging with any short vowels that remain.

Depending on the level of formality, the speaker's education level, etc., various grammatical changes may occur in ways that echo the colloquial variants: Any remaining case endings (e.g. masculine plural nominative -ūn vs. oblique -īn) will be leveled, with the oblique form used everywhere. (However, in words like 'father' and 'brother' with special long-vowel case endings in the construct state, the nominative is used everywhere, hence 'father of', 'brother of'.) Feminine plural endings in verbs and clitic suffixes will often drop out, with the masculine plural endings used instead. If the speaker's native variety has feminine plural endings, they may be preserved, but will often be modified in the direction of the forms used in the speaker's native variety, e.g. -an instead of -na. Dual endings will often drop out except on nouns and then used only for emphasis (similar to their use in the colloquial varieties); elsewhere, the plural endings are used (or feminine singular, if appropriate). Colloquial varieties Vowels As mentioned above, many spoken dialects have a process of emphasis spreading, where the "emphasis" (pharyngealization) of emphatic consonants spreads forward and back through adjacent syllables, pharyngealizing all nearby consonants and triggering the back allophone in all nearby low vowels. The extent of emphasis spreading varies. For example, in Moroccan Arabic, it spreads as far as the first full vowel (i.e. sound derived from a long vowel or diphthong) on either side; in many Levantine dialects, it spreads indefinitely, but is blocked by any or ; while in Egyptian Arabic, it usually spreads throughout the entire word, including prefixes and suffixes. In Moroccan Arabic, also have emphatic allophones and , respectively. Unstressed short vowels, especially , are deleted in many contexts. Many sporadic examples of short vowel change have occurred (especially → and interchange ↔). Most Levantine dialects merge short /i u/ into in most contexts (all except directly before a single final consonant). In Moroccan Arabic, on the other hand, short triggers labialization of nearby consonants (especially velar consonants and uvular consonants), and then short /a i u/ all merge into , which is deleted in many contexts. (The labialization plus is sometimes interpreted as an underlying phoneme .) This essentially causes the wholesale loss of the short-long vowel distinction, with the original long vowels remaining as half-long , phonemically , which are used to represent both short and long vowels in borrowings from Literary Arabic. Most spoken dialects have monophthongized original to in most circumstances, including adjacent to emphatic consonants, while keeping them as the original diphthongs in others e.g. . In most of the Moroccan, Algerian and Tunisian (except Sahel and Southeastern) Arabic dialects, they have subsequently merged into original . Consonants In most dialects, there may be more or fewer phonemes than those listed in the chart above. For example, is considered a native phoneme in most Arabic dialects except in Levantine dialects like Syrian or Lebanese where is pronounced and is pronounced .

Depending on the level of formality, the speaker's education level, etc., various grammatical changes may occur in ways that echo the colloquial variants: Any remaining case endings (e.g. masculine plural nominative -ūn vs. oblique -īn) will be leveled, with the oblique form used everywhere. (However, in words like 'father' and 'brother' with special long-vowel case endings in the construct state, the nominative is used everywhere, hence 'father of', 'brother of'.) Feminine plural endings in verbs and clitic suffixes will often drop out, with the masculine plural endings used instead. If the speaker's native variety has feminine plural endings, they may be preserved, but will often be modified in the direction of the forms used in the speaker's native variety, e.g. -an instead of -na. Dual endings will often drop out except on nouns and then used only for emphasis (similar to their use in the colloquial varieties); elsewhere, the plural endings are used (or feminine singular, if appropriate). Colloquial varieties Vowels As mentioned above, many spoken dialects have a process of emphasis spreading, where the "emphasis" (pharyngealization) of emphatic consonants spreads forward and back through adjacent syllables, pharyngealizing all nearby consonants and triggering the back allophone in all nearby low vowels. The extent of emphasis spreading varies. For example, in Moroccan Arabic, it spreads as far as the first full vowel (i.e. sound derived from a long vowel or diphthong) on either side; in many Levantine dialects, it spreads indefinitely, but is blocked by any or ; while in Egyptian Arabic, it usually spreads throughout the entire word, including prefixes and suffixes. In Moroccan Arabic, also have emphatic allophones and , respectively. Unstressed short vowels, especially , are deleted in many contexts. Many sporadic examples of short vowel change have occurred (especially → and interchange ↔). Most Levantine dialects merge short /i u/ into in most contexts (all except directly before a single final consonant). In Moroccan Arabic, on the other hand, short triggers labialization of nearby consonants (especially velar consonants and uvular consonants), and then short /a i u/ all merge into , which is deleted in many contexts. (The labialization plus is sometimes interpreted as an underlying phoneme .) This essentially causes the wholesale loss of the short-long vowel distinction, with the original long vowels remaining as half-long , phonemically , which are used to represent both short and long vowels in borrowings from Literary Arabic. Most spoken dialects have monophthongized original to in most circumstances, including adjacent to emphatic consonants, while keeping them as the original diphthongs in others e.g. . In most of the Moroccan, Algerian and Tunisian (except Sahel and Southeastern) Arabic dialects, they have subsequently merged into original . Consonants In most dialects, there may be more or fewer phonemes than those listed in the chart above. For example, is considered a native phoneme in most Arabic dialects except in Levantine dialects like Syrian or Lebanese where is pronounced and is pronounced .

Depending on the level of formality, the speaker's education level, etc., various grammatical changes may occur in ways that echo the colloquial variants: Any remaining case endings (e.g. masculine plural nominative -ūn vs. oblique -īn) will be leveled, with the oblique form used everywhere. (However, in words like 'father' and 'brother' with special long-vowel case endings in the construct state, the nominative is used everywhere, hence 'father of', 'brother of'.) Feminine plural endings in verbs and clitic suffixes will often drop out, with the masculine plural endings used instead. If the speaker's native variety has feminine plural endings, they may be preserved, but will often be modified in the direction of the forms used in the speaker's native variety, e.g. -an instead of -na. Dual endings will often drop out except on nouns and then used only for emphasis (similar to their use in the colloquial varieties); elsewhere, the plural endings are used (or feminine singular, if appropriate). Colloquial varieties Vowels As mentioned above, many spoken dialects have a process of emphasis spreading, where the "emphasis" (pharyngealization) of emphatic consonants spreads forward and back through adjacent syllables, pharyngealizing all nearby consonants and triggering the back allophone in all nearby low vowels. The extent of emphasis spreading varies. For example, in Moroccan Arabic, it spreads as far as the first full vowel (i.e. sound derived from a long vowel or diphthong) on either side; in many Levantine dialects, it spreads indefinitely, but is blocked by any or ; while in Egyptian Arabic, it usually spreads throughout the entire word, including prefixes and suffixes. In Moroccan Arabic, also have emphatic allophones and , respectively. Unstressed short vowels, especially , are deleted in many contexts. Many sporadic examples of short vowel change have occurred (especially → and interchange ↔). Most Levantine dialects merge short /i u/ into in most contexts (all except directly before a single final consonant). In Moroccan Arabic, on the other hand, short triggers labialization of nearby consonants (especially velar consonants and uvular consonants), and then short /a i u/ all merge into , which is deleted in many contexts. (The labialization plus is sometimes interpreted as an underlying phoneme .) This essentially causes the wholesale loss of the short-long vowel distinction, with the original long vowels remaining as half-long , phonemically , which are used to represent both short and long vowels in borrowings from Literary Arabic. Most spoken dialects have monophthongized original to in most circumstances, including adjacent to emphatic consonants, while keeping them as the original diphthongs in others e.g. . In most of the Moroccan, Algerian and Tunisian (except Sahel and Southeastern) Arabic dialects, they have subsequently merged into original . Consonants In most dialects, there may be more or fewer phonemes than those listed in the chart above. For example, is considered a native phoneme in most Arabic dialects except in Levantine dialects like Syrian or Lebanese where is pronounced and is pronounced .

or () is considered a native phoneme in most dialects except in Egyptian and a number of Yemeni and Omani dialects where is pronounced . or and are distinguished in the dialects of Egypt, Sudan, the Levant and the Hejaz, but they have merged as in most dialects of the Arabian Peninsula, Iraq and Tunisia and have merged as in Morocco and Algeria. The usage of non-native and depends on the usage of each speaker but they might be more prevalent in some dialects than others. The Iraqi and Gulf Arabic also has the sound and writes it and with the Persian letters and , as in "plum"; "truffle". Early in the expansion of Arabic, the separate emphatic phonemes and coalesced into a single phoneme . Many dialects (such as Egyptian, Levantine, and much of the Maghreb) subsequently lost fricatives, converting into . Most dialects borrow "learned" words from the Standard language using the same pronunciation as for inherited words, but some dialects without interdental fricatives (particularly in Egypt and the Levant) render original in borrowed words as . Another key distinguishing mark of Arabic dialects is how they render the original velar and uvular plosives , (Proto-Semitic ), and : retains its original pronunciation in widely scattered regions such as Yemen, Morocco, and urban areas of the Maghreb. It is pronounced as a glottal stop in several prestige dialects, such as those spoken in Cairo, Beirut and Damascus. But it is rendered as a voiced velar plosive in Persian Gulf, Upper Egypt, parts of the Maghreb, and less urban parts of the Levant (e.g. Jordan). In Iraqi Arabic it sometimes retains its original pronunciation and is sometimes rendered as a voiced velar plosive, depending on the word. Some traditionally Christian villages in rural areas of the Levant render the sound as , as do Shiʻi Bahrainis. In some Gulf dialects, it is palatalized to or . It is pronounced as a voiced uvular constrictive in Sudanese Arabic. Many dialects with a modified pronunciation for maintain the pronunciation in certain words (often with religious or educational overtones) borrowed from the Classical language. is pronounced as an affricate in Iraq and much of the Arabian Peninsula but is pronounced in most of North Egypt and parts of Yemen and Oman, in Morocco, Tunisia, and the Levant, and , in most words in much of the Persian Gulf. usually retains its original pronunciation but is palatalized to in many words in Israel and the Palestinian Territories, Iraq, and countries in the eastern part of the Arabian Peninsula. Often a distinction is made between the suffixes ('you', masc.) and ('you', fem. ), which become and , respectively. In Sana'a, Omani, and Bahrani is pronounced . Pharyngealization of the emphatic consonants tends to weaken in many of the spoken varieties, and to spread from emphatic consonants to nearby sounds. In addition, the "emphatic" allophone automatically triggers pharyngealization of adjacent sounds in many dialects.

or () is considered a native phoneme in most dialects except in Egyptian and a number of Yemeni and Omani dialects where is pronounced . or and are distinguished in the dialects of Egypt, Sudan, the Levant and the Hejaz, but they have merged as in most dialects of the Arabian Peninsula, Iraq and Tunisia and have merged as in Morocco and Algeria. The usage of non-native and depends on the usage of each speaker but they might be more prevalent in some dialects than others. The Iraqi and Gulf Arabic also has the sound and writes it and with the Persian letters and , as in "plum"; "truffle". Early in the expansion of Arabic, the separate emphatic phonemes and coalesced into a single phoneme . Many dialects (such as Egyptian, Levantine, and much of the Maghreb) subsequently lost fricatives, converting into . Most dialects borrow "learned" words from the Standard language using the same pronunciation as for inherited words, but some dialects without interdental fricatives (particularly in Egypt and the Levant) render original in borrowed words as . Another key distinguishing mark of Arabic dialects is how they render the original velar and uvular plosives , (Proto-Semitic ), and : retains its original pronunciation in widely scattered regions such as Yemen, Morocco, and urban areas of the Maghreb. It is pronounced as a glottal stop in several prestige dialects, such as those spoken in Cairo, Beirut and Damascus. But it is rendered as a voiced velar plosive in Persian Gulf, Upper Egypt, parts of the Maghreb, and less urban parts of the Levant (e.g. Jordan). In Iraqi Arabic it sometimes retains its original pronunciation and is sometimes rendered as a voiced velar plosive, depending on the word. Some traditionally Christian villages in rural areas of the Levant render the sound as , as do Shiʻi Bahrainis. In some Gulf dialects, it is palatalized to or . It is pronounced as a voiced uvular constrictive in Sudanese Arabic. Many dialects with a modified pronunciation for maintain the pronunciation in certain words (often with religious or educational overtones) borrowed from the Classical language. is pronounced as an affricate in Iraq and much of the Arabian Peninsula but is pronounced in most of North Egypt and parts of Yemen and Oman, in Morocco, Tunisia, and the Levant, and , in most words in much of the Persian Gulf. usually retains its original pronunciation but is palatalized to in many words in Israel and the Palestinian Territories, Iraq, and countries in the eastern part of the Arabian Peninsula. Often a distinction is made between the suffixes ('you', masc.) and ('you', fem. ), which become and , respectively. In Sana'a, Omani, and Bahrani is pronounced . Pharyngealization of the emphatic consonants tends to weaken in many of the spoken varieties, and to spread from emphatic consonants to nearby sounds. In addition, the "emphatic" allophone automatically triggers pharyngealization of adjacent sounds in many dialects.

or () is considered a native phoneme in most dialects except in Egyptian and a number of Yemeni and Omani dialects where is pronounced . or and are distinguished in the dialects of Egypt, Sudan, the Levant and the Hejaz, but they have merged as in most dialects of the Arabian Peninsula, Iraq and Tunisia and have merged as in Morocco and Algeria. The usage of non-native and depends on the usage of each speaker but they might be more prevalent in some dialects than others. The Iraqi and Gulf Arabic also has the sound and writes it and with the Persian letters and , as in "plum"; "truffle". Early in the expansion of Arabic, the separate emphatic phonemes and coalesced into a single phoneme . Many dialects (such as Egyptian, Levantine, and much of the Maghreb) subsequently lost fricatives, converting into . Most dialects borrow "learned" words from the Standard language using the same pronunciation as for inherited words, but some dialects without interdental fricatives (particularly in Egypt and the Levant) render original in borrowed words as . Another key distinguishing mark of Arabic dialects is how they render the original velar and uvular plosives , (Proto-Semitic ), and : retains its original pronunciation in widely scattered regions such as Yemen, Morocco, and urban areas of the Maghreb. It is pronounced as a glottal stop in several prestige dialects, such as those spoken in Cairo, Beirut and Damascus. But it is rendered as a voiced velar plosive in Persian Gulf, Upper Egypt, parts of the Maghreb, and less urban parts of the Levant (e.g. Jordan). In Iraqi Arabic it sometimes retains its original pronunciation and is sometimes rendered as a voiced velar plosive, depending on the word. Some traditionally Christian villages in rural areas of the Levant render the sound as , as do Shiʻi Bahrainis. In some Gulf dialects, it is palatalized to or . It is pronounced as a voiced uvular constrictive in Sudanese Arabic. Many dialects with a modified pronunciation for maintain the pronunciation in certain words (often with religious or educational overtones) borrowed from the Classical language. is pronounced as an affricate in Iraq and much of the Arabian Peninsula but is pronounced in most of North Egypt and parts of Yemen and Oman, in Morocco, Tunisia, and the Levant, and , in most words in much of the Persian Gulf. usually retains its original pronunciation but is palatalized to in many words in Israel and the Palestinian Territories, Iraq, and countries in the eastern part of the Arabian Peninsula. Often a distinction is made between the suffixes ('you', masc.) and ('you', fem. ), which become and , respectively. In Sana'a, Omani, and Bahrani is pronounced . Pharyngealization of the emphatic consonants tends to weaken in many of the spoken varieties, and to spread from emphatic consonants to nearby sounds. In addition, the "emphatic" allophone automatically triggers pharyngealization of adjacent sounds in many dialects.

As a result, it may difficult or impossible to determine whether a given coronal consonant is phonemically emphatic or not, especially in dialects with long-distance emphasis spreading. (A notable exception is the sounds vs. in Moroccan Arabic, because the former is pronounced as an affricate but the latter is not.) Grammar Literary Arabic As in other Semitic languages, Arabic has a complex and unusual morphology (i.e. method of constructing words from a basic root). Arabic has a nonconcatenative "root-and-pattern" morphology: A root consists of a set of bare consonants (usually three), which are fitted into a discontinuous pattern to form words. For example, the word for 'I wrote' is constructed by combining the root 'write' with the pattern 'I Xed' to form 'I wrote'. Other verbs meaning 'I Xed' will typically have the same pattern but with different consonants, e.g. 'I read', 'I ate', 'I went', although other patterns are possible (e.g. 'I drank', 'I said', 'I spoke', where the subpattern used to signal the past tense may change but the suffix is always used). From a single root , numerous words can be formed by applying different patterns: كَتَبْتُ 'I wrote' كَتَّبْتُ 'I had (something) written' كَاتَبْتُ 'I corresponded (with someone)' أَكْتَبْتُ 'I dictated' اِكْتَتَبْتُ 'I subscribed' تَكَاتَبْنَا 'we corresponded with each other' أَكْتُبُ 'I write' أُكَتِّبُ 'I have (something) written' أُكَاتِبُ 'I correspond (with someone)' أُكْتِبُ 'I dictate' أَكْتَتِبُ 'I subscribe' نَتَكَتِبُ 'we correspond each other' كُتِبَ 'it was written' أُكْتِبَ 'it was dictated' مَكْتُوبٌ 'written' مُكْتَبٌ 'dictated' كِتَابٌ 'book' كُتُبٌ 'books' كَاتِبٌ 'writer' كُتَّابٌ 'writers' مَكْتَبٌ 'desk, office' مَكْتَبَةٌ 'library, bookshop' etc. Nouns and adjectives Nouns in Literary Arabic have three grammatical cases (nominative, accusative, and genitive [also used when the noun is governed by a preposition]); three numbers (singular, dual and plural); two genders (masculine and feminine); and three "states" (indefinite, definite, and construct). The cases of singular nouns (other than those that end in long ā) are indicated by suffixed short vowels (/-u/ for nominative, /-a/ for accusative, /-i/ for genitive). The feminine singular is often marked by ـَة /-at/, which is pronounced as /-ah/ before a pause. Plural is indicated either through endings (the sound plural) or internal modification (the broken plural). Definite nouns include all proper nouns, all nouns in "construct state" and all nouns which are prefixed by the definite article اَلْـ /al-/. Indefinite singular nouns (other than those that end in long ā) add a final /-n/ to the case-marking vowels, giving /-un/, /-an/ or /-in/ (which is also referred to as nunation or tanwīn). Adjectives in Literary Arabic are marked for case, number, gender and state, as for nouns. However, the plural of all non-human nouns is always combined with a singular feminine adjective, which takes the ـَة /-at/ suffix. Pronouns in Literary Arabic are marked for person, number and gender. There are two varieties, independent pronouns and enclitics.

As a result, it may difficult or impossible to determine whether a given coronal consonant is phonemically emphatic or not, especially in dialects with long-distance emphasis spreading. (A notable exception is the sounds vs. in Moroccan Arabic, because the former is pronounced as an affricate but the latter is not.) Grammar Literary Arabic As in other Semitic languages, Arabic has a complex and unusual morphology (i.e. method of constructing words from a basic root). Arabic has a nonconcatenative "root-and-pattern" morphology: A root consists of a set of bare consonants (usually three), which are fitted into a discontinuous pattern to form words. For example, the word for 'I wrote' is constructed by combining the root 'write' with the pattern 'I Xed' to form 'I wrote'. Other verbs meaning 'I Xed' will typically have the same pattern but with different consonants, e.g. 'I read', 'I ate', 'I went', although other patterns are possible (e.g. 'I drank', 'I said', 'I spoke', where the subpattern used to signal the past tense may change but the suffix is always used). From a single root , numerous words can be formed by applying different patterns: كَتَبْتُ 'I wrote' كَتَّبْتُ 'I had (something) written' كَاتَبْتُ 'I corresponded (with someone)' أَكْتَبْتُ 'I dictated' اِكْتَتَبْتُ 'I subscribed' تَكَاتَبْنَا 'we corresponded with each other' أَكْتُبُ 'I write' أُكَتِّبُ 'I have (something) written' أُكَاتِبُ 'I correspond (with someone)' أُكْتِبُ 'I dictate' أَكْتَتِبُ 'I subscribe' نَتَكَتِبُ 'we correspond each other' كُتِبَ 'it was written' أُكْتِبَ 'it was dictated' مَكْتُوبٌ 'written' مُكْتَبٌ 'dictated' كِتَابٌ 'book' كُتُبٌ 'books' كَاتِبٌ 'writer' كُتَّابٌ 'writers' مَكْتَبٌ 'desk, office' مَكْتَبَةٌ 'library, bookshop' etc. Nouns and adjectives Nouns in Literary Arabic have three grammatical cases (nominative, accusative, and genitive [also used when the noun is governed by a preposition]); three numbers (singular, dual and plural); two genders (masculine and feminine); and three "states" (indefinite, definite, and construct). The cases of singular nouns (other than those that end in long ā) are indicated by suffixed short vowels (/-u/ for nominative, /-a/ for accusative, /-i/ for genitive). The feminine singular is often marked by ـَة /-at/, which is pronounced as /-ah/ before a pause. Plural is indicated either through endings (the sound plural) or internal modification (the broken plural). Definite nouns include all proper nouns, all nouns in "construct state" and all nouns which are prefixed by the definite article اَلْـ /al-/. Indefinite singular nouns (other than those that end in long ā) add a final /-n/ to the case-marking vowels, giving /-un/, /-an/ or /-in/ (which is also referred to as nunation or tanwīn). Adjectives in Literary Arabic are marked for case, number, gender and state, as for nouns. However, the plural of all non-human nouns is always combined with a singular feminine adjective, which takes the ـَة /-at/ suffix. Pronouns in Literary Arabic are marked for person, number and gender. There are two varieties, independent pronouns and enclitics.

As a result, it may difficult or impossible to determine whether a given coronal consonant is phonemically emphatic or not, especially in dialects with long-distance emphasis spreading. (A notable exception is the sounds vs. in Moroccan Arabic, because the former is pronounced as an affricate but the latter is not.) Grammar Literary Arabic As in other Semitic languages, Arabic has a complex and unusual morphology (i.e. method of constructing words from a basic root). Arabic has a nonconcatenative "root-and-pattern" morphology: A root consists of a set of bare consonants (usually three), which are fitted into a discontinuous pattern to form words. For example, the word for 'I wrote' is constructed by combining the root 'write' with the pattern 'I Xed' to form 'I wrote'. Other verbs meaning 'I Xed' will typically have the same pattern but with different consonants, e.g. 'I read', 'I ate', 'I went', although other patterns are possible (e.g. 'I drank', 'I said', 'I spoke', where the subpattern used to signal the past tense may change but the suffix is always used). From a single root , numerous words can be formed by applying different patterns: كَتَبْتُ 'I wrote' كَتَّبْتُ 'I had (something) written' كَاتَبْتُ 'I corresponded (with someone)' أَكْتَبْتُ 'I dictated' اِكْتَتَبْتُ 'I subscribed' تَكَاتَبْنَا 'we corresponded with each other' أَكْتُبُ 'I write' أُكَتِّبُ 'I have (something) written' أُكَاتِبُ 'I correspond (with someone)' أُكْتِبُ 'I dictate' أَكْتَتِبُ 'I subscribe' نَتَكَتِبُ 'we correspond each other' كُتِبَ 'it was written' أُكْتِبَ 'it was dictated' مَكْتُوبٌ 'written' مُكْتَبٌ 'dictated' كِتَابٌ 'book' كُتُبٌ 'books' كَاتِبٌ 'writer' كُتَّابٌ 'writers' مَكْتَبٌ 'desk, office' مَكْتَبَةٌ 'library, bookshop' etc. Nouns and adjectives Nouns in Literary Arabic have three grammatical cases (nominative, accusative, and genitive [also used when the noun is governed by a preposition]); three numbers (singular, dual and plural); two genders (masculine and feminine); and three "states" (indefinite, definite, and construct). The cases of singular nouns (other than those that end in long ā) are indicated by suffixed short vowels (/-u/ for nominative, /-a/ for accusative, /-i/ for genitive). The feminine singular is often marked by ـَة /-at/, which is pronounced as /-ah/ before a pause. Plural is indicated either through endings (the sound plural) or internal modification (the broken plural). Definite nouns include all proper nouns, all nouns in "construct state" and all nouns which are prefixed by the definite article اَلْـ /al-/. Indefinite singular nouns (other than those that end in long ā) add a final /-n/ to the case-marking vowels, giving /-un/, /-an/ or /-in/ (which is also referred to as nunation or tanwīn). Adjectives in Literary Arabic are marked for case, number, gender and state, as for nouns. However, the plural of all non-human nouns is always combined with a singular feminine adjective, which takes the ـَة /-at/ suffix. Pronouns in Literary Arabic are marked for person, number and gender. There are two varieties, independent pronouns and enclitics.

Enclitic pronouns are attached to the end of a verb, noun or preposition and indicate verbal and prepositional objects or possession of nouns. The first-person singular pronoun has a different enclitic form used for verbs (ـنِي /-nī/) and for nouns or prepositions (ـِي /-ī/ after consonants, ـيَ /-ya/ after vowels). Nouns, verbs, pronouns and adjectives agree with each other in all respects. However, non-human plural nouns are grammatically considered to be feminine singular. Furthermore, a verb in a verb-initial sentence is marked as singular regardless of its semantic number when the subject of the verb is explicitly mentioned as a noun. Numerals between three and ten show "chiasmic" agreement, in that grammatically masculine numerals have feminine marking and vice versa. Verbs Verbs in Literary Arabic are marked for person (first, second, or third), gender, and number. They are conjugated in two major paradigms (past and non-past); two voices (active and passive); and six moods (indicative, imperative, subjunctive, jussive, shorter energetic and longer energetic), the fifth and sixth moods, the energetics, exist only in Classical Arabic but not in MSA. There are also two participles (active and passive) and a verbal noun, but no infinitive. The past and non-past paradigms are sometimes also termed perfective and imperfective, indicating the fact that they actually represent a combination of tense and aspect. The moods other than the indicative occur only in the non-past, and the future tense is signaled by prefixing سَـ or سَوْفَ onto the non-past. The past and non-past differ in the form of the stem (e.g., past كَتَبـ vs. non-past ـكْتُبـ ), and also use completely different sets of affixes for indicating person, number and gender: In the past, the person, number and gender are fused into a single suffixal morpheme, while in the non-past, a combination of prefixes (primarily encoding person) and suffixes (primarily encoding gender and number) are used. The passive voice uses the same person/number/gender affixes but changes the vowels of the stem. The following shows a paradigm of a regular Arabic verb, كَتَبَ 'to write'. In Modern Standard, the energetic mood (in either long or short form, which have the same meaning) is almost never used. Derivation Like other Semitic languages, and unlike most other languages, Arabic makes much more use of nonconcatenative morphology (applying many templates applied roots) to derive words than adding prefixes or suffixes to words. For verbs, a given root can occur in many different derived verb stems (of which there are about fifteen), each with one or more characteristic meanings and each with its own templates for the past and non-past stems, active and passive participles, and verbal noun. These are referred to by Western scholars as "Form I", "Form II", and so on through "Form XV" (although Forms XI to XV are rare). These stems encode grammatical functions such as the causative, intensive and reflexive. Stems sharing the same root consonants represent separate verbs, albeit often semantically related, and each is the basis for its own conjugational paradigm.

Enclitic pronouns are attached to the end of a verb, noun or preposition and indicate verbal and prepositional objects or possession of nouns. The first-person singular pronoun has a different enclitic form used for verbs (ـنِي /-nī/) and for nouns or prepositions (ـِي /-ī/ after consonants, ـيَ /-ya/ after vowels). Nouns, verbs, pronouns and adjectives agree with each other in all respects. However, non-human plural nouns are grammatically considered to be feminine singular. Furthermore, a verb in a verb-initial sentence is marked as singular regardless of its semantic number when the subject of the verb is explicitly mentioned as a noun. Numerals between three and ten show "chiasmic" agreement, in that grammatically masculine numerals have feminine marking and vice versa. Verbs Verbs in Literary Arabic are marked for person (first, second, or third), gender, and number. They are conjugated in two major paradigms (past and non-past); two voices (active and passive); and six moods (indicative, imperative, subjunctive, jussive, shorter energetic and longer energetic), the fifth and sixth moods, the energetics, exist only in Classical Arabic but not in MSA. There are also two participles (active and passive) and a verbal noun, but no infinitive. The past and non-past paradigms are sometimes also termed perfective and imperfective, indicating the fact that they actually represent a combination of tense and aspect. The moods other than the indicative occur only in the non-past, and the future tense is signaled by prefixing سَـ or سَوْفَ onto the non-past. The past and non-past differ in the form of the stem (e.g., past كَتَبـ vs. non-past ـكْتُبـ ), and also use completely different sets of affixes for indicating person, number and gender: In the past, the person, number and gender are fused into a single suffixal morpheme, while in the non-past, a combination of prefixes (primarily encoding person) and suffixes (primarily encoding gender and number) are used. The passive voice uses the same person/number/gender affixes but changes the vowels of the stem. The following shows a paradigm of a regular Arabic verb, كَتَبَ 'to write'. In Modern Standard, the energetic mood (in either long or short form, which have the same meaning) is almost never used. Derivation Like other Semitic languages, and unlike most other languages, Arabic makes much more use of nonconcatenative morphology (applying many templates applied roots) to derive words than adding prefixes or suffixes to words. For verbs, a given root can occur in many different derived verb stems (of which there are about fifteen), each with one or more characteristic meanings and each with its own templates for the past and non-past stems, active and passive participles, and verbal noun. These are referred to by Western scholars as "Form I", "Form II", and so on through "Form XV" (although Forms XI to XV are rare). These stems encode grammatical functions such as the causative, intensive and reflexive. Stems sharing the same root consonants represent separate verbs, albeit often semantically related, and each is the basis for its own conjugational paradigm.

Enclitic pronouns are attached to the end of a verb, noun or preposition and indicate verbal and prepositional objects or possession of nouns. The first-person singular pronoun has a different enclitic form used for verbs (ـنِي /-nī/) and for nouns or prepositions (ـِي /-ī/ after consonants, ـيَ /-ya/ after vowels). Nouns, verbs, pronouns and adjectives agree with each other in all respects. However, non-human plural nouns are grammatically considered to be feminine singular. Furthermore, a verb in a verb-initial sentence is marked as singular regardless of its semantic number when the subject of the verb is explicitly mentioned as a noun. Numerals between three and ten show "chiasmic" agreement, in that grammatically masculine numerals have feminine marking and vice versa. Verbs Verbs in Literary Arabic are marked for person (first, second, or third), gender, and number. They are conjugated in two major paradigms (past and non-past); two voices (active and passive); and six moods (indicative, imperative, subjunctive, jussive, shorter energetic and longer energetic), the fifth and sixth moods, the energetics, exist only in Classical Arabic but not in MSA. There are also two participles (active and passive) and a verbal noun, but no infinitive. The past and non-past paradigms are sometimes also termed perfective and imperfective, indicating the fact that they actually represent a combination of tense and aspect. The moods other than the indicative occur only in the non-past, and the future tense is signaled by prefixing سَـ or سَوْفَ onto the non-past. The past and non-past differ in the form of the stem (e.g., past كَتَبـ vs. non-past ـكْتُبـ ), and also use completely different sets of affixes for indicating person, number and gender: In the past, the person, number and gender are fused into a single suffixal morpheme, while in the non-past, a combination of prefixes (primarily encoding person) and suffixes (primarily encoding gender and number) are used. The passive voice uses the same person/number/gender affixes but changes the vowels of the stem. The following shows a paradigm of a regular Arabic verb, كَتَبَ 'to write'. In Modern Standard, the energetic mood (in either long or short form, which have the same meaning) is almost never used. Derivation Like other Semitic languages, and unlike most other languages, Arabic makes much more use of nonconcatenative morphology (applying many templates applied roots) to derive words than adding prefixes or suffixes to words. For verbs, a given root can occur in many different derived verb stems (of which there are about fifteen), each with one or more characteristic meanings and each with its own templates for the past and non-past stems, active and passive participles, and verbal noun. These are referred to by Western scholars as "Form I", "Form II", and so on through "Form XV" (although Forms XI to XV are rare). These stems encode grammatical functions such as the causative, intensive and reflexive. Stems sharing the same root consonants represent separate verbs, albeit often semantically related, and each is the basis for its own conjugational paradigm.

As a result, these derived stems are part of the system of derivational morphology, not part of the inflectional system. Examples of the different verbs formed from the root كتب 'write' (using حمر 'red' for Form IX, which is limited to colors and physical defects): Form II is sometimes used to create transitive denominative verbs (verbs built from nouns); Form V is the equivalent used for intransitive denominatives. The associated participles and verbal nouns of a verb are the primary means of forming new lexical nouns in Arabic. This is similar to the process by which, for example, the English gerund "meeting" (similar to a verbal noun) has turned into a noun referring to a particular type of social, often work-related event where people gather together to have a "discussion" (another lexicalized verbal noun). Another fairly common means of forming nouns is through one of a limited number of patterns that can be applied directly to roots, such as the "nouns of location" in ma- (e.g. 'desk, office' < 'write', 'kitchen' < 'cook'). The only three genuine suffixes are as follows: The feminine suffix -ah; variously derives terms for women from related terms for men, or more generally terms along the same lines as the corresponding masculine, e.g. 'library' (also a writing-related place, but different from , as above). The nisbah suffix -iyy-. This suffix is extremely productive, and forms adjectives meaning "related to X". It corresponds to English adjectives in -ic, -al, -an, -y, -ist, etc. The feminine nisbah suffix -iyyah. This is formed by adding the feminine suffix -ah onto nisba adjectives to form abstract nouns. For example, from the basic root 'share' can be derived the Form VIII verb 'to cooperate, participate', and in turn its verbal noun 'cooperation, participation' can be formed. This in turn can be made into a nisbah adjective 'socialist', from which an abstract noun 'socialism' can be derived. Other recent formations are 'republic' (lit. "public-ness", < 'multitude, general public'), and the Gaddafi-specific variation 'people's republic' (lit. "masses-ness", < 'the masses', pl. of , as above). Colloquial varieties The spoken dialects have lost the case distinctions and make only limited use of the dual (it occurs only on nouns and its use is no longer required in all circumstances). They have lost the mood distinctions other than imperative, but many have since gained new moods through the use of prefixes (most often /bi-/ for indicative vs. unmarked subjunctive). They have also mostly lost the indefinite "nunation" and the internal passive. The following is an example of a regular verb paradigm in Egyptian Arabic. Writing system The Arabic alphabet derives from the Aramaic through Nabatean, to which it bears a loose resemblance like that of Coptic or Cyrillic scripts to Greek script.

As a result, these derived stems are part of the system of derivational morphology, not part of the inflectional system. Examples of the different verbs formed from the root كتب 'write' (using حمر 'red' for Form IX, which is limited to colors and physical defects): Form II is sometimes used to create transitive denominative verbs (verbs built from nouns); Form V is the equivalent used for intransitive denominatives. The associated participles and verbal nouns of a verb are the primary means of forming new lexical nouns in Arabic. This is similar to the process by which, for example, the English gerund "meeting" (similar to a verbal noun) has turned into a noun referring to a particular type of social, often work-related event where people gather together to have a "discussion" (another lexicalized verbal noun). Another fairly common means of forming nouns is through one of a limited number of patterns that can be applied directly to roots, such as the "nouns of location" in ma- (e.g. 'desk, office' < 'write', 'kitchen' < 'cook'). The only three genuine suffixes are as follows: The feminine suffix -ah; variously derives terms for women from related terms for men, or more generally terms along the same lines as the corresponding masculine, e.g. 'library' (also a writing-related place, but different from , as above). The nisbah suffix -iyy-. This suffix is extremely productive, and forms adjectives meaning "related to X". It corresponds to English adjectives in -ic, -al, -an, -y, -ist, etc. The feminine nisbah suffix -iyyah. This is formed by adding the feminine suffix -ah onto nisba adjectives to form abstract nouns. For example, from the basic root 'share' can be derived the Form VIII verb 'to cooperate, participate', and in turn its verbal noun 'cooperation, participation' can be formed. This in turn can be made into a nisbah adjective 'socialist', from which an abstract noun 'socialism' can be derived. Other recent formations are 'republic' (lit. "public-ness", < 'multitude, general public'), and the Gaddafi-specific variation 'people's republic' (lit. "masses-ness", < 'the masses', pl. of , as above). Colloquial varieties The spoken dialects have lost the case distinctions and make only limited use of the dual (it occurs only on nouns and its use is no longer required in all circumstances). They have lost the mood distinctions other than imperative, but many have since gained new moods through the use of prefixes (most often /bi-/ for indicative vs. unmarked subjunctive). They have also mostly lost the indefinite "nunation" and the internal passive. The following is an example of a regular verb paradigm in Egyptian Arabic. Writing system The Arabic alphabet derives from the Aramaic through Nabatean, to which it bears a loose resemblance like that of Coptic or Cyrillic scripts to Greek script.

As a result, these derived stems are part of the system of derivational morphology, not part of the inflectional system. Examples of the different verbs formed from the root كتب 'write' (using حمر 'red' for Form IX, which is limited to colors and physical defects): Form II is sometimes used to create transitive denominative verbs (verbs built from nouns); Form V is the equivalent used for intransitive denominatives. The associated participles and verbal nouns of a verb are the primary means of forming new lexical nouns in Arabic. This is similar to the process by which, for example, the English gerund "meeting" (similar to a verbal noun) has turned into a noun referring to a particular type of social, often work-related event where people gather together to have a "discussion" (another lexicalized verbal noun). Another fairly common means of forming nouns is through one of a limited number of patterns that can be applied directly to roots, such as the "nouns of location" in ma- (e.g. 'desk, office' < 'write', 'kitchen' < 'cook'). The only three genuine suffixes are as follows: The feminine suffix -ah; variously derives terms for women from related terms for men, or more generally terms along the same lines as the corresponding masculine, e.g. 'library' (also a writing-related place, but different from , as above). The nisbah suffix -iyy-. This suffix is extremely productive, and forms adjectives meaning "related to X". It corresponds to English adjectives in -ic, -al, -an, -y, -ist, etc. The feminine nisbah suffix -iyyah. This is formed by adding the feminine suffix -ah onto nisba adjectives to form abstract nouns. For example, from the basic root 'share' can be derived the Form VIII verb 'to cooperate, participate', and in turn its verbal noun 'cooperation, participation' can be formed. This in turn can be made into a nisbah adjective 'socialist', from which an abstract noun 'socialism' can be derived. Other recent formations are 'republic' (lit. "public-ness", < 'multitude, general public'), and the Gaddafi-specific variation 'people's republic' (lit. "masses-ness", < 'the masses', pl. of , as above). Colloquial varieties The spoken dialects have lost the case distinctions and make only limited use of the dual (it occurs only on nouns and its use is no longer required in all circumstances). They have lost the mood distinctions other than imperative, but many have since gained new moods through the use of prefixes (most often /bi-/ for indicative vs. unmarked subjunctive). They have also mostly lost the indefinite "nunation" and the internal passive. The following is an example of a regular verb paradigm in Egyptian Arabic. Writing system The Arabic alphabet derives from the Aramaic through Nabatean, to which it bears a loose resemblance like that of Coptic or Cyrillic scripts to Greek script.

Traditionally, there were several differences between the Western (North African) and Middle Eastern versions of the alphabet—in particular, the faʼ had a dot underneath and qaf a single dot above in the Maghreb, and the order of the letters was slightly different (at least when they were used as numerals). However, the old Maghrebi variant has been abandoned except for calligraphic purposes in the Maghreb itself, and remains in use mainly in the Quranic schools (zaouias) of West Africa. Arabic, like all other Semitic languages (except for the Latin-written Maltese, and the languages with the Ge'ez script), is written from right to left. There are several styles of scripts such as thuluth, muhaqqaq, tawqi, rayhan and notably naskh, which is used in print and by computers, and ruqʻah, which is commonly used for correspondence. Originally Arabic was made up of only rasm without diacritical marks Later diacritical points (which in Arabic are referred to as nuqaṯ) were added (which allowed readers to distinguish between letters such as b, t, th, n and y). Finally signs known as Tashkil were used for short vowels known as harakat and other uses such as final postnasalized or long vowels. Calligraphy After Khalil ibn Ahmad al Farahidi finally fixed the Arabic script around 786, many styles were developed, both for the writing down of the Quran and other books, and for inscriptions on monuments as decoration. Arabic calligraphy has not fallen out of use as calligraphy has in the Western world, and is still considered by Arabs as a major art form; calligraphers are held in great esteem. Being cursive by nature, unlike the Latin script, Arabic script is used to write down a verse of the Quran, a hadith, or simply a proverb. The composition is often abstract, but sometimes the writing is shaped into an actual form such as that of an animal. One of the current masters of the genre is Hassan Massoudy. In modern times the intrinsically calligraphic nature of the written Arabic form is haunted by the thought that a typographic approach to the language, necessary for digitized unification, will not always accurately maintain meanings conveyed through calligraphy. Romanization There are a number of different standards for the romanization of Arabic, i.e. methods of accurately and efficiently representing Arabic with the Latin script. There are various conflicting motivations involved, which leads to multiple systems. Some are interested in transliteration, i.e. representing the spelling of Arabic, while others focus on transcription, i.e. representing the pronunciation of Arabic. (They differ in that, for example, the same letter is used to represent both a consonant, as in "you" or "yet", and a vowel, as in "me" or "eat".) Some systems, e.g. for scholarly use, are intended to accurately and unambiguously represent the phonemes of Arabic, generally making the phonetics more explicit than the original word in the Arabic script. These systems are heavily reliant on diacritical marks such as "š" for the sound equivalently written sh in English. Other systems (e.g.

Traditionally, there were several differences between the Western (North African) and Middle Eastern versions of the alphabet—in particular, the faʼ had a dot underneath and qaf a single dot above in the Maghreb, and the order of the letters was slightly different (at least when they were used as numerals). However, the old Maghrebi variant has been abandoned except for calligraphic purposes in the Maghreb itself, and remains in use mainly in the Quranic schools (zaouias) of West Africa. Arabic, like all other Semitic languages (except for the Latin-written Maltese, and the languages with the Ge'ez script), is written from right to left. There are several styles of scripts such as thuluth, muhaqqaq, tawqi, rayhan and notably naskh, which is used in print and by computers, and ruqʻah, which is commonly used for correspondence. Originally Arabic was made up of only rasm without diacritical marks Later diacritical points (which in Arabic are referred to as nuqaṯ) were added (which allowed readers to distinguish between letters such as b, t, th, n and y). Finally signs known as Tashkil were used for short vowels known as harakat and other uses such as final postnasalized or long vowels. Calligraphy After Khalil ibn Ahmad al Farahidi finally fixed the Arabic script around 786, many styles were developed, both for the writing down of the Quran and other books, and for inscriptions on monuments as decoration. Arabic calligraphy has not fallen out of use as calligraphy has in the Western world, and is still considered by Arabs as a major art form; calligraphers are held in great esteem. Being cursive by nature, unlike the Latin script, Arabic script is used to write down a verse of the Quran, a hadith, or simply a proverb. The composition is often abstract, but sometimes the writing is shaped into an actual form such as that of an animal. One of the current masters of the genre is Hassan Massoudy. In modern times the intrinsically calligraphic nature of the written Arabic form is haunted by the thought that a typographic approach to the language, necessary for digitized unification, will not always accurately maintain meanings conveyed through calligraphy. Romanization There are a number of different standards for the romanization of Arabic, i.e. methods of accurately and efficiently representing Arabic with the Latin script. There are various conflicting motivations involved, which leads to multiple systems. Some are interested in transliteration, i.e. representing the spelling of Arabic, while others focus on transcription, i.e. representing the pronunciation of Arabic. (They differ in that, for example, the same letter is used to represent both a consonant, as in "you" or "yet", and a vowel, as in "me" or "eat".) Some systems, e.g. for scholarly use, are intended to accurately and unambiguously represent the phonemes of Arabic, generally making the phonetics more explicit than the original word in the Arabic script. These systems are heavily reliant on diacritical marks such as "š" for the sound equivalently written sh in English. Other systems (e.g.

Traditionally, there were several differences between the Western (North African) and Middle Eastern versions of the alphabet—in particular, the faʼ had a dot underneath and qaf a single dot above in the Maghreb, and the order of the letters was slightly different (at least when they were used as numerals). However, the old Maghrebi variant has been abandoned except for calligraphic purposes in the Maghreb itself, and remains in use mainly in the Quranic schools (zaouias) of West Africa. Arabic, like all other Semitic languages (except for the Latin-written Maltese, and the languages with the Ge'ez script), is written from right to left. There are several styles of scripts such as thuluth, muhaqqaq, tawqi, rayhan and notably naskh, which is used in print and by computers, and ruqʻah, which is commonly used for correspondence. Originally Arabic was made up of only rasm without diacritical marks Later diacritical points (which in Arabic are referred to as nuqaṯ) were added (which allowed readers to distinguish between letters such as b, t, th, n and y). Finally signs known as Tashkil were used for short vowels known as harakat and other uses such as final postnasalized or long vowels. Calligraphy After Khalil ibn Ahmad al Farahidi finally fixed the Arabic script around 786, many styles were developed, both for the writing down of the Quran and other books, and for inscriptions on monuments as decoration. Arabic calligraphy has not fallen out of use as calligraphy has in the Western world, and is still considered by Arabs as a major art form; calligraphers are held in great esteem. Being cursive by nature, unlike the Latin script, Arabic script is used to write down a verse of the Quran, a hadith, or simply a proverb. The composition is often abstract, but sometimes the writing is shaped into an actual form such as that of an animal. One of the current masters of the genre is Hassan Massoudy. In modern times the intrinsically calligraphic nature of the written Arabic form is haunted by the thought that a typographic approach to the language, necessary for digitized unification, will not always accurately maintain meanings conveyed through calligraphy. Romanization There are a number of different standards for the romanization of Arabic, i.e. methods of accurately and efficiently representing Arabic with the Latin script. There are various conflicting motivations involved, which leads to multiple systems. Some are interested in transliteration, i.e. representing the spelling of Arabic, while others focus on transcription, i.e. representing the pronunciation of Arabic. (They differ in that, for example, the same letter is used to represent both a consonant, as in "you" or "yet", and a vowel, as in "me" or "eat".) Some systems, e.g. for scholarly use, are intended to accurately and unambiguously represent the phonemes of Arabic, generally making the phonetics more explicit than the original word in the Arabic script. These systems are heavily reliant on diacritical marks such as "š" for the sound equivalently written sh in English. Other systems (e.g.

the Bahá'í orthography) are intended to help readers who are neither Arabic speakers nor linguists with intuitive pronunciation of Arabic names and phrases. These less "scientific" systems tend to avoid diacritics and use digraphs (like sh and kh). These are usually simpler to read, but sacrifice the definiteness of the scientific systems, and may lead to ambiguities, e.g. whether to interpret sh as a single sound, as in gash, or a combination of two sounds, as in gashouse. The ALA-LC romanization solves this problem by separating the two sounds with a prime symbol ( ′ ); e.g., as′hal 'easier'. During the last few decades and especially since the 1990s, Western-invented text communication technologies have become prevalent in the Arab world, such as personal computers, the World Wide Web, email, bulletin board systems, IRC, instant messaging and mobile phone text messaging. Most of these technologies originally had the ability to communicate using the Latin script only, and some of them still do not have the Arabic script as an optional feature. As a result, Arabic speaking users communicated in these technologies by transliterating the Arabic text using the Latin script, sometimes known as IM Arabic. To handle those Arabic letters that cannot be accurately represented using the Latin script, numerals and other characters were appropriated. For example, the numeral "3" may be used to represent the Arabic letter . There is no universal name for this type of transliteration, but some have named it Arabic Chat Alphabet. Other systems of transliteration exist, such as using dots or capitalization to represent the "emphatic" counterparts of certain consonants. For instance, using capitalization, the letter , may be represented by d. Its emphatic counterpart, , may be written as D. Numerals In most of present-day North Africa, the Western Arabic numerals (0, 1, 2, 3, 4, 5, 6, 7, 8, 9) are used. However, in Egypt and Arabic-speaking countries to the east of it, the Eastern Arabic numerals ( – – – – – – – – – ) are in use. When representing a number in Arabic, the lowest-valued position is placed on the right, so the order of positions is the same as in left-to-right scripts. Sequences of digits such as telephone numbers are read from left to right, but numbers are spoken in the traditional Arabic fashion, with units and tens reversed from the modern English usage. For example, 24 is said "four and twenty" just like in the German language (vierundzwanzig) and Classical Hebrew, and 1975 is said "a thousand and nine-hundred and five and seventy" or, more eloquently, "a thousand and nine-hundred five seventy" Language-standards regulators Academy of the Arabic Language is the name of a number of language-regulation bodies formed in the Arab League. The most active are in Damascus and Cairo. They review language development, monitor new words and approve inclusion of new words into their published standard dictionaries. They also publish old and historical Arabic manuscripts.

the Bahá'í orthography) are intended to help readers who are neither Arabic speakers nor linguists with intuitive pronunciation of Arabic names and phrases. These less "scientific" systems tend to avoid diacritics and use digraphs (like sh and kh). These are usually simpler to read, but sacrifice the definiteness of the scientific systems, and may lead to ambiguities, e.g. whether to interpret sh as a single sound, as in gash, or a combination of two sounds, as in gashouse. The ALA-LC romanization solves this problem by separating the two sounds with a prime symbol ( ′ ); e.g., as′hal 'easier'. During the last few decades and especially since the 1990s, Western-invented text communication technologies have become prevalent in the Arab world, such as personal computers, the World Wide Web, email, bulletin board systems, IRC, instant messaging and mobile phone text messaging. Most of these technologies originally had the ability to communicate using the Latin script only, and some of them still do not have the Arabic script as an optional feature. As a result, Arabic speaking users communicated in these technologies by transliterating the Arabic text using the Latin script, sometimes known as IM Arabic. To handle those Arabic letters that cannot be accurately represented using the Latin script, numerals and other characters were appropriated. For example, the numeral "3" may be used to represent the Arabic letter . There is no universal name for this type of transliteration, but some have named it Arabic Chat Alphabet. Other systems of transliteration exist, such as using dots or capitalization to represent the "emphatic" counterparts of certain consonants. For instance, using capitalization, the letter , may be represented by d. Its emphatic counterpart, , may be written as D. Numerals In most of present-day North Africa, the Western Arabic numerals (0, 1, 2, 3, 4, 5, 6, 7, 8, 9) are used. However, in Egypt and Arabic-speaking countries to the east of it, the Eastern Arabic numerals ( – – – – – – – – – ) are in use. When representing a number in Arabic, the lowest-valued position is placed on the right, so the order of positions is the same as in left-to-right scripts. Sequences of digits such as telephone numbers are read from left to right, but numbers are spoken in the traditional Arabic fashion, with units and tens reversed from the modern English usage. For example, 24 is said "four and twenty" just like in the German language (vierundzwanzig) and Classical Hebrew, and 1975 is said "a thousand and nine-hundred and five and seventy" or, more eloquently, "a thousand and nine-hundred five seventy" Language-standards regulators Academy of the Arabic Language is the name of a number of language-regulation bodies formed in the Arab League. The most active are in Damascus and Cairo. They review language development, monitor new words and approve inclusion of new words into their published standard dictionaries. They also publish old and historical Arabic manuscripts.

the Bahá'í orthography) are intended to help readers who are neither Arabic speakers nor linguists with intuitive pronunciation of Arabic names and phrases. These less "scientific" systems tend to avoid diacritics and use digraphs (like sh and kh). These are usually simpler to read, but sacrifice the definiteness of the scientific systems, and may lead to ambiguities, e.g. whether to interpret sh as a single sound, as in gash, or a combination of two sounds, as in gashouse. The ALA-LC romanization solves this problem by separating the two sounds with a prime symbol ( ′ ); e.g., as′hal 'easier'. During the last few decades and especially since the 1990s, Western-invented text communication technologies have become prevalent in the Arab world, such as personal computers, the World Wide Web, email, bulletin board systems, IRC, instant messaging and mobile phone text messaging. Most of these technologies originally had the ability to communicate using the Latin script only, and some of them still do not have the Arabic script as an optional feature. As a result, Arabic speaking users communicated in these technologies by transliterating the Arabic text using the Latin script, sometimes known as IM Arabic. To handle those Arabic letters that cannot be accurately represented using the Latin script, numerals and other characters were appropriated. For example, the numeral "3" may be used to represent the Arabic letter . There is no universal name for this type of transliteration, but some have named it Arabic Chat Alphabet. Other systems of transliteration exist, such as using dots or capitalization to represent the "emphatic" counterparts of certain consonants. For instance, using capitalization, the letter , may be represented by d. Its emphatic counterpart, , may be written as D. Numerals In most of present-day North Africa, the Western Arabic numerals (0, 1, 2, 3, 4, 5, 6, 7, 8, 9) are used. However, in Egypt and Arabic-speaking countries to the east of it, the Eastern Arabic numerals ( – – – – – – – – – ) are in use. When representing a number in Arabic, the lowest-valued position is placed on the right, so the order of positions is the same as in left-to-right scripts. Sequences of digits such as telephone numbers are read from left to right, but numbers are spoken in the traditional Arabic fashion, with units and tens reversed from the modern English usage. For example, 24 is said "four and twenty" just like in the German language (vierundzwanzig) and Classical Hebrew, and 1975 is said "a thousand and nine-hundred and five and seventy" or, more eloquently, "a thousand and nine-hundred five seventy" Language-standards regulators Academy of the Arabic Language is the name of a number of language-regulation bodies formed in the Arab League. The most active are in Damascus and Cairo. They review language development, monitor new words and approve inclusion of new words into their published standard dictionaries. They also publish old and historical Arabic manuscripts.

As a foreign language Arabic has been taught worldwide in many elementary and secondary schools, especially Muslim schools. Universities around the world have classes that teach Arabic as part of their foreign languages, Middle Eastern studies, and religious studies courses. Arabic language schools exist to assist students to learn Arabic outside the academic world. There are many Arabic language schools in the Arab world and other Muslim countries. Because the Quran is written in Arabic and all Islamic terms are in Arabic, millions of Muslims (both Arab and non-Arab) study the language. Software and books with tapes are also important part of Arabic learning, as many of Arabic learners may live in places where there are no academic or Arabic language school classes available. Radio series of Arabic language classes are also provided from some radio stations. A number of websites on the Internet provide online classes for all levels as a means of distance education; most teach Modern Standard Arabic, but some teach regional varieties from numerous countries. Status in the Arab world vs. other languages With the sole example of Medieval linguist Abu Hayyan al-Gharnati – who, while a scholar of the Arabic language, was not ethnically Arab – Medieval scholars of the Arabic language made no efforts at studying comparative linguistics, considering all other languages inferior. In modern times, the educated upper classes in the Arab world have taken a nearly opposite view. Yasir Suleiman wrote in 2011 that "studying and knowing English or French in most of the Middle East and North Africa have become a badge of sophistication and modernity and ... feigning, or asserting, weakness or lack of facility in Arabic is sometimes paraded as a sign of status, class, and perversely, even education through a mélange of code-switching practises." See also Arabic Ontology Arabic diglossia Arabic influence on the Spanish language Arabic Language International Council Arabic literature Arabic–English Lexicon Arabist Dictionary of Modern Written Arabic Glossary of Islam International Association of Arabic Dialectology List of Arab newspapers List of Arabic-language television channels List of Arabic given names List of arabophones List of countries where Arabic is an official language List of French words of Arabic origin List of replaced loanwords in Turkish References Citations Sources Suileman, Yasir. Arabic, Self and Identity: A Study in Conflict and Displacement. Oxford University Press, 2011. . External links Dr. Nizar Habash's, Columbia University, Introduction to Arabic Natural Language Processing Google Ta3reeb – Google Transliteration Transliteration Arabic language pronunciation applet Alexis Neme (2011), A lexicon of Arabic verbs constructed on the basis of Semitic taxonomy and using finite-state transducers Alexis Neme and Eric Laporte (2013), Pattern-and-root inflectional morphology: the Arabic broken plural Alexis Neme and Eric Laporte (2015), Do computer scientists deeply understand Arabic morphology?

As a foreign language Arabic has been taught worldwide in many elementary and secondary schools, especially Muslim schools. Universities around the world have classes that teach Arabic as part of their foreign languages, Middle Eastern studies, and religious studies courses. Arabic language schools exist to assist students to learn Arabic outside the academic world. There are many Arabic language schools in the Arab world and other Muslim countries. Because the Quran is written in Arabic and all Islamic terms are in Arabic, millions of Muslims (both Arab and non-Arab) study the language. Software and books with tapes are also important part of Arabic learning, as many of Arabic learners may live in places where there are no academic or Arabic language school classes available. Radio series of Arabic language classes are also provided from some radio stations. A number of websites on the Internet provide online classes for all levels as a means of distance education; most teach Modern Standard Arabic, but some teach regional varieties from numerous countries. Status in the Arab world vs. other languages With the sole example of Medieval linguist Abu Hayyan al-Gharnati – who, while a scholar of the Arabic language, was not ethnically Arab – Medieval scholars of the Arabic language made no efforts at studying comparative linguistics, considering all other languages inferior. In modern times, the educated upper classes in the Arab world have taken a nearly opposite view. Yasir Suleiman wrote in 2011 that "studying and knowing English or French in most of the Middle East and North Africa have become a badge of sophistication and modernity and ... feigning, or asserting, weakness or lack of facility in Arabic is sometimes paraded as a sign of status, class, and perversely, even education through a mélange of code-switching practises." See also Arabic Ontology Arabic diglossia Arabic influence on the Spanish language Arabic Language International Council Arabic literature Arabic–English Lexicon Arabist Dictionary of Modern Written Arabic Glossary of Islam International Association of Arabic Dialectology List of Arab newspapers List of Arabic-language television channels List of Arabic given names List of arabophones List of countries where Arabic is an official language List of French words of Arabic origin List of replaced loanwords in Turkish References Citations Sources Suileman, Yasir. Arabic, Self and Identity: A Study in Conflict and Displacement. Oxford University Press, 2011. . External links Dr. Nizar Habash's, Columbia University, Introduction to Arabic Natural Language Processing Google Ta3reeb – Google Transliteration Transliteration Arabic language pronunciation applet Alexis Neme (2011), A lexicon of Arabic verbs constructed on the basis of Semitic taxonomy and using finite-state transducers Alexis Neme and Eric Laporte (2013), Pattern-and-root inflectional morphology: the Arabic broken plural Alexis Neme and Eric Laporte (2015), Do computer scientists deeply understand Arabic morphology?

As a foreign language Arabic has been taught worldwide in many elementary and secondary schools, especially Muslim schools. Universities around the world have classes that teach Arabic as part of their foreign languages, Middle Eastern studies, and religious studies courses. Arabic language schools exist to assist students to learn Arabic outside the academic world. There are many Arabic language schools in the Arab world and other Muslim countries. Because the Quran is written in Arabic and all Islamic terms are in Arabic, millions of Muslims (both Arab and non-Arab) study the language. Software and books with tapes are also important part of Arabic learning, as many of Arabic learners may live in places where there are no academic or Arabic language school classes available. Radio series of Arabic language classes are also provided from some radio stations. A number of websites on the Internet provide online classes for all levels as a means of distance education; most teach Modern Standard Arabic, but some teach regional varieties from numerous countries. Status in the Arab world vs. other languages With the sole example of Medieval linguist Abu Hayyan al-Gharnati – who, while a scholar of the Arabic language, was not ethnically Arab – Medieval scholars of the Arabic language made no efforts at studying comparative linguistics, considering all other languages inferior. In modern times, the educated upper classes in the Arab world have taken a nearly opposite view. Yasir Suleiman wrote in 2011 that "studying and knowing English or French in most of the Middle East and North Africa have become a badge of sophistication and modernity and ... feigning, or asserting, weakness or lack of facility in Arabic is sometimes paraded as a sign of status, class, and perversely, even education through a mélange of code-switching practises." See also Arabic Ontology Arabic diglossia Arabic influence on the Spanish language Arabic Language International Council Arabic literature Arabic–English Lexicon Arabist Dictionary of Modern Written Arabic Glossary of Islam International Association of Arabic Dialectology List of Arab newspapers List of Arabic-language television channels List of Arabic given names List of arabophones List of countries where Arabic is an official language List of French words of Arabic origin List of replaced loanwords in Turkish References Citations Sources Suileman, Yasir. Arabic, Self and Identity: A Study in Conflict and Displacement. Oxford University Press, 2011. . External links Dr. Nizar Habash's, Columbia University, Introduction to Arabic Natural Language Processing Google Ta3reeb – Google Transliteration Transliteration Arabic language pronunciation applet Alexis Neme (2011), A lexicon of Arabic verbs constructed on the basis of Semitic taxonomy and using finite-state transducers Alexis Neme and Eric Laporte (2013), Pattern-and-root inflectional morphology: the Arabic broken plural Alexis Neme and Eric Laporte (2015), Do computer scientists deeply understand Arabic morphology?

– , available also in Arabic, Indonesian, French Arabic manuscripts, UA 5572 at L. Tom Perry Special Collections, Brigham Young University Online Arabic Keyboard (Bilingual dictionary) Arabic Student's Dictionary Languages attested from the 9th century BC Articles containing video clips Central Semitic languages Fusional languages Languages of Algeria Languages of Bahrain Languages of Cameroon Languages of Chad Languages of the Comoros Languages of Djibouti Languages of Eritrea Languages of Gibraltar Languages of Israel Languages of Iran Languages of Iraq Languages of Jordan Languages of Kurdistan Languages of Kuwait Languages of Lebanon Languages of Libya Languages of Mali Languages of Mauritania Languages of Morocco Languages of Niger Languages of Oman Languages of the State of Palestine Languages of Qatar Languages of Saudi Arabia Languages of Senegal Languages of South Sudan Languages of Sicily Languages of Somalia Languages of Sudan Languages of Syria Languages of the United Arab Emirates Languages of Tunisia Languages of Yemen Stress-timed languages Subject–verb–object languages Verb–subject–object languages

– , available also in Arabic, Indonesian, French Arabic manuscripts, UA 5572 at L. Tom Perry Special Collections, Brigham Young University Online Arabic Keyboard (Bilingual dictionary) Arabic Student's Dictionary Languages attested from the 9th century BC Articles containing video clips Central Semitic languages Fusional languages Languages of Algeria Languages of Bahrain Languages of Cameroon Languages of Chad Languages of the Comoros Languages of Djibouti Languages of Eritrea Languages of Gibraltar Languages of Israel Languages of Iran Languages of Iraq Languages of Jordan Languages of Kurdistan Languages of Kuwait Languages of Lebanon Languages of Libya Languages of Mali Languages of Mauritania Languages of Morocco Languages of Niger Languages of Oman Languages of the State of Palestine Languages of Qatar Languages of Saudi Arabia Languages of Senegal Languages of South Sudan Languages of Sicily Languages of Somalia Languages of Sudan Languages of Syria Languages of the United Arab Emirates Languages of Tunisia Languages of Yemen Stress-timed languages Subject–verb–object languages Verb–subject–object languages

– , available also in Arabic, Indonesian, French Arabic manuscripts, UA 5572 at L. Tom Perry Special Collections, Brigham Young University Online Arabic Keyboard (Bilingual dictionary) Arabic Student's Dictionary Languages attested from the 9th century BC Articles containing video clips Central Semitic languages Fusional languages Languages of Algeria Languages of Bahrain Languages of Cameroon Languages of Chad Languages of the Comoros Languages of Djibouti Languages of Eritrea Languages of Gibraltar Languages of Israel Languages of Iran Languages of Iraq Languages of Jordan Languages of Kurdistan Languages of Kuwait Languages of Lebanon Languages of Libya Languages of Mali Languages of Mauritania Languages of Morocco Languages of Niger Languages of Oman Languages of the State of Palestine Languages of Qatar Languages of Saudi Arabia Languages of Senegal Languages of South Sudan Languages of Sicily Languages of Somalia Languages of Sudan Languages of Syria Languages of the United Arab Emirates Languages of Tunisia Languages of Yemen Stress-timed languages Subject–verb–object languages Verb–subject–object languages

Alfred Hitchcock Sir Alfred Joseph Hitchcock (13 August 1899 – 29 April 1980) was an English filmmaker who was one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 feature films, many of which are still widely watched and studied today. Known as the "Master of Suspense", he became as well known as any of his actors thanks to his many interviews, his cameo roles in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered 46 Academy Award nominations, including six wins, although he never won the award for Best Director despite five nominations. Hitchcock initially trained as a technical clerk and copy writer before entering the film industry in 1919 as a title card designer. His directorial debut was the British-German silent film The Pleasure Garden (1925). His first successful film, The Lodger: A Story of the London Fog (1927), helped to shape the thriller genre, and Blackmail (1929) was the first British "talkie". His thrillers The 39 Steps (1935) and The Lady Vanishes (1938) are ranked among the greatest British films of the 20th century. By 1939, he had international recognition and producer David O. Selznick persuaded him to move to Hollywood. A string of successful films followed, including Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Shadow of a Doubt (1943), and Notorious (1946). Rebecca won the Academy Award for Best Picture, with Hitchcock nominated as Best Director; he was also nominated for Lifeboat (1944) and Spellbound (1945). After a brief commercial lull, he returned to form with Strangers on a Train (1951) and Dial M for Murder (1954); he then went on to direct four films often ranked among the greatest of all time: Rear Window (1954), Vertigo (1958), North by Northwest (1959) and Psycho (1960), the first and last of these garnering him Best Director nominations. The Birds (1963) and Marnie (1964) were also financially successful and are highly regarded by film historians. The "Hitchcockian" style includes the use of camera movement to mimic a person's gaze, thereby turning viewers into voyeurs, and framing shots to maximise anxiety and fear. The film critic Robin Wood wrote that the meaning of a Hitchcock film "is there in the method, in the progression from shot to shot. A Hitchcock film is an organism, with the whole implied in every detail and every detail related to the whole." Hitchcock made multiple films with some of the biggest stars in Hollywood, including four with Cary Grant in the 1940s and 1950s, three with Ingrid Bergman in the last half of the 1940s, four with James Stewart over a ten-year span commencing in 1948, and three with Grace Kelly in the mid-1950s. Hitchcock became an American citizen in 1955.

Alfred Hitchcock Sir Alfred Joseph Hitchcock (13 August 1899 – 29 April 1980) was an English filmmaker who was one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 feature films, many of which are still widely watched and studied today. Known as the "Master of Suspense", he became as well known as any of his actors thanks to his many interviews, his cameo roles in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered 46 Academy Award nominations, including six wins, although he never won the award for Best Director despite five nominations. Hitchcock initially trained as a technical clerk and copy writer before entering the film industry in 1919 as a title card designer. His directorial debut was the British-German silent film The Pleasure Garden (1925). His first successful film, The Lodger: A Story of the London Fog (1927), helped to shape the thriller genre, and Blackmail (1929) was the first British "talkie". His thrillers The 39 Steps (1935) and The Lady Vanishes (1938) are ranked among the greatest British films of the 20th century. By 1939, he had international recognition and producer David O. Selznick persuaded him to move to Hollywood. A string of successful films followed, including Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Shadow of a Doubt (1943), and Notorious (1946). Rebecca won the Academy Award for Best Picture, with Hitchcock nominated as Best Director; he was also nominated for Lifeboat (1944) and Spellbound (1945). After a brief commercial lull, he returned to form with Strangers on a Train (1951) and Dial M for Murder (1954); he then went on to direct four films often ranked among the greatest of all time: Rear Window (1954), Vertigo (1958), North by Northwest (1959) and Psycho (1960), the first and last of these garnering him Best Director nominations. The Birds (1963) and Marnie (1964) were also financially successful and are highly regarded by film historians. The "Hitchcockian" style includes the use of camera movement to mimic a person's gaze, thereby turning viewers into voyeurs, and framing shots to maximise anxiety and fear. The film critic Robin Wood wrote that the meaning of a Hitchcock film "is there in the method, in the progression from shot to shot. A Hitchcock film is an organism, with the whole implied in every detail and every detail related to the whole." Hitchcock made multiple films with some of the biggest stars in Hollywood, including four with Cary Grant in the 1940s and 1950s, three with Ingrid Bergman in the last half of the 1940s, four with James Stewart over a ten-year span commencing in 1948, and three with Grace Kelly in the mid-1950s. Hitchcock became an American citizen in 1955.

In 2012, Hitchcock's psychological thriller Vertigo, starring Stewart, displaced Orson Welles' Citizen Kane (1941) as the British Film Institute's greatest film ever made based on its world-wide poll of hundreds of film critics. , nine of his films had been selected for preservation in the United States National Film Registry, including his personal favourite, Shadow of a Doubt (1943). He received the BAFTA Fellowship in 1971, the AFI Life Achievement Award in 1979 and was knighted in December that year, four months before his death on 29 April 1980. Biography Early life: 1899–1919 Early childhood and education Hitchcock was born on 13 August 1899 in the flat above his parents' leased grocer's shop at 517 High Road, Leytonstone, on the outskirts of East London (then part of Essex), the youngest of three children: William Daniel (1890–1943), Ellen Kathleen ("Nellie") (1892–1979), and Alfred Joseph (1899–1980). His parents, Emma Jane Hitchcock ( Whelan; 1863–1942), and William Edgar Hitchcock (1862–1914), were both Roman Catholics, with partial roots in Ireland; His father was a greengrocer, as his grandfather had been. There was a large extended family, including uncle John Hitchcock with his five-bedroom Victorian house on Campion Road, Putney, complete with maid, cook, chauffeur and gardener. Every summer, his uncle rented a seaside house for the family in Cliftonville, Kent. Hitchcock said that he first became class-conscious there, noticing the differences between tourists and locals. Describing himself as a well-behaved boy—his father called him his "little lamb without a spot"—Hitchcock said he could not remember ever having had a playmate. One of his favourite stories for interviewers was about his father sending him to the local police station with a note when he was five; the policeman looked at the note and locked him in a cell for a few minutes, saying, "This is what we do to naughty boys." The experience left him, he said, with a lifelong fear of policemen; in 1973 he told Tom Snyder that he was "scared stiff of anything ... to do with the law" and wouldn't even drive a car in case he got a parking ticket. When he was six, the family moved to Limehouse and leased two stores at 130 and 175 Salmon Lane, which they ran as a fish-and-chips shop and fishmongers' respectively; they lived above the former. Hitchcock attended his first school, the Howrah House Convent in Poplar, which he entered in 1907, at age 7. According to biographer Patrick McGilligan, he stayed at Howrah House for at most two years. He also attended a convent school, the Wode Street School "for the daughters of gentlemen and little boys", run by the Faithful Companions of Jesus. He then attended a primary school near his home and was for a short time a boarder at Salesian College in Battersea.

In 2012, Hitchcock's psychological thriller Vertigo, starring Stewart, displaced Orson Welles' Citizen Kane (1941) as the British Film Institute's greatest film ever made based on its world-wide poll of hundreds of film critics. , nine of his films had been selected for preservation in the United States National Film Registry, including his personal favourite, Shadow of a Doubt (1943). He received the BAFTA Fellowship in 1971, the AFI Life Achievement Award in 1979 and was knighted in December that year, four months before his death on 29 April 1980. Biography Early life: 1899–1919 Early childhood and education Hitchcock was born on 13 August 1899 in the flat above his parents' leased grocer's shop at 517 High Road, Leytonstone, on the outskirts of East London (then part of Essex), the youngest of three children: William Daniel (1890–1943), Ellen Kathleen ("Nellie") (1892–1979), and Alfred Joseph (1899–1980). His parents, Emma Jane Hitchcock ( Whelan; 1863–1942), and William Edgar Hitchcock (1862–1914), were both Roman Catholics, with partial roots in Ireland; His father was a greengrocer, as his grandfather had been. There was a large extended family, including uncle John Hitchcock with his five-bedroom Victorian house on Campion Road, Putney, complete with maid, cook, chauffeur and gardener. Every summer, his uncle rented a seaside house for the family in Cliftonville, Kent. Hitchcock said that he first became class-conscious there, noticing the differences between tourists and locals. Describing himself as a well-behaved boy—his father called him his "little lamb without a spot"—Hitchcock said he could not remember ever having had a playmate. One of his favourite stories for interviewers was about his father sending him to the local police station with a note when he was five; the policeman looked at the note and locked him in a cell for a few minutes, saying, "This is what we do to naughty boys." The experience left him, he said, with a lifelong fear of policemen; in 1973 he told Tom Snyder that he was "scared stiff of anything ... to do with the law" and wouldn't even drive a car in case he got a parking ticket. When he was six, the family moved to Limehouse and leased two stores at 130 and 175 Salmon Lane, which they ran as a fish-and-chips shop and fishmongers' respectively; they lived above the former. Hitchcock attended his first school, the Howrah House Convent in Poplar, which he entered in 1907, at age 7. According to biographer Patrick McGilligan, he stayed at Howrah House for at most two years. He also attended a convent school, the Wode Street School "for the daughters of gentlemen and little boys", run by the Faithful Companions of Jesus. He then attended a primary school near his home and was for a short time a boarder at Salesian College in Battersea.

In 2012, Hitchcock's psychological thriller Vertigo, starring Stewart, displaced Orson Welles' Citizen Kane (1941) as the British Film Institute's greatest film ever made based on its world-wide poll of hundreds of film critics. , nine of his films had been selected for preservation in the United States National Film Registry, including his personal favourite, Shadow of a Doubt (1943). He received the BAFTA Fellowship in 1971, the AFI Life Achievement Award in 1979 and was knighted in December that year, four months before his death on 29 April 1980. Biography Early life: 1899–1919 Early childhood and education Hitchcock was born on 13 August 1899 in the flat above his parents' leased grocer's shop at 517 High Road, Leytonstone, on the outskirts of East London (then part of Essex), the youngest of three children: William Daniel (1890–1943), Ellen Kathleen ("Nellie") (1892–1979), and Alfred Joseph (1899–1980). His parents, Emma Jane Hitchcock ( Whelan; 1863–1942), and William Edgar Hitchcock (1862–1914), were both Roman Catholics, with partial roots in Ireland; His father was a greengrocer, as his grandfather had been. There was a large extended family, including uncle John Hitchcock with his five-bedroom Victorian house on Campion Road, Putney, complete with maid, cook, chauffeur and gardener. Every summer, his uncle rented a seaside house for the family in Cliftonville, Kent. Hitchcock said that he first became class-conscious there, noticing the differences between tourists and locals. Describing himself as a well-behaved boy—his father called him his "little lamb without a spot"—Hitchcock said he could not remember ever having had a playmate. One of his favourite stories for interviewers was about his father sending him to the local police station with a note when he was five; the policeman looked at the note and locked him in a cell for a few minutes, saying, "This is what we do to naughty boys." The experience left him, he said, with a lifelong fear of policemen; in 1973 he told Tom Snyder that he was "scared stiff of anything ... to do with the law" and wouldn't even drive a car in case he got a parking ticket. When he was six, the family moved to Limehouse and leased two stores at 130 and 175 Salmon Lane, which they ran as a fish-and-chips shop and fishmongers' respectively; they lived above the former. Hitchcock attended his first school, the Howrah House Convent in Poplar, which he entered in 1907, at age 7. According to biographer Patrick McGilligan, he stayed at Howrah House for at most two years. He also attended a convent school, the Wode Street School "for the daughters of gentlemen and little boys", run by the Faithful Companions of Jesus. He then attended a primary school near his home and was for a short time a boarder at Salesian College in Battersea.

The family moved again when he was 11, this time to Stepney, and on 5 October 1910 Hitchcock was sent to St Ignatius College in Stamford Hill, Tottenham (now in the London Borough of Haringey), a Jesuit grammar school with a reputation for discipline. The priests used a hard rubber cane on the boys, always at the end of the day, so the boys had to sit through classes anticipating the punishment if they had been written up for it. He later said that this is where he developed his sense of fear. The school register lists his year of birth as 1900 rather than 1899; biographer Donald Spoto says he was deliberately enrolled as a 10-year-old because he was a year behind with his schooling. While biographer Gene Adair reports that Hitchcock was "an average, or slightly above-average, pupil", Hitchcock said that he was "usually among the four or five at the top of the class"; at the end of his first year, his work in Latin, English, French and religious education was noted. He told Peter Bogdanovich: "The Jesuits taught me organisation, control and, to some degree, analysis." His favourite subject was geography, and he became interested in maps, and railway, tram and bus timetables; according to John Russell Taylor, he could recite all the stops on the Orient Express. He also had a particular interest in London trams. An overwhelming majority of his films include rail or tram scenes, in particular The Lady Vanishes, Strangers on a Train and Number Seventeen. A clapperboard shows the number of the scene and the number of takes, and Hitchcock would often take the two numbers on the clapperboard and whisper the London tram route names. For example, if the clapperboard showed Scene 23; Take 3; Hitchcock would whisper "Woodford, Hampstead" – Woodford being the terminus of the route 23 tram, and Hampstead the end of route 3. Henley's Hitchcock told his parents that he wanted to be an engineer, and on 25 July 1913, he left St Ignatius and enrolled in night classes at the London County Council School of Engineering and Navigation in Poplar. In a book-length interview in 1962, he told François Truffaut that he had studied "mechanics, electricity, acoustics, and navigation". Then on 12 December 1914 his father, who had been suffering from emphysema and kidney disease, died at the age of 52. To support himself and his mother—his older siblings had left home by then—Hitchcock took a job, for 15 shillings a week (£ in ), as a technical clerk at the Henley Telegraph and Cable Company in Blomfield Street near London Wall. He continued night classes, this time in art history, painting, economics, and political science. His older brother ran the family shops, while he and his mother continued to live in Salmon Lane.

The family moved again when he was 11, this time to Stepney, and on 5 October 1910 Hitchcock was sent to St Ignatius College in Stamford Hill, Tottenham (now in the London Borough of Haringey), a Jesuit grammar school with a reputation for discipline. The priests used a hard rubber cane on the boys, always at the end of the day, so the boys had to sit through classes anticipating the punishment if they had been written up for it. He later said that this is where he developed his sense of fear. The school register lists his year of birth as 1900 rather than 1899; biographer Donald Spoto says he was deliberately enrolled as a 10-year-old because he was a year behind with his schooling. While biographer Gene Adair reports that Hitchcock was "an average, or slightly above-average, pupil", Hitchcock said that he was "usually among the four or five at the top of the class"; at the end of his first year, his work in Latin, English, French and religious education was noted. He told Peter Bogdanovich: "The Jesuits taught me organisation, control and, to some degree, analysis." His favourite subject was geography, and he became interested in maps, and railway, tram and bus timetables; according to John Russell Taylor, he could recite all the stops on the Orient Express. He also had a particular interest in London trams. An overwhelming majority of his films include rail or tram scenes, in particular The Lady Vanishes, Strangers on a Train and Number Seventeen. A clapperboard shows the number of the scene and the number of takes, and Hitchcock would often take the two numbers on the clapperboard and whisper the London tram route names. For example, if the clapperboard showed Scene 23; Take 3; Hitchcock would whisper "Woodford, Hampstead" – Woodford being the terminus of the route 23 tram, and Hampstead the end of route 3. Henley's Hitchcock told his parents that he wanted to be an engineer, and on 25 July 1913, he left St Ignatius and enrolled in night classes at the London County Council School of Engineering and Navigation in Poplar. In a book-length interview in 1962, he told François Truffaut that he had studied "mechanics, electricity, acoustics, and navigation". Then on 12 December 1914 his father, who had been suffering from emphysema and kidney disease, died at the age of 52. To support himself and his mother—his older siblings had left home by then—Hitchcock took a job, for 15 shillings a week (£ in ), as a technical clerk at the Henley Telegraph and Cable Company in Blomfield Street near London Wall. He continued night classes, this time in art history, painting, economics, and political science. His older brother ran the family shops, while he and his mother continued to live in Salmon Lane.

The family moved again when he was 11, this time to Stepney, and on 5 October 1910 Hitchcock was sent to St Ignatius College in Stamford Hill, Tottenham (now in the London Borough of Haringey), a Jesuit grammar school with a reputation for discipline. The priests used a hard rubber cane on the boys, always at the end of the day, so the boys had to sit through classes anticipating the punishment if they had been written up for it. He later said that this is where he developed his sense of fear. The school register lists his year of birth as 1900 rather than 1899; biographer Donald Spoto says he was deliberately enrolled as a 10-year-old because he was a year behind with his schooling. While biographer Gene Adair reports that Hitchcock was "an average, or slightly above-average, pupil", Hitchcock said that he was "usually among the four or five at the top of the class"; at the end of his first year, his work in Latin, English, French and religious education was noted. He told Peter Bogdanovich: "The Jesuits taught me organisation, control and, to some degree, analysis." His favourite subject was geography, and he became interested in maps, and railway, tram and bus timetables; according to John Russell Taylor, he could recite all the stops on the Orient Express. He also had a particular interest in London trams. An overwhelming majority of his films include rail or tram scenes, in particular The Lady Vanishes, Strangers on a Train and Number Seventeen. A clapperboard shows the number of the scene and the number of takes, and Hitchcock would often take the two numbers on the clapperboard and whisper the London tram route names. For example, if the clapperboard showed Scene 23; Take 3; Hitchcock would whisper "Woodford, Hampstead" – Woodford being the terminus of the route 23 tram, and Hampstead the end of route 3. Henley's Hitchcock told his parents that he wanted to be an engineer, and on 25 July 1913, he left St Ignatius and enrolled in night classes at the London County Council School of Engineering and Navigation in Poplar. In a book-length interview in 1962, he told François Truffaut that he had studied "mechanics, electricity, acoustics, and navigation". Then on 12 December 1914 his father, who had been suffering from emphysema and kidney disease, died at the age of 52. To support himself and his mother—his older siblings had left home by then—Hitchcock took a job, for 15 shillings a week (£ in ), as a technical clerk at the Henley Telegraph and Cable Company in Blomfield Street near London Wall. He continued night classes, this time in art history, painting, economics, and political science. His older brother ran the family shops, while he and his mother continued to live in Salmon Lane.

Hitchcock was too young to enlist when the First World War started in July 1914, and when he reached the required age of 18 in 1917, he received a C3 classification ("free from serious organic disease, able to stand service conditions in garrisons at home ... only suitable for sedentary work"). He joined a cadet regiment of the Royal Engineers and took part in theoretical briefings, weekend drills, and exercises. John Russell Taylor wrote that, in one session of practical exercises in Hyde Park, Hitchcock was required to wear puttees. He could never master wrapping them around his legs, and they repeatedly fell down around his ankles. After the war, Hitchcock took an interest in creative writing. In June 1919, he became a founding editor and business manager of Henley's in-house publication, The Henley Telegraph (sixpence a copy), to which he submitted several short stories. Henley's promoted him to the advertising department, where he wrote copy and drew graphics for electric cable advertisements. He enjoyed the job and would stay late at the office to examine the proofs; he told Truffaut that this was his "first step toward cinema". He enjoyed watching films, especially American cinema, and from the age of 16 read the trade papers; he watched Charlie Chaplin, D. W. Griffith and Buster Keaton, and particularly liked Fritz Lang's Der müde Tod (1921). Inter-war career: 1919–1939 Famous Players-Lasky While still at Henley's, he read in a trade paper that Famous Players-Lasky, the production arm of Paramount Pictures, was opening a studio in London. They were planning to film The Sorrows of Satan by Marie Corelli, so he produced some drawings for the title cards and sent his work to the studio. They hired him, and in 1919 he began working for Islington Studios in Poole Street, Hoxton, as a title-card designer. Donald Spoto wrote that most of the staff were Americans with strict job specifications, but the English workers were encouraged to try their hand at anything, which meant that Hitchcock gained experience as a co-writer, art director and production manager on at least 18 silent films. The Times wrote in February 1922 about the studio's "special art title department under the supervision of Mr. A. J. Hitchcock". His work included Number 13 (1922), also known as Mrs. Peabody; it was cancelled because of financial problems—the few finished scenes are lost—and Always Tell Your Wife (1923), which he and Seymour Hicks finished together when Hicks was about to give up on it. Hicks wrote later about being helped by "a fat youth who was in charge of the property room ... [n]one other than Alfred Hitchcock". Gainsborough Pictures and work in Germany When Paramount pulled out of London in 1922, Hitchcock was hired as an assistant director by a new firm run in the same location by Michael Balcon, later known as Gainsborough Pictures. Hitchcock worked on Woman to Woman (1923) with the director Graham Cutts, designing the set, writing the script and producing.

Hitchcock was too young to enlist when the First World War started in July 1914, and when he reached the required age of 18 in 1917, he received a C3 classification ("free from serious organic disease, able to stand service conditions in garrisons at home ... only suitable for sedentary work"). He joined a cadet regiment of the Royal Engineers and took part in theoretical briefings, weekend drills, and exercises. John Russell Taylor wrote that, in one session of practical exercises in Hyde Park, Hitchcock was required to wear puttees. He could never master wrapping them around his legs, and they repeatedly fell down around his ankles. After the war, Hitchcock took an interest in creative writing. In June 1919, he became a founding editor and business manager of Henley's in-house publication, The Henley Telegraph (sixpence a copy), to which he submitted several short stories. Henley's promoted him to the advertising department, where he wrote copy and drew graphics for electric cable advertisements. He enjoyed the job and would stay late at the office to examine the proofs; he told Truffaut that this was his "first step toward cinema". He enjoyed watching films, especially American cinema, and from the age of 16 read the trade papers; he watched Charlie Chaplin, D. W. Griffith and Buster Keaton, and particularly liked Fritz Lang's Der müde Tod (1921). Inter-war career: 1919–1939 Famous Players-Lasky While still at Henley's, he read in a trade paper that Famous Players-Lasky, the production arm of Paramount Pictures, was opening a studio in London. They were planning to film The Sorrows of Satan by Marie Corelli, so he produced some drawings for the title cards and sent his work to the studio. They hired him, and in 1919 he began working for Islington Studios in Poole Street, Hoxton, as a title-card designer. Donald Spoto wrote that most of the staff were Americans with strict job specifications, but the English workers were encouraged to try their hand at anything, which meant that Hitchcock gained experience as a co-writer, art director and production manager on at least 18 silent films. The Times wrote in February 1922 about the studio's "special art title department under the supervision of Mr. A. J. Hitchcock". His work included Number 13 (1922), also known as Mrs. Peabody; it was cancelled because of financial problems—the few finished scenes are lost—and Always Tell Your Wife (1923), which he and Seymour Hicks finished together when Hicks was about to give up on it. Hicks wrote later about being helped by "a fat youth who was in charge of the property room ... [n]one other than Alfred Hitchcock". Gainsborough Pictures and work in Germany When Paramount pulled out of London in 1922, Hitchcock was hired as an assistant director by a new firm run in the same location by Michael Balcon, later known as Gainsborough Pictures. Hitchcock worked on Woman to Woman (1923) with the director Graham Cutts, designing the set, writing the script and producing.

Hitchcock was too young to enlist when the First World War started in July 1914, and when he reached the required age of 18 in 1917, he received a C3 classification ("free from serious organic disease, able to stand service conditions in garrisons at home ... only suitable for sedentary work"). He joined a cadet regiment of the Royal Engineers and took part in theoretical briefings, weekend drills, and exercises. John Russell Taylor wrote that, in one session of practical exercises in Hyde Park, Hitchcock was required to wear puttees. He could never master wrapping them around his legs, and they repeatedly fell down around his ankles. After the war, Hitchcock took an interest in creative writing. In June 1919, he became a founding editor and business manager of Henley's in-house publication, The Henley Telegraph (sixpence a copy), to which he submitted several short stories. Henley's promoted him to the advertising department, where he wrote copy and drew graphics for electric cable advertisements. He enjoyed the job and would stay late at the office to examine the proofs; he told Truffaut that this was his "first step toward cinema". He enjoyed watching films, especially American cinema, and from the age of 16 read the trade papers; he watched Charlie Chaplin, D. W. Griffith and Buster Keaton, and particularly liked Fritz Lang's Der müde Tod (1921). Inter-war career: 1919–1939 Famous Players-Lasky While still at Henley's, he read in a trade paper that Famous Players-Lasky, the production arm of Paramount Pictures, was opening a studio in London. They were planning to film The Sorrows of Satan by Marie Corelli, so he produced some drawings for the title cards and sent his work to the studio. They hired him, and in 1919 he began working for Islington Studios in Poole Street, Hoxton, as a title-card designer. Donald Spoto wrote that most of the staff were Americans with strict job specifications, but the English workers were encouraged to try their hand at anything, which meant that Hitchcock gained experience as a co-writer, art director and production manager on at least 18 silent films. The Times wrote in February 1922 about the studio's "special art title department under the supervision of Mr. A. J. Hitchcock". His work included Number 13 (1922), also known as Mrs. Peabody; it was cancelled because of financial problems—the few finished scenes are lost—and Always Tell Your Wife (1923), which he and Seymour Hicks finished together when Hicks was about to give up on it. Hicks wrote later about being helped by "a fat youth who was in charge of the property room ... [n]one other than Alfred Hitchcock". Gainsborough Pictures and work in Germany When Paramount pulled out of London in 1922, Hitchcock was hired as an assistant director by a new firm run in the same location by Michael Balcon, later known as Gainsborough Pictures. Hitchcock worked on Woman to Woman (1923) with the director Graham Cutts, designing the set, writing the script and producing.

He said: "It was the first film that I had really got my hands onto." The editor and "script girl" on Woman to Woman was Alma Reville, his future wife. He also worked as an assistant to Cutts on The White Shadow (1924), The Passionate Adventure (1924), The Blackguard (1925), and The Prude's Fall (1925). The Blackguard was produced at the Babelsberg Studios in Potsdam, where Hitchcock watched part of the making of F. W. Murnau's film The Last Laugh (1924). He was impressed with Murnau's work and later used many of his techniques for the set design in his own productions. In the summer of 1925, Balcon asked Hitchcock to direct The Pleasure Garden (1925), starring Virginia Valli, a co-production of Gainsborough and the German firm Emelka at the Geiselgasteig studio near Munich. Reville, by then Hitchcock's fiancée, was assistant director-editor. Although the film was a commercial flop, Balcon liked Hitchcock's work; a Daily Express headline called him the "Young man with a master mind". Production of The Pleasure Garden encountered obstacles which Hitchcock would later learn from: on arrival to Brenner Pass, he failed to declare his film stock to customs and it was confiscated; one actress could not enter the water for a scene because she was on her period; budget overruns meant that he had to borrow money from the actors. Hitchcock also needed a translator to give instructions to the cast and crew. In Germany, Hitchcock observed the nuances of German cinema and filmmaking which had a big influence on him. When he was not working, he would visit Berlin's art galleries, concerts and museums. He would also meet with actors, writers, and producers to build connections. Balcon asked him to direct a second film in Munich, The Mountain Eagle (1926), based on an original story titled Fear o' God. The film is lost, and Hitchcock called it "a very bad movie". A year later, Hitchcock wrote and directed The Ring; although the screenplay was credited solely to his name, Elliot Stannard assisted him with the writing. The Ring garnered positive reviews; the Bioscope magazine critic called it "the most magnificent British film ever made". When he returned to England, Hitchcock was one of the early members of the London Film Society, newly formed in 1925. Through the Society, he became fascinated by the work by Soviet filmmakers: Dziga Vertov, Lev Kuleshov, Sergei Eisenstein, and Vsevolod Pudovkin. He would also socialise with fellow English filmmakers Ivor Montagu and Adrian Brunel, and Walter C. Mycroft. Hitchcock's luck came with his first thriller, The Lodger: A Story of the London Fog (1927), about the hunt for a serial killer, wearing a black cloak and carrying a black bag, is murdering young blonde women in London, and only on Tuesdays. A landlady suspects that her lodger is the killer, but he turns out to be innocent.

He said: "It was the first film that I had really got my hands onto." The editor and "script girl" on Woman to Woman was Alma Reville, his future wife. He also worked as an assistant to Cutts on The White Shadow (1924), The Passionate Adventure (1924), The Blackguard (1925), and The Prude's Fall (1925). The Blackguard was produced at the Babelsberg Studios in Potsdam, where Hitchcock watched part of the making of F. W. Murnau's film The Last Laugh (1924). He was impressed with Murnau's work and later used many of his techniques for the set design in his own productions. In the summer of 1925, Balcon asked Hitchcock to direct The Pleasure Garden (1925), starring Virginia Valli, a co-production of Gainsborough and the German firm Emelka at the Geiselgasteig studio near Munich. Reville, by then Hitchcock's fiancée, was assistant director-editor. Although the film was a commercial flop, Balcon liked Hitchcock's work; a Daily Express headline called him the "Young man with a master mind". Production of The Pleasure Garden encountered obstacles which Hitchcock would later learn from: on arrival to Brenner Pass, he failed to declare his film stock to customs and it was confiscated; one actress could not enter the water for a scene because she was on her period; budget overruns meant that he had to borrow money from the actors. Hitchcock also needed a translator to give instructions to the cast and crew. In Germany, Hitchcock observed the nuances of German cinema and filmmaking which had a big influence on him. When he was not working, he would visit Berlin's art galleries, concerts and museums. He would also meet with actors, writers, and producers to build connections. Balcon asked him to direct a second film in Munich, The Mountain Eagle (1926), based on an original story titled Fear o' God. The film is lost, and Hitchcock called it "a very bad movie". A year later, Hitchcock wrote and directed The Ring; although the screenplay was credited solely to his name, Elliot Stannard assisted him with the writing. The Ring garnered positive reviews; the Bioscope magazine critic called it "the most magnificent British film ever made". When he returned to England, Hitchcock was one of the early members of the London Film Society, newly formed in 1925. Through the Society, he became fascinated by the work by Soviet filmmakers: Dziga Vertov, Lev Kuleshov, Sergei Eisenstein, and Vsevolod Pudovkin. He would also socialise with fellow English filmmakers Ivor Montagu and Adrian Brunel, and Walter C. Mycroft. Hitchcock's luck came with his first thriller, The Lodger: A Story of the London Fog (1927), about the hunt for a serial killer, wearing a black cloak and carrying a black bag, is murdering young blonde women in London, and only on Tuesdays. A landlady suspects that her lodger is the killer, but he turns out to be innocent.

He said: "It was the first film that I had really got my hands onto." The editor and "script girl" on Woman to Woman was Alma Reville, his future wife. He also worked as an assistant to Cutts on The White Shadow (1924), The Passionate Adventure (1924), The Blackguard (1925), and The Prude's Fall (1925). The Blackguard was produced at the Babelsberg Studios in Potsdam, where Hitchcock watched part of the making of F. W. Murnau's film The Last Laugh (1924). He was impressed with Murnau's work and later used many of his techniques for the set design in his own productions. In the summer of 1925, Balcon asked Hitchcock to direct The Pleasure Garden (1925), starring Virginia Valli, a co-production of Gainsborough and the German firm Emelka at the Geiselgasteig studio near Munich. Reville, by then Hitchcock's fiancée, was assistant director-editor. Although the film was a commercial flop, Balcon liked Hitchcock's work; a Daily Express headline called him the "Young man with a master mind". Production of The Pleasure Garden encountered obstacles which Hitchcock would later learn from: on arrival to Brenner Pass, he failed to declare his film stock to customs and it was confiscated; one actress could not enter the water for a scene because she was on her period; budget overruns meant that he had to borrow money from the actors. Hitchcock also needed a translator to give instructions to the cast and crew. In Germany, Hitchcock observed the nuances of German cinema and filmmaking which had a big influence on him. When he was not working, he would visit Berlin's art galleries, concerts and museums. He would also meet with actors, writers, and producers to build connections. Balcon asked him to direct a second film in Munich, The Mountain Eagle (1926), based on an original story titled Fear o' God. The film is lost, and Hitchcock called it "a very bad movie". A year later, Hitchcock wrote and directed The Ring; although the screenplay was credited solely to his name, Elliot Stannard assisted him with the writing. The Ring garnered positive reviews; the Bioscope magazine critic called it "the most magnificent British film ever made". When he returned to England, Hitchcock was one of the early members of the London Film Society, newly formed in 1925. Through the Society, he became fascinated by the work by Soviet filmmakers: Dziga Vertov, Lev Kuleshov, Sergei Eisenstein, and Vsevolod Pudovkin. He would also socialise with fellow English filmmakers Ivor Montagu and Adrian Brunel, and Walter C. Mycroft. Hitchcock's luck came with his first thriller, The Lodger: A Story of the London Fog (1927), about the hunt for a serial killer, wearing a black cloak and carrying a black bag, is murdering young blonde women in London, and only on Tuesdays. A landlady suspects that her lodger is the killer, but he turns out to be innocent.

To convey the impression footsteps were being heard from an upper floor, Hitchcock had a glass floor made so that the viewer could see the lodger pacing up and down in his room above the landlady. Hitchcock had wanted the leading man to be guilty, or for the film at least to end ambiguously, but the star was Ivor Novello, a matinée idol, and the "star system" meant that Novello could not be the villain. Hitchcock told Truffaut: "You have to clearly spell it out in big letters: 'He is innocent.'" (He had the same problem years later with Cary Grant in Suspicion (1941).) Released in January 1927, The Lodger was a commercial and critical success in the UK. Hitchcock told Truffaut that the film was the first of his to be influenced by German Expressionism: "In truth, you might almost say that The Lodger was my first picture." He made his first cameo appearances in the film; he was depicted sitting in a newsroom, and in the second, standing in a crowd as the leading man is arrested. Marriage On 2 December 1926, Hitchcock married the English screenwriter Alma Reville at the Brompton Oratory in South Kensington. The couple honeymooned in Paris, Lake Como and St. Moritz, before returning to London to live in a leased flat on the top two floors of 153 Cromwell Road, Kensington. Reville, who was born just hours after Hitchcock, converted from Protestantism to Catholicism, apparently at the insistence of Hitchcock's mother; she was baptised on 31 May 1927 and confirmed at Westminster Cathedral by Cardinal Francis Bourne on 5 June. In 1928, when they learned that Reville was pregnant, the Hitchcocks purchased "Winter's Grace", a Tudor farmhouse set in 11 acres on Stroud Lane, Shamley Green, Surrey, for £2,500. Their daughter and only child, Patricia Alma Hitchcock, was born on 7 July that year. Patricia died on 9 August 2021 at 93. Reville became her husband's closest collaborator; Charles Champlin wrote in 1982: "The Hitchcock touch had four hands, and two were Alma's." When Hitchcock accepted the AFI Life Achievement Award in 1979, he said that he wanted to mention "four people who have given me the most affection, appreciation and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter, Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville." Reville wrote or co-wrote on many of Hitchcock's films, including Shadow of a Doubt, Suspicion and The 39 Steps. Early sound films Hitchcock began work on his tenth film, Blackmail (1929), when its production company, British International Pictures (BIP), converted its Elstree studios to sound.

To convey the impression footsteps were being heard from an upper floor, Hitchcock had a glass floor made so that the viewer could see the lodger pacing up and down in his room above the landlady. Hitchcock had wanted the leading man to be guilty, or for the film at least to end ambiguously, but the star was Ivor Novello, a matinée idol, and the "star system" meant that Novello could not be the villain. Hitchcock told Truffaut: "You have to clearly spell it out in big letters: 'He is innocent.'" (He had the same problem years later with Cary Grant in Suspicion (1941).) Released in January 1927, The Lodger was a commercial and critical success in the UK. Hitchcock told Truffaut that the film was the first of his to be influenced by German Expressionism: "In truth, you might almost say that The Lodger was my first picture." He made his first cameo appearances in the film; he was depicted sitting in a newsroom, and in the second, standing in a crowd as the leading man is arrested. Marriage On 2 December 1926, Hitchcock married the English screenwriter Alma Reville at the Brompton Oratory in South Kensington. The couple honeymooned in Paris, Lake Como and St. Moritz, before returning to London to live in a leased flat on the top two floors of 153 Cromwell Road, Kensington. Reville, who was born just hours after Hitchcock, converted from Protestantism to Catholicism, apparently at the insistence of Hitchcock's mother; she was baptised on 31 May 1927 and confirmed at Westminster Cathedral by Cardinal Francis Bourne on 5 June. In 1928, when they learned that Reville was pregnant, the Hitchcocks purchased "Winter's Grace", a Tudor farmhouse set in 11 acres on Stroud Lane, Shamley Green, Surrey, for £2,500. Their daughter and only child, Patricia Alma Hitchcock, was born on 7 July that year. Patricia died on 9 August 2021 at 93. Reville became her husband's closest collaborator; Charles Champlin wrote in 1982: "The Hitchcock touch had four hands, and two were Alma's." When Hitchcock accepted the AFI Life Achievement Award in 1979, he said that he wanted to mention "four people who have given me the most affection, appreciation and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter, Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville." Reville wrote or co-wrote on many of Hitchcock's films, including Shadow of a Doubt, Suspicion and The 39 Steps. Early sound films Hitchcock began work on his tenth film, Blackmail (1929), when its production company, British International Pictures (BIP), converted its Elstree studios to sound.

To convey the impression footsteps were being heard from an upper floor, Hitchcock had a glass floor made so that the viewer could see the lodger pacing up and down in his room above the landlady. Hitchcock had wanted the leading man to be guilty, or for the film at least to end ambiguously, but the star was Ivor Novello, a matinée idol, and the "star system" meant that Novello could not be the villain. Hitchcock told Truffaut: "You have to clearly spell it out in big letters: 'He is innocent.'" (He had the same problem years later with Cary Grant in Suspicion (1941).) Released in January 1927, The Lodger was a commercial and critical success in the UK. Hitchcock told Truffaut that the film was the first of his to be influenced by German Expressionism: "In truth, you might almost say that The Lodger was my first picture." He made his first cameo appearances in the film; he was depicted sitting in a newsroom, and in the second, standing in a crowd as the leading man is arrested. Marriage On 2 December 1926, Hitchcock married the English screenwriter Alma Reville at the Brompton Oratory in South Kensington. The couple honeymooned in Paris, Lake Como and St. Moritz, before returning to London to live in a leased flat on the top two floors of 153 Cromwell Road, Kensington. Reville, who was born just hours after Hitchcock, converted from Protestantism to Catholicism, apparently at the insistence of Hitchcock's mother; she was baptised on 31 May 1927 and confirmed at Westminster Cathedral by Cardinal Francis Bourne on 5 June. In 1928, when they learned that Reville was pregnant, the Hitchcocks purchased "Winter's Grace", a Tudor farmhouse set in 11 acres on Stroud Lane, Shamley Green, Surrey, for £2,500. Their daughter and only child, Patricia Alma Hitchcock, was born on 7 July that year. Patricia died on 9 August 2021 at 93. Reville became her husband's closest collaborator; Charles Champlin wrote in 1982: "The Hitchcock touch had four hands, and two were Alma's." When Hitchcock accepted the AFI Life Achievement Award in 1979, he said that he wanted to mention "four people who have given me the most affection, appreciation and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter, Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville." Reville wrote or co-wrote on many of Hitchcock's films, including Shadow of a Doubt, Suspicion and The 39 Steps. Early sound films Hitchcock began work on his tenth film, Blackmail (1929), when its production company, British International Pictures (BIP), converted its Elstree studios to sound.

The film was the first British "talkie"; this followed the rapid development of sound films in the United States, from the use of brief sound segments in The Jazz Singer (1927) to the first full sound feature Lights of New York (1928). Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences, with the climax taking place on the dome of the British Museum. It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground. In the PBS series The Men Who Made The Movies, Hitchcock explained how he used early sound recording as a special element of the film, stressing the word "knife" in a conversation with the woman suspected of murder. During this period, Hitchcock directed segments for a BIP revue, Elstree Calling (1930), and directed a short film, An Elastic Affair (1930), featuring two Film Weekly scholarship winners. An Elastic Affair is one of the lost films. In 1933, Hitchcock signed a multi-film contract with Gaumont-British, once again working for Michael Balcon. His first film for the company, The Man Who Knew Too Much (1934), was a success; his second, The 39 Steps (1935), was acclaimed in the UK and gained him recognition in the United States. It also established the quintessential English "Hitchcock blonde" (Madeleine Carroll) as the template for his succession of ice-cold, elegant leading ladies. Screenwriter Robert Towne remarked, "It's not much of an exaggeration to say that all contemporary escapist entertainment begins with The 39 Steps". This film was one of the first to introduce the "MacGuffin" plot device, a term coined by the English screenwriter Angus MacPhail. The MacGuffin is an item or goal the protagonist is pursuing, one that otherwise has no narrative value; in The 39 Steps, the MacGuffin is a stolen set of design plans. Hitchcock released two spy thrillers in 1936. Sabotage was loosely based on Joseph Conrad's novel, The Secret Agent (1907), about a woman who discovers that her husband is a terrorist, and Secret Agent, based on two stories in Ashenden: Or the British Agent (1928) by W. Somerset Maugham. At this time, Hitchcock also became notorious for pranks against the cast and crew. These jokes ranged from simple and innocent to crazy and maniacal. For instance, he hosted a dinner party where he dyed all the food blue because he claimed there weren't enough blue foods. He also had a horse delivered to the dressing room of his friend, actor Gerald du Maurier. Hitchcock followed up with Young and Innocent in 1937, a crime thriller based on the 1936 novel A Shilling for Candles by Josephine Tey. Starring Nova Pilbeam and Derrick De Marney, the film was relatively enjoyable for the cast and crew to make.

The film was the first British "talkie"; this followed the rapid development of sound films in the United States, from the use of brief sound segments in The Jazz Singer (1927) to the first full sound feature Lights of New York (1928). Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences, with the climax taking place on the dome of the British Museum. It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground. In the PBS series The Men Who Made The Movies, Hitchcock explained how he used early sound recording as a special element of the film, stressing the word "knife" in a conversation with the woman suspected of murder. During this period, Hitchcock directed segments for a BIP revue, Elstree Calling (1930), and directed a short film, An Elastic Affair (1930), featuring two Film Weekly scholarship winners. An Elastic Affair is one of the lost films. In 1933, Hitchcock signed a multi-film contract with Gaumont-British, once again working for Michael Balcon. His first film for the company, The Man Who Knew Too Much (1934), was a success; his second, The 39 Steps (1935), was acclaimed in the UK and gained him recognition in the United States. It also established the quintessential English "Hitchcock blonde" (Madeleine Carroll) as the template for his succession of ice-cold, elegant leading ladies. Screenwriter Robert Towne remarked, "It's not much of an exaggeration to say that all contemporary escapist entertainment begins with The 39 Steps". This film was one of the first to introduce the "MacGuffin" plot device, a term coined by the English screenwriter Angus MacPhail. The MacGuffin is an item or goal the protagonist is pursuing, one that otherwise has no narrative value; in The 39 Steps, the MacGuffin is a stolen set of design plans. Hitchcock released two spy thrillers in 1936. Sabotage was loosely based on Joseph Conrad's novel, The Secret Agent (1907), about a woman who discovers that her husband is a terrorist, and Secret Agent, based on two stories in Ashenden: Or the British Agent (1928) by W. Somerset Maugham. At this time, Hitchcock also became notorious for pranks against the cast and crew. These jokes ranged from simple and innocent to crazy and maniacal. For instance, he hosted a dinner party where he dyed all the food blue because he claimed there weren't enough blue foods. He also had a horse delivered to the dressing room of his friend, actor Gerald du Maurier. Hitchcock followed up with Young and Innocent in 1937, a crime thriller based on the 1936 novel A Shilling for Candles by Josephine Tey. Starring Nova Pilbeam and Derrick De Marney, the film was relatively enjoyable for the cast and crew to make.

The film was the first British "talkie"; this followed the rapid development of sound films in the United States, from the use of brief sound segments in The Jazz Singer (1927) to the first full sound feature Lights of New York (1928). Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences, with the climax taking place on the dome of the British Museum. It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground. In the PBS series The Men Who Made The Movies, Hitchcock explained how he used early sound recording as a special element of the film, stressing the word "knife" in a conversation with the woman suspected of murder. During this period, Hitchcock directed segments for a BIP revue, Elstree Calling (1930), and directed a short film, An Elastic Affair (1930), featuring two Film Weekly scholarship winners. An Elastic Affair is one of the lost films. In 1933, Hitchcock signed a multi-film contract with Gaumont-British, once again working for Michael Balcon. His first film for the company, The Man Who Knew Too Much (1934), was a success; his second, The 39 Steps (1935), was acclaimed in the UK and gained him recognition in the United States. It also established the quintessential English "Hitchcock blonde" (Madeleine Carroll) as the template for his succession of ice-cold, elegant leading ladies. Screenwriter Robert Towne remarked, "It's not much of an exaggeration to say that all contemporary escapist entertainment begins with The 39 Steps". This film was one of the first to introduce the "MacGuffin" plot device, a term coined by the English screenwriter Angus MacPhail. The MacGuffin is an item or goal the protagonist is pursuing, one that otherwise has no narrative value; in The 39 Steps, the MacGuffin is a stolen set of design plans. Hitchcock released two spy thrillers in 1936. Sabotage was loosely based on Joseph Conrad's novel, The Secret Agent (1907), about a woman who discovers that her husband is a terrorist, and Secret Agent, based on two stories in Ashenden: Or the British Agent (1928) by W. Somerset Maugham. At this time, Hitchcock also became notorious for pranks against the cast and crew. These jokes ranged from simple and innocent to crazy and maniacal. For instance, he hosted a dinner party where he dyed all the food blue because he claimed there weren't enough blue foods. He also had a horse delivered to the dressing room of his friend, actor Gerald du Maurier. Hitchcock followed up with Young and Innocent in 1937, a crime thriller based on the 1936 novel A Shilling for Candles by Josephine Tey. Starring Nova Pilbeam and Derrick De Marney, the film was relatively enjoyable for the cast and crew to make.

To meet distribution purposes in America, the film's runtime was cut and this included removal of one of Hitchcock's favourite scenes: a children's tea party which becomes menacing to the protagonists. Hitchcock's next major success was The Lady Vanishes (1938), "one of the greatest train movies from the genre's golden era", according to Philip French, in which Miss Froy (May Whitty), a British spy posing as a governess, disappears on a train journey through the fictional European country of Bandrika. The film saw Hitchcock receive the 1938 New York Film Critics Circle Award for Best Director. Benjamin Crisler of the New York Times wrote in June 1938: "Three unique and valuable institutions the British have that we in America have not: Magna Carta, the Tower Bridge and Alfred Hitchcock, the greatest director of screen melodramas in the world." The film was based on the novel The Wheel Spins (1936) written by Ethel Lina White. By 1938 Hitchcock was aware that he had reached his peak in Britain. He had received numerous offers from producers in the United States, but he turned them all down because he disliked the contractual obligations or thought the projects were repellent. However, producer David O. Selznick offered him a concrete proposal to make a film based on the sinking of , which was eventually shelved, but Selznick persuaded Hitchcock to come to Hollywood. In July 1938, Hitchcock flew to New York, and found that he was already a celebrity; he was featured in magazines and gave interviews to radio stations. In Hollywood, Hitchcock met Selznick for the first time. Selznick offered him a four-film contract, approximately $40,000 for each picture (). Early Hollywood years: 1939–1945 Selznick contract Selznick signed Hitchcock to a seven-year contract beginning in April 1939, and the Hitchcocks moved to Hollywood. The Hitchcocks lived in a spacious flat on Wilshire Boulevard, and slowly acclimatised themselves to the Los Angeles area. He and his wife Alma kept a low profile, and were not interested in attending parties or being celebrities. Hitchcock discovered his taste for fine food in West Hollywood, but still carried on his way of life from England. He was impressed with Hollywood's filmmaking culture, expansive budgets and efficiency, compared to the limits that he had often faced in Britain. In June that year, Life magazine called him the "greatest master of melodrama in screen history". Although Hitchcock and Selznick respected each other, their working arrangements were sometimes difficult. Selznick suffered from constant financial problems, and Hitchcock was often unhappy about Selznick's creative control and interference over his films. Selznick was also displeased with Hitchcock's method of shooting just what was in the script, and nothing more, which meant that the film could not be cut and remade differently at a later time. As well as complaining about Hitchcock's "goddamn jigsaw cutting", their personalities were mismatched: Hitchcock was reserved whereas Selznick was flamboyant. Eventually, Selznick generously lent Hitchcock to the larger film studios.

To meet distribution purposes in America, the film's runtime was cut and this included removal of one of Hitchcock's favourite scenes: a children's tea party which becomes menacing to the protagonists. Hitchcock's next major success was The Lady Vanishes (1938), "one of the greatest train movies from the genre's golden era", according to Philip French, in which Miss Froy (May Whitty), a British spy posing as a governess, disappears on a train journey through the fictional European country of Bandrika. The film saw Hitchcock receive the 1938 New York Film Critics Circle Award for Best Director. Benjamin Crisler of the New York Times wrote in June 1938: "Three unique and valuable institutions the British have that we in America have not: Magna Carta, the Tower Bridge and Alfred Hitchcock, the greatest director of screen melodramas in the world." The film was based on the novel The Wheel Spins (1936) written by Ethel Lina White. By 1938 Hitchcock was aware that he had reached his peak in Britain. He had received numerous offers from producers in the United States, but he turned them all down because he disliked the contractual obligations or thought the projects were repellent. However, producer David O. Selznick offered him a concrete proposal to make a film based on the sinking of , which was eventually shelved, but Selznick persuaded Hitchcock to come to Hollywood. In July 1938, Hitchcock flew to New York, and found that he was already a celebrity; he was featured in magazines and gave interviews to radio stations. In Hollywood, Hitchcock met Selznick for the first time. Selznick offered him a four-film contract, approximately $40,000 for each picture (). Early Hollywood years: 1939–1945 Selznick contract Selznick signed Hitchcock to a seven-year contract beginning in April 1939, and the Hitchcocks moved to Hollywood. The Hitchcocks lived in a spacious flat on Wilshire Boulevard, and slowly acclimatised themselves to the Los Angeles area. He and his wife Alma kept a low profile, and were not interested in attending parties or being celebrities. Hitchcock discovered his taste for fine food in West Hollywood, but still carried on his way of life from England. He was impressed with Hollywood's filmmaking culture, expansive budgets and efficiency, compared to the limits that he had often faced in Britain. In June that year, Life magazine called him the "greatest master of melodrama in screen history". Although Hitchcock and Selznick respected each other, their working arrangements were sometimes difficult. Selznick suffered from constant financial problems, and Hitchcock was often unhappy about Selznick's creative control and interference over his films. Selznick was also displeased with Hitchcock's method of shooting just what was in the script, and nothing more, which meant that the film could not be cut and remade differently at a later time. As well as complaining about Hitchcock's "goddamn jigsaw cutting", their personalities were mismatched: Hitchcock was reserved whereas Selznick was flamboyant. Eventually, Selznick generously lent Hitchcock to the larger film studios.

To meet distribution purposes in America, the film's runtime was cut and this included removal of one of Hitchcock's favourite scenes: a children's tea party which becomes menacing to the protagonists. Hitchcock's next major success was The Lady Vanishes (1938), "one of the greatest train movies from the genre's golden era", according to Philip French, in which Miss Froy (May Whitty), a British spy posing as a governess, disappears on a train journey through the fictional European country of Bandrika. The film saw Hitchcock receive the 1938 New York Film Critics Circle Award for Best Director. Benjamin Crisler of the New York Times wrote in June 1938: "Three unique and valuable institutions the British have that we in America have not: Magna Carta, the Tower Bridge and Alfred Hitchcock, the greatest director of screen melodramas in the world." The film was based on the novel The Wheel Spins (1936) written by Ethel Lina White. By 1938 Hitchcock was aware that he had reached his peak in Britain. He had received numerous offers from producers in the United States, but he turned them all down because he disliked the contractual obligations or thought the projects were repellent. However, producer David O. Selznick offered him a concrete proposal to make a film based on the sinking of , which was eventually shelved, but Selznick persuaded Hitchcock to come to Hollywood. In July 1938, Hitchcock flew to New York, and found that he was already a celebrity; he was featured in magazines and gave interviews to radio stations. In Hollywood, Hitchcock met Selznick for the first time. Selznick offered him a four-film contract, approximately $40,000 for each picture (). Early Hollywood years: 1939–1945 Selznick contract Selznick signed Hitchcock to a seven-year contract beginning in April 1939, and the Hitchcocks moved to Hollywood. The Hitchcocks lived in a spacious flat on Wilshire Boulevard, and slowly acclimatised themselves to the Los Angeles area. He and his wife Alma kept a low profile, and were not interested in attending parties or being celebrities. Hitchcock discovered his taste for fine food in West Hollywood, but still carried on his way of life from England. He was impressed with Hollywood's filmmaking culture, expansive budgets and efficiency, compared to the limits that he had often faced in Britain. In June that year, Life magazine called him the "greatest master of melodrama in screen history". Although Hitchcock and Selznick respected each other, their working arrangements were sometimes difficult. Selznick suffered from constant financial problems, and Hitchcock was often unhappy about Selznick's creative control and interference over his films. Selznick was also displeased with Hitchcock's method of shooting just what was in the script, and nothing more, which meant that the film could not be cut and remade differently at a later time. As well as complaining about Hitchcock's "goddamn jigsaw cutting", their personalities were mismatched: Hitchcock was reserved whereas Selznick was flamboyant. Eventually, Selznick generously lent Hitchcock to the larger film studios.

Selznick made only a few films each year, as did fellow independent producer Samuel Goldwyn, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. In a later interview, Hitchcock said: "[Selznick] was the Big Producer. ... Producer was king. The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the 'only director' he'd 'trust with a film'." Hitchcock approached American cinema cautiously; his first American film was set in England in which the "Americanness" of the characters was incidental: Rebecca (1940) was set in a Hollywood version of England's Cornwall and based on a novel by English novelist Daphne du Maurier. Selznick insisted on a faithful adaptation of the book, and disagreed with Hitchcock with the use of humour. The film, starring Laurence Olivier and Joan Fontaine, concerns an unnamed naïve young woman who marries a widowed aristocrat. She lives in his large English country house, and struggles with the lingering reputation of his elegant and worldly first wife Rebecca, who died under mysterious circumstances. The film won Best Picture at the 13th Academy Awards; the statuette was given to producer Selznick. Hitchcock received his first nomination for Best Director, his first of five such nominations. Hitchcock's second American film was the thriller Foreign Correspondent (1940), set in Europe, based on Vincent Sheean's book Personal History (1935) and produced by Walter Wanger. It was nominated for Best Picture that year. Hitchcock felt uneasy living and working in Hollywood while Britain was at war; his concern resulted in a film that overtly supported the British war effort. Filmed in 1939, it was inspired by the rapidly changing events in Europe, as covered by an American newspaper reporter played by Joel McCrea. By mixing footage of European scenes with scenes filmed on a Hollywood backlot, the film avoided direct references to Nazism, Nazi Germany, and Germans, to comply with the Motion Picture Production Code at the time. Early war years In September 1940 the Hitchcocks bought the Cornwall Ranch near Scotts Valley, California, in the Santa Cruz Mountains. Their primary residence was an English-style home in Bel Air, purchased in 1942. Hitchcock's films were diverse during this period, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the bleak film noir Shadow of a Doubt (1943). Suspicion (1941) marked Hitchcock's first film as a producer and director. It is set in England; Hitchcock used the north coast of Santa Cruz for the English coastline sequence. The film is the first of four in which Cary Grant was cast by Hitchcock, and it is one of the rare occasions that Grant plays a sinister character. Grant plays Johnnie Aysgarth, an English conman whose actions raise suspicion and anxiety in his shy young English wife, Lina McLaidlaw (Joan Fontaine).

Selznick made only a few films each year, as did fellow independent producer Samuel Goldwyn, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. In a later interview, Hitchcock said: "[Selznick] was the Big Producer. ... Producer was king. The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the 'only director' he'd 'trust with a film'." Hitchcock approached American cinema cautiously; his first American film was set in England in which the "Americanness" of the characters was incidental: Rebecca (1940) was set in a Hollywood version of England's Cornwall and based on a novel by English novelist Daphne du Maurier. Selznick insisted on a faithful adaptation of the book, and disagreed with Hitchcock with the use of humour. The film, starring Laurence Olivier and Joan Fontaine, concerns an unnamed naïve young woman who marries a widowed aristocrat. She lives in his large English country house, and struggles with the lingering reputation of his elegant and worldly first wife Rebecca, who died under mysterious circumstances. The film won Best Picture at the 13th Academy Awards; the statuette was given to producer Selznick. Hitchcock received his first nomination for Best Director, his first of five such nominations. Hitchcock's second American film was the thriller Foreign Correspondent (1940), set in Europe, based on Vincent Sheean's book Personal History (1935) and produced by Walter Wanger. It was nominated for Best Picture that year. Hitchcock felt uneasy living and working in Hollywood while Britain was at war; his concern resulted in a film that overtly supported the British war effort. Filmed in 1939, it was inspired by the rapidly changing events in Europe, as covered by an American newspaper reporter played by Joel McCrea. By mixing footage of European scenes with scenes filmed on a Hollywood backlot, the film avoided direct references to Nazism, Nazi Germany, and Germans, to comply with the Motion Picture Production Code at the time. Early war years In September 1940 the Hitchcocks bought the Cornwall Ranch near Scotts Valley, California, in the Santa Cruz Mountains. Their primary residence was an English-style home in Bel Air, purchased in 1942. Hitchcock's films were diverse during this period, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the bleak film noir Shadow of a Doubt (1943). Suspicion (1941) marked Hitchcock's first film as a producer and director. It is set in England; Hitchcock used the north coast of Santa Cruz for the English coastline sequence. The film is the first of four in which Cary Grant was cast by Hitchcock, and it is one of the rare occasions that Grant plays a sinister character. Grant plays Johnnie Aysgarth, an English conman whose actions raise suspicion and anxiety in his shy young English wife, Lina McLaidlaw (Joan Fontaine).

Selznick made only a few films each year, as did fellow independent producer Samuel Goldwyn, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. In a later interview, Hitchcock said: "[Selznick] was the Big Producer. ... Producer was king. The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the 'only director' he'd 'trust with a film'." Hitchcock approached American cinema cautiously; his first American film was set in England in which the "Americanness" of the characters was incidental: Rebecca (1940) was set in a Hollywood version of England's Cornwall and based on a novel by English novelist Daphne du Maurier. Selznick insisted on a faithful adaptation of the book, and disagreed with Hitchcock with the use of humour. The film, starring Laurence Olivier and Joan Fontaine, concerns an unnamed naïve young woman who marries a widowed aristocrat. She lives in his large English country house, and struggles with the lingering reputation of his elegant and worldly first wife Rebecca, who died under mysterious circumstances. The film won Best Picture at the 13th Academy Awards; the statuette was given to producer Selznick. Hitchcock received his first nomination for Best Director, his first of five such nominations. Hitchcock's second American film was the thriller Foreign Correspondent (1940), set in Europe, based on Vincent Sheean's book Personal History (1935) and produced by Walter Wanger. It was nominated for Best Picture that year. Hitchcock felt uneasy living and working in Hollywood while Britain was at war; his concern resulted in a film that overtly supported the British war effort. Filmed in 1939, it was inspired by the rapidly changing events in Europe, as covered by an American newspaper reporter played by Joel McCrea. By mixing footage of European scenes with scenes filmed on a Hollywood backlot, the film avoided direct references to Nazism, Nazi Germany, and Germans, to comply with the Motion Picture Production Code at the time. Early war years In September 1940 the Hitchcocks bought the Cornwall Ranch near Scotts Valley, California, in the Santa Cruz Mountains. Their primary residence was an English-style home in Bel Air, purchased in 1942. Hitchcock's films were diverse during this period, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the bleak film noir Shadow of a Doubt (1943). Suspicion (1941) marked Hitchcock's first film as a producer and director. It is set in England; Hitchcock used the north coast of Santa Cruz for the English coastline sequence. The film is the first of four in which Cary Grant was cast by Hitchcock, and it is one of the rare occasions that Grant plays a sinister character. Grant plays Johnnie Aysgarth, an English conman whose actions raise suspicion and anxiety in his shy young English wife, Lina McLaidlaw (Joan Fontaine).

In one scene, Hitchcock placed a light inside a glass of milk, perhaps poisoned, that Grant is bringing to his wife; the light ensures that the audience's attention is on the glass. Grant's character is actually a killer, as per written in the book, Before the Fact by Francis Iles, but the studio felt that Grant's image would be tarnished by that. Hitchcock therefore settled for an ambiguous finale, although he would have preferred to end with the wife's murder. Fontaine won Best Actress for her performance. Saboteur (1942) is the first of two films that Hitchcock made for Universal Studios during the decade. Hitchcock was forced by Universal to use Universal contract player Robert Cummings and Priscilla Lane, a freelancer who signed a one-picture deal with the studio, both known for their work in comedies and light dramas. The story depicts a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. Hitchcock took a three-day tour of New York City to scout for Saboteurs filming locations. He also directed Have You Heard? (1942), a photographic dramatisation for Life magazine of the dangers of rumours during wartime. In 1943, he wrote a mystery story for Look magazine, "The Murder of Monty Woolley", a sequence of captioned photographs inviting the reader to find clues to the murderer's identity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick, and make-up man Guy Pearce. Back in England, Hitchcock's mother Emma was severely ill; she died on 26 September 1942 at age 79. Hitchcock never spoke publicly about his mother, but his assistant said that he admired her. Four months later, on 4 January 1943, his brother William died of an overdose at age 52. Hitchcock was not very close to William, but his death made Hitchcock conscious about his own eating and drinking habits. He was overweight and suffering from back aches. His New Year's resolution in 1943 was to take his diet seriously with the help of a physician. In January that year, Shadow of a Doubt was released, which Hitchcock had fond memories of making. In the film, Charlotte "Charlie" Newton (Teresa Wright) suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial killer. Hitchcock filmed extensively on location, this time in the Northern California city of Santa Rosa. At 20th Century Fox, Hitchcock approached John Steinbeck with an idea for a film, which recorded the experiences of the survivors of a German U-boat attack. Steinbeck began work on the script for what would become Lifeboat (1944). However, Steinbeck was unhappy with the film and asked that his name be removed from the credits, to no avail. The idea was rewritten as a short story by Harry Sylvester and published in Collier's in 1943. The action sequences were shot in a small boat in the studio water tank.

In one scene, Hitchcock placed a light inside a glass of milk, perhaps poisoned, that Grant is bringing to his wife; the light ensures that the audience's attention is on the glass. Grant's character is actually a killer, as per written in the book, Before the Fact by Francis Iles, but the studio felt that Grant's image would be tarnished by that. Hitchcock therefore settled for an ambiguous finale, although he would have preferred to end with the wife's murder. Fontaine won Best Actress for her performance. Saboteur (1942) is the first of two films that Hitchcock made for Universal Studios during the decade. Hitchcock was forced by Universal to use Universal contract player Robert Cummings and Priscilla Lane, a freelancer who signed a one-picture deal with the studio, both known for their work in comedies and light dramas. The story depicts a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. Hitchcock took a three-day tour of New York City to scout for Saboteurs filming locations. He also directed Have You Heard? (1942), a photographic dramatisation for Life magazine of the dangers of rumours during wartime. In 1943, he wrote a mystery story for Look magazine, "The Murder of Monty Woolley", a sequence of captioned photographs inviting the reader to find clues to the murderer's identity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick, and make-up man Guy Pearce. Back in England, Hitchcock's mother Emma was severely ill; she died on 26 September 1942 at age 79. Hitchcock never spoke publicly about his mother, but his assistant said that he admired her. Four months later, on 4 January 1943, his brother William died of an overdose at age 52. Hitchcock was not very close to William, but his death made Hitchcock conscious about his own eating and drinking habits. He was overweight and suffering from back aches. His New Year's resolution in 1943 was to take his diet seriously with the help of a physician. In January that year, Shadow of a Doubt was released, which Hitchcock had fond memories of making. In the film, Charlotte "Charlie" Newton (Teresa Wright) suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial killer. Hitchcock filmed extensively on location, this time in the Northern California city of Santa Rosa. At 20th Century Fox, Hitchcock approached John Steinbeck with an idea for a film, which recorded the experiences of the survivors of a German U-boat attack. Steinbeck began work on the script for what would become Lifeboat (1944). However, Steinbeck was unhappy with the film and asked that his name be removed from the credits, to no avail. The idea was rewritten as a short story by Harry Sylvester and published in Collier's in 1943. The action sequences were shot in a small boat in the studio water tank.

In one scene, Hitchcock placed a light inside a glass of milk, perhaps poisoned, that Grant is bringing to his wife; the light ensures that the audience's attention is on the glass. Grant's character is actually a killer, as per written in the book, Before the Fact by Francis Iles, but the studio felt that Grant's image would be tarnished by that. Hitchcock therefore settled for an ambiguous finale, although he would have preferred to end with the wife's murder. Fontaine won Best Actress for her performance. Saboteur (1942) is the first of two films that Hitchcock made for Universal Studios during the decade. Hitchcock was forced by Universal to use Universal contract player Robert Cummings and Priscilla Lane, a freelancer who signed a one-picture deal with the studio, both known for their work in comedies and light dramas. The story depicts a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. Hitchcock took a three-day tour of New York City to scout for Saboteurs filming locations. He also directed Have You Heard? (1942), a photographic dramatisation for Life magazine of the dangers of rumours during wartime. In 1943, he wrote a mystery story for Look magazine, "The Murder of Monty Woolley", a sequence of captioned photographs inviting the reader to find clues to the murderer's identity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick, and make-up man Guy Pearce. Back in England, Hitchcock's mother Emma was severely ill; she died on 26 September 1942 at age 79. Hitchcock never spoke publicly about his mother, but his assistant said that he admired her. Four months later, on 4 January 1943, his brother William died of an overdose at age 52. Hitchcock was not very close to William, but his death made Hitchcock conscious about his own eating and drinking habits. He was overweight and suffering from back aches. His New Year's resolution in 1943 was to take his diet seriously with the help of a physician. In January that year, Shadow of a Doubt was released, which Hitchcock had fond memories of making. In the film, Charlotte "Charlie" Newton (Teresa Wright) suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial killer. Hitchcock filmed extensively on location, this time in the Northern California city of Santa Rosa. At 20th Century Fox, Hitchcock approached John Steinbeck with an idea for a film, which recorded the experiences of the survivors of a German U-boat attack. Steinbeck began work on the script for what would become Lifeboat (1944). However, Steinbeck was unhappy with the film and asked that his name be removed from the credits, to no avail. The idea was rewritten as a short story by Harry Sylvester and published in Collier's in 1943. The action sequences were shot in a small boat in the studio water tank.

The locale posed problems for Hitchcock's traditional cameo appearance; it was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer". He told Truffaut in 1962: Hitchcock's typical dinner before his weight loss had been a roast chicken, boiled ham, potatoes, bread, vegetables, relishes, salad, dessert, a bottle of wine and some brandy. To lose weight, his diet consisted of black coffee for breakfast and lunch, and steak and salad for dinner, but it was hard to maintain; Donald Spoto wrote that his weight fluctuated considerably over the next 40 years. At the end of 1943, despite the weight loss, the Occidental Insurance Company of Los Angeles refused his application for life insurance. Wartime non-fiction films Hitchcock returned to the UK for an extended visit in late 1943 and early 1944. While there he made two short propaganda films, Bon Voyage (1944) and Aventure Malgache (1944), for the Ministry of Information. In June and July 1945, Hitchcock served as "treatment advisor" on a Holocaust documentary that used Allied Forces footage of the liberation of Nazi concentration camps. The film was assembled in London and produced by Sidney Bernstein of the Ministry of Information, who brought Hitchcock (a friend of his) on board. It was originally intended to be broadcast to the Germans, but the British government deemed it too traumatic to be shown to a shocked post-war population. Instead, it was transferred in 1952 from the British War Office film vaults to London's Imperial War Museum and remained unreleased until 1985, when an edited version was broadcast as an episode of PBS Frontline, under the title the Imperial War Museum had given it: Memory of the Camps. The full-length version of the film, German Concentration Camps Factual Survey, was restored in 2014 by scholars at the Imperial War Museum. Post-war Hollywood years: 1945–1953 Later Selznick films Hitchcock worked for David Selznick again when he directed Spellbound (1945), which explores psychoanalysis and features a dream sequence designed by Salvador Dalí. The dream sequence as it appears in the film is ten minutes shorter than was originally envisioned; Selznick edited it to make it "play" more effectively. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past. Two point-of-view shots were achieved by building a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white film. The original musical score by Miklós Rózsa makes use of the theremin, and some of it was later adapted by the composer into Rozsa's Piano Concerto Op. 31 (1967) for piano and orchestra.

The locale posed problems for Hitchcock's traditional cameo appearance; it was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer". He told Truffaut in 1962: Hitchcock's typical dinner before his weight loss had been a roast chicken, boiled ham, potatoes, bread, vegetables, relishes, salad, dessert, a bottle of wine and some brandy. To lose weight, his diet consisted of black coffee for breakfast and lunch, and steak and salad for dinner, but it was hard to maintain; Donald Spoto wrote that his weight fluctuated considerably over the next 40 years. At the end of 1943, despite the weight loss, the Occidental Insurance Company of Los Angeles refused his application for life insurance. Wartime non-fiction films Hitchcock returned to the UK for an extended visit in late 1943 and early 1944. While there he made two short propaganda films, Bon Voyage (1944) and Aventure Malgache (1944), for the Ministry of Information. In June and July 1945, Hitchcock served as "treatment advisor" on a Holocaust documentary that used Allied Forces footage of the liberation of Nazi concentration camps. The film was assembled in London and produced by Sidney Bernstein of the Ministry of Information, who brought Hitchcock (a friend of his) on board. It was originally intended to be broadcast to the Germans, but the British government deemed it too traumatic to be shown to a shocked post-war population. Instead, it was transferred in 1952 from the British War Office film vaults to London's Imperial War Museum and remained unreleased until 1985, when an edited version was broadcast as an episode of PBS Frontline, under the title the Imperial War Museum had given it: Memory of the Camps. The full-length version of the film, German Concentration Camps Factual Survey, was restored in 2014 by scholars at the Imperial War Museum. Post-war Hollywood years: 1945–1953 Later Selznick films Hitchcock worked for David Selznick again when he directed Spellbound (1945), which explores psychoanalysis and features a dream sequence designed by Salvador Dalí. The dream sequence as it appears in the film is ten minutes shorter than was originally envisioned; Selznick edited it to make it "play" more effectively. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past. Two point-of-view shots were achieved by building a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white film. The original musical score by Miklós Rózsa makes use of the theremin, and some of it was later adapted by the composer into Rozsa's Piano Concerto Op. 31 (1967) for piano and orchestra.

The locale posed problems for Hitchcock's traditional cameo appearance; it was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer". He told Truffaut in 1962: Hitchcock's typical dinner before his weight loss had been a roast chicken, boiled ham, potatoes, bread, vegetables, relishes, salad, dessert, a bottle of wine and some brandy. To lose weight, his diet consisted of black coffee for breakfast and lunch, and steak and salad for dinner, but it was hard to maintain; Donald Spoto wrote that his weight fluctuated considerably over the next 40 years. At the end of 1943, despite the weight loss, the Occidental Insurance Company of Los Angeles refused his application for life insurance. Wartime non-fiction films Hitchcock returned to the UK for an extended visit in late 1943 and early 1944. While there he made two short propaganda films, Bon Voyage (1944) and Aventure Malgache (1944), for the Ministry of Information. In June and July 1945, Hitchcock served as "treatment advisor" on a Holocaust documentary that used Allied Forces footage of the liberation of Nazi concentration camps. The film was assembled in London and produced by Sidney Bernstein of the Ministry of Information, who brought Hitchcock (a friend of his) on board. It was originally intended to be broadcast to the Germans, but the British government deemed it too traumatic to be shown to a shocked post-war population. Instead, it was transferred in 1952 from the British War Office film vaults to London's Imperial War Museum and remained unreleased until 1985, when an edited version was broadcast as an episode of PBS Frontline, under the title the Imperial War Museum had given it: Memory of the Camps. The full-length version of the film, German Concentration Camps Factual Survey, was restored in 2014 by scholars at the Imperial War Museum. Post-war Hollywood years: 1945–1953 Later Selznick films Hitchcock worked for David Selznick again when he directed Spellbound (1945), which explores psychoanalysis and features a dream sequence designed by Salvador Dalí. The dream sequence as it appears in the film is ten minutes shorter than was originally envisioned; Selznick edited it to make it "play" more effectively. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past. Two point-of-view shots were achieved by building a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white film. The original musical score by Miklós Rózsa makes use of the theremin, and some of it was later adapted by the composer into Rozsa's Piano Concerto Op. 31 (1967) for piano and orchestra.

The spy film Notorious followed next in 1946. Hitchcock told François Truffaut that Selznick sold him, Ingrid Bergman, Cary Grant, and Ben Hecht's screenplay, to RKO Radio Pictures as a "package" for $500,000 (equivalent to $ million in ) because of cost overruns on Selznick's Duel in the Sun (1946). Notorious stars Bergman and Grant, both Hitchcock collaborators, and features a plot about Nazis, uranium and South America. His prescient use of uranium as a plot device led to him being briefly placed under surveillance by the Federal Bureau of Investigation. According to Patrick McGilligan, in or around March 1945, Hitchcock and Hecht consulted Robert Millikan of the California Institute of Technology about the development of a uranium bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945. Transatlantic Pictures Hitchcock formed an independent production company, Transatlantic Pictures, with his friend Sidney Bernstein. He made two films with Transatlantic, one of which was his first colour film. With Rope (1948), Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with Lifeboat. The film appears as a very limited number of continuous shots, but it was actually shot in 10 ranging from 4- to 10 minutes each; a 10-minute length of film was the most that a camera's film magazine could hold at the time. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. The film features James Stewart in the leading role, and was the first of four films that Stewart made with Hitchcock. It was inspired by the Leopold and Loeb case of the 1920s. Critical response at the time was mixed. Under Capricorn (1949), set in 19th-century Australia, also uses the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white for several years. Transatlantic Pictures became inactive after the last two films. Hitchcock filmed Stage Fright (1950) at Elstree Studios in England, where he had worked during his British International Pictures contract many years before. He paired one of Warner Bros.' most popular stars, Jane Wyman, with the expatriate German actor Marlene Dietrich and used several prominent British actors, including Michael Wilding, Richard Todd and Alastair Sim. This was Hitchcock's first proper production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties. His thriller Strangers on a Train (1951) was based on the novel of the same name by Patricia Highsmith. Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue, but Raymond Chandler took over, then left over disagreements with the director.

The spy film Notorious followed next in 1946. Hitchcock told François Truffaut that Selznick sold him, Ingrid Bergman, Cary Grant, and Ben Hecht's screenplay, to RKO Radio Pictures as a "package" for $500,000 (equivalent to $ million in ) because of cost overruns on Selznick's Duel in the Sun (1946). Notorious stars Bergman and Grant, both Hitchcock collaborators, and features a plot about Nazis, uranium and South America. His prescient use of uranium as a plot device led to him being briefly placed under surveillance by the Federal Bureau of Investigation. According to Patrick McGilligan, in or around March 1945, Hitchcock and Hecht consulted Robert Millikan of the California Institute of Technology about the development of a uranium bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945. Transatlantic Pictures Hitchcock formed an independent production company, Transatlantic Pictures, with his friend Sidney Bernstein. He made two films with Transatlantic, one of which was his first colour film. With Rope (1948), Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with Lifeboat. The film appears as a very limited number of continuous shots, but it was actually shot in 10 ranging from 4- to 10 minutes each; a 10-minute length of film was the most that a camera's film magazine could hold at the time. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. The film features James Stewart in the leading role, and was the first of four films that Stewart made with Hitchcock. It was inspired by the Leopold and Loeb case of the 1920s. Critical response at the time was mixed. Under Capricorn (1949), set in 19th-century Australia, also uses the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white for several years. Transatlantic Pictures became inactive after the last two films. Hitchcock filmed Stage Fright (1950) at Elstree Studios in England, where he had worked during his British International Pictures contract many years before. He paired one of Warner Bros.' most popular stars, Jane Wyman, with the expatriate German actor Marlene Dietrich and used several prominent British actors, including Michael Wilding, Richard Todd and Alastair Sim. This was Hitchcock's first proper production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties. His thriller Strangers on a Train (1951) was based on the novel of the same name by Patricia Highsmith. Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue, but Raymond Chandler took over, then left over disagreements with the director.

The spy film Notorious followed next in 1946. Hitchcock told François Truffaut that Selznick sold him, Ingrid Bergman, Cary Grant, and Ben Hecht's screenplay, to RKO Radio Pictures as a "package" for $500,000 (equivalent to $ million in ) because of cost overruns on Selznick's Duel in the Sun (1946). Notorious stars Bergman and Grant, both Hitchcock collaborators, and features a plot about Nazis, uranium and South America. His prescient use of uranium as a plot device led to him being briefly placed under surveillance by the Federal Bureau of Investigation. According to Patrick McGilligan, in or around March 1945, Hitchcock and Hecht consulted Robert Millikan of the California Institute of Technology about the development of a uranium bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945. Transatlantic Pictures Hitchcock formed an independent production company, Transatlantic Pictures, with his friend Sidney Bernstein. He made two films with Transatlantic, one of which was his first colour film. With Rope (1948), Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with Lifeboat. The film appears as a very limited number of continuous shots, but it was actually shot in 10 ranging from 4- to 10 minutes each; a 10-minute length of film was the most that a camera's film magazine could hold at the time. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. The film features James Stewart in the leading role, and was the first of four films that Stewart made with Hitchcock. It was inspired by the Leopold and Loeb case of the 1920s. Critical response at the time was mixed. Under Capricorn (1949), set in 19th-century Australia, also uses the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white for several years. Transatlantic Pictures became inactive after the last two films. Hitchcock filmed Stage Fright (1950) at Elstree Studios in England, where he had worked during his British International Pictures contract many years before. He paired one of Warner Bros.' most popular stars, Jane Wyman, with the expatriate German actor Marlene Dietrich and used several prominent British actors, including Michael Wilding, Richard Todd and Alastair Sim. This was Hitchcock's first proper production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties. His thriller Strangers on a Train (1951) was based on the novel of the same name by Patricia Highsmith. Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue, but Raymond Chandler took over, then left over disagreements with the director.

In the film, two men casually meet, one of whom speculates on a foolproof method to murder; he suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain. I Confess (1953) was set in Quebec with Montgomery Clift as a Catholic priest. Peak years: 1954–1964 Dial M for Murder and Rear Window I Confess was followed by three colour films starring Grace Kelly: Dial M for Murder (1954), Rear Window (1954), and To Catch a Thief (1955). In Dial M for Murder, Ray Milland plays the villain who tries to murder his unfaithful wife (Kelly) for her money. She kills the hired assassin in self-defence, so Milland manipulates the evidence to make it look like murder. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams) save her from execution. Hitchcock experimented with 3D cinematography for Dial M for Murder. Hitchcock moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Grace Kelly, as well as Thelma Ritter and Raymond Burr. Stewart's character is a photographer called Jeff (based on Robert Capa) who must temporarily use a wheelchair. Out of boredom, he begins observing his neighbours across the courtyard, then becomes convinced that one of them (Raymond Burr) has murdered his wife. Jeff eventually manages to convince his policeman buddy (Wendell Corey) and his girlfriend (Kelly). As with Lifeboat and Rope, the principal characters are depicted in confined or cramped quarters, in this case Stewart's studio apartment. Hitchcock uses close-ups of Stewart's face to show his character's reactions, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment". Alfred Hitchcock Presents From 1955 to 1965, Hitchcock was the host of the television series Alfred Hitchcock Presents. With his droll delivery, gallows humour and iconic image, the series made Hitchcock a celebrity. The title-sequence of the show pictured a minimalist caricature of his profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. The series theme tune was Funeral March of a Marionette by the French composer Charles Gounod (1818–1893). His introductions always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are shown with a sign "Two chairs—no waiting!" He directed 18 episodes of the series, which aired from 1955 to 1965. It became The Alfred Hitchcock Hour in 1962, and NBC broadcast the final episode on 10 May 1965. In the 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.

In the film, two men casually meet, one of whom speculates on a foolproof method to murder; he suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain. I Confess (1953) was set in Quebec with Montgomery Clift as a Catholic priest. Peak years: 1954–1964 Dial M for Murder and Rear Window I Confess was followed by three colour films starring Grace Kelly: Dial M for Murder (1954), Rear Window (1954), and To Catch a Thief (1955). In Dial M for Murder, Ray Milland plays the villain who tries to murder his unfaithful wife (Kelly) for her money. She kills the hired assassin in self-defence, so Milland manipulates the evidence to make it look like murder. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams) save her from execution. Hitchcock experimented with 3D cinematography for Dial M for Murder. Hitchcock moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Grace Kelly, as well as Thelma Ritter and Raymond Burr. Stewart's character is a photographer called Jeff (based on Robert Capa) who must temporarily use a wheelchair. Out of boredom, he begins observing his neighbours across the courtyard, then becomes convinced that one of them (Raymond Burr) has murdered his wife. Jeff eventually manages to convince his policeman buddy (Wendell Corey) and his girlfriend (Kelly). As with Lifeboat and Rope, the principal characters are depicted in confined or cramped quarters, in this case Stewart's studio apartment. Hitchcock uses close-ups of Stewart's face to show his character's reactions, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment". Alfred Hitchcock Presents From 1955 to 1965, Hitchcock was the host of the television series Alfred Hitchcock Presents. With his droll delivery, gallows humour and iconic image, the series made Hitchcock a celebrity. The title-sequence of the show pictured a minimalist caricature of his profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. The series theme tune was Funeral March of a Marionette by the French composer Charles Gounod (1818–1893). His introductions always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are shown with a sign "Two chairs—no waiting!" He directed 18 episodes of the series, which aired from 1955 to 1965. It became The Alfred Hitchcock Hour in 1962, and NBC broadcast the final episode on 10 May 1965. In the 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.

In the film, two men casually meet, one of whom speculates on a foolproof method to murder; he suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain. I Confess (1953) was set in Quebec with Montgomery Clift as a Catholic priest. Peak years: 1954–1964 Dial M for Murder and Rear Window I Confess was followed by three colour films starring Grace Kelly: Dial M for Murder (1954), Rear Window (1954), and To Catch a Thief (1955). In Dial M for Murder, Ray Milland plays the villain who tries to murder his unfaithful wife (Kelly) for her money. She kills the hired assassin in self-defence, so Milland manipulates the evidence to make it look like murder. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams) save her from execution. Hitchcock experimented with 3D cinematography for Dial M for Murder. Hitchcock moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Grace Kelly, as well as Thelma Ritter and Raymond Burr. Stewart's character is a photographer called Jeff (based on Robert Capa) who must temporarily use a wheelchair. Out of boredom, he begins observing his neighbours across the courtyard, then becomes convinced that one of them (Raymond Burr) has murdered his wife. Jeff eventually manages to convince his policeman buddy (Wendell Corey) and his girlfriend (Kelly). As with Lifeboat and Rope, the principal characters are depicted in confined or cramped quarters, in this case Stewart's studio apartment. Hitchcock uses close-ups of Stewart's face to show his character's reactions, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment". Alfred Hitchcock Presents From 1955 to 1965, Hitchcock was the host of the television series Alfred Hitchcock Presents. With his droll delivery, gallows humour and iconic image, the series made Hitchcock a celebrity. The title-sequence of the show pictured a minimalist caricature of his profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. The series theme tune was Funeral March of a Marionette by the French composer Charles Gounod (1818–1893). His introductions always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are shown with a sign "Two chairs—no waiting!" He directed 18 episodes of the series, which aired from 1955 to 1965. It became The Alfred Hitchcock Hour in 1962, and NBC broadcast the final episode on 10 May 1965. In the 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.

Hitchcock's success in television spawned a set of short-story collections in his name; these included Alfred Hitchcock's Anthology, Stories They Wouldn't Let Me Do on TV, and Tales My Mother Never Told Me. In 1956, HSD Publications also licensed the director's name to create Alfred Hitchcock's Mystery Magazine, a monthly digest specialising in crime and detective fiction. Hitchcock's television series' were very profitable, and his foreign-language versions of books were bringing revenues of up to $100,000 a year (). From To Catch a Thief to Vertigo In 1955, Hitchcock became a United States citizen. In the same year, his third Grace Kelly film, To Catch a Thief, was released; it is set in the French Riviera, and stars Kelly and Cary Grant. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double entendres) and the good-natured acting proved a commercial success." It was Hitchcock's last film with Kelly; she married Prince Rainier of Monaco in 1956, and ended her film career afterward. Hitchcock then remade his own 1934 film The Man Who Knew Too Much in 1956. This time, the film starred James Stewart and Doris Day, who sang the theme song "Que Sera, Sera", which won the Academy Award for Best Original Song and became a big hit. They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the 1934 film, the climax takes place at the Royal Albert Hall. The Wrong Man (1956), Hitchcock's final film for Warner Bros., is a low-key black-and-white production based on a real-life case of mistaken identity reported in Life magazine in 1953. This was the only film of Hitchcock to star Henry Fonda, playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife (Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes. While directing episodes for Alfred Hitchcock Presents during the summer of 1957, Hitchcock was admitted to hospital for hernia and gallstones, and had to have his gallbladder removed. Following a successful surgery, he immediately returned to work to prepare for his next project. Vertigo (1958) again starred James Stewart, with Kim Novak and Barbara Bel Geddes. He had wanted Vera Miles to play the lead, but she was pregnant. He told Oriana Fallaci: "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress. We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children."

Hitchcock's success in television spawned a set of short-story collections in his name; these included Alfred Hitchcock's Anthology, Stories They Wouldn't Let Me Do on TV, and Tales My Mother Never Told Me. In 1956, HSD Publications also licensed the director's name to create Alfred Hitchcock's Mystery Magazine, a monthly digest specialising in crime and detective fiction. Hitchcock's television series' were very profitable, and his foreign-language versions of books were bringing revenues of up to $100,000 a year (). From To Catch a Thief to Vertigo In 1955, Hitchcock became a United States citizen. In the same year, his third Grace Kelly film, To Catch a Thief, was released; it is set in the French Riviera, and stars Kelly and Cary Grant. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double entendres) and the good-natured acting proved a commercial success." It was Hitchcock's last film with Kelly; she married Prince Rainier of Monaco in 1956, and ended her film career afterward. Hitchcock then remade his own 1934 film The Man Who Knew Too Much in 1956. This time, the film starred James Stewart and Doris Day, who sang the theme song "Que Sera, Sera", which won the Academy Award for Best Original Song and became a big hit. They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the 1934 film, the climax takes place at the Royal Albert Hall. The Wrong Man (1956), Hitchcock's final film for Warner Bros., is a low-key black-and-white production based on a real-life case of mistaken identity reported in Life magazine in 1953. This was the only film of Hitchcock to star Henry Fonda, playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife (Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes. While directing episodes for Alfred Hitchcock Presents during the summer of 1957, Hitchcock was admitted to hospital for hernia and gallstones, and had to have his gallbladder removed. Following a successful surgery, he immediately returned to work to prepare for his next project. Vertigo (1958) again starred James Stewart, with Kim Novak and Barbara Bel Geddes. He had wanted Vera Miles to play the lead, but she was pregnant. He told Oriana Fallaci: "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress. We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children."

Hitchcock's success in television spawned a set of short-story collections in his name; these included Alfred Hitchcock's Anthology, Stories They Wouldn't Let Me Do on TV, and Tales My Mother Never Told Me. In 1956, HSD Publications also licensed the director's name to create Alfred Hitchcock's Mystery Magazine, a monthly digest specialising in crime and detective fiction. Hitchcock's television series' were very profitable, and his foreign-language versions of books were bringing revenues of up to $100,000 a year (). From To Catch a Thief to Vertigo In 1955, Hitchcock became a United States citizen. In the same year, his third Grace Kelly film, To Catch a Thief, was released; it is set in the French Riviera, and stars Kelly and Cary Grant. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double entendres) and the good-natured acting proved a commercial success." It was Hitchcock's last film with Kelly; she married Prince Rainier of Monaco in 1956, and ended her film career afterward. Hitchcock then remade his own 1934 film The Man Who Knew Too Much in 1956. This time, the film starred James Stewart and Doris Day, who sang the theme song "Que Sera, Sera", which won the Academy Award for Best Original Song and became a big hit. They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the 1934 film, the climax takes place at the Royal Albert Hall. The Wrong Man (1956), Hitchcock's final film for Warner Bros., is a low-key black-and-white production based on a real-life case of mistaken identity reported in Life magazine in 1953. This was the only film of Hitchcock to star Henry Fonda, playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife (Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes. While directing episodes for Alfred Hitchcock Presents during the summer of 1957, Hitchcock was admitted to hospital for hernia and gallstones, and had to have his gallbladder removed. Following a successful surgery, he immediately returned to work to prepare for his next project. Vertigo (1958) again starred James Stewart, with Kim Novak and Barbara Bel Geddes. He had wanted Vera Miles to play the lead, but she was pregnant. He told Oriana Fallaci: "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress. We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children."

In Vertigo, Stewart plays Scottie, a former police investigator suffering from acrophobia, who becomes obsessed with a woman he has been hired to shadow (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock did not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert, agree that Vertigo is the director's most personal and revealing film, dealing with the Pygmalion-like obsessions of a man who moulds a woman into the person he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death, than any other work in his filmography. Vertigo contains a camera technique developed by Irmin Roberts, commonly referred to as a dolly zoom, which has been copied by many filmmakers. The film premiered at the San Sebastián International Film Festival, and Hitchcock won the Silver Seashell prize. Vertigo is considered a classic, but it attracted mixed reviews and poor box-office receipts at the time; the critic from Variety magazine opined that the film was "too slow and too long". Bosley Crowther of the New York Times thought it was "devilishly far-fetched", but praised the cast performances and Hitchcock's direction. The picture was also the last collaboration between Stewart and Hitchcock. In the 2002 Sight & Sound polls, it ranked just behind Citizen Kane (1941); ten years later, in the same magazine, critics chose it as the best film ever made. North by Northwest and Psycho After Vertigo, the rest of 1958 was a difficult year for Hitchcock. During pre-production of North by Northwest (1959), which was a "slow" and "agonising" process, his wife Alma was diagnosed with cancer. While she was in hospital, Hitchcock kept himself occupied with his television work and would visit her every day. Alma underwent surgery and made a full recovery, but it caused Hitchcock to imagine, for the first time, life without her. Hitchcock followed up with three more successful films, which are also recognised as among his best: North by Northwest, Psycho (1960) and The Birds (1963). In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent. He is pursued across the United States by enemy agents, including Eve Kendall (Eva Marie Saint). At first, Thornhill believes Kendall is helping him, but then realises that she is an enemy agent; he later learns that she is working undercover for the CIA. During its opening two-week run at Radio City Music Hall, the film grossed $404,056 (equivalent to $ million in ), setting a non-holiday gross record for that theatre. Time magazine called the film "smoothly troweled and thoroughly entertaining". Psycho (1960) is arguably Hitchcock's best-known film. Based on Robert Bloch's 1959 novel Psycho, which was inspired by the case of Ed Gein, the film was produced on a tight budget of $800,000 (equivalent to $ million in ) and shot in black-and-white on a spare set using crew members from Alfred Hitchcock Presents.

In Vertigo, Stewart plays Scottie, a former police investigator suffering from acrophobia, who becomes obsessed with a woman he has been hired to shadow (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock did not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert, agree that Vertigo is the director's most personal and revealing film, dealing with the Pygmalion-like obsessions of a man who moulds a woman into the person he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death, than any other work in his filmography. Vertigo contains a camera technique developed by Irmin Roberts, commonly referred to as a dolly zoom, which has been copied by many filmmakers. The film premiered at the San Sebastián International Film Festival, and Hitchcock won the Silver Seashell prize. Vertigo is considered a classic, but it attracted mixed reviews and poor box-office receipts at the time; the critic from Variety magazine opined that the film was "too slow and too long". Bosley Crowther of the New York Times thought it was "devilishly far-fetched", but praised the cast performances and Hitchcock's direction. The picture was also the last collaboration between Stewart and Hitchcock. In the 2002 Sight & Sound polls, it ranked just behind Citizen Kane (1941); ten years later, in the same magazine, critics chose it as the best film ever made. North by Northwest and Psycho After Vertigo, the rest of 1958 was a difficult year for Hitchcock. During pre-production of North by Northwest (1959), which was a "slow" and "agonising" process, his wife Alma was diagnosed with cancer. While she was in hospital, Hitchcock kept himself occupied with his television work and would visit her every day. Alma underwent surgery and made a full recovery, but it caused Hitchcock to imagine, for the first time, life without her. Hitchcock followed up with three more successful films, which are also recognised as among his best: North by Northwest, Psycho (1960) and The Birds (1963). In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent. He is pursued across the United States by enemy agents, including Eve Kendall (Eva Marie Saint). At first, Thornhill believes Kendall is helping him, but then realises that she is an enemy agent; he later learns that she is working undercover for the CIA. During its opening two-week run at Radio City Music Hall, the film grossed $404,056 (equivalent to $ million in ), setting a non-holiday gross record for that theatre. Time magazine called the film "smoothly troweled and thoroughly entertaining". Psycho (1960) is arguably Hitchcock's best-known film. Based on Robert Bloch's 1959 novel Psycho, which was inspired by the case of Ed Gein, the film was produced on a tight budget of $800,000 (equivalent to $ million in ) and shot in black-and-white on a spare set using crew members from Alfred Hitchcock Presents.

In Vertigo, Stewart plays Scottie, a former police investigator suffering from acrophobia, who becomes obsessed with a woman he has been hired to shadow (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock did not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert, agree that Vertigo is the director's most personal and revealing film, dealing with the Pygmalion-like obsessions of a man who moulds a woman into the person he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death, than any other work in his filmography. Vertigo contains a camera technique developed by Irmin Roberts, commonly referred to as a dolly zoom, which has been copied by many filmmakers. The film premiered at the San Sebastián International Film Festival, and Hitchcock won the Silver Seashell prize. Vertigo is considered a classic, but it attracted mixed reviews and poor box-office receipts at the time; the critic from Variety magazine opined that the film was "too slow and too long". Bosley Crowther of the New York Times thought it was "devilishly far-fetched", but praised the cast performances and Hitchcock's direction. The picture was also the last collaboration between Stewart and Hitchcock. In the 2002 Sight & Sound polls, it ranked just behind Citizen Kane (1941); ten years later, in the same magazine, critics chose it as the best film ever made. North by Northwest and Psycho After Vertigo, the rest of 1958 was a difficult year for Hitchcock. During pre-production of North by Northwest (1959), which was a "slow" and "agonising" process, his wife Alma was diagnosed with cancer. While she was in hospital, Hitchcock kept himself occupied with his television work and would visit her every day. Alma underwent surgery and made a full recovery, but it caused Hitchcock to imagine, for the first time, life without her. Hitchcock followed up with three more successful films, which are also recognised as among his best: North by Northwest, Psycho (1960) and The Birds (1963). In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent. He is pursued across the United States by enemy agents, including Eve Kendall (Eva Marie Saint). At first, Thornhill believes Kendall is helping him, but then realises that she is an enemy agent; he later learns that she is working undercover for the CIA. During its opening two-week run at Radio City Music Hall, the film grossed $404,056 (equivalent to $ million in ), setting a non-holiday gross record for that theatre. Time magazine called the film "smoothly troweled and thoroughly entertaining". Psycho (1960) is arguably Hitchcock's best-known film. Based on Robert Bloch's 1959 novel Psycho, which was inspired by the case of Ed Gein, the film was produced on a tight budget of $800,000 (equivalent to $ million in ) and shot in black-and-white on a spare set using crew members from Alfred Hitchcock Presents.

The unprecedented violence of the shower scene, the early death of the heroine, and the innocent lives extinguished by a disturbed murderer became the hallmarks of a new horror-film genre. The film proved popular with audiences, with lines stretching outside theatres as viewers waited for the next showing. It broke box-office records in the United Kingdom, France, South America, the United States and Canada, and was a moderate success in Australia for a brief period. Psycho was the most profitable of Hitchcock's career, and he personally earned in excess of $15 million (equivalent to $ million in ). He subsequently swapped his rights to Psycho and his TV anthology for 150,000 shares of MCA, making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop studio interference. Following the first film, Psycho became an American horror franchise: Psycho II, Psycho III, Bates Motel, Psycho IV: The Beginning, and a colour 1998 remake of the original. Truffaut interview On 13 August 1962, Hitchcock's 63rd birthday, the French director François Truffaut began a 50-hour interview of Hitchcock, filmed over eight days at Universal Studios, during which Hitchcock agreed to answer 500 questions. It took four years to transcribe the tapes and organise the images; it was published as a book in 1967, which Truffaut nicknamed the "Hitchbook". The audio tapes were used as the basis of a documentary in 2015. Truffaut sought the interview because it was clear to him that Hitchcock was not simply the mass-market entertainer the American media made him out to be. It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues". He compared the interview to "Oedipus' consultation of the oracle". The Birds The film scholar Peter William Evans wrote that The Birds (1963) and Marnie (1964) are regarded as "undisputed masterpieces". Hitchcock had intended to film Marnie first, and in March 1962 it was announced that Grace Kelly, Princess Grace of Monaco since 1956, would come out of retirement to star in it. When Kelly asked Hitchcock to postpone Marnie until 1963 or 1964, he recruited Evan Hunter, author of The Blackboard Jungle (1954), to develop a screenplay based on a Daphne du Maurier short story, "The Birds" (1952), which Hitchcock had republished in his My Favorites in Suspense (1959). He hired Tippi Hedren to play the lead role. It was her first role; she had been a model in New York when Hitchcock saw her, in October 1961, in an NBC television advert for Sego, a diet drink: "I signed her because she is a classic beauty. Movies don't have them any more. Grace Kelly was the last." He insisted, without explanation, that her first name be written in single quotation marks: 'Tippi'. In The Birds, Melanie Daniels, a young socialite, meets lawyer Mitch Brenner (Rod Taylor) in a bird shop; Jessica Tandy plays his possessive mother.

The unprecedented violence of the shower scene, the early death of the heroine, and the innocent lives extinguished by a disturbed murderer became the hallmarks of a new horror-film genre. The film proved popular with audiences, with lines stretching outside theatres as viewers waited for the next showing. It broke box-office records in the United Kingdom, France, South America, the United States and Canada, and was a moderate success in Australia for a brief period. Psycho was the most profitable of Hitchcock's career, and he personally earned in excess of $15 million (equivalent to $ million in ). He subsequently swapped his rights to Psycho and his TV anthology for 150,000 shares of MCA, making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop studio interference. Following the first film, Psycho became an American horror franchise: Psycho II, Psycho III, Bates Motel, Psycho IV: The Beginning, and a colour 1998 remake of the original. Truffaut interview On 13 August 1962, Hitchcock's 63rd birthday, the French director François Truffaut began a 50-hour interview of Hitchcock, filmed over eight days at Universal Studios, during which Hitchcock agreed to answer 500 questions. It took four years to transcribe the tapes and organise the images; it was published as a book in 1967, which Truffaut nicknamed the "Hitchbook". The audio tapes were used as the basis of a documentary in 2015. Truffaut sought the interview because it was clear to him that Hitchcock was not simply the mass-market entertainer the American media made him out to be. It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues". He compared the interview to "Oedipus' consultation of the oracle". The Birds The film scholar Peter William Evans wrote that The Birds (1963) and Marnie (1964) are regarded as "undisputed masterpieces". Hitchcock had intended to film Marnie first, and in March 1962 it was announced that Grace Kelly, Princess Grace of Monaco since 1956, would come out of retirement to star in it. When Kelly asked Hitchcock to postpone Marnie until 1963 or 1964, he recruited Evan Hunter, author of The Blackboard Jungle (1954), to develop a screenplay based on a Daphne du Maurier short story, "The Birds" (1952), which Hitchcock had republished in his My Favorites in Suspense (1959). He hired Tippi Hedren to play the lead role. It was her first role; she had been a model in New York when Hitchcock saw her, in October 1961, in an NBC television advert for Sego, a diet drink: "I signed her because she is a classic beauty. Movies don't have them any more. Grace Kelly was the last." He insisted, without explanation, that her first name be written in single quotation marks: 'Tippi'. In The Birds, Melanie Daniels, a young socialite, meets lawyer Mitch Brenner (Rod Taylor) in a bird shop; Jessica Tandy plays his possessive mother.

The unprecedented violence of the shower scene, the early death of the heroine, and the innocent lives extinguished by a disturbed murderer became the hallmarks of a new horror-film genre. The film proved popular with audiences, with lines stretching outside theatres as viewers waited for the next showing. It broke box-office records in the United Kingdom, France, South America, the United States and Canada, and was a moderate success in Australia for a brief period. Psycho was the most profitable of Hitchcock's career, and he personally earned in excess of $15 million (equivalent to $ million in ). He subsequently swapped his rights to Psycho and his TV anthology for 150,000 shares of MCA, making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop studio interference. Following the first film, Psycho became an American horror franchise: Psycho II, Psycho III, Bates Motel, Psycho IV: The Beginning, and a colour 1998 remake of the original. Truffaut interview On 13 August 1962, Hitchcock's 63rd birthday, the French director François Truffaut began a 50-hour interview of Hitchcock, filmed over eight days at Universal Studios, during which Hitchcock agreed to answer 500 questions. It took four years to transcribe the tapes and organise the images; it was published as a book in 1967, which Truffaut nicknamed the "Hitchbook". The audio tapes were used as the basis of a documentary in 2015. Truffaut sought the interview because it was clear to him that Hitchcock was not simply the mass-market entertainer the American media made him out to be. It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues". He compared the interview to "Oedipus' consultation of the oracle". The Birds The film scholar Peter William Evans wrote that The Birds (1963) and Marnie (1964) are regarded as "undisputed masterpieces". Hitchcock had intended to film Marnie first, and in March 1962 it was announced that Grace Kelly, Princess Grace of Monaco since 1956, would come out of retirement to star in it. When Kelly asked Hitchcock to postpone Marnie until 1963 or 1964, he recruited Evan Hunter, author of The Blackboard Jungle (1954), to develop a screenplay based on a Daphne du Maurier short story, "The Birds" (1952), which Hitchcock had republished in his My Favorites in Suspense (1959). He hired Tippi Hedren to play the lead role. It was her first role; she had been a model in New York when Hitchcock saw her, in October 1961, in an NBC television advert for Sego, a diet drink: "I signed her because she is a classic beauty. Movies don't have them any more. Grace Kelly was the last." He insisted, without explanation, that her first name be written in single quotation marks: 'Tippi'. In The Birds, Melanie Daniels, a young socialite, meets lawyer Mitch Brenner (Rod Taylor) in a bird shop; Jessica Tandy plays his possessive mother.

Hedren visits him in Bodega Bay (where The Birds was filmed) carrying a pair of lovebirds as a gift. Suddenly waves of birds start gathering, watching, and attacking. The question: "What do the birds want?" is left unanswered. Hitchcock made the film with equipment from the Revue Studio, which made Alfred Hitchcock Presents. He said it was his most technically challenging film, using a combination of trained and mechanical birds against a backdrop of wild ones. Every shot was sketched in advance. An HBO/BBC television film, The Girl (2012), depicted Hedren's experiences on set; she said that Hitchcock became obsessed with her and sexually harassed her. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed, and had a ramp built from his private office directly into her trailer. Diane Baker, her co-star in Marnie, said: "[N]othing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was." While filming the attack scene in the attic—which took a week to film—she was placed in a caged room while two men wearing elbow-length protective gloves threw live birds at her. Toward the end of the week, to stop the birds' flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes. She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders. Marnie In June 1962, Grace Kelly announced that she had decided against appearing in Marnie (1964). Hedren had signed an exclusive seven-year, $500-a-week contract with Hitchcock in October 1961, and he decided to cast her in the lead role opposite Sean Connery. In 2016, describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: "The film is, to put it simply, sick, and it's so because Hitchcock was sick. He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art." A 1964 New York Times film review called it Hitchcock's "most disappointing film in years", citing Hedren's and Connery's lack of experience, an amateurish script and "glaringly fake cardboard backdrops". In the film, Marnie Edgar (Hedren) steals $10,000 from her employer and goes on the run. She applies for a job at Mark Rutland's (Connery) company in Philadelphia and steals from there too. Earlier she is shown having a panic attack during a thunderstorm and fearing the colour red. Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her.

Hedren visits him in Bodega Bay (where The Birds was filmed) carrying a pair of lovebirds as a gift. Suddenly waves of birds start gathering, watching, and attacking. The question: "What do the birds want?" is left unanswered. Hitchcock made the film with equipment from the Revue Studio, which made Alfred Hitchcock Presents. He said it was his most technically challenging film, using a combination of trained and mechanical birds against a backdrop of wild ones. Every shot was sketched in advance. An HBO/BBC television film, The Girl (2012), depicted Hedren's experiences on set; she said that Hitchcock became obsessed with her and sexually harassed her. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed, and had a ramp built from his private office directly into her trailer. Diane Baker, her co-star in Marnie, said: "[N]othing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was." While filming the attack scene in the attic—which took a week to film—she was placed in a caged room while two men wearing elbow-length protective gloves threw live birds at her. Toward the end of the week, to stop the birds' flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes. She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders. Marnie In June 1962, Grace Kelly announced that she had decided against appearing in Marnie (1964). Hedren had signed an exclusive seven-year, $500-a-week contract with Hitchcock in October 1961, and he decided to cast her in the lead role opposite Sean Connery. In 2016, describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: "The film is, to put it simply, sick, and it's so because Hitchcock was sick. He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art." A 1964 New York Times film review called it Hitchcock's "most disappointing film in years", citing Hedren's and Connery's lack of experience, an amateurish script and "glaringly fake cardboard backdrops". In the film, Marnie Edgar (Hedren) steals $10,000 from her employer and goes on the run. She applies for a job at Mark Rutland's (Connery) company in Philadelphia and steals from there too. Earlier she is shown having a panic attack during a thunderstorm and fearing the colour red. Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her.

Hedren visits him in Bodega Bay (where The Birds was filmed) carrying a pair of lovebirds as a gift. Suddenly waves of birds start gathering, watching, and attacking. The question: "What do the birds want?" is left unanswered. Hitchcock made the film with equipment from the Revue Studio, which made Alfred Hitchcock Presents. He said it was his most technically challenging film, using a combination of trained and mechanical birds against a backdrop of wild ones. Every shot was sketched in advance. An HBO/BBC television film, The Girl (2012), depicted Hedren's experiences on set; she said that Hitchcock became obsessed with her and sexually harassed her. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed, and had a ramp built from his private office directly into her trailer. Diane Baker, her co-star in Marnie, said: "[N]othing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was." While filming the attack scene in the attic—which took a week to film—she was placed in a caged room while two men wearing elbow-length protective gloves threw live birds at her. Toward the end of the week, to stop the birds' flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes. She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders. Marnie In June 1962, Grace Kelly announced that she had decided against appearing in Marnie (1964). Hedren had signed an exclusive seven-year, $500-a-week contract with Hitchcock in October 1961, and he decided to cast her in the lead role opposite Sean Connery. In 2016, describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: "The film is, to put it simply, sick, and it's so because Hitchcock was sick. He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art." A 1964 New York Times film review called it Hitchcock's "most disappointing film in years", citing Hedren's and Connery's lack of experience, an amateurish script and "glaringly fake cardboard backdrops". In the film, Marnie Edgar (Hedren) steals $10,000 from her employer and goes on the run. She applies for a job at Mark Rutland's (Connery) company in Philadelphia and steals from there too. Earlier she is shown having a panic attack during a thunderstorm and fearing the colour red. Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her.

Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstorm—the mother believed the client had tried to molest Marnie—Marnie had killed the client to save her mother. Cured of her fears when she remembers what happened, she decides to stay with Mark. Hitchcock told cinematographer Robert Burks that the camera had to be placed as close as possible to Hedren when he filmed her face. Evan Hunter, the screenwriter of The Birds who was writing Marnie too, explained to Hitchcock that, if Mark loved Marnie, he would comfort her, not rape her. Hitchcock reportedly replied: "Evan, when he sticks it in her, I want that camera right on her face!" When Hunter submitted two versions of the script, one without the rape scene, Hitchcock replaced him with Jay Presson Allen. Later years: 1966–1980 Final films Failing health reduced Hitchcock's output during the last two decades of his life. Biographer Stephen Rebello claimed Universal imposed two films on him, Torn Curtain (1966) and Topaz (1969), the latter of which is based on a Leon Uris novel, partly set in Cuba. Both were spy thrillers with Cold War-related themes. Torn Curtain, with Paul Newman and Julie Andrews, precipitated the bitter end of the 12-year collaboration between Hitchcock and composer Bernard Herrmann. Hitchcock was unhappy with Herrmann's score and replaced him with John Addison, Jay Livingston and Ray Evans. Upon release, Torn Curtain was a box office disappointment, and Topaz was disliked by critics and the studio. Hitchcock returned to Britain to make his penultimate film, Frenzy (1972), based on the novel Goodbye Piccadilly, Farewell Leicester Square (1966). After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain kindreds, rather than opposites as in Strangers on a Train. In Frenzy, Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; Donald Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the head of the Motion Picture Production Code. Hitchcock would add subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such material and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences". Family Plot (1976) was Hitchcock's last film.

Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstorm—the mother believed the client had tried to molest Marnie—Marnie had killed the client to save her mother. Cured of her fears when she remembers what happened, she decides to stay with Mark. Hitchcock told cinematographer Robert Burks that the camera had to be placed as close as possible to Hedren when he filmed her face. Evan Hunter, the screenwriter of The Birds who was writing Marnie too, explained to Hitchcock that, if Mark loved Marnie, he would comfort her, not rape her. Hitchcock reportedly replied: "Evan, when he sticks it in her, I want that camera right on her face!" When Hunter submitted two versions of the script, one without the rape scene, Hitchcock replaced him with Jay Presson Allen. Later years: 1966–1980 Final films Failing health reduced Hitchcock's output during the last two decades of his life. Biographer Stephen Rebello claimed Universal imposed two films on him, Torn Curtain (1966) and Topaz (1969), the latter of which is based on a Leon Uris novel, partly set in Cuba. Both were spy thrillers with Cold War-related themes. Torn Curtain, with Paul Newman and Julie Andrews, precipitated the bitter end of the 12-year collaboration between Hitchcock and composer Bernard Herrmann. Hitchcock was unhappy with Herrmann's score and replaced him with John Addison, Jay Livingston and Ray Evans. Upon release, Torn Curtain was a box office disappointment, and Topaz was disliked by critics and the studio. Hitchcock returned to Britain to make his penultimate film, Frenzy (1972), based on the novel Goodbye Piccadilly, Farewell Leicester Square (1966). After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain kindreds, rather than opposites as in Strangers on a Train. In Frenzy, Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; Donald Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the head of the Motion Picture Production Code. Hitchcock would add subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such material and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences". Family Plot (1976) was Hitchcock's last film.

Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstorm—the mother believed the client had tried to molest Marnie—Marnie had killed the client to save her mother. Cured of her fears when she remembers what happened, she decides to stay with Mark. Hitchcock told cinematographer Robert Burks that the camera had to be placed as close as possible to Hedren when he filmed her face. Evan Hunter, the screenwriter of The Birds who was writing Marnie too, explained to Hitchcock that, if Mark loved Marnie, he would comfort her, not rape her. Hitchcock reportedly replied: "Evan, when he sticks it in her, I want that camera right on her face!" When Hunter submitted two versions of the script, one without the rape scene, Hitchcock replaced him with Jay Presson Allen. Later years: 1966–1980 Final films Failing health reduced Hitchcock's output during the last two decades of his life. Biographer Stephen Rebello claimed Universal imposed two films on him, Torn Curtain (1966) and Topaz (1969), the latter of which is based on a Leon Uris novel, partly set in Cuba. Both were spy thrillers with Cold War-related themes. Torn Curtain, with Paul Newman and Julie Andrews, precipitated the bitter end of the 12-year collaboration between Hitchcock and composer Bernard Herrmann. Hitchcock was unhappy with Herrmann's score and replaced him with John Addison, Jay Livingston and Ray Evans. Upon release, Torn Curtain was a box office disappointment, and Topaz was disliked by critics and the studio. Hitchcock returned to Britain to make his penultimate film, Frenzy (1972), based on the novel Goodbye Piccadilly, Farewell Leicester Square (1966). After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain kindreds, rather than opposites as in Strangers on a Train. In Frenzy, Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; Donald Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the head of the Motion Picture Production Code. Hitchcock would add subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such material and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences". Family Plot (1976) was Hitchcock's last film.

It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris, a fraudulent spiritualist, and her taxi-driver lover Bruce Dern, making a living from her phony powers. While Family Plot was based on the Victor Canning novel The Rainbird Pattern (1972), the novel's tone is more sinister. Screenwriter Ernest Lehman originally wrote the film, under the working title Deception, with a dark tone but was pushed to a lighter, more comical tone by Hitchcock where it took the name Deceit, then finally, Family Plot. Knighthood and death Toward the end of his life, Hitchcock was working on the script for a spy thriller, The Short Night, collaborating with James Costigan, Ernest Lehman and David Freeman. Despite preliminary work, it was never filmed. Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke. The screenplay was eventually published in Freeman's book The Last Days of Alfred Hitchcock (1999). Having refused a CBE in 1962, Hitchcock was appointed a Knight Commander of the Most Excellent Order of the British Empire (KBE) in the 1980 New Year Honours. He was too ill to travel to London—he had a pacemaker and was being given cortisone injections for his arthritis—so on 3 January 1980 the British consul general presented him with the papers at Universal Studios. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness." Cary Grant, Janet Leigh, and others attended a luncheon afterwards. His last public appearance was on 16 March 1980, when he introduced the next year's winner of the American Film Institute award. He died of kidney failure the following month, on 29 April, in his Bel Air home. Donald Spoto, one of Hitchcock's biographers, wrote that Hitchcock had declined to see a priest, but according to Jesuit priest Mark Henninger, he and another priest, Tom Sullivan, celebrated Mass at the filmmaker's home, and Sullivan heard his confession. Hitchcock was survived by his wife and daughter. His funeral was held at Good Shepherd Catholic Church in Beverly Hills on 30 April, after which his body was cremated. His remains were scattered over the Pacific Ocean on 10 May 1980. Filmmaking Style and themes Hitchcock's film production career evolved from small-scale silent films to financially significant sound films. Hitchcock remarked that he was influenced by early filmmakers George Méliès, D.W. Griffith and Alice Guy-Blaché. His silent films between 1925 and 1929 were in the crime and suspense genres, but also included melodramas and comedies. Whilst visual storytelling was pertinent during the silent era, even after the arrival of sound, Hitchcock still relied on visuals in cinema; Hitchcock referred to this emphasis on visual storytelling as "pure cinema". In Britain, he honed his craft so that by the time he moved to Hollywood, the director had perfected his style and camera techniques.

It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris, a fraudulent spiritualist, and her taxi-driver lover Bruce Dern, making a living from her phony powers. While Family Plot was based on the Victor Canning novel The Rainbird Pattern (1972), the novel's tone is more sinister. Screenwriter Ernest Lehman originally wrote the film, under the working title Deception, with a dark tone but was pushed to a lighter, more comical tone by Hitchcock where it took the name Deceit, then finally, Family Plot. Knighthood and death Toward the end of his life, Hitchcock was working on the script for a spy thriller, The Short Night, collaborating with James Costigan, Ernest Lehman and David Freeman. Despite preliminary work, it was never filmed. Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke. The screenplay was eventually published in Freeman's book The Last Days of Alfred Hitchcock (1999). Having refused a CBE in 1962, Hitchcock was appointed a Knight Commander of the Most Excellent Order of the British Empire (KBE) in the 1980 New Year Honours. He was too ill to travel to London—he had a pacemaker and was being given cortisone injections for his arthritis—so on 3 January 1980 the British consul general presented him with the papers at Universal Studios. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness." Cary Grant, Janet Leigh, and others attended a luncheon afterwards. His last public appearance was on 16 March 1980, when he introduced the next year's winner of the American Film Institute award. He died of kidney failure the following month, on 29 April, in his Bel Air home. Donald Spoto, one of Hitchcock's biographers, wrote that Hitchcock had declined to see a priest, but according to Jesuit priest Mark Henninger, he and another priest, Tom Sullivan, celebrated Mass at the filmmaker's home, and Sullivan heard his confession. Hitchcock was survived by his wife and daughter. His funeral was held at Good Shepherd Catholic Church in Beverly Hills on 30 April, after which his body was cremated. His remains were scattered over the Pacific Ocean on 10 May 1980. Filmmaking Style and themes Hitchcock's film production career evolved from small-scale silent films to financially significant sound films. Hitchcock remarked that he was influenced by early filmmakers George Méliès, D.W. Griffith and Alice Guy-Blaché. His silent films between 1925 and 1929 were in the crime and suspense genres, but also included melodramas and comedies. Whilst visual storytelling was pertinent during the silent era, even after the arrival of sound, Hitchcock still relied on visuals in cinema; Hitchcock referred to this emphasis on visual storytelling as "pure cinema". In Britain, he honed his craft so that by the time he moved to Hollywood, the director had perfected his style and camera techniques.

It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris, a fraudulent spiritualist, and her taxi-driver lover Bruce Dern, making a living from her phony powers. While Family Plot was based on the Victor Canning novel The Rainbird Pattern (1972), the novel's tone is more sinister. Screenwriter Ernest Lehman originally wrote the film, under the working title Deception, with a dark tone but was pushed to a lighter, more comical tone by Hitchcock where it took the name Deceit, then finally, Family Plot. Knighthood and death Toward the end of his life, Hitchcock was working on the script for a spy thriller, The Short Night, collaborating with James Costigan, Ernest Lehman and David Freeman. Despite preliminary work, it was never filmed. Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke. The screenplay was eventually published in Freeman's book The Last Days of Alfred Hitchcock (1999). Having refused a CBE in 1962, Hitchcock was appointed a Knight Commander of the Most Excellent Order of the British Empire (KBE) in the 1980 New Year Honours. He was too ill to travel to London—he had a pacemaker and was being given cortisone injections for his arthritis—so on 3 January 1980 the British consul general presented him with the papers at Universal Studios. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness." Cary Grant, Janet Leigh, and others attended a luncheon afterwards. His last public appearance was on 16 March 1980, when he introduced the next year's winner of the American Film Institute award. He died of kidney failure the following month, on 29 April, in his Bel Air home. Donald Spoto, one of Hitchcock's biographers, wrote that Hitchcock had declined to see a priest, but according to Jesuit priest Mark Henninger, he and another priest, Tom Sullivan, celebrated Mass at the filmmaker's home, and Sullivan heard his confession. Hitchcock was survived by his wife and daughter. His funeral was held at Good Shepherd Catholic Church in Beverly Hills on 30 April, after which his body was cremated. His remains were scattered over the Pacific Ocean on 10 May 1980. Filmmaking Style and themes Hitchcock's film production career evolved from small-scale silent films to financially significant sound films. Hitchcock remarked that he was influenced by early filmmakers George Méliès, D.W. Griffith and Alice Guy-Blaché. His silent films between 1925 and 1929 were in the crime and suspense genres, but also included melodramas and comedies. Whilst visual storytelling was pertinent during the silent era, even after the arrival of sound, Hitchcock still relied on visuals in cinema; Hitchcock referred to this emphasis on visual storytelling as "pure cinema". In Britain, he honed his craft so that by the time he moved to Hollywood, the director had perfected his style and camera techniques.

Hitchcock later said that his British work was the "sensation of cinema", whereas the American phase was when his "ideas were fertilised". Scholar Robin Wood writes that the director's first two films, The Pleasure Garden and The Mountain Eagle, were influenced by German Expressionism. Afterward, he discovered Soviet cinema, and Sergei Eisenstein's and Vsevolod Pudovkin's theories of montage. 1926's The Lodger was inspired by both German and Soviet aesthetics, styles which solidified the rest of his career. Although Hitchcock's work in the 1920s found some success, several British reviewers criticised Hitchcock's films for being unoriginal and conceited. Raymond Durgnat opined that Hitchcock's films were carefully and intelligently constructed, but thought they can be shallow and rarely present a "coherent worldview". Earning the title "Master of Suspense", the director experimented with ways to generate tension in his work. He said, "My suspense work comes out of creating nightmares for the audience. And I play with an audience. I make them gasp and surprise them and shock them. When you have a nightmare, it's awfully vivid if you're dreaming that you're being led to the electric chair. Then you're as happy as can be when you wake up because you're relieved." During filming of North by Northwest, Hitchcock explained his reasons for recreating the set of Mount Rushmore: "The audience responds in proportion to how realistic you make it. One of the dramatic reasons for this type of photography is to get it looking so natural that the audience gets involved and believes, for the time being, what's going on up there on the screen." Hitchcock's films, from the silent to the sound era, contained a number of recurring themes that he is famous for. His films explored audience as a voyeur, notably in Rear Window, Marnie and Psycho. He understood that human beings enjoy voyeuristic activities and made the audience participate in it through the character's actions. Of his fifty-three films, eleven revolved around stories of mistaken identity, where an innocent protagonist is accused of a crime and is pursued by police. In most cases, it is an ordinary, everyday person who finds themselves in a dangerous situation. Hitchcock told Truffaut: "That's because the theme of the innocent man being accused, I feel, provides the audience with a greater sense of danger. It's easier for them to identify with him than with a guilty man on the run." One of his constant themes were the struggle of a personality torn between "order and chaos"; known as the notion of "double", which is a comparison or contrast between two characters or objects: the double representing a dark or evil side. According to Robin Wood, Hitchcock had mixed feelings towards homosexuality despite working with gay actors in his career. Donald Spoto suggests that Hitchcock's sexually repressive childhood may have contributed to his exploration of deviancy.

Hitchcock later said that his British work was the "sensation of cinema", whereas the American phase was when his "ideas were fertilised". Scholar Robin Wood writes that the director's first two films, The Pleasure Garden and The Mountain Eagle, were influenced by German Expressionism. Afterward, he discovered Soviet cinema, and Sergei Eisenstein's and Vsevolod Pudovkin's theories of montage. 1926's The Lodger was inspired by both German and Soviet aesthetics, styles which solidified the rest of his career. Although Hitchcock's work in the 1920s found some success, several British reviewers criticised Hitchcock's films for being unoriginal and conceited. Raymond Durgnat opined that Hitchcock's films were carefully and intelligently constructed, but thought they can be shallow and rarely present a "coherent worldview". Earning the title "Master of Suspense", the director experimented with ways to generate tension in his work. He said, "My suspense work comes out of creating nightmares for the audience. And I play with an audience. I make them gasp and surprise them and shock them. When you have a nightmare, it's awfully vivid if you're dreaming that you're being led to the electric chair. Then you're as happy as can be when you wake up because you're relieved." During filming of North by Northwest, Hitchcock explained his reasons for recreating the set of Mount Rushmore: "The audience responds in proportion to how realistic you make it. One of the dramatic reasons for this type of photography is to get it looking so natural that the audience gets involved and believes, for the time being, what's going on up there on the screen." Hitchcock's films, from the silent to the sound era, contained a number of recurring themes that he is famous for. His films explored audience as a voyeur, notably in Rear Window, Marnie and Psycho. He understood that human beings enjoy voyeuristic activities and made the audience participate in it through the character's actions. Of his fifty-three films, eleven revolved around stories of mistaken identity, where an innocent protagonist is accused of a crime and is pursued by police. In most cases, it is an ordinary, everyday person who finds themselves in a dangerous situation. Hitchcock told Truffaut: "That's because the theme of the innocent man being accused, I feel, provides the audience with a greater sense of danger. It's easier for them to identify with him than with a guilty man on the run." One of his constant themes were the struggle of a personality torn between "order and chaos"; known as the notion of "double", which is a comparison or contrast between two characters or objects: the double representing a dark or evil side. According to Robin Wood, Hitchcock had mixed feelings towards homosexuality despite working with gay actors in his career. Donald Spoto suggests that Hitchcock's sexually repressive childhood may have contributed to his exploration of deviancy.

Hitchcock later said that his British work was the "sensation of cinema", whereas the American phase was when his "ideas were fertilised". Scholar Robin Wood writes that the director's first two films, The Pleasure Garden and The Mountain Eagle, were influenced by German Expressionism. Afterward, he discovered Soviet cinema, and Sergei Eisenstein's and Vsevolod Pudovkin's theories of montage. 1926's The Lodger was inspired by both German and Soviet aesthetics, styles which solidified the rest of his career. Although Hitchcock's work in the 1920s found some success, several British reviewers criticised Hitchcock's films for being unoriginal and conceited. Raymond Durgnat opined that Hitchcock's films were carefully and intelligently constructed, but thought they can be shallow and rarely present a "coherent worldview". Earning the title "Master of Suspense", the director experimented with ways to generate tension in his work. He said, "My suspense work comes out of creating nightmares for the audience. And I play with an audience. I make them gasp and surprise them and shock them. When you have a nightmare, it's awfully vivid if you're dreaming that you're being led to the electric chair. Then you're as happy as can be when you wake up because you're relieved." During filming of North by Northwest, Hitchcock explained his reasons for recreating the set of Mount Rushmore: "The audience responds in proportion to how realistic you make it. One of the dramatic reasons for this type of photography is to get it looking so natural that the audience gets involved and believes, for the time being, what's going on up there on the screen." Hitchcock's films, from the silent to the sound era, contained a number of recurring themes that he is famous for. His films explored audience as a voyeur, notably in Rear Window, Marnie and Psycho. He understood that human beings enjoy voyeuristic activities and made the audience participate in it through the character's actions. Of his fifty-three films, eleven revolved around stories of mistaken identity, where an innocent protagonist is accused of a crime and is pursued by police. In most cases, it is an ordinary, everyday person who finds themselves in a dangerous situation. Hitchcock told Truffaut: "That's because the theme of the innocent man being accused, I feel, provides the audience with a greater sense of danger. It's easier for them to identify with him than with a guilty man on the run." One of his constant themes were the struggle of a personality torn between "order and chaos"; known as the notion of "double", which is a comparison or contrast between two characters or objects: the double representing a dark or evil side. According to Robin Wood, Hitchcock had mixed feelings towards homosexuality despite working with gay actors in his career. Donald Spoto suggests that Hitchcock's sexually repressive childhood may have contributed to his exploration of deviancy.

During the 1950s, the Motion Picture Production Code prohibited direct references to homosexuality but the director was known for his subtle references, and pushing the boundaries of the censors. Moreover, Shadow of a Doubt has a double incest theme through the storyline, expressed implicitly through images. Author Jane Sloan argues that Hitchcock was drawn to both conventional and unconventional sexual expression in his work, and the theme of marriage was usually presented in a "bleak and skeptical" manner. It was also not until after his mother's death in 1942, that Hitchcock portrayed motherly figures as "notorious monster-mothers". The espionage backdrop, and murders committed by characters with psychopathic tendencies were common themes too. In Hitchcock's depiction of villains and murderers, they were usually charming and friendly, forcing viewers to identify with them. The director's strict childhood and Jesuit education may have led to his distrust of authoritarian figures such as policemen and politicians; a theme which he has explored. Also, he used the "MacGuffin"—the use of an object, person or event to keep the plot moving along even if it was non-essential to the story. Some examples include the microfilm in North by Northwest and the stolen $40,000 in Psycho. Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), walking dogs out of a pet shop (The Birds), fixing a neighbour's clock (Rear Window), as a shadow (Family Plot), sitting at a table in a photograph (Dial M for Murder), and riding a bus (North by Northwest, To Catch a Thief). Representation of women Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in The Guardian in 2010: "There's the vamp, the tramp, the snitch, the witch, the slink, the double-crosser and, best of all, the demon mommy. Don't worry, they all get punished in the end." In a widely cited essay in 1975, Laura Mulvey introduced the idea of the male gaze; the view of the spectator in Hitchcock's films, she argued, is that of the heterosexual male protagonist. "The female characters in his films reflected the same qualities over and over again", Roger Ebert wrote in 1996: "They were blonde. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated." The victims in The Lodger are all blondes. In The 39 Steps, Madeleine Carroll is put in handcuffs. Ingrid Bergman, whom Hitchcock directed three times (Spellbound, Notorious, and Under Capricorn), is dark blonde. In Rear Window, Lisa (Grace Kelly) risks her life by breaking into Lars Thorwald's apartment. In To Catch a Thief, Francie (also Kelly) offers to help a man she believes is a burglar. In Vertigo and North by Northwest respectively, Kim Novak and Eva Marie Saint play the blonde heroines.

During the 1950s, the Motion Picture Production Code prohibited direct references to homosexuality but the director was known for his subtle references, and pushing the boundaries of the censors. Moreover, Shadow of a Doubt has a double incest theme through the storyline, expressed implicitly through images. Author Jane Sloan argues that Hitchcock was drawn to both conventional and unconventional sexual expression in his work, and the theme of marriage was usually presented in a "bleak and skeptical" manner. It was also not until after his mother's death in 1942, that Hitchcock portrayed motherly figures as "notorious monster-mothers". The espionage backdrop, and murders committed by characters with psychopathic tendencies were common themes too. In Hitchcock's depiction of villains and murderers, they were usually charming and friendly, forcing viewers to identify with them. The director's strict childhood and Jesuit education may have led to his distrust of authoritarian figures such as policemen and politicians; a theme which he has explored. Also, he used the "MacGuffin"—the use of an object, person or event to keep the plot moving along even if it was non-essential to the story. Some examples include the microfilm in North by Northwest and the stolen $40,000 in Psycho. Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), walking dogs out of a pet shop (The Birds), fixing a neighbour's clock (Rear Window), as a shadow (Family Plot), sitting at a table in a photograph (Dial M for Murder), and riding a bus (North by Northwest, To Catch a Thief). Representation of women Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in The Guardian in 2010: "There's the vamp, the tramp, the snitch, the witch, the slink, the double-crosser and, best of all, the demon mommy. Don't worry, they all get punished in the end." In a widely cited essay in 1975, Laura Mulvey introduced the idea of the male gaze; the view of the spectator in Hitchcock's films, she argued, is that of the heterosexual male protagonist. "The female characters in his films reflected the same qualities over and over again", Roger Ebert wrote in 1996: "They were blonde. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated." The victims in The Lodger are all blondes. In The 39 Steps, Madeleine Carroll is put in handcuffs. Ingrid Bergman, whom Hitchcock directed three times (Spellbound, Notorious, and Under Capricorn), is dark blonde. In Rear Window, Lisa (Grace Kelly) risks her life by breaking into Lars Thorwald's apartment. In To Catch a Thief, Francie (also Kelly) offers to help a man she believes is a burglar. In Vertigo and North by Northwest respectively, Kim Novak and Eva Marie Saint play the blonde heroines.

During the 1950s, the Motion Picture Production Code prohibited direct references to homosexuality but the director was known for his subtle references, and pushing the boundaries of the censors. Moreover, Shadow of a Doubt has a double incest theme through the storyline, expressed implicitly through images. Author Jane Sloan argues that Hitchcock was drawn to both conventional and unconventional sexual expression in his work, and the theme of marriage was usually presented in a "bleak and skeptical" manner. It was also not until after his mother's death in 1942, that Hitchcock portrayed motherly figures as "notorious monster-mothers". The espionage backdrop, and murders committed by characters with psychopathic tendencies were common themes too. In Hitchcock's depiction of villains and murderers, they were usually charming and friendly, forcing viewers to identify with them. The director's strict childhood and Jesuit education may have led to his distrust of authoritarian figures such as policemen and politicians; a theme which he has explored. Also, he used the "MacGuffin"—the use of an object, person or event to keep the plot moving along even if it was non-essential to the story. Some examples include the microfilm in North by Northwest and the stolen $40,000 in Psycho. Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), walking dogs out of a pet shop (The Birds), fixing a neighbour's clock (Rear Window), as a shadow (Family Plot), sitting at a table in a photograph (Dial M for Murder), and riding a bus (North by Northwest, To Catch a Thief). Representation of women Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in The Guardian in 2010: "There's the vamp, the tramp, the snitch, the witch, the slink, the double-crosser and, best of all, the demon mommy. Don't worry, they all get punished in the end." In a widely cited essay in 1975, Laura Mulvey introduced the idea of the male gaze; the view of the spectator in Hitchcock's films, she argued, is that of the heterosexual male protagonist. "The female characters in his films reflected the same qualities over and over again", Roger Ebert wrote in 1996: "They were blonde. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated." The victims in The Lodger are all blondes. In The 39 Steps, Madeleine Carroll is put in handcuffs. Ingrid Bergman, whom Hitchcock directed three times (Spellbound, Notorious, and Under Capricorn), is dark blonde. In Rear Window, Lisa (Grace Kelly) risks her life by breaking into Lars Thorwald's apartment. In To Catch a Thief, Francie (also Kelly) offers to help a man she believes is a burglar. In Vertigo and North by Northwest respectively, Kim Novak and Eva Marie Saint play the blonde heroines.

In Psycho, Janet Leigh's character steals $40,000 and is murdered by Norman Bates, a reclusive psychopath. Tippi Hedren, a blonde, appears to be the focus of the attacks in The Birds. In Marnie, the title character, again played by Hedren, is a thief. In Topaz, French actresses Dany Robin as Stafford's wife and Claude Jade as Stafford's daughter are blonde heroines, the mistress was played by brunette Karin Dor. Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot (1976), his final film. In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes. His films often feature characters struggling in their relationships with their mothers, such as Norman Bates in Psycho. In North by Northwest, Roger Thornhill (Cary Grant) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds, the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother (Jessica Tandy). The killer in Frenzy has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflicting relationship with his mother, who is (rightly) suspicious of his new bride, Alicia Huberman (Ingrid Bergman). Relationship with actors Hitchcock became known for having remarked that "actors should be treated like cattle". During the filming of Mr. & Mrs. Smith (1941), Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise him. In an episode of The Dick Cavett Show, originally broadcast on 8 June 1972, Dick Cavett stated as fact that Hitchcock had once called actors cattle. Hitchcock responded by saying that, at one time, he had been accused of calling actors cattle. "I said that I would never say such an unfeeling, rude thing about actors at all. What I probably said, was that all actors should be treated like cattle...In a nice way of course." He then described Carole Lombard's joke, with a smile. Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters. He told Bryan Forbes in 1967: "I remember discussing with a method actor how he was taught and so forth. He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to.' I said, 'That's not acting. That's writing.'

In Psycho, Janet Leigh's character steals $40,000 and is murdered by Norman Bates, a reclusive psychopath. Tippi Hedren, a blonde, appears to be the focus of the attacks in The Birds. In Marnie, the title character, again played by Hedren, is a thief. In Topaz, French actresses Dany Robin as Stafford's wife and Claude Jade as Stafford's daughter are blonde heroines, the mistress was played by brunette Karin Dor. Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot (1976), his final film. In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes. His films often feature characters struggling in their relationships with their mothers, such as Norman Bates in Psycho. In North by Northwest, Roger Thornhill (Cary Grant) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds, the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother (Jessica Tandy). The killer in Frenzy has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflicting relationship with his mother, who is (rightly) suspicious of his new bride, Alicia Huberman (Ingrid Bergman). Relationship with actors Hitchcock became known for having remarked that "actors should be treated like cattle". During the filming of Mr. & Mrs. Smith (1941), Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise him. In an episode of The Dick Cavett Show, originally broadcast on 8 June 1972, Dick Cavett stated as fact that Hitchcock had once called actors cattle. Hitchcock responded by saying that, at one time, he had been accused of calling actors cattle. "I said that I would never say such an unfeeling, rude thing about actors at all. What I probably said, was that all actors should be treated like cattle...In a nice way of course." He then described Carole Lombard's joke, with a smile. Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters. He told Bryan Forbes in 1967: "I remember discussing with a method actor how he was taught and so forth. He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to.' I said, 'That's not acting. That's writing.'

In Psycho, Janet Leigh's character steals $40,000 and is murdered by Norman Bates, a reclusive psychopath. Tippi Hedren, a blonde, appears to be the focus of the attacks in The Birds. In Marnie, the title character, again played by Hedren, is a thief. In Topaz, French actresses Dany Robin as Stafford's wife and Claude Jade as Stafford's daughter are blonde heroines, the mistress was played by brunette Karin Dor. Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot (1976), his final film. In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes. His films often feature characters struggling in their relationships with their mothers, such as Norman Bates in Psycho. In North by Northwest, Roger Thornhill (Cary Grant) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds, the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother (Jessica Tandy). The killer in Frenzy has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflicting relationship with his mother, who is (rightly) suspicious of his new bride, Alicia Huberman (Ingrid Bergman). Relationship with actors Hitchcock became known for having remarked that "actors should be treated like cattle". During the filming of Mr. & Mrs. Smith (1941), Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise him. In an episode of The Dick Cavett Show, originally broadcast on 8 June 1972, Dick Cavett stated as fact that Hitchcock had once called actors cattle. Hitchcock responded by saying that, at one time, he had been accused of calling actors cattle. "I said that I would never say such an unfeeling, rude thing about actors at all. What I probably said, was that all actors should be treated like cattle...In a nice way of course." He then described Carole Lombard's joke, with a smile. Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters. He told Bryan Forbes in 1967: "I remember discussing with a method actor how he was taught and so forth. He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to.' I said, 'That's not acting. That's writing.'

" Recalling their experiences on Lifeboat for Charles Chandler, author of It's Only a Movie: Alfred Hitchcock A Personal Biography, Walter Slezak said that Hitchcock "knew more about how to help an actor than any director I ever worked with", and Hume Cronyn dismissed the idea that Hitchcock was not concerned with his actors as "utterly fallacious", describing at length the process of rehearsing and filming Lifeboat. Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances. He used the same actors in many of his films; Cary Grant and James Stewart both worked with Hitchcock four times, and Ingrid Bergman and Grace Kelly three. James Mason said that Hitchcock regarded actors as "animated props". For Hitchcock, the actors were part of the film's setting. He told François Truffaut: "The chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be used and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights." Writing, storyboards and production Hitchcock planned his scripts in detail with his writers. In Writing with Hitchcock (2001), Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually. Hitchcock told Roger Ebert in 1969: Hitchcock's films were extensively storyboarded to the finest detail. He was reported to have never even bothered looking through the viewfinder, since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider. This view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by Bill Krohn, the American correspondent of French film magazine Cahiers du cinéma, in his book Hitchcock at Work. After investigating script revisions, notes to other production personnel written by or to Hitchcock, and other production material, Krohn observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his films, was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. For example, the celebrated crop-spraying sequence of North by Northwest was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film, and Hitchcock in turn hired an artist to match the scenes in detail. Even when storyboards were made, scenes that were shot differed from them significantly.

" Recalling their experiences on Lifeboat for Charles Chandler, author of It's Only a Movie: Alfred Hitchcock A Personal Biography, Walter Slezak said that Hitchcock "knew more about how to help an actor than any director I ever worked with", and Hume Cronyn dismissed the idea that Hitchcock was not concerned with his actors as "utterly fallacious", describing at length the process of rehearsing and filming Lifeboat. Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances. He used the same actors in many of his films; Cary Grant and James Stewart both worked with Hitchcock four times, and Ingrid Bergman and Grace Kelly three. James Mason said that Hitchcock regarded actors as "animated props". For Hitchcock, the actors were part of the film's setting. He told François Truffaut: "The chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be used and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights." Writing, storyboards and production Hitchcock planned his scripts in detail with his writers. In Writing with Hitchcock (2001), Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually. Hitchcock told Roger Ebert in 1969: Hitchcock's films were extensively storyboarded to the finest detail. He was reported to have never even bothered looking through the viewfinder, since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider. This view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by Bill Krohn, the American correspondent of French film magazine Cahiers du cinéma, in his book Hitchcock at Work. After investigating script revisions, notes to other production personnel written by or to Hitchcock, and other production material, Krohn observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his films, was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. For example, the celebrated crop-spraying sequence of North by Northwest was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film, and Hitchcock in turn hired an artist to match the scenes in detail. Even when storyboards were made, scenes that were shot differed from them significantly.

" Recalling their experiences on Lifeboat for Charles Chandler, author of It's Only a Movie: Alfred Hitchcock A Personal Biography, Walter Slezak said that Hitchcock "knew more about how to help an actor than any director I ever worked with", and Hume Cronyn dismissed the idea that Hitchcock was not concerned with his actors as "utterly fallacious", describing at length the process of rehearsing and filming Lifeboat. Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances. He used the same actors in many of his films; Cary Grant and James Stewart both worked with Hitchcock four times, and Ingrid Bergman and Grace Kelly three. James Mason said that Hitchcock regarded actors as "animated props". For Hitchcock, the actors were part of the film's setting. He told François Truffaut: "The chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be used and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights." Writing, storyboards and production Hitchcock planned his scripts in detail with his writers. In Writing with Hitchcock (2001), Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually. Hitchcock told Roger Ebert in 1969: Hitchcock's films were extensively storyboarded to the finest detail. He was reported to have never even bothered looking through the viewfinder, since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider. This view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by Bill Krohn, the American correspondent of French film magazine Cahiers du cinéma, in his book Hitchcock at Work. After investigating script revisions, notes to other production personnel written by or to Hitchcock, and other production material, Krohn observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his films, was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. For example, the celebrated crop-spraying sequence of North by Northwest was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film, and Hitchcock in turn hired an artist to match the scenes in detail. Even when storyboards were made, scenes that were shot differed from them significantly.

Krohn's analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his films, he was fully cognisant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines used during many other film productions. Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternative takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how they chose (often under the producer's aegis). Rather they represented Hitchcock's tendency to give himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock. Both his fastidiousness and attention to detail also found their way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—who would produce posters that accurately represented his films. Legacy Awards and honours Hitchcock was inducted into the Hollywood Walk of Fame on 8 February 1960 with two stars: one for television and a second for his motion pictures. In 1978, John Russell Taylor described him as "the most universally recognizable person in the world" and "a straightforward middle-class Englishman who just happened to be an artistic genius". In 2002, MovieMaker named him the most influential director of all time, and a 2007 The Daily Telegraph critics' poll ranked him Britain's greatest director. David Gritten, the newspaper's film critic, wrote: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."

Krohn's analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his films, he was fully cognisant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines used during many other film productions. Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternative takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how they chose (often under the producer's aegis). Rather they represented Hitchcock's tendency to give himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock. Both his fastidiousness and attention to detail also found their way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—who would produce posters that accurately represented his films. Legacy Awards and honours Hitchcock was inducted into the Hollywood Walk of Fame on 8 February 1960 with two stars: one for television and a second for his motion pictures. In 1978, John Russell Taylor described him as "the most universally recognizable person in the world" and "a straightforward middle-class Englishman who just happened to be an artistic genius". In 2002, MovieMaker named him the most influential director of all time, and a 2007 The Daily Telegraph critics' poll ranked him Britain's greatest director. David Gritten, the newspaper's film critic, wrote: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."

Krohn's analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his films, he was fully cognisant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines used during many other film productions. Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternative takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how they chose (often under the producer's aegis). Rather they represented Hitchcock's tendency to give himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock. Both his fastidiousness and attention to detail also found their way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—who would produce posters that accurately represented his films. Legacy Awards and honours Hitchcock was inducted into the Hollywood Walk of Fame on 8 February 1960 with two stars: one for television and a second for his motion pictures. In 1978, John Russell Taylor described him as "the most universally recognizable person in the world" and "a straightforward middle-class Englishman who just happened to be an artistic genius". In 2002, MovieMaker named him the most influential director of all time, and a 2007 The Daily Telegraph critics' poll ranked him Britain's greatest director. David Gritten, the newspaper's film critic, wrote: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."

In 1992, the Sight & Sound Critics' Poll ranked Hitchcock at No. 4 in its list of "Top 10 Directors" of all time. In 2002, Hitchcock was ranked 2nd in the critics' top ten poll and 5th in the directors' top ten poll in the list of The Greatest Directors of All Time compiled by the Sight & Sound magazine. Hitchcock was voted the "Greatest Director of 20th Century" in a poll conducted by Japanese film magazine kinema Junpo. In 1996, Entertainment Weekly ranked Hitchcock at No. 1 in its "50 Greatest Directors" list. Hitchcock was ranked at No. 2 on Empire magazine's "Top 40 Greatest Directors of All-Time" list in 2005. In 2007, Total Film magazine ranked Hitchcock at No. 1 on its "100 Greatest Film Directors Ever" list. He won two Golden Globes, eight Laurel Awards, and five lifetime achievement awards, including the first BAFTA Academy Fellowship Award and, in 1979, an AFI Life Achievement Award. He was nominated five times for an Academy Award for Best Director. Rebecca, nominated for 11 Oscars, won the Academy Award for Best Picture of 1940; another Hitchcock film, Foreign Correspondent, was also nominated that year. By 2021, nine of his films had been selected for preservation by the US National Film Registry: Rebecca (1940; inducted 2018), Shadow of a Doubt (1943; inducted 1991), Notorious (1946; inducted 2006), Strangers on a Train (1951; inducted 2021), Rear Window (1954; inducted 1997), Vertigo (1958; inducted 1989), North by Northwest (1959; inducted 1995), Psycho (1960; inducted 1992), and The Birds (1963; inducted 2016). In 2012, Hitchcock was selected by artist Sir Peter Blake, author of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover, to appear in a new version of the cover, along with other British cultural figures, and he was featured that year in a BBC Radio 4 series, The New Elizabethans, as someone "whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and given the age its character". In June 2013 nine restored versions of Hitchcock's early silent films, including The Pleasure Garden (1925), were shown at the Brooklyn Academy of Music's Harvey Theatre; known as "The Hitchcock 9", the travelling tribute was organised by the British Film Institute. Archives The Alfred Hitchcock Collection is housed at the Academy Film Archive in Hollywood, California. It includes home movies, 16mm film shot on the set of Blackmail (1929) and Frenzy (1972), and the earliest known colour footage of Hitchcock. The Academy Film Archive has preserved many of his home movies. The Alfred Hitchcock Papers are housed at the Academy's Margaret Herrick Library. The David O. Selznick and the Ernest Lehman collections housed at the Harry Ransom Humanities Research Center in Austin, Texas, contain material related to Hitchcock's work on the production of The Paradine Case, Rebecca, Spellbound, North by Northwest and Family Plot.

In 1992, the Sight & Sound Critics' Poll ranked Hitchcock at No. 4 in its list of "Top 10 Directors" of all time. In 2002, Hitchcock was ranked 2nd in the critics' top ten poll and 5th in the directors' top ten poll in the list of The Greatest Directors of All Time compiled by the Sight & Sound magazine. Hitchcock was voted the "Greatest Director of 20th Century" in a poll conducted by Japanese film magazine kinema Junpo. In 1996, Entertainment Weekly ranked Hitchcock at No. 1 in its "50 Greatest Directors" list. Hitchcock was ranked at No. 2 on Empire magazine's "Top 40 Greatest Directors of All-Time" list in 2005. In 2007, Total Film magazine ranked Hitchcock at No. 1 on its "100 Greatest Film Directors Ever" list. He won two Golden Globes, eight Laurel Awards, and five lifetime achievement awards, including the first BAFTA Academy Fellowship Award and, in 1979, an AFI Life Achievement Award. He was nominated five times for an Academy Award for Best Director. Rebecca, nominated for 11 Oscars, won the Academy Award for Best Picture of 1940; another Hitchcock film, Foreign Correspondent, was also nominated that year. By 2021, nine of his films had been selected for preservation by the US National Film Registry: Rebecca (1940; inducted 2018), Shadow of a Doubt (1943; inducted 1991), Notorious (1946; inducted 2006), Strangers on a Train (1951; inducted 2021), Rear Window (1954; inducted 1997), Vertigo (1958; inducted 1989), North by Northwest (1959; inducted 1995), Psycho (1960; inducted 1992), and The Birds (1963; inducted 2016). In 2012, Hitchcock was selected by artist Sir Peter Blake, author of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover, to appear in a new version of the cover, along with other British cultural figures, and he was featured that year in a BBC Radio 4 series, The New Elizabethans, as someone "whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and given the age its character". In June 2013 nine restored versions of Hitchcock's early silent films, including The Pleasure Garden (1925), were shown at the Brooklyn Academy of Music's Harvey Theatre; known as "The Hitchcock 9", the travelling tribute was organised by the British Film Institute. Archives The Alfred Hitchcock Collection is housed at the Academy Film Archive in Hollywood, California. It includes home movies, 16mm film shot on the set of Blackmail (1929) and Frenzy (1972), and the earliest known colour footage of Hitchcock. The Academy Film Archive has preserved many of his home movies. The Alfred Hitchcock Papers are housed at the Academy's Margaret Herrick Library. The David O. Selznick and the Ernest Lehman collections housed at the Harry Ransom Humanities Research Center in Austin, Texas, contain material related to Hitchcock's work on the production of The Paradine Case, Rebecca, Spellbound, North by Northwest and Family Plot.

In 1992, the Sight & Sound Critics' Poll ranked Hitchcock at No. 4 in its list of "Top 10 Directors" of all time. In 2002, Hitchcock was ranked 2nd in the critics' top ten poll and 5th in the directors' top ten poll in the list of The Greatest Directors of All Time compiled by the Sight & Sound magazine. Hitchcock was voted the "Greatest Director of 20th Century" in a poll conducted by Japanese film magazine kinema Junpo. In 1996, Entertainment Weekly ranked Hitchcock at No. 1 in its "50 Greatest Directors" list. Hitchcock was ranked at No. 2 on Empire magazine's "Top 40 Greatest Directors of All-Time" list in 2005. In 2007, Total Film magazine ranked Hitchcock at No. 1 on its "100 Greatest Film Directors Ever" list. He won two Golden Globes, eight Laurel Awards, and five lifetime achievement awards, including the first BAFTA Academy Fellowship Award and, in 1979, an AFI Life Achievement Award. He was nominated five times for an Academy Award for Best Director. Rebecca, nominated for 11 Oscars, won the Academy Award for Best Picture of 1940; another Hitchcock film, Foreign Correspondent, was also nominated that year. By 2021, nine of his films had been selected for preservation by the US National Film Registry: Rebecca (1940; inducted 2018), Shadow of a Doubt (1943; inducted 1991), Notorious (1946; inducted 2006), Strangers on a Train (1951; inducted 2021), Rear Window (1954; inducted 1997), Vertigo (1958; inducted 1989), North by Northwest (1959; inducted 1995), Psycho (1960; inducted 1992), and The Birds (1963; inducted 2016). In 2012, Hitchcock was selected by artist Sir Peter Blake, author of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover, to appear in a new version of the cover, along with other British cultural figures, and he was featured that year in a BBC Radio 4 series, The New Elizabethans, as someone "whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and given the age its character". In June 2013 nine restored versions of Hitchcock's early silent films, including The Pleasure Garden (1925), were shown at the Brooklyn Academy of Music's Harvey Theatre; known as "The Hitchcock 9", the travelling tribute was organised by the British Film Institute. Archives The Alfred Hitchcock Collection is housed at the Academy Film Archive in Hollywood, California. It includes home movies, 16mm film shot on the set of Blackmail (1929) and Frenzy (1972), and the earliest known colour footage of Hitchcock. The Academy Film Archive has preserved many of his home movies. The Alfred Hitchcock Papers are housed at the Academy's Margaret Herrick Library. The David O. Selznick and the Ernest Lehman collections housed at the Harry Ransom Humanities Research Center in Austin, Texas, contain material related to Hitchcock's work on the production of The Paradine Case, Rebecca, Spellbound, North by Northwest and Family Plot.

Hitchcock portrayals Anthony Hopkins in Hitchcock (2012) Toby Jones in The Girl (2012) Roger Ashton-Griffiths in Grace of Monaco (2014) Filmography Films Silent films Sound films See also Alfred Hitchcock's unrealized projects List of Alfred Hitchcock cameo appearances List of film director and actor collaborations Notes and sources Notes References Works cited Biographies (chronological) Miscellaneous Further reading Articles Hitchcock's Style at the BFI's Screenonline Books Deflem, Mathieu. 2016. "Alfred Hitchcock: Visions of Guilt and Innocence." pp. 203–227 in Framing Law and Crime: An Interdisciplinary Anthology, edited by Caroline Joan S. Picart, Michael Hviid Jacobsen, and Cecil Greek. Latham, MD; Madison, NJ: Rowman & Littlefield; Fairleigh Dickinson University Press. Slavoj Žižek et al. :Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock, London and New York, Verso, 2nd edition 2010 External links 1899 births 1980 deaths 20th-century screenwriters 20th-century English businesspeople 20th-century English people AFI Life Achievement Award recipients American people of Irish descent Articles containing video clips BAFTA fellows British Army personnel of World War I Cecil B. DeMille Award Golden Globe winners Deaths from kidney failure Directors Guild of America Award winners Edgar Award winners English emigrants to the United States English film directors English film producers English people of Irish descent English Roman Catholics English television directors Film directors from London Film directors from Los Angeles Film producers from London German-language film directors Horror film directors Knights Commander of the Order of the British Empire People educated at St Ignatius' College, Enfield People from Bel Air, Los Angeles People from Leytonstone People with acquired American citizenship Recipients of the Irving G. Thalberg Memorial Award Royal Engineers soldiers Silent film directors Silent film screenwriters

Hitchcock portrayals Anthony Hopkins in Hitchcock (2012) Toby Jones in The Girl (2012) Roger Ashton-Griffiths in Grace of Monaco (2014) Filmography Films Silent films Sound films See also Alfred Hitchcock's unrealized projects List of Alfred Hitchcock cameo appearances List of film director and actor collaborations Notes and sources Notes References Works cited Biographies (chronological) Miscellaneous Further reading Articles Hitchcock's Style at the BFI's Screenonline Books Deflem, Mathieu. 2016. "Alfred Hitchcock: Visions of Guilt and Innocence." pp. 203–227 in Framing Law and Crime: An Interdisciplinary Anthology, edited by Caroline Joan S. Picart, Michael Hviid Jacobsen, and Cecil Greek. Latham, MD; Madison, NJ: Rowman & Littlefield; Fairleigh Dickinson University Press. Slavoj Žižek et al. :Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock, London and New York, Verso, 2nd edition 2010 External links 1899 births 1980 deaths 20th-century screenwriters 20th-century English businesspeople 20th-century English people AFI Life Achievement Award recipients American people of Irish descent Articles containing video clips BAFTA fellows British Army personnel of World War I Cecil B. DeMille Award Golden Globe winners Deaths from kidney failure Directors Guild of America Award winners Edgar Award winners English emigrants to the United States English film directors English film producers English people of Irish descent English Roman Catholics English television directors Film directors from London Film directors from Los Angeles Film producers from London German-language film directors Horror film directors Knights Commander of the Order of the British Empire People educated at St Ignatius' College, Enfield People from Bel Air, Los Angeles People from Leytonstone People with acquired American citizenship Recipients of the Irving G. Thalberg Memorial Award Royal Engineers soldiers Silent film directors Silent film screenwriters

Hitchcock portrayals Anthony Hopkins in Hitchcock (2012) Toby Jones in The Girl (2012) Roger Ashton-Griffiths in Grace of Monaco (2014) Filmography Films Silent films Sound films See also Alfred Hitchcock's unrealized projects List of Alfred Hitchcock cameo appearances List of film director and actor collaborations Notes and sources Notes References Works cited Biographies (chronological) Miscellaneous Further reading Articles Hitchcock's Style at the BFI's Screenonline Books Deflem, Mathieu. 2016. "Alfred Hitchcock: Visions of Guilt and Innocence." pp. 203–227 in Framing Law and Crime: An Interdisciplinary Anthology, edited by Caroline Joan S. Picart, Michael Hviid Jacobsen, and Cecil Greek. Latham, MD; Madison, NJ: Rowman & Littlefield; Fairleigh Dickinson University Press. Slavoj Žižek et al. :Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock, London and New York, Verso, 2nd edition 2010 External links 1899 births 1980 deaths 20th-century screenwriters 20th-century English businesspeople 20th-century English people AFI Life Achievement Award recipients American people of Irish descent Articles containing video clips BAFTA fellows British Army personnel of World War I Cecil B. DeMille Award Golden Globe winners Deaths from kidney failure Directors Guild of America Award winners Edgar Award winners English emigrants to the United States English film directors English film producers English people of Irish descent English Roman Catholics English television directors Film directors from London Film directors from Los Angeles Film producers from London German-language film directors Horror film directors Knights Commander of the Order of the British Empire People educated at St Ignatius' College, Enfield People from Bel Air, Los Angeles People from Leytonstone People with acquired American citizenship Recipients of the Irving G. Thalberg Memorial Award Royal Engineers soldiers Silent film directors Silent film screenwriters

Anaconda Anacondas or water boas are a group of large snakes of the genus Eunectes. They are found in tropical South America. Four species are currently recognized. Description Although the name applies to a group of snakes, it is often used to refer only to one species, in particular, the common or green anaconda (Eunectes murinus), which is the largest snake in the world by weight, and the second longest. Etymology The South American names anacauchoa and anacaona were suggested in an account by Peter Martyr d'Anghiera, but the idea of a South American origin was questioned by Henry Walter Bates who, in his travels in South America, failed to find any similar name in use. The word anaconda is derived from the name of a snake from Ceylon (Sri Lanka) that John Ray described in Latin in his Synopsis Methodica Animalium (1693) as serpens indicus bubalinus anacandaia zeylonibus, ides bubalorum aliorumque jumentorum membra conterens. Ray used a catalogue of snakes from the Leyden museum supplied by Dr. Tancred Robinson, but the description of its habit was based on Andreas Cleyer who in 1684 described a gigantic snake that crushed large animals by coiling around their bodies and crushing their bones. Henry Yule in his Hobson-Jobson notes that the word became more popular due to a piece of fiction published in 1768 in the Scots Magazine by a certain R. Edwin. Edwin described a 'tiger' being crushed to death by an anaconda, when there actually never were any tigers in Sri Lanka. Yule and Frank Wall noted that the snake was in fact a python and suggested a Tamil origin anai-kondra meaning elephant killer. A Sinhalese origin was also suggested by Donald Ferguson who pointed out that the word Henakandaya (hena lightning/large and kanda stem/trunk) was used in Sri Lanka for the small whip snake (Ahaetulla pulverulenta) and somehow got misapplied to the python before myths were created. The name commonly used for the anaconda in Brazil is sucuri, sucuriju or sucuriuba. Species and other uses of the term "anaconda" The term "anaconda" has been used to refer to: Any member of the genus Eunectes, a group of large, aquatic snakes found in South America: Eunectes murinus, the green anaconda – the largest species, found east of the Andes in Colombia, Venezuela, the Guianas, Ecuador, Peru, Bolivia, Brazil and Trinidad and Tobago Eunectes notaeus, the yellow anaconda – a small species, found in eastern Bolivia, southern Brazil, Paraguay, and northeastern Argentina Eunectes deschauenseei, the darkly-spotted anaconda – a rare species, found in northeastern Brazil and coastal French Guiana Eunectes beniensis, the Bolivian anaconda – the most recently defined species, found in the Departments of Beni and Pando in Bolivia The term was previously applied imprecisely, indicating any large snake that constricts its prey, though this usage is now archaic.

Anaconda Anacondas or water boas are a group of large snakes of the genus Eunectes. They are found in tropical South America. Four species are currently recognized. Description Although the name applies to a group of snakes, it is often used to refer only to one species, in particular, the common or green anaconda (Eunectes murinus), which is the largest snake in the world by weight, and the second longest. Etymology The South American names anacauchoa and anacaona were suggested in an account by Peter Martyr d'Anghiera, but the idea of a South American origin was questioned by Henry Walter Bates who, in his travels in South America, failed to find any similar name in use. The word anaconda is derived from the name of a snake from Ceylon (Sri Lanka) that John Ray described in Latin in his Synopsis Methodica Animalium (1693) as serpens indicus bubalinus anacandaia zeylonibus, ides bubalorum aliorumque jumentorum membra conterens. Ray used a catalogue of snakes from the Leyden museum supplied by Dr. Tancred Robinson, but the description of its habit was based on Andreas Cleyer who in 1684 described a gigantic snake that crushed large animals by coiling around their bodies and crushing their bones. Henry Yule in his Hobson-Jobson notes that the word became more popular due to a piece of fiction published in 1768 in the Scots Magazine by a certain R. Edwin. Edwin described a 'tiger' being crushed to death by an anaconda, when there actually never were any tigers in Sri Lanka. Yule and Frank Wall noted that the snake was in fact a python and suggested a Tamil origin anai-kondra meaning elephant killer. A Sinhalese origin was also suggested by Donald Ferguson who pointed out that the word Henakandaya (hena lightning/large and kanda stem/trunk) was used in Sri Lanka for the small whip snake (Ahaetulla pulverulenta) and somehow got misapplied to the python before myths were created. The name commonly used for the anaconda in Brazil is sucuri, sucuriju or sucuriuba. Species and other uses of the term "anaconda" The term "anaconda" has been used to refer to: Any member of the genus Eunectes, a group of large, aquatic snakes found in South America: Eunectes murinus, the green anaconda – the largest species, found east of the Andes in Colombia, Venezuela, the Guianas, Ecuador, Peru, Bolivia, Brazil and Trinidad and Tobago Eunectes notaeus, the yellow anaconda – a small species, found in eastern Bolivia, southern Brazil, Paraguay, and northeastern Argentina Eunectes deschauenseei, the darkly-spotted anaconda – a rare species, found in northeastern Brazil and coastal French Guiana Eunectes beniensis, the Bolivian anaconda – the most recently defined species, found in the Departments of Beni and Pando in Bolivia The term was previously applied imprecisely, indicating any large snake that constricts its prey, though this usage is now archaic.

"Anaconda" is also used as a metaphor for an action aimed at constricting and suffocating an opponent – for example, the Anaconda Plan proposed at the beginning of the American Civil War, in which the Union Army was to effectively "suffocate" the Confederacy. Another example is the anaconda choke in the martial art Brazilian jiu-jitsu, which is performed by wrapping your arms under the opponent's neck and through the armpit, and grasping the biceps of the opposing arm, when caught in this move, you will lose consciousness if you do not tap out. See also South American jaguar, a competitor or predator Notes References Eunectes Snake common names

"Anaconda" is also used as a metaphor for an action aimed at constricting and suffocating an opponent – for example, the Anaconda Plan proposed at the beginning of the American Civil War, in which the Union Army was to effectively "suffocate" the Confederacy. Another example is the anaconda choke in the martial art Brazilian jiu-jitsu, which is performed by wrapping your arms under the opponent's neck and through the armpit, and grasping the biceps of the opposing arm, when caught in this move, you will lose consciousness if you do not tap out. See also South American jaguar, a competitor or predator Notes References Eunectes Snake common names

"Anaconda" is also used as a metaphor for an action aimed at constricting and suffocating an opponent – for example, the Anaconda Plan proposed at the beginning of the American Civil War, in which the Union Army was to effectively "suffocate" the Confederacy. Another example is the anaconda choke in the martial art Brazilian jiu-jitsu, which is performed by wrapping your arms under the opponent's neck and through the armpit, and grasping the biceps of the opposing arm, when caught in this move, you will lose consciousness if you do not tap out. See also South American jaguar, a competitor or predator Notes References Eunectes Snake common names

Altaic languages Altaic (; also called Transeurasian) is a sprachbund (i.e. a linguistic area) and proposed language family that would include the Turkic, Mongolic and Tungusic language families and possibly also the Japonic and Koreanic languages. Speakers of these languages are currently scattered over most of Asia north of 35 °N and in some eastern parts of Europe, extending in longitude from Turkey to Japan. The group is named after the Altai mountain range in the center of Asia. The hypothetical language family has long been rejected by most comparative linguists, although it continues to be supported by a small but stable scholarly minority. The Altaic family was first proposed in the 18th century. It was widely accepted until the 1960s and is still listed in many encyclopedias and handbooks. Since the 1950s, many comparative linguists have rejected the proposal, after supposed cognates were found not to be valid, hypothesized sound shifts were not found, and Turkic and Mongolic languages were found to be converging rather than diverging over the centuries. Opponents of the theory proposed that the similarities are due to mutual linguistic influences between the groups concerned. Modern supporters of Altaic acknowledge that many shared features are the result of contact and convergence and thus cannot be taken as evidence for a genetic relationship, but they nevertheless argue that a core of existing correspondences goes back to a common ancestor. The original hypothesis unified only the Turkic, Mongolian, and Tungusic groups. Later proposals to include the Korean and Japanese languages into a "Macro-Altaic" family have always been controversial. The original proposal was sometimes called "Micro-Altaic" by retronymy. Most proponents of Altaic continue to support the inclusion of Korean. A common ancestral Proto-Altaic language for the "Macro" family has been tentatively reconstructed by Sergei Starostin and others. Some proposals also included Ainuic but this is not widely accepted even among Altaicists themselves. Micro-Altaic includes about 66 living languages, to which Macro-Altaic would add Korean, Jeju, Japanese, and the Ryukyuan languages, for a total of about 74 (depending on what is considered a language and what is considered a dialect). These numbers do not include earlier states of languages, such as Middle Mongol, Old Korean, or Old Japanese. Earliest attestations of the languages The earliest known texts in a Turkic language are the Orkhon inscriptions, 720–735 AD. They were deciphered in 1893 by the Danish linguist Vilhelm Thomsen in a scholarly race with his rival, the German–Russian linguist Wilhelm Radloff. However, Radloff was the first to publish the inscriptions. The first Tungusic language to be attested is Jurchen, the language of the ancestors of the Manchus. A writing system for it was devised in 1119 AD and an inscription using this system is known from 1185 (see List of Jurchen inscriptions). The earliest Mongolic language of which we have written evidence is known as Middle Mongol.

Altaic languages Altaic (; also called Transeurasian) is a sprachbund (i.e. a linguistic area) and proposed language family that would include the Turkic, Mongolic and Tungusic language families and possibly also the Japonic and Koreanic languages. Speakers of these languages are currently scattered over most of Asia north of 35 °N and in some eastern parts of Europe, extending in longitude from Turkey to Japan. The group is named after the Altai mountain range in the center of Asia. The hypothetical language family has long been rejected by most comparative linguists, although it continues to be supported by a small but stable scholarly minority. The Altaic family was first proposed in the 18th century. It was widely accepted until the 1960s and is still listed in many encyclopedias and handbooks. Since the 1950s, many comparative linguists have rejected the proposal, after supposed cognates were found not to be valid, hypothesized sound shifts were not found, and Turkic and Mongolic languages were found to be converging rather than diverging over the centuries. Opponents of the theory proposed that the similarities are due to mutual linguistic influences between the groups concerned. Modern supporters of Altaic acknowledge that many shared features are the result of contact and convergence and thus cannot be taken as evidence for a genetic relationship, but they nevertheless argue that a core of existing correspondences goes back to a common ancestor. The original hypothesis unified only the Turkic, Mongolian, and Tungusic groups. Later proposals to include the Korean and Japanese languages into a "Macro-Altaic" family have always been controversial. The original proposal was sometimes called "Micro-Altaic" by retronymy. Most proponents of Altaic continue to support the inclusion of Korean. A common ancestral Proto-Altaic language for the "Macro" family has been tentatively reconstructed by Sergei Starostin and others. Some proposals also included Ainuic but this is not widely accepted even among Altaicists themselves. Micro-Altaic includes about 66 living languages, to which Macro-Altaic would add Korean, Jeju, Japanese, and the Ryukyuan languages, for a total of about 74 (depending on what is considered a language and what is considered a dialect). These numbers do not include earlier states of languages, such as Middle Mongol, Old Korean, or Old Japanese. Earliest attestations of the languages The earliest known texts in a Turkic language are the Orkhon inscriptions, 720–735 AD. They were deciphered in 1893 by the Danish linguist Vilhelm Thomsen in a scholarly race with his rival, the German–Russian linguist Wilhelm Radloff. However, Radloff was the first to publish the inscriptions. The first Tungusic language to be attested is Jurchen, the language of the ancestors of the Manchus. A writing system for it was devised in 1119 AD and an inscription using this system is known from 1185 (see List of Jurchen inscriptions). The earliest Mongolic language of which we have written evidence is known as Middle Mongol.

It is first attested by an inscription dated to 1224 or 1225 AD, the Stele of Yisüngge, and by the Secret History of the Mongols, written in 1228 (see Mongolic languages). The earliest Para-Mongolic text is the Memorial for Yelü Yanning, written in the Khitan large script and dated to 986 AD. However, the Inscription of Hüis Tolgoi, discovered in 1975 and analysed as being in an early form of Mongolic, has been dated to 604-620 AD. The Bugut inscription dates back to 584 AD. Japanese is first attested in the form of names contained in a few short inscriptions in Classical Chinese from the 5th century AD, such as found on the Inariyama Sword. The first substantial text in Japanese, however, is the Kojiki, which dates from 712 AD. It is followed by the Nihon shoki, completed in 720, and then by the Man'yōshū, which dates from c. 771–785, but includes material that is from about 400 years earlier. The most important text for the study of early Korean is the Hyangga, a collection of 25 poems, of which some go back to the Three Kingdoms period (57 BC–668 AD), but are preserved in an orthography that only goes back to the 9th century AD. Korean is copiously attested from the mid-15th century on in the phonetically precise Hangul system of writing. History of the Altaic family concept Origins The earliest known reference to a unified language group of Turkic, Mongolic and Tungusic languages is from the 1692 work of Nicolaes Witsen which may be based on a 1661 work of Abu al-Ghazi Bahadur Genealogy of the Turks. A proposed grouping of the Turkic, Mongolic, and Tungusic languages was published in 1730 by Philip Johan von Strahlenberg, a Swedish officer who traveled in the eastern Russian Empire while a prisoner of war after the Great Northern War. However, he may not have intended to imply a closer relationship among those languages. Uralo-Altaic hypothesis In 1844, the Finnish philologist Matthias Castrén proposed a broader grouping, that later came to be called the Ural–Altaic family, which included Turkic, Mongolian, and Manchu-Tungus (=Tungusic) as an "Altaic" branch, and also the Finno-Ugric and Samoyedic languages as the "Uralic" branch (though Castrén himself used the terms "Tataric" and "Chudic"). The name "Altaic" referred to the Altai Mountains in East-Central Asia, which are approximately the center of the geographic range of the three main families. The name "Uralic" referred to the Ural Mountains. While the Ural-Altaic family hypothesis can still be found in some encyclopedias, atlases, and similar general references, after the 1960s it has been heavily criticized. Even linguists who accept the basic Altaic family, like Sergei Starostin, completely discard the inclusion of the "Uralic" branch. Korean and Japanese languages In 1857, the Austrian scholar Anton Boller suggested adding Japanese to the Ural–Altaic family. In the 1920s, G.J. Ramstedt and E.D. Polivanov advocated the inclusion of Korean.

It is first attested by an inscription dated to 1224 or 1225 AD, the Stele of Yisüngge, and by the Secret History of the Mongols, written in 1228 (see Mongolic languages). The earliest Para-Mongolic text is the Memorial for Yelü Yanning, written in the Khitan large script and dated to 986 AD. However, the Inscription of Hüis Tolgoi, discovered in 1975 and analysed as being in an early form of Mongolic, has been dated to 604-620 AD. The Bugut inscription dates back to 584 AD. Japanese is first attested in the form of names contained in a few short inscriptions in Classical Chinese from the 5th century AD, such as found on the Inariyama Sword. The first substantial text in Japanese, however, is the Kojiki, which dates from 712 AD. It is followed by the Nihon shoki, completed in 720, and then by the Man'yōshū, which dates from c. 771–785, but includes material that is from about 400 years earlier. The most important text for the study of early Korean is the Hyangga, a collection of 25 poems, of which some go back to the Three Kingdoms period (57 BC–668 AD), but are preserved in an orthography that only goes back to the 9th century AD. Korean is copiously attested from the mid-15th century on in the phonetically precise Hangul system of writing. History of the Altaic family concept Origins The earliest known reference to a unified language group of Turkic, Mongolic and Tungusic languages is from the 1692 work of Nicolaes Witsen which may be based on a 1661 work of Abu al-Ghazi Bahadur Genealogy of the Turks. A proposed grouping of the Turkic, Mongolic, and Tungusic languages was published in 1730 by Philip Johan von Strahlenberg, a Swedish officer who traveled in the eastern Russian Empire while a prisoner of war after the Great Northern War. However, he may not have intended to imply a closer relationship among those languages. Uralo-Altaic hypothesis In 1844, the Finnish philologist Matthias Castrén proposed a broader grouping, that later came to be called the Ural–Altaic family, which included Turkic, Mongolian, and Manchu-Tungus (=Tungusic) as an "Altaic" branch, and also the Finno-Ugric and Samoyedic languages as the "Uralic" branch (though Castrén himself used the terms "Tataric" and "Chudic"). The name "Altaic" referred to the Altai Mountains in East-Central Asia, which are approximately the center of the geographic range of the three main families. The name "Uralic" referred to the Ural Mountains. While the Ural-Altaic family hypothesis can still be found in some encyclopedias, atlases, and similar general references, after the 1960s it has been heavily criticized. Even linguists who accept the basic Altaic family, like Sergei Starostin, completely discard the inclusion of the "Uralic" branch. Korean and Japanese languages In 1857, the Austrian scholar Anton Boller suggested adding Japanese to the Ural–Altaic family. In the 1920s, G.J. Ramstedt and E.D. Polivanov advocated the inclusion of Korean.

It is first attested by an inscription dated to 1224 or 1225 AD, the Stele of Yisüngge, and by the Secret History of the Mongols, written in 1228 (see Mongolic languages). The earliest Para-Mongolic text is the Memorial for Yelü Yanning, written in the Khitan large script and dated to 986 AD. However, the Inscription of Hüis Tolgoi, discovered in 1975 and analysed as being in an early form of Mongolic, has been dated to 604-620 AD. The Bugut inscription dates back to 584 AD. Japanese is first attested in the form of names contained in a few short inscriptions in Classical Chinese from the 5th century AD, such as found on the Inariyama Sword. The first substantial text in Japanese, however, is the Kojiki, which dates from 712 AD. It is followed by the Nihon shoki, completed in 720, and then by the Man'yōshū, which dates from c. 771–785, but includes material that is from about 400 years earlier. The most important text for the study of early Korean is the Hyangga, a collection of 25 poems, of which some go back to the Three Kingdoms period (57 BC–668 AD), but are preserved in an orthography that only goes back to the 9th century AD. Korean is copiously attested from the mid-15th century on in the phonetically precise Hangul system of writing. History of the Altaic family concept Origins The earliest known reference to a unified language group of Turkic, Mongolic and Tungusic languages is from the 1692 work of Nicolaes Witsen which may be based on a 1661 work of Abu al-Ghazi Bahadur Genealogy of the Turks. A proposed grouping of the Turkic, Mongolic, and Tungusic languages was published in 1730 by Philip Johan von Strahlenberg, a Swedish officer who traveled in the eastern Russian Empire while a prisoner of war after the Great Northern War. However, he may not have intended to imply a closer relationship among those languages. Uralo-Altaic hypothesis In 1844, the Finnish philologist Matthias Castrén proposed a broader grouping, that later came to be called the Ural–Altaic family, which included Turkic, Mongolian, and Manchu-Tungus (=Tungusic) as an "Altaic" branch, and also the Finno-Ugric and Samoyedic languages as the "Uralic" branch (though Castrén himself used the terms "Tataric" and "Chudic"). The name "Altaic" referred to the Altai Mountains in East-Central Asia, which are approximately the center of the geographic range of the three main families. The name "Uralic" referred to the Ural Mountains. While the Ural-Altaic family hypothesis can still be found in some encyclopedias, atlases, and similar general references, after the 1960s it has been heavily criticized. Even linguists who accept the basic Altaic family, like Sergei Starostin, completely discard the inclusion of the "Uralic" branch. Korean and Japanese languages In 1857, the Austrian scholar Anton Boller suggested adding Japanese to the Ural–Altaic family. In the 1920s, G.J. Ramstedt and E.D. Polivanov advocated the inclusion of Korean.

Decades later, in his 1952 book, Ramstedt rejected the Ural–Altaic hypothesis but again included Korean in Altaic, an inclusion followed by most leading Altaicists (supporters of the theory) to date. His book contained the first comprehensive attempt to identify regular correspondences among the sound systems within the Altaic language families. In 1960, Nicholas Poppe published what was in effect a heavily revised version of Ramstedt's volume on phonology that has since set the standard in Altaic studies. Poppe considered the issue of the relationship of Korean to Turkic-Mongolic-Tungusic not settled. In his view, there were three possibilities: (1) Korean did not belong with the other three genealogically, but had been influenced by an Altaic substratum; (2) Korean was related to the other three at the same level they were related to each other; (3) Korean had split off from the other three before they underwent a series of characteristic changes. Roy Andrew Miller's 1971 book Japanese and the Other Altaic Languages convinced most Altaicists that Japanese also belonged to Altaic. Since then, the "Macro-Altaic" has been generally assumed to include Turkic, Mongolic, Tungusic, Korean, and Japanese. In 1990, Unger advocated a family consisting of Tungusic, Korean, and Japonic languages, but not Turkic or Mongolic. However, many linguists dispute the alleged affinities of Korean and Japanese to the other three groups. Some authors instead tried to connect Japanese to the Austronesian languages. In 2017, Martine Robbeets proposed that Japanese (and possibly Korean) originated as a hybrid language. She proposed that the ancestral home of the Turkic, Mongolic, and Tungusic languages was somewhere in northwestern Manchuria. A group of those proto-Altaic ("Transeurasian") speakers would have migrated south into the modern Liaoning province, where they would have been mostly assimilated by an agricultural community with an Austronesian-like language. The fusion of the two languages would have resulted in proto-Japanese and proto-Korean. In a typological study that does not directly evaluate the validity of the Altaic hypothesis, Yurayong and Szeto (2020) discuss for Koreanic and Japonic the stages of convergence to the Altaic typological model and subsequent divergence from that model, which resulted in the present typological similarity between Koreanic and Japonic. They state that both are "still so different from the Core Altaic languages that we can even speak of an independent Japanese-Korean type of grammar. Given also that there is neither a strong proof of common Proto-Altaic lexical items nor solid regular sound correspondences but, rather, only lexical and structural borrowings between languages of the Altaic typology, our results indirectly speak in favour of a “Paleo-Asiatic” origin of the Japonic and Koreanic languages." The Ainu language In 1962, John C. Street proposed an alternative classification, with Turkic-Mongolic-Tungusic in one grouping and Korean-Japanese-Ainu in another, joined in what he designated as the "North Asiatic" family. The inclusion of Ainu was adopted also by James Patrie in 1982. The Turkic-Mongolic-Tungusic and Korean-Japanese-Ainu groupings were also posited in 2000–2002 by Joseph Greenberg.

Decades later, in his 1952 book, Ramstedt rejected the Ural–Altaic hypothesis but again included Korean in Altaic, an inclusion followed by most leading Altaicists (supporters of the theory) to date. His book contained the first comprehensive attempt to identify regular correspondences among the sound systems within the Altaic language families. In 1960, Nicholas Poppe published what was in effect a heavily revised version of Ramstedt's volume on phonology that has since set the standard in Altaic studies. Poppe considered the issue of the relationship of Korean to Turkic-Mongolic-Tungusic not settled. In his view, there were three possibilities: (1) Korean did not belong with the other three genealogically, but had been influenced by an Altaic substratum; (2) Korean was related to the other three at the same level they were related to each other; (3) Korean had split off from the other three before they underwent a series of characteristic changes. Roy Andrew Miller's 1971 book Japanese and the Other Altaic Languages convinced most Altaicists that Japanese also belonged to Altaic. Since then, the "Macro-Altaic" has been generally assumed to include Turkic, Mongolic, Tungusic, Korean, and Japanese. In 1990, Unger advocated a family consisting of Tungusic, Korean, and Japonic languages, but not Turkic or Mongolic. However, many linguists dispute the alleged affinities of Korean and Japanese to the other three groups. Some authors instead tried to connect Japanese to the Austronesian languages. In 2017, Martine Robbeets proposed that Japanese (and possibly Korean) originated as a hybrid language. She proposed that the ancestral home of the Turkic, Mongolic, and Tungusic languages was somewhere in northwestern Manchuria. A group of those proto-Altaic ("Transeurasian") speakers would have migrated south into the modern Liaoning province, where they would have been mostly assimilated by an agricultural community with an Austronesian-like language. The fusion of the two languages would have resulted in proto-Japanese and proto-Korean. In a typological study that does not directly evaluate the validity of the Altaic hypothesis, Yurayong and Szeto (2020) discuss for Koreanic and Japonic the stages of convergence to the Altaic typological model and subsequent divergence from that model, which resulted in the present typological similarity between Koreanic and Japonic. They state that both are "still so different from the Core Altaic languages that we can even speak of an independent Japanese-Korean type of grammar. Given also that there is neither a strong proof of common Proto-Altaic lexical items nor solid regular sound correspondences but, rather, only lexical and structural borrowings between languages of the Altaic typology, our results indirectly speak in favour of a “Paleo-Asiatic” origin of the Japonic and Koreanic languages." The Ainu language In 1962, John C. Street proposed an alternative classification, with Turkic-Mongolic-Tungusic in one grouping and Korean-Japanese-Ainu in another, joined in what he designated as the "North Asiatic" family. The inclusion of Ainu was adopted also by James Patrie in 1982. The Turkic-Mongolic-Tungusic and Korean-Japanese-Ainu groupings were also posited in 2000–2002 by Joseph Greenberg.

Decades later, in his 1952 book, Ramstedt rejected the Ural–Altaic hypothesis but again included Korean in Altaic, an inclusion followed by most leading Altaicists (supporters of the theory) to date. His book contained the first comprehensive attempt to identify regular correspondences among the sound systems within the Altaic language families. In 1960, Nicholas Poppe published what was in effect a heavily revised version of Ramstedt's volume on phonology that has since set the standard in Altaic studies. Poppe considered the issue of the relationship of Korean to Turkic-Mongolic-Tungusic not settled. In his view, there were three possibilities: (1) Korean did not belong with the other three genealogically, but had been influenced by an Altaic substratum; (2) Korean was related to the other three at the same level they were related to each other; (3) Korean had split off from the other three before they underwent a series of characteristic changes. Roy Andrew Miller's 1971 book Japanese and the Other Altaic Languages convinced most Altaicists that Japanese also belonged to Altaic. Since then, the "Macro-Altaic" has been generally assumed to include Turkic, Mongolic, Tungusic, Korean, and Japanese. In 1990, Unger advocated a family consisting of Tungusic, Korean, and Japonic languages, but not Turkic or Mongolic. However, many linguists dispute the alleged affinities of Korean and Japanese to the other three groups. Some authors instead tried to connect Japanese to the Austronesian languages. In 2017, Martine Robbeets proposed that Japanese (and possibly Korean) originated as a hybrid language. She proposed that the ancestral home of the Turkic, Mongolic, and Tungusic languages was somewhere in northwestern Manchuria. A group of those proto-Altaic ("Transeurasian") speakers would have migrated south into the modern Liaoning province, where they would have been mostly assimilated by an agricultural community with an Austronesian-like language. The fusion of the two languages would have resulted in proto-Japanese and proto-Korean. In a typological study that does not directly evaluate the validity of the Altaic hypothesis, Yurayong and Szeto (2020) discuss for Koreanic and Japonic the stages of convergence to the Altaic typological model and subsequent divergence from that model, which resulted in the present typological similarity between Koreanic and Japonic. They state that both are "still so different from the Core Altaic languages that we can even speak of an independent Japanese-Korean type of grammar. Given also that there is neither a strong proof of common Proto-Altaic lexical items nor solid regular sound correspondences but, rather, only lexical and structural borrowings between languages of the Altaic typology, our results indirectly speak in favour of a “Paleo-Asiatic” origin of the Japonic and Koreanic languages." The Ainu language In 1962, John C. Street proposed an alternative classification, with Turkic-Mongolic-Tungusic in one grouping and Korean-Japanese-Ainu in another, joined in what he designated as the "North Asiatic" family. The inclusion of Ainu was adopted also by James Patrie in 1982. The Turkic-Mongolic-Tungusic and Korean-Japanese-Ainu groupings were also posited in 2000–2002 by Joseph Greenberg.

However, he treated them as independent members of a larger family, which he termed Eurasiatic. The inclusion of Ainu is not widely accepted by Altaicists. In fact, no convincing genealogical relationship between Ainu and any other language family has been demonstrated, and it is generally regarded as a language isolate. Early criticism and rejection Starting in the late 1950s, some linguists became increasingly critical of even the minimal Altaic family hypothesis, disputing the alleged evidence of genetic connection between Turkic, Mongolic and Tungusic languages. Among the earlier critics were Gerard Clauson (1956), Gerhard Doerfer (1963), and Alexander Shcherbak. They claimed that the words and features shared by Turkic, Mongolic, and Tungusic languages were for the most part borrowings and that the rest could be attributed to chance resemblances. In 1988, Doerfer again rejected all the genetic claims over these major groups. Modern controversy A major continuing supporter of the Altaic hypothesis has been Sergei Starostin, who published a comparative lexical analysis of the Altaic languages in 1991. He concluded that the analysis supported the Altaic grouping, although it was "older than most other language families in Eurasia, such as Indo-European or Finno-Ugric, and this is the reason why the modern Altaic languages preserve few common elements". In 1991 and again in 1996, Roy Miller defended the Altaic hypothesis and claimed that the criticisms of Clauson and Doerfer apply exclusively to the lexical correspondences, whereas the most pressing evidence for the theory is the similarities in verbal morphology. In 2003, Claus Schönig published a critical overview of the history of the Altaic hypothesis up to that time, siding with the earlier criticisms of Clauson, Doerfer, and Shcherbak. In 2003, Starostin, Anna Dybo and Oleg Mudrak published the Etymological Dictionary of the Altaic Languages, which expanded the 1991 lexical lists and added other phonological and grammatical arguments. Starostin's book was criticized by Stefan Georg in 2004 and 2005, and by Alexander Vovin in 2005. Other defenses of the theory, in response to the criticisms of Georg and Vovin, were published by Starostin in 2005, Blažek in 2006, Robbeets in 2007, and Dybo and G. Starostin in 2008 In 2010, Lars Johanson echoed Miller's 1996 rebuttal to the critics, and called for a muting of the polemic. List of supporters and critics of the Altaic hypothesis The list below comprises linguists who have worked specifically on the Altaic problem since the publication of the first volume of Ramstedt's Einführung in 1952. The dates given are those of works concerning Altaic. For supporters of the theory, the version of Altaic they favor is given at the end of the entry, if other than the prevailing one of Turkic–Mongolic–Tungusic–Korean–Japanese. Major supporters Pentti Aalto (1955). Turkic–Mongolic–Tungusic–Korean. Anna V. Dybo (S. Starostin et al. 2003, A. Dybo and G. Starostin 2008). Frederik Kortlandt (2010). Karl H. Menges (1975). Common ancestor of Korean, Japanese and traditional Altaic dated back to the 7th or 8th millennium BC (1975: 125). Roy Andrew Miller (1971, 1980, 1986, 1996).

However, he treated them as independent members of a larger family, which he termed Eurasiatic. The inclusion of Ainu is not widely accepted by Altaicists. In fact, no convincing genealogical relationship between Ainu and any other language family has been demonstrated, and it is generally regarded as a language isolate. Early criticism and rejection Starting in the late 1950s, some linguists became increasingly critical of even the minimal Altaic family hypothesis, disputing the alleged evidence of genetic connection between Turkic, Mongolic and Tungusic languages. Among the earlier critics were Gerard Clauson (1956), Gerhard Doerfer (1963), and Alexander Shcherbak. They claimed that the words and features shared by Turkic, Mongolic, and Tungusic languages were for the most part borrowings and that the rest could be attributed to chance resemblances. In 1988, Doerfer again rejected all the genetic claims over these major groups. Modern controversy A major continuing supporter of the Altaic hypothesis has been Sergei Starostin, who published a comparative lexical analysis of the Altaic languages in 1991. He concluded that the analysis supported the Altaic grouping, although it was "older than most other language families in Eurasia, such as Indo-European or Finno-Ugric, and this is the reason why the modern Altaic languages preserve few common elements". In 1991 and again in 1996, Roy Miller defended the Altaic hypothesis and claimed that the criticisms of Clauson and Doerfer apply exclusively to the lexical correspondences, whereas the most pressing evidence for the theory is the similarities in verbal morphology. In 2003, Claus Schönig published a critical overview of the history of the Altaic hypothesis up to that time, siding with the earlier criticisms of Clauson, Doerfer, and Shcherbak. In 2003, Starostin, Anna Dybo and Oleg Mudrak published the Etymological Dictionary of the Altaic Languages, which expanded the 1991 lexical lists and added other phonological and grammatical arguments. Starostin's book was criticized by Stefan Georg in 2004 and 2005, and by Alexander Vovin in 2005. Other defenses of the theory, in response to the criticisms of Georg and Vovin, were published by Starostin in 2005, Blažek in 2006, Robbeets in 2007, and Dybo and G. Starostin in 2008 In 2010, Lars Johanson echoed Miller's 1996 rebuttal to the critics, and called for a muting of the polemic. List of supporters and critics of the Altaic hypothesis The list below comprises linguists who have worked specifically on the Altaic problem since the publication of the first volume of Ramstedt's Einführung in 1952. The dates given are those of works concerning Altaic. For supporters of the theory, the version of Altaic they favor is given at the end of the entry, if other than the prevailing one of Turkic–Mongolic–Tungusic–Korean–Japanese. Major supporters Pentti Aalto (1955). Turkic–Mongolic–Tungusic–Korean. Anna V. Dybo (S. Starostin et al. 2003, A. Dybo and G. Starostin 2008). Frederik Kortlandt (2010). Karl H. Menges (1975). Common ancestor of Korean, Japanese and traditional Altaic dated back to the 7th or 8th millennium BC (1975: 125). Roy Andrew Miller (1971, 1980, 1986, 1996).

However, he treated them as independent members of a larger family, which he termed Eurasiatic. The inclusion of Ainu is not widely accepted by Altaicists. In fact, no convincing genealogical relationship between Ainu and any other language family has been demonstrated, and it is generally regarded as a language isolate. Early criticism and rejection Starting in the late 1950s, some linguists became increasingly critical of even the minimal Altaic family hypothesis, disputing the alleged evidence of genetic connection between Turkic, Mongolic and Tungusic languages. Among the earlier critics were Gerard Clauson (1956), Gerhard Doerfer (1963), and Alexander Shcherbak. They claimed that the words and features shared by Turkic, Mongolic, and Tungusic languages were for the most part borrowings and that the rest could be attributed to chance resemblances. In 1988, Doerfer again rejected all the genetic claims over these major groups. Modern controversy A major continuing supporter of the Altaic hypothesis has been Sergei Starostin, who published a comparative lexical analysis of the Altaic languages in 1991. He concluded that the analysis supported the Altaic grouping, although it was "older than most other language families in Eurasia, such as Indo-European or Finno-Ugric, and this is the reason why the modern Altaic languages preserve few common elements". In 1991 and again in 1996, Roy Miller defended the Altaic hypothesis and claimed that the criticisms of Clauson and Doerfer apply exclusively to the lexical correspondences, whereas the most pressing evidence for the theory is the similarities in verbal morphology. In 2003, Claus Schönig published a critical overview of the history of the Altaic hypothesis up to that time, siding with the earlier criticisms of Clauson, Doerfer, and Shcherbak. In 2003, Starostin, Anna Dybo and Oleg Mudrak published the Etymological Dictionary of the Altaic Languages, which expanded the 1991 lexical lists and added other phonological and grammatical arguments. Starostin's book was criticized by Stefan Georg in 2004 and 2005, and by Alexander Vovin in 2005. Other defenses of the theory, in response to the criticisms of Georg and Vovin, were published by Starostin in 2005, Blažek in 2006, Robbeets in 2007, and Dybo and G. Starostin in 2008 In 2010, Lars Johanson echoed Miller's 1996 rebuttal to the critics, and called for a muting of the polemic. List of supporters and critics of the Altaic hypothesis The list below comprises linguists who have worked specifically on the Altaic problem since the publication of the first volume of Ramstedt's Einführung in 1952. The dates given are those of works concerning Altaic. For supporters of the theory, the version of Altaic they favor is given at the end of the entry, if other than the prevailing one of Turkic–Mongolic–Tungusic–Korean–Japanese. Major supporters Pentti Aalto (1955). Turkic–Mongolic–Tungusic–Korean. Anna V. Dybo (S. Starostin et al. 2003, A. Dybo and G. Starostin 2008). Frederik Kortlandt (2010). Karl H. Menges (1975). Common ancestor of Korean, Japanese and traditional Altaic dated back to the 7th or 8th millennium BC (1975: 125). Roy Andrew Miller (1971, 1980, 1986, 1996).

Supported the inclusion of Korean and Japanese. Oleg A. Mudrak (S. Starostin et al. 2003). Nicholas Poppe (1965). Turkic–Mongolic–Tungusic and perhaps Korean. Alexis Manaster Ramer. Martine Robbeets (2004, 2005, 2007, 2008, 2015) (in the form of "Transeurasian"). G. J. Ramstedt (1952–1957). Turkic–Mongolic–Tungusic–Korean. George Starostin (A. Dybo and G. Starostin 2008). Sergei Starostin (1991, S. Starostin et al. 2003). John C. Street (1962). Turkic–Mongolic–Tungusic and Korean–Japanese–Ainu, grouped as "North Asiatic". Talat Tekin (1994). Turkic–Mongolic–Tungusic–Korean. Major critics Gerard Clauson (1956, 1959, 1962). Gerhard Doerfer (1963, 1966, 1967, 1968, 1972, 1973, 1974, 1975, 1981, 1985, 1988, 1993). Susumu Ōno (1970, 2000) Juha Janhunen (1992, 1995) (tentative support of Mongolic-Tungusic). Claus Schönig (2003). Stefan Georg (2004, 2005). Alexander Vovin (2005, 2010, 2017). Formerly an advocate of Altaic (1994, 1995, 1997, 1999, 2000, 2001), now a critic. Alexander Shcherbak. Alexander B. M. Stiven (2008, 2010). Advocates of alternative hypotheses James Patrie (1982) and Joseph Greenberg (2000–2002). Turkic–Mongolic–Tungusic and Korean–Japanese–Ainu, grouped in a common taxon (cf. John C. Street 1962), called Eurasiatic by Greenberg. J. Marshall Unger (1990). Tungusic–Korean–Japanese ("Macro-Tungusic"), with Turkic and Mongolic as separate language families. Lars Johanson (2010). Agnostic, proponent of a "Transeurasian" verbal morphology not necessarily genealogically linked. Languages Tungusic languages With fewer speakers than Mongolic or Turkic languages, Tungusic languages are distributed across most of Eastern Siberia (including the Sakhalin Island), northern Manchuria and extending into some parts of Xinjiang and Mongolia. Some Tungusic languages are extinct or endangered languages as a consequence of language shift to Chinese and Russian. In China, where the Tungusic population is over 10 million, just 46,000 still retain knowledge of their ethnic languages. Scholars have yet to reach agreement on how to classify the Tungusic languages but two subfamilies have been proposed: South Tungusic (or Manchu) and North Tungusic (Tungus). Jurchen (now extinct; Da Jin 大金), Manchu (critically endangered; Da Qing 大清), Sibe (Xibo 锡伯) and other minor languages comprise the Manchu group. The Northern Tungusic languages can be reclassified even further into the Siberian Tungusic languages (Evenki, Lamut, Solon and Negidal) and the Lower Amur Tungusic languages (Nanai, Ulcha, Orok to name a few). Significant disagreements remain, not only about the linguistic sub-classifications but also some controversy around the Chinese names of some ethnic groups, like the use of Hezhe (赫哲) for the Nanai people. Mongolic languages Mongolic languages are spoken in three geographic areas: Russia (especially Siberia), China and Mongolia. Although Russia and China host significant Mongol populations many of the Mongol people in these countries don't speak their own ethnic language. They are usually sub-classified into two groups: the Western languages (Oirat, Kalmyk and related dialects) and Eastern languages. The latter group can be further subdivided as follows: Southern Mongol - Ordos, Chakhar and Khorchin Central Mongol - Khalkha, Darkhat Northern Mongol - Buriat and dialects, Khamnigan There are also additional archaic and obscure languages within these groups: Moghol (Afghanistan), Dagur (Manchuria) and languages associated with Gansu and Qinghai. Linguisitically two branches emerge, the Common Mongolic and the Khitan/Serbi (sometimes called "para-Mongolic").

Supported the inclusion of Korean and Japanese. Oleg A. Mudrak (S. Starostin et al. 2003). Nicholas Poppe (1965). Turkic–Mongolic–Tungusic and perhaps Korean. Alexis Manaster Ramer. Martine Robbeets (2004, 2005, 2007, 2008, 2015) (in the form of "Transeurasian"). G. J. Ramstedt (1952–1957). Turkic–Mongolic–Tungusic–Korean. George Starostin (A. Dybo and G. Starostin 2008). Sergei Starostin (1991, S. Starostin et al. 2003). John C. Street (1962). Turkic–Mongolic–Tungusic and Korean–Japanese–Ainu, grouped as "North Asiatic". Talat Tekin (1994). Turkic–Mongolic–Tungusic–Korean. Major critics Gerard Clauson (1956, 1959, 1962). Gerhard Doerfer (1963, 1966, 1967, 1968, 1972, 1973, 1974, 1975, 1981, 1985, 1988, 1993). Susumu Ōno (1970, 2000) Juha Janhunen (1992, 1995) (tentative support of Mongolic-Tungusic). Claus Schönig (2003). Stefan Georg (2004, 2005). Alexander Vovin (2005, 2010, 2017). Formerly an advocate of Altaic (1994, 1995, 1997, 1999, 2000, 2001), now a critic. Alexander Shcherbak. Alexander B. M. Stiven (2008, 2010). Advocates of alternative hypotheses James Patrie (1982) and Joseph Greenberg (2000–2002). Turkic–Mongolic–Tungusic and Korean–Japanese–Ainu, grouped in a common taxon (cf. John C. Street 1962), called Eurasiatic by Greenberg. J. Marshall Unger (1990). Tungusic–Korean–Japanese ("Macro-Tungusic"), with Turkic and Mongolic as separate language families. Lars Johanson (2010). Agnostic, proponent of a "Transeurasian" verbal morphology not necessarily genealogically linked. Languages Tungusic languages With fewer speakers than Mongolic or Turkic languages, Tungusic languages are distributed across most of Eastern Siberia (including the Sakhalin Island), northern Manchuria and extending into some parts of Xinjiang and Mongolia. Some Tungusic languages are extinct or endangered languages as a consequence of language shift to Chinese and Russian. In China, where the Tungusic population is over 10 million, just 46,000 still retain knowledge of their ethnic languages. Scholars have yet to reach agreement on how to classify the Tungusic languages but two subfamilies have been proposed: South Tungusic (or Manchu) and North Tungusic (Tungus). Jurchen (now extinct; Da Jin 大金), Manchu (critically endangered; Da Qing 大清), Sibe (Xibo 锡伯) and other minor languages comprise the Manchu group. The Northern Tungusic languages can be reclassified even further into the Siberian Tungusic languages (Evenki, Lamut, Solon and Negidal) and the Lower Amur Tungusic languages (Nanai, Ulcha, Orok to name a few). Significant disagreements remain, not only about the linguistic sub-classifications but also some controversy around the Chinese names of some ethnic groups, like the use of Hezhe (赫哲) for the Nanai people. Mongolic languages Mongolic languages are spoken in three geographic areas: Russia (especially Siberia), China and Mongolia. Although Russia and China host significant Mongol populations many of the Mongol people in these countries don't speak their own ethnic language. They are usually sub-classified into two groups: the Western languages (Oirat, Kalmyk and related dialects) and Eastern languages. The latter group can be further subdivided as follows: Southern Mongol - Ordos, Chakhar and Khorchin Central Mongol - Khalkha, Darkhat Northern Mongol - Buriat and dialects, Khamnigan There are also additional archaic and obscure languages within these groups: Moghol (Afghanistan), Dagur (Manchuria) and languages associated with Gansu and Qinghai. Linguisitically two branches emerge, the Common Mongolic and the Khitan/Serbi (sometimes called "para-Mongolic").

Supported the inclusion of Korean and Japanese. Oleg A. Mudrak (S. Starostin et al. 2003). Nicholas Poppe (1965). Turkic–Mongolic–Tungusic and perhaps Korean. Alexis Manaster Ramer. Martine Robbeets (2004, 2005, 2007, 2008, 2015) (in the form of "Transeurasian"). G. J. Ramstedt (1952–1957). Turkic–Mongolic–Tungusic–Korean. George Starostin (A. Dybo and G. Starostin 2008). Sergei Starostin (1991, S. Starostin et al. 2003). John C. Street (1962). Turkic–Mongolic–Tungusic and Korean–Japanese–Ainu, grouped as "North Asiatic". Talat Tekin (1994). Turkic–Mongolic–Tungusic–Korean. Major critics Gerard Clauson (1956, 1959, 1962). Gerhard Doerfer (1963, 1966, 1967, 1968, 1972, 1973, 1974, 1975, 1981, 1985, 1988, 1993). Susumu Ōno (1970, 2000) Juha Janhunen (1992, 1995) (tentative support of Mongolic-Tungusic). Claus Schönig (2003). Stefan Georg (2004, 2005). Alexander Vovin (2005, 2010, 2017). Formerly an advocate of Altaic (1994, 1995, 1997, 1999, 2000, 2001), now a critic. Alexander Shcherbak. Alexander B. M. Stiven (2008, 2010). Advocates of alternative hypotheses James Patrie (1982) and Joseph Greenberg (2000–2002). Turkic–Mongolic–Tungusic and Korean–Japanese–Ainu, grouped in a common taxon (cf. John C. Street 1962), called Eurasiatic by Greenberg. J. Marshall Unger (1990). Tungusic–Korean–Japanese ("Macro-Tungusic"), with Turkic and Mongolic as separate language families. Lars Johanson (2010). Agnostic, proponent of a "Transeurasian" verbal morphology not necessarily genealogically linked. Languages Tungusic languages With fewer speakers than Mongolic or Turkic languages, Tungusic languages are distributed across most of Eastern Siberia (including the Sakhalin Island), northern Manchuria and extending into some parts of Xinjiang and Mongolia. Some Tungusic languages are extinct or endangered languages as a consequence of language shift to Chinese and Russian. In China, where the Tungusic population is over 10 million, just 46,000 still retain knowledge of their ethnic languages. Scholars have yet to reach agreement on how to classify the Tungusic languages but two subfamilies have been proposed: South Tungusic (or Manchu) and North Tungusic (Tungus). Jurchen (now extinct; Da Jin 大金), Manchu (critically endangered; Da Qing 大清), Sibe (Xibo 锡伯) and other minor languages comprise the Manchu group. The Northern Tungusic languages can be reclassified even further into the Siberian Tungusic languages (Evenki, Lamut, Solon and Negidal) and the Lower Amur Tungusic languages (Nanai, Ulcha, Orok to name a few). Significant disagreements remain, not only about the linguistic sub-classifications but also some controversy around the Chinese names of some ethnic groups, like the use of Hezhe (赫哲) for the Nanai people. Mongolic languages Mongolic languages are spoken in three geographic areas: Russia (especially Siberia), China and Mongolia. Although Russia and China host significant Mongol populations many of the Mongol people in these countries don't speak their own ethnic language. They are usually sub-classified into two groups: the Western languages (Oirat, Kalmyk and related dialects) and Eastern languages. The latter group can be further subdivided as follows: Southern Mongol - Ordos, Chakhar and Khorchin Central Mongol - Khalkha, Darkhat Northern Mongol - Buriat and dialects, Khamnigan There are also additional archaic and obscure languages within these groups: Moghol (Afghanistan), Dagur (Manchuria) and languages associated with Gansu and Qinghai. Linguisitically two branches emerge, the Common Mongolic and the Khitan/Serbi (sometimes called "para-Mongolic").

Of the latter, only Dagur survives into the present day. Arguments For the Altaic grouping Phonological and grammatical features The original arguments for grouping the "micro-Altaic" languages within a Uralo-Altaic family were based on such shared features as vowel harmony and agglutination. According to Roy Miller, the most pressing evidence for the theory is the similarities in verbal morphology. The Etymological Dictionary by Starostin and others (2003) proposes a set of sound change laws that would explain the evolution from Proto-Altaic to the descendant languages. For example, although most of today's Altaic languages have vowel harmony, Proto-Altaic as reconstructed by them lacked it; instead, various vowel assimilations between the first and second syllables of words occurred in Turkic, Mongolic, Tungusic, Korean, and Japonic. They also included a number of grammatical correspondences between the languages. Shared lexicon Starostin claimed in 1991 that the members of the proposed Altaic group shared about 15–20% of apparent cognates within a 110-word Swadesh-Yakhontov list; in particular, Turkic–Mongolic 20%, Turkic–Tungusic 18%, Turkic–Korean 17%, Mongolic–Tungusic 22%, Mongolic–Korean 16%, and Tungusic–Korean 21%. The 2003 Etymological Dictionary includes a list of 2,800 proposed cognate sets, as well as a few important changes to the reconstruction of Proto-Altaic. The authors tried hard to distinguish loans between Turkic and Mongolic and between Mongolic and Tungusic from cognates; and suggest words that occur in Turkic and Tungusic but not in Mongolic. All other combinations between the five branches also occur in the book. It lists 144 items of shared basic vocabulary, including words for such items as 'eye', 'ear', 'neck', 'bone', 'blood', 'water', 'stone', 'sun', and 'two'. Robbeets and Bouckaert (2018) use Bayesian phylolinguistic methods to argue for the coherence of the "narrow" Altaic languages (Turkic, Mongolic, and Tungusic) together with Japonic and Koreanic, which they refer to as the Transeurasian languages. Their results include the following phylogenetic tree: Martine Robbeets (2020) argues that early Transeurasian speakers were originally agriculturalists in northeastern China, only becoming pastoralists later on. Some lexical reconstructions of agricultural terms by Robbeets (2020) are listed below. Abbreviations PTEA = Proto-Transeurasian PA = Proto-Altaic PTk = Proto-Turkic PMo = Proto-Mongolic PTg = Proto-Tungusic PJK = Proto-Japano-Koreanic PK = Proto-Koreanic PJ = Proto-Japonic Additional family-level reconstructions of agricultural vocabulary from Robbeets et al. (2020): Proto-Turkic *ek- ‘to sprinkle with the hand; sow’ > *ek-e.g. ‘plow’ Proto-Turkic *tarï- ‘to cultivate (the ground)’ > *tarï-g ‘what is cultivated; crops, main crop, cultivated land’ Proto-Turkic *ko- ‘to put’ > *koːn- ‘to settle down (of animals), to take up residence (of people), to be planted (of plants)’ > *konak ‘foxtail millet (Setaria italica)’ Proto-Turkic *tög- ‘to hit, beat; to pound, crush (food in a mortar); to husk, thresh (cereals)’ > *tögi ‘husked millet; husked rice’ Proto-Turkic *ügür ‘(broomcorn) millet’ Proto-Turkic *arpa ‘barley (Hordeum vulgare)' < ?

Of the latter, only Dagur survives into the present day. Arguments For the Altaic grouping Phonological and grammatical features The original arguments for grouping the "micro-Altaic" languages within a Uralo-Altaic family were based on such shared features as vowel harmony and agglutination. According to Roy Miller, the most pressing evidence for the theory is the similarities in verbal morphology. The Etymological Dictionary by Starostin and others (2003) proposes a set of sound change laws that would explain the evolution from Proto-Altaic to the descendant languages. For example, although most of today's Altaic languages have vowel harmony, Proto-Altaic as reconstructed by them lacked it; instead, various vowel assimilations between the first and second syllables of words occurred in Turkic, Mongolic, Tungusic, Korean, and Japonic. They also included a number of grammatical correspondences between the languages. Shared lexicon Starostin claimed in 1991 that the members of the proposed Altaic group shared about 15–20% of apparent cognates within a 110-word Swadesh-Yakhontov list; in particular, Turkic–Mongolic 20%, Turkic–Tungusic 18%, Turkic–Korean 17%, Mongolic–Tungusic 22%, Mongolic–Korean 16%, and Tungusic–Korean 21%. The 2003 Etymological Dictionary includes a list of 2,800 proposed cognate sets, as well as a few important changes to the reconstruction of Proto-Altaic. The authors tried hard to distinguish loans between Turkic and Mongolic and between Mongolic and Tungusic from cognates; and suggest words that occur in Turkic and Tungusic but not in Mongolic. All other combinations between the five branches also occur in the book. It lists 144 items of shared basic vocabulary, including words for such items as 'eye', 'ear', 'neck', 'bone', 'blood', 'water', 'stone', 'sun', and 'two'. Robbeets and Bouckaert (2018) use Bayesian phylolinguistic methods to argue for the coherence of the "narrow" Altaic languages (Turkic, Mongolic, and Tungusic) together with Japonic and Koreanic, which they refer to as the Transeurasian languages. Their results include the following phylogenetic tree: Martine Robbeets (2020) argues that early Transeurasian speakers were originally agriculturalists in northeastern China, only becoming pastoralists later on. Some lexical reconstructions of agricultural terms by Robbeets (2020) are listed below. Abbreviations PTEA = Proto-Transeurasian PA = Proto-Altaic PTk = Proto-Turkic PMo = Proto-Mongolic PTg = Proto-Tungusic PJK = Proto-Japano-Koreanic PK = Proto-Koreanic PJ = Proto-Japonic Additional family-level reconstructions of agricultural vocabulary from Robbeets et al. (2020): Proto-Turkic *ek- ‘to sprinkle with the hand; sow’ > *ek-e.g. ‘plow’ Proto-Turkic *tarï- ‘to cultivate (the ground)’ > *tarï-g ‘what is cultivated; crops, main crop, cultivated land’ Proto-Turkic *ko- ‘to put’ > *koːn- ‘to settle down (of animals), to take up residence (of people), to be planted (of plants)’ > *konak ‘foxtail millet (Setaria italica)’ Proto-Turkic *tög- ‘to hit, beat; to pound, crush (food in a mortar); to husk, thresh (cereals)’ > *tögi ‘husked millet; husked rice’ Proto-Turkic *ügür ‘(broomcorn) millet’ Proto-Turkic *arpa ‘barley (Hordeum vulgare)' < ?

Of the latter, only Dagur survives into the present day. Arguments For the Altaic grouping Phonological and grammatical features The original arguments for grouping the "micro-Altaic" languages within a Uralo-Altaic family were based on such shared features as vowel harmony and agglutination. According to Roy Miller, the most pressing evidence for the theory is the similarities in verbal morphology. The Etymological Dictionary by Starostin and others (2003) proposes a set of sound change laws that would explain the evolution from Proto-Altaic to the descendant languages. For example, although most of today's Altaic languages have vowel harmony, Proto-Altaic as reconstructed by them lacked it; instead, various vowel assimilations between the first and second syllables of words occurred in Turkic, Mongolic, Tungusic, Korean, and Japonic. They also included a number of grammatical correspondences between the languages. Shared lexicon Starostin claimed in 1991 that the members of the proposed Altaic group shared about 15–20% of apparent cognates within a 110-word Swadesh-Yakhontov list; in particular, Turkic–Mongolic 20%, Turkic–Tungusic 18%, Turkic–Korean 17%, Mongolic–Tungusic 22%, Mongolic–Korean 16%, and Tungusic–Korean 21%. The 2003 Etymological Dictionary includes a list of 2,800 proposed cognate sets, as well as a few important changes to the reconstruction of Proto-Altaic. The authors tried hard to distinguish loans between Turkic and Mongolic and between Mongolic and Tungusic from cognates; and suggest words that occur in Turkic and Tungusic but not in Mongolic. All other combinations between the five branches also occur in the book. It lists 144 items of shared basic vocabulary, including words for such items as 'eye', 'ear', 'neck', 'bone', 'blood', 'water', 'stone', 'sun', and 'two'. Robbeets and Bouckaert (2018) use Bayesian phylolinguistic methods to argue for the coherence of the "narrow" Altaic languages (Turkic, Mongolic, and Tungusic) together with Japonic and Koreanic, which they refer to as the Transeurasian languages. Their results include the following phylogenetic tree: Martine Robbeets (2020) argues that early Transeurasian speakers were originally agriculturalists in northeastern China, only becoming pastoralists later on. Some lexical reconstructions of agricultural terms by Robbeets (2020) are listed below. Abbreviations PTEA = Proto-Transeurasian PA = Proto-Altaic PTk = Proto-Turkic PMo = Proto-Mongolic PTg = Proto-Tungusic PJK = Proto-Japano-Koreanic PK = Proto-Koreanic PJ = Proto-Japonic Additional family-level reconstructions of agricultural vocabulary from Robbeets et al. (2020): Proto-Turkic *ek- ‘to sprinkle with the hand; sow’ > *ek-e.g. ‘plow’ Proto-Turkic *tarï- ‘to cultivate (the ground)’ > *tarï-g ‘what is cultivated; crops, main crop, cultivated land’ Proto-Turkic *ko- ‘to put’ > *koːn- ‘to settle down (of animals), to take up residence (of people), to be planted (of plants)’ > *konak ‘foxtail millet (Setaria italica)’ Proto-Turkic *tög- ‘to hit, beat; to pound, crush (food in a mortar); to husk, thresh (cereals)’ > *tögi ‘husked millet; husked rice’ Proto-Turkic *ügür ‘(broomcorn) millet’ Proto-Turkic *arpa ‘barley (Hordeum vulgare)' < ?

Proto-Iranian *arbusā ‘barley’ Proto-Mongolic *amun ‘cereals; broomcorn millet (Panicum miliaceum)’ (Nugteren 2011: 268) Proto-Mongolic *konag ‘foxtail millet’ < PTk *konak ‘foxtail millet (Setaria italica)’ Proto-Mongolic *budaga ‘cooked cereals; porridge; meal’ Proto-Mongolic *tari- ‘to sow, plant’ (Nugteren 2011: 512–13) Proto-Macro-Mongolic *püre ‘seed; descendants’ Proto-Tungusic *pisi-ke ‘broomcorn millet (Panicum miliaceum)’ Proto-Tungusic *jiya- ‘foxtail millet (Setaria italica)’ Proto-Tungusic *murgi ‘barley (Hordeum vulgare)’ Proto-Tungusic *üse- ~ *üsi- ‘to plant’ üse ~ üsi ‘seed, seedling’, üsi-n ‘field for cultivation’ Proto-Tungusic *tari- ‘to sow, to plant’ Proto-Koreanic *pisi ‘seed’, *pihi ‘barnyard millet’ < Proto-Transeurasian (PTEA) *pisi-i (sow-NMLZ) ‘seed’ ~ *pisi-ke (sow-RES.NMLZ) ‘what is sown, major crop’ Proto-Koreanic *patʌ-k ‘dry field’ < Proto-Japano-Koreanic (PJK) *pata ‘dry field’ < PTEA *pata ‘field for cultivation’ Proto-Koreanic *mutʌ-k ‘dry land’ < PJK *muta ‘land’ < PTEA *mudu ‘uncultivated land’ Proto-Koreanic *mat-ʌk ‘garden plot’ < PJK *mat ‘plot of land for cultivation’ Proto-Koreanic *non ‘rice paddy field’ < PJK *non ‘field’ Proto-Koreanic *pap ‘any boiled preparation of cereal; boiled rice’ Proto-Koreanic *pʌsal ‘hulled (of any grain); hulled corn of grain; hulled rice’ < Proto-Japonic *wasa-ra ‘early ripening (of any grain)’ Proto-Koreanic *ipi > *pi > *pye ‘(unhusked) rice’ < Proto-Japonic *ip-i (eat-NMLZ) ‘cooked millet, steamed rice’ Proto-Japonic *nuka ‘rice bran’ < PJ *nuka- (remove.NMLZ) Proto-Japonic *məmi ‘hulled rice’ < PJ *məm-i (move.back.and.forth.with.force-NMLZ) Proto-Japonic *ipi ‘cooked millet, steamed rice’ < *ip-i (eat-NMLZ) < PK *me(k)i ‘rice offered to a higher rank’ < *mek-i (eat-NMLZ) ‘what you eat, food’ < Proto-Austronesian *ka-en eat-OBJ.NMLZ Proto-Japonic *wasa- ~ *wəsə- ‘to be early ripening (of crops); an early ripening variety (of any crop); early-ripening rice plant’ Proto-Japonic *usu ‘(rice and grain) mortar’ < Para-Austronesian *lusuŋ ‘(rice) mortar’; cf. Proto-Austronesian *lusuŋ ‘(rice) mortar’ Proto-Japonic *kəmai ‘dehusked rice’ < Para-Austronesian *hemay < Proto-Macro-Austronesian *Semay ‘cooked rice’; cf. Proto-Austronesian *Semay ‘cooked rice’ Against the grouping Weakness of lexical and typological data According to G. Clauson (1956), G. Doerfer (1963), and A. Shcherbak (1963), many of the typological features of the supposed Altaic languages, particularly agglutinative strongly suffixing morphology and subject–object–verb (SOV) word order, often occur together in languages. Those critics also argued that the words and features shared by Turkic, Mongolic, and Tungusic languages were for the most part borrowings and that the rest could be attributed to chance resemblances. They noted that there was little vocabulary shared by Turkic and Tungusic languages, though more shared with Mongolic languages. They reasoned that, if all three families had a common ancestor, we should expect losses to happen at random, and not only at the geographical margins of the family; and that the observed pattern is consistent with borrowing. According to C. Schönig (2003), after accounting for areal effects, the shared lexicon that could have a common genetic origin was reduced to a small number of monosyllabic lexical roots, including the personal pronouns and a few other deictic and auxiliary items, whose sharing could be explained in other ways; not the kind of sharing expected in cases of genetic relationship.

Proto-Iranian *arbusā ‘barley’ Proto-Mongolic *amun ‘cereals; broomcorn millet (Panicum miliaceum)’ (Nugteren 2011: 268) Proto-Mongolic *konag ‘foxtail millet’ < PTk *konak ‘foxtail millet (Setaria italica)’ Proto-Mongolic *budaga ‘cooked cereals; porridge; meal’ Proto-Mongolic *tari- ‘to sow, plant’ (Nugteren 2011: 512–13) Proto-Macro-Mongolic *püre ‘seed; descendants’ Proto-Tungusic *pisi-ke ‘broomcorn millet (Panicum miliaceum)’ Proto-Tungusic *jiya- ‘foxtail millet (Setaria italica)’ Proto-Tungusic *murgi ‘barley (Hordeum vulgare)’ Proto-Tungusic *üse- ~ *üsi- ‘to plant’ üse ~ üsi ‘seed, seedling’, üsi-n ‘field for cultivation’ Proto-Tungusic *tari- ‘to sow, to plant’ Proto-Koreanic *pisi ‘seed’, *pihi ‘barnyard millet’ < Proto-Transeurasian (PTEA) *pisi-i (sow-NMLZ) ‘seed’ ~ *pisi-ke (sow-RES.NMLZ) ‘what is sown, major crop’ Proto-Koreanic *patʌ-k ‘dry field’ < Proto-Japano-Koreanic (PJK) *pata ‘dry field’ < PTEA *pata ‘field for cultivation’ Proto-Koreanic *mutʌ-k ‘dry land’ < PJK *muta ‘land’ < PTEA *mudu ‘uncultivated land’ Proto-Koreanic *mat-ʌk ‘garden plot’ < PJK *mat ‘plot of land for cultivation’ Proto-Koreanic *non ‘rice paddy field’ < PJK *non ‘field’ Proto-Koreanic *pap ‘any boiled preparation of cereal; boiled rice’ Proto-Koreanic *pʌsal ‘hulled (of any grain); hulled corn of grain; hulled rice’ < Proto-Japonic *wasa-ra ‘early ripening (of any grain)’ Proto-Koreanic *ipi > *pi > *pye ‘(unhusked) rice’ < Proto-Japonic *ip-i (eat-NMLZ) ‘cooked millet, steamed rice’ Proto-Japonic *nuka ‘rice bran’ < PJ *nuka- (remove.NMLZ) Proto-Japonic *məmi ‘hulled rice’ < PJ *məm-i (move.back.and.forth.with.force-NMLZ) Proto-Japonic *ipi ‘cooked millet, steamed rice’ < *ip-i (eat-NMLZ) < PK *me(k)i ‘rice offered to a higher rank’ < *mek-i (eat-NMLZ) ‘what you eat, food’ < Proto-Austronesian *ka-en eat-OBJ.NMLZ Proto-Japonic *wasa- ~ *wəsə- ‘to be early ripening (of crops); an early ripening variety (of any crop); early-ripening rice plant’ Proto-Japonic *usu ‘(rice and grain) mortar’ < Para-Austronesian *lusuŋ ‘(rice) mortar’; cf. Proto-Austronesian *lusuŋ ‘(rice) mortar’ Proto-Japonic *kəmai ‘dehusked rice’ < Para-Austronesian *hemay < Proto-Macro-Austronesian *Semay ‘cooked rice’; cf. Proto-Austronesian *Semay ‘cooked rice’ Against the grouping Weakness of lexical and typological data According to G. Clauson (1956), G. Doerfer (1963), and A. Shcherbak (1963), many of the typological features of the supposed Altaic languages, particularly agglutinative strongly suffixing morphology and subject–object–verb (SOV) word order, often occur together in languages. Those critics also argued that the words and features shared by Turkic, Mongolic, and Tungusic languages were for the most part borrowings and that the rest could be attributed to chance resemblances. They noted that there was little vocabulary shared by Turkic and Tungusic languages, though more shared with Mongolic languages. They reasoned that, if all three families had a common ancestor, we should expect losses to happen at random, and not only at the geographical margins of the family; and that the observed pattern is consistent with borrowing. According to C. Schönig (2003), after accounting for areal effects, the shared lexicon that could have a common genetic origin was reduced to a small number of monosyllabic lexical roots, including the personal pronouns and a few other deictic and auxiliary items, whose sharing could be explained in other ways; not the kind of sharing expected in cases of genetic relationship.

Proto-Iranian *arbusā ‘barley’ Proto-Mongolic *amun ‘cereals; broomcorn millet (Panicum miliaceum)’ (Nugteren 2011: 268) Proto-Mongolic *konag ‘foxtail millet’ < PTk *konak ‘foxtail millet (Setaria italica)’ Proto-Mongolic *budaga ‘cooked cereals; porridge; meal’ Proto-Mongolic *tari- ‘to sow, plant’ (Nugteren 2011: 512–13) Proto-Macro-Mongolic *püre ‘seed; descendants’ Proto-Tungusic *pisi-ke ‘broomcorn millet (Panicum miliaceum)’ Proto-Tungusic *jiya- ‘foxtail millet (Setaria italica)’ Proto-Tungusic *murgi ‘barley (Hordeum vulgare)’ Proto-Tungusic *üse- ~ *üsi- ‘to plant’ üse ~ üsi ‘seed, seedling’, üsi-n ‘field for cultivation’ Proto-Tungusic *tari- ‘to sow, to plant’ Proto-Koreanic *pisi ‘seed’, *pihi ‘barnyard millet’ < Proto-Transeurasian (PTEA) *pisi-i (sow-NMLZ) ‘seed’ ~ *pisi-ke (sow-RES.NMLZ) ‘what is sown, major crop’ Proto-Koreanic *patʌ-k ‘dry field’ < Proto-Japano-Koreanic (PJK) *pata ‘dry field’ < PTEA *pata ‘field for cultivation’ Proto-Koreanic *mutʌ-k ‘dry land’ < PJK *muta ‘land’ < PTEA *mudu ‘uncultivated land’ Proto-Koreanic *mat-ʌk ‘garden plot’ < PJK *mat ‘plot of land for cultivation’ Proto-Koreanic *non ‘rice paddy field’ < PJK *non ‘field’ Proto-Koreanic *pap ‘any boiled preparation of cereal; boiled rice’ Proto-Koreanic *pʌsal ‘hulled (of any grain); hulled corn of grain; hulled rice’ < Proto-Japonic *wasa-ra ‘early ripening (of any grain)’ Proto-Koreanic *ipi > *pi > *pye ‘(unhusked) rice’ < Proto-Japonic *ip-i (eat-NMLZ) ‘cooked millet, steamed rice’ Proto-Japonic *nuka ‘rice bran’ < PJ *nuka- (remove.NMLZ) Proto-Japonic *məmi ‘hulled rice’ < PJ *məm-i (move.back.and.forth.with.force-NMLZ) Proto-Japonic *ipi ‘cooked millet, steamed rice’ < *ip-i (eat-NMLZ) < PK *me(k)i ‘rice offered to a higher rank’ < *mek-i (eat-NMLZ) ‘what you eat, food’ < Proto-Austronesian *ka-en eat-OBJ.NMLZ Proto-Japonic *wasa- ~ *wəsə- ‘to be early ripening (of crops); an early ripening variety (of any crop); early-ripening rice plant’ Proto-Japonic *usu ‘(rice and grain) mortar’ < Para-Austronesian *lusuŋ ‘(rice) mortar’; cf. Proto-Austronesian *lusuŋ ‘(rice) mortar’ Proto-Japonic *kəmai ‘dehusked rice’ < Para-Austronesian *hemay < Proto-Macro-Austronesian *Semay ‘cooked rice’; cf. Proto-Austronesian *Semay ‘cooked rice’ Against the grouping Weakness of lexical and typological data According to G. Clauson (1956), G. Doerfer (1963), and A. Shcherbak (1963), many of the typological features of the supposed Altaic languages, particularly agglutinative strongly suffixing morphology and subject–object–verb (SOV) word order, often occur together in languages. Those critics also argued that the words and features shared by Turkic, Mongolic, and Tungusic languages were for the most part borrowings and that the rest could be attributed to chance resemblances. They noted that there was little vocabulary shared by Turkic and Tungusic languages, though more shared with Mongolic languages. They reasoned that, if all three families had a common ancestor, we should expect losses to happen at random, and not only at the geographical margins of the family; and that the observed pattern is consistent with borrowing. According to C. Schönig (2003), after accounting for areal effects, the shared lexicon that could have a common genetic origin was reduced to a small number of monosyllabic lexical roots, including the personal pronouns and a few other deictic and auxiliary items, whose sharing could be explained in other ways; not the kind of sharing expected in cases of genetic relationship.

The Sprachbund hypothesis Instead of a common genetic origin, Clauson, Doerfer, and Shcherbak proposed (in 1956–1966) that Turkic, Mongolic, and Tungusic languages form a Sprachbund: a set of languages with similarities due to convergence through intensive borrowing and long contact, rather than common origin. Asya Pereltsvaig further observed in 2011 that, in general, genetically related languages and families tend to diverge over time: the earlier forms are more similar than modern forms. However, she claims that an analysis of the earliest written records of Mongolic and Turkic languages shows the opposite, suggesting that they do not share a common traceable ancestor, but rather have become more similar through language contact and areal effects. Hypothesis about the original homeland The prehistory of the peoples speaking the "Altaic" languages is largely unknown. Whereas for certain other language families, such as the speakers of Indo-European, Uralic, and Austronesian, it is possible to frame substantial hypotheses, in the case of the proposed Altaic family much remains to be done. Some scholars have hypothesised a possible Uralic and Altaic homeland in the Central Asian steppes. According to Juha Janhunen, the ancestral languages of Turkic, Mongolic, Tungusic, Korean, and Japanese were spoken in a relatively small area comprising present-day North Korea, Southern Manchuria, and Southeastern Mongolia. However Janhunen is sceptical about an affiliation of Japanese to Altaic, while András Róna-Tas remarked that a relationship between Altaic and Japanese, if it ever existed, must be more remote than the relationship of any two of the Indo-European languages. Ramsey stated that "the genetic relationship between Korean and Japanese, if it in fact exists, is probably more complex and distant than we can imagine on the basis of our present state of knowledge". Supporters of the Altaic hypothesis formerly set the date of the Proto-Altaic language at around 4000 BC, but today at around 5000 BC or 6000 BC. This would make Altaic a language family older than Indo-European (around 3000 to 4000 BC according to mainstream hypotheses) but considerably younger than Afroasiatic (c. 10,000 BC or 11,000 to 16,000 BC according to different sources). See also Classification of the Japonic languages Nostratic languages Pan-Turanism Turco-Mongol Uralo-Siberian languages Xiongnu Comparison of Japanese and Korean References Citations Sources Aalto, Pentti. 1955. "On the Altaic initial *p-." Central Asiatic Journal 1, 9–16. Anonymous. 2008. [title missing]. Bulletin of the Society for the Study of the Indigenous Languages of the Americas, 31 March 2008, 264: . Anthony, David W. 2007. The Horse, the Wheel, and Language. Princeton: Princeton University Press. Boller, Anton. 1857. Nachweis, daß das Japanische zum ural-altaischen Stamme gehört. Wien. Clauson, Gerard. 1959. "The case for the Altaic theory examined." Akten des vierundzwanzigsten internationalen Orientalisten-Kongresses, edited by H. Franke. Wiesbaden: Deutsche Morgenländische Gesellschaft, in Komission bei Franz Steiner Verlag. Clauson, Gerard. 1968. "A lexicostatistical appraisal of the Altaic theory." Central Asiatic Journal 13: 1–23. Doerfer, Gerhard. 1973. "Lautgesetze und Zufall: Betrachtungen zum Omnicomparativismus." Innsbrucker Beiträge zur Sprachwissenschaft 10. Doerfer, Gerhard. 1974. "Ist das Japanische mit den altaischen Sprachen verwandt?"

The Sprachbund hypothesis Instead of a common genetic origin, Clauson, Doerfer, and Shcherbak proposed (in 1956–1966) that Turkic, Mongolic, and Tungusic languages form a Sprachbund: a set of languages with similarities due to convergence through intensive borrowing and long contact, rather than common origin. Asya Pereltsvaig further observed in 2011 that, in general, genetically related languages and families tend to diverge over time: the earlier forms are more similar than modern forms. However, she claims that an analysis of the earliest written records of Mongolic and Turkic languages shows the opposite, suggesting that they do not share a common traceable ancestor, but rather have become more similar through language contact and areal effects. Hypothesis about the original homeland The prehistory of the peoples speaking the "Altaic" languages is largely unknown. Whereas for certain other language families, such as the speakers of Indo-European, Uralic, and Austronesian, it is possible to frame substantial hypotheses, in the case of the proposed Altaic family much remains to be done. Some scholars have hypothesised a possible Uralic and Altaic homeland in the Central Asian steppes. According to Juha Janhunen, the ancestral languages of Turkic, Mongolic, Tungusic, Korean, and Japanese were spoken in a relatively small area comprising present-day North Korea, Southern Manchuria, and Southeastern Mongolia. However Janhunen is sceptical about an affiliation of Japanese to Altaic, while András Róna-Tas remarked that a relationship between Altaic and Japanese, if it ever existed, must be more remote than the relationship of any two of the Indo-European languages. Ramsey stated that "the genetic relationship between Korean and Japanese, if it in fact exists, is probably more complex and distant than we can imagine on the basis of our present state of knowledge". Supporters of the Altaic hypothesis formerly set the date of the Proto-Altaic language at around 4000 BC, but today at around 5000 BC or 6000 BC. This would make Altaic a language family older than Indo-European (around 3000 to 4000 BC according to mainstream hypotheses) but considerably younger than Afroasiatic (c. 10,000 BC or 11,000 to 16,000 BC according to different sources). See also Classification of the Japonic languages Nostratic languages Pan-Turanism Turco-Mongol Uralo-Siberian languages Xiongnu Comparison of Japanese and Korean References Citations Sources Aalto, Pentti. 1955. "On the Altaic initial *p-." Central Asiatic Journal 1, 9–16. Anonymous. 2008. [title missing]. Bulletin of the Society for the Study of the Indigenous Languages of the Americas, 31 March 2008, 264: . Anthony, David W. 2007. The Horse, the Wheel, and Language. Princeton: Princeton University Press. Boller, Anton. 1857. Nachweis, daß das Japanische zum ural-altaischen Stamme gehört. Wien. Clauson, Gerard. 1959. "The case for the Altaic theory examined." Akten des vierundzwanzigsten internationalen Orientalisten-Kongresses, edited by H. Franke. Wiesbaden: Deutsche Morgenländische Gesellschaft, in Komission bei Franz Steiner Verlag. Clauson, Gerard. 1968. "A lexicostatistical appraisal of the Altaic theory." Central Asiatic Journal 13: 1–23. Doerfer, Gerhard. 1973. "Lautgesetze und Zufall: Betrachtungen zum Omnicomparativismus." Innsbrucker Beiträge zur Sprachwissenschaft 10. Doerfer, Gerhard. 1974. "Ist das Japanische mit den altaischen Sprachen verwandt?"

The Sprachbund hypothesis Instead of a common genetic origin, Clauson, Doerfer, and Shcherbak proposed (in 1956–1966) that Turkic, Mongolic, and Tungusic languages form a Sprachbund: a set of languages with similarities due to convergence through intensive borrowing and long contact, rather than common origin. Asya Pereltsvaig further observed in 2011 that, in general, genetically related languages and families tend to diverge over time: the earlier forms are more similar than modern forms. However, she claims that an analysis of the earliest written records of Mongolic and Turkic languages shows the opposite, suggesting that they do not share a common traceable ancestor, but rather have become more similar through language contact and areal effects. Hypothesis about the original homeland The prehistory of the peoples speaking the "Altaic" languages is largely unknown. Whereas for certain other language families, such as the speakers of Indo-European, Uralic, and Austronesian, it is possible to frame substantial hypotheses, in the case of the proposed Altaic family much remains to be done. Some scholars have hypothesised a possible Uralic and Altaic homeland in the Central Asian steppes. According to Juha Janhunen, the ancestral languages of Turkic, Mongolic, Tungusic, Korean, and Japanese were spoken in a relatively small area comprising present-day North Korea, Southern Manchuria, and Southeastern Mongolia. However Janhunen is sceptical about an affiliation of Japanese to Altaic, while András Róna-Tas remarked that a relationship between Altaic and Japanese, if it ever existed, must be more remote than the relationship of any two of the Indo-European languages. Ramsey stated that "the genetic relationship between Korean and Japanese, if it in fact exists, is probably more complex and distant than we can imagine on the basis of our present state of knowledge". Supporters of the Altaic hypothesis formerly set the date of the Proto-Altaic language at around 4000 BC, but today at around 5000 BC or 6000 BC. This would make Altaic a language family older than Indo-European (around 3000 to 4000 BC according to mainstream hypotheses) but considerably younger than Afroasiatic (c. 10,000 BC or 11,000 to 16,000 BC according to different sources). See also Classification of the Japonic languages Nostratic languages Pan-Turanism Turco-Mongol Uralo-Siberian languages Xiongnu Comparison of Japanese and Korean References Citations Sources Aalto, Pentti. 1955. "On the Altaic initial *p-." Central Asiatic Journal 1, 9–16. Anonymous. 2008. [title missing]. Bulletin of the Society for the Study of the Indigenous Languages of the Americas, 31 March 2008, 264: . Anthony, David W. 2007. The Horse, the Wheel, and Language. Princeton: Princeton University Press. Boller, Anton. 1857. Nachweis, daß das Japanische zum ural-altaischen Stamme gehört. Wien. Clauson, Gerard. 1959. "The case for the Altaic theory examined." Akten des vierundzwanzigsten internationalen Orientalisten-Kongresses, edited by H. Franke. Wiesbaden: Deutsche Morgenländische Gesellschaft, in Komission bei Franz Steiner Verlag. Clauson, Gerard. 1968. "A lexicostatistical appraisal of the Altaic theory." Central Asiatic Journal 13: 1–23. Doerfer, Gerhard. 1973. "Lautgesetze und Zufall: Betrachtungen zum Omnicomparativismus." Innsbrucker Beiträge zur Sprachwissenschaft 10. Doerfer, Gerhard. 1974. "Ist das Japanische mit den altaischen Sprachen verwandt?"

Zeitschrift der Deutschen Morgenländischen Gesellschaft 114.1. Doerfer, Gerhard. 1985. Mongolica-Tungusica. Wiesbaden: Otto Harrassowitz. Georg, Stefan. 1999 / 2000. "Haupt und Glieder der altaischen Hypothese: die Körperteilbezeichnungen im Türkischen, Mongolischen und Tungusischen" ('Head and members of the Altaic hypothesis: The body-part designations in Turkic, Mongolic, and Tungusic'). Ural-altaische Jahrbücher, neue Folge B 16, 143–182. . Lee, Ki-Moon and S. Robert Ramsey. 2011. A History of the Korean Language. Cambridge: Cambridge University Press. Menges, Karl. H. 1975. Altajische Studien II. Japanisch und Altajisch. Wiesbaden: Franz Steiner Verlag. Miller, Roy Andrew. 1980. Origins of the Japanese Language: Lectures in Japan during the Academic Year 1977–1978. Seattle: University of Washington Press. . Ramstedt, G.J. 1952. Einführung in die altaische Sprachwissenschaft I. Lautlehre, 'Introduction to Altaic Linguistics, Volume 1: Phonology', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Ramstedt, G.J. 1957. Einführung in die altaische Sprachwissenschaft II. Formenlehre, 'Introduction to Altaic Linguistics, Volume 2: Morphology', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Ramstedt, G.J. 1966. Einführung in die altaische Sprachwissenschaft III. Register, 'Introduction to Altaic Linguistics, Volume 3: Index', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Robbeets, Martine. 2004. "Swadesh 100 on Japanese, Korean and Altaic." Tokyo University Linguistic Papers, TULIP 23, 99–118. Robbeets, Martine. 2005. Is Japanese related to Korean, Tungusic, Mongolic and Turkic? Wiesbaden: Otto Harrassowitz. Strahlenberg, P.J.T. von. 1730. Das nord- und ostliche Theil von Europa und Asia.... Stockholm. (Reprint: 1975. Studia Uralo-Altaica. Szeged and Amsterdam.) Strahlenberg, P.J.T. von. 1738. Russia, Siberia and Great Tartary, an Historico-geographical Description of the North and Eastern Parts of Europe and Asia.... (Reprint: 1970. New York: Arno Press.) English translation of the previous. Tekin, Talat. 1994. "Altaic languages." In The Encyclopedia of Language and Linguistics, Vol. 1, edited by R.E. Asher. Oxford and New York: Pergamon Press. Vovin, Alexander. 1993. "About the phonetic value of the Middle Korean grapheme ᅀ." Bulletin of the School of Oriental and African Studies 56(2), 247–259. Vovin, Alexander. 1994. "Genetic affiliation of Japanese and methodology of linguistic comparison." Journal de la Société finno-ougrienne 85, 241–256. Vovin, Alexander. 2001. "Japanese, Korean, and Tungusic: evidence for genetic relationship from verbal morphology." Altaic Affinities (Proceedings of the 40th Meeting of PIAC, Provo, Utah, 1997), edited by David B. Honey and David C. Wright, 83–202. Indiana University, Research Institute for Inner Asian Studies. Vovin, Alexander. 2010. Koreo-Japonica: A Re-Evaluation of a Common Genetic Origin. University of Hawaii Press. Whitney Coolidge, Jennifer. 2005. Southern Turkmenistan in the Neolithic: A Petrographic Case Study. Oxbow Books. Further reading Greenberg, Joseph H. 1997. "Does Altaic exist?" In Irén Hegedus, Peter A. Michalove, and Alexis Manaster Ramer (editors), Indo-European, Nostratic and Beyond: A Festschrift for Vitaly V. Shevoroshkin, Washington, DC: Institute for the Study of Man, 1997, 88–93. (Reprinted in Joseph H. Greenberg, Genetic Linguistics, Oxford: Oxford University Press, 2005, 325–330.) Hahn, Reinhard F. 1994. LINGUIST List 5.908, 18 August 1994. Janhune, Juha. 1995. "Prolegomena to a Comparative Analysis of Mongolic and Tungusic". Proceedings of the 38th Permanent International Altaistic Conference (PIAC), 209–218. Wiesbaden: Harrassowitz.

Zeitschrift der Deutschen Morgenländischen Gesellschaft 114.1. Doerfer, Gerhard. 1985. Mongolica-Tungusica. Wiesbaden: Otto Harrassowitz. Georg, Stefan. 1999 / 2000. "Haupt und Glieder der altaischen Hypothese: die Körperteilbezeichnungen im Türkischen, Mongolischen und Tungusischen" ('Head and members of the Altaic hypothesis: The body-part designations in Turkic, Mongolic, and Tungusic'). Ural-altaische Jahrbücher, neue Folge B 16, 143–182. . Lee, Ki-Moon and S. Robert Ramsey. 2011. A History of the Korean Language. Cambridge: Cambridge University Press. Menges, Karl. H. 1975. Altajische Studien II. Japanisch und Altajisch. Wiesbaden: Franz Steiner Verlag. Miller, Roy Andrew. 1980. Origins of the Japanese Language: Lectures in Japan during the Academic Year 1977–1978. Seattle: University of Washington Press. . Ramstedt, G.J. 1952. Einführung in die altaische Sprachwissenschaft I. Lautlehre, 'Introduction to Altaic Linguistics, Volume 1: Phonology', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Ramstedt, G.J. 1957. Einführung in die altaische Sprachwissenschaft II. Formenlehre, 'Introduction to Altaic Linguistics, Volume 2: Morphology', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Ramstedt, G.J. 1966. Einführung in die altaische Sprachwissenschaft III. Register, 'Introduction to Altaic Linguistics, Volume 3: Index', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Robbeets, Martine. 2004. "Swadesh 100 on Japanese, Korean and Altaic." Tokyo University Linguistic Papers, TULIP 23, 99–118. Robbeets, Martine. 2005. Is Japanese related to Korean, Tungusic, Mongolic and Turkic? Wiesbaden: Otto Harrassowitz. Strahlenberg, P.J.T. von. 1730. Das nord- und ostliche Theil von Europa und Asia.... Stockholm. (Reprint: 1975. Studia Uralo-Altaica. Szeged and Amsterdam.) Strahlenberg, P.J.T. von. 1738. Russia, Siberia and Great Tartary, an Historico-geographical Description of the North and Eastern Parts of Europe and Asia.... (Reprint: 1970. New York: Arno Press.) English translation of the previous. Tekin, Talat. 1994. "Altaic languages." In The Encyclopedia of Language and Linguistics, Vol. 1, edited by R.E. Asher. Oxford and New York: Pergamon Press. Vovin, Alexander. 1993. "About the phonetic value of the Middle Korean grapheme ᅀ." Bulletin of the School of Oriental and African Studies 56(2), 247–259. Vovin, Alexander. 1994. "Genetic affiliation of Japanese and methodology of linguistic comparison." Journal de la Société finno-ougrienne 85, 241–256. Vovin, Alexander. 2001. "Japanese, Korean, and Tungusic: evidence for genetic relationship from verbal morphology." Altaic Affinities (Proceedings of the 40th Meeting of PIAC, Provo, Utah, 1997), edited by David B. Honey and David C. Wright, 83–202. Indiana University, Research Institute for Inner Asian Studies. Vovin, Alexander. 2010. Koreo-Japonica: A Re-Evaluation of a Common Genetic Origin. University of Hawaii Press. Whitney Coolidge, Jennifer. 2005. Southern Turkmenistan in the Neolithic: A Petrographic Case Study. Oxbow Books. Further reading Greenberg, Joseph H. 1997. "Does Altaic exist?" In Irén Hegedus, Peter A. Michalove, and Alexis Manaster Ramer (editors), Indo-European, Nostratic and Beyond: A Festschrift for Vitaly V. Shevoroshkin, Washington, DC: Institute for the Study of Man, 1997, 88–93. (Reprinted in Joseph H. Greenberg, Genetic Linguistics, Oxford: Oxford University Press, 2005, 325–330.) Hahn, Reinhard F. 1994. LINGUIST List 5.908, 18 August 1994. Janhune, Juha. 1995. "Prolegomena to a Comparative Analysis of Mongolic and Tungusic". Proceedings of the 38th Permanent International Altaistic Conference (PIAC), 209–218. Wiesbaden: Harrassowitz.

Zeitschrift der Deutschen Morgenländischen Gesellschaft 114.1. Doerfer, Gerhard. 1985. Mongolica-Tungusica. Wiesbaden: Otto Harrassowitz. Georg, Stefan. 1999 / 2000. "Haupt und Glieder der altaischen Hypothese: die Körperteilbezeichnungen im Türkischen, Mongolischen und Tungusischen" ('Head and members of the Altaic hypothesis: The body-part designations in Turkic, Mongolic, and Tungusic'). Ural-altaische Jahrbücher, neue Folge B 16, 143–182. . Lee, Ki-Moon and S. Robert Ramsey. 2011. A History of the Korean Language. Cambridge: Cambridge University Press. Menges, Karl. H. 1975. Altajische Studien II. Japanisch und Altajisch. Wiesbaden: Franz Steiner Verlag. Miller, Roy Andrew. 1980. Origins of the Japanese Language: Lectures in Japan during the Academic Year 1977–1978. Seattle: University of Washington Press. . Ramstedt, G.J. 1952. Einführung in die altaische Sprachwissenschaft I. Lautlehre, 'Introduction to Altaic Linguistics, Volume 1: Phonology', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Ramstedt, G.J. 1957. Einführung in die altaische Sprachwissenschaft II. Formenlehre, 'Introduction to Altaic Linguistics, Volume 2: Morphology', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Ramstedt, G.J. 1966. Einführung in die altaische Sprachwissenschaft III. Register, 'Introduction to Altaic Linguistics, Volume 3: Index', edited and published by Pentti Aalto. Helsinki: Suomalais-Ugrilainen Seura. Robbeets, Martine. 2004. "Swadesh 100 on Japanese, Korean and Altaic." Tokyo University Linguistic Papers, TULIP 23, 99–118. Robbeets, Martine. 2005. Is Japanese related to Korean, Tungusic, Mongolic and Turkic? Wiesbaden: Otto Harrassowitz. Strahlenberg, P.J.T. von. 1730. Das nord- und ostliche Theil von Europa und Asia.... Stockholm. (Reprint: 1975. Studia Uralo-Altaica. Szeged and Amsterdam.) Strahlenberg, P.J.T. von. 1738. Russia, Siberia and Great Tartary, an Historico-geographical Description of the North and Eastern Parts of Europe and Asia.... (Reprint: 1970. New York: Arno Press.) English translation of the previous. Tekin, Talat. 1994. "Altaic languages." In The Encyclopedia of Language and Linguistics, Vol. 1, edited by R.E. Asher. Oxford and New York: Pergamon Press. Vovin, Alexander. 1993. "About the phonetic value of the Middle Korean grapheme ᅀ." Bulletin of the School of Oriental and African Studies 56(2), 247–259. Vovin, Alexander. 1994. "Genetic affiliation of Japanese and methodology of linguistic comparison." Journal de la Société finno-ougrienne 85, 241–256. Vovin, Alexander. 2001. "Japanese, Korean, and Tungusic: evidence for genetic relationship from verbal morphology." Altaic Affinities (Proceedings of the 40th Meeting of PIAC, Provo, Utah, 1997), edited by David B. Honey and David C. Wright, 83–202. Indiana University, Research Institute for Inner Asian Studies. Vovin, Alexander. 2010. Koreo-Japonica: A Re-Evaluation of a Common Genetic Origin. University of Hawaii Press. Whitney Coolidge, Jennifer. 2005. Southern Turkmenistan in the Neolithic: A Petrographic Case Study. Oxbow Books. Further reading Greenberg, Joseph H. 1997. "Does Altaic exist?" In Irén Hegedus, Peter A. Michalove, and Alexis Manaster Ramer (editors), Indo-European, Nostratic and Beyond: A Festschrift for Vitaly V. Shevoroshkin, Washington, DC: Institute for the Study of Man, 1997, 88–93. (Reprinted in Joseph H. Greenberg, Genetic Linguistics, Oxford: Oxford University Press, 2005, 325–330.) Hahn, Reinhard F. 1994. LINGUIST List 5.908, 18 August 1994. Janhune, Juha. 1995. "Prolegomena to a Comparative Analysis of Mongolic and Tungusic". Proceedings of the 38th Permanent International Altaistic Conference (PIAC), 209–218. Wiesbaden: Harrassowitz.

Johanson, Lars. 1999. "Cognates and copies in Altaic verb derivation." Language and Literature – Japanese and the Other Altaic Languages: Studies in Honour of Roy Andrew Miller on His 75th Birthday, edited by Karl H. Menges and Nelly Naumann, 1–13. Wiesbaden: Otto Harrassowitz. (Also: HTML version.) Johanson, Lars. 1999. "Attractiveness and relatedness: Notes on Turkic language contacts." Proceedings of the Twenty-fifth Annual Meeting of the Berkeley Linguistics Society: Special Session on Caucasian, Dravidian, and Turkic Linguistics, edited by Jeff Good and Alan C.L. Yu, 87–94. Berkeley: Berkeley Linguistics Society. Johanson, Lars. 2002. Structural Factors in Turkic Language Contacts, translated by Vanessa Karam. Richmond, Surrey: Curzon Press. Kortlandt, Frederik. 1993. "The origin of the Japanese and Korean accent systems." Acta Linguistica Hafniensia 26, 57–65. Robbeets, Martine. 2004. "Belief or argument? The classification of the Japanese language." Eurasia Newsletter 8. Graduate School of Letters, Kyoto University. Ruhlen, Merritt. 1987. A Guide to the World's Languages. Stanford University Press. Sinor, Denis. 1990. Essays in Comparative Altaic Linguistics. Bloomington: Indiana University, Research Institute for Inner Asian Studies. . Vovin, Alexander. 2009. Japanese, Korean, and other 'non-Altaic' languages. Central Asiatic Journal 53 (1): 105–147. External links Altaic at the Linguist List MultiTree Project (not functional as of 2014): Genealogical trees attributed to Ramstedt 1957, Miller 1971, and Poppe 1982 Swadesh vocabulary lists for Altaic languages (from Wiktionary's Swadesh-list appendix) Monumenta altaica Altaic linguistics website, maintained by Ilya Gruntov Altaic Etymological Dictionary, database version by Sergei A. Starostin, Anna V. Dybo, and Oleg A. Mudrak (does not include introductory chapters) LINGUIST List 5.911 defense of Altaic by Alexis Manaster Ramer (1994) LINGUIST List 5.926 1. Remarks by Alexander Vovin. 2. Clarification by J. Marshall Unger. (1994) Agglutinative languages Central Asia Proposed language families

Johanson, Lars. 1999. "Cognates and copies in Altaic verb derivation." Language and Literature – Japanese and the Other Altaic Languages: Studies in Honour of Roy Andrew Miller on His 75th Birthday, edited by Karl H. Menges and Nelly Naumann, 1–13. Wiesbaden: Otto Harrassowitz. (Also: HTML version.) Johanson, Lars. 1999. "Attractiveness and relatedness: Notes on Turkic language contacts." Proceedings of the Twenty-fifth Annual Meeting of the Berkeley Linguistics Society: Special Session on Caucasian, Dravidian, and Turkic Linguistics, edited by Jeff Good and Alan C.L. Yu, 87–94. Berkeley: Berkeley Linguistics Society. Johanson, Lars. 2002. Structural Factors in Turkic Language Contacts, translated by Vanessa Karam. Richmond, Surrey: Curzon Press. Kortlandt, Frederik. 1993. "The origin of the Japanese and Korean accent systems." Acta Linguistica Hafniensia 26, 57–65. Robbeets, Martine. 2004. "Belief or argument? The classification of the Japanese language." Eurasia Newsletter 8. Graduate School of Letters, Kyoto University. Ruhlen, Merritt. 1987. A Guide to the World's Languages. Stanford University Press. Sinor, Denis. 1990. Essays in Comparative Altaic Linguistics. Bloomington: Indiana University, Research Institute for Inner Asian Studies. . Vovin, Alexander. 2009. Japanese, Korean, and other 'non-Altaic' languages. Central Asiatic Journal 53 (1): 105–147. External links Altaic at the Linguist List MultiTree Project (not functional as of 2014): Genealogical trees attributed to Ramstedt 1957, Miller 1971, and Poppe 1982 Swadesh vocabulary lists for Altaic languages (from Wiktionary's Swadesh-list appendix) Monumenta altaica Altaic linguistics website, maintained by Ilya Gruntov Altaic Etymological Dictionary, database version by Sergei A. Starostin, Anna V. Dybo, and Oleg A. Mudrak (does not include introductory chapters) LINGUIST List 5.911 defense of Altaic by Alexis Manaster Ramer (1994) LINGUIST List 5.926 1. Remarks by Alexander Vovin. 2. Clarification by J. Marshall Unger. (1994) Agglutinative languages Central Asia Proposed language families

Johanson, Lars. 1999. "Cognates and copies in Altaic verb derivation." Language and Literature – Japanese and the Other Altaic Languages: Studies in Honour of Roy Andrew Miller on His 75th Birthday, edited by Karl H. Menges and Nelly Naumann, 1–13. Wiesbaden: Otto Harrassowitz. (Also: HTML version.) Johanson, Lars. 1999. "Attractiveness and relatedness: Notes on Turkic language contacts." Proceedings of the Twenty-fifth Annual Meeting of the Berkeley Linguistics Society: Special Session on Caucasian, Dravidian, and Turkic Linguistics, edited by Jeff Good and Alan C.L. Yu, 87–94. Berkeley: Berkeley Linguistics Society. Johanson, Lars. 2002. Structural Factors in Turkic Language Contacts, translated by Vanessa Karam. Richmond, Surrey: Curzon Press. Kortlandt, Frederik. 1993. "The origin of the Japanese and Korean accent systems." Acta Linguistica Hafniensia 26, 57–65. Robbeets, Martine. 2004. "Belief or argument? The classification of the Japanese language." Eurasia Newsletter 8. Graduate School of Letters, Kyoto University. Ruhlen, Merritt. 1987. A Guide to the World's Languages. Stanford University Press. Sinor, Denis. 1990. Essays in Comparative Altaic Linguistics. Bloomington: Indiana University, Research Institute for Inner Asian Studies. . Vovin, Alexander. 2009. Japanese, Korean, and other 'non-Altaic' languages. Central Asiatic Journal 53 (1): 105–147. External links Altaic at the Linguist List MultiTree Project (not functional as of 2014): Genealogical trees attributed to Ramstedt 1957, Miller 1971, and Poppe 1982 Swadesh vocabulary lists for Altaic languages (from Wiktionary's Swadesh-list appendix) Monumenta altaica Altaic linguistics website, maintained by Ilya Gruntov Altaic Etymological Dictionary, database version by Sergei A. Starostin, Anna V. Dybo, and Oleg A. Mudrak (does not include introductory chapters) LINGUIST List 5.911 defense of Altaic by Alexis Manaster Ramer (1994) LINGUIST List 5.926 1. Remarks by Alexander Vovin. 2. Clarification by J. Marshall Unger. (1994) Agglutinative languages Central Asia Proposed language families

Austrian German Austrian German (), Austrian Standard German (ASG), Standard Austrian German (), or Austrian High German (), is the variety of Standard German written and spoken in Austria. It has the highest sociolinguistic prestige locally, as it is the variation used in the media and for other formal situations. In less formal situations, Austrians tend to use forms closer to or identical with the Bavarian and Alemannic dialects, traditionally spoken – but rarely written – in Austria. History German in Austria (Austria German) has its beginning in the mid-18th century, when empress Maria Theresa and her son Joseph II introduced compulsory schooling (in 1774) and several reforms of administration in their multilingual Habsburg empire. At the time, the written standard was Oberdeutsche Schreibsprache (Upper German written language), which was highly influenced by the Bavarian and Alemannic dialects of Austria. Another option was to create a new standard based on the Southern German dialects, as proposed by the linguist Johann Siegmund Popowitsch. Instead they decided for pragmatic reasons to adopt the already standardized chancellery language of Saxony (Sächsische Kanzleisprache or Meißner Kanzleideutsch), which was based on the administrative language of the non-Austrian area of Meißen and Dresden. Austria High German (Hochdeutsch in Österreich, not to be confused with the Bavarian Austria German dialects) has the same geographic origin as the Swiss High German (Schweizer Hochdeutsch, not to be confused with the Alemannic Swiss German dialects). The process of introducing the new written standard was led by Joseph von Sonnenfels. Since 1951 the standardized form of Austrian German for official texts and schools has been defined by the Austrian Dictionary (), published under the authority of the Austrian Federal Ministry of Education, Arts and Culture. General situation of German As German is a pluricentric language, Austrian German is one among several varieties of German. Much like the relationship between British English and American English, the German varieties differ in minor respects (e.g., spelling, word usage and grammar) but are recognizably equivalent and largely mutually intelligible. Standard Austrian German in Austria The official Austrian dictionary, das Österreichische Wörterbuch, prescribes grammatical and spelling rules defining the official language. Austrian delegates participated in the international working group that drafted the German spelling reform of 1996—several conferences leading up to the reform were hosted in Vienna at the invitation of the Austrian federal government—and adopted it as a signatory, along with Germany, Switzerland, and Liechtenstein, of an international memorandum of understanding () signed in Vienna in 1996. The eszett or "sharp s" (ß) is used in Austria, as in Germany (but unlike in Switzerland). Because of the German language's pluricentric nature, German dialects in Austria should not be confused with the variety of Standard Austrian German spoken by most Austrians, which is distinct from that of Germany or Switzerland.

Austrian German Austrian German (), Austrian Standard German (ASG), Standard Austrian German (), or Austrian High German (), is the variety of Standard German written and spoken in Austria. It has the highest sociolinguistic prestige locally, as it is the variation used in the media and for other formal situations. In less formal situations, Austrians tend to use forms closer to or identical with the Bavarian and Alemannic dialects, traditionally spoken – but rarely written – in Austria. History German in Austria (Austria German) has its beginning in the mid-18th century, when empress Maria Theresa and her son Joseph II introduced compulsory schooling (in 1774) and several reforms of administration in their multilingual Habsburg empire. At the time, the written standard was Oberdeutsche Schreibsprache (Upper German written language), which was highly influenced by the Bavarian and Alemannic dialects of Austria. Another option was to create a new standard based on the Southern German dialects, as proposed by the linguist Johann Siegmund Popowitsch. Instead they decided for pragmatic reasons to adopt the already standardized chancellery language of Saxony (Sächsische Kanzleisprache or Meißner Kanzleideutsch), which was based on the administrative language of the non-Austrian area of Meißen and Dresden. Austria High German (Hochdeutsch in Österreich, not to be confused with the Bavarian Austria German dialects) has the same geographic origin as the Swiss High German (Schweizer Hochdeutsch, not to be confused with the Alemannic Swiss German dialects). The process of introducing the new written standard was led by Joseph von Sonnenfels. Since 1951 the standardized form of Austrian German for official texts and schools has been defined by the Austrian Dictionary (), published under the authority of the Austrian Federal Ministry of Education, Arts and Culture. General situation of German As German is a pluricentric language, Austrian German is one among several varieties of German. Much like the relationship between British English and American English, the German varieties differ in minor respects (e.g., spelling, word usage and grammar) but are recognizably equivalent and largely mutually intelligible. Standard Austrian German in Austria The official Austrian dictionary, das Österreichische Wörterbuch, prescribes grammatical and spelling rules defining the official language. Austrian delegates participated in the international working group that drafted the German spelling reform of 1996—several conferences leading up to the reform were hosted in Vienna at the invitation of the Austrian federal government—and adopted it as a signatory, along with Germany, Switzerland, and Liechtenstein, of an international memorandum of understanding () signed in Vienna in 1996. The eszett or "sharp s" (ß) is used in Austria, as in Germany (but unlike in Switzerland). Because of the German language's pluricentric nature, German dialects in Austria should not be confused with the variety of Standard Austrian German spoken by most Austrians, which is distinct from that of Germany or Switzerland.

Distinctions in vocabulary persist, for example, in culinary terms, where communication with Germans is frequently difficult, and administrative and legal language, which is due to Austria's exclusion from the development of a German nation-state in the late 19th century and its manifold particular traditions. A comprehensive collection of Austrian-German legal, administrative and economic terms is offered in Markhardt, Heidemarie: Wörterbuch der österreichischen Rechts-, Wirtschafts- und Verwaltungsterminologie (Peter Lang, 2006). Former spoken standard Until 1918, the spoken standard in Austria was the , a sociolect spoken by the imperial Habsburg family and the nobility of Austria-Hungary. The dialect was similar to Viennese German and other eastern dialects of German spoken in Austria, but was slightly nasalized. Special written forms For many years, Austria had a special form of the language for official government documents. This form is known as , or "Austrian chancellery language". It is a very traditional form of the language, probably derived from medieval deeds and documents, and has a very complex structure and vocabulary generally reserved for such documents. For most speakers (even native speakers), this form of the language is generally difficult to understand, as it contains many highly specialised terms for diplomatic, internal, official, and military matters. There are no regional variations, because this special written form has mainly been used by a government that has now for centuries been based in Vienna. is now used less and less, thanks to various administrative reforms that reduced the number of traditional civil servants (). As a result, Standard Austrian German is replacing it in government and administrative texts. European Union When Austria became a member of the European Union, 23 food-related terms were listed in its accession agreement as having the same legal status as the equivalent terms used in Germany, for example, the words for "potato", "tomato", and "Brussels sprouts". (Examples in "Vocabulary") Austrian German is the only variety of a pluricentric language recognized under international law or EU primary law. Grammar Verbs In Austria, as in the German-speaking parts of Switzerland and in southern Germany, verbs that express a state tend to use as the auxiliary verb in the perfect, as well as verbs of movement. Verbs which fall into this category include sitzen (to sit), liegen (to lie) and, in parts of Carinthia, schlafen (to sleep). Therefore, the perfect of these verbs would be ich bin gesessen, ich bin gelegen and ich bin geschlafen respectively. In Germany, the words stehen (to stand) and gestehen (to confess) are identical in the present perfect: habe gestanden. The Austrian variant avoids this potential ambiguity (bin gestanden from stehen, "to stand"; and habe gestanden from gestehen, "to confess", e.g. "der Verbrecher ist vor dem Richter gestanden und hat gestanden"). In addition, the preterite (simple past) is very rarely used in Austria, especially in the spoken language, with the exception of some modal verbs (i.e. ich sollte, ich wollte). Vocabulary There are many official terms that differ in Austrian German from their usage in most parts of Germany.

Distinctions in vocabulary persist, for example, in culinary terms, where communication with Germans is frequently difficult, and administrative and legal language, which is due to Austria's exclusion from the development of a German nation-state in the late 19th century and its manifold particular traditions. A comprehensive collection of Austrian-German legal, administrative and economic terms is offered in Markhardt, Heidemarie: Wörterbuch der österreichischen Rechts-, Wirtschafts- und Verwaltungsterminologie (Peter Lang, 2006). Former spoken standard Until 1918, the spoken standard in Austria was the , a sociolect spoken by the imperial Habsburg family and the nobility of Austria-Hungary. The dialect was similar to Viennese German and other eastern dialects of German spoken in Austria, but was slightly nasalized. Special written forms For many years, Austria had a special form of the language for official government documents. This form is known as , or "Austrian chancellery language". It is a very traditional form of the language, probably derived from medieval deeds and documents, and has a very complex structure and vocabulary generally reserved for such documents. For most speakers (even native speakers), this form of the language is generally difficult to understand, as it contains many highly specialised terms for diplomatic, internal, official, and military matters. There are no regional variations, because this special written form has mainly been used by a government that has now for centuries been based in Vienna. is now used less and less, thanks to various administrative reforms that reduced the number of traditional civil servants (). As a result, Standard Austrian German is replacing it in government and administrative texts. European Union When Austria became a member of the European Union, 23 food-related terms were listed in its accession agreement as having the same legal status as the equivalent terms used in Germany, for example, the words for "potato", "tomato", and "Brussels sprouts". (Examples in "Vocabulary") Austrian German is the only variety of a pluricentric language recognized under international law or EU primary law. Grammar Verbs In Austria, as in the German-speaking parts of Switzerland and in southern Germany, verbs that express a state tend to use as the auxiliary verb in the perfect, as well as verbs of movement. Verbs which fall into this category include sitzen (to sit), liegen (to lie) and, in parts of Carinthia, schlafen (to sleep). Therefore, the perfect of these verbs would be ich bin gesessen, ich bin gelegen and ich bin geschlafen respectively. In Germany, the words stehen (to stand) and gestehen (to confess) are identical in the present perfect: habe gestanden. The Austrian variant avoids this potential ambiguity (bin gestanden from stehen, "to stand"; and habe gestanden from gestehen, "to confess", e.g. "der Verbrecher ist vor dem Richter gestanden und hat gestanden"). In addition, the preterite (simple past) is very rarely used in Austria, especially in the spoken language, with the exception of some modal verbs (i.e. ich sollte, ich wollte). Vocabulary There are many official terms that differ in Austrian German from their usage in most parts of Germany.

Distinctions in vocabulary persist, for example, in culinary terms, where communication with Germans is frequently difficult, and administrative and legal language, which is due to Austria's exclusion from the development of a German nation-state in the late 19th century and its manifold particular traditions. A comprehensive collection of Austrian-German legal, administrative and economic terms is offered in Markhardt, Heidemarie: Wörterbuch der österreichischen Rechts-, Wirtschafts- und Verwaltungsterminologie (Peter Lang, 2006). Former spoken standard Until 1918, the spoken standard in Austria was the , a sociolect spoken by the imperial Habsburg family and the nobility of Austria-Hungary. The dialect was similar to Viennese German and other eastern dialects of German spoken in Austria, but was slightly nasalized. Special written forms For many years, Austria had a special form of the language for official government documents. This form is known as , or "Austrian chancellery language". It is a very traditional form of the language, probably derived from medieval deeds and documents, and has a very complex structure and vocabulary generally reserved for such documents. For most speakers (even native speakers), this form of the language is generally difficult to understand, as it contains many highly specialised terms for diplomatic, internal, official, and military matters. There are no regional variations, because this special written form has mainly been used by a government that has now for centuries been based in Vienna. is now used less and less, thanks to various administrative reforms that reduced the number of traditional civil servants (). As a result, Standard Austrian German is replacing it in government and administrative texts. European Union When Austria became a member of the European Union, 23 food-related terms were listed in its accession agreement as having the same legal status as the equivalent terms used in Germany, for example, the words for "potato", "tomato", and "Brussels sprouts". (Examples in "Vocabulary") Austrian German is the only variety of a pluricentric language recognized under international law or EU primary law. Grammar Verbs In Austria, as in the German-speaking parts of Switzerland and in southern Germany, verbs that express a state tend to use as the auxiliary verb in the perfect, as well as verbs of movement. Verbs which fall into this category include sitzen (to sit), liegen (to lie) and, in parts of Carinthia, schlafen (to sleep). Therefore, the perfect of these verbs would be ich bin gesessen, ich bin gelegen and ich bin geschlafen respectively. In Germany, the words stehen (to stand) and gestehen (to confess) are identical in the present perfect: habe gestanden. The Austrian variant avoids this potential ambiguity (bin gestanden from stehen, "to stand"; and habe gestanden from gestehen, "to confess", e.g. "der Verbrecher ist vor dem Richter gestanden und hat gestanden"). In addition, the preterite (simple past) is very rarely used in Austria, especially in the spoken language, with the exception of some modal verbs (i.e. ich sollte, ich wollte). Vocabulary There are many official terms that differ in Austrian German from their usage in most parts of Germany.

Words used in Austria are Jänner (January) rather than Januar, Feber (seldom, February) along with Februar, heuer (this year) along with dieses Jahr, Stiege (stairs) along with Treppen, Rauchfang (chimney) instead of Schornstein, many administrative, legal and political terms, and many food terms, including the following: There are, however, some false friends between the two regional varieties: Kasten (wardrobe) along with or instead of Schrank (and, similarly, Eiskasten along with Kühlschrank, fridge), as opposed to Kiste (box) instead of Kasten. Kiste in Germany means both "box" and "chest". Sessel (chair) instead of Stuhl. Sessel means "" in Germany and Stuhl means "stool (faeces)" in both varieties. Dialects Classification Dialects of the Austro-Bavarian group, which also comprises dialects from Bavaria Central Austro-Bavarian (along the main rivers Isar and Danube, spoken in the northern parts of the State of Salzburg, Upper Austria, Lower Austria, and northern Burgenland) Viennese German Southern Austro-Bavarian (in Tyrol, South Tyrol, Carinthia, Styria, and the southern parts of Salzburg and Burgenland) Vorarlbergerisch, spoken in Vorarlberg, is a High Alemannic dialect. Regional accents In addition to the standard variety, in everyday life most Austrians speak one of a number of Upper German dialects. While strong forms of the various dialects are not fully mutually intelligible to northern Germans, communication is much easier in Bavaria, especially rural areas, where the Bavarian dialect still predominates as the mother tongue. The Central Austro-Bavarian dialects are more intelligible to speakers of Standard German than the Southern Austro-Bavarian dialects of Tyrol. Viennese, the Austro-Bavarian dialect of Vienna, is seen for many in Germany as quintessentially Austrian. The people of Graz, the capital of Styria, speak yet another dialect which is not very Styrian and more easily understood by people from other parts of Austria than other Styrian dialects, for example from western Styria. Simple words in the various dialects are very similar, but pronunciation is distinct for each and, after listening to a few spoken words, it may be possible for an Austrian to realise which dialect is being spoken. However, in regard to the dialects of the deeper valleys of the Tyrol, other Tyroleans are often unable to understand them. Speakers from the different states of Austria can easily be distinguished from each other by their particular accents (probably more so than Bavarians), those of Carinthia, Styria, Vienna, Upper Austria, and the Tyrol being very characteristic. Speakers from those regions, even those speaking Standard German, can usually be easily identified by their accent, even by an untrained listener. Several of the dialects have been influenced by contact with non-Germanic linguistic groups, such as the dialect of Carinthia, where, in the past, many speakers were bilingual (and, in the southeastern portions of the state, many still are even today) with Slovene, and the dialect of Vienna, which has been influenced by immigration during the Austro-Hungarian period, particularly from what is today Czechia.

Words used in Austria are Jänner (January) rather than Januar, Feber (seldom, February) along with Februar, heuer (this year) along with dieses Jahr, Stiege (stairs) along with Treppen, Rauchfang (chimney) instead of Schornstein, many administrative, legal and political terms, and many food terms, including the following: There are, however, some false friends between the two regional varieties: Kasten (wardrobe) along with or instead of Schrank (and, similarly, Eiskasten along with Kühlschrank, fridge), as opposed to Kiste (box) instead of Kasten. Kiste in Germany means both "box" and "chest". Sessel (chair) instead of Stuhl. Sessel means "" in Germany and Stuhl means "stool (faeces)" in both varieties. Dialects Classification Dialects of the Austro-Bavarian group, which also comprises dialects from Bavaria Central Austro-Bavarian (along the main rivers Isar and Danube, spoken in the northern parts of the State of Salzburg, Upper Austria, Lower Austria, and northern Burgenland) Viennese German Southern Austro-Bavarian (in Tyrol, South Tyrol, Carinthia, Styria, and the southern parts of Salzburg and Burgenland) Vorarlbergerisch, spoken in Vorarlberg, is a High Alemannic dialect. Regional accents In addition to the standard variety, in everyday life most Austrians speak one of a number of Upper German dialects. While strong forms of the various dialects are not fully mutually intelligible to northern Germans, communication is much easier in Bavaria, especially rural areas, where the Bavarian dialect still predominates as the mother tongue. The Central Austro-Bavarian dialects are more intelligible to speakers of Standard German than the Southern Austro-Bavarian dialects of Tyrol. Viennese, the Austro-Bavarian dialect of Vienna, is seen for many in Germany as quintessentially Austrian. The people of Graz, the capital of Styria, speak yet another dialect which is not very Styrian and more easily understood by people from other parts of Austria than other Styrian dialects, for example from western Styria. Simple words in the various dialects are very similar, but pronunciation is distinct for each and, after listening to a few spoken words, it may be possible for an Austrian to realise which dialect is being spoken. However, in regard to the dialects of the deeper valleys of the Tyrol, other Tyroleans are often unable to understand them. Speakers from the different states of Austria can easily be distinguished from each other by their particular accents (probably more so than Bavarians), those of Carinthia, Styria, Vienna, Upper Austria, and the Tyrol being very characteristic. Speakers from those regions, even those speaking Standard German, can usually be easily identified by their accent, even by an untrained listener. Several of the dialects have been influenced by contact with non-Germanic linguistic groups, such as the dialect of Carinthia, where, in the past, many speakers were bilingual (and, in the southeastern portions of the state, many still are even today) with Slovene, and the dialect of Vienna, which has been influenced by immigration during the Austro-Hungarian period, particularly from what is today Czechia.

Words used in Austria are Jänner (January) rather than Januar, Feber (seldom, February) along with Februar, heuer (this year) along with dieses Jahr, Stiege (stairs) along with Treppen, Rauchfang (chimney) instead of Schornstein, many administrative, legal and political terms, and many food terms, including the following: There are, however, some false friends between the two regional varieties: Kasten (wardrobe) along with or instead of Schrank (and, similarly, Eiskasten along with Kühlschrank, fridge), as opposed to Kiste (box) instead of Kasten. Kiste in Germany means both "box" and "chest". Sessel (chair) instead of Stuhl. Sessel means "" in Germany and Stuhl means "stool (faeces)" in both varieties. Dialects Classification Dialects of the Austro-Bavarian group, which also comprises dialects from Bavaria Central Austro-Bavarian (along the main rivers Isar and Danube, spoken in the northern parts of the State of Salzburg, Upper Austria, Lower Austria, and northern Burgenland) Viennese German Southern Austro-Bavarian (in Tyrol, South Tyrol, Carinthia, Styria, and the southern parts of Salzburg and Burgenland) Vorarlbergerisch, spoken in Vorarlberg, is a High Alemannic dialect. Regional accents In addition to the standard variety, in everyday life most Austrians speak one of a number of Upper German dialects. While strong forms of the various dialects are not fully mutually intelligible to northern Germans, communication is much easier in Bavaria, especially rural areas, where the Bavarian dialect still predominates as the mother tongue. The Central Austro-Bavarian dialects are more intelligible to speakers of Standard German than the Southern Austro-Bavarian dialects of Tyrol. Viennese, the Austro-Bavarian dialect of Vienna, is seen for many in Germany as quintessentially Austrian. The people of Graz, the capital of Styria, speak yet another dialect which is not very Styrian and more easily understood by people from other parts of Austria than other Styrian dialects, for example from western Styria. Simple words in the various dialects are very similar, but pronunciation is distinct for each and, after listening to a few spoken words, it may be possible for an Austrian to realise which dialect is being spoken. However, in regard to the dialects of the deeper valleys of the Tyrol, other Tyroleans are often unable to understand them. Speakers from the different states of Austria can easily be distinguished from each other by their particular accents (probably more so than Bavarians), those of Carinthia, Styria, Vienna, Upper Austria, and the Tyrol being very characteristic. Speakers from those regions, even those speaking Standard German, can usually be easily identified by their accent, even by an untrained listener. Several of the dialects have been influenced by contact with non-Germanic linguistic groups, such as the dialect of Carinthia, where, in the past, many speakers were bilingual (and, in the southeastern portions of the state, many still are even today) with Slovene, and the dialect of Vienna, which has been influenced by immigration during the Austro-Hungarian period, particularly from what is today Czechia.

The German dialects of South Tyrol have been influenced by local Romance languages, particularly noticeable with the many loanwords from Italian and Ladin. The geographic borderlines between the different accents (isoglosses) coincide strongly with the borders of the states and also with the border with Bavaria, with Bavarians having a markedly different rhythm of speech in spite of the linguistic similarities. References Notes Citations Works cited Further reading : Die deutsche Sprache in Deutschland, Österreich und der Schweiz: Das Problem der nationalen Varietäten. de Gruyter, Berlin/New York 1995. Ammon, Ulrich / Hans Bickel, Jakob Ebner u. a.: Variantenwörterbuch des Deutschen. Die Standardsprache in Österreich, der Schweiz und Deutschland sowie in Liechtenstein, Luxemburg, Ostbelgien und Südtirol. Berlin/New York 2004, . Dollinger, Stefan: Österreichisches Deutsch oder Deutsch in Österreich? Identitäten im 21. Jahrhundert. New Academic Press, 2021. ISBN: 978-3-99036-023-1. Grzega, Joachim: „Deutschländisch und Österreichisches Deutsch: Mehr Unterschiede als nur in Wortschatz und Aussprache.“ In: Joachim Grzega: Sprachwissenschaft ohne Fachchinesisch. Shaker, Aachen 2001, S. 7–26. . Grzega, Joachim: "On the Description of National Varieties: Examples from (German and Austrian) German and (English and American) English". In: Linguistik Online 7 (2000). Grzega, Joachim: "Nonchalance als Merkmal des Österreichischen Deutsch". In: Muttersprache 113 (2003): 242–254. Muhr, Rudolf / Schrodt, Richard: Österreichisches Deutsch und andere nationale Varietäten plurizentrischer Sprachen in Europa. Wien, 1997 Muhr, Rudolf/Schrodt, Richard/Wiesinger, Peter (eds. ): Österreichisches Deutsch: Linguistische, sozialpsychologische und sprachpolitische Aspekte einer nationalen Variante des Deutschen. Wien, 1995. Pohl, Heinz Dieter: „Österreichische Identität und österreichisches Deutsch“ aus dem „Kärntner Jahrbuch für Politik 1999“Wiesinger, Peter: Die deutsche Sprache in Österreich. Eine Einführung, In: Wiesinger (Hg. ): Das österreichische Deutsch. Schriften zur deutschen Sprache. Band 12.'' (Wien, Köln, Graz, 1988, Verlag, Böhlau) External links Austrian German – German Dictionary Das Österreichische Volkswörterbuch Bavarian language German dialects German National varieties of German

The German dialects of South Tyrol have been influenced by local Romance languages, particularly noticeable with the many loanwords from Italian and Ladin. The geographic borderlines between the different accents (isoglosses) coincide strongly with the borders of the states and also with the border with Bavaria, with Bavarians having a markedly different rhythm of speech in spite of the linguistic similarities. References Notes Citations Works cited Further reading : Die deutsche Sprache in Deutschland, Österreich und der Schweiz: Das Problem der nationalen Varietäten. de Gruyter, Berlin/New York 1995. Ammon, Ulrich / Hans Bickel, Jakob Ebner u. a.: Variantenwörterbuch des Deutschen. Die Standardsprache in Österreich, der Schweiz und Deutschland sowie in Liechtenstein, Luxemburg, Ostbelgien und Südtirol. Berlin/New York 2004, . Dollinger, Stefan: Österreichisches Deutsch oder Deutsch in Österreich? Identitäten im 21. Jahrhundert. New Academic Press, 2021. ISBN: 978-3-99036-023-1. Grzega, Joachim: „Deutschländisch und Österreichisches Deutsch: Mehr Unterschiede als nur in Wortschatz und Aussprache.“ In: Joachim Grzega: Sprachwissenschaft ohne Fachchinesisch. Shaker, Aachen 2001, S. 7–26. . Grzega, Joachim: "On the Description of National Varieties: Examples from (German and Austrian) German and (English and American) English". In: Linguistik Online 7 (2000). Grzega, Joachim: "Nonchalance als Merkmal des Österreichischen Deutsch". In: Muttersprache 113 (2003): 242–254. Muhr, Rudolf / Schrodt, Richard: Österreichisches Deutsch und andere nationale Varietäten plurizentrischer Sprachen in Europa. Wien, 1997 Muhr, Rudolf/Schrodt, Richard/Wiesinger, Peter (eds. ): Österreichisches Deutsch: Linguistische, sozialpsychologische und sprachpolitische Aspekte einer nationalen Variante des Deutschen. Wien, 1995. Pohl, Heinz Dieter: „Österreichische Identität und österreichisches Deutsch“ aus dem „Kärntner Jahrbuch für Politik 1999“Wiesinger, Peter: Die deutsche Sprache in Österreich. Eine Einführung, In: Wiesinger (Hg. ): Das österreichische Deutsch. Schriften zur deutschen Sprache. Band 12.'' (Wien, Köln, Graz, 1988, Verlag, Böhlau) External links Austrian German – German Dictionary Das Österreichische Volkswörterbuch Bavarian language German dialects German National varieties of German

The German dialects of South Tyrol have been influenced by local Romance languages, particularly noticeable with the many loanwords from Italian and Ladin. The geographic borderlines between the different accents (isoglosses) coincide strongly with the borders of the states and also with the border with Bavaria, with Bavarians having a markedly different rhythm of speech in spite of the linguistic similarities. References Notes Citations Works cited Further reading : Die deutsche Sprache in Deutschland, Österreich und der Schweiz: Das Problem der nationalen Varietäten. de Gruyter, Berlin/New York 1995. Ammon, Ulrich / Hans Bickel, Jakob Ebner u. a.: Variantenwörterbuch des Deutschen. Die Standardsprache in Österreich, der Schweiz und Deutschland sowie in Liechtenstein, Luxemburg, Ostbelgien und Südtirol. Berlin/New York 2004, . Dollinger, Stefan: Österreichisches Deutsch oder Deutsch in Österreich? Identitäten im 21. Jahrhundert. New Academic Press, 2021. ISBN: 978-3-99036-023-1. Grzega, Joachim: „Deutschländisch und Österreichisches Deutsch: Mehr Unterschiede als nur in Wortschatz und Aussprache.“ In: Joachim Grzega: Sprachwissenschaft ohne Fachchinesisch. Shaker, Aachen 2001, S. 7–26. . Grzega, Joachim: "On the Description of National Varieties: Examples from (German and Austrian) German and (English and American) English". In: Linguistik Online 7 (2000). Grzega, Joachim: "Nonchalance als Merkmal des Österreichischen Deutsch". In: Muttersprache 113 (2003): 242–254. Muhr, Rudolf / Schrodt, Richard: Österreichisches Deutsch und andere nationale Varietäten plurizentrischer Sprachen in Europa. Wien, 1997 Muhr, Rudolf/Schrodt, Richard/Wiesinger, Peter (eds. ): Österreichisches Deutsch: Linguistische, sozialpsychologische und sprachpolitische Aspekte einer nationalen Variante des Deutschen. Wien, 1995. Pohl, Heinz Dieter: „Österreichische Identität und österreichisches Deutsch“ aus dem „Kärntner Jahrbuch für Politik 1999“Wiesinger, Peter: Die deutsche Sprache in Österreich. Eine Einführung, In: Wiesinger (Hg. ): Das österreichische Deutsch. Schriften zur deutschen Sprache. Band 12.'' (Wien, Köln, Graz, 1988, Verlag, Böhlau) External links Austrian German – German Dictionary Das Österreichische Volkswörterbuch Bavarian language German dialects German National varieties of German

Axiom of choice In mathematics, the axiom of choice, or AC, is an axiom of set theory equivalent to the statement that a Cartesian product of a collection of non-empty sets is non-empty. Informally put, the axiom of choice says that given any collection of bins, each containing at least one object, it is possible to make a selection of exactly one object from each bin, even if the collection is infinite. Formally, it states that for every indexed family of nonempty sets there exists an indexed family of elements such that for every . The axiom of choice was formulated in 1904 by Ernst Zermelo in order to formalize his proof of the well-ordering theorem. In many cases, such a selection can be made without invoking the axiom of choice; this is in particular the case if the number of sets is finite, or if a selection rule is available – some distinguishing property that happens to hold for exactly one element in each set. An illustrative example is sets picked from the natural numbers. From such sets, one may always select the smallest number, e.g. given the sets {{4, 5, 6}, {10, 12}, {1, 400, 617, 8000}} the set containing each smallest element is {4, 10, 1}. In this case, "select the smallest number" is a choice function. Even if infinitely many sets were collected from the natural numbers, it will always be possible to choose the smallest element from each set to produce a set. That is, the choice function provides the set of chosen elements. However, no choice function is known for the collection of all non-empty subsets of the real numbers (if there are non-constructible reals). In that case, the axiom of choice must be invoked. Bertrand Russell coined an analogy: for any (even infinite) collection of pairs of shoes, one can pick out the left shoe from each pair to obtain an appropriate selection; this makes it possible to directly define a choice function. For an infinite collection of pairs of socks (assumed to have no distinguishing features), there is no obvious way to make a function that selects one sock from each pair, without invoking the axiom of choice. Although originally controversial, the axiom of choice is now used without reservation by most mathematicians, and it is included in the standard form of axiomatic set theory, Zermelo–Fraenkel set theory with the axiom of choice (ZFC). One motivation for this use is that a number of generally accepted mathematical results, such as Tychonoff's theorem, require the axiom of choice for their proofs. Contemporary set theorists also study axioms that are not compatible with the axiom of choice, such as the axiom of determinacy. The axiom of choice is avoided in some varieties of constructive mathematics, although there are varieties of constructive mathematics in which the axiom of choice is embraced.

Axiom of choice In mathematics, the axiom of choice, or AC, is an axiom of set theory equivalent to the statement that a Cartesian product of a collection of non-empty sets is non-empty. Informally put, the axiom of choice says that given any collection of bins, each containing at least one object, it is possible to make a selection of exactly one object from each bin, even if the collection is infinite. Formally, it states that for every indexed family of nonempty sets there exists an indexed family of elements such that for every . The axiom of choice was formulated in 1904 by Ernst Zermelo in order to formalize his proof of the well-ordering theorem. In many cases, such a selection can be made without invoking the axiom of choice; this is in particular the case if the number of sets is finite, or if a selection rule is available – some distinguishing property that happens to hold for exactly one element in each set. An illustrative example is sets picked from the natural numbers. From such sets, one may always select the smallest number, e.g. given the sets {{4, 5, 6}, {10, 12}, {1, 400, 617, 8000}} the set containing each smallest element is {4, 10, 1}. In this case, "select the smallest number" is a choice function. Even if infinitely many sets were collected from the natural numbers, it will always be possible to choose the smallest element from each set to produce a set. That is, the choice function provides the set of chosen elements. However, no choice function is known for the collection of all non-empty subsets of the real numbers (if there are non-constructible reals). In that case, the axiom of choice must be invoked. Bertrand Russell coined an analogy: for any (even infinite) collection of pairs of shoes, one can pick out the left shoe from each pair to obtain an appropriate selection; this makes it possible to directly define a choice function. For an infinite collection of pairs of socks (assumed to have no distinguishing features), there is no obvious way to make a function that selects one sock from each pair, without invoking the axiom of choice. Although originally controversial, the axiom of choice is now used without reservation by most mathematicians, and it is included in the standard form of axiomatic set theory, Zermelo–Fraenkel set theory with the axiom of choice (ZFC). One motivation for this use is that a number of generally accepted mathematical results, such as Tychonoff's theorem, require the axiom of choice for their proofs. Contemporary set theorists also study axioms that are not compatible with the axiom of choice, such as the axiom of determinacy. The axiom of choice is avoided in some varieties of constructive mathematics, although there are varieties of constructive mathematics in which the axiom of choice is embraced.

Statement A choice function (also called selector or selection) is a function f, defined on a collection X of nonempty sets, such that for every set A in X, f(A) is an element of A. With this concept, the axiom can be stated: Formally, this may be expressed as follows: Thus, the negation of the axiom of choice states that there exists a collection of nonempty sets that has no choice function. (, so where is negation.) Each choice function on a collection X of nonempty sets is an element of the Cartesian product of the sets in X. This is not the most general situation of a Cartesian product of a family of sets, where a given set can occur more than once as a factor; however, one can focus on elements of such a product that select the same element every time a given set appears as factor, and such elements correspond to an element of the Cartesian product of all distinct sets in the family. The axiom of choice asserts the existence of such elements; it is therefore equivalent to: Given any family of nonempty sets, their Cartesian product is a nonempty set. Nomenclature ZF, AC, and ZFC In this article and other discussions of the Axiom of Choice the following abbreviations are common: AC – the Axiom of Choice. ZF – Zermelo–Fraenkel set theory omitting the Axiom of Choice. ZFC – Zermelo–Fraenkel set theory, extended to include the Axiom of Choice. Variants There are many other equivalent statements of the axiom of choice. These are equivalent in the sense that, in the presence of other basic axioms of set theory, they imply the axiom of choice and are implied by it. One variation avoids the use of choice functions by, in effect, replacing each choice function with its range. Given any set X of pairwise disjoint non-empty sets, there exists at least one set C that contains exactly one element in common with each of the sets in X. This guarantees for any partition of a set X the existence of a subset C of X containing exactly one element from each part of the partition. Another equivalent axiom only considers collections X that are essentially powersets of other sets: For any set A, the power set of A (with the empty set removed) has a choice function. Authors who use this formulation often speak of the choice function on A, but this is a slightly different notion of choice function. Its domain is the power set of A (with the empty set removed), and so makes sense for any set A, whereas with the definition used elsewhere in this article, the domain of a choice function on a collection of sets is that collection, and so only makes sense for sets of sets. With this alternate notion of choice function, the axiom of choice can be compactly stated as Every set has a choice function.

Statement A choice function (also called selector or selection) is a function f, defined on a collection X of nonempty sets, such that for every set A in X, f(A) is an element of A. With this concept, the axiom can be stated: Formally, this may be expressed as follows: Thus, the negation of the axiom of choice states that there exists a collection of nonempty sets that has no choice function. (, so where is negation.) Each choice function on a collection X of nonempty sets is an element of the Cartesian product of the sets in X. This is not the most general situation of a Cartesian product of a family of sets, where a given set can occur more than once as a factor; however, one can focus on elements of such a product that select the same element every time a given set appears as factor, and such elements correspond to an element of the Cartesian product of all distinct sets in the family. The axiom of choice asserts the existence of such elements; it is therefore equivalent to: Given any family of nonempty sets, their Cartesian product is a nonempty set. Nomenclature ZF, AC, and ZFC In this article and other discussions of the Axiom of Choice the following abbreviations are common: AC – the Axiom of Choice. ZF – Zermelo–Fraenkel set theory omitting the Axiom of Choice. ZFC – Zermelo–Fraenkel set theory, extended to include the Axiom of Choice. Variants There are many other equivalent statements of the axiom of choice. These are equivalent in the sense that, in the presence of other basic axioms of set theory, they imply the axiom of choice and are implied by it. One variation avoids the use of choice functions by, in effect, replacing each choice function with its range. Given any set X of pairwise disjoint non-empty sets, there exists at least one set C that contains exactly one element in common with each of the sets in X. This guarantees for any partition of a set X the existence of a subset C of X containing exactly one element from each part of the partition. Another equivalent axiom only considers collections X that are essentially powersets of other sets: For any set A, the power set of A (with the empty set removed) has a choice function. Authors who use this formulation often speak of the choice function on A, but this is a slightly different notion of choice function. Its domain is the power set of A (with the empty set removed), and so makes sense for any set A, whereas with the definition used elsewhere in this article, the domain of a choice function on a collection of sets is that collection, and so only makes sense for sets of sets. With this alternate notion of choice function, the axiom of choice can be compactly stated as Every set has a choice function.

Statement A choice function (also called selector or selection) is a function f, defined on a collection X of nonempty sets, such that for every set A in X, f(A) is an element of A. With this concept, the axiom can be stated: Formally, this may be expressed as follows: Thus, the negation of the axiom of choice states that there exists a collection of nonempty sets that has no choice function. (, so where is negation.) Each choice function on a collection X of nonempty sets is an element of the Cartesian product of the sets in X. This is not the most general situation of a Cartesian product of a family of sets, where a given set can occur more than once as a factor; however, one can focus on elements of such a product that select the same element every time a given set appears as factor, and such elements correspond to an element of the Cartesian product of all distinct sets in the family. The axiom of choice asserts the existence of such elements; it is therefore equivalent to: Given any family of nonempty sets, their Cartesian product is a nonempty set. Nomenclature ZF, AC, and ZFC In this article and other discussions of the Axiom of Choice the following abbreviations are common: AC – the Axiom of Choice. ZF – Zermelo–Fraenkel set theory omitting the Axiom of Choice. ZFC – Zermelo–Fraenkel set theory, extended to include the Axiom of Choice. Variants There are many other equivalent statements of the axiom of choice. These are equivalent in the sense that, in the presence of other basic axioms of set theory, they imply the axiom of choice and are implied by it. One variation avoids the use of choice functions by, in effect, replacing each choice function with its range. Given any set X of pairwise disjoint non-empty sets, there exists at least one set C that contains exactly one element in common with each of the sets in X. This guarantees for any partition of a set X the existence of a subset C of X containing exactly one element from each part of the partition. Another equivalent axiom only considers collections X that are essentially powersets of other sets: For any set A, the power set of A (with the empty set removed) has a choice function. Authors who use this formulation often speak of the choice function on A, but this is a slightly different notion of choice function. Its domain is the power set of A (with the empty set removed), and so makes sense for any set A, whereas with the definition used elsewhere in this article, the domain of a choice function on a collection of sets is that collection, and so only makes sense for sets of sets. With this alternate notion of choice function, the axiom of choice can be compactly stated as Every set has a choice function.

which is equivalent to For any set A there is a function f such that for any non-empty subset B of A, f(B) lies in B. The negation of the axiom can thus be expressed as: There is a set A such that for all functions f (on the set of non-empty subsets of A), there is a B such that f(B) does not lie in B. Restriction to finite sets The statement of the axiom of choice does not specify whether the collection of nonempty sets is finite or infinite, and thus implies that every finite collection of nonempty sets has a choice function. However, that particular case is a theorem of the Zermelo–Fraenkel set theory without the axiom of choice (ZF); it is easily proved by mathematical induction. In the even simpler case of a collection of one set, a choice function just corresponds to an element, so this instance of the axiom of choice says that every nonempty set has an element; this holds trivially. The axiom of choice can be seen as asserting the generalization of this property, already evident for finite collections, to arbitrary collections. Usage Until the late 19th century, the axiom of choice was often used implicitly, although it had not yet been formally stated. For example, after having established that the set X contains only non-empty sets, a mathematician might have said "let F(s) be one of the members of s for all s in X" to define a function F. In general, it is impossible to prove that F exists without the axiom of choice, but this seems to have gone unnoticed until Zermelo. Not every situation requires the axiom of choice. For finite sets X, the axiom of choice follows from the other axioms of set theory. In that case, it is equivalent to saying that if we have several (a finite number of) boxes, each containing at least one item, then we can choose exactly one item from each box. Clearly, we can do this: We start at the first box, choose an item; go to the second box, choose an item; and so on. The number of boxes is finite, so eventually, our choice procedure comes to an end. The result is an explicit choice function: a function that takes the first box to the first element we chose, the second box to the second element we chose, and so on. (A formal proof for all finite sets would use the principle of mathematical induction to prove "for every natural number k, every family of k nonempty sets has a choice function.") This method cannot, however, be used to show that every countable family of nonempty sets has a choice function, as is asserted by the axiom of countable choice.

which is equivalent to For any set A there is a function f such that for any non-empty subset B of A, f(B) lies in B. The negation of the axiom can thus be expressed as: There is a set A such that for all functions f (on the set of non-empty subsets of A), there is a B such that f(B) does not lie in B. Restriction to finite sets The statement of the axiom of choice does not specify whether the collection of nonempty sets is finite or infinite, and thus implies that every finite collection of nonempty sets has a choice function. However, that particular case is a theorem of the Zermelo–Fraenkel set theory without the axiom of choice (ZF); it is easily proved by mathematical induction. In the even simpler case of a collection of one set, a choice function just corresponds to an element, so this instance of the axiom of choice says that every nonempty set has an element; this holds trivially. The axiom of choice can be seen as asserting the generalization of this property, already evident for finite collections, to arbitrary collections. Usage Until the late 19th century, the axiom of choice was often used implicitly, although it had not yet been formally stated. For example, after having established that the set X contains only non-empty sets, a mathematician might have said "let F(s) be one of the members of s for all s in X" to define a function F. In general, it is impossible to prove that F exists without the axiom of choice, but this seems to have gone unnoticed until Zermelo. Not every situation requires the axiom of choice. For finite sets X, the axiom of choice follows from the other axioms of set theory. In that case, it is equivalent to saying that if we have several (a finite number of) boxes, each containing at least one item, then we can choose exactly one item from each box. Clearly, we can do this: We start at the first box, choose an item; go to the second box, choose an item; and so on. The number of boxes is finite, so eventually, our choice procedure comes to an end. The result is an explicit choice function: a function that takes the first box to the first element we chose, the second box to the second element we chose, and so on. (A formal proof for all finite sets would use the principle of mathematical induction to prove "for every natural number k, every family of k nonempty sets has a choice function.") This method cannot, however, be used to show that every countable family of nonempty sets has a choice function, as is asserted by the axiom of countable choice.

which is equivalent to For any set A there is a function f such that for any non-empty subset B of A, f(B) lies in B. The negation of the axiom can thus be expressed as: There is a set A such that for all functions f (on the set of non-empty subsets of A), there is a B such that f(B) does not lie in B. Restriction to finite sets The statement of the axiom of choice does not specify whether the collection of nonempty sets is finite or infinite, and thus implies that every finite collection of nonempty sets has a choice function. However, that particular case is a theorem of the Zermelo–Fraenkel set theory without the axiom of choice (ZF); it is easily proved by mathematical induction. In the even simpler case of a collection of one set, a choice function just corresponds to an element, so this instance of the axiom of choice says that every nonempty set has an element; this holds trivially. The axiom of choice can be seen as asserting the generalization of this property, already evident for finite collections, to arbitrary collections. Usage Until the late 19th century, the axiom of choice was often used implicitly, although it had not yet been formally stated. For example, after having established that the set X contains only non-empty sets, a mathematician might have said "let F(s) be one of the members of s for all s in X" to define a function F. In general, it is impossible to prove that F exists without the axiom of choice, but this seems to have gone unnoticed until Zermelo. Not every situation requires the axiom of choice. For finite sets X, the axiom of choice follows from the other axioms of set theory. In that case, it is equivalent to saying that if we have several (a finite number of) boxes, each containing at least one item, then we can choose exactly one item from each box. Clearly, we can do this: We start at the first box, choose an item; go to the second box, choose an item; and so on. The number of boxes is finite, so eventually, our choice procedure comes to an end. The result is an explicit choice function: a function that takes the first box to the first element we chose, the second box to the second element we chose, and so on. (A formal proof for all finite sets would use the principle of mathematical induction to prove "for every natural number k, every family of k nonempty sets has a choice function.") This method cannot, however, be used to show that every countable family of nonempty sets has a choice function, as is asserted by the axiom of countable choice.

If the method is applied to an infinite sequence (Xi : i∈ω) of nonempty sets, a function is obtained at each finite stage, but there is no stage at which a choice function for the entire family is constructed, and no "limiting" choice function can be constructed, in general, in ZF without the axiom of choice. Examples The nature of the individual nonempty sets in the collection may make it possible to avoid the axiom of choice even for certain infinite collections. For example, suppose that each member of the collection X is a nonempty subset of the natural numbers. Every such subset has a smallest element, so to specify our choice function we can simply say that it maps each set to the least element of that set. This gives us a definite choice of an element from each set, and makes it unnecessary to apply the axiom of choice. The difficulty appears when there is no natural choice of elements from each set. If we cannot make explicit choices, how do we know that our set exists? For example, suppose that X is the set of all non-empty subsets of the real numbers. First we might try to proceed as if X were finite. If we try to choose an element from each set, then, because X is infinite, our choice procedure will never come to an end, and consequently, we shall never be able to produce a choice function for all of X. Next we might try specifying the least element from each set. But some subsets of the real numbers do not have least elements. For example, the open interval (0,1) does not have a least element: if x is in (0,1), then so is x/2, and x/2 is always strictly smaller than x. So this attempt also fails. Additionally, consider for instance the unit circle S, and the action on S by a group G consisting of all rational rotations. Namely, these are rotations by angles which are rational multiples of π. Here G is countable while S is uncountable. Hence S breaks up into uncountably many orbits under G. Using the axiom of choice, we could pick a single point from each orbit, obtaining an uncountable subset X of S with the property that all of its translates by G are disjoint from X. The set of those translates partitions the circle into a countable collection of disjoint sets, which are all pairwise congruent. Since X is not measurable for any rotation-invariant countably additive finite measure on S, finding an algorithm to select a point in each orbit requires the axiom of choice. See non-measurable set for more details. The reason that we are able to choose least elements from subsets of the natural numbers is the fact that the natural numbers are well-ordered: every nonempty subset of the natural numbers has a unique least element under the natural ordering.

If the method is applied to an infinite sequence (Xi : i∈ω) of nonempty sets, a function is obtained at each finite stage, but there is no stage at which a choice function for the entire family is constructed, and no "limiting" choice function can be constructed, in general, in ZF without the axiom of choice. Examples The nature of the individual nonempty sets in the collection may make it possible to avoid the axiom of choice even for certain infinite collections. For example, suppose that each member of the collection X is a nonempty subset of the natural numbers. Every such subset has a smallest element, so to specify our choice function we can simply say that it maps each set to the least element of that set. This gives us a definite choice of an element from each set, and makes it unnecessary to apply the axiom of choice. The difficulty appears when there is no natural choice of elements from each set. If we cannot make explicit choices, how do we know that our set exists? For example, suppose that X is the set of all non-empty subsets of the real numbers. First we might try to proceed as if X were finite. If we try to choose an element from each set, then, because X is infinite, our choice procedure will never come to an end, and consequently, we shall never be able to produce a choice function for all of X. Next we might try specifying the least element from each set. But some subsets of the real numbers do not have least elements. For example, the open interval (0,1) does not have a least element: if x is in (0,1), then so is x/2, and x/2 is always strictly smaller than x. So this attempt also fails. Additionally, consider for instance the unit circle S, and the action on S by a group G consisting of all rational rotations. Namely, these are rotations by angles which are rational multiples of π. Here G is countable while S is uncountable. Hence S breaks up into uncountably many orbits under G. Using the axiom of choice, we could pick a single point from each orbit, obtaining an uncountable subset X of S with the property that all of its translates by G are disjoint from X. The set of those translates partitions the circle into a countable collection of disjoint sets, which are all pairwise congruent. Since X is not measurable for any rotation-invariant countably additive finite measure on S, finding an algorithm to select a point in each orbit requires the axiom of choice. See non-measurable set for more details. The reason that we are able to choose least elements from subsets of the natural numbers is the fact that the natural numbers are well-ordered: every nonempty subset of the natural numbers has a unique least element under the natural ordering.

If the method is applied to an infinite sequence (Xi : i∈ω) of nonempty sets, a function is obtained at each finite stage, but there is no stage at which a choice function for the entire family is constructed, and no "limiting" choice function can be constructed, in general, in ZF without the axiom of choice. Examples The nature of the individual nonempty sets in the collection may make it possible to avoid the axiom of choice even for certain infinite collections. For example, suppose that each member of the collection X is a nonempty subset of the natural numbers. Every such subset has a smallest element, so to specify our choice function we can simply say that it maps each set to the least element of that set. This gives us a definite choice of an element from each set, and makes it unnecessary to apply the axiom of choice. The difficulty appears when there is no natural choice of elements from each set. If we cannot make explicit choices, how do we know that our set exists? For example, suppose that X is the set of all non-empty subsets of the real numbers. First we might try to proceed as if X were finite. If we try to choose an element from each set, then, because X is infinite, our choice procedure will never come to an end, and consequently, we shall never be able to produce a choice function for all of X. Next we might try specifying the least element from each set. But some subsets of the real numbers do not have least elements. For example, the open interval (0,1) does not have a least element: if x is in (0,1), then so is x/2, and x/2 is always strictly smaller than x. So this attempt also fails. Additionally, consider for instance the unit circle S, and the action on S by a group G consisting of all rational rotations. Namely, these are rotations by angles which are rational multiples of π. Here G is countable while S is uncountable. Hence S breaks up into uncountably many orbits under G. Using the axiom of choice, we could pick a single point from each orbit, obtaining an uncountable subset X of S with the property that all of its translates by G are disjoint from X. The set of those translates partitions the circle into a countable collection of disjoint sets, which are all pairwise congruent. Since X is not measurable for any rotation-invariant countably additive finite measure on S, finding an algorithm to select a point in each orbit requires the axiom of choice. See non-measurable set for more details. The reason that we are able to choose least elements from subsets of the natural numbers is the fact that the natural numbers are well-ordered: every nonempty subset of the natural numbers has a unique least element under the natural ordering.

One might say, "Even though the usual ordering of the real numbers does not work, it may be possible to find a different ordering of the real numbers which is a well-ordering. Then our choice function can choose the least element of every set under our unusual ordering." The problem then becomes that of constructing a well-ordering, which turns out to require the axiom of choice for its existence; every set can be well-ordered if and only if the axiom of choice holds. Criticism and acceptance A proof requiring the axiom of choice may establish the existence of an object without explicitly defining the object in the language of set theory. For example, while the axiom of choice implies that there is a well-ordering of the real numbers, there are models of set theory with the axiom of choice in which no well-ordering of the reals is definable. Similarly, although a subset of the real numbers that is not Lebesgue measurable can be proved to exist using the axiom of choice, it is consistent that no such set is definable. The axiom of choice proves the existence of these intangibles (objects that are proved to exist, but which cannot be explicitly constructed), which may conflict with some philosophical principles. Because there is no canonical well-ordering of all sets, a construction that relies on a well-ordering may not produce a canonical result, even if a canonical result is desired (as is often the case in category theory). This has been used as an argument against the use of the axiom of choice. Another argument against the axiom of choice is that it implies the existence of objects that may seem counterintuitive. One example is the Banach–Tarski paradox which says that it is possible to decompose the 3-dimensional solid unit ball into finitely many pieces and, using only rotations and translations, reassemble the pieces into two solid balls each with the same volume as the original. The pieces in this decomposition, constructed using the axiom of choice, are non-measurable sets. Despite these seemingly paradoxical facts, most mathematicians accept the axiom of choice as a valid principle for proving new results in mathematics. The debate is interesting enough, however, that it is considered of note when a theorem in ZFC (ZF plus AC) is logically equivalent (with just the ZF axioms) to the axiom of choice, and mathematicians look for results that require the axiom of choice to be false, though this type of deduction is less common than the type which requires the axiom of choice to be true. It is possible to prove many theorems using neither the axiom of choice nor its negation; such statements will be true in any model of ZF, regardless of the truth or falsity of the axiom of choice in that particular model. The restriction to ZF renders any claim that relies on either the axiom of choice or its negation unprovable.

One might say, "Even though the usual ordering of the real numbers does not work, it may be possible to find a different ordering of the real numbers which is a well-ordering. Then our choice function can choose the least element of every set under our unusual ordering." The problem then becomes that of constructing a well-ordering, which turns out to require the axiom of choice for its existence; every set can be well-ordered if and only if the axiom of choice holds. Criticism and acceptance A proof requiring the axiom of choice may establish the existence of an object without explicitly defining the object in the language of set theory. For example, while the axiom of choice implies that there is a well-ordering of the real numbers, there are models of set theory with the axiom of choice in which no well-ordering of the reals is definable. Similarly, although a subset of the real numbers that is not Lebesgue measurable can be proved to exist using the axiom of choice, it is consistent that no such set is definable. The axiom of choice proves the existence of these intangibles (objects that are proved to exist, but which cannot be explicitly constructed), which may conflict with some philosophical principles. Because there is no canonical well-ordering of all sets, a construction that relies on a well-ordering may not produce a canonical result, even if a canonical result is desired (as is often the case in category theory). This has been used as an argument against the use of the axiom of choice. Another argument against the axiom of choice is that it implies the existence of objects that may seem counterintuitive. One example is the Banach–Tarski paradox which says that it is possible to decompose the 3-dimensional solid unit ball into finitely many pieces and, using only rotations and translations, reassemble the pieces into two solid balls each with the same volume as the original. The pieces in this decomposition, constructed using the axiom of choice, are non-measurable sets. Despite these seemingly paradoxical facts, most mathematicians accept the axiom of choice as a valid principle for proving new results in mathematics. The debate is interesting enough, however, that it is considered of note when a theorem in ZFC (ZF plus AC) is logically equivalent (with just the ZF axioms) to the axiom of choice, and mathematicians look for results that require the axiom of choice to be false, though this type of deduction is less common than the type which requires the axiom of choice to be true. It is possible to prove many theorems using neither the axiom of choice nor its negation; such statements will be true in any model of ZF, regardless of the truth or falsity of the axiom of choice in that particular model. The restriction to ZF renders any claim that relies on either the axiom of choice or its negation unprovable.

One might say, "Even though the usual ordering of the real numbers does not work, it may be possible to find a different ordering of the real numbers which is a well-ordering. Then our choice function can choose the least element of every set under our unusual ordering." The problem then becomes that of constructing a well-ordering, which turns out to require the axiom of choice for its existence; every set can be well-ordered if and only if the axiom of choice holds. Criticism and acceptance A proof requiring the axiom of choice may establish the existence of an object without explicitly defining the object in the language of set theory. For example, while the axiom of choice implies that there is a well-ordering of the real numbers, there are models of set theory with the axiom of choice in which no well-ordering of the reals is definable. Similarly, although a subset of the real numbers that is not Lebesgue measurable can be proved to exist using the axiom of choice, it is consistent that no such set is definable. The axiom of choice proves the existence of these intangibles (objects that are proved to exist, but which cannot be explicitly constructed), which may conflict with some philosophical principles. Because there is no canonical well-ordering of all sets, a construction that relies on a well-ordering may not produce a canonical result, even if a canonical result is desired (as is often the case in category theory). This has been used as an argument against the use of the axiom of choice. Another argument against the axiom of choice is that it implies the existence of objects that may seem counterintuitive. One example is the Banach–Tarski paradox which says that it is possible to decompose the 3-dimensional solid unit ball into finitely many pieces and, using only rotations and translations, reassemble the pieces into two solid balls each with the same volume as the original. The pieces in this decomposition, constructed using the axiom of choice, are non-measurable sets. Despite these seemingly paradoxical facts, most mathematicians accept the axiom of choice as a valid principle for proving new results in mathematics. The debate is interesting enough, however, that it is considered of note when a theorem in ZFC (ZF plus AC) is logically equivalent (with just the ZF axioms) to the axiom of choice, and mathematicians look for results that require the axiom of choice to be false, though this type of deduction is less common than the type which requires the axiom of choice to be true. It is possible to prove many theorems using neither the axiom of choice nor its negation; such statements will be true in any model of ZF, regardless of the truth or falsity of the axiom of choice in that particular model. The restriction to ZF renders any claim that relies on either the axiom of choice or its negation unprovable.

For example, the Banach–Tarski paradox is neither provable nor disprovable from ZF alone: it is impossible to construct the required decomposition of the unit ball in ZF, but also impossible to prove there is no such decomposition. Similarly, all the statements listed below which require choice or some weaker version thereof for their proof are unprovable in ZF, but since each is provable in ZF plus the axiom of choice, there are models of ZF in which each statement is true. Statements such as the Banach–Tarski paradox can be rephrased as conditional statements, for example, "If AC holds, then the decomposition in the Banach–Tarski paradox exists." Such conditional statements are provable in ZF when the original statements are provable from ZF and the axiom of choice. In constructive mathematics As discussed above, in ZFC, the axiom of choice is able to provide "nonconstructive proofs" in which the existence of an object is proved although no explicit example is constructed. ZFC, however, is still formalized in classical logic. The axiom of choice has also been thoroughly studied in the context of constructive mathematics, where non-classical logic is employed. The status of the axiom of choice varies between different varieties of constructive mathematics. In Martin-Löf type theory and higher-order Heyting arithmetic, the appropriate statement of the axiom of choice is (depending on approach) included as an axiom or provable as a theorem. Errett Bishop argued that the axiom of choice was constructively acceptable, saying In constructive set theory, however, Diaconescu's theorem shows that the axiom of choice implies the law of excluded middle (unlike in Martin-Löf type theory, where it does not). Thus the axiom of choice is not generally available in constructive set theory. A cause for this difference is that the axiom of choice in type theory does not have the extensionality properties that the axiom of choice in constructive set theory does. Some results in constructive set theory use the axiom of countable choice or the axiom of dependent choice, which do not imply the law of the excluded middle in constructive set theory. Although the axiom of countable choice in particular is commonly used in constructive mathematics, its use has also been questioned. Independence In 1938, Kurt Gödel showed that the negation of the axiom of choice is not a theorem of ZF by constructing an inner model (the constructible universe) which satisfies ZFC and thus showing that ZFC is consistent if ZF itself is consistent. In 1963, Paul Cohen employed the technique of forcing, developed for this purpose, to show that, assuming ZF is consistent, the axiom of choice itself is not a theorem of ZF. He did this by constructing a much more complex model which satisfies ZF¬C (ZF with the negation of AC added as axiom) and thus showing that ZF¬C is consistent. Together these results establish that the axiom of choice is logically independent of ZF.

For example, the Banach–Tarski paradox is neither provable nor disprovable from ZF alone: it is impossible to construct the required decomposition of the unit ball in ZF, but also impossible to prove there is no such decomposition. Similarly, all the statements listed below which require choice or some weaker version thereof for their proof are unprovable in ZF, but since each is provable in ZF plus the axiom of choice, there are models of ZF in which each statement is true. Statements such as the Banach–Tarski paradox can be rephrased as conditional statements, for example, "If AC holds, then the decomposition in the Banach–Tarski paradox exists." Such conditional statements are provable in ZF when the original statements are provable from ZF and the axiom of choice. In constructive mathematics As discussed above, in ZFC, the axiom of choice is able to provide "nonconstructive proofs" in which the existence of an object is proved although no explicit example is constructed. ZFC, however, is still formalized in classical logic. The axiom of choice has also been thoroughly studied in the context of constructive mathematics, where non-classical logic is employed. The status of the axiom of choice varies between different varieties of constructive mathematics. In Martin-Löf type theory and higher-order Heyting arithmetic, the appropriate statement of the axiom of choice is (depending on approach) included as an axiom or provable as a theorem. Errett Bishop argued that the axiom of choice was constructively acceptable, saying In constructive set theory, however, Diaconescu's theorem shows that the axiom of choice implies the law of excluded middle (unlike in Martin-Löf type theory, where it does not). Thus the axiom of choice is not generally available in constructive set theory. A cause for this difference is that the axiom of choice in type theory does not have the extensionality properties that the axiom of choice in constructive set theory does. Some results in constructive set theory use the axiom of countable choice or the axiom of dependent choice, which do not imply the law of the excluded middle in constructive set theory. Although the axiom of countable choice in particular is commonly used in constructive mathematics, its use has also been questioned. Independence In 1938, Kurt Gödel showed that the negation of the axiom of choice is not a theorem of ZF by constructing an inner model (the constructible universe) which satisfies ZFC and thus showing that ZFC is consistent if ZF itself is consistent. In 1963, Paul Cohen employed the technique of forcing, developed for this purpose, to show that, assuming ZF is consistent, the axiom of choice itself is not a theorem of ZF. He did this by constructing a much more complex model which satisfies ZF¬C (ZF with the negation of AC added as axiom) and thus showing that ZF¬C is consistent. Together these results establish that the axiom of choice is logically independent of ZF.

For example, the Banach–Tarski paradox is neither provable nor disprovable from ZF alone: it is impossible to construct the required decomposition of the unit ball in ZF, but also impossible to prove there is no such decomposition. Similarly, all the statements listed below which require choice or some weaker version thereof for their proof are unprovable in ZF, but since each is provable in ZF plus the axiom of choice, there are models of ZF in which each statement is true. Statements such as the Banach–Tarski paradox can be rephrased as conditional statements, for example, "If AC holds, then the decomposition in the Banach–Tarski paradox exists." Such conditional statements are provable in ZF when the original statements are provable from ZF and the axiom of choice. In constructive mathematics As discussed above, in ZFC, the axiom of choice is able to provide "nonconstructive proofs" in which the existence of an object is proved although no explicit example is constructed. ZFC, however, is still formalized in classical logic. The axiom of choice has also been thoroughly studied in the context of constructive mathematics, where non-classical logic is employed. The status of the axiom of choice varies between different varieties of constructive mathematics. In Martin-Löf type theory and higher-order Heyting arithmetic, the appropriate statement of the axiom of choice is (depending on approach) included as an axiom or provable as a theorem. Errett Bishop argued that the axiom of choice was constructively acceptable, saying In constructive set theory, however, Diaconescu's theorem shows that the axiom of choice implies the law of excluded middle (unlike in Martin-Löf type theory, where it does not). Thus the axiom of choice is not generally available in constructive set theory. A cause for this difference is that the axiom of choice in type theory does not have the extensionality properties that the axiom of choice in constructive set theory does. Some results in constructive set theory use the axiom of countable choice or the axiom of dependent choice, which do not imply the law of the excluded middle in constructive set theory. Although the axiom of countable choice in particular is commonly used in constructive mathematics, its use has also been questioned. Independence In 1938, Kurt Gödel showed that the negation of the axiom of choice is not a theorem of ZF by constructing an inner model (the constructible universe) which satisfies ZFC and thus showing that ZFC is consistent if ZF itself is consistent. In 1963, Paul Cohen employed the technique of forcing, developed for this purpose, to show that, assuming ZF is consistent, the axiom of choice itself is not a theorem of ZF. He did this by constructing a much more complex model which satisfies ZF¬C (ZF with the negation of AC added as axiom) and thus showing that ZF¬C is consistent. Together these results establish that the axiom of choice is logically independent of ZF.

The assumption that ZF is consistent is harmless because adding another axiom to an already inconsistent system cannot make the situation worse. Because of independence, the decision whether to use the axiom of choice (or its negation) in a proof cannot be made by appeal to other axioms of set theory. The decision must be made on other grounds. One argument given in favor of using the axiom of choice is that it is convenient to use it because it allows one to prove some simplifying propositions that otherwise could not be proved. Many theorems which are provable using choice are of an elegant general character: every ideal in a ring is contained in a maximal ideal, every vector space has a basis, and every product of compact spaces is compact. Without the axiom of choice, these theorems may not hold for mathematical objects of large cardinality. The proof of the independence result also shows that a wide class of mathematical statements, including all statements that can be phrased in the language of Peano arithmetic, are provable in ZF if and only if they are provable in ZFC. Statements in this class include the statement that P = NP, the Riemann hypothesis, and many other unsolved mathematical problems. When one attempts to solve problems in this class, it makes no difference whether ZF or ZFC is employed if the only question is the existence of a proof. It is possible, however, that there is a shorter proof of a theorem from ZFC than from ZF. The axiom of choice is not the only significant statement which is independent of ZF. For example, the generalized continuum hypothesis (GCH) is not only independent of ZF, but also independent of ZFC. However, ZF plus GCH implies AC, making GCH a strictly stronger claim than AC, even though they are both independent of ZF. Stronger axioms The axiom of constructibility and the generalized continuum hypothesis each imply the axiom of choice and so are strictly stronger than it. In class theories such as Von Neumann–Bernays–Gödel set theory and Morse–Kelley set theory, there is an axiom called the axiom of global choice that is stronger than the axiom of choice for sets because it also applies to proper classes. The axiom of global choice follows from the axiom of limitation of size. Tarski's axiom, which is used in Tarski–Grothendieck set theory and states (in the vernacular) that every set belongs to Grothendieck universe, is stronger than the axiom of choice. Equivalents There are important statements that, assuming the axioms of ZF but neither AC nor ¬AC, are equivalent to the axiom of choice. The most important among them are Zorn's lemma and the well-ordering theorem. In fact, Zermelo initially introduced the axiom of choice in order to formalize his proof of the well-ordering theorem. Set theory Well-ordering theorem: Every set can be well-ordered. Consequently, every cardinal has an initial ordinal.

The assumption that ZF is consistent is harmless because adding another axiom to an already inconsistent system cannot make the situation worse. Because of independence, the decision whether to use the axiom of choice (or its negation) in a proof cannot be made by appeal to other axioms of set theory. The decision must be made on other grounds. One argument given in favor of using the axiom of choice is that it is convenient to use it because it allows one to prove some simplifying propositions that otherwise could not be proved. Many theorems which are provable using choice are of an elegant general character: every ideal in a ring is contained in a maximal ideal, every vector space has a basis, and every product of compact spaces is compact. Without the axiom of choice, these theorems may not hold for mathematical objects of large cardinality. The proof of the independence result also shows that a wide class of mathematical statements, including all statements that can be phrased in the language of Peano arithmetic, are provable in ZF if and only if they are provable in ZFC. Statements in this class include the statement that P = NP, the Riemann hypothesis, and many other unsolved mathematical problems. When one attempts to solve problems in this class, it makes no difference whether ZF or ZFC is employed if the only question is the existence of a proof. It is possible, however, that there is a shorter proof of a theorem from ZFC than from ZF. The axiom of choice is not the only significant statement which is independent of ZF. For example, the generalized continuum hypothesis (GCH) is not only independent of ZF, but also independent of ZFC. However, ZF plus GCH implies AC, making GCH a strictly stronger claim than AC, even though they are both independent of ZF. Stronger axioms The axiom of constructibility and the generalized continuum hypothesis each imply the axiom of choice and so are strictly stronger than it. In class theories such as Von Neumann–Bernays–Gödel set theory and Morse–Kelley set theory, there is an axiom called the axiom of global choice that is stronger than the axiom of choice for sets because it also applies to proper classes. The axiom of global choice follows from the axiom of limitation of size. Tarski's axiom, which is used in Tarski–Grothendieck set theory and states (in the vernacular) that every set belongs to Grothendieck universe, is stronger than the axiom of choice. Equivalents There are important statements that, assuming the axioms of ZF but neither AC nor ¬AC, are equivalent to the axiom of choice. The most important among them are Zorn's lemma and the well-ordering theorem. In fact, Zermelo initially introduced the axiom of choice in order to formalize his proof of the well-ordering theorem. Set theory Well-ordering theorem: Every set can be well-ordered. Consequently, every cardinal has an initial ordinal.

The assumption that ZF is consistent is harmless because adding another axiom to an already inconsistent system cannot make the situation worse. Because of independence, the decision whether to use the axiom of choice (or its negation) in a proof cannot be made by appeal to other axioms of set theory. The decision must be made on other grounds. One argument given in favor of using the axiom of choice is that it is convenient to use it because it allows one to prove some simplifying propositions that otherwise could not be proved. Many theorems which are provable using choice are of an elegant general character: every ideal in a ring is contained in a maximal ideal, every vector space has a basis, and every product of compact spaces is compact. Without the axiom of choice, these theorems may not hold for mathematical objects of large cardinality. The proof of the independence result also shows that a wide class of mathematical statements, including all statements that can be phrased in the language of Peano arithmetic, are provable in ZF if and only if they are provable in ZFC. Statements in this class include the statement that P = NP, the Riemann hypothesis, and many other unsolved mathematical problems. When one attempts to solve problems in this class, it makes no difference whether ZF or ZFC is employed if the only question is the existence of a proof. It is possible, however, that there is a shorter proof of a theorem from ZFC than from ZF. The axiom of choice is not the only significant statement which is independent of ZF. For example, the generalized continuum hypothesis (GCH) is not only independent of ZF, but also independent of ZFC. However, ZF plus GCH implies AC, making GCH a strictly stronger claim than AC, even though they are both independent of ZF. Stronger axioms The axiom of constructibility and the generalized continuum hypothesis each imply the axiom of choice and so are strictly stronger than it. In class theories such as Von Neumann–Bernays–Gödel set theory and Morse–Kelley set theory, there is an axiom called the axiom of global choice that is stronger than the axiom of choice for sets because it also applies to proper classes. The axiom of global choice follows from the axiom of limitation of size. Tarski's axiom, which is used in Tarski–Grothendieck set theory and states (in the vernacular) that every set belongs to Grothendieck universe, is stronger than the axiom of choice. Equivalents There are important statements that, assuming the axioms of ZF but neither AC nor ¬AC, are equivalent to the axiom of choice. The most important among them are Zorn's lemma and the well-ordering theorem. In fact, Zermelo initially introduced the axiom of choice in order to formalize his proof of the well-ordering theorem. Set theory Well-ordering theorem: Every set can be well-ordered. Consequently, every cardinal has an initial ordinal.

Tarski's theorem about choice: For every infinite set A, there is a bijective map between the sets A and A×A. Trichotomy: If two sets are given, then either they have the same cardinality, or one has a smaller cardinality than the other. Given two non-empty sets, one has a surjection to the other. The Cartesian product of any family of nonempty sets is nonempty. König's theorem: Colloquially, the sum of a sequence of cardinals is strictly less than the product of a sequence of larger cardinals. (The reason for the term "colloquially" is that the sum or product of a "sequence" of cardinals cannot be defined without some aspect of the axiom of choice.) Every surjective function has a right inverse. Order theory Zorn's lemma: Every non-empty partially ordered set in which every chain (i.e., totally ordered subset) has an upper bound contains at least one maximal element. Hausdorff maximal principle: In any partially ordered set, every totally ordered subset is contained in a maximal totally ordered subset. The restricted principle "Every partially ordered set has a maximal totally ordered subset" is also equivalent to AC over ZF. Tukey's lemma: Every non-empty collection of finite character has a maximal element with respect to inclusion. Antichain principle: Every partially ordered set has a maximal antichain. Abstract algebra Every vector space has a basis. Krull's theorem: Every unital ring other than the trivial ring contains a maximal ideal. For every non-empty set S there is a binary operation defined on S that gives it a group structure. (A cancellative binary operation is enough, see group structure and the axiom of choice.) Every free abelian group is projective. Baer's criterion: Every divisible abelian group is injective. Every set is a projective object in the category Set of sets. Functional analysis The closed unit ball of the dual of a normed vector space over the reals has an extreme point. Point-set topology Tychonoff's theorem: Every product of compact topological spaces is compact. In the product topology, the closure of a product of subsets is equal to the product of the closures. Mathematical logic If S is a set of sentences of first-order logic and B is a consistent subset of S, then B is included in a set that is maximal among consistent subsets of S. The special case where S is the set of all first-order sentences in a given signature is weaker, equivalent to the Boolean prime ideal theorem; see the section "Weaker forms" below. Graph theory Every connected graph has a spanning tree. Category theory There are several results in category theory which invoke the axiom of choice for their proof. These results might be weaker than, equivalent to, or stronger than the axiom of choice, depending on the strength of the technical foundations.

Tarski's theorem about choice: For every infinite set A, there is a bijective map between the sets A and A×A. Trichotomy: If two sets are given, then either they have the same cardinality, or one has a smaller cardinality than the other. Given two non-empty sets, one has a surjection to the other. The Cartesian product of any family of nonempty sets is nonempty. König's theorem: Colloquially, the sum of a sequence of cardinals is strictly less than the product of a sequence of larger cardinals. (The reason for the term "colloquially" is that the sum or product of a "sequence" of cardinals cannot be defined without some aspect of the axiom of choice.) Every surjective function has a right inverse. Order theory Zorn's lemma: Every non-empty partially ordered set in which every chain (i.e., totally ordered subset) has an upper bound contains at least one maximal element. Hausdorff maximal principle: In any partially ordered set, every totally ordered subset is contained in a maximal totally ordered subset. The restricted principle "Every partially ordered set has a maximal totally ordered subset" is also equivalent to AC over ZF. Tukey's lemma: Every non-empty collection of finite character has a maximal element with respect to inclusion. Antichain principle: Every partially ordered set has a maximal antichain. Abstract algebra Every vector space has a basis. Krull's theorem: Every unital ring other than the trivial ring contains a maximal ideal. For every non-empty set S there is a binary operation defined on S that gives it a group structure. (A cancellative binary operation is enough, see group structure and the axiom of choice.) Every free abelian group is projective. Baer's criterion: Every divisible abelian group is injective. Every set is a projective object in the category Set of sets. Functional analysis The closed unit ball of the dual of a normed vector space over the reals has an extreme point. Point-set topology Tychonoff's theorem: Every product of compact topological spaces is compact. In the product topology, the closure of a product of subsets is equal to the product of the closures. Mathematical logic If S is a set of sentences of first-order logic and B is a consistent subset of S, then B is included in a set that is maximal among consistent subsets of S. The special case where S is the set of all first-order sentences in a given signature is weaker, equivalent to the Boolean prime ideal theorem; see the section "Weaker forms" below. Graph theory Every connected graph has a spanning tree. Category theory There are several results in category theory which invoke the axiom of choice for their proof. These results might be weaker than, equivalent to, or stronger than the axiom of choice, depending on the strength of the technical foundations.

Tarski's theorem about choice: For every infinite set A, there is a bijective map between the sets A and A×A. Trichotomy: If two sets are given, then either they have the same cardinality, or one has a smaller cardinality than the other. Given two non-empty sets, one has a surjection to the other. The Cartesian product of any family of nonempty sets is nonempty. König's theorem: Colloquially, the sum of a sequence of cardinals is strictly less than the product of a sequence of larger cardinals. (The reason for the term "colloquially" is that the sum or product of a "sequence" of cardinals cannot be defined without some aspect of the axiom of choice.) Every surjective function has a right inverse. Order theory Zorn's lemma: Every non-empty partially ordered set in which every chain (i.e., totally ordered subset) has an upper bound contains at least one maximal element. Hausdorff maximal principle: In any partially ordered set, every totally ordered subset is contained in a maximal totally ordered subset. The restricted principle "Every partially ordered set has a maximal totally ordered subset" is also equivalent to AC over ZF. Tukey's lemma: Every non-empty collection of finite character has a maximal element with respect to inclusion. Antichain principle: Every partially ordered set has a maximal antichain. Abstract algebra Every vector space has a basis. Krull's theorem: Every unital ring other than the trivial ring contains a maximal ideal. For every non-empty set S there is a binary operation defined on S that gives it a group structure. (A cancellative binary operation is enough, see group structure and the axiom of choice.) Every free abelian group is projective. Baer's criterion: Every divisible abelian group is injective. Every set is a projective object in the category Set of sets. Functional analysis The closed unit ball of the dual of a normed vector space over the reals has an extreme point. Point-set topology Tychonoff's theorem: Every product of compact topological spaces is compact. In the product topology, the closure of a product of subsets is equal to the product of the closures. Mathematical logic If S is a set of sentences of first-order logic and B is a consistent subset of S, then B is included in a set that is maximal among consistent subsets of S. The special case where S is the set of all first-order sentences in a given signature is weaker, equivalent to the Boolean prime ideal theorem; see the section "Weaker forms" below. Graph theory Every connected graph has a spanning tree. Category theory There are several results in category theory which invoke the axiom of choice for their proof. These results might be weaker than, equivalent to, or stronger than the axiom of choice, depending on the strength of the technical foundations.

For example, if one defines categories in terms of sets, that is, as sets of objects and morphisms (usually called a small category), or even locally small categories, whose hom-objects are sets, then there is no category of all sets, and so it is difficult for a category-theoretic formulation to apply to all sets. On the other hand, other foundational descriptions of category theory are considerably stronger, and an identical category-theoretic statement of choice may be stronger than the standard formulation, à la class theory, mentioned above. Examples of category-theoretic statements which require choice include: Every small category has a skeleton. If two small categories are weakly equivalent, then they are equivalent. Every continuous functor on a small-complete category which satisfies the appropriate solution set condition has a left-adjoint (the Freyd adjoint functor theorem). Weaker forms There are several weaker statements that are not equivalent to the axiom of choice, but are closely related. One example is the axiom of dependent choice (DC). A still weaker example is the axiom of countable choice (ACω or CC), which states that a choice function exists for any countable set of nonempty sets. These axioms are sufficient for many proofs in elementary mathematical analysis, and are consistent with some principles, such as the Lebesgue measurability of all sets of reals, that are disprovable from the full axiom of choice. Other choice axioms weaker than axiom of choice include the Boolean prime ideal theorem and the axiom of uniformization. The former is equivalent in ZF to Tarski's 1930 ultrafilter lemma: every filter is a subset of some ultrafilter. Results requiring AC (or weaker forms) but weaker than it One of the most interesting aspects of the axiom of choice is the large number of places in mathematics that it shows up. Here are some statements that require the axiom of choice in the sense that they are not provable from ZF but are provable from ZFC (ZF plus AC). Equivalently, these statements are true in all models of ZFC but false in some models of ZF. Set theory The ultrafilter lemma (with ZF) can be used to prove the Axiom of choice for finite sets: Given and a collection of non-empty sets, their product is not empty. Any union of countably many countable sets is itself countable (because it is necessary to choose a particular ordering for each of the countably many sets). If the set A is infinite, then there exists an injection from the natural numbers N to A (see Dedekind infinite). Eight definitions of a finite set are equivalent. Every infinite game in which is a Borel subset of Baire space is determined. Measure theory The Vitali theorem on the existence of non-measurable sets which states that there is a subset of the real numbers that is not Lebesgue measurable. The Hausdorff paradox. The Banach–Tarski paradox. Algebra Every field has an algebraic closure. Every field extension has a transcendence basis.

For example, if one defines categories in terms of sets, that is, as sets of objects and morphisms (usually called a small category), or even locally small categories, whose hom-objects are sets, then there is no category of all sets, and so it is difficult for a category-theoretic formulation to apply to all sets. On the other hand, other foundational descriptions of category theory are considerably stronger, and an identical category-theoretic statement of choice may be stronger than the standard formulation, à la class theory, mentioned above. Examples of category-theoretic statements which require choice include: Every small category has a skeleton. If two small categories are weakly equivalent, then they are equivalent. Every continuous functor on a small-complete category which satisfies the appropriate solution set condition has a left-adjoint (the Freyd adjoint functor theorem). Weaker forms There are several weaker statements that are not equivalent to the axiom of choice, but are closely related. One example is the axiom of dependent choice (DC). A still weaker example is the axiom of countable choice (ACω or CC), which states that a choice function exists for any countable set of nonempty sets. These axioms are sufficient for many proofs in elementary mathematical analysis, and are consistent with some principles, such as the Lebesgue measurability of all sets of reals, that are disprovable from the full axiom of choice. Other choice axioms weaker than axiom of choice include the Boolean prime ideal theorem and the axiom of uniformization. The former is equivalent in ZF to Tarski's 1930 ultrafilter lemma: every filter is a subset of some ultrafilter. Results requiring AC (or weaker forms) but weaker than it One of the most interesting aspects of the axiom of choice is the large number of places in mathematics that it shows up. Here are some statements that require the axiom of choice in the sense that they are not provable from ZF but are provable from ZFC (ZF plus AC). Equivalently, these statements are true in all models of ZFC but false in some models of ZF. Set theory The ultrafilter lemma (with ZF) can be used to prove the Axiom of choice for finite sets: Given and a collection of non-empty sets, their product is not empty. Any union of countably many countable sets is itself countable (because it is necessary to choose a particular ordering for each of the countably many sets). If the set A is infinite, then there exists an injection from the natural numbers N to A (see Dedekind infinite). Eight definitions of a finite set are equivalent. Every infinite game in which is a Borel subset of Baire space is determined. Measure theory The Vitali theorem on the existence of non-measurable sets which states that there is a subset of the real numbers that is not Lebesgue measurable. The Hausdorff paradox. The Banach–Tarski paradox. Algebra Every field has an algebraic closure. Every field extension has a transcendence basis.

For example, if one defines categories in terms of sets, that is, as sets of objects and morphisms (usually called a small category), or even locally small categories, whose hom-objects are sets, then there is no category of all sets, and so it is difficult for a category-theoretic formulation to apply to all sets. On the other hand, other foundational descriptions of category theory are considerably stronger, and an identical category-theoretic statement of choice may be stronger than the standard formulation, à la class theory, mentioned above. Examples of category-theoretic statements which require choice include: Every small category has a skeleton. If two small categories are weakly equivalent, then they are equivalent. Every continuous functor on a small-complete category which satisfies the appropriate solution set condition has a left-adjoint (the Freyd adjoint functor theorem). Weaker forms There are several weaker statements that are not equivalent to the axiom of choice, but are closely related. One example is the axiom of dependent choice (DC). A still weaker example is the axiom of countable choice (ACω or CC), which states that a choice function exists for any countable set of nonempty sets. These axioms are sufficient for many proofs in elementary mathematical analysis, and are consistent with some principles, such as the Lebesgue measurability of all sets of reals, that are disprovable from the full axiom of choice. Other choice axioms weaker than axiom of choice include the Boolean prime ideal theorem and the axiom of uniformization. The former is equivalent in ZF to Tarski's 1930 ultrafilter lemma: every filter is a subset of some ultrafilter. Results requiring AC (or weaker forms) but weaker than it One of the most interesting aspects of the axiom of choice is the large number of places in mathematics that it shows up. Here are some statements that require the axiom of choice in the sense that they are not provable from ZF but are provable from ZFC (ZF plus AC). Equivalently, these statements are true in all models of ZFC but false in some models of ZF. Set theory The ultrafilter lemma (with ZF) can be used to prove the Axiom of choice for finite sets: Given and a collection of non-empty sets, their product is not empty. Any union of countably many countable sets is itself countable (because it is necessary to choose a particular ordering for each of the countably many sets). If the set A is infinite, then there exists an injection from the natural numbers N to A (see Dedekind infinite). Eight definitions of a finite set are equivalent. Every infinite game in which is a Borel subset of Baire space is determined. Measure theory The Vitali theorem on the existence of non-measurable sets which states that there is a subset of the real numbers that is not Lebesgue measurable. The Hausdorff paradox. The Banach–Tarski paradox. Algebra Every field has an algebraic closure. Every field extension has a transcendence basis.

Stone's representation theorem for Boolean algebras needs the Boolean prime ideal theorem. The Nielsen–Schreier theorem, that every subgroup of a free group is free. The additive groups of R and C are isomorphic. Functional analysis The Hahn–Banach theorem in functional analysis, allowing the extension of linear functionals The theorem that every Hilbert space has an orthonormal basis. The Banach–Alaoglu theorem about compactness of sets of functionals. The Baire category theorem about complete metric spaces, and its consequences, such as the open mapping theorem and the closed graph theorem. On every infinite-dimensional topological vector space there is a discontinuous linear map. General topology A uniform space is compact if and only if it is complete and totally bounded. Every Tychonoff space has a Stone–Čech compactification. Mathematical logic Gödel's completeness theorem for first-order logic: every consistent set of first-order sentences has a completion. That is, every consistent set of first-order sentences can be extended to a maximal consistent set. The compactness theorem: If is a set of first-order (or alternatively, zero-order) sentences such that every finite subset of has a model, then has a model. Possibly equivalent implications of AC There are several historically important set-theoretic statements implied by AC whose equivalence to AC is open. The partition principle, which was formulated before AC itself, was cited by Zermelo as a justification for believing AC. In 1906, Russell declared PP to be equivalent, but whether the partition principle implies AC is still the oldest open problem in set theory, and the equivalences of the other statements are similarly hard old open problems. In every known model of ZF where choice fails, these statements fail too, but it is unknown if they can hold without choice. Set theory Partition principle: if there is a surjection from A to B, there is an injection from B to A. Equivalently, every partition P of a set S is less than or equal to S in size. Converse Schröder–Bernstein theorem: if two sets have surjections to each other, they are equinumerous. Weak partition principle: A partition of a set S cannot be strictly larger than S. If WPP holds, this already implies the existence of a non-measurable set. Each of the previous three statements is implied by the preceding one, but it is unknown if any of these implications can be reversed. There is no infinite decreasing sequence of cardinals. The equivalence was conjectured by Schoenflies in 1905. Abstract algebra Hahn embedding theorem: Every ordered abelian group G order-embeds as a subgroup of the additive group endowed with a lexicographical order, where Ω is the set of Archimedean equivalence classes of G. This equivalence was conjectured by Hahn in 1907. Stronger forms of the negation of AC If we abbreviate by BP the claim that every set of real numbers has the property of Baire, then BP is stronger than ¬AC, which asserts the nonexistence of any choice function on perhaps only a single set of nonempty sets.

Stone's representation theorem for Boolean algebras needs the Boolean prime ideal theorem. The Nielsen–Schreier theorem, that every subgroup of a free group is free. The additive groups of R and C are isomorphic. Functional analysis The Hahn–Banach theorem in functional analysis, allowing the extension of linear functionals The theorem that every Hilbert space has an orthonormal basis. The Banach–Alaoglu theorem about compactness of sets of functionals. The Baire category theorem about complete metric spaces, and its consequences, such as the open mapping theorem and the closed graph theorem. On every infinite-dimensional topological vector space there is a discontinuous linear map. General topology A uniform space is compact if and only if it is complete and totally bounded. Every Tychonoff space has a Stone–Čech compactification. Mathematical logic Gödel's completeness theorem for first-order logic: every consistent set of first-order sentences has a completion. That is, every consistent set of first-order sentences can be extended to a maximal consistent set. The compactness theorem: If is a set of first-order (or alternatively, zero-order) sentences such that every finite subset of has a model, then has a model. Possibly equivalent implications of AC There are several historically important set-theoretic statements implied by AC whose equivalence to AC is open. The partition principle, which was formulated before AC itself, was cited by Zermelo as a justification for believing AC. In 1906, Russell declared PP to be equivalent, but whether the partition principle implies AC is still the oldest open problem in set theory, and the equivalences of the other statements are similarly hard old open problems. In every known model of ZF where choice fails, these statements fail too, but it is unknown if they can hold without choice. Set theory Partition principle: if there is a surjection from A to B, there is an injection from B to A. Equivalently, every partition P of a set S is less than or equal to S in size. Converse Schröder–Bernstein theorem: if two sets have surjections to each other, they are equinumerous. Weak partition principle: A partition of a set S cannot be strictly larger than S. If WPP holds, this already implies the existence of a non-measurable set. Each of the previous three statements is implied by the preceding one, but it is unknown if any of these implications can be reversed. There is no infinite decreasing sequence of cardinals. The equivalence was conjectured by Schoenflies in 1905. Abstract algebra Hahn embedding theorem: Every ordered abelian group G order-embeds as a subgroup of the additive group endowed with a lexicographical order, where Ω is the set of Archimedean equivalence classes of G. This equivalence was conjectured by Hahn in 1907. Stronger forms of the negation of AC If we abbreviate by BP the claim that every set of real numbers has the property of Baire, then BP is stronger than ¬AC, which asserts the nonexistence of any choice function on perhaps only a single set of nonempty sets.

Stone's representation theorem for Boolean algebras needs the Boolean prime ideal theorem. The Nielsen–Schreier theorem, that every subgroup of a free group is free. The additive groups of R and C are isomorphic. Functional analysis The Hahn–Banach theorem in functional analysis, allowing the extension of linear functionals The theorem that every Hilbert space has an orthonormal basis. The Banach–Alaoglu theorem about compactness of sets of functionals. The Baire category theorem about complete metric spaces, and its consequences, such as the open mapping theorem and the closed graph theorem. On every infinite-dimensional topological vector space there is a discontinuous linear map. General topology A uniform space is compact if and only if it is complete and totally bounded. Every Tychonoff space has a Stone–Čech compactification. Mathematical logic Gödel's completeness theorem for first-order logic: every consistent set of first-order sentences has a completion. That is, every consistent set of first-order sentences can be extended to a maximal consistent set. The compactness theorem: If is a set of first-order (or alternatively, zero-order) sentences such that every finite subset of has a model, then has a model. Possibly equivalent implications of AC There are several historically important set-theoretic statements implied by AC whose equivalence to AC is open. The partition principle, which was formulated before AC itself, was cited by Zermelo as a justification for believing AC. In 1906, Russell declared PP to be equivalent, but whether the partition principle implies AC is still the oldest open problem in set theory, and the equivalences of the other statements are similarly hard old open problems. In every known model of ZF where choice fails, these statements fail too, but it is unknown if they can hold without choice. Set theory Partition principle: if there is a surjection from A to B, there is an injection from B to A. Equivalently, every partition P of a set S is less than or equal to S in size. Converse Schröder–Bernstein theorem: if two sets have surjections to each other, they are equinumerous. Weak partition principle: A partition of a set S cannot be strictly larger than S. If WPP holds, this already implies the existence of a non-measurable set. Each of the previous three statements is implied by the preceding one, but it is unknown if any of these implications can be reversed. There is no infinite decreasing sequence of cardinals. The equivalence was conjectured by Schoenflies in 1905. Abstract algebra Hahn embedding theorem: Every ordered abelian group G order-embeds as a subgroup of the additive group endowed with a lexicographical order, where Ω is the set of Archimedean equivalence classes of G. This equivalence was conjectured by Hahn in 1907. Stronger forms of the negation of AC If we abbreviate by BP the claim that every set of real numbers has the property of Baire, then BP is stronger than ¬AC, which asserts the nonexistence of any choice function on perhaps only a single set of nonempty sets.

Strengthened negations may be compatible with weakened forms of AC. For example, ZF + DC + BP is consistent, if ZF is. It is also consistent with ZF + DC that every set of reals is Lebesgue measurable; however, this consistency result, due to Robert M. Solovay, cannot be proved in ZFC itself, but requires a mild large cardinal assumption (the existence of an inaccessible cardinal). The much stronger axiom of determinacy, or AD, implies that every set of reals is Lebesgue measurable, has the property of Baire, and has the perfect set property (all three of these results are refuted by AC itself). ZF + DC + AD is consistent provided that a sufficiently strong large cardinal axiom is consistent (the existence of infinitely many Woodin cardinals). Quine's system of axiomatic set theory, "New Foundations" (NF), takes its name from the title ("New Foundations for Mathematical Logic") of the 1937 article which introduced it. In the NF axiomatic system, the axiom of choice can be disproved. Statements consistent with the negation of AC There are models of Zermelo-Fraenkel set theory in which the axiom of choice is false. We shall abbreviate "Zermelo-Fraenkel set theory plus the negation of the axiom of choice" by ZF¬C. For certain models of ZF¬C, it is possible to prove the negation of some standard facts. Any model of ZF¬C is also a model of ZF, so for each of the following statements, there exists a model of ZF in which that statement is true. In some model, there is a set that can be partitioned into strictly more equivalence classes than the original set has elements, and a function whose domain is strictly smaller than its range. In fact, this is the case in all known models. There is a function f from the real numbers to the real numbers such that f is not continuous at a, but f is sequentially continuous at a, i.e., for any sequence {xn} converging to a, limn f(xn)=f(a). In some model, there is an infinite set of real numbers without a countably infinite subset. In some model, the real numbers are a countable union of countable sets. This does not imply that the real numbers are countable: As pointed out above, to show that a countable union of countable sets is itself countable requires the Axiom of countable choice. In some model, there is a field with no algebraic closure. In all models of ZF¬C there is a vector space with no basis. In some model, there is a vector space with two bases of different cardinalities. In some model there is a free complete boolean algebra on countably many generators. In some model there is a set that cannot be linearly ordered. There exists a model of ZF¬C in which every set in Rn is measurable. Thus it is possible to exclude counterintuitive results like the Banach–Tarski paradox which are provable in ZFC.

Strengthened negations may be compatible with weakened forms of AC. For example, ZF + DC + BP is consistent, if ZF is. It is also consistent with ZF + DC that every set of reals is Lebesgue measurable; however, this consistency result, due to Robert M. Solovay, cannot be proved in ZFC itself, but requires a mild large cardinal assumption (the existence of an inaccessible cardinal). The much stronger axiom of determinacy, or AD, implies that every set of reals is Lebesgue measurable, has the property of Baire, and has the perfect set property (all three of these results are refuted by AC itself). ZF + DC + AD is consistent provided that a sufficiently strong large cardinal axiom is consistent (the existence of infinitely many Woodin cardinals). Quine's system of axiomatic set theory, "New Foundations" (NF), takes its name from the title ("New Foundations for Mathematical Logic") of the 1937 article which introduced it. In the NF axiomatic system, the axiom of choice can be disproved. Statements consistent with the negation of AC There are models of Zermelo-Fraenkel set theory in which the axiom of choice is false. We shall abbreviate "Zermelo-Fraenkel set theory plus the negation of the axiom of choice" by ZF¬C. For certain models of ZF¬C, it is possible to prove the negation of some standard facts. Any model of ZF¬C is also a model of ZF, so for each of the following statements, there exists a model of ZF in which that statement is true. In some model, there is a set that can be partitioned into strictly more equivalence classes than the original set has elements, and a function whose domain is strictly smaller than its range. In fact, this is the case in all known models. There is a function f from the real numbers to the real numbers such that f is not continuous at a, but f is sequentially continuous at a, i.e., for any sequence {xn} converging to a, limn f(xn)=f(a). In some model, there is an infinite set of real numbers without a countably infinite subset. In some model, the real numbers are a countable union of countable sets. This does not imply that the real numbers are countable: As pointed out above, to show that a countable union of countable sets is itself countable requires the Axiom of countable choice. In some model, there is a field with no algebraic closure. In all models of ZF¬C there is a vector space with no basis. In some model, there is a vector space with two bases of different cardinalities. In some model there is a free complete boolean algebra on countably many generators. In some model there is a set that cannot be linearly ordered. There exists a model of ZF¬C in which every set in Rn is measurable. Thus it is possible to exclude counterintuitive results like the Banach–Tarski paradox which are provable in ZFC.

Strengthened negations may be compatible with weakened forms of AC. For example, ZF + DC + BP is consistent, if ZF is. It is also consistent with ZF + DC that every set of reals is Lebesgue measurable; however, this consistency result, due to Robert M. Solovay, cannot be proved in ZFC itself, but requires a mild large cardinal assumption (the existence of an inaccessible cardinal). The much stronger axiom of determinacy, or AD, implies that every set of reals is Lebesgue measurable, has the property of Baire, and has the perfect set property (all three of these results are refuted by AC itself). ZF + DC + AD is consistent provided that a sufficiently strong large cardinal axiom is consistent (the existence of infinitely many Woodin cardinals). Quine's system of axiomatic set theory, "New Foundations" (NF), takes its name from the title ("New Foundations for Mathematical Logic") of the 1937 article which introduced it. In the NF axiomatic system, the axiom of choice can be disproved. Statements consistent with the negation of AC There are models of Zermelo-Fraenkel set theory in which the axiom of choice is false. We shall abbreviate "Zermelo-Fraenkel set theory plus the negation of the axiom of choice" by ZF¬C. For certain models of ZF¬C, it is possible to prove the negation of some standard facts. Any model of ZF¬C is also a model of ZF, so for each of the following statements, there exists a model of ZF in which that statement is true. In some model, there is a set that can be partitioned into strictly more equivalence classes than the original set has elements, and a function whose domain is strictly smaller than its range. In fact, this is the case in all known models. There is a function f from the real numbers to the real numbers such that f is not continuous at a, but f is sequentially continuous at a, i.e., for any sequence {xn} converging to a, limn f(xn)=f(a). In some model, there is an infinite set of real numbers without a countably infinite subset. In some model, the real numbers are a countable union of countable sets. This does not imply that the real numbers are countable: As pointed out above, to show that a countable union of countable sets is itself countable requires the Axiom of countable choice. In some model, there is a field with no algebraic closure. In all models of ZF¬C there is a vector space with no basis. In some model, there is a vector space with two bases of different cardinalities. In some model there is a free complete boolean algebra on countably many generators. In some model there is a set that cannot be linearly ordered. There exists a model of ZF¬C in which every set in Rn is measurable. Thus it is possible to exclude counterintuitive results like the Banach–Tarski paradox which are provable in ZFC.

Furthermore, this is possible whilst assuming the Axiom of dependent choice, which is weaker than AC but sufficient to develop most of real analysis. In all models of ZF¬C, the generalized continuum hypothesis does not hold. For proofs, see . Additionally, by imposing definability conditions on sets (in the sense of descriptive set theory) one can often prove restricted versions of the axiom of choice from axioms incompatible with general choice. This appears, for example, in the Moschovakis coding lemma. Axiom of choice in type theory In type theory, a different kind of statement is known as the axiom of choice. This form begins with two types, σ and τ, and a relation R between objects of type σ and objects of type τ. The axiom of choice states that if for each x of type σ there exists a y of type τ such that R(x,y), then there is a function f from objects of type σ to objects of type τ such that R(x,f(x)) holds for all x of type σ: Unlike in set theory, the axiom of choice in type theory is typically stated as an axiom scheme, in which R varies over all formulas or over all formulas of a particular logical form. Quotes This is a joke: although the three are all mathematically equivalent, many mathematicians find the axiom of choice to be intuitive, the well-ordering principle to be counterintuitive, and Zorn's lemma to be too complex for any intuition. The observation here is that one can define a function to select from an infinite number of pairs of shoes by stating for example, to choose a left shoe. Without the axiom of choice, one cannot assert that such a function exists for pairs of socks, because left and right socks are (presumably) indistinguishable. Polish-American mathematician Jan Mycielski relates this anecdote in a 2006 article in the Notices of the AMS. This quote comes from the famous April Fools' Day article in the computer recreations column of the Scientific American, April 1989. Notes References Per Martin-Löf, "100 years of Zermelo's axiom of choice: What was the problem with it? ", in Logicism, Intuitionism, and Formalism: What Has Become of Them?, Sten Lindström, Erik Palmgren, Krister Segerberg, and Viggo Stoltenberg-Hansen, editors (2008). , available as a Dover Publications reprint, 2013, . Herman Rubin, Jean E. Rubin: Equivalents of the axiom of choice. North Holland, 1963. Reissued by Elsevier, April 1970. . Herman Rubin, Jean E. Rubin: Equivalents of the Axiom of Choice II. North Holland/Elsevier, July 1985, . George Tourlakis, Lectures in Logic and Set Theory. Vol. II: Set Theory, Cambridge University Press, 2003. Ernst Zermelo, "Untersuchungen über die Grundlagen der Mengenlehre I," Mathematische Annalen 65: (1908) pp. 261–81. PDF download via digizeitschriften.de Translated in: Jean van Heijenoort, 2002. From Frege to Gödel: A Source Book in Mathematical Logic, 1879–1931. New edition. Harvard University Press. 1904. "Proof that every set can be well-ordered," 139-41. 1908. "Investigations in the foundations of set theory I," 199–215.

Furthermore, this is possible whilst assuming the Axiom of dependent choice, which is weaker than AC but sufficient to develop most of real analysis. In all models of ZF¬C, the generalized continuum hypothesis does not hold. For proofs, see . Additionally, by imposing definability conditions on sets (in the sense of descriptive set theory) one can often prove restricted versions of the axiom of choice from axioms incompatible with general choice. This appears, for example, in the Moschovakis coding lemma. Axiom of choice in type theory In type theory, a different kind of statement is known as the axiom of choice. This form begins with two types, σ and τ, and a relation R between objects of type σ and objects of type τ. The axiom of choice states that if for each x of type σ there exists a y of type τ such that R(x,y), then there is a function f from objects of type σ to objects of type τ such that R(x,f(x)) holds for all x of type σ: Unlike in set theory, the axiom of choice in type theory is typically stated as an axiom scheme, in which R varies over all formulas or over all formulas of a particular logical form. Quotes This is a joke: although the three are all mathematically equivalent, many mathematicians find the axiom of choice to be intuitive, the well-ordering principle to be counterintuitive, and Zorn's lemma to be too complex for any intuition. The observation here is that one can define a function to select from an infinite number of pairs of shoes by stating for example, to choose a left shoe. Without the axiom of choice, one cannot assert that such a function exists for pairs of socks, because left and right socks are (presumably) indistinguishable. Polish-American mathematician Jan Mycielski relates this anecdote in a 2006 article in the Notices of the AMS. This quote comes from the famous April Fools' Day article in the computer recreations column of the Scientific American, April 1989. Notes References Per Martin-Löf, "100 years of Zermelo's axiom of choice: What was the problem with it? ", in Logicism, Intuitionism, and Formalism: What Has Become of Them?, Sten Lindström, Erik Palmgren, Krister Segerberg, and Viggo Stoltenberg-Hansen, editors (2008). , available as a Dover Publications reprint, 2013, . Herman Rubin, Jean E. Rubin: Equivalents of the axiom of choice. North Holland, 1963. Reissued by Elsevier, April 1970. . Herman Rubin, Jean E. Rubin: Equivalents of the Axiom of Choice II. North Holland/Elsevier, July 1985, . George Tourlakis, Lectures in Logic and Set Theory. Vol. II: Set Theory, Cambridge University Press, 2003. Ernst Zermelo, "Untersuchungen über die Grundlagen der Mengenlehre I," Mathematische Annalen 65: (1908) pp. 261–81. PDF download via digizeitschriften.de Translated in: Jean van Heijenoort, 2002. From Frege to Gödel: A Source Book in Mathematical Logic, 1879–1931. New edition. Harvard University Press. 1904. "Proof that every set can be well-ordered," 139-41. 1908. "Investigations in the foundations of set theory I," 199–215.

Furthermore, this is possible whilst assuming the Axiom of dependent choice, which is weaker than AC but sufficient to develop most of real analysis. In all models of ZF¬C, the generalized continuum hypothesis does not hold. For proofs, see . Additionally, by imposing definability conditions on sets (in the sense of descriptive set theory) one can often prove restricted versions of the axiom of choice from axioms incompatible with general choice. This appears, for example, in the Moschovakis coding lemma. Axiom of choice in type theory In type theory, a different kind of statement is known as the axiom of choice. This form begins with two types, σ and τ, and a relation R between objects of type σ and objects of type τ. The axiom of choice states that if for each x of type σ there exists a y of type τ such that R(x,y), then there is a function f from objects of type σ to objects of type τ such that R(x,f(x)) holds for all x of type σ: Unlike in set theory, the axiom of choice in type theory is typically stated as an axiom scheme, in which R varies over all formulas or over all formulas of a particular logical form. Quotes This is a joke: although the three are all mathematically equivalent, many mathematicians find the axiom of choice to be intuitive, the well-ordering principle to be counterintuitive, and Zorn's lemma to be too complex for any intuition. The observation here is that one can define a function to select from an infinite number of pairs of shoes by stating for example, to choose a left shoe. Without the axiom of choice, one cannot assert that such a function exists for pairs of socks, because left and right socks are (presumably) indistinguishable. Polish-American mathematician Jan Mycielski relates this anecdote in a 2006 article in the Notices of the AMS. This quote comes from the famous April Fools' Day article in the computer recreations column of the Scientific American, April 1989. Notes References Per Martin-Löf, "100 years of Zermelo's axiom of choice: What was the problem with it? ", in Logicism, Intuitionism, and Formalism: What Has Become of Them?, Sten Lindström, Erik Palmgren, Krister Segerberg, and Viggo Stoltenberg-Hansen, editors (2008). , available as a Dover Publications reprint, 2013, . Herman Rubin, Jean E. Rubin: Equivalents of the axiom of choice. North Holland, 1963. Reissued by Elsevier, April 1970. . Herman Rubin, Jean E. Rubin: Equivalents of the Axiom of Choice II. North Holland/Elsevier, July 1985, . George Tourlakis, Lectures in Logic and Set Theory. Vol. II: Set Theory, Cambridge University Press, 2003. Ernst Zermelo, "Untersuchungen über die Grundlagen der Mengenlehre I," Mathematische Annalen 65: (1908) pp. 261–81. PDF download via digizeitschriften.de Translated in: Jean van Heijenoort, 2002. From Frege to Gödel: A Source Book in Mathematical Logic, 1879–1931. New edition. Harvard University Press. 1904. "Proof that every set can be well-ordered," 139-41. 1908. "Investigations in the foundations of set theory I," 199–215.

External links Axiom of Choice entry in the Springer Encyclopedia of Mathematics. Axiom of Choice and Its Equivalents entry at ProvenMath. Includes formal statement of the Axiom of Choice, Hausdorff's Maximal Principle, Zorn's Lemma and formal proofs of their equivalence down to the finest detail. Consequences of the Axiom of Choice, based on the book by Paul Howard and Jean Rubin. .

External links Axiom of Choice entry in the Springer Encyclopedia of Mathematics. Axiom of Choice and Its Equivalents entry at ProvenMath. Includes formal statement of the Axiom of Choice, Hausdorff's Maximal Principle, Zorn's Lemma and formal proofs of their equivalence down to the finest detail. Consequences of the Axiom of Choice, based on the book by Paul Howard and Jean Rubin. .

External links Axiom of Choice entry in the Springer Encyclopedia of Mathematics. Axiom of Choice and Its Equivalents entry at ProvenMath. Includes formal statement of the Axiom of Choice, Hausdorff's Maximal Principle, Zorn's Lemma and formal proofs of their equivalence down to the finest detail. Consequences of the Axiom of Choice, based on the book by Paul Howard and Jean Rubin. .

Attila Attila (, ; ), frequently called Attila the Hun, was the ruler of the Huns from 434 until his death in March 453. He was also the leader of a tribal empire consisting of Huns, Ostrogoths, Alans and Bulgars, among others, in Central and Eastern Europe. He is also considered one of the most powerful rulers in world history. During his reign, he was one of the most feared enemies of the Western and Eastern Roman Empires. He crossed the Danube twice and plundered the Balkans, but was unable to take Constantinople. His unsuccessful campaign in Persia was followed in 441 by an invasion of the Eastern Roman (Byzantine) Empire, the success of which emboldened Attila to invade the West. He also attempted to conquer Roman Gaul (modern France), crossing the Rhine in 451 and marching as far as Aurelianum (Orléans) before being stopped in the Battle of the Catalaunian Plains. He subsequently invaded Italy, devastating the northern provinces, but was unable to take Rome. He planned for further campaigns against the Romans, but died in 453. After Attila's death, his close adviser, Ardaric of the Gepids, led a Germanic revolt against Hunnic rule, after which the Hunnic Empire quickly collapsed. Attila would live on as a character in Germanic heroic legend. Appearance and character There is no surviving first-hand account of Attila's appearance, but there is a possible second-hand source provided by Jordanes, who cites a description given by Priscus. Some scholars have suggested that this description is typically East Asian, because it has all the combined features that fit the physical type of people from Eastern Asia, and Attila's ancestors may have come from there. Other historians also believed that the same descriptions were also evident on some Scythian people. Etymology Many scholars have argued that the name Attila derives from East Germanic origin; Attila is formed from the Gothic or Gepidic noun atta, "father", by means of the diminutive suffix -ila, meaning "little father", compare Wulfila from wulfs "wolf" and -ila, i.e. "little wolf". The Gothic etymology was first proposed by Jacob and Wilhelm Grimm in the early 19th century. Maenchen-Helfen notes that this derivation of the name "offers neither phonetic nor semantic difficulties", and Gerhard Doerfer notes that the name is simply correct Gothic. Alexander Savelyev and Choongwon Jeong (2020) similarly state that Attila's name "must have been Gothic in origin." The name has sometimes been interpreted as a Germanization of a name of Hunnic origin. Other scholars have argued for a Turkic origin of the name. Omeljan Pritsak considered Ἀττίλα (Attíla) a composite title-name which derived from Turkic *es (great, old), and *til (sea, ocean), and the suffix /a/. The stressed back syllabic til assimilated the front member es, so it became *as. It is a nominative, in form of attíl- (< *etsíl < *es tíl) with the meaning "the oceanic, universal ruler". J. J. Mikkola connected it with Turkic āt (name, fame).

Attila Attila (, ; ), frequently called Attila the Hun, was the ruler of the Huns from 434 until his death in March 453. He was also the leader of a tribal empire consisting of Huns, Ostrogoths, Alans and Bulgars, among others, in Central and Eastern Europe. He is also considered one of the most powerful rulers in world history. During his reign, he was one of the most feared enemies of the Western and Eastern Roman Empires. He crossed the Danube twice and plundered the Balkans, but was unable to take Constantinople. His unsuccessful campaign in Persia was followed in 441 by an invasion of the Eastern Roman (Byzantine) Empire, the success of which emboldened Attila to invade the West. He also attempted to conquer Roman Gaul (modern France), crossing the Rhine in 451 and marching as far as Aurelianum (Orléans) before being stopped in the Battle of the Catalaunian Plains. He subsequently invaded Italy, devastating the northern provinces, but was unable to take Rome. He planned for further campaigns against the Romans, but died in 453. After Attila's death, his close adviser, Ardaric of the Gepids, led a Germanic revolt against Hunnic rule, after which the Hunnic Empire quickly collapsed. Attila would live on as a character in Germanic heroic legend. Appearance and character There is no surviving first-hand account of Attila's appearance, but there is a possible second-hand source provided by Jordanes, who cites a description given by Priscus. Some scholars have suggested that this description is typically East Asian, because it has all the combined features that fit the physical type of people from Eastern Asia, and Attila's ancestors may have come from there. Other historians also believed that the same descriptions were also evident on some Scythian people. Etymology Many scholars have argued that the name Attila derives from East Germanic origin; Attila is formed from the Gothic or Gepidic noun atta, "father", by means of the diminutive suffix -ila, meaning "little father", compare Wulfila from wulfs "wolf" and -ila, i.e. "little wolf". The Gothic etymology was first proposed by Jacob and Wilhelm Grimm in the early 19th century. Maenchen-Helfen notes that this derivation of the name "offers neither phonetic nor semantic difficulties", and Gerhard Doerfer notes that the name is simply correct Gothic. Alexander Savelyev and Choongwon Jeong (2020) similarly state that Attila's name "must have been Gothic in origin." The name has sometimes been interpreted as a Germanization of a name of Hunnic origin. Other scholars have argued for a Turkic origin of the name. Omeljan Pritsak considered Ἀττίλα (Attíla) a composite title-name which derived from Turkic *es (great, old), and *til (sea, ocean), and the suffix /a/. The stressed back syllabic til assimilated the front member es, so it became *as. It is a nominative, in form of attíl- (< *etsíl < *es tíl) with the meaning "the oceanic, universal ruler". J. J. Mikkola connected it with Turkic āt (name, fame).

As another Turkic possibility, H. Althof (1902) considered it was related to Turkish atli (horseman, cavalier), or Turkish at (horse) and dil (tongue). Maenchen-Helfen argues that Pritsak's derivation is "ingenious but for many reasons unacceptable", while dismissing Mikkola's as "too farfetched to be taken seriously". M. Snædal similarly notes that none of these proposals has achieved wide acceptance. Criticizing the proposals of finding Turkic or other etymologies for Attila, Doerfer notes that King George VI of the United Kingdom had a name of Greek origin, and Süleyman the Magnificent had a name of Arabic origin, yet that does not make them Greeks or Arabs: it is therefore plausible that Attila would have a name not of Hunnic origin. Historian Hyun Jin Kim, however, has argued that the Turkic etymology is "more probable". M. Snædal, in a paper that rejects the Germanic derivation but notes the problems with the existing proposed Turkic etymologies, argues that Attila's name could have originated from Turkic-Mongolian at, adyy/agta (gelding, warhorse) and Turkish atli (horseman, cavalier), meaning "possessor of geldings, provider of warhorses". Historiography and source The historiography of Attila is faced with a major challenge, in that the only complete sources are written in Greek and Latin by the enemies of the Huns. Attila's contemporaries left many testimonials of his life, but only fragments of these remain. Priscus was a Byzantine diplomat and historian who wrote in Greek, and he was both a witness to and an actor in the story of Attila, as a member of the embassy of Theodosius II at the Hunnic court in 449. He was obviously biased by his political position, but his writing is a major source for information on the life of Attila, and he is the only person known to have recorded a physical description of him. He wrote a history of the late Roman Empire in eight books covering the period from 430 to 476. Only fragments of Priscus' work remain. It was cited extensively by 6th-century historians Procopius and Jordanes, especially in Jordanes' The Origin and Deeds of the Goths, which contains numerous references to Priscus's history, and it is also an important source of information about the Hunnic empire and its neighbors. He describes the legacy of Attila and the Hunnic people for a century after Attila's death. Marcellinus Comes, a chancellor of Justinian during the same era, also describes the relations between the Huns and the Eastern Roman Empire. Numerous ecclesiastical writings contain useful but scattered information, sometimes difficult to authenticate or distorted by years of hand-copying between the 6th and 17th centuries. The Hungarian writers of the 12th century wished to portray the Huns in a positive light as their glorious ancestors, and so repressed certain historical elements and added their own legends. The literature and knowledge of the Huns themselves was transmitted orally, by means of epics and chanted poems that were handed down from generation to generation.

As another Turkic possibility, H. Althof (1902) considered it was related to Turkish atli (horseman, cavalier), or Turkish at (horse) and dil (tongue). Maenchen-Helfen argues that Pritsak's derivation is "ingenious but for many reasons unacceptable", while dismissing Mikkola's as "too farfetched to be taken seriously". M. Snædal similarly notes that none of these proposals has achieved wide acceptance. Criticizing the proposals of finding Turkic or other etymologies for Attila, Doerfer notes that King George VI of the United Kingdom had a name of Greek origin, and Süleyman the Magnificent had a name of Arabic origin, yet that does not make them Greeks or Arabs: it is therefore plausible that Attila would have a name not of Hunnic origin. Historian Hyun Jin Kim, however, has argued that the Turkic etymology is "more probable". M. Snædal, in a paper that rejects the Germanic derivation but notes the problems with the existing proposed Turkic etymologies, argues that Attila's name could have originated from Turkic-Mongolian at, adyy/agta (gelding, warhorse) and Turkish atli (horseman, cavalier), meaning "possessor of geldings, provider of warhorses". Historiography and source The historiography of Attila is faced with a major challenge, in that the only complete sources are written in Greek and Latin by the enemies of the Huns. Attila's contemporaries left many testimonials of his life, but only fragments of these remain. Priscus was a Byzantine diplomat and historian who wrote in Greek, and he was both a witness to and an actor in the story of Attila, as a member of the embassy of Theodosius II at the Hunnic court in 449. He was obviously biased by his political position, but his writing is a major source for information on the life of Attila, and he is the only person known to have recorded a physical description of him. He wrote a history of the late Roman Empire in eight books covering the period from 430 to 476. Only fragments of Priscus' work remain. It was cited extensively by 6th-century historians Procopius and Jordanes, especially in Jordanes' The Origin and Deeds of the Goths, which contains numerous references to Priscus's history, and it is also an important source of information about the Hunnic empire and its neighbors. He describes the legacy of Attila and the Hunnic people for a century after Attila's death. Marcellinus Comes, a chancellor of Justinian during the same era, also describes the relations between the Huns and the Eastern Roman Empire. Numerous ecclesiastical writings contain useful but scattered information, sometimes difficult to authenticate or distorted by years of hand-copying between the 6th and 17th centuries. The Hungarian writers of the 12th century wished to portray the Huns in a positive light as their glorious ancestors, and so repressed certain historical elements and added their own legends. The literature and knowledge of the Huns themselves was transmitted orally, by means of epics and chanted poems that were handed down from generation to generation.

As another Turkic possibility, H. Althof (1902) considered it was related to Turkish atli (horseman, cavalier), or Turkish at (horse) and dil (tongue). Maenchen-Helfen argues that Pritsak's derivation is "ingenious but for many reasons unacceptable", while dismissing Mikkola's as "too farfetched to be taken seriously". M. Snædal similarly notes that none of these proposals has achieved wide acceptance. Criticizing the proposals of finding Turkic or other etymologies for Attila, Doerfer notes that King George VI of the United Kingdom had a name of Greek origin, and Süleyman the Magnificent had a name of Arabic origin, yet that does not make them Greeks or Arabs: it is therefore plausible that Attila would have a name not of Hunnic origin. Historian Hyun Jin Kim, however, has argued that the Turkic etymology is "more probable". M. Snædal, in a paper that rejects the Germanic derivation but notes the problems with the existing proposed Turkic etymologies, argues that Attila's name could have originated from Turkic-Mongolian at, adyy/agta (gelding, warhorse) and Turkish atli (horseman, cavalier), meaning "possessor of geldings, provider of warhorses". Historiography and source The historiography of Attila is faced with a major challenge, in that the only complete sources are written in Greek and Latin by the enemies of the Huns. Attila's contemporaries left many testimonials of his life, but only fragments of these remain. Priscus was a Byzantine diplomat and historian who wrote in Greek, and he was both a witness to and an actor in the story of Attila, as a member of the embassy of Theodosius II at the Hunnic court in 449. He was obviously biased by his political position, but his writing is a major source for information on the life of Attila, and he is the only person known to have recorded a physical description of him. He wrote a history of the late Roman Empire in eight books covering the period from 430 to 476. Only fragments of Priscus' work remain. It was cited extensively by 6th-century historians Procopius and Jordanes, especially in Jordanes' The Origin and Deeds of the Goths, which contains numerous references to Priscus's history, and it is also an important source of information about the Hunnic empire and its neighbors. He describes the legacy of Attila and the Hunnic people for a century after Attila's death. Marcellinus Comes, a chancellor of Justinian during the same era, also describes the relations between the Huns and the Eastern Roman Empire. Numerous ecclesiastical writings contain useful but scattered information, sometimes difficult to authenticate or distorted by years of hand-copying between the 6th and 17th centuries. The Hungarian writers of the 12th century wished to portray the Huns in a positive light as their glorious ancestors, and so repressed certain historical elements and added their own legends. The literature and knowledge of the Huns themselves was transmitted orally, by means of epics and chanted poems that were handed down from generation to generation.

Indirectly, fragments of this oral history have reached us via the literature of the Scandinavians and Germans, neighbors of the Huns who wrote between the 9th and 13th centuries. Attila is a major character in many Medieval epics, such as the Nibelungenlied, as well as various Eddas and sagas. Archaeological investigation has uncovered some details about the lifestyle, art, and warfare of the Huns. There are a few traces of battles and sieges, but the tomb of Attila and the location of his capital have not yet been found. Early life and background The Huns were a group of Eurasian nomads, appearing from east of the Volga, who migrated further into Western Europe c. 370 and built up an enormous empire there. Their main military techniques were mounted archery and javelin throwing. They were in the process of developing settlements before their arrival in Western Europe, yet the Huns were a society of pastoral warriors whose primary form of nourishment was meat and milk, products of their herds. The origin and language of the Huns has been the subject of debate for centuries. According to some theories, their leaders at least may have spoken a Turkic language, perhaps closest to the modern Chuvash language. One scholar suggests a relationship to Yeniseian. According to the Encyclopedia of European Peoples, "the Huns, especially those who migrated to the west, may have been a combination of central Asian Turkic, Mongolic, and Ugric stocks". Attila's father Mundzuk was the brother of kings Octar and Ruga, who reigned jointly over the Hunnic empire in the early fifth century. This form of diarchy was recurrent with the Huns, but historians are unsure whether it was institutionalized, merely customary, or an occasional occurrence. His family was from a noble lineage, but it is uncertain whether they constituted a royal dynasty. Attila's birthdate is debated; journalist Éric Deschodt and writer Herman Schreiber have proposed a date of 395. However, historian Iaroslav Lebedynsky and archaeologist Katalin Escher prefer an estimate between the 390s and the first decade of the fifth century. Several historians have proposed 406 as the date. Attila grew up in a rapidly changing world. His people were nomads who had only recently arrived in Europe. They crossed the Volga river during the 370s and annexed the territory of the Alans, then attacked the Gothic kingdom between the Carpathian mountains and the Danube. They were a very mobile people, whose mounted archers had acquired a reputation for invincibility, and the Germanic tribes seemed unable to withstand them. Vast populations fleeing the Huns moved from Germania into the Roman Empire in the west and south, and along the banks of the Rhine and Danube. In 376, the Goths crossed the Danube, initially submitting to the Romans but soon rebelling against Emperor Valens, whom they killed in the Battle of Adrianople in 378. Large numbers of Vandals, Alans, Suebi, and Burgundians crossed the Rhine and invaded Roman Gaul on December 31, 406 to escape the Huns.

Indirectly, fragments of this oral history have reached us via the literature of the Scandinavians and Germans, neighbors of the Huns who wrote between the 9th and 13th centuries. Attila is a major character in many Medieval epics, such as the Nibelungenlied, as well as various Eddas and sagas. Archaeological investigation has uncovered some details about the lifestyle, art, and warfare of the Huns. There are a few traces of battles and sieges, but the tomb of Attila and the location of his capital have not yet been found. Early life and background The Huns were a group of Eurasian nomads, appearing from east of the Volga, who migrated further into Western Europe c. 370 and built up an enormous empire there. Their main military techniques were mounted archery and javelin throwing. They were in the process of developing settlements before their arrival in Western Europe, yet the Huns were a society of pastoral warriors whose primary form of nourishment was meat and milk, products of their herds. The origin and language of the Huns has been the subject of debate for centuries. According to some theories, their leaders at least may have spoken a Turkic language, perhaps closest to the modern Chuvash language. One scholar suggests a relationship to Yeniseian. According to the Encyclopedia of European Peoples, "the Huns, especially those who migrated to the west, may have been a combination of central Asian Turkic, Mongolic, and Ugric stocks". Attila's father Mundzuk was the brother of kings Octar and Ruga, who reigned jointly over the Hunnic empire in the early fifth century. This form of diarchy was recurrent with the Huns, but historians are unsure whether it was institutionalized, merely customary, or an occasional occurrence. His family was from a noble lineage, but it is uncertain whether they constituted a royal dynasty. Attila's birthdate is debated; journalist Éric Deschodt and writer Herman Schreiber have proposed a date of 395. However, historian Iaroslav Lebedynsky and archaeologist Katalin Escher prefer an estimate between the 390s and the first decade of the fifth century. Several historians have proposed 406 as the date. Attila grew up in a rapidly changing world. His people were nomads who had only recently arrived in Europe. They crossed the Volga river during the 370s and annexed the territory of the Alans, then attacked the Gothic kingdom between the Carpathian mountains and the Danube. They were a very mobile people, whose mounted archers had acquired a reputation for invincibility, and the Germanic tribes seemed unable to withstand them. Vast populations fleeing the Huns moved from Germania into the Roman Empire in the west and south, and along the banks of the Rhine and Danube. In 376, the Goths crossed the Danube, initially submitting to the Romans but soon rebelling against Emperor Valens, whom they killed in the Battle of Adrianople in 378. Large numbers of Vandals, Alans, Suebi, and Burgundians crossed the Rhine and invaded Roman Gaul on December 31, 406 to escape the Huns.

Indirectly, fragments of this oral history have reached us via the literature of the Scandinavians and Germans, neighbors of the Huns who wrote between the 9th and 13th centuries. Attila is a major character in many Medieval epics, such as the Nibelungenlied, as well as various Eddas and sagas. Archaeological investigation has uncovered some details about the lifestyle, art, and warfare of the Huns. There are a few traces of battles and sieges, but the tomb of Attila and the location of his capital have not yet been found. Early life and background The Huns were a group of Eurasian nomads, appearing from east of the Volga, who migrated further into Western Europe c. 370 and built up an enormous empire there. Their main military techniques were mounted archery and javelin throwing. They were in the process of developing settlements before their arrival in Western Europe, yet the Huns were a society of pastoral warriors whose primary form of nourishment was meat and milk, products of their herds. The origin and language of the Huns has been the subject of debate for centuries. According to some theories, their leaders at least may have spoken a Turkic language, perhaps closest to the modern Chuvash language. One scholar suggests a relationship to Yeniseian. According to the Encyclopedia of European Peoples, "the Huns, especially those who migrated to the west, may have been a combination of central Asian Turkic, Mongolic, and Ugric stocks". Attila's father Mundzuk was the brother of kings Octar and Ruga, who reigned jointly over the Hunnic empire in the early fifth century. This form of diarchy was recurrent with the Huns, but historians are unsure whether it was institutionalized, merely customary, or an occasional occurrence. His family was from a noble lineage, but it is uncertain whether they constituted a royal dynasty. Attila's birthdate is debated; journalist Éric Deschodt and writer Herman Schreiber have proposed a date of 395. However, historian Iaroslav Lebedynsky and archaeologist Katalin Escher prefer an estimate between the 390s and the first decade of the fifth century. Several historians have proposed 406 as the date. Attila grew up in a rapidly changing world. His people were nomads who had only recently arrived in Europe. They crossed the Volga river during the 370s and annexed the territory of the Alans, then attacked the Gothic kingdom between the Carpathian mountains and the Danube. They were a very mobile people, whose mounted archers had acquired a reputation for invincibility, and the Germanic tribes seemed unable to withstand them. Vast populations fleeing the Huns moved from Germania into the Roman Empire in the west and south, and along the banks of the Rhine and Danube. In 376, the Goths crossed the Danube, initially submitting to the Romans but soon rebelling against Emperor Valens, whom they killed in the Battle of Adrianople in 378. Large numbers of Vandals, Alans, Suebi, and Burgundians crossed the Rhine and invaded Roman Gaul on December 31, 406 to escape the Huns.

The Roman Empire had been split in half since 395 and was ruled by two distinct governments, one based in Ravenna in the West, and the other in Constantinople in the East. The Roman Emperors, both East and West, were generally from the Theodosian family in Attila's lifetime (despite several power struggles). The Huns dominated a vast territory with nebulous borders determined by the will of a constellation of ethnically varied peoples. Some were assimilated to Hunnic nationality, whereas many retained their own identities and rulers but acknowledged the suzerainty of the king of the Huns. The Huns were also the indirect source of many of the Romans' problems, driving various Germanic tribes into Roman territory, yet relations between the two empires were cordial: the Romans used the Huns as mercenaries against the Germans and even in their civil wars. Thus, the usurper Joannes was able to recruit thousands of Huns for his army against Valentinian III in 424. It was Aëtius, later Patrician of the West, who managed this operation. They exchanged ambassadors and hostages, the alliance lasting from 401 to 450 and permitting the Romans numerous military victories. The Huns considered the Romans to be paying them tribute, whereas the Romans preferred to view this as payment for services rendered. The Huns had become a great power by the time that Attila came of age during the reign of his uncle Ruga, to the point that Nestorius, the Patriarch of Constantinople, deplored the situation with these words: "They have become both masters and slaves of the Romans". Campaigns against the Eastern Roman Empire The death of Rugila (also known as Rua or Ruga) in 434 left the sons of his brother Mundzuk, Attila and Bleda, in control of the united Hun tribes. At the time of the two brothers' accession, the Hun tribes were bargaining with Eastern Roman Emperor Theodosius II's envoys for the return of several renegades who had taken refuge within the Eastern Roman Empire, possibly Hunnic nobles who disagreed with the brothers' assumption of leadership. The following year, Attila and Bleda met with the imperial legation at Margus (Požarevac), all seated on horseback in the Hunnic manner, and negotiated an advantageous treaty. The Romans agreed to return the fugitives, to double their previous tribute of 350 Roman pounds (c. 115 kg) of gold, to open their markets to Hunnish traders, and to pay a ransom of eight solidi for each Roman taken prisoner by the Huns. The Huns, satisfied with the treaty, decamped from the Roman Empire and returned to their home in the Great Hungarian Plain, perhaps to consolidate and strengthen their empire. Theodosius used this opportunity to strengthen the walls of Constantinople, building the city's first sea wall, and to build up his border defenses along the Danube. The Huns remained out of Roman sight for the next few years while they invaded the Sassanid Empire.

The Roman Empire had been split in half since 395 and was ruled by two distinct governments, one based in Ravenna in the West, and the other in Constantinople in the East. The Roman Emperors, both East and West, were generally from the Theodosian family in Attila's lifetime (despite several power struggles). The Huns dominated a vast territory with nebulous borders determined by the will of a constellation of ethnically varied peoples. Some were assimilated to Hunnic nationality, whereas many retained their own identities and rulers but acknowledged the suzerainty of the king of the Huns. The Huns were also the indirect source of many of the Romans' problems, driving various Germanic tribes into Roman territory, yet relations between the two empires were cordial: the Romans used the Huns as mercenaries against the Germans and even in their civil wars. Thus, the usurper Joannes was able to recruit thousands of Huns for his army against Valentinian III in 424. It was Aëtius, later Patrician of the West, who managed this operation. They exchanged ambassadors and hostages, the alliance lasting from 401 to 450 and permitting the Romans numerous military victories. The Huns considered the Romans to be paying them tribute, whereas the Romans preferred to view this as payment for services rendered. The Huns had become a great power by the time that Attila came of age during the reign of his uncle Ruga, to the point that Nestorius, the Patriarch of Constantinople, deplored the situation with these words: "They have become both masters and slaves of the Romans". Campaigns against the Eastern Roman Empire The death of Rugila (also known as Rua or Ruga) in 434 left the sons of his brother Mundzuk, Attila and Bleda, in control of the united Hun tribes. At the time of the two brothers' accession, the Hun tribes were bargaining with Eastern Roman Emperor Theodosius II's envoys for the return of several renegades who had taken refuge within the Eastern Roman Empire, possibly Hunnic nobles who disagreed with the brothers' assumption of leadership. The following year, Attila and Bleda met with the imperial legation at Margus (Požarevac), all seated on horseback in the Hunnic manner, and negotiated an advantageous treaty. The Romans agreed to return the fugitives, to double their previous tribute of 350 Roman pounds (c. 115 kg) of gold, to open their markets to Hunnish traders, and to pay a ransom of eight solidi for each Roman taken prisoner by the Huns. The Huns, satisfied with the treaty, decamped from the Roman Empire and returned to their home in the Great Hungarian Plain, perhaps to consolidate and strengthen their empire. Theodosius used this opportunity to strengthen the walls of Constantinople, building the city's first sea wall, and to build up his border defenses along the Danube. The Huns remained out of Roman sight for the next few years while they invaded the Sassanid Empire.

The Roman Empire had been split in half since 395 and was ruled by two distinct governments, one based in Ravenna in the West, and the other in Constantinople in the East. The Roman Emperors, both East and West, were generally from the Theodosian family in Attila's lifetime (despite several power struggles). The Huns dominated a vast territory with nebulous borders determined by the will of a constellation of ethnically varied peoples. Some were assimilated to Hunnic nationality, whereas many retained their own identities and rulers but acknowledged the suzerainty of the king of the Huns. The Huns were also the indirect source of many of the Romans' problems, driving various Germanic tribes into Roman territory, yet relations between the two empires were cordial: the Romans used the Huns as mercenaries against the Germans and even in their civil wars. Thus, the usurper Joannes was able to recruit thousands of Huns for his army against Valentinian III in 424. It was Aëtius, later Patrician of the West, who managed this operation. They exchanged ambassadors and hostages, the alliance lasting from 401 to 450 and permitting the Romans numerous military victories. The Huns considered the Romans to be paying them tribute, whereas the Romans preferred to view this as payment for services rendered. The Huns had become a great power by the time that Attila came of age during the reign of his uncle Ruga, to the point that Nestorius, the Patriarch of Constantinople, deplored the situation with these words: "They have become both masters and slaves of the Romans". Campaigns against the Eastern Roman Empire The death of Rugila (also known as Rua or Ruga) in 434 left the sons of his brother Mundzuk, Attila and Bleda, in control of the united Hun tribes. At the time of the two brothers' accession, the Hun tribes were bargaining with Eastern Roman Emperor Theodosius II's envoys for the return of several renegades who had taken refuge within the Eastern Roman Empire, possibly Hunnic nobles who disagreed with the brothers' assumption of leadership. The following year, Attila and Bleda met with the imperial legation at Margus (Požarevac), all seated on horseback in the Hunnic manner, and negotiated an advantageous treaty. The Romans agreed to return the fugitives, to double their previous tribute of 350 Roman pounds (c. 115 kg) of gold, to open their markets to Hunnish traders, and to pay a ransom of eight solidi for each Roman taken prisoner by the Huns. The Huns, satisfied with the treaty, decamped from the Roman Empire and returned to their home in the Great Hungarian Plain, perhaps to consolidate and strengthen their empire. Theodosius used this opportunity to strengthen the walls of Constantinople, building the city's first sea wall, and to build up his border defenses along the Danube. The Huns remained out of Roman sight for the next few years while they invaded the Sassanid Empire.

They were defeated in Armenia by the Sassanids, abandoned their invasion, and turned their attentions back to Europe. In 440, they reappeared in force on the borders of the Roman Empire, attacking the merchants at the market on the north bank of the Danube that had been established by the treaty of 435. Crossing the Danube, they laid waste to the cities of Illyricum and forts on the river, including (according to Priscus) Viminacium, a city of Moesia. Their advance began at Margus, where they demanded that the Romans turn over a bishop who had retained property that Attila regarded as his. While the Romans discussed the bishop's fate, he slipped away secretly to the Huns and betrayed the city to them. While the Huns attacked city-states along the Danube, the Vandals (led by Geiseric) captured the Western Roman province of Africa and its capital of Carthage. Africa was the richest province of the Western Empire and a main source of food for Rome. The Sassanid Shah Yazdegerd II invaded Armenia in 441. The Romans stripped the Balkan area of forces, sending them to Sicily in order to mount an expedition against the Vandals in Africa. This left Attila and Bleda a clear path through Illyricum into the Balkans, which they invaded in 441. The Hunnish army sacked Margus and Viminacium, and then took Singidunum (Belgrade) and Sirmium. During 442, Theodosius recalled his troops from Sicily and ordered a large issue of new coins to finance operations against the Huns. He believed that he could defeat the Huns and refused the Hunnish kings' demands. Attila responded with a campaign in 443. For the first time (as far as the Romans knew) his forces were equipped with battering rams and rolling siege towers, with which they successfully assaulted the military centers of Ratiara and Naissus (Niš) and massacred the inhabitants. Priscus said "When we arrived at Naissus we found the city deserted, as though it had been sacked; only a few sick persons lay in the churches. We halted at a short distance from the river, in an open space, for all the ground adjacent to the bank was full of the bones of men slain in war." Advancing along the Nišava River, the Huns next took Serdica (Sofia), Philippopolis (Plovdiv), and Arcadiopolis (Lüleburgaz). They encountered and destroyed a Roman army outside Constantinople but were stopped by the double walls of the Eastern capital. They defeated a second army near Callipolis (Gelibolu). Theodosius, unable to make effective armed resistance, admitted defeat, sending the Magister militum per Orientem Anatolius to negotiate peace terms. The terms were harsher than the previous treaty: the Emperor agreed to hand over 6,000 Roman pounds (c. 2000 kg) of gold as punishment for having disobeyed the terms of the treaty during the invasion; the yearly tribute was tripled, rising to 2,100 Roman pounds (c. 700 kg) in gold; and the ransom for each Roman prisoner rose to 12 solidi.

They were defeated in Armenia by the Sassanids, abandoned their invasion, and turned their attentions back to Europe. In 440, they reappeared in force on the borders of the Roman Empire, attacking the merchants at the market on the north bank of the Danube that had been established by the treaty of 435. Crossing the Danube, they laid waste to the cities of Illyricum and forts on the river, including (according to Priscus) Viminacium, a city of Moesia. Their advance began at Margus, where they demanded that the Romans turn over a bishop who had retained property that Attila regarded as his. While the Romans discussed the bishop's fate, he slipped away secretly to the Huns and betrayed the city to them. While the Huns attacked city-states along the Danube, the Vandals (led by Geiseric) captured the Western Roman province of Africa and its capital of Carthage. Africa was the richest province of the Western Empire and a main source of food for Rome. The Sassanid Shah Yazdegerd II invaded Armenia in 441. The Romans stripped the Balkan area of forces, sending them to Sicily in order to mount an expedition against the Vandals in Africa. This left Attila and Bleda a clear path through Illyricum into the Balkans, which they invaded in 441. The Hunnish army sacked Margus and Viminacium, and then took Singidunum (Belgrade) and Sirmium. During 442, Theodosius recalled his troops from Sicily and ordered a large issue of new coins to finance operations against the Huns. He believed that he could defeat the Huns and refused the Hunnish kings' demands. Attila responded with a campaign in 443. For the first time (as far as the Romans knew) his forces were equipped with battering rams and rolling siege towers, with which they successfully assaulted the military centers of Ratiara and Naissus (Niš) and massacred the inhabitants. Priscus said "When we arrived at Naissus we found the city deserted, as though it had been sacked; only a few sick persons lay in the churches. We halted at a short distance from the river, in an open space, for all the ground adjacent to the bank was full of the bones of men slain in war." Advancing along the Nišava River, the Huns next took Serdica (Sofia), Philippopolis (Plovdiv), and Arcadiopolis (Lüleburgaz). They encountered and destroyed a Roman army outside Constantinople but were stopped by the double walls of the Eastern capital. They defeated a second army near Callipolis (Gelibolu). Theodosius, unable to make effective armed resistance, admitted defeat, sending the Magister militum per Orientem Anatolius to negotiate peace terms. The terms were harsher than the previous treaty: the Emperor agreed to hand over 6,000 Roman pounds (c. 2000 kg) of gold as punishment for having disobeyed the terms of the treaty during the invasion; the yearly tribute was tripled, rising to 2,100 Roman pounds (c. 700 kg) in gold; and the ransom for each Roman prisoner rose to 12 solidi.

They were defeated in Armenia by the Sassanids, abandoned their invasion, and turned their attentions back to Europe. In 440, they reappeared in force on the borders of the Roman Empire, attacking the merchants at the market on the north bank of the Danube that had been established by the treaty of 435. Crossing the Danube, they laid waste to the cities of Illyricum and forts on the river, including (according to Priscus) Viminacium, a city of Moesia. Their advance began at Margus, where they demanded that the Romans turn over a bishop who had retained property that Attila regarded as his. While the Romans discussed the bishop's fate, he slipped away secretly to the Huns and betrayed the city to them. While the Huns attacked city-states along the Danube, the Vandals (led by Geiseric) captured the Western Roman province of Africa and its capital of Carthage. Africa was the richest province of the Western Empire and a main source of food for Rome. The Sassanid Shah Yazdegerd II invaded Armenia in 441. The Romans stripped the Balkan area of forces, sending them to Sicily in order to mount an expedition against the Vandals in Africa. This left Attila and Bleda a clear path through Illyricum into the Balkans, which they invaded in 441. The Hunnish army sacked Margus and Viminacium, and then took Singidunum (Belgrade) and Sirmium. During 442, Theodosius recalled his troops from Sicily and ordered a large issue of new coins to finance operations against the Huns. He believed that he could defeat the Huns and refused the Hunnish kings' demands. Attila responded with a campaign in 443. For the first time (as far as the Romans knew) his forces were equipped with battering rams and rolling siege towers, with which they successfully assaulted the military centers of Ratiara and Naissus (Niš) and massacred the inhabitants. Priscus said "When we arrived at Naissus we found the city deserted, as though it had been sacked; only a few sick persons lay in the churches. We halted at a short distance from the river, in an open space, for all the ground adjacent to the bank was full of the bones of men slain in war." Advancing along the Nišava River, the Huns next took Serdica (Sofia), Philippopolis (Plovdiv), and Arcadiopolis (Lüleburgaz). They encountered and destroyed a Roman army outside Constantinople but were stopped by the double walls of the Eastern capital. They defeated a second army near Callipolis (Gelibolu). Theodosius, unable to make effective armed resistance, admitted defeat, sending the Magister militum per Orientem Anatolius to negotiate peace terms. The terms were harsher than the previous treaty: the Emperor agreed to hand over 6,000 Roman pounds (c. 2000 kg) of gold as punishment for having disobeyed the terms of the treaty during the invasion; the yearly tribute was tripled, rising to 2,100 Roman pounds (c. 700 kg) in gold; and the ransom for each Roman prisoner rose to 12 solidi.

Their demands were met for a time, and the Hun kings withdrew into the interior of their empire. Bleda died following the Huns' withdrawal from Byzantium (probably around 445). Attila then took the throne for himself, becoming the sole ruler of the Huns. Solitary kingship In 447, Attila again rode south into the Eastern Roman Empire through Moesia. The Roman army, under Gothic magister militum Arnegisclus, met him in the Battle of the Utus and was defeated, though not without inflicting heavy losses. The Huns were left unopposed and rampaged through the Balkans as far as Thermopylae. Constantinople itself was saved by the Isaurian troops of magister militum per Orientem Zeno and protected by the intervention of prefect Constantinus, who organized the reconstruction of the walls that had been previously damaged by earthquakes and, in some places, to construct a new line of fortification in front of the old. Callinicus, in his Life of Saint Hypatius, wrote: In the west In 450, Attila proclaimed his intent to attack the Visigoth kingdom of Toulouse by making an alliance with Emperor Valentinian III. He had previously been on good terms with the Western Roman Empire and its influential general Flavius Aëtius. Aëtius had spent a brief exile among the Huns in 433, and the troops that Attila provided against the Goths and Bagaudae had helped earn him the largely honorary title of magister militum in the west. The gifts and diplomatic efforts of Geiseric, who opposed and feared the Visigoths, may also have influenced Attila's plans. However, Valentinian's sister was Honoria, who had sent the Hunnish king a plea for help—and her engagement ring—in order to escape her forced betrothal to a Roman senator in the spring of 450. Honoria may not have intended a proposal of marriage, but Attila chose to interpret her message as such. He accepted, asking for half of the western Empire as dowry. When Valentinian discovered the plan, only the influence of his mother Galla Placidia convinced him to exile Honoria, rather than killing her. He also wrote to Attila, strenuously denying the legitimacy of the supposed marriage proposal. Attila sent an emissary to Ravenna to proclaim that Honoria was innocent, that the proposal had been legitimate, and that he would come to claim what was rightfully his. Attila interfered in a succession struggle after the death of a Frankish ruler. Attila supported the elder son, while Aëtius supported the younger. (The location and identity of these kings is not known and subject to conjecture.) Attila gathered his vassals—Gepids, Ostrogoths, Rugians, Scirians, Heruls, Thuringians, Alans, Burgundians, among others—and began his march west. In 451, he arrived in Belgica with an army exaggerated by Jordanes to half a million strong. On April 7, he captured Metz.

Their demands were met for a time, and the Hun kings withdrew into the interior of their empire. Bleda died following the Huns' withdrawal from Byzantium (probably around 445). Attila then took the throne for himself, becoming the sole ruler of the Huns. Solitary kingship In 447, Attila again rode south into the Eastern Roman Empire through Moesia. The Roman army, under Gothic magister militum Arnegisclus, met him in the Battle of the Utus and was defeated, though not without inflicting heavy losses. The Huns were left unopposed and rampaged through the Balkans as far as Thermopylae. Constantinople itself was saved by the Isaurian troops of magister militum per Orientem Zeno and protected by the intervention of prefect Constantinus, who organized the reconstruction of the walls that had been previously damaged by earthquakes and, in some places, to construct a new line of fortification in front of the old. Callinicus, in his Life of Saint Hypatius, wrote: In the west In 450, Attila proclaimed his intent to attack the Visigoth kingdom of Toulouse by making an alliance with Emperor Valentinian III. He had previously been on good terms with the Western Roman Empire and its influential general Flavius Aëtius. Aëtius had spent a brief exile among the Huns in 433, and the troops that Attila provided against the Goths and Bagaudae had helped earn him the largely honorary title of magister militum in the west. The gifts and diplomatic efforts of Geiseric, who opposed and feared the Visigoths, may also have influenced Attila's plans. However, Valentinian's sister was Honoria, who had sent the Hunnish king a plea for help—and her engagement ring—in order to escape her forced betrothal to a Roman senator in the spring of 450. Honoria may not have intended a proposal of marriage, but Attila chose to interpret her message as such. He accepted, asking for half of the western Empire as dowry. When Valentinian discovered the plan, only the influence of his mother Galla Placidia convinced him to exile Honoria, rather than killing her. He also wrote to Attila, strenuously denying the legitimacy of the supposed marriage proposal. Attila sent an emissary to Ravenna to proclaim that Honoria was innocent, that the proposal had been legitimate, and that he would come to claim what was rightfully his. Attila interfered in a succession struggle after the death of a Frankish ruler. Attila supported the elder son, while Aëtius supported the younger. (The location and identity of these kings is not known and subject to conjecture.) Attila gathered his vassals—Gepids, Ostrogoths, Rugians, Scirians, Heruls, Thuringians, Alans, Burgundians, among others—and began his march west. In 451, he arrived in Belgica with an army exaggerated by Jordanes to half a million strong. On April 7, he captured Metz.

Their demands were met for a time, and the Hun kings withdrew into the interior of their empire. Bleda died following the Huns' withdrawal from Byzantium (probably around 445). Attila then took the throne for himself, becoming the sole ruler of the Huns. Solitary kingship In 447, Attila again rode south into the Eastern Roman Empire through Moesia. The Roman army, under Gothic magister militum Arnegisclus, met him in the Battle of the Utus and was defeated, though not without inflicting heavy losses. The Huns were left unopposed and rampaged through the Balkans as far as Thermopylae. Constantinople itself was saved by the Isaurian troops of magister militum per Orientem Zeno and protected by the intervention of prefect Constantinus, who organized the reconstruction of the walls that had been previously damaged by earthquakes and, in some places, to construct a new line of fortification in front of the old. Callinicus, in his Life of Saint Hypatius, wrote: In the west In 450, Attila proclaimed his intent to attack the Visigoth kingdom of Toulouse by making an alliance with Emperor Valentinian III. He had previously been on good terms with the Western Roman Empire and its influential general Flavius Aëtius. Aëtius had spent a brief exile among the Huns in 433, and the troops that Attila provided against the Goths and Bagaudae had helped earn him the largely honorary title of magister militum in the west. The gifts and diplomatic efforts of Geiseric, who opposed and feared the Visigoths, may also have influenced Attila's plans. However, Valentinian's sister was Honoria, who had sent the Hunnish king a plea for help—and her engagement ring—in order to escape her forced betrothal to a Roman senator in the spring of 450. Honoria may not have intended a proposal of marriage, but Attila chose to interpret her message as such. He accepted, asking for half of the western Empire as dowry. When Valentinian discovered the plan, only the influence of his mother Galla Placidia convinced him to exile Honoria, rather than killing her. He also wrote to Attila, strenuously denying the legitimacy of the supposed marriage proposal. Attila sent an emissary to Ravenna to proclaim that Honoria was innocent, that the proposal had been legitimate, and that he would come to claim what was rightfully his. Attila interfered in a succession struggle after the death of a Frankish ruler. Attila supported the elder son, while Aëtius supported the younger. (The location and identity of these kings is not known and subject to conjecture.) Attila gathered his vassals—Gepids, Ostrogoths, Rugians, Scirians, Heruls, Thuringians, Alans, Burgundians, among others—and began his march west. In 451, he arrived in Belgica with an army exaggerated by Jordanes to half a million strong. On April 7, he captured Metz.

Other cities attacked can be determined by the hagiographic vitae written to commemorate their bishops: Nicasius was slaughtered before the altar of his church in Rheims; Servatus is alleged to have saved Tongeren with his prayers, as Saint Genevieve is said to have saved Paris. Lupus, bishop of Troyes, is also credited with saving his city by meeting Attila in person. Aëtius moved to oppose Attila, gathering troops from among the Franks, the Burgundians, and the Celts. A mission by Avitus and Attila's continued westward advance convinced the Visigoth king Theodoric I (Theodorid) to ally with the Romans. The combined armies reached Orléans ahead of Attila, thus checking and turning back the Hunnish advance. Aëtius gave chase and caught the Huns at a place usually assumed to be near Catalaunum (modern Châlons-en-Champagne). Attila decided to fight the Romans on plains where he could use his cavalry. The two armies clashed in the Battle of the Catalaunian Plains, the outcome of which is commonly considered to be a strategic victory for the Visigothic-Roman alliance. Theodoric was killed in the fighting, and Aëtius failed to press his advantage, according to Edward Gibbon and Edward Creasy, because he feared the consequences of an overwhelming Visigothic triumph as much as he did a defeat. From Aëtius' point of view, the best outcome was what occurred: Theodoric died, Attila was in retreat and disarray, and the Romans had the benefit of appearing victorious. Invasion of Italy and death Attila returned in 452 to renew his marriage claim with Honoria, invading and ravaging Italy along the way. Communities became established in what would later become Venice as a result of these attacks when the residents fled to small islands in the Venetian Lagoon. His army sacked numerous cities and razed Aquileia so completely that it was afterwards hard to recognize its original site. Aëtius lacked the strength to offer battle, but managed to harass and slow Attila's advance with only a shadow force. Attila finally halted at the River Po. By this point, disease and starvation may have taken hold in Attila's camp, thus hindering his war efforts and potentially contributing to the cessation of invasion. Emperor Valentinian III sent three envoys, the high civilian officers Gennadius Avienus and Trigetius, as well as the Bishop of Rome Leo I, who met Attila at Mincio in the vicinity of Mantua and obtained from him the promise that he would withdraw from Italy and negotiate peace with the Emperor. Prosper of Aquitaine gives a short description of the historic meeting, but gives all the credit to Leo for the successful negotiation. Priscus reports that superstitious fear of the fate of Alaric gave him pause—as Alaric died shortly after sacking Rome in 410. Italy had suffered from a terrible famine in 451 and her crops were faring little better in 452. Attila's devastating invasion of the plains of northern Italy this year did not improve the harvest.

Other cities attacked can be determined by the hagiographic vitae written to commemorate their bishops: Nicasius was slaughtered before the altar of his church in Rheims; Servatus is alleged to have saved Tongeren with his prayers, as Saint Genevieve is said to have saved Paris. Lupus, bishop of Troyes, is also credited with saving his city by meeting Attila in person. Aëtius moved to oppose Attila, gathering troops from among the Franks, the Burgundians, and the Celts. A mission by Avitus and Attila's continued westward advance convinced the Visigoth king Theodoric I (Theodorid) to ally with the Romans. The combined armies reached Orléans ahead of Attila, thus checking and turning back the Hunnish advance. Aëtius gave chase and caught the Huns at a place usually assumed to be near Catalaunum (modern Châlons-en-Champagne). Attila decided to fight the Romans on plains where he could use his cavalry. The two armies clashed in the Battle of the Catalaunian Plains, the outcome of which is commonly considered to be a strategic victory for the Visigothic-Roman alliance. Theodoric was killed in the fighting, and Aëtius failed to press his advantage, according to Edward Gibbon and Edward Creasy, because he feared the consequences of an overwhelming Visigothic triumph as much as he did a defeat. From Aëtius' point of view, the best outcome was what occurred: Theodoric died, Attila was in retreat and disarray, and the Romans had the benefit of appearing victorious. Invasion of Italy and death Attila returned in 452 to renew his marriage claim with Honoria, invading and ravaging Italy along the way. Communities became established in what would later become Venice as a result of these attacks when the residents fled to small islands in the Venetian Lagoon. His army sacked numerous cities and razed Aquileia so completely that it was afterwards hard to recognize its original site. Aëtius lacked the strength to offer battle, but managed to harass and slow Attila's advance with only a shadow force. Attila finally halted at the River Po. By this point, disease and starvation may have taken hold in Attila's camp, thus hindering his war efforts and potentially contributing to the cessation of invasion. Emperor Valentinian III sent three envoys, the high civilian officers Gennadius Avienus and Trigetius, as well as the Bishop of Rome Leo I, who met Attila at Mincio in the vicinity of Mantua and obtained from him the promise that he would withdraw from Italy and negotiate peace with the Emperor. Prosper of Aquitaine gives a short description of the historic meeting, but gives all the credit to Leo for the successful negotiation. Priscus reports that superstitious fear of the fate of Alaric gave him pause—as Alaric died shortly after sacking Rome in 410. Italy had suffered from a terrible famine in 451 and her crops were faring little better in 452. Attila's devastating invasion of the plains of northern Italy this year did not improve the harvest.

Other cities attacked can be determined by the hagiographic vitae written to commemorate their bishops: Nicasius was slaughtered before the altar of his church in Rheims; Servatus is alleged to have saved Tongeren with his prayers, as Saint Genevieve is said to have saved Paris. Lupus, bishop of Troyes, is also credited with saving his city by meeting Attila in person. Aëtius moved to oppose Attila, gathering troops from among the Franks, the Burgundians, and the Celts. A mission by Avitus and Attila's continued westward advance convinced the Visigoth king Theodoric I (Theodorid) to ally with the Romans. The combined armies reached Orléans ahead of Attila, thus checking and turning back the Hunnish advance. Aëtius gave chase and caught the Huns at a place usually assumed to be near Catalaunum (modern Châlons-en-Champagne). Attila decided to fight the Romans on plains where he could use his cavalry. The two armies clashed in the Battle of the Catalaunian Plains, the outcome of which is commonly considered to be a strategic victory for the Visigothic-Roman alliance. Theodoric was killed in the fighting, and Aëtius failed to press his advantage, according to Edward Gibbon and Edward Creasy, because he feared the consequences of an overwhelming Visigothic triumph as much as he did a defeat. From Aëtius' point of view, the best outcome was what occurred: Theodoric died, Attila was in retreat and disarray, and the Romans had the benefit of appearing victorious. Invasion of Italy and death Attila returned in 452 to renew his marriage claim with Honoria, invading and ravaging Italy along the way. Communities became established in what would later become Venice as a result of these attacks when the residents fled to small islands in the Venetian Lagoon. His army sacked numerous cities and razed Aquileia so completely that it was afterwards hard to recognize its original site. Aëtius lacked the strength to offer battle, but managed to harass and slow Attila's advance with only a shadow force. Attila finally halted at the River Po. By this point, disease and starvation may have taken hold in Attila's camp, thus hindering his war efforts and potentially contributing to the cessation of invasion. Emperor Valentinian III sent three envoys, the high civilian officers Gennadius Avienus and Trigetius, as well as the Bishop of Rome Leo I, who met Attila at Mincio in the vicinity of Mantua and obtained from him the promise that he would withdraw from Italy and negotiate peace with the Emperor. Prosper of Aquitaine gives a short description of the historic meeting, but gives all the credit to Leo for the successful negotiation. Priscus reports that superstitious fear of the fate of Alaric gave him pause—as Alaric died shortly after sacking Rome in 410. Italy had suffered from a terrible famine in 451 and her crops were faring little better in 452. Attila's devastating invasion of the plains of northern Italy this year did not improve the harvest.

To advance on Rome would have required supplies which were not available in Italy, and taking the city would not have improved Attila's supply situation. Therefore, it was more profitable for Attila to conclude peace and retreat to his homeland. Furthermore, an East Roman force had crossed the Danube under the command of another officer also named Aetius—who had participated in the Council of Chalcedon the previous year—and proceeded to defeat the Huns who had been left behind by Attila to safeguard their home territories. Attila, hence, faced heavy human and natural pressures to retire "from Italy without ever setting foot south of the Po". As Hydatius writes in his Chronica Minora: Death In the Eastern Roman Empire, Emperor Marcian succeeded Theodosius II, and stopped paying tribute to the Huns. Attila withdrew from Italy to his palace across the Danube, while making plans to strike at Constantinople once more to reclaim tribute. However, he died in the early months of 453. The conventional account from Priscus says that Attila was at a feast celebrating his latest marriage, this time to the beautiful young Ildico (the name suggests Gothic or Ostrogoth origins). In the midst of the revels, however, he suffered severe bleeding and died. He may have had a nosebleed and choked to death in a stupor. Or he may have succumbed to internal bleeding, possibly due to ruptured esophageal varices. Esophageal varices are dilated veins that form in the lower part of the esophagus, often caused by years of excessive alcohol consumption; they are fragile and can easily rupture, leading to death by hemorrhage. Another account of his death was first recorded 80 years after the events by Roman chronicler Marcellinus Comes. It reports that "Attila, King of the Huns and ravager of the provinces of Europe, was pierced by the hand and blade of his wife". One modern analyst suggests that he was assassinated, but most reject these accounts as no more than hearsay, preferring instead the account given by Attila's contemporary Priscus, recounted in the 6th century by Jordanes: Attila's sons Ellac, Dengizich and Ernak, "in their rash eagerness to rule they all alike destroyed his empire". They "were clamoring that the nations should be divided among them equally and that warlike kings with their peoples should be apportioned to them by lot like a family estate". Against the treatment as "slaves of the basest condition" a Germanic alliance led by the Gepid ruler Ardaric (who was noted for great loyalty to Attila) revolted and fought with the Huns in Pannonia in the Battle of Nedao 454 AD. Attila's eldest son Ellac was killed in that battle. Attila's sons "regarding the Goths as deserters from their rule, came against them as though they were seeking fugitive slaves", attacked Ostrogothic co-ruler Valamir (who also fought alongside Ardaric and Attila at the Catalaunian Plains), but were repelled, and some group of Huns moved to Scythia (probably those of Ernak).

To advance on Rome would have required supplies which were not available in Italy, and taking the city would not have improved Attila's supply situation. Therefore, it was more profitable for Attila to conclude peace and retreat to his homeland. Furthermore, an East Roman force had crossed the Danube under the command of another officer also named Aetius—who had participated in the Council of Chalcedon the previous year—and proceeded to defeat the Huns who had been left behind by Attila to safeguard their home territories. Attila, hence, faced heavy human and natural pressures to retire "from Italy without ever setting foot south of the Po". As Hydatius writes in his Chronica Minora: Death In the Eastern Roman Empire, Emperor Marcian succeeded Theodosius II, and stopped paying tribute to the Huns. Attila withdrew from Italy to his palace across the Danube, while making plans to strike at Constantinople once more to reclaim tribute. However, he died in the early months of 453. The conventional account from Priscus says that Attila was at a feast celebrating his latest marriage, this time to the beautiful young Ildico (the name suggests Gothic or Ostrogoth origins). In the midst of the revels, however, he suffered severe bleeding and died. He may have had a nosebleed and choked to death in a stupor. Or he may have succumbed to internal bleeding, possibly due to ruptured esophageal varices. Esophageal varices are dilated veins that form in the lower part of the esophagus, often caused by years of excessive alcohol consumption; they are fragile and can easily rupture, leading to death by hemorrhage. Another account of his death was first recorded 80 years after the events by Roman chronicler Marcellinus Comes. It reports that "Attila, King of the Huns and ravager of the provinces of Europe, was pierced by the hand and blade of his wife". One modern analyst suggests that he was assassinated, but most reject these accounts as no more than hearsay, preferring instead the account given by Attila's contemporary Priscus, recounted in the 6th century by Jordanes: Attila's sons Ellac, Dengizich and Ernak, "in their rash eagerness to rule they all alike destroyed his empire". They "were clamoring that the nations should be divided among them equally and that warlike kings with their peoples should be apportioned to them by lot like a family estate". Against the treatment as "slaves of the basest condition" a Germanic alliance led by the Gepid ruler Ardaric (who was noted for great loyalty to Attila) revolted and fought with the Huns in Pannonia in the Battle of Nedao 454 AD. Attila's eldest son Ellac was killed in that battle. Attila's sons "regarding the Goths as deserters from their rule, came against them as though they were seeking fugitive slaves", attacked Ostrogothic co-ruler Valamir (who also fought alongside Ardaric and Attila at the Catalaunian Plains), but were repelled, and some group of Huns moved to Scythia (probably those of Ernak).

To advance on Rome would have required supplies which were not available in Italy, and taking the city would not have improved Attila's supply situation. Therefore, it was more profitable for Attila to conclude peace and retreat to his homeland. Furthermore, an East Roman force had crossed the Danube under the command of another officer also named Aetius—who had participated in the Council of Chalcedon the previous year—and proceeded to defeat the Huns who had been left behind by Attila to safeguard their home territories. Attila, hence, faced heavy human and natural pressures to retire "from Italy without ever setting foot south of the Po". As Hydatius writes in his Chronica Minora: Death In the Eastern Roman Empire, Emperor Marcian succeeded Theodosius II, and stopped paying tribute to the Huns. Attila withdrew from Italy to his palace across the Danube, while making plans to strike at Constantinople once more to reclaim tribute. However, he died in the early months of 453. The conventional account from Priscus says that Attila was at a feast celebrating his latest marriage, this time to the beautiful young Ildico (the name suggests Gothic or Ostrogoth origins). In the midst of the revels, however, he suffered severe bleeding and died. He may have had a nosebleed and choked to death in a stupor. Or he may have succumbed to internal bleeding, possibly due to ruptured esophageal varices. Esophageal varices are dilated veins that form in the lower part of the esophagus, often caused by years of excessive alcohol consumption; they are fragile and can easily rupture, leading to death by hemorrhage. Another account of his death was first recorded 80 years after the events by Roman chronicler Marcellinus Comes. It reports that "Attila, King of the Huns and ravager of the provinces of Europe, was pierced by the hand and blade of his wife". One modern analyst suggests that he was assassinated, but most reject these accounts as no more than hearsay, preferring instead the account given by Attila's contemporary Priscus, recounted in the 6th century by Jordanes: Attila's sons Ellac, Dengizich and Ernak, "in their rash eagerness to rule they all alike destroyed his empire". They "were clamoring that the nations should be divided among them equally and that warlike kings with their peoples should be apportioned to them by lot like a family estate". Against the treatment as "slaves of the basest condition" a Germanic alliance led by the Gepid ruler Ardaric (who was noted for great loyalty to Attila) revolted and fought with the Huns in Pannonia in the Battle of Nedao 454 AD. Attila's eldest son Ellac was killed in that battle. Attila's sons "regarding the Goths as deserters from their rule, came against them as though they were seeking fugitive slaves", attacked Ostrogothic co-ruler Valamir (who also fought alongside Ardaric and Attila at the Catalaunian Plains), but were repelled, and some group of Huns moved to Scythia (probably those of Ernak).

His brother Dengizich attempted a renewed invasion across the Danube in 468 AD, but was defeated at the Battle of Bassianae by the Ostrogoths. Dengizich was killed by Roman-Gothic general Anagast the following year, after which the Hunnic dominion ended. Attila's many children and relatives are known by name and some even by deeds, but soon valid genealogical sources all but dried up, and there seems to be no verifiable way to trace Attila's descendants. This has not stopped many genealogists from attempting to reconstruct a valid line of descent for various medieval rulers. One of the most credible claims has been that of the Nominalia of the Bulgarian khans for mythological Avitohol and Irnik from the Dulo clan of the Bulgars. Later folklore and iconography Jordanes embellished the report of Priscus, reporting that Attila had possessed the "Holy War Sword of the Scythians", which was given to him by Mars and made him a "prince of the entire world". By the end of the 12th century the royal court of Hungary proclaimed their descent from Attila. Lampert of Hersfeld's contemporary chronicles report that shortly before the year 1071, the Sword of Attila had been presented to Otto of Nordheim by the exiled queen of Hungary, Anastasia of Kiev. This sword, a cavalry sabre now in the Kunsthistorisches Museum in Vienna, appears to be the work of Hungarian goldsmiths of the ninth or tenth century. An anonymous chronicler of the medieval period represented the meeting of Pope Leo and Atilla as attended also by Saint Peter and Saint Paul, "a miraculous tale calculated to meet the taste of the time" This apotheosis was later portrayed artistically by the Renaissance artist Raphael and sculptor Algardi, whom eighteenth-century historian Edward Gibbon praised for establishing "one of the noblest legends of ecclesiastical tradition". According to a version of this narrative related in the Chronicon Pictum, a mediaeval Hungarian chronicle, the Pope promised Attila that if he left Rome in peace, one of his successors would receive a holy crown (which has been understood as referring to the Holy Crown of Hungary). Some histories and chronicles describe him as a great and noble king, and he plays major roles in three Norse sagas: Atlakviða, Volsunga saga, and Atlamál. The Polish Chronicle represents Attila's name as Aquila. Frutolf of Michelsberg and Otto of Freising pointed out that some songs as "vulgar fables" made Theoderic the Great, Attila and Ermanaric contemporaries, when any reader of Jordanes knew that this was not the case. This refers to the so-called historical poems about Dietrich von Bern (Theoderic), in which Etzel (Attila) is Dietrich's refuge in exile from his wicked uncle Ermenrich (Ermanaric). Etzel is most prominent in the poems Dietrichs Flucht and the Rabenschlacht. Etzel also appears as Kriemhild's second noble husband in the Nibelungenlied, in which Kriemhild causes the destruction of both the Hunnish kingdom and that of her Burgundian relatives.

His brother Dengizich attempted a renewed invasion across the Danube in 468 AD, but was defeated at the Battle of Bassianae by the Ostrogoths. Dengizich was killed by Roman-Gothic general Anagast the following year, after which the Hunnic dominion ended. Attila's many children and relatives are known by name and some even by deeds, but soon valid genealogical sources all but dried up, and there seems to be no verifiable way to trace Attila's descendants. This has not stopped many genealogists from attempting to reconstruct a valid line of descent for various medieval rulers. One of the most credible claims has been that of the Nominalia of the Bulgarian khans for mythological Avitohol and Irnik from the Dulo clan of the Bulgars. Later folklore and iconography Jordanes embellished the report of Priscus, reporting that Attila had possessed the "Holy War Sword of the Scythians", which was given to him by Mars and made him a "prince of the entire world". By the end of the 12th century the royal court of Hungary proclaimed their descent from Attila. Lampert of Hersfeld's contemporary chronicles report that shortly before the year 1071, the Sword of Attila had been presented to Otto of Nordheim by the exiled queen of Hungary, Anastasia of Kiev. This sword, a cavalry sabre now in the Kunsthistorisches Museum in Vienna, appears to be the work of Hungarian goldsmiths of the ninth or tenth century. An anonymous chronicler of the medieval period represented the meeting of Pope Leo and Atilla as attended also by Saint Peter and Saint Paul, "a miraculous tale calculated to meet the taste of the time" This apotheosis was later portrayed artistically by the Renaissance artist Raphael and sculptor Algardi, whom eighteenth-century historian Edward Gibbon praised for establishing "one of the noblest legends of ecclesiastical tradition". According to a version of this narrative related in the Chronicon Pictum, a mediaeval Hungarian chronicle, the Pope promised Attila that if he left Rome in peace, one of his successors would receive a holy crown (which has been understood as referring to the Holy Crown of Hungary). Some histories and chronicles describe him as a great and noble king, and he plays major roles in three Norse sagas: Atlakviða, Volsunga saga, and Atlamál. The Polish Chronicle represents Attila's name as Aquila. Frutolf of Michelsberg and Otto of Freising pointed out that some songs as "vulgar fables" made Theoderic the Great, Attila and Ermanaric contemporaries, when any reader of Jordanes knew that this was not the case. This refers to the so-called historical poems about Dietrich von Bern (Theoderic), in which Etzel (Attila) is Dietrich's refuge in exile from his wicked uncle Ermenrich (Ermanaric). Etzel is most prominent in the poems Dietrichs Flucht and the Rabenschlacht. Etzel also appears as Kriemhild's second noble husband in the Nibelungenlied, in which Kriemhild causes the destruction of both the Hunnish kingdom and that of her Burgundian relatives.

His brother Dengizich attempted a renewed invasion across the Danube in 468 AD, but was defeated at the Battle of Bassianae by the Ostrogoths. Dengizich was killed by Roman-Gothic general Anagast the following year, after which the Hunnic dominion ended. Attila's many children and relatives are known by name and some even by deeds, but soon valid genealogical sources all but dried up, and there seems to be no verifiable way to trace Attila's descendants. This has not stopped many genealogists from attempting to reconstruct a valid line of descent for various medieval rulers. One of the most credible claims has been that of the Nominalia of the Bulgarian khans for mythological Avitohol and Irnik from the Dulo clan of the Bulgars. Later folklore and iconography Jordanes embellished the report of Priscus, reporting that Attila had possessed the "Holy War Sword of the Scythians", which was given to him by Mars and made him a "prince of the entire world". By the end of the 12th century the royal court of Hungary proclaimed their descent from Attila. Lampert of Hersfeld's contemporary chronicles report that shortly before the year 1071, the Sword of Attila had been presented to Otto of Nordheim by the exiled queen of Hungary, Anastasia of Kiev. This sword, a cavalry sabre now in the Kunsthistorisches Museum in Vienna, appears to be the work of Hungarian goldsmiths of the ninth or tenth century. An anonymous chronicler of the medieval period represented the meeting of Pope Leo and Atilla as attended also by Saint Peter and Saint Paul, "a miraculous tale calculated to meet the taste of the time" This apotheosis was later portrayed artistically by the Renaissance artist Raphael and sculptor Algardi, whom eighteenth-century historian Edward Gibbon praised for establishing "one of the noblest legends of ecclesiastical tradition". According to a version of this narrative related in the Chronicon Pictum, a mediaeval Hungarian chronicle, the Pope promised Attila that if he left Rome in peace, one of his successors would receive a holy crown (which has been understood as referring to the Holy Crown of Hungary). Some histories and chronicles describe him as a great and noble king, and he plays major roles in three Norse sagas: Atlakviða, Volsunga saga, and Atlamál. The Polish Chronicle represents Attila's name as Aquila. Frutolf of Michelsberg and Otto of Freising pointed out that some songs as "vulgar fables" made Theoderic the Great, Attila and Ermanaric contemporaries, when any reader of Jordanes knew that this was not the case. This refers to the so-called historical poems about Dietrich von Bern (Theoderic), in which Etzel (Attila) is Dietrich's refuge in exile from his wicked uncle Ermenrich (Ermanaric). Etzel is most prominent in the poems Dietrichs Flucht and the Rabenschlacht. Etzel also appears as Kriemhild's second noble husband in the Nibelungenlied, in which Kriemhild causes the destruction of both the Hunnish kingdom and that of her Burgundian relatives.

In 1812, Ludwig van Beethoven conceived the idea of writing an opera about Attila and approached August von Kotzebue to write the libretto. It was, however, never written. In 1846, Giuseppe Verdi wrote the opera, loosely based on episodes in Attila's invasion of Italy. In World War I, Allied propaganda referred to Germans as the "Huns", based on a 1900 speech by Emperor Wilhelm II praising Attila the Hun's military prowess, according to Jawaharlal Nehru's Glimpses of World History. Der Spiegel commented on 6 November 1948, that the Sword of Attila was hanging menacingly over Austria. American writer Cecelia Holland wrote The Death of Attila (1973), a historical novel in which Attila appears as a powerful background figure whose life and death deeply affect the protagonists, a young Hunnic warrior and a Germanic one. The name has many variants in several languages: Atli and Atle in Old Norse; Etzel in Middle High German (Nibelungenlied); Ætla in Old English; Attila, Atilla, and Etele in Hungarian (Attila is the most popular); Attila, Atilla, Atilay, or Atila in Turkish; and Adil and Edil in Kazakh or Adil ("same/similar") or Edil ("to use") in Mongolian. In modern Hungary and in Turkey, "Attila" and its Turkish variation "Atilla" are commonly used as a male first name. In Hungary, several public places are named after Attila; for instance, in Budapest there are 10 Attila Streets, one of which is an important street behind the Buda Castle. When the Turkish Armed Forces invaded Cyprus in 1974, the operations were named after Attila ("The Attila Plan"). The 1954 Universal International film Sign of the Pagan starred Jack Palance as Attila. Depictions of Attila See also Alaric I Arminius Bato (Daesitiate chieftain) Boiorix Brennus (4th century BC) Gaiseric Ermanaric Hannibal Mithridates VI of Pontus Onegesius Odoacer Radagaisus Spartacus Theodoric the Great Totila Notes Sources External links Works about Attila at Project Gutenberg 5th-century Hunnic rulers 5th-century monarchs in Europe 406 births 453 deaths Deaths from choking

In 1812, Ludwig van Beethoven conceived the idea of writing an opera about Attila and approached August von Kotzebue to write the libretto. It was, however, never written. In 1846, Giuseppe Verdi wrote the opera, loosely based on episodes in Attila's invasion of Italy. In World War I, Allied propaganda referred to Germans as the "Huns", based on a 1900 speech by Emperor Wilhelm II praising Attila the Hun's military prowess, according to Jawaharlal Nehru's Glimpses of World History. Der Spiegel commented on 6 November 1948, that the Sword of Attila was hanging menacingly over Austria. American writer Cecelia Holland wrote The Death of Attila (1973), a historical novel in which Attila appears as a powerful background figure whose life and death deeply affect the protagonists, a young Hunnic warrior and a Germanic one. The name has many variants in several languages: Atli and Atle in Old Norse; Etzel in Middle High German (Nibelungenlied); Ætla in Old English; Attila, Atilla, and Etele in Hungarian (Attila is the most popular); Attila, Atilla, Atilay, or Atila in Turkish; and Adil and Edil in Kazakh or Adil ("same/similar") or Edil ("to use") in Mongolian. In modern Hungary and in Turkey, "Attila" and its Turkish variation "Atilla" are commonly used as a male first name. In Hungary, several public places are named after Attila; for instance, in Budapest there are 10 Attila Streets, one of which is an important street behind the Buda Castle. When the Turkish Armed Forces invaded Cyprus in 1974, the operations were named after Attila ("The Attila Plan"). The 1954 Universal International film Sign of the Pagan starred Jack Palance as Attila. Depictions of Attila See also Alaric I Arminius Bato (Daesitiate chieftain) Boiorix Brennus (4th century BC) Gaiseric Ermanaric Hannibal Mithridates VI of Pontus Onegesius Odoacer Radagaisus Spartacus Theodoric the Great Totila Notes Sources External links Works about Attila at Project Gutenberg 5th-century Hunnic rulers 5th-century monarchs in Europe 406 births 453 deaths Deaths from choking

In 1812, Ludwig van Beethoven conceived the idea of writing an opera about Attila and approached August von Kotzebue to write the libretto. It was, however, never written. In 1846, Giuseppe Verdi wrote the opera, loosely based on episodes in Attila's invasion of Italy. In World War I, Allied propaganda referred to Germans as the "Huns", based on a 1900 speech by Emperor Wilhelm II praising Attila the Hun's military prowess, according to Jawaharlal Nehru's Glimpses of World History. Der Spiegel commented on 6 November 1948, that the Sword of Attila was hanging menacingly over Austria. American writer Cecelia Holland wrote The Death of Attila (1973), a historical novel in which Attila appears as a powerful background figure whose life and death deeply affect the protagonists, a young Hunnic warrior and a Germanic one. The name has many variants in several languages: Atli and Atle in Old Norse; Etzel in Middle High German (Nibelungenlied); Ætla in Old English; Attila, Atilla, and Etele in Hungarian (Attila is the most popular); Attila, Atilla, Atilay, or Atila in Turkish; and Adil and Edil in Kazakh or Adil ("same/similar") or Edil ("to use") in Mongolian. In modern Hungary and in Turkey, "Attila" and its Turkish variation "Atilla" are commonly used as a male first name. In Hungary, several public places are named after Attila; for instance, in Budapest there are 10 Attila Streets, one of which is an important street behind the Buda Castle. When the Turkish Armed Forces invaded Cyprus in 1974, the operations were named after Attila ("The Attila Plan"). The 1954 Universal International film Sign of the Pagan starred Jack Palance as Attila. Depictions of Attila See also Alaric I Arminius Bato (Daesitiate chieftain) Boiorix Brennus (4th century BC) Gaiseric Ermanaric Hannibal Mithridates VI of Pontus Onegesius Odoacer Radagaisus Spartacus Theodoric the Great Totila Notes Sources External links Works about Attila at Project Gutenberg 5th-century Hunnic rulers 5th-century monarchs in Europe 406 births 453 deaths Deaths from choking

Aegean Sea The Aegean Sea is an elongated embayment of the Mediterranean Sea between Europe and Asia. It is located between the Balkans and Anatolia, and covers an area of some 215,000 square kilometres. In the north, the Aegean is connected to the Marmara Sea and the Black Sea by the straits of the Dardanelles and the Bosphorus. The Aegean Islands are located within the sea and some bound it on its southern periphery, including Crete and Rhodes. The sea reaches a maximum depth of 3,544 meters, to the east of Crete. The Thracian Sea and the Myrtoan Sea are subdivisions of the Aegean Sea. The Aegean Islands can be divided into several island groups, including the Dodecanese, the Cyclades, the Sporades, the Saronic islands and the North Aegean Islands, as well as Crete and its surrounding islands. The Dodecanese, located to the southeast, includes the islands of Rhodes, Kos, and Patmos; the islands of Delos and Naxos are within the Cyclades to the south of the sea. Lesbos is part of the North Aegean Islands. Euboea, the second-largest island in Greece, is located in the Aegean, despite being administered as part of Central Greece. Nine out of twelve of the Administrative regions of Greece border the sea, along with the Turkish provinces of Edirne, Canakkale, Balıkesir, Izmir, Aydın and Muğla to the east of the sea. Various Turkish islands in the sea are Imbros, Tenedos, Cunda Island, and the Foça Islands. The Aegean Sea has been historically important, especially in regards to the civilization of Ancient Greece, who inhabited the area around the coast of the Aegean and the Aegean islands. The Aegean islands facilitated contact between the people of the area and between Europe and Asia. Along with the Greeks, Thracians lived among the northern coast. The Romans conquered the area under the Roman Empire, and later the Byzantine Empire held it against advances by the First Bulgarian Empire. The Fourth Crusade weakened Byzantine control of the area, and it was eventually conquered by the Ottoman Empire, with the exception of Crete, which was a Venetian colony until 1669. The Greek War of Independence allowed a Greek state on the coast of the Aegean from 1829 onwards. The Ottoman Empire held a presence over the sea for over 500 years, until it was replaced by modern Turkey. The rocks making up the floor of the Aegean are mainly limestone, though often greatly altered by volcanic activity that has convulsed the region in relatively recent geologic times. Of particular interest are the richly coloured sediments in the region of the islands of Santorini and Milos, in the south Aegean. Notable cities on the Aegean coastline include Athens, Thessaloniki, Volos, Kavala and Heraklion in Greece, and İzmir and Bodrum in Turkey.

Aegean Sea The Aegean Sea is an elongated embayment of the Mediterranean Sea between Europe and Asia. It is located between the Balkans and Anatolia, and covers an area of some 215,000 square kilometres. In the north, the Aegean is connected to the Marmara Sea and the Black Sea by the straits of the Dardanelles and the Bosphorus. The Aegean Islands are located within the sea and some bound it on its southern periphery, including Crete and Rhodes. The sea reaches a maximum depth of 3,544 meters, to the east of Crete. The Thracian Sea and the Myrtoan Sea are subdivisions of the Aegean Sea. The Aegean Islands can be divided into several island groups, including the Dodecanese, the Cyclades, the Sporades, the Saronic islands and the North Aegean Islands, as well as Crete and its surrounding islands. The Dodecanese, located to the southeast, includes the islands of Rhodes, Kos, and Patmos; the islands of Delos and Naxos are within the Cyclades to the south of the sea. Lesbos is part of the North Aegean Islands. Euboea, the second-largest island in Greece, is located in the Aegean, despite being administered as part of Central Greece. Nine out of twelve of the Administrative regions of Greece border the sea, along with the Turkish provinces of Edirne, Canakkale, Balıkesir, Izmir, Aydın and Muğla to the east of the sea. Various Turkish islands in the sea are Imbros, Tenedos, Cunda Island, and the Foça Islands. The Aegean Sea has been historically important, especially in regards to the civilization of Ancient Greece, who inhabited the area around the coast of the Aegean and the Aegean islands. The Aegean islands facilitated contact between the people of the area and between Europe and Asia. Along with the Greeks, Thracians lived among the northern coast. The Romans conquered the area under the Roman Empire, and later the Byzantine Empire held it against advances by the First Bulgarian Empire. The Fourth Crusade weakened Byzantine control of the area, and it was eventually conquered by the Ottoman Empire, with the exception of Crete, which was a Venetian colony until 1669. The Greek War of Independence allowed a Greek state on the coast of the Aegean from 1829 onwards. The Ottoman Empire held a presence over the sea for over 500 years, until it was replaced by modern Turkey. The rocks making up the floor of the Aegean are mainly limestone, though often greatly altered by volcanic activity that has convulsed the region in relatively recent geologic times. Of particular interest are the richly coloured sediments in the region of the islands of Santorini and Milos, in the south Aegean. Notable cities on the Aegean coastline include Athens, Thessaloniki, Volos, Kavala and Heraklion in Greece, and İzmir and Bodrum in Turkey.

The Aegean Sea groundwater itself has a high salinity content leading one to think that the soil would be infertile due to the volcanic region, but actually has an equilibrium with its soil content structure making it able to grow fertile crops on land that would seem infertile. A number of issues concerning sovereignty within the Aegean Sea are disputed between Greece and Turkey. The Aegean dispute has had a large effect on Greek-Turkish relations since the 1970s. Issues include the delimitation of territorial waters, national airspace, exclusive economic zones and flight information regions. Name and etymology Late Latin authors referred the name Aegaeus to Aegeus, who was said to have jumped into that sea to drown himself (rather than throwing himself from the Athenian acropolis, as told by some Greek authors). He was the father of Theseus, the mythical king and founder-hero of Athens. Aegeus had told Theseus to put up white sails when returning if he was successful in killing the Minotaur. When Theseus returned, he forgot these instructions, and Aegeus thinking his son to have died then drowned himself in the sea. The sea was known in Latin as Aegaeum mare under the control of the Roman Empire. The Venetians, who ruled many Greek islands in the High and Late Middle Ages, popularized the name Archipelago (Greek: αρχιπέλαγος, meaning "main sea" or "chief sea"), a name that held on in many European countries until the early modern period. In the South Slavic languages, the Aegean is called White Sea (Bulgarian: /; Macedonian: /; Serbo-Croatian: /). The Turkish name for the sea is Ege Denizi, derived from the Greek name. Geography The Aegean Sea is an elongated embayment of the Mediterranean Sea, and covers about in area, measuring about longitudinally and latitudinal. The sea's maximum depth is , located at a point east of Crete. The Aegean Islands are found within its waters, with the following islands delimiting the sea on the south, generally from west to east: Kythera, Antikythera, Crete, Kasos, Karpathos and Rhodes. The Anatolian peninsula marks the eastern boundary of the sea, while the Greek mainland marks the west. Several seas are contained within the Aegean Sea; the Thracian Sea is a section of the Aegean located to the north, the Icarian Sea to the east, the Myrtoan Sea to the west, while the Sea of Crete is the southern section. The Greek regions that border the sea, in alphabetical order, are Attica, Central Greece, Central Macedonia, Crete, Eastern Macedonia and Thrace, North Aegean, Peloponnese, South Aegean, and Thessaly. The historical region of Macedonia also borders the sea, to the north. The Aegean Islands, which almost all belong to Greece, can be divided into seven groups: Northeastern Aegean Islands, which lie in the Thracian Sea East Aegean Islands (Euboea) Northern Sporades Cyclades Saronic Islands (or Argo-Saronic Islands) Dodecanese (or Southern Sporades) Crete Many of the Aegean islands or island chains, are geographically extensions of the mountains on the mainland.

The Aegean Sea groundwater itself has a high salinity content leading one to think that the soil would be infertile due to the volcanic region, but actually has an equilibrium with its soil content structure making it able to grow fertile crops on land that would seem infertile. A number of issues concerning sovereignty within the Aegean Sea are disputed between Greece and Turkey. The Aegean dispute has had a large effect on Greek-Turkish relations since the 1970s. Issues include the delimitation of territorial waters, national airspace, exclusive economic zones and flight information regions. Name and etymology Late Latin authors referred the name Aegaeus to Aegeus, who was said to have jumped into that sea to drown himself (rather than throwing himself from the Athenian acropolis, as told by some Greek authors). He was the father of Theseus, the mythical king and founder-hero of Athens. Aegeus had told Theseus to put up white sails when returning if he was successful in killing the Minotaur. When Theseus returned, he forgot these instructions, and Aegeus thinking his son to have died then drowned himself in the sea. The sea was known in Latin as Aegaeum mare under the control of the Roman Empire. The Venetians, who ruled many Greek islands in the High and Late Middle Ages, popularized the name Archipelago (Greek: αρχιπέλαγος, meaning "main sea" or "chief sea"), a name that held on in many European countries until the early modern period. In the South Slavic languages, the Aegean is called White Sea (Bulgarian: /; Macedonian: /; Serbo-Croatian: /). The Turkish name for the sea is Ege Denizi, derived from the Greek name. Geography The Aegean Sea is an elongated embayment of the Mediterranean Sea, and covers about in area, measuring about longitudinally and latitudinal. The sea's maximum depth is , located at a point east of Crete. The Aegean Islands are found within its waters, with the following islands delimiting the sea on the south, generally from west to east: Kythera, Antikythera, Crete, Kasos, Karpathos and Rhodes. The Anatolian peninsula marks the eastern boundary of the sea, while the Greek mainland marks the west. Several seas are contained within the Aegean Sea; the Thracian Sea is a section of the Aegean located to the north, the Icarian Sea to the east, the Myrtoan Sea to the west, while the Sea of Crete is the southern section. The Greek regions that border the sea, in alphabetical order, are Attica, Central Greece, Central Macedonia, Crete, Eastern Macedonia and Thrace, North Aegean, Peloponnese, South Aegean, and Thessaly. The historical region of Macedonia also borders the sea, to the north. The Aegean Islands, which almost all belong to Greece, can be divided into seven groups: Northeastern Aegean Islands, which lie in the Thracian Sea East Aegean Islands (Euboea) Northern Sporades Cyclades Saronic Islands (or Argo-Saronic Islands) Dodecanese (or Southern Sporades) Crete Many of the Aegean islands or island chains, are geographically extensions of the mountains on the mainland.

The Aegean Sea groundwater itself has a high salinity content leading one to think that the soil would be infertile due to the volcanic region, but actually has an equilibrium with its soil content structure making it able to grow fertile crops on land that would seem infertile. A number of issues concerning sovereignty within the Aegean Sea are disputed between Greece and Turkey. The Aegean dispute has had a large effect on Greek-Turkish relations since the 1970s. Issues include the delimitation of territorial waters, national airspace, exclusive economic zones and flight information regions. Name and etymology Late Latin authors referred the name Aegaeus to Aegeus, who was said to have jumped into that sea to drown himself (rather than throwing himself from the Athenian acropolis, as told by some Greek authors). He was the father of Theseus, the mythical king and founder-hero of Athens. Aegeus had told Theseus to put up white sails when returning if he was successful in killing the Minotaur. When Theseus returned, he forgot these instructions, and Aegeus thinking his son to have died then drowned himself in the sea. The sea was known in Latin as Aegaeum mare under the control of the Roman Empire. The Venetians, who ruled many Greek islands in the High and Late Middle Ages, popularized the name Archipelago (Greek: αρχιπέλαγος, meaning "main sea" or "chief sea"), a name that held on in many European countries until the early modern period. In the South Slavic languages, the Aegean is called White Sea (Bulgarian: /; Macedonian: /; Serbo-Croatian: /). The Turkish name for the sea is Ege Denizi, derived from the Greek name. Geography The Aegean Sea is an elongated embayment of the Mediterranean Sea, and covers about in area, measuring about longitudinally and latitudinal. The sea's maximum depth is , located at a point east of Crete. The Aegean Islands are found within its waters, with the following islands delimiting the sea on the south, generally from west to east: Kythera, Antikythera, Crete, Kasos, Karpathos and Rhodes. The Anatolian peninsula marks the eastern boundary of the sea, while the Greek mainland marks the west. Several seas are contained within the Aegean Sea; the Thracian Sea is a section of the Aegean located to the north, the Icarian Sea to the east, the Myrtoan Sea to the west, while the Sea of Crete is the southern section. The Greek regions that border the sea, in alphabetical order, are Attica, Central Greece, Central Macedonia, Crete, Eastern Macedonia and Thrace, North Aegean, Peloponnese, South Aegean, and Thessaly. The historical region of Macedonia also borders the sea, to the north. The Aegean Islands, which almost all belong to Greece, can be divided into seven groups: Northeastern Aegean Islands, which lie in the Thracian Sea East Aegean Islands (Euboea) Northern Sporades Cyclades Saronic Islands (or Argo-Saronic Islands) Dodecanese (or Southern Sporades) Crete Many of the Aegean islands or island chains, are geographically extensions of the mountains on the mainland.

One chain extends across the sea to Chios, another extends across Euboea to Samos, and a third extends across the Peloponnese and Crete to Rhodes, dividing the Aegean from the Mediterranean. The bays and gulfs of the Aegean beginning at the South and moving clockwise include on Crete, the Mirabello, Almyros, Souda and Chania bays or gulfs, on the mainland the Myrtoan Sea to the west with the Argolic Gulf, the Saronic Gulf northwestward, the Petalies Gulf which connects with the South Euboic Sea, the Pagasetic Gulf which connects with the North Euboic Sea, the Thermian Gulf northwestward, the Chalkidiki Peninsula including the Cassandra and the Singitic Gulfs, northward the Strymonian Gulf and the Gulf of Kavala and the rest are in Turkey; Saros Gulf, Edremit Gulf, Dikili Gulf, Gulf of Çandarlı, Gulf of İzmir, Gulf of Kuşadası, Gulf of Gökova, Güllük Gulf. The Aegean sea is connected to the Sea of Marmara by the Dardanelles, also known from Classical Antiquity as the Hellespont. The Dardanelles are located to the northeast of the sea. It ultimately connects with the Black Sea through the Bosphoros strait, upon which lies the city of Istanbul. The Dardanelles and the Bosphoros are known as the Turkish Straits. Extent According to the International Hydrographic Organization, the limits of the Aegean Sea as follows: On the south: A line running from Cape Aspro (28°16′E) in Asia Minor, to Cum Burnù (Capo della Sabbia) the Northeast extreme of the Island of Rhodes, through the island to Cape Prasonisi, the Southwest point thereof, on to Vrontos Point (35°33′N) in Skarpanto [Karpathos], through this island to Castello Point, the South extreme thereof, across to Cape Plaka (East extremity of Crete), through Crete to Agria Grabusa, the Northwest extreme thereof, thence to Cape Apolitares in Antikithera Island, through the island to Psira Rock (off the Northwest point) and across to Cape Trakhili in Kithera Island, through Kithera to the Northwest point (Cape Karavugia) and thence to Cape Santa Maria () in the Morea. In the Dardanelles: A line joining Kum Kale (26°11′E) and Cape Helles. Hydrography Aegean surface water circulates in a counterclockwise gyre, with hypersaline Mediterranean water moving northward along the west coast of Turkey, before being displaced by less dense Black Sea outflow. The dense Mediterranean water sinks below the Black Sea inflow to a depth of , then flows through the Dardanelles Strait and into the Sea of Marmara at velocities of . The Black Sea outflow moves westward along the northern Aegean Sea, then flows southwards along the east coast of Greece. The physical oceanography of the Aegean Sea is controlled mainly by the regional climate, the fresh water discharge from major rivers draining southeastern Europe, and the seasonal variations in the Black Sea surface water outflow through the Dardanelles Strait.

One chain extends across the sea to Chios, another extends across Euboea to Samos, and a third extends across the Peloponnese and Crete to Rhodes, dividing the Aegean from the Mediterranean. The bays and gulfs of the Aegean beginning at the South and moving clockwise include on Crete, the Mirabello, Almyros, Souda and Chania bays or gulfs, on the mainland the Myrtoan Sea to the west with the Argolic Gulf, the Saronic Gulf northwestward, the Petalies Gulf which connects with the South Euboic Sea, the Pagasetic Gulf which connects with the North Euboic Sea, the Thermian Gulf northwestward, the Chalkidiki Peninsula including the Cassandra and the Singitic Gulfs, northward the Strymonian Gulf and the Gulf of Kavala and the rest are in Turkey; Saros Gulf, Edremit Gulf, Dikili Gulf, Gulf of Çandarlı, Gulf of İzmir, Gulf of Kuşadası, Gulf of Gökova, Güllük Gulf. The Aegean sea is connected to the Sea of Marmara by the Dardanelles, also known from Classical Antiquity as the Hellespont. The Dardanelles are located to the northeast of the sea. It ultimately connects with the Black Sea through the Bosphoros strait, upon which lies the city of Istanbul. The Dardanelles and the Bosphoros are known as the Turkish Straits. Extent According to the International Hydrographic Organization, the limits of the Aegean Sea as follows: On the south: A line running from Cape Aspro (28°16′E) in Asia Minor, to Cum Burnù (Capo della Sabbia) the Northeast extreme of the Island of Rhodes, through the island to Cape Prasonisi, the Southwest point thereof, on to Vrontos Point (35°33′N) in Skarpanto [Karpathos], through this island to Castello Point, the South extreme thereof, across to Cape Plaka (East extremity of Crete), through Crete to Agria Grabusa, the Northwest extreme thereof, thence to Cape Apolitares in Antikithera Island, through the island to Psira Rock (off the Northwest point) and across to Cape Trakhili in Kithera Island, through Kithera to the Northwest point (Cape Karavugia) and thence to Cape Santa Maria () in the Morea. In the Dardanelles: A line joining Kum Kale (26°11′E) and Cape Helles. Hydrography Aegean surface water circulates in a counterclockwise gyre, with hypersaline Mediterranean water moving northward along the west coast of Turkey, before being displaced by less dense Black Sea outflow. The dense Mediterranean water sinks below the Black Sea inflow to a depth of , then flows through the Dardanelles Strait and into the Sea of Marmara at velocities of . The Black Sea outflow moves westward along the northern Aegean Sea, then flows southwards along the east coast of Greece. The physical oceanography of the Aegean Sea is controlled mainly by the regional climate, the fresh water discharge from major rivers draining southeastern Europe, and the seasonal variations in the Black Sea surface water outflow through the Dardanelles Strait.

One chain extends across the sea to Chios, another extends across Euboea to Samos, and a third extends across the Peloponnese and Crete to Rhodes, dividing the Aegean from the Mediterranean. The bays and gulfs of the Aegean beginning at the South and moving clockwise include on Crete, the Mirabello, Almyros, Souda and Chania bays or gulfs, on the mainland the Myrtoan Sea to the west with the Argolic Gulf, the Saronic Gulf northwestward, the Petalies Gulf which connects with the South Euboic Sea, the Pagasetic Gulf which connects with the North Euboic Sea, the Thermian Gulf northwestward, the Chalkidiki Peninsula including the Cassandra and the Singitic Gulfs, northward the Strymonian Gulf and the Gulf of Kavala and the rest are in Turkey; Saros Gulf, Edremit Gulf, Dikili Gulf, Gulf of Çandarlı, Gulf of İzmir, Gulf of Kuşadası, Gulf of Gökova, Güllük Gulf. The Aegean sea is connected to the Sea of Marmara by the Dardanelles, also known from Classical Antiquity as the Hellespont. The Dardanelles are located to the northeast of the sea. It ultimately connects with the Black Sea through the Bosphoros strait, upon which lies the city of Istanbul. The Dardanelles and the Bosphoros are known as the Turkish Straits. Extent According to the International Hydrographic Organization, the limits of the Aegean Sea as follows: On the south: A line running from Cape Aspro (28°16′E) in Asia Minor, to Cum Burnù (Capo della Sabbia) the Northeast extreme of the Island of Rhodes, through the island to Cape Prasonisi, the Southwest point thereof, on to Vrontos Point (35°33′N) in Skarpanto [Karpathos], through this island to Castello Point, the South extreme thereof, across to Cape Plaka (East extremity of Crete), through Crete to Agria Grabusa, the Northwest extreme thereof, thence to Cape Apolitares in Antikithera Island, through the island to Psira Rock (off the Northwest point) and across to Cape Trakhili in Kithera Island, through Kithera to the Northwest point (Cape Karavugia) and thence to Cape Santa Maria () in the Morea. In the Dardanelles: A line joining Kum Kale (26°11′E) and Cape Helles. Hydrography Aegean surface water circulates in a counterclockwise gyre, with hypersaline Mediterranean water moving northward along the west coast of Turkey, before being displaced by less dense Black Sea outflow. The dense Mediterranean water sinks below the Black Sea inflow to a depth of , then flows through the Dardanelles Strait and into the Sea of Marmara at velocities of . The Black Sea outflow moves westward along the northern Aegean Sea, then flows southwards along the east coast of Greece. The physical oceanography of the Aegean Sea is controlled mainly by the regional climate, the fresh water discharge from major rivers draining southeastern Europe, and the seasonal variations in the Black Sea surface water outflow through the Dardanelles Strait.

Analysis of the Aegean during 1991 and 1992 revealed three distinct water masses: Aegean Sea Surface Water – thick veneer, with summer temperatures of 21–26 °C and winter temperatures ranging from in the north to in the south. Aegean Sea Intermediate Water – Aegean Sea Intermediate Water extends from 40 to 50 m to with temperatures ranging from 11 to 18 °C. Aegean Sea Bottom Water – occurring at depths below 500–1000 m with a very uniform temperature (13–14 °C) and salinity (3.91–3.92%). Climate The climate of the Aegean Sea largely reflects the climate of Greece and Western Turkey, which is to say, predominately Mediterranean. According to the Köppen climate classification, most of the Aegean is classified as Hot-summer Mediterranean (Csa), with hotter and drier summers along with milder and wetter winters. However, high temperatures during summers are generally not quite as high as those in arid or semiarid climates due to the presence of a large body of water. This is most predominant in the west and east coasts of the Aegean, and within the Aegean islands. In the north of the Aegean Sea, the climate is instead classified as Cold semi-arid (BSk), which feature cooler summers than Hot-summer Mediterranean climates. The Etesian winds are a dominant weather influence in the Aegean Basin. The below table lists climate conditions of some major Aegean cities: Population Numerous Greek and Turkish settlements are located along their mainland coast, as well as on towns on the Aegean islands. The largest cities are Athens and Thessaloniki in Greece and İzmir in Turkey. The most populated of the Aegean islands is Crete, followed by Euboea and Rhodes. Biogeography and ecology Protected Areas Greece has established several marine protected areas along its coasts. According to the Network of Managers of Marine Protected Areas in the Mediterranean (MedPAN), four Greek MPAs are participating in the Network. These include Alonnisos Marine Park, while the Missolonghi–Aitoliko Lagoons and the island of Zakynthos are not on the Aegean. History Ancient history The current coastline dates back to about 4000 BC. Before that time, at the peak of the last ice age (about 18,000 years ago) sea levels everywhere were 130 metres lower, and there were large well-watered coastal plains instead of much of the northern Aegean. When they were first occupied, the present-day islands including Milos with its important obsidian production were probably still connected to the mainland. The present coastal arrangement appeared around 9,000 years ago, with post-ice age sea levels continuing to rise for another 3,000 years after that. The subsequent Bronze Age civilizations of Greece and the Aegean Sea have given rise to the general term Aegean civilization. In ancient times, the sea was the birthplace of two ancient civilizations – the Minoans of Crete and the Myceneans of the Peloponnese. The Minoan civilization was a Bronze Age civilization on the island of Crete and other Aegean islands, flourishing from around 3000 to 1450 BC before a period of decline, finally ending at around 1100 BC.

Analysis of the Aegean during 1991 and 1992 revealed three distinct water masses: Aegean Sea Surface Water – thick veneer, with summer temperatures of 21–26 °C and winter temperatures ranging from in the north to in the south. Aegean Sea Intermediate Water – Aegean Sea Intermediate Water extends from 40 to 50 m to with temperatures ranging from 11 to 18 °C. Aegean Sea Bottom Water – occurring at depths below 500–1000 m with a very uniform temperature (13–14 °C) and salinity (3.91–3.92%). Climate The climate of the Aegean Sea largely reflects the climate of Greece and Western Turkey, which is to say, predominately Mediterranean. According to the Köppen climate classification, most of the Aegean is classified as Hot-summer Mediterranean (Csa), with hotter and drier summers along with milder and wetter winters. However, high temperatures during summers are generally not quite as high as those in arid or semiarid climates due to the presence of a large body of water. This is most predominant in the west and east coasts of the Aegean, and within the Aegean islands. In the north of the Aegean Sea, the climate is instead classified as Cold semi-arid (BSk), which feature cooler summers than Hot-summer Mediterranean climates. The Etesian winds are a dominant weather influence in the Aegean Basin. The below table lists climate conditions of some major Aegean cities: Population Numerous Greek and Turkish settlements are located along their mainland coast, as well as on towns on the Aegean islands. The largest cities are Athens and Thessaloniki in Greece and İzmir in Turkey. The most populated of the Aegean islands is Crete, followed by Euboea and Rhodes. Biogeography and ecology Protected Areas Greece has established several marine protected areas along its coasts. According to the Network of Managers of Marine Protected Areas in the Mediterranean (MedPAN), four Greek MPAs are participating in the Network. These include Alonnisos Marine Park, while the Missolonghi–Aitoliko Lagoons and the island of Zakynthos are not on the Aegean. History Ancient history The current coastline dates back to about 4000 BC. Before that time, at the peak of the last ice age (about 18,000 years ago) sea levels everywhere were 130 metres lower, and there were large well-watered coastal plains instead of much of the northern Aegean. When they were first occupied, the present-day islands including Milos with its important obsidian production were probably still connected to the mainland. The present coastal arrangement appeared around 9,000 years ago, with post-ice age sea levels continuing to rise for another 3,000 years after that. The subsequent Bronze Age civilizations of Greece and the Aegean Sea have given rise to the general term Aegean civilization. In ancient times, the sea was the birthplace of two ancient civilizations – the Minoans of Crete and the Myceneans of the Peloponnese. The Minoan civilization was a Bronze Age civilization on the island of Crete and other Aegean islands, flourishing from around 3000 to 1450 BC before a period of decline, finally ending at around 1100 BC.

Analysis of the Aegean during 1991 and 1992 revealed three distinct water masses: Aegean Sea Surface Water – thick veneer, with summer temperatures of 21–26 °C and winter temperatures ranging from in the north to in the south. Aegean Sea Intermediate Water – Aegean Sea Intermediate Water extends from 40 to 50 m to with temperatures ranging from 11 to 18 °C. Aegean Sea Bottom Water – occurring at depths below 500–1000 m with a very uniform temperature (13–14 °C) and salinity (3.91–3.92%). Climate The climate of the Aegean Sea largely reflects the climate of Greece and Western Turkey, which is to say, predominately Mediterranean. According to the Köppen climate classification, most of the Aegean is classified as Hot-summer Mediterranean (Csa), with hotter and drier summers along with milder and wetter winters. However, high temperatures during summers are generally not quite as high as those in arid or semiarid climates due to the presence of a large body of water. This is most predominant in the west and east coasts of the Aegean, and within the Aegean islands. In the north of the Aegean Sea, the climate is instead classified as Cold semi-arid (BSk), which feature cooler summers than Hot-summer Mediterranean climates. The Etesian winds are a dominant weather influence in the Aegean Basin. The below table lists climate conditions of some major Aegean cities: Population Numerous Greek and Turkish settlements are located along their mainland coast, as well as on towns on the Aegean islands. The largest cities are Athens and Thessaloniki in Greece and İzmir in Turkey. The most populated of the Aegean islands is Crete, followed by Euboea and Rhodes. Biogeography and ecology Protected Areas Greece has established several marine protected areas along its coasts. According to the Network of Managers of Marine Protected Areas in the Mediterranean (MedPAN), four Greek MPAs are participating in the Network. These include Alonnisos Marine Park, while the Missolonghi–Aitoliko Lagoons and the island of Zakynthos are not on the Aegean. History Ancient history The current coastline dates back to about 4000 BC. Before that time, at the peak of the last ice age (about 18,000 years ago) sea levels everywhere were 130 metres lower, and there were large well-watered coastal plains instead of much of the northern Aegean. When they were first occupied, the present-day islands including Milos with its important obsidian production were probably still connected to the mainland. The present coastal arrangement appeared around 9,000 years ago, with post-ice age sea levels continuing to rise for another 3,000 years after that. The subsequent Bronze Age civilizations of Greece and the Aegean Sea have given rise to the general term Aegean civilization. In ancient times, the sea was the birthplace of two ancient civilizations – the Minoans of Crete and the Myceneans of the Peloponnese. The Minoan civilization was a Bronze Age civilization on the island of Crete and other Aegean islands, flourishing from around 3000 to 1450 BC before a period of decline, finally ending at around 1100 BC.

It represented the first advanced civilization in Europe, leaving behind massive building complexes, tools, stunning artwork, writing systems, and a massive network of trade. The Minoan period saw extensive trade between Crete, Aegean, and Mediterranean settlements, particularly the Near East. The most notable Minoan palace is that of Knossos, followed by that of Phaistos. The Mycenaean Greeks arose on the mainland, becoming the first advanced civilization in mainland Greece, which lasted from approximately 1600 to 1100 BC. It is believed that the site of Mycenae, which sits close to the Aegean coast, was the center of Mycenaean civilization. The Mycenaeans introduced several innovations in the fields of engineering, architecture and military infrastructure, while trade over vast areas of the Mediterranean, including the Aegean, was essential for the Mycenaean economy. Their syllabic script, the Linear B, offers the first written records of the Greek language and their religion already included several deities that can also be found in the Olympic Pantheon. Mycenaean Greece was dominated by a warrior elite society and consisted of a network of palace-centered states that developed rigid hierarchical, political, social and economic systems. At the head of this society was the king, known as wanax. The civilization of Mycenaean Greeks perished with the collapse of Bronze Age culture in the eastern Mediterranean, to be followed by the so-called Greek Dark Ages. It is undetermined what cause the collapse of the Mycenaeans. During the Greek Dark Ages, writing in the Linear B script ceased, vital trade links were lost, and towns and villages were abandoned. Ancient Greece The Archaic period followed the Greek Dark Ages in the 8th century BC. Greece became divided into small self-governing communities, and adopted the Phoenician alphabet, modifying it to create the Greek alphabet. By the 6th century BC several cities had emerged as dominant in Greek affairs: Athens, Sparta, Corinth, and Thebes, of which Athens, Sparta, and Corinth were closest to the Aegean Sea. Each of them had brought the surrounding rural areas and smaller towns under their control, and Athens and Corinth had become major maritime and mercantile powers as well. In the 8th and 7th centuries BC many Greeks emigrated to form colonies in Magna Graecia (Southern Italy and Sicily), Asia Minor and further afield. The Aegean Sea was the setting for one of the most pivotal naval engagements in history, when on September 20, 480 B.C. the Athenian fleet gained a decisive victory over the Persian fleet of the Xerxes II of Persia at the Battle of Salamis. Thus ending any further attempt of western expansion by the Achaemenid Empire. The Aegean Sea would later come to be under the control, albeit briefly, of the Kingdom of Macedonia. Philip II and his son Alexander the Great led a series of conquests that led not only to the unification of the Greek mainland and the control of the Aegean Sea under his rule, but also the destruction of the Achaemenid Empire.

It represented the first advanced civilization in Europe, leaving behind massive building complexes, tools, stunning artwork, writing systems, and a massive network of trade. The Minoan period saw extensive trade between Crete, Aegean, and Mediterranean settlements, particularly the Near East. The most notable Minoan palace is that of Knossos, followed by that of Phaistos. The Mycenaean Greeks arose on the mainland, becoming the first advanced civilization in mainland Greece, which lasted from approximately 1600 to 1100 BC. It is believed that the site of Mycenae, which sits close to the Aegean coast, was the center of Mycenaean civilization. The Mycenaeans introduced several innovations in the fields of engineering, architecture and military infrastructure, while trade over vast areas of the Mediterranean, including the Aegean, was essential for the Mycenaean economy. Their syllabic script, the Linear B, offers the first written records of the Greek language and their religion already included several deities that can also be found in the Olympic Pantheon. Mycenaean Greece was dominated by a warrior elite society and consisted of a network of palace-centered states that developed rigid hierarchical, political, social and economic systems. At the head of this society was the king, known as wanax. The civilization of Mycenaean Greeks perished with the collapse of Bronze Age culture in the eastern Mediterranean, to be followed by the so-called Greek Dark Ages. It is undetermined what cause the collapse of the Mycenaeans. During the Greek Dark Ages, writing in the Linear B script ceased, vital trade links were lost, and towns and villages were abandoned. Ancient Greece The Archaic period followed the Greek Dark Ages in the 8th century BC. Greece became divided into small self-governing communities, and adopted the Phoenician alphabet, modifying it to create the Greek alphabet. By the 6th century BC several cities had emerged as dominant in Greek affairs: Athens, Sparta, Corinth, and Thebes, of which Athens, Sparta, and Corinth were closest to the Aegean Sea. Each of them had brought the surrounding rural areas and smaller towns under their control, and Athens and Corinth had become major maritime and mercantile powers as well. In the 8th and 7th centuries BC many Greeks emigrated to form colonies in Magna Graecia (Southern Italy and Sicily), Asia Minor and further afield. The Aegean Sea was the setting for one of the most pivotal naval engagements in history, when on September 20, 480 B.C. the Athenian fleet gained a decisive victory over the Persian fleet of the Xerxes II of Persia at the Battle of Salamis. Thus ending any further attempt of western expansion by the Achaemenid Empire. The Aegean Sea would later come to be under the control, albeit briefly, of the Kingdom of Macedonia. Philip II and his son Alexander the Great led a series of conquests that led not only to the unification of the Greek mainland and the control of the Aegean Sea under his rule, but also the destruction of the Achaemenid Empire.

It represented the first advanced civilization in Europe, leaving behind massive building complexes, tools, stunning artwork, writing systems, and a massive network of trade. The Minoan period saw extensive trade between Crete, Aegean, and Mediterranean settlements, particularly the Near East. The most notable Minoan palace is that of Knossos, followed by that of Phaistos. The Mycenaean Greeks arose on the mainland, becoming the first advanced civilization in mainland Greece, which lasted from approximately 1600 to 1100 BC. It is believed that the site of Mycenae, which sits close to the Aegean coast, was the center of Mycenaean civilization. The Mycenaeans introduced several innovations in the fields of engineering, architecture and military infrastructure, while trade over vast areas of the Mediterranean, including the Aegean, was essential for the Mycenaean economy. Their syllabic script, the Linear B, offers the first written records of the Greek language and their religion already included several deities that can also be found in the Olympic Pantheon. Mycenaean Greece was dominated by a warrior elite society and consisted of a network of palace-centered states that developed rigid hierarchical, political, social and economic systems. At the head of this society was the king, known as wanax. The civilization of Mycenaean Greeks perished with the collapse of Bronze Age culture in the eastern Mediterranean, to be followed by the so-called Greek Dark Ages. It is undetermined what cause the collapse of the Mycenaeans. During the Greek Dark Ages, writing in the Linear B script ceased, vital trade links were lost, and towns and villages were abandoned. Ancient Greece The Archaic period followed the Greek Dark Ages in the 8th century BC. Greece became divided into small self-governing communities, and adopted the Phoenician alphabet, modifying it to create the Greek alphabet. By the 6th century BC several cities had emerged as dominant in Greek affairs: Athens, Sparta, Corinth, and Thebes, of which Athens, Sparta, and Corinth were closest to the Aegean Sea. Each of them had brought the surrounding rural areas and smaller towns under their control, and Athens and Corinth had become major maritime and mercantile powers as well. In the 8th and 7th centuries BC many Greeks emigrated to form colonies in Magna Graecia (Southern Italy and Sicily), Asia Minor and further afield. The Aegean Sea was the setting for one of the most pivotal naval engagements in history, when on September 20, 480 B.C. the Athenian fleet gained a decisive victory over the Persian fleet of the Xerxes II of Persia at the Battle of Salamis. Thus ending any further attempt of western expansion by the Achaemenid Empire. The Aegean Sea would later come to be under the control, albeit briefly, of the Kingdom of Macedonia. Philip II and his son Alexander the Great led a series of conquests that led not only to the unification of the Greek mainland and the control of the Aegean Sea under his rule, but also the destruction of the Achaemenid Empire.

After Alexander the Great's death, his empire was divided among his generals. Cassander became king of the Hellenistic kingdom of Macedon, which held territory along the western coast of the Aegean, roughly corresponding to modern-day Greece. The Kingdom of Lysimachus had control over the sea's eastern coast. Greece had entered the Hellenistic period. Roman rule The Macedonian Wars were a series of conflicts fought by the Roman Republic and its Greek allies in the eastern Mediterranean against several different major Greek kingdoms. They resulted in Roman control or influence over the eastern Mediterranean basin, including the Aegean, in addition to their hegemony in the western Mediterranean after the Punic Wars. During Roman rule, the land around the Aegean Sea fell under the provinces of Achaea, Macedonia, Thracia, Asia and Creta et Cyrenica (island of Crete) Medieval period The Fall of the Western Roman Empire allowed its successor state, the Byzantine Empire, to continue Roman control over the Aegean Sea. However, their territory would later be threatened by the Early Muslim conquests initiated by Muhammad in the 7th century. Although the Rashidun Caliphate did not manage to obtain land along the coast of the Aegean sea, its conquest of the Eastern Anatolian peninsula as well as Egypt, the Levant, and North Africa left the Byzantine Empire weakened. The Umayyad Caliphate expanded the territorial gains of the Rashidun Caliphate, conquering much of North Africa, and threatened the Byzantine Empire's control of Western Anatolia, where it meets the Aegean Sea. During the 820s, Crete was conquered by a group of Berbers Andalusians exiles led by Abu Hafs Umar al-Iqritishi, and it became an independent Islamic state. The Byzantine Empire launched a campaign that took most of the island back in 842 and 843 under Theoktistos, but the reconquest was not completed and was soon reversed. Later attempts by the Byzantine Empire to recover the island were without success. For the approximately 135 years of its existence, the emirate of Crete was one of the major foes of Byzantium. Crete commanded the sea lanes of the Eastern Mediterranean and functioned as a forward base and haven for Muslim corsair fleets that ravaged the Byzantine-controlled shores of the Aegean Sea. Crete returned to Byzantine rule under Nikephoros Phokas, who launched a huge campaign against the Emirate of Crete in 960 to 961. Meanwhile, the Bulgarian Empire threatened Byzantine control of Northern Greece and the Aegean coast to the south. Under Presian I and his successor Boris I, the Bulgarian Empire managed to obtain a small portion of the northern Aegean coast. Simeon I of Bulgaria led Bulgaria to its greatest territorial expansion, and managed to conqueror much of the northern and western coasts of the Aegean. The Byzantines later regained control. The Second Bulgarian Empire achieved similar success along, again, the northern and western coasts, under Ivan Asen II of Bulgaria.

After Alexander the Great's death, his empire was divided among his generals. Cassander became king of the Hellenistic kingdom of Macedon, which held territory along the western coast of the Aegean, roughly corresponding to modern-day Greece. The Kingdom of Lysimachus had control over the sea's eastern coast. Greece had entered the Hellenistic period. Roman rule The Macedonian Wars were a series of conflicts fought by the Roman Republic and its Greek allies in the eastern Mediterranean against several different major Greek kingdoms. They resulted in Roman control or influence over the eastern Mediterranean basin, including the Aegean, in addition to their hegemony in the western Mediterranean after the Punic Wars. During Roman rule, the land around the Aegean Sea fell under the provinces of Achaea, Macedonia, Thracia, Asia and Creta et Cyrenica (island of Crete) Medieval period The Fall of the Western Roman Empire allowed its successor state, the Byzantine Empire, to continue Roman control over the Aegean Sea. However, their territory would later be threatened by the Early Muslim conquests initiated by Muhammad in the 7th century. Although the Rashidun Caliphate did not manage to obtain land along the coast of the Aegean sea, its conquest of the Eastern Anatolian peninsula as well as Egypt, the Levant, and North Africa left the Byzantine Empire weakened. The Umayyad Caliphate expanded the territorial gains of the Rashidun Caliphate, conquering much of North Africa, and threatened the Byzantine Empire's control of Western Anatolia, where it meets the Aegean Sea. During the 820s, Crete was conquered by a group of Berbers Andalusians exiles led by Abu Hafs Umar al-Iqritishi, and it became an independent Islamic state. The Byzantine Empire launched a campaign that took most of the island back in 842 and 843 under Theoktistos, but the reconquest was not completed and was soon reversed. Later attempts by the Byzantine Empire to recover the island were without success. For the approximately 135 years of its existence, the emirate of Crete was one of the major foes of Byzantium. Crete commanded the sea lanes of the Eastern Mediterranean and functioned as a forward base and haven for Muslim corsair fleets that ravaged the Byzantine-controlled shores of the Aegean Sea. Crete returned to Byzantine rule under Nikephoros Phokas, who launched a huge campaign against the Emirate of Crete in 960 to 961. Meanwhile, the Bulgarian Empire threatened Byzantine control of Northern Greece and the Aegean coast to the south. Under Presian I and his successor Boris I, the Bulgarian Empire managed to obtain a small portion of the northern Aegean coast. Simeon I of Bulgaria led Bulgaria to its greatest territorial expansion, and managed to conqueror much of the northern and western coasts of the Aegean. The Byzantines later regained control. The Second Bulgarian Empire achieved similar success along, again, the northern and western coasts, under Ivan Asen II of Bulgaria.

After Alexander the Great's death, his empire was divided among his generals. Cassander became king of the Hellenistic kingdom of Macedon, which held territory along the western coast of the Aegean, roughly corresponding to modern-day Greece. The Kingdom of Lysimachus had control over the sea's eastern coast. Greece had entered the Hellenistic period. Roman rule The Macedonian Wars were a series of conflicts fought by the Roman Republic and its Greek allies in the eastern Mediterranean against several different major Greek kingdoms. They resulted in Roman control or influence over the eastern Mediterranean basin, including the Aegean, in addition to their hegemony in the western Mediterranean after the Punic Wars. During Roman rule, the land around the Aegean Sea fell under the provinces of Achaea, Macedonia, Thracia, Asia and Creta et Cyrenica (island of Crete) Medieval period The Fall of the Western Roman Empire allowed its successor state, the Byzantine Empire, to continue Roman control over the Aegean Sea. However, their territory would later be threatened by the Early Muslim conquests initiated by Muhammad in the 7th century. Although the Rashidun Caliphate did not manage to obtain land along the coast of the Aegean sea, its conquest of the Eastern Anatolian peninsula as well as Egypt, the Levant, and North Africa left the Byzantine Empire weakened. The Umayyad Caliphate expanded the territorial gains of the Rashidun Caliphate, conquering much of North Africa, and threatened the Byzantine Empire's control of Western Anatolia, where it meets the Aegean Sea. During the 820s, Crete was conquered by a group of Berbers Andalusians exiles led by Abu Hafs Umar al-Iqritishi, and it became an independent Islamic state. The Byzantine Empire launched a campaign that took most of the island back in 842 and 843 under Theoktistos, but the reconquest was not completed and was soon reversed. Later attempts by the Byzantine Empire to recover the island were without success. For the approximately 135 years of its existence, the emirate of Crete was one of the major foes of Byzantium. Crete commanded the sea lanes of the Eastern Mediterranean and functioned as a forward base and haven for Muslim corsair fleets that ravaged the Byzantine-controlled shores of the Aegean Sea. Crete returned to Byzantine rule under Nikephoros Phokas, who launched a huge campaign against the Emirate of Crete in 960 to 961. Meanwhile, the Bulgarian Empire threatened Byzantine control of Northern Greece and the Aegean coast to the south. Under Presian I and his successor Boris I, the Bulgarian Empire managed to obtain a small portion of the northern Aegean coast. Simeon I of Bulgaria led Bulgaria to its greatest territorial expansion, and managed to conqueror much of the northern and western coasts of the Aegean. The Byzantines later regained control. The Second Bulgarian Empire achieved similar success along, again, the northern and western coasts, under Ivan Asen II of Bulgaria.

The Seljuq Turks, under the Seljuk Empire, invaded the Byzantine Empire in 1068, from which they annexed almost all the territories of Anatolia, including the east coast of the Aegean Sea, during the reign of Alp Arslan, the second Sultan of the Seljuk Empire. After the death of his successor, Malik Shah I, the empire was divided, and Malik Shah was succeeded in Anatolia by Kilij Arslan I, who founded the Sultanate of Rum. The Byzantines yet again recaptured the eastern coast of the Aegean. After Constantinople was occupied by Western European and Venetian forces during the Fourth Crusade, the area around the Aegean sea was fragmented into multiple entities, including the Latin Empire, the Kingdom of Thessalonica, the Empire of Nicaea, the Principality of Achaea, and the Duchy of Athens. The Venetians created the maritime state of the Duchy of the Archipelago, which included all the Cyclades except Mykonos and Tinos. The Empire of Nicaea, a Byzantine rump state, managed to effect the Recapture of Constantinople from the Latins in 1261 and defeat Epirus. Byzantine successes were not to last; the Ottomans would conquer the area around the Aegean coast, but before their expansion the Byzantine Empire had already been weakened from internal conflict. By the late 14th century the Byzantine Empire had lost all control of the coast of the Aegean Sea and could exercise power around their capital, Constantinople. The Ottoman Empire then gained control of all the Aegean coast with the exception of Crete, which was a Venetian colony until 1669. Modern Period The Greek War of Independence allowed a Greek state on the coast of the Aegean from 1829 onward. The Ottoman Empire held a presence over the sea for over 500 years until its dissolution following World War I, when it was replaced by modern Turkey. During the war, Greece gained control over the area around the northern coast of the Aegean. By the 1930s, Greece and Turkey had about resumed their present-day borders. In the Italo-Turkish War of 1912, Italy captured the Dodecanese islands, and had occupied them since, reneging on the 1919 Venizelos–Tittoni agreement to cede them to Greece. The Greco-Italian War took place from October 1940 to April 1941 as part of the Balkans Campaign of World War II. The Italian war aim was to establish a Greek puppet state, which would permit the Italian annexation of the Sporades and the Cyclades islands in the Aegean Sea, to be administered as a part of the Italian Aegean Islands. The German invasion resulted in the Axis occupation of Greece. The German troops evacuated Athens on 12 October 1944, and by the end of the month, they had withdrawn from mainland Greece. Greece was then liberated by Allied troops. Economy and politics Many of the islands in the Aegean have safe harbours and bays. In ancient times, navigation through the sea was easier than travelling across the rough terrain of the Greek mainland, and to some extent, the coastal areas of Anatolia.

The Seljuq Turks, under the Seljuk Empire, invaded the Byzantine Empire in 1068, from which they annexed almost all the territories of Anatolia, including the east coast of the Aegean Sea, during the reign of Alp Arslan, the second Sultan of the Seljuk Empire. After the death of his successor, Malik Shah I, the empire was divided, and Malik Shah was succeeded in Anatolia by Kilij Arslan I, who founded the Sultanate of Rum. The Byzantines yet again recaptured the eastern coast of the Aegean. After Constantinople was occupied by Western European and Venetian forces during the Fourth Crusade, the area around the Aegean sea was fragmented into multiple entities, including the Latin Empire, the Kingdom of Thessalonica, the Empire of Nicaea, the Principality of Achaea, and the Duchy of Athens. The Venetians created the maritime state of the Duchy of the Archipelago, which included all the Cyclades except Mykonos and Tinos. The Empire of Nicaea, a Byzantine rump state, managed to effect the Recapture of Constantinople from the Latins in 1261 and defeat Epirus. Byzantine successes were not to last; the Ottomans would conquer the area around the Aegean coast, but before their expansion the Byzantine Empire had already been weakened from internal conflict. By the late 14th century the Byzantine Empire had lost all control of the coast of the Aegean Sea and could exercise power around their capital, Constantinople. The Ottoman Empire then gained control of all the Aegean coast with the exception of Crete, which was a Venetian colony until 1669. Modern Period The Greek War of Independence allowed a Greek state on the coast of the Aegean from 1829 onward. The Ottoman Empire held a presence over the sea for over 500 years until its dissolution following World War I, when it was replaced by modern Turkey. During the war, Greece gained control over the area around the northern coast of the Aegean. By the 1930s, Greece and Turkey had about resumed their present-day borders. In the Italo-Turkish War of 1912, Italy captured the Dodecanese islands, and had occupied them since, reneging on the 1919 Venizelos–Tittoni agreement to cede them to Greece. The Greco-Italian War took place from October 1940 to April 1941 as part of the Balkans Campaign of World War II. The Italian war aim was to establish a Greek puppet state, which would permit the Italian annexation of the Sporades and the Cyclades islands in the Aegean Sea, to be administered as a part of the Italian Aegean Islands. The German invasion resulted in the Axis occupation of Greece. The German troops evacuated Athens on 12 October 1944, and by the end of the month, they had withdrawn from mainland Greece. Greece was then liberated by Allied troops. Economy and politics Many of the islands in the Aegean have safe harbours and bays. In ancient times, navigation through the sea was easier than travelling across the rough terrain of the Greek mainland, and to some extent, the coastal areas of Anatolia.

The Seljuq Turks, under the Seljuk Empire, invaded the Byzantine Empire in 1068, from which they annexed almost all the territories of Anatolia, including the east coast of the Aegean Sea, during the reign of Alp Arslan, the second Sultan of the Seljuk Empire. After the death of his successor, Malik Shah I, the empire was divided, and Malik Shah was succeeded in Anatolia by Kilij Arslan I, who founded the Sultanate of Rum. The Byzantines yet again recaptured the eastern coast of the Aegean. After Constantinople was occupied by Western European and Venetian forces during the Fourth Crusade, the area around the Aegean sea was fragmented into multiple entities, including the Latin Empire, the Kingdom of Thessalonica, the Empire of Nicaea, the Principality of Achaea, and the Duchy of Athens. The Venetians created the maritime state of the Duchy of the Archipelago, which included all the Cyclades except Mykonos and Tinos. The Empire of Nicaea, a Byzantine rump state, managed to effect the Recapture of Constantinople from the Latins in 1261 and defeat Epirus. Byzantine successes were not to last; the Ottomans would conquer the area around the Aegean coast, but before their expansion the Byzantine Empire had already been weakened from internal conflict. By the late 14th century the Byzantine Empire had lost all control of the coast of the Aegean Sea and could exercise power around their capital, Constantinople. The Ottoman Empire then gained control of all the Aegean coast with the exception of Crete, which was a Venetian colony until 1669. Modern Period The Greek War of Independence allowed a Greek state on the coast of the Aegean from 1829 onward. The Ottoman Empire held a presence over the sea for over 500 years until its dissolution following World War I, when it was replaced by modern Turkey. During the war, Greece gained control over the area around the northern coast of the Aegean. By the 1930s, Greece and Turkey had about resumed their present-day borders. In the Italo-Turkish War of 1912, Italy captured the Dodecanese islands, and had occupied them since, reneging on the 1919 Venizelos–Tittoni agreement to cede them to Greece. The Greco-Italian War took place from October 1940 to April 1941 as part of the Balkans Campaign of World War II. The Italian war aim was to establish a Greek puppet state, which would permit the Italian annexation of the Sporades and the Cyclades islands in the Aegean Sea, to be administered as a part of the Italian Aegean Islands. The German invasion resulted in the Axis occupation of Greece. The German troops evacuated Athens on 12 October 1944, and by the end of the month, they had withdrawn from mainland Greece. Greece was then liberated by Allied troops. Economy and politics Many of the islands in the Aegean have safe harbours and bays. In ancient times, navigation through the sea was easier than travelling across the rough terrain of the Greek mainland, and to some extent, the coastal areas of Anatolia.

Many of the islands are volcanic, and marble and iron are mined on other islands. The larger islands have some fertile valleys and plains. The Armenian king dynasty Achaemenids made one of the greatest highways of the Ancient world. Its name was "Royal road," its length was 2400km, and it was situated between  Persian Empire and the Aegean sea. A part of the road passed by the southwest of Armenia, which gave an excellent opportunity to participate in international trading. Of the main islands in the Aegean Sea, two belong to Turkey – Bozcaada (Tenedos) and Gökçeada (Imbros); the rest belong to Greece. Between the two countries, there are political disputes over several aspects of political control over the Aegean space, including the size of territorial waters, air control and the delimitation of economic rights to the continental shelf. These issues are known as the Aegean dispute. Transport Multiple ports are located along the Greek and Turkish coasts of the Aegean Sea. The port of Piraeus in Athens is the chief port in Greece, the largest passenger port in Europe and the third largest in the world, servicing about 20 million passengers annually. With a throughput of 1.4 million TEUs, Piraeus is placed among the top ten ports in container traffic in Europe and the top container port in the Eastern Mediterranean. Piraeus is also the commercial hub of Greek shipping. Piraeus bi-annually acts as the focus for a major shipping convention, known as Posidonia, which attracts maritime industry professionals from all over the world. Piraeus is currently Greece's third-busiest port in terms of tons of goods transported, behind Aghioi Theodoroi and Thessaloniki. The central port serves ferry routes to almost every island in the eastern portion of Greece, the island of Crete, the Cyclades, the Dodecanese, and much of the northern and the eastern Aegean Sea, while the western part of the port is used for cargo services. As of 2007, the Port of Thessaloniki was the second-largest container port in Greece after the port of Piraeus, making it one of the busiest ports in Greece. In 2007, the Port of Thessaloniki handled 14,373,245 tonnes of cargo and 222,824 TEU's. Paloukia, on the island of Salamis, is a major passenger port. Fishing Fish are Greece's second-largest agricultural export, and Greece has Europe's largest fishing fleet. Fish captured include sardines, mackerel, grouper, grey mullets, sea bass, and seabream. There is a considerable difference between fish catches between the pelagic and demersal zones; with respect to pelagic fisheries, the catches from the northern, central and southern Aegean area groupings are dominated, respectively, by anchovy, horse mackerels, and boops. For demersal fisheries, the catches from the northern and southern Aegean area groupings are dominated by grey mullets and pickerel (Spicara smaris) respectively. The industry has been impacted by the Great Recession. Overfishing and habitat destruction is also a concern, threatening grouper, and seabream populations, resulting in perhaps a 50% decline of fish catch.

Many of the islands are volcanic, and marble and iron are mined on other islands. The larger islands have some fertile valleys and plains. The Armenian king dynasty Achaemenids made one of the greatest highways of the Ancient world. Its name was "Royal road," its length was 2400km, and it was situated between  Persian Empire and the Aegean sea. A part of the road passed by the southwest of Armenia, which gave an excellent opportunity to participate in international trading. Of the main islands in the Aegean Sea, two belong to Turkey – Bozcaada (Tenedos) and Gökçeada (Imbros); the rest belong to Greece. Between the two countries, there are political disputes over several aspects of political control over the Aegean space, including the size of territorial waters, air control and the delimitation of economic rights to the continental shelf. These issues are known as the Aegean dispute. Transport Multiple ports are located along the Greek and Turkish coasts of the Aegean Sea. The port of Piraeus in Athens is the chief port in Greece, the largest passenger port in Europe and the third largest in the world, servicing about 20 million passengers annually. With a throughput of 1.4 million TEUs, Piraeus is placed among the top ten ports in container traffic in Europe and the top container port in the Eastern Mediterranean. Piraeus is also the commercial hub of Greek shipping. Piraeus bi-annually acts as the focus for a major shipping convention, known as Posidonia, which attracts maritime industry professionals from all over the world. Piraeus is currently Greece's third-busiest port in terms of tons of goods transported, behind Aghioi Theodoroi and Thessaloniki. The central port serves ferry routes to almost every island in the eastern portion of Greece, the island of Crete, the Cyclades, the Dodecanese, and much of the northern and the eastern Aegean Sea, while the western part of the port is used for cargo services. As of 2007, the Port of Thessaloniki was the second-largest container port in Greece after the port of Piraeus, making it one of the busiest ports in Greece. In 2007, the Port of Thessaloniki handled 14,373,245 tonnes of cargo and 222,824 TEU's. Paloukia, on the island of Salamis, is a major passenger port. Fishing Fish are Greece's second-largest agricultural export, and Greece has Europe's largest fishing fleet. Fish captured include sardines, mackerel, grouper, grey mullets, sea bass, and seabream. There is a considerable difference between fish catches between the pelagic and demersal zones; with respect to pelagic fisheries, the catches from the northern, central and southern Aegean area groupings are dominated, respectively, by anchovy, horse mackerels, and boops. For demersal fisheries, the catches from the northern and southern Aegean area groupings are dominated by grey mullets and pickerel (Spicara smaris) respectively. The industry has been impacted by the Great Recession. Overfishing and habitat destruction is also a concern, threatening grouper, and seabream populations, resulting in perhaps a 50% decline of fish catch.

Many of the islands are volcanic, and marble and iron are mined on other islands. The larger islands have some fertile valleys and plains. The Armenian king dynasty Achaemenids made one of the greatest highways of the Ancient world. Its name was "Royal road," its length was 2400km, and it was situated between  Persian Empire and the Aegean sea. A part of the road passed by the southwest of Armenia, which gave an excellent opportunity to participate in international trading. Of the main islands in the Aegean Sea, two belong to Turkey – Bozcaada (Tenedos) and Gökçeada (Imbros); the rest belong to Greece. Between the two countries, there are political disputes over several aspects of political control over the Aegean space, including the size of territorial waters, air control and the delimitation of economic rights to the continental shelf. These issues are known as the Aegean dispute. Transport Multiple ports are located along the Greek and Turkish coasts of the Aegean Sea. The port of Piraeus in Athens is the chief port in Greece, the largest passenger port in Europe and the third largest in the world, servicing about 20 million passengers annually. With a throughput of 1.4 million TEUs, Piraeus is placed among the top ten ports in container traffic in Europe and the top container port in the Eastern Mediterranean. Piraeus is also the commercial hub of Greek shipping. Piraeus bi-annually acts as the focus for a major shipping convention, known as Posidonia, which attracts maritime industry professionals from all over the world. Piraeus is currently Greece's third-busiest port in terms of tons of goods transported, behind Aghioi Theodoroi and Thessaloniki. The central port serves ferry routes to almost every island in the eastern portion of Greece, the island of Crete, the Cyclades, the Dodecanese, and much of the northern and the eastern Aegean Sea, while the western part of the port is used for cargo services. As of 2007, the Port of Thessaloniki was the second-largest container port in Greece after the port of Piraeus, making it one of the busiest ports in Greece. In 2007, the Port of Thessaloniki handled 14,373,245 tonnes of cargo and 222,824 TEU's. Paloukia, on the island of Salamis, is a major passenger port. Fishing Fish are Greece's second-largest agricultural export, and Greece has Europe's largest fishing fleet. Fish captured include sardines, mackerel, grouper, grey mullets, sea bass, and seabream. There is a considerable difference between fish catches between the pelagic and demersal zones; with respect to pelagic fisheries, the catches from the northern, central and southern Aegean area groupings are dominated, respectively, by anchovy, horse mackerels, and boops. For demersal fisheries, the catches from the northern and southern Aegean area groupings are dominated by grey mullets and pickerel (Spicara smaris) respectively. The industry has been impacted by the Great Recession. Overfishing and habitat destruction is also a concern, threatening grouper, and seabream populations, resulting in perhaps a 50% decline of fish catch.

To address these concerns, Greek fishermen have been offered a compensation by the government. Although some species are defined as protected or threatened under EU legislation, several illegal species such as the molluscs Pinna nobilis, Charonia tritonis and Lithophaga lithophaga, can be bought in restaurants and fish markets around Greece. Tourism The Aegean islands within the Aegean Sea are significant tourist destinations. Tourism to the Aegean islands contributes a significant portion of tourism in Greece, especially since the second half of the 20th century. A total of five UNESCO World Heritage sites are located the Aegean Islands; these include the Monastery of Saint John the Theologian and the Cave of the Apocalypse on Patmos, the Pythagoreion and Heraion of Samos in Samos, the Nea Moni of Chios, the island of Delos, and the Medieval City of Rhodes. Greece is one of the most visited countries in Europe and the world with over 33 million visitors in 2018, and the tourism industry around a quarter of Greece's Gross Domestic Product. The islands of Santorini, Crete, Lesbos, Delos, and Mykonos are common tourist destinations. An estimated 2 million tourists visit Santorini annually. However, concerns relating to overtourism have arisen in recent years, such as issues of inadequate infrastructure and overcrowding. Alongside Greece, Turkey has also been successful in developing resort areas and attracting large number of tourists, contributing to tourism in Turkey. The phrase "Blue Cruise" refers to recreational voyages along the Turkish Riviera, including across the Aegean. The ancient city of Troy, a World Heritage Site, is on the Turkish coast of the Aegean. Greece and Turkey both take part in the Blue Flag beach certification programme of the Foundation for Environmental Education. The certification is awarded for beaches and marinas meeting strict quality standards including environmental protection, water quality, safety and services criteria. As of 2015, the Blue Flag has been awarded to 395 beaches and 9 marinas in Greece. Southern Aegean beaches on the Turkish coast include Muğla, with 102 beaches awarded with the blue flag, along with İzmir and Aydın, who have 49 and 30 beaches awarded respectively. See also Exclusive economic zone of Greece Geography of Turkey List of Greek place names References External links Seas of Greece Seas of Turkey Marginal seas of the Mediterranean European seas Seas of Asia Landforms of Çanakkale Province Landforms of Muğla Province Landforms of İzmir Province Landforms of Balıkesir Province Landforms of Edirne Province Landforms of Aydın Province

To address these concerns, Greek fishermen have been offered a compensation by the government. Although some species are defined as protected or threatened under EU legislation, several illegal species such as the molluscs Pinna nobilis, Charonia tritonis and Lithophaga lithophaga, can be bought in restaurants and fish markets around Greece. Tourism The Aegean islands within the Aegean Sea are significant tourist destinations. Tourism to the Aegean islands contributes a significant portion of tourism in Greece, especially since the second half of the 20th century. A total of five UNESCO World Heritage sites are located the Aegean Islands; these include the Monastery of Saint John the Theologian and the Cave of the Apocalypse on Patmos, the Pythagoreion and Heraion of Samos in Samos, the Nea Moni of Chios, the island of Delos, and the Medieval City of Rhodes. Greece is one of the most visited countries in Europe and the world with over 33 million visitors in 2018, and the tourism industry around a quarter of Greece's Gross Domestic Product. The islands of Santorini, Crete, Lesbos, Delos, and Mykonos are common tourist destinations. An estimated 2 million tourists visit Santorini annually. However, concerns relating to overtourism have arisen in recent years, such as issues of inadequate infrastructure and overcrowding. Alongside Greece, Turkey has also been successful in developing resort areas and attracting large number of tourists, contributing to tourism in Turkey. The phrase "Blue Cruise" refers to recreational voyages along the Turkish Riviera, including across the Aegean. The ancient city of Troy, a World Heritage Site, is on the Turkish coast of the Aegean. Greece and Turkey both take part in the Blue Flag beach certification programme of the Foundation for Environmental Education. The certification is awarded for beaches and marinas meeting strict quality standards including environmental protection, water quality, safety and services criteria. As of 2015, the Blue Flag has been awarded to 395 beaches and 9 marinas in Greece. Southern Aegean beaches on the Turkish coast include Muğla, with 102 beaches awarded with the blue flag, along with İzmir and Aydın, who have 49 and 30 beaches awarded respectively. See also Exclusive economic zone of Greece Geography of Turkey List of Greek place names References External links Seas of Greece Seas of Turkey Marginal seas of the Mediterranean European seas Seas of Asia Landforms of Çanakkale Province Landforms of Muğla Province Landforms of İzmir Province Landforms of Balıkesir Province Landforms of Edirne Province Landforms of Aydın Province

To address these concerns, Greek fishermen have been offered a compensation by the government. Although some species are defined as protected or threatened under EU legislation, several illegal species such as the molluscs Pinna nobilis, Charonia tritonis and Lithophaga lithophaga, can be bought in restaurants and fish markets around Greece. Tourism The Aegean islands within the Aegean Sea are significant tourist destinations. Tourism to the Aegean islands contributes a significant portion of tourism in Greece, especially since the second half of the 20th century. A total of five UNESCO World Heritage sites are located the Aegean Islands; these include the Monastery of Saint John the Theologian and the Cave of the Apocalypse on Patmos, the Pythagoreion and Heraion of Samos in Samos, the Nea Moni of Chios, the island of Delos, and the Medieval City of Rhodes. Greece is one of the most visited countries in Europe and the world with over 33 million visitors in 2018, and the tourism industry around a quarter of Greece's Gross Domestic Product. The islands of Santorini, Crete, Lesbos, Delos, and Mykonos are common tourist destinations. An estimated 2 million tourists visit Santorini annually. However, concerns relating to overtourism have arisen in recent years, such as issues of inadequate infrastructure and overcrowding. Alongside Greece, Turkey has also been successful in developing resort areas and attracting large number of tourists, contributing to tourism in Turkey. The phrase "Blue Cruise" refers to recreational voyages along the Turkish Riviera, including across the Aegean. The ancient city of Troy, a World Heritage Site, is on the Turkish coast of the Aegean. Greece and Turkey both take part in the Blue Flag beach certification programme of the Foundation for Environmental Education. The certification is awarded for beaches and marinas meeting strict quality standards including environmental protection, water quality, safety and services criteria. As of 2015, the Blue Flag has been awarded to 395 beaches and 9 marinas in Greece. Southern Aegean beaches on the Turkish coast include Muğla, with 102 beaches awarded with the blue flag, along with İzmir and Aydın, who have 49 and 30 beaches awarded respectively. See also Exclusive economic zone of Greece Geography of Turkey List of Greek place names References External links Seas of Greece Seas of Turkey Marginal seas of the Mediterranean European seas Seas of Asia Landforms of Çanakkale Province Landforms of Muğla Province Landforms of İzmir Province Landforms of Balıkesir Province Landforms of Edirne Province Landforms of Aydın Province

A Clockwork Orange (novel) A Clockwork Orange is a dystopian satirical black comedy novel by English writer Anthony Burgess, published in 1962. It is set in a near-future society that has a youth subculture of extreme violence. The teenage protagonist, Alex, narrates his violent exploits and his experiences with state authorities intent on reforming him. The book is partially written in a Russian-influenced argot called "Nadsat", which takes its name from the Russian suffix that is equivalent to '-teen' in English. According to Burgess, it was a jeu d'esprit written in just three weeks. In 2005, A Clockwork Orange was included on Time magazine's list of the 100 best English-language novels written since 1923, and it was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. The original manuscript of the book has been kept at McMaster University's William Ready Division of Archives and Research Collections in Hamilton, Ontario, Canada since the institution purchased the documents in 1971. It is considered one of the most influential dystopian books. Plot summary Part 1: Alex's world Alex is a 15-year-old gang leader living in a near-future dystopian city. His friends ("droogs" in the novel's Anglo-Russian slang, "Nadsat") and fellow gang members are Dim, a slow-witted bruiser, who is the gang's muscle; Georgie, an ambitious second-in-command; and Pete, who mostly plays along as the droogs indulge their taste for "ultra-violence" (random, violent mayhem). Characterised as a sociopath and hardened juvenile delinquent, Alex is also intelligent, quick-witted, and enjoys classical music; he is particularly fond of Beethoven, whom he calls "Lovely Ludwig Van". The story begins with the droogs sitting in their favourite hangout, the Korova Milk Bar, and drinking "milk-plus" – a beverage consisting of milk laced with the customer's drug of choice – to prepare for a night of ultra-violence. They assault a scholar walking home from the public library; rob a store, leaving the owner and his wife bloodied and unconscious; beat up a beggar; then scuffle with a rival gang. Joyriding through the countryside in a stolen car, they break into an isolated cottage and terrorise the young couple living there, beating the husband and gang-raping his wife. In a metafictional touch, the husband is a writer working on a manuscript called "A Clockwork Orange", and Alex contemptuously reads out a paragraph that states the novel's main theme before shredding the manuscript. Back at the Korova, Alex strikes Dim for his crude response to a woman's singing of an operatic passage, and strains within the gang become apparent. At home in his parents' flat, Alex plays classical music at top volume, which he describes as giving him orgasmic bliss before falling asleep. Alex feigns illness to his parents to stay out of school the next day. Following an unexpected visit from P.R. Deltoid, his "post-corrective adviser", Alex visits a record store, where he meets two pre-teen girls. He invites them back to the flat, where he drugs and rapes them.

A Clockwork Orange (novel) A Clockwork Orange is a dystopian satirical black comedy novel by English writer Anthony Burgess, published in 1962. It is set in a near-future society that has a youth subculture of extreme violence. The teenage protagonist, Alex, narrates his violent exploits and his experiences with state authorities intent on reforming him. The book is partially written in a Russian-influenced argot called "Nadsat", which takes its name from the Russian suffix that is equivalent to '-teen' in English. According to Burgess, it was a jeu d'esprit written in just three weeks. In 2005, A Clockwork Orange was included on Time magazine's list of the 100 best English-language novels written since 1923, and it was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. The original manuscript of the book has been kept at McMaster University's William Ready Division of Archives and Research Collections in Hamilton, Ontario, Canada since the institution purchased the documents in 1971. It is considered one of the most influential dystopian books. Plot summary Part 1: Alex's world Alex is a 15-year-old gang leader living in a near-future dystopian city. His friends ("droogs" in the novel's Anglo-Russian slang, "Nadsat") and fellow gang members are Dim, a slow-witted bruiser, who is the gang's muscle; Georgie, an ambitious second-in-command; and Pete, who mostly plays along as the droogs indulge their taste for "ultra-violence" (random, violent mayhem). Characterised as a sociopath and hardened juvenile delinquent, Alex is also intelligent, quick-witted, and enjoys classical music; he is particularly fond of Beethoven, whom he calls "Lovely Ludwig Van". The story begins with the droogs sitting in their favourite hangout, the Korova Milk Bar, and drinking "milk-plus" – a beverage consisting of milk laced with the customer's drug of choice – to prepare for a night of ultra-violence. They assault a scholar walking home from the public library; rob a store, leaving the owner and his wife bloodied and unconscious; beat up a beggar; then scuffle with a rival gang. Joyriding through the countryside in a stolen car, they break into an isolated cottage and terrorise the young couple living there, beating the husband and gang-raping his wife. In a metafictional touch, the husband is a writer working on a manuscript called "A Clockwork Orange", and Alex contemptuously reads out a paragraph that states the novel's main theme before shredding the manuscript. Back at the Korova, Alex strikes Dim for his crude response to a woman's singing of an operatic passage, and strains within the gang become apparent. At home in his parents' flat, Alex plays classical music at top volume, which he describes as giving him orgasmic bliss before falling asleep. Alex feigns illness to his parents to stay out of school the next day. Following an unexpected visit from P.R. Deltoid, his "post-corrective adviser", Alex visits a record store, where he meets two pre-teen girls. He invites them back to the flat, where he drugs and rapes them.

That night after a nap, Alex finds his droogs in a mutinous mood, waiting downstairs in the torn-up and graffitied lobby. Georgie challenges Alex for leadership of the gang, demanding that they focus on higher-value targets in their robberies. Alex quells the rebellion by slashing Dim's hand and fighting with Georgie, then pacifies the gang by agreeing to Georgie's plan to rob the home of a wealthy elderly woman. Alex breaks in and knocks the woman unconscious; but, when he hears sirens and opens the door to flee, Dim strikes him in payback for the earlier fight. The gang abandons Alex on the front step to be arrested by the police; while in custody, he learns that the woman has died from her injuries. Part 2: The Ludovico Technique Alex is convicted of murder and sentenced to 14 years in prison. His parents visit one day to inform him that Georgie has been killed in a botched robbery. Two years into his term, he has obtained a job in one of the prison chapels, playing music on the stereo to accompany the Sunday Christian services. The chaplain mistakes Alex's Bible studies for stirrings of faith; in reality, Alex is only reading Scripture for the violent or sexual passages. After his fellow cellmates blame him for beating a troublesome cellmate to death, he is chosen to undergo an experimental behaviour modification treatment called the Ludovico Technique in exchange for having the remainder of his sentence commuted. The technique is a form of aversion therapy in which Alex is injected with nausea-inducing drugs while watching graphically violent films, eventually conditioning him to become severely ill at the mere thought of violence. As an unintended consequence, the soundtrack to one of the films, Beethoven's Ninth Symphony, renders Alex unable to enjoy his beloved classical music as before. The effectiveness of the technique is demonstrated to a group of VIPs, who watch as Alex collapses before a bully and abases himself before a scantily clad young woman. Although the prison chaplain accuses the state of stripping Alex of free will, the government officials on the scene are pleased with the results, and Alex is released from prison. Part 3: After prison Alex returns to his parents' flat, only to find that they are letting his room to a lodger. Now homeless, he wanders the streets and enters a public library, hoping to learn of a painless method for committing suicide. The old scholar whom Alex had assaulted in Part 1 finds him and beats him, with the help of several friends. Two policemen come to Alex's rescue, but they turn out to be Dim and Billyboy, a former rival gang leader. They take Alex outside town, brutalise him, and abandon him there. Alex collapses at the door of an isolated cottage, realising too late that it is the one he and his droogs invaded in Part 1.

That night after a nap, Alex finds his droogs in a mutinous mood, waiting downstairs in the torn-up and graffitied lobby. Georgie challenges Alex for leadership of the gang, demanding that they focus on higher-value targets in their robberies. Alex quells the rebellion by slashing Dim's hand and fighting with Georgie, then pacifies the gang by agreeing to Georgie's plan to rob the home of a wealthy elderly woman. Alex breaks in and knocks the woman unconscious; but, when he hears sirens and opens the door to flee, Dim strikes him in payback for the earlier fight. The gang abandons Alex on the front step to be arrested by the police; while in custody, he learns that the woman has died from her injuries. Part 2: The Ludovico Technique Alex is convicted of murder and sentenced to 14 years in prison. His parents visit one day to inform him that Georgie has been killed in a botched robbery. Two years into his term, he has obtained a job in one of the prison chapels, playing music on the stereo to accompany the Sunday Christian services. The chaplain mistakes Alex's Bible studies for stirrings of faith; in reality, Alex is only reading Scripture for the violent or sexual passages. After his fellow cellmates blame him for beating a troublesome cellmate to death, he is chosen to undergo an experimental behaviour modification treatment called the Ludovico Technique in exchange for having the remainder of his sentence commuted. The technique is a form of aversion therapy in which Alex is injected with nausea-inducing drugs while watching graphically violent films, eventually conditioning him to become severely ill at the mere thought of violence. As an unintended consequence, the soundtrack to one of the films, Beethoven's Ninth Symphony, renders Alex unable to enjoy his beloved classical music as before. The effectiveness of the technique is demonstrated to a group of VIPs, who watch as Alex collapses before a bully and abases himself before a scantily clad young woman. Although the prison chaplain accuses the state of stripping Alex of free will, the government officials on the scene are pleased with the results, and Alex is released from prison. Part 3: After prison Alex returns to his parents' flat, only to find that they are letting his room to a lodger. Now homeless, he wanders the streets and enters a public library, hoping to learn of a painless method for committing suicide. The old scholar whom Alex had assaulted in Part 1 finds him and beats him, with the help of several friends. Two policemen come to Alex's rescue, but they turn out to be Dim and Billyboy, a former rival gang leader. They take Alex outside town, brutalise him, and abandon him there. Alex collapses at the door of an isolated cottage, realising too late that it is the one he and his droogs invaded in Part 1.

That night after a nap, Alex finds his droogs in a mutinous mood, waiting downstairs in the torn-up and graffitied lobby. Georgie challenges Alex for leadership of the gang, demanding that they focus on higher-value targets in their robberies. Alex quells the rebellion by slashing Dim's hand and fighting with Georgie, then pacifies the gang by agreeing to Georgie's plan to rob the home of a wealthy elderly woman. Alex breaks in and knocks the woman unconscious; but, when he hears sirens and opens the door to flee, Dim strikes him in payback for the earlier fight. The gang abandons Alex on the front step to be arrested by the police; while in custody, he learns that the woman has died from her injuries. Part 2: The Ludovico Technique Alex is convicted of murder and sentenced to 14 years in prison. His parents visit one day to inform him that Georgie has been killed in a botched robbery. Two years into his term, he has obtained a job in one of the prison chapels, playing music on the stereo to accompany the Sunday Christian services. The chaplain mistakes Alex's Bible studies for stirrings of faith; in reality, Alex is only reading Scripture for the violent or sexual passages. After his fellow cellmates blame him for beating a troublesome cellmate to death, he is chosen to undergo an experimental behaviour modification treatment called the Ludovico Technique in exchange for having the remainder of his sentence commuted. The technique is a form of aversion therapy in which Alex is injected with nausea-inducing drugs while watching graphically violent films, eventually conditioning him to become severely ill at the mere thought of violence. As an unintended consequence, the soundtrack to one of the films, Beethoven's Ninth Symphony, renders Alex unable to enjoy his beloved classical music as before. The effectiveness of the technique is demonstrated to a group of VIPs, who watch as Alex collapses before a bully and abases himself before a scantily clad young woman. Although the prison chaplain accuses the state of stripping Alex of free will, the government officials on the scene are pleased with the results, and Alex is released from prison. Part 3: After prison Alex returns to his parents' flat, only to find that they are letting his room to a lodger. Now homeless, he wanders the streets and enters a public library, hoping to learn of a painless method for committing suicide. The old scholar whom Alex had assaulted in Part 1 finds him and beats him, with the help of several friends. Two policemen come to Alex's rescue, but they turn out to be Dim and Billyboy, a former rival gang leader. They take Alex outside town, brutalise him, and abandon him there. Alex collapses at the door of an isolated cottage, realising too late that it is the one he and his droogs invaded in Part 1.

The writer, F. Alexander, still lives here, but his wife has since died of what he believes to be injuries she sustained in the rape. He does not recognise Alex but gives him shelter and questions him about the conditioning he has undergone. Alexander and his colleagues, all highly critical of the government, plan to use Alex as a symbol of state brutality and thus prevent the incumbent government from being re-elected. Alex inadvertently reveals that he was the ringleader of the home invasion; he is removed from the cottage and locked in an upper-story bedroom as a relentless barrage of classical music plays over speakers. He attempts suicide by leaping from the window. Alex wakes up in a hospital, where he is courted by government officials anxious to counter the bad publicity created by his suicide attempt. He is informed that Alexander has been "put away" for Alex's protection and his own. Alex is offered a well-paying job if he agrees to side with the government once he is discharged. A round of tests reveals that his old violent impulses have returned, indicating that the hospital doctors have undone the effects of his conditioning. As photographers snap pictures, Alex daydreams of orgiastic violence and reflects, "I was cured all right." In the final chapter, Alex — now 18 years old and working for the nation's musical recording archives — finds himself halfheartedly preparing for yet another night of crime with a new gang (Len, Rick and Bully). After a chance encounter with Pete, who has reformed and married, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own, while reflecting on the notion that his own children could possibly end up being just as destructive as he has been, if not more so. Omission of the final chapter The book has three parts, each with seven chapters. Burgess has stated that the total of 21 chapters was an intentional nod to the age of 21 being recognised as a milestone in human maturation. The 21st chapter was omitted from the editions published in the United States prior to 1986. In the introduction to the updated American text (these newer editions include the missing 21st chapter), Burgess explains that when he first brought the book to an American publisher, he was told that U.S. audiences would never go for the final chapter, in which Alex sees the error of his ways, decides he has simply gotten bored of violence and resolves to turn his life around. At the American publisher's insistence, Burgess allowed their editors to cut the redeeming final chapter from the U.S. version, so that the tale would end on a darker note, with Alex becoming his old, ultraviolent self again – an ending which the publisher insisted would be "more realistic" and appealing to a US audience.

The writer, F. Alexander, still lives here, but his wife has since died of what he believes to be injuries she sustained in the rape. He does not recognise Alex but gives him shelter and questions him about the conditioning he has undergone. Alexander and his colleagues, all highly critical of the government, plan to use Alex as a symbol of state brutality and thus prevent the incumbent government from being re-elected. Alex inadvertently reveals that he was the ringleader of the home invasion; he is removed from the cottage and locked in an upper-story bedroom as a relentless barrage of classical music plays over speakers. He attempts suicide by leaping from the window. Alex wakes up in a hospital, where he is courted by government officials anxious to counter the bad publicity created by his suicide attempt. He is informed that Alexander has been "put away" for Alex's protection and his own. Alex is offered a well-paying job if he agrees to side with the government once he is discharged. A round of tests reveals that his old violent impulses have returned, indicating that the hospital doctors have undone the effects of his conditioning. As photographers snap pictures, Alex daydreams of orgiastic violence and reflects, "I was cured all right." In the final chapter, Alex — now 18 years old and working for the nation's musical recording archives — finds himself halfheartedly preparing for yet another night of crime with a new gang (Len, Rick and Bully). After a chance encounter with Pete, who has reformed and married, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own, while reflecting on the notion that his own children could possibly end up being just as destructive as he has been, if not more so. Omission of the final chapter The book has three parts, each with seven chapters. Burgess has stated that the total of 21 chapters was an intentional nod to the age of 21 being recognised as a milestone in human maturation. The 21st chapter was omitted from the editions published in the United States prior to 1986. In the introduction to the updated American text (these newer editions include the missing 21st chapter), Burgess explains that when he first brought the book to an American publisher, he was told that U.S. audiences would never go for the final chapter, in which Alex sees the error of his ways, decides he has simply gotten bored of violence and resolves to turn his life around. At the American publisher's insistence, Burgess allowed their editors to cut the redeeming final chapter from the U.S. version, so that the tale would end on a darker note, with Alex becoming his old, ultraviolent self again – an ending which the publisher insisted would be "more realistic" and appealing to a US audience.

The writer, F. Alexander, still lives here, but his wife has since died of what he believes to be injuries she sustained in the rape. He does not recognise Alex but gives him shelter and questions him about the conditioning he has undergone. Alexander and his colleagues, all highly critical of the government, plan to use Alex as a symbol of state brutality and thus prevent the incumbent government from being re-elected. Alex inadvertently reveals that he was the ringleader of the home invasion; he is removed from the cottage and locked in an upper-story bedroom as a relentless barrage of classical music plays over speakers. He attempts suicide by leaping from the window. Alex wakes up in a hospital, where he is courted by government officials anxious to counter the bad publicity created by his suicide attempt. He is informed that Alexander has been "put away" for Alex's protection and his own. Alex is offered a well-paying job if he agrees to side with the government once he is discharged. A round of tests reveals that his old violent impulses have returned, indicating that the hospital doctors have undone the effects of his conditioning. As photographers snap pictures, Alex daydreams of orgiastic violence and reflects, "I was cured all right." In the final chapter, Alex — now 18 years old and working for the nation's musical recording archives — finds himself halfheartedly preparing for yet another night of crime with a new gang (Len, Rick and Bully). After a chance encounter with Pete, who has reformed and married, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own, while reflecting on the notion that his own children could possibly end up being just as destructive as he has been, if not more so. Omission of the final chapter The book has three parts, each with seven chapters. Burgess has stated that the total of 21 chapters was an intentional nod to the age of 21 being recognised as a milestone in human maturation. The 21st chapter was omitted from the editions published in the United States prior to 1986. In the introduction to the updated American text (these newer editions include the missing 21st chapter), Burgess explains that when he first brought the book to an American publisher, he was told that U.S. audiences would never go for the final chapter, in which Alex sees the error of his ways, decides he has simply gotten bored of violence and resolves to turn his life around. At the American publisher's insistence, Burgess allowed their editors to cut the redeeming final chapter from the U.S. version, so that the tale would end on a darker note, with Alex becoming his old, ultraviolent self again – an ending which the publisher insisted would be "more realistic" and appealing to a US audience.

The film adaptation, directed by Stanley Kubrick, is based on the American edition of the book (which Burgess considered to be "badly flawed"). Kubrick called Chapter 21 "an extra chapter" and claimed that he had not read the original version until he had virtually finished the screenplay and that he had never given serious consideration to using it. In Kubrick's opinion – as in the opinion of other readers, including the original American editor – the final chapter was unconvincing and inconsistent with the book. Characters Alex: The novel's protagonist and leader among his droogs. He often refers to himself as "Your Humble Narrator". Having coaxed two ten-year-old girls into his bedroom, Alex refers to himself as "Alexander the Large" while raping them; this was later the basis for Alex's claimed surname DeLarge in the 1971 film. George, Georgie or Georgie Boy: Effectively Alex's greedy second-in-command. Georgie attempts to undermine Alex's status as leader of the gang and take over their gang as the new leader. He is later killed during a botched robbery while Alex is in prison. Pete: The only one who does not take particular sides when the droogs fight among themselves. He later meets and marries a girl named Georgina, renouncing his violent ways and even losing his former (Nadsat) speech patterns. A chance encounter with Pete in the final chapter influences Alex to realise that he has grown bored with violence and recognise that human energy is better expended on creation than destruction. Dim: An idiotic and thoroughly gormless member of the gang, persistently condescended to by Alex, but respected to some extent by his droogs for his formidable fighting abilities, his weapon of choice being a length of bike chain. He later becomes a police officer, exacting his revenge on Alex for the abuse he once suffered under his command. P. R. Deltoid: A criminal rehabilitation social worker assigned the task of keeping Alex on the straight and narrow. He seemingly has no clue about dealing with young people, and is devoid of empathy or understanding for his troublesome charge. Indeed, when Alex is arrested for murdering an old woman and then ferociously beaten by several police officers, Deltoid simply spits on him. Prison Chaplain: The character who first questions whether it is moral to turn a violent person into a behavioural automaton who can make no choice in such matters. This is the only character who is truly concerned about Alex's welfare; he is not taken seriously by Alex, though. He is nicknamed by Alex "prison charlie" or "chaplin", a pun on Charlie Chaplin. Billyboy: A rival of Alex's. Early on in the story, Alex and his droogs battle Billyboy and his droogs, which ends abruptly when the police arrive. Later, after Alex is released from prison, Billyboy (along with Dim, who like Billyboy has become a police officer) rescues Alex from a mob, then subsequently beats him in a location out of town.

The film adaptation, directed by Stanley Kubrick, is based on the American edition of the book (which Burgess considered to be "badly flawed"). Kubrick called Chapter 21 "an extra chapter" and claimed that he had not read the original version until he had virtually finished the screenplay and that he had never given serious consideration to using it. In Kubrick's opinion – as in the opinion of other readers, including the original American editor – the final chapter was unconvincing and inconsistent with the book. Characters Alex: The novel's protagonist and leader among his droogs. He often refers to himself as "Your Humble Narrator". Having coaxed two ten-year-old girls into his bedroom, Alex refers to himself as "Alexander the Large" while raping them; this was later the basis for Alex's claimed surname DeLarge in the 1971 film. George, Georgie or Georgie Boy: Effectively Alex's greedy second-in-command. Georgie attempts to undermine Alex's status as leader of the gang and take over their gang as the new leader. He is later killed during a botched robbery while Alex is in prison. Pete: The only one who does not take particular sides when the droogs fight among themselves. He later meets and marries a girl named Georgina, renouncing his violent ways and even losing his former (Nadsat) speech patterns. A chance encounter with Pete in the final chapter influences Alex to realise that he has grown bored with violence and recognise that human energy is better expended on creation than destruction. Dim: An idiotic and thoroughly gormless member of the gang, persistently condescended to by Alex, but respected to some extent by his droogs for his formidable fighting abilities, his weapon of choice being a length of bike chain. He later becomes a police officer, exacting his revenge on Alex for the abuse he once suffered under his command. P. R. Deltoid: A criminal rehabilitation social worker assigned the task of keeping Alex on the straight and narrow. He seemingly has no clue about dealing with young people, and is devoid of empathy or understanding for his troublesome charge. Indeed, when Alex is arrested for murdering an old woman and then ferociously beaten by several police officers, Deltoid simply spits on him. Prison Chaplain: The character who first questions whether it is moral to turn a violent person into a behavioural automaton who can make no choice in such matters. This is the only character who is truly concerned about Alex's welfare; he is not taken seriously by Alex, though. He is nicknamed by Alex "prison charlie" or "chaplin", a pun on Charlie Chaplin. Billyboy: A rival of Alex's. Early on in the story, Alex and his droogs battle Billyboy and his droogs, which ends abruptly when the police arrive. Later, after Alex is released from prison, Billyboy (along with Dim, who like Billyboy has become a police officer) rescues Alex from a mob, then subsequently beats him in a location out of town.

The film adaptation, directed by Stanley Kubrick, is based on the American edition of the book (which Burgess considered to be "badly flawed"). Kubrick called Chapter 21 "an extra chapter" and claimed that he had not read the original version until he had virtually finished the screenplay and that he had never given serious consideration to using it. In Kubrick's opinion – as in the opinion of other readers, including the original American editor – the final chapter was unconvincing and inconsistent with the book. Characters Alex: The novel's protagonist and leader among his droogs. He often refers to himself as "Your Humble Narrator". Having coaxed two ten-year-old girls into his bedroom, Alex refers to himself as "Alexander the Large" while raping them; this was later the basis for Alex's claimed surname DeLarge in the 1971 film. George, Georgie or Georgie Boy: Effectively Alex's greedy second-in-command. Georgie attempts to undermine Alex's status as leader of the gang and take over their gang as the new leader. He is later killed during a botched robbery while Alex is in prison. Pete: The only one who does not take particular sides when the droogs fight among themselves. He later meets and marries a girl named Georgina, renouncing his violent ways and even losing his former (Nadsat) speech patterns. A chance encounter with Pete in the final chapter influences Alex to realise that he has grown bored with violence and recognise that human energy is better expended on creation than destruction. Dim: An idiotic and thoroughly gormless member of the gang, persistently condescended to by Alex, but respected to some extent by his droogs for his formidable fighting abilities, his weapon of choice being a length of bike chain. He later becomes a police officer, exacting his revenge on Alex for the abuse he once suffered under his command. P. R. Deltoid: A criminal rehabilitation social worker assigned the task of keeping Alex on the straight and narrow. He seemingly has no clue about dealing with young people, and is devoid of empathy or understanding for his troublesome charge. Indeed, when Alex is arrested for murdering an old woman and then ferociously beaten by several police officers, Deltoid simply spits on him. Prison Chaplain: The character who first questions whether it is moral to turn a violent person into a behavioural automaton who can make no choice in such matters. This is the only character who is truly concerned about Alex's welfare; he is not taken seriously by Alex, though. He is nicknamed by Alex "prison charlie" or "chaplin", a pun on Charlie Chaplin. Billyboy: A rival of Alex's. Early on in the story, Alex and his droogs battle Billyboy and his droogs, which ends abruptly when the police arrive. Later, after Alex is released from prison, Billyboy (along with Dim, who like Billyboy has become a police officer) rescues Alex from a mob, then subsequently beats him in a location out of town.

Prison Governor: The man who decides to let Alex "choose" to be the first reformed by the Ludovico technique. The Minister of the Interior: The government high-official who determined that the Ludovico's technique will be used to cut recidivism. He is referred to as the Inferior by Alex. Dr Branom: A scientist, co-developer of the Ludovico technique. He appears friendly and almost paternal towards Alex at first, before forcing him into the theatre and what Alex calls the "chair of torture". Dr Brodsky: Branom's colleague and co-developer of the Ludovico technique. He seems much more passive than Branom and says considerably less. F. Alexander: An author who was in the process of typing his magnum opus A Clockwork Orange when Alex and his droogs broke into his house, beat him, tore up his work and then brutally gang-raped his wife, which caused her subsequent death. He is left deeply scarred by these events and when he encounters Alex two years later, he uses him as a guinea pig in a sadistic experiment intended to prove the Ludovico technique unsound. The government imprisons him afterwards. He is given the name Frank Alexander in the film. Cat Woman: An indirectly named woman who blocks Alex's gang's entrance scheme, and threatens to shoot Alex and set her cats on him if he does not leave. After Alex breaks into her house, she fights with him, ordering her cats to join the melee, but reprimands Alex for fighting them off. She sustains a fatal blow to the head during the scuffle. She is given the name Miss Weathers in the film. Analysis Background A Clockwork Orange was written in Hove, then a senescent seaside town. Burgess had arrived back in Britain after his stint abroad to see that much had changed. A youth culture had developed, based around coffee bars, pop music and teenage gangs. England was gripped by fears over juvenile delinquency. Burgess stated that the novel's inspiration was his first wife Lynne's beating by a gang of drunk American servicemen stationed in England during World War II. She subsequently miscarried. In its investigation of free will, the book's target is ostensibly the concept of behaviourism, pioneered by such figures as B. F. Skinner. Burgess later stated that he wrote the book in three weeks. Title Burgess has offered several clarifications about the meaning and origin of its title: He had overheard the phrase "as queer as a clockwork orange" in a London pub in 1945 and assumed it was a Cockney expression. In Clockwork Marmalade, an essay published in the Listener in 1972, he said that he had heard the phrase several times since that occasion. He also explained the title in response to a question from William Everson on the television programme Camera Three in 1972, "Well, the title has a very different meaning but only to a particular generation of London Cockneys.

Prison Governor: The man who decides to let Alex "choose" to be the first reformed by the Ludovico technique. The Minister of the Interior: The government high-official who determined that the Ludovico's technique will be used to cut recidivism. He is referred to as the Inferior by Alex. Dr Branom: A scientist, co-developer of the Ludovico technique. He appears friendly and almost paternal towards Alex at first, before forcing him into the theatre and what Alex calls the "chair of torture". Dr Brodsky: Branom's colleague and co-developer of the Ludovico technique. He seems much more passive than Branom and says considerably less. F. Alexander: An author who was in the process of typing his magnum opus A Clockwork Orange when Alex and his droogs broke into his house, beat him, tore up his work and then brutally gang-raped his wife, which caused her subsequent death. He is left deeply scarred by these events and when he encounters Alex two years later, he uses him as a guinea pig in a sadistic experiment intended to prove the Ludovico technique unsound. The government imprisons him afterwards. He is given the name Frank Alexander in the film. Cat Woman: An indirectly named woman who blocks Alex's gang's entrance scheme, and threatens to shoot Alex and set her cats on him if he does not leave. After Alex breaks into her house, she fights with him, ordering her cats to join the melee, but reprimands Alex for fighting them off. She sustains a fatal blow to the head during the scuffle. She is given the name Miss Weathers in the film. Analysis Background A Clockwork Orange was written in Hove, then a senescent seaside town. Burgess had arrived back in Britain after his stint abroad to see that much had changed. A youth culture had developed, based around coffee bars, pop music and teenage gangs. England was gripped by fears over juvenile delinquency. Burgess stated that the novel's inspiration was his first wife Lynne's beating by a gang of drunk American servicemen stationed in England during World War II. She subsequently miscarried. In its investigation of free will, the book's target is ostensibly the concept of behaviourism, pioneered by such figures as B. F. Skinner. Burgess later stated that he wrote the book in three weeks. Title Burgess has offered several clarifications about the meaning and origin of its title: He had overheard the phrase "as queer as a clockwork orange" in a London pub in 1945 and assumed it was a Cockney expression. In Clockwork Marmalade, an essay published in the Listener in 1972, he said that he had heard the phrase several times since that occasion. He also explained the title in response to a question from William Everson on the television programme Camera Three in 1972, "Well, the title has a very different meaning but only to a particular generation of London Cockneys.

Prison Governor: The man who decides to let Alex "choose" to be the first reformed by the Ludovico technique. The Minister of the Interior: The government high-official who determined that the Ludovico's technique will be used to cut recidivism. He is referred to as the Inferior by Alex. Dr Branom: A scientist, co-developer of the Ludovico technique. He appears friendly and almost paternal towards Alex at first, before forcing him into the theatre and what Alex calls the "chair of torture". Dr Brodsky: Branom's colleague and co-developer of the Ludovico technique. He seems much more passive than Branom and says considerably less. F. Alexander: An author who was in the process of typing his magnum opus A Clockwork Orange when Alex and his droogs broke into his house, beat him, tore up his work and then brutally gang-raped his wife, which caused her subsequent death. He is left deeply scarred by these events and when he encounters Alex two years later, he uses him as a guinea pig in a sadistic experiment intended to prove the Ludovico technique unsound. The government imprisons him afterwards. He is given the name Frank Alexander in the film. Cat Woman: An indirectly named woman who blocks Alex's gang's entrance scheme, and threatens to shoot Alex and set her cats on him if he does not leave. After Alex breaks into her house, she fights with him, ordering her cats to join the melee, but reprimands Alex for fighting them off. She sustains a fatal blow to the head during the scuffle. She is given the name Miss Weathers in the film. Analysis Background A Clockwork Orange was written in Hove, then a senescent seaside town. Burgess had arrived back in Britain after his stint abroad to see that much had changed. A youth culture had developed, based around coffee bars, pop music and teenage gangs. England was gripped by fears over juvenile delinquency. Burgess stated that the novel's inspiration was his first wife Lynne's beating by a gang of drunk American servicemen stationed in England during World War II. She subsequently miscarried. In its investigation of free will, the book's target is ostensibly the concept of behaviourism, pioneered by such figures as B. F. Skinner. Burgess later stated that he wrote the book in three weeks. Title Burgess has offered several clarifications about the meaning and origin of its title: He had overheard the phrase "as queer as a clockwork orange" in a London pub in 1945 and assumed it was a Cockney expression. In Clockwork Marmalade, an essay published in the Listener in 1972, he said that he had heard the phrase several times since that occasion. He also explained the title in response to a question from William Everson on the television programme Camera Three in 1972, "Well, the title has a very different meaning but only to a particular generation of London Cockneys.

It's a phrase which I heard many years ago and so fell in love with, I wanted to use it, the title of the book. But the phrase itself I did not make up. The phrase "as queer as a clockwork orange" is good old East London slang and it didn't seem to me necessary to explain it. Now, obviously, I have to give it an extra meaning. I've implied an extra dimension. I've implied the junction of the organic, the lively, the sweet – in other words, life, the orange – and the mechanical, the cold, the disciplined. I've brought them together in this kind of oxymoron, this sour-sweet word." Nonetheless, no other record of the expression being used before 1962 has ever appeared. Kingsley Amis notes in his Memoirs (1991) that no trace of it appears in Eric Partridge's Dictionary of Historical Slang. The saying "as queer as ..." followed by an improbable object: "... a clockwork orange", or "... a four-speed walking stick" or "... a left-handed corkscrew" etc. predates Burgess' novel. An early example, "as queer as Dick's hatband", appeared in 1796, and was alluded to in 1757. His second explanation was that it was a pun on the Malay word orang, meaning "man". The novella contains no other Malay words or links. In a prefatory note to A Clockwork Orange: A Play with Music, he wrote that the title was a metaphor for "an organic entity, full of juice and sweetness and agreeable odour, being turned into a mechanism". In his essay Clockwork Oranges, Burgess asserts that "this title would be appropriate for a story about the application of Pavlovian or mechanical laws to an organism which, like a fruit, was capable of colour and sweetness". While addressing the reader in a letter before some editions of the book, the author says that when a man ceases to have free will, they are no longer a man. "Just a clockwork orange", a shiny, appealing object, but "just a toy to be wound-up by either God or the Devil, or (what is increasingly replacing both) the State. This title alludes to the protagonist's negative emotional responses to feelings of evil which prevent the exercise of his free will subsequent to the administration of the Ludovico Technique. To induce this conditioning, Alex is forced to watch scenes of violence on a screen that are systematically paired with negative physical stimulation. The negative physical stimulation takes the form of nausea and "feelings of terror", which are caused by an emetic medicine administered just before the presentation of the films. Use of slang The book, narrated by Alex, contains many words in a slang argot which Burgess invented for the book, called Nadsat. It is a mix of modified Slavic words, rhyming slang and derived Russian (like baboochka).

It's a phrase which I heard many years ago and so fell in love with, I wanted to use it, the title of the book. But the phrase itself I did not make up. The phrase "as queer as a clockwork orange" is good old East London slang and it didn't seem to me necessary to explain it. Now, obviously, I have to give it an extra meaning. I've implied an extra dimension. I've implied the junction of the organic, the lively, the sweet – in other words, life, the orange – and the mechanical, the cold, the disciplined. I've brought them together in this kind of oxymoron, this sour-sweet word." Nonetheless, no other record of the expression being used before 1962 has ever appeared. Kingsley Amis notes in his Memoirs (1991) that no trace of it appears in Eric Partridge's Dictionary of Historical Slang. The saying "as queer as ..." followed by an improbable object: "... a clockwork orange", or "... a four-speed walking stick" or "... a left-handed corkscrew" etc. predates Burgess' novel. An early example, "as queer as Dick's hatband", appeared in 1796, and was alluded to in 1757. His second explanation was that it was a pun on the Malay word orang, meaning "man". The novella contains no other Malay words or links. In a prefatory note to A Clockwork Orange: A Play with Music, he wrote that the title was a metaphor for "an organic entity, full of juice and sweetness and agreeable odour, being turned into a mechanism". In his essay Clockwork Oranges, Burgess asserts that "this title would be appropriate for a story about the application of Pavlovian or mechanical laws to an organism which, like a fruit, was capable of colour and sweetness". While addressing the reader in a letter before some editions of the book, the author says that when a man ceases to have free will, they are no longer a man. "Just a clockwork orange", a shiny, appealing object, but "just a toy to be wound-up by either God or the Devil, or (what is increasingly replacing both) the State. This title alludes to the protagonist's negative emotional responses to feelings of evil which prevent the exercise of his free will subsequent to the administration of the Ludovico Technique. To induce this conditioning, Alex is forced to watch scenes of violence on a screen that are systematically paired with negative physical stimulation. The negative physical stimulation takes the form of nausea and "feelings of terror", which are caused by an emetic medicine administered just before the presentation of the films. Use of slang The book, narrated by Alex, contains many words in a slang argot which Burgess invented for the book, called Nadsat. It is a mix of modified Slavic words, rhyming slang and derived Russian (like baboochka).

It's a phrase which I heard many years ago and so fell in love with, I wanted to use it, the title of the book. But the phrase itself I did not make up. The phrase "as queer as a clockwork orange" is good old East London slang and it didn't seem to me necessary to explain it. Now, obviously, I have to give it an extra meaning. I've implied an extra dimension. I've implied the junction of the organic, the lively, the sweet – in other words, life, the orange – and the mechanical, the cold, the disciplined. I've brought them together in this kind of oxymoron, this sour-sweet word." Nonetheless, no other record of the expression being used before 1962 has ever appeared. Kingsley Amis notes in his Memoirs (1991) that no trace of it appears in Eric Partridge's Dictionary of Historical Slang. The saying "as queer as ..." followed by an improbable object: "... a clockwork orange", or "... a four-speed walking stick" or "... a left-handed corkscrew" etc. predates Burgess' novel. An early example, "as queer as Dick's hatband", appeared in 1796, and was alluded to in 1757. His second explanation was that it was a pun on the Malay word orang, meaning "man". The novella contains no other Malay words or links. In a prefatory note to A Clockwork Orange: A Play with Music, he wrote that the title was a metaphor for "an organic entity, full of juice and sweetness and agreeable odour, being turned into a mechanism". In his essay Clockwork Oranges, Burgess asserts that "this title would be appropriate for a story about the application of Pavlovian or mechanical laws to an organism which, like a fruit, was capable of colour and sweetness". While addressing the reader in a letter before some editions of the book, the author says that when a man ceases to have free will, they are no longer a man. "Just a clockwork orange", a shiny, appealing object, but "just a toy to be wound-up by either God or the Devil, or (what is increasingly replacing both) the State. This title alludes to the protagonist's negative emotional responses to feelings of evil which prevent the exercise of his free will subsequent to the administration of the Ludovico Technique. To induce this conditioning, Alex is forced to watch scenes of violence on a screen that are systematically paired with negative physical stimulation. The negative physical stimulation takes the form of nausea and "feelings of terror", which are caused by an emetic medicine administered just before the presentation of the films. Use of slang The book, narrated by Alex, contains many words in a slang argot which Burgess invented for the book, called Nadsat. It is a mix of modified Slavic words, rhyming slang and derived Russian (like baboochka).

For instance, these terms have the following meanings in Nadsat: droog (друг) = friend; moloko (молоко) = milk; gulliver (голова) = head; malchick (мальчик) or malchickiwick = boy; soomka (сумка) = sack or bag; Bog = God; horrorshow (хорошо) = good; prestoopnick (преступник) = criminal; rooker (рука) = hand; cal (кал) = crap; veck ("человек") = man or guy; litso (лицо) = face; malenky (маленький) = little; and so on. Some words Burgess invented himself or just adapted from pre-existing languages. Compare Polari. One of Alex's doctors explains the language to a colleague as "odd bits of old rhyming slang; a bit of gypsy talk, too. But most of the roots are Slav propaganda. Subliminal penetration." Some words are not derived from anything, but merely easy to guess, e.g. "in-out, in-out" or "the old in-out" means sexual intercourse. Cutter, however, means "money", because "cutter" rhymes with "bread-and-butter"; this is rhyming slang, which is intended to be impenetrable to outsiders (especially eavesdropping policemen). Additionally, slang like appypolly loggy ("apology") seems to derive from school boy slang. This reflects Alex's age of 15. In the first edition of the book, no key was provided, and the reader was left to interpret the meaning from the context. In his appendix to the restored edition, Burgess explained that the slang would keep the book from seeming dated, and served to muffle "the raw response of pornography" from the acts of violence. The term "ultraviolence", referring to excessive or unjustified violence, was coined by Burgess in the book, which includes the phrase "do the ultra-violent". The term's association with aesthetic violence has led to its use in the media. Banning and censorship history in the US In 1976, A Clockwork Orange was removed from an Aurora, Colorado high school because of "objectionable language". A year later in 1977 it was removed from high school classrooms in Westport, Massachusetts over similar concerns with "objectionable" language. In 1982, it was removed from two Anniston, Alabama libraries, later to be reinstated on a restricted basis. Also, in 1973 a bookseller was arrested for selling the novel. The charges were later dropped. However, each of these instances came after the release of Stanley Kubrick's popular 1971 film adaptation of A Clockwork Orange, itself the subject of much controversy. Reception Initial response The Sunday Telegraph review was positive, and described the book as "entertaining ... even profound". Kingsley Amis in The Observer acclaimed the novel as "cheerful horror", writing "Mr Burgess has written a fine farrago of outrageousness, one which incidentally suggests a view of juvenile violence I can’t remember having met before". Malcolm Bradbury wrote "All of Mr Burgess’s powers as a comic writer, which are considerable, have gone into the rich language of his inverted Utopia. If you can stomach the horrors, you’ll enjoy the manner". Roald Dahl called it "a terrifying and marvellous book". Many reviewers praised the inventiveness of the language, but expressed unease at the violent subject matter.

For instance, these terms have the following meanings in Nadsat: droog (друг) = friend; moloko (молоко) = milk; gulliver (голова) = head; malchick (мальчик) or malchickiwick = boy; soomka (сумка) = sack or bag; Bog = God; horrorshow (хорошо) = good; prestoopnick (преступник) = criminal; rooker (рука) = hand; cal (кал) = crap; veck ("человек") = man or guy; litso (лицо) = face; malenky (маленький) = little; and so on. Some words Burgess invented himself or just adapted from pre-existing languages. Compare Polari. One of Alex's doctors explains the language to a colleague as "odd bits of old rhyming slang; a bit of gypsy talk, too. But most of the roots are Slav propaganda. Subliminal penetration." Some words are not derived from anything, but merely easy to guess, e.g. "in-out, in-out" or "the old in-out" means sexual intercourse. Cutter, however, means "money", because "cutter" rhymes with "bread-and-butter"; this is rhyming slang, which is intended to be impenetrable to outsiders (especially eavesdropping policemen). Additionally, slang like appypolly loggy ("apology") seems to derive from school boy slang. This reflects Alex's age of 15. In the first edition of the book, no key was provided, and the reader was left to interpret the meaning from the context. In his appendix to the restored edition, Burgess explained that the slang would keep the book from seeming dated, and served to muffle "the raw response of pornography" from the acts of violence. The term "ultraviolence", referring to excessive or unjustified violence, was coined by Burgess in the book, which includes the phrase "do the ultra-violent". The term's association with aesthetic violence has led to its use in the media. Banning and censorship history in the US In 1976, A Clockwork Orange was removed from an Aurora, Colorado high school because of "objectionable language". A year later in 1977 it was removed from high school classrooms in Westport, Massachusetts over similar concerns with "objectionable" language. In 1982, it was removed from two Anniston, Alabama libraries, later to be reinstated on a restricted basis. Also, in 1973 a bookseller was arrested for selling the novel. The charges were later dropped. However, each of these instances came after the release of Stanley Kubrick's popular 1971 film adaptation of A Clockwork Orange, itself the subject of much controversy. Reception Initial response The Sunday Telegraph review was positive, and described the book as "entertaining ... even profound". Kingsley Amis in The Observer acclaimed the novel as "cheerful horror", writing "Mr Burgess has written a fine farrago of outrageousness, one which incidentally suggests a view of juvenile violence I can’t remember having met before". Malcolm Bradbury wrote "All of Mr Burgess’s powers as a comic writer, which are considerable, have gone into the rich language of his inverted Utopia. If you can stomach the horrors, you’ll enjoy the manner". Roald Dahl called it "a terrifying and marvellous book". Many reviewers praised the inventiveness of the language, but expressed unease at the violent subject matter.

For instance, these terms have the following meanings in Nadsat: droog (друг) = friend; moloko (молоко) = milk; gulliver (голова) = head; malchick (мальчик) or malchickiwick = boy; soomka (сумка) = sack or bag; Bog = God; horrorshow (хорошо) = good; prestoopnick (преступник) = criminal; rooker (рука) = hand; cal (кал) = crap; veck ("человек") = man or guy; litso (лицо) = face; malenky (маленький) = little; and so on. Some words Burgess invented himself or just adapted from pre-existing languages. Compare Polari. One of Alex's doctors explains the language to a colleague as "odd bits of old rhyming slang; a bit of gypsy talk, too. But most of the roots are Slav propaganda. Subliminal penetration." Some words are not derived from anything, but merely easy to guess, e.g. "in-out, in-out" or "the old in-out" means sexual intercourse. Cutter, however, means "money", because "cutter" rhymes with "bread-and-butter"; this is rhyming slang, which is intended to be impenetrable to outsiders (especially eavesdropping policemen). Additionally, slang like appypolly loggy ("apology") seems to derive from school boy slang. This reflects Alex's age of 15. In the first edition of the book, no key was provided, and the reader was left to interpret the meaning from the context. In his appendix to the restored edition, Burgess explained that the slang would keep the book from seeming dated, and served to muffle "the raw response of pornography" from the acts of violence. The term "ultraviolence", referring to excessive or unjustified violence, was coined by Burgess in the book, which includes the phrase "do the ultra-violent". The term's association with aesthetic violence has led to its use in the media. Banning and censorship history in the US In 1976, A Clockwork Orange was removed from an Aurora, Colorado high school because of "objectionable language". A year later in 1977 it was removed from high school classrooms in Westport, Massachusetts over similar concerns with "objectionable" language. In 1982, it was removed from two Anniston, Alabama libraries, later to be reinstated on a restricted basis. Also, in 1973 a bookseller was arrested for selling the novel. The charges were later dropped. However, each of these instances came after the release of Stanley Kubrick's popular 1971 film adaptation of A Clockwork Orange, itself the subject of much controversy. Reception Initial response The Sunday Telegraph review was positive, and described the book as "entertaining ... even profound". Kingsley Amis in The Observer acclaimed the novel as "cheerful horror", writing "Mr Burgess has written a fine farrago of outrageousness, one which incidentally suggests a view of juvenile violence I can’t remember having met before". Malcolm Bradbury wrote "All of Mr Burgess’s powers as a comic writer, which are considerable, have gone into the rich language of his inverted Utopia. If you can stomach the horrors, you’ll enjoy the manner". Roald Dahl called it "a terrifying and marvellous book". Many reviewers praised the inventiveness of the language, but expressed unease at the violent subject matter.

The Spectator praised Burgess's "extraordinary technical feat" but was uncomfortable with "a certain arbitrariness about the plot which is slightly irritating". New Statesman acclaimed Burgess for addressing "acutely and savagely the tendencies of our time" but called the book "a great strain to read". The Sunday Times review was negative, and described the book as "a very ordinary, brutal and psychologically shallow story". The Times also reviewed the book negatively, describing it as "a somewhat clumsy experiment with science fiction [with] clumsy cliches about juvenile delinquency". The violence was criticised as "unconvincing in detail". Writer's appraisal Burgess dismissed A Clockwork Orange as "too didactic to be artistic". He claimed that the violent content of the novel "nauseated" him. In 1985, Burgess published Flame into Being: The Life and Work of D. H. Lawrence and while discussing Lady Chatterley's Lover in his biography, Burgess compared that novel's notoriety with A Clockwork Orange: "We all suffer from the popular desire to make the known notorious. The book I am best known for, or only known for, is a novel I am prepared to repudiate: written a quarter of a century ago, a jeu d'esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence. The film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me until I die. I should not have written the book because of this danger of misinterpretation, and the same may be said of Lawrence and Lady Chatterley's Lover." Awards and nominations and rankings 1983 – Prometheus Award (Preliminary Nominee) 1999 – Prometheus Award (Nomination) 2002 – Prometheus Award (Nomination) 2003 – Prometheus Award (Nomination) 2006 – Prometheus Award (Nomination) 2008 – Prometheus Award (Hall of Fame Award) A Clockwork Orange was chosen by Time magazine as one of the 100 best English-language books from 1923 to 2005. Adaptations A 1965 film by Andy Warhol entitled Vinyl was an adaptation of Burgess's novel. The best known adaptation of the novella to other forms is the 1971 film A Clockwork Orange by Stanley Kubrick, featuring Malcolm McDowell as Alex. In 1987, Burgess published a stage play titled A Clockwork Orange: A Play with Music. The play includes songs, written by Burgess, which are inspired by Beethoven and Nadsat slang. A manga anthology by Osamu Tezuka entitled Tokeijikake no Ringo (Clockwork Apple) was released in 1983. In 1988, a German adaptation of A Clockwork Orange at the intimate theatre of Bad Godesberg featured a musical score by the German punk rock band Die Toten Hosen which, combined with orchestral clips of Beethoven's Ninth Symphony and "other dirty melodies" (so stated by the subtitle), was released on the album Ein kleines bisschen Horrorschau. The track Hier kommt Alex became one of the band's signature songs. In February 1990, another musical version was produced at the Barbican Theatre in London by the Royal Shakespeare Company.

The Spectator praised Burgess's "extraordinary technical feat" but was uncomfortable with "a certain arbitrariness about the plot which is slightly irritating". New Statesman acclaimed Burgess for addressing "acutely and savagely the tendencies of our time" but called the book "a great strain to read". The Sunday Times review was negative, and described the book as "a very ordinary, brutal and psychologically shallow story". The Times also reviewed the book negatively, describing it as "a somewhat clumsy experiment with science fiction [with] clumsy cliches about juvenile delinquency". The violence was criticised as "unconvincing in detail". Writer's appraisal Burgess dismissed A Clockwork Orange as "too didactic to be artistic". He claimed that the violent content of the novel "nauseated" him. In 1985, Burgess published Flame into Being: The Life and Work of D. H. Lawrence and while discussing Lady Chatterley's Lover in his biography, Burgess compared that novel's notoriety with A Clockwork Orange: "We all suffer from the popular desire to make the known notorious. The book I am best known for, or only known for, is a novel I am prepared to repudiate: written a quarter of a century ago, a jeu d'esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence. The film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me until I die. I should not have written the book because of this danger of misinterpretation, and the same may be said of Lawrence and Lady Chatterley's Lover." Awards and nominations and rankings 1983 – Prometheus Award (Preliminary Nominee) 1999 – Prometheus Award (Nomination) 2002 – Prometheus Award (Nomination) 2003 – Prometheus Award (Nomination) 2006 – Prometheus Award (Nomination) 2008 – Prometheus Award (Hall of Fame Award) A Clockwork Orange was chosen by Time magazine as one of the 100 best English-language books from 1923 to 2005. Adaptations A 1965 film by Andy Warhol entitled Vinyl was an adaptation of Burgess's novel. The best known adaptation of the novella to other forms is the 1971 film A Clockwork Orange by Stanley Kubrick, featuring Malcolm McDowell as Alex. In 1987, Burgess published a stage play titled A Clockwork Orange: A Play with Music. The play includes songs, written by Burgess, which are inspired by Beethoven and Nadsat slang. A manga anthology by Osamu Tezuka entitled Tokeijikake no Ringo (Clockwork Apple) was released in 1983. In 1988, a German adaptation of A Clockwork Orange at the intimate theatre of Bad Godesberg featured a musical score by the German punk rock band Die Toten Hosen which, combined with orchestral clips of Beethoven's Ninth Symphony and "other dirty melodies" (so stated by the subtitle), was released on the album Ein kleines bisschen Horrorschau. The track Hier kommt Alex became one of the band's signature songs. In February 1990, another musical version was produced at the Barbican Theatre in London by the Royal Shakespeare Company.

The Spectator praised Burgess's "extraordinary technical feat" but was uncomfortable with "a certain arbitrariness about the plot which is slightly irritating". New Statesman acclaimed Burgess for addressing "acutely and savagely the tendencies of our time" but called the book "a great strain to read". The Sunday Times review was negative, and described the book as "a very ordinary, brutal and psychologically shallow story". The Times also reviewed the book negatively, describing it as "a somewhat clumsy experiment with science fiction [with] clumsy cliches about juvenile delinquency". The violence was criticised as "unconvincing in detail". Writer's appraisal Burgess dismissed A Clockwork Orange as "too didactic to be artistic". He claimed that the violent content of the novel "nauseated" him. In 1985, Burgess published Flame into Being: The Life and Work of D. H. Lawrence and while discussing Lady Chatterley's Lover in his biography, Burgess compared that novel's notoriety with A Clockwork Orange: "We all suffer from the popular desire to make the known notorious. The book I am best known for, or only known for, is a novel I am prepared to repudiate: written a quarter of a century ago, a jeu d'esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence. The film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me until I die. I should not have written the book because of this danger of misinterpretation, and the same may be said of Lawrence and Lady Chatterley's Lover." Awards and nominations and rankings 1983 – Prometheus Award (Preliminary Nominee) 1999 – Prometheus Award (Nomination) 2002 – Prometheus Award (Nomination) 2003 – Prometheus Award (Nomination) 2006 – Prometheus Award (Nomination) 2008 – Prometheus Award (Hall of Fame Award) A Clockwork Orange was chosen by Time magazine as one of the 100 best English-language books from 1923 to 2005. Adaptations A 1965 film by Andy Warhol entitled Vinyl was an adaptation of Burgess's novel. The best known adaptation of the novella to other forms is the 1971 film A Clockwork Orange by Stanley Kubrick, featuring Malcolm McDowell as Alex. In 1987, Burgess published a stage play titled A Clockwork Orange: A Play with Music. The play includes songs, written by Burgess, which are inspired by Beethoven and Nadsat slang. A manga anthology by Osamu Tezuka entitled Tokeijikake no Ringo (Clockwork Apple) was released in 1983. In 1988, a German adaptation of A Clockwork Orange at the intimate theatre of Bad Godesberg featured a musical score by the German punk rock band Die Toten Hosen which, combined with orchestral clips of Beethoven's Ninth Symphony and "other dirty melodies" (so stated by the subtitle), was released on the album Ein kleines bisschen Horrorschau. The track Hier kommt Alex became one of the band's signature songs. In February 1990, another musical version was produced at the Barbican Theatre in London by the Royal Shakespeare Company.

Titled A Clockwork Orange: 2004, it received mostly negative reviews, with John Peter of The Sunday Times of London calling it "only an intellectual Rocky Horror Show", and John Gross of The Sunday Telegraph calling it "a clockwork lemon". Even Burgess himself, who wrote the script based on his novel, was disappointed. According to The Evening Standard, he called the score, written by Bono and The Edge of the rock group U2, "neo-wallpaper". Burgess had originally worked alongside the director of the production, Ron Daniels, and envisioned a musical score that was entirely classical. Unhappy with the decision to abandon that score, he heavily criticised the band's experimental mix of hip hop, liturgical and gothic music. Lise Hand of The Irish Independent reported The Edge as saying that Burgess's original conception was "a score written by a novelist rather than a songwriter". Calling it "meaningless glitz", Jane Edwardes of 20/20 magazine said that watching this production was "like being invited to an expensive French Restaurant – and being served with a Big Mac." In 1994, Chicago's Steppenwolf Theater put on a production of A Clockwork Orange directed by Terry Kinney. The American premiere of novelist Anthony Burgess's own adaptation of his A Clockwork Orange starred K. Todd Freeman as Alex. In 2001, UNI Theatre (Mississauga, Ontario) presented the Canadian premiere of the play under the direction of Terry Costa. In 2002, Godlight Theatre Company presented the New York Premiere adaptation of A Clockwork Orange at Manhattan Theatre Source. The production went on to play at the SoHo Playhouse (2002), Ensemble Studio Theatre (2004), 59E59 Theaters (2005) and the Edinburgh Festival Fringe (2005). While at Edinburgh, the production received rave reviews from the press while playing to sold-out audiences. The production was directed by Godlight's artistic director, Joe Tantalo. In 2003, Los Angeles director Brad Mays and the ARK Theatre Company staged a multi-media adaptation of A Clockwork Orange, which was named "Pick of the Week" by the LA Weekly and nominated for three of the 2004 LA Weekly Theater Awards: Direction, Revival Production (of a 20th-century work), and Leading Female Performance. Vanessa Claire Smith won Best Actress for her gender-bending portrayal of Alex, the music-loving teenage sociopath. This production utilised three separate video streams outputted to seven onstage video monitors – six 19-inch and one 40-inch. In order to preserve the first-person narrative of the book, a pre-recorded video stream of Alex, "your humble narrator", was projected onto the 40-inch monitor, thereby freeing the onstage character during passages which would have been awkward or impossible to sustain in the breaking of the fourth wall. An adaptation of the work, based on the original novel, the film and Burgess's own stage version, was performed by the SiLo Theatre in Auckland, New Zealand in early 2007. In 2021, the International Anthony Burgess Foundation premiered a webpage cataloging various productions of A Clockwork Orange from around the world. Release details 1962, UK, William Heinemann (ISBN ?

Titled A Clockwork Orange: 2004, it received mostly negative reviews, with John Peter of The Sunday Times of London calling it "only an intellectual Rocky Horror Show", and John Gross of The Sunday Telegraph calling it "a clockwork lemon". Even Burgess himself, who wrote the script based on his novel, was disappointed. According to The Evening Standard, he called the score, written by Bono and The Edge of the rock group U2, "neo-wallpaper". Burgess had originally worked alongside the director of the production, Ron Daniels, and envisioned a musical score that was entirely classical. Unhappy with the decision to abandon that score, he heavily criticised the band's experimental mix of hip hop, liturgical and gothic music. Lise Hand of The Irish Independent reported The Edge as saying that Burgess's original conception was "a score written by a novelist rather than a songwriter". Calling it "meaningless glitz", Jane Edwardes of 20/20 magazine said that watching this production was "like being invited to an expensive French Restaurant – and being served with a Big Mac." In 1994, Chicago's Steppenwolf Theater put on a production of A Clockwork Orange directed by Terry Kinney. The American premiere of novelist Anthony Burgess's own adaptation of his A Clockwork Orange starred K. Todd Freeman as Alex. In 2001, UNI Theatre (Mississauga, Ontario) presented the Canadian premiere of the play under the direction of Terry Costa. In 2002, Godlight Theatre Company presented the New York Premiere adaptation of A Clockwork Orange at Manhattan Theatre Source. The production went on to play at the SoHo Playhouse (2002), Ensemble Studio Theatre (2004), 59E59 Theaters (2005) and the Edinburgh Festival Fringe (2005). While at Edinburgh, the production received rave reviews from the press while playing to sold-out audiences. The production was directed by Godlight's artistic director, Joe Tantalo. In 2003, Los Angeles director Brad Mays and the ARK Theatre Company staged a multi-media adaptation of A Clockwork Orange, which was named "Pick of the Week" by the LA Weekly and nominated for three of the 2004 LA Weekly Theater Awards: Direction, Revival Production (of a 20th-century work), and Leading Female Performance. Vanessa Claire Smith won Best Actress for her gender-bending portrayal of Alex, the music-loving teenage sociopath. This production utilised three separate video streams outputted to seven onstage video monitors – six 19-inch and one 40-inch. In order to preserve the first-person narrative of the book, a pre-recorded video stream of Alex, "your humble narrator", was projected onto the 40-inch monitor, thereby freeing the onstage character during passages which would have been awkward or impossible to sustain in the breaking of the fourth wall. An adaptation of the work, based on the original novel, the film and Burgess's own stage version, was performed by the SiLo Theatre in Auckland, New Zealand in early 2007. In 2021, the International Anthony Burgess Foundation premiered a webpage cataloging various productions of A Clockwork Orange from around the world. Release details 1962, UK, William Heinemann (ISBN ?

Titled A Clockwork Orange: 2004, it received mostly negative reviews, with John Peter of The Sunday Times of London calling it "only an intellectual Rocky Horror Show", and John Gross of The Sunday Telegraph calling it "a clockwork lemon". Even Burgess himself, who wrote the script based on his novel, was disappointed. According to The Evening Standard, he called the score, written by Bono and The Edge of the rock group U2, "neo-wallpaper". Burgess had originally worked alongside the director of the production, Ron Daniels, and envisioned a musical score that was entirely classical. Unhappy with the decision to abandon that score, he heavily criticised the band's experimental mix of hip hop, liturgical and gothic music. Lise Hand of The Irish Independent reported The Edge as saying that Burgess's original conception was "a score written by a novelist rather than a songwriter". Calling it "meaningless glitz", Jane Edwardes of 20/20 magazine said that watching this production was "like being invited to an expensive French Restaurant – and being served with a Big Mac." In 1994, Chicago's Steppenwolf Theater put on a production of A Clockwork Orange directed by Terry Kinney. The American premiere of novelist Anthony Burgess's own adaptation of his A Clockwork Orange starred K. Todd Freeman as Alex. In 2001, UNI Theatre (Mississauga, Ontario) presented the Canadian premiere of the play under the direction of Terry Costa. In 2002, Godlight Theatre Company presented the New York Premiere adaptation of A Clockwork Orange at Manhattan Theatre Source. The production went on to play at the SoHo Playhouse (2002), Ensemble Studio Theatre (2004), 59E59 Theaters (2005) and the Edinburgh Festival Fringe (2005). While at Edinburgh, the production received rave reviews from the press while playing to sold-out audiences. The production was directed by Godlight's artistic director, Joe Tantalo. In 2003, Los Angeles director Brad Mays and the ARK Theatre Company staged a multi-media adaptation of A Clockwork Orange, which was named "Pick of the Week" by the LA Weekly and nominated for three of the 2004 LA Weekly Theater Awards: Direction, Revival Production (of a 20th-century work), and Leading Female Performance. Vanessa Claire Smith won Best Actress for her gender-bending portrayal of Alex, the music-loving teenage sociopath. This production utilised three separate video streams outputted to seven onstage video monitors – six 19-inch and one 40-inch. In order to preserve the first-person narrative of the book, a pre-recorded video stream of Alex, "your humble narrator", was projected onto the 40-inch monitor, thereby freeing the onstage character during passages which would have been awkward or impossible to sustain in the breaking of the fourth wall. An adaptation of the work, based on the original novel, the film and Burgess's own stage version, was performed by the SiLo Theatre in Auckland, New Zealand in early 2007. In 2021, the International Anthony Burgess Foundation premiered a webpage cataloging various productions of A Clockwork Orange from around the world. Release details 1962, UK, William Heinemann (ISBN ?

), December 1962, Hardcover 1962, US, W. W. Norton & Co Ltd (ISBN ? ), 1962, Hardcover 1963, US, W. W. Norton & Co Ltd (), 1963, Paperback 1965, US, Ballantine Books (), 1965, Paperback 1969, US, Ballantine Books (ISBN ? ), 1969, Paperback 1971, US, Ballantine Books (), 1971, Paperback, Movie released 1972, UK, Lorrimer, (), 11 September 1972, Hardcover 1972, UK, Penguin Books Ltd (), 25 January 1973, Paperback 1973, US, Caedmon Records, 1973, Vinyl LP (First 4 chapters read by Anthony Burgess) 1977, US, Ballantine Books (), 12 September 1977, Paperback 1979, US, Ballantine Books (), April 1979, Paperback 1983, US, Ballantine Books (), 12 July 1983, Unbound 1986, US, W. W. Norton & Company (), November 1986, Paperback (Adds final chapter not previously available in U.S. versions) 1987, UK, W. W. Norton & Co Ltd (), July 1987, Hardcover 1988, US, Ballantine Books (), March 1988, Paperback 1995, UK, W. W. Norton & Co Ltd (), June 1995, Paperback 1996, UK, Penguin Books Ltd (), 25 April 1996, Paperback 1996, UK, HarperAudio (), September 1996, Audio Cassette 1997, UK, Heyne Verlag (), 31 January 1997, Paperback 1998, UK, Penguin Books Ltd (), 3 September 1998, Paperback 1999, UK, Rebound by Sagebrush (), October 1999, Library Binding 2000, UK, Penguin Books Ltd (), 24 February 2000, Paperback 2000, UK, Penguin Books Ltd (), 2 March 2000, Paperback 2000, UK, Turtleback Books (), November 2000, Hardback 2001, UK, Penguin Books Ltd (), 27 September 2001, Paperback 2002, UK, Thorndike Press (), October 2002, Hardback 2005, UK, Buccaneer Books (), 29 January 2005, Library Binding 2010, Greece, Anubis Publications (), 2010, Paperback (Adds final chapter not previously available in Greek versions) 2012, US, W. W. Norton & Company () 22 October 2012, Hardback (50th Anniversary Edition), revised text version. Andrew Biswell, PhD, director of the International Burgess Foundation, has taken a close look at the three varying published editions alongside the original typescript to recreate the novel as Anthony Burgess envisioned it. See also Classical conditioning List of cultural references to A Clockwork Orange List of stories set in a future now past Project MKUltra Violence in art References Further reading A Clockwork Orange: A Play With Music. Century Hutchinson Ltd. (1987). An extract is quoted on several web sites: Anthony Burgess from A Clockwork Orange: A Play With Music (Century Hutchinson Ltd, 1987), , A Clockwork Orange - From A Clockwork Orange: A Play With Music Burgess, Anthony (1978). "Clockwork Oranges". In 1985. London: Hutchinson. (extracts quoted here) External links A Clockwork Orange at SparkNotes A Clockwork Orange at Literapedia A Clockwork Orange (1962) | Last chapter | Anthony Burgess (1917–1993) Comparisons with the Kubrick film adaptation Dalrymple, Theodore. "A Prophetic and Violent Masterpiece", City Journal Giola, Ted. "A Clockwork Orange by Anthony Burgess" at Conceptual Fiction Priestley, Brenton.

), December 1962, Hardcover 1962, US, W. W. Norton & Co Ltd (ISBN ? ), 1962, Hardcover 1963, US, W. W. Norton & Co Ltd (), 1963, Paperback 1965, US, Ballantine Books (), 1965, Paperback 1969, US, Ballantine Books (ISBN ? ), 1969, Paperback 1971, US, Ballantine Books (), 1971, Paperback, Movie released 1972, UK, Lorrimer, (), 11 September 1972, Hardcover 1972, UK, Penguin Books Ltd (), 25 January 1973, Paperback 1973, US, Caedmon Records, 1973, Vinyl LP (First 4 chapters read by Anthony Burgess) 1977, US, Ballantine Books (), 12 September 1977, Paperback 1979, US, Ballantine Books (), April 1979, Paperback 1983, US, Ballantine Books (), 12 July 1983, Unbound 1986, US, W. W. Norton & Company (), November 1986, Paperback (Adds final chapter not previously available in U.S. versions) 1987, UK, W. W. Norton & Co Ltd (), July 1987, Hardcover 1988, US, Ballantine Books (), March 1988, Paperback 1995, UK, W. W. Norton & Co Ltd (), June 1995, Paperback 1996, UK, Penguin Books Ltd (), 25 April 1996, Paperback 1996, UK, HarperAudio (), September 1996, Audio Cassette 1997, UK, Heyne Verlag (), 31 January 1997, Paperback 1998, UK, Penguin Books Ltd (), 3 September 1998, Paperback 1999, UK, Rebound by Sagebrush (), October 1999, Library Binding 2000, UK, Penguin Books Ltd (), 24 February 2000, Paperback 2000, UK, Penguin Books Ltd (), 2 March 2000, Paperback 2000, UK, Turtleback Books (), November 2000, Hardback 2001, UK, Penguin Books Ltd (), 27 September 2001, Paperback 2002, UK, Thorndike Press (), October 2002, Hardback 2005, UK, Buccaneer Books (), 29 January 2005, Library Binding 2010, Greece, Anubis Publications (), 2010, Paperback (Adds final chapter not previously available in Greek versions) 2012, US, W. W. Norton & Company () 22 October 2012, Hardback (50th Anniversary Edition), revised text version. Andrew Biswell, PhD, director of the International Burgess Foundation, has taken a close look at the three varying published editions alongside the original typescript to recreate the novel as Anthony Burgess envisioned it. See also Classical conditioning List of cultural references to A Clockwork Orange List of stories set in a future now past Project MKUltra Violence in art References Further reading A Clockwork Orange: A Play With Music. Century Hutchinson Ltd. (1987). An extract is quoted on several web sites: Anthony Burgess from A Clockwork Orange: A Play With Music (Century Hutchinson Ltd, 1987), , A Clockwork Orange - From A Clockwork Orange: A Play With Music Burgess, Anthony (1978). "Clockwork Oranges". In 1985. London: Hutchinson. (extracts quoted here) External links A Clockwork Orange at SparkNotes A Clockwork Orange at Literapedia A Clockwork Orange (1962) | Last chapter | Anthony Burgess (1917–1993) Comparisons with the Kubrick film adaptation Dalrymple, Theodore. "A Prophetic and Violent Masterpiece", City Journal Giola, Ted. "A Clockwork Orange by Anthony Burgess" at Conceptual Fiction Priestley, Brenton.

), December 1962, Hardcover 1962, US, W. W. Norton & Co Ltd (ISBN ? ), 1962, Hardcover 1963, US, W. W. Norton & Co Ltd (), 1963, Paperback 1965, US, Ballantine Books (), 1965, Paperback 1969, US, Ballantine Books (ISBN ? ), 1969, Paperback 1971, US, Ballantine Books (), 1971, Paperback, Movie released 1972, UK, Lorrimer, (), 11 September 1972, Hardcover 1972, UK, Penguin Books Ltd (), 25 January 1973, Paperback 1973, US, Caedmon Records, 1973, Vinyl LP (First 4 chapters read by Anthony Burgess) 1977, US, Ballantine Books (), 12 September 1977, Paperback 1979, US, Ballantine Books (), April 1979, Paperback 1983, US, Ballantine Books (), 12 July 1983, Unbound 1986, US, W. W. Norton & Company (), November 1986, Paperback (Adds final chapter not previously available in U.S. versions) 1987, UK, W. W. Norton & Co Ltd (), July 1987, Hardcover 1988, US, Ballantine Books (), March 1988, Paperback 1995, UK, W. W. Norton & Co Ltd (), June 1995, Paperback 1996, UK, Penguin Books Ltd (), 25 April 1996, Paperback 1996, UK, HarperAudio (), September 1996, Audio Cassette 1997, UK, Heyne Verlag (), 31 January 1997, Paperback 1998, UK, Penguin Books Ltd (), 3 September 1998, Paperback 1999, UK, Rebound by Sagebrush (), October 1999, Library Binding 2000, UK, Penguin Books Ltd (), 24 February 2000, Paperback 2000, UK, Penguin Books Ltd (), 2 March 2000, Paperback 2000, UK, Turtleback Books (), November 2000, Hardback 2001, UK, Penguin Books Ltd (), 27 September 2001, Paperback 2002, UK, Thorndike Press (), October 2002, Hardback 2005, UK, Buccaneer Books (), 29 January 2005, Library Binding 2010, Greece, Anubis Publications (), 2010, Paperback (Adds final chapter not previously available in Greek versions) 2012, US, W. W. Norton & Company () 22 October 2012, Hardback (50th Anniversary Edition), revised text version. Andrew Biswell, PhD, director of the International Burgess Foundation, has taken a close look at the three varying published editions alongside the original typescript to recreate the novel as Anthony Burgess envisioned it. See also Classical conditioning List of cultural references to A Clockwork Orange List of stories set in a future now past Project MKUltra Violence in art References Further reading A Clockwork Orange: A Play With Music. Century Hutchinson Ltd. (1987). An extract is quoted on several web sites: Anthony Burgess from A Clockwork Orange: A Play With Music (Century Hutchinson Ltd, 1987), , A Clockwork Orange - From A Clockwork Orange: A Play With Music Burgess, Anthony (1978). "Clockwork Oranges". In 1985. London: Hutchinson. (extracts quoted here) External links A Clockwork Orange at SparkNotes A Clockwork Orange at Literapedia A Clockwork Orange (1962) | Last chapter | Anthony Burgess (1917–1993) Comparisons with the Kubrick film adaptation Dalrymple, Theodore. "A Prophetic and Violent Masterpiece", City Journal Giola, Ted. "A Clockwork Orange by Anthony Burgess" at Conceptual Fiction Priestley, Brenton.

"Of Clockwork Apples and Oranges: Burgess and Kubrick (2002)" Novel 1962 British novels 1962 science fiction novels Fiction about mind control Books written in fictional dialects British novellas British novels adapted into films British novels adapted into plays British philosophical novels British science fiction novels Censored books Dystopian novels Fiction with unreliable narrators Novels about music Novels by Anthony Burgess Obscenity controversies in literature Novels about rape Heinemann (publisher) books English-language novels Novels set in London Metafictional novels Novels about sociopathy Science fiction novels adapted into films Crime novels

"Of Clockwork Apples and Oranges: Burgess and Kubrick (2002)" Novel 1962 British novels 1962 science fiction novels Fiction about mind control Books written in fictional dialects British novellas British novels adapted into films British novels adapted into plays British philosophical novels British science fiction novels Censored books Dystopian novels Fiction with unreliable narrators Novels about music Novels by Anthony Burgess Obscenity controversies in literature Novels about rape Heinemann (publisher) books English-language novels Novels set in London Metafictional novels Novels about sociopathy Science fiction novels adapted into films Crime novels

"Of Clockwork Apples and Oranges: Burgess and Kubrick (2002)" Novel 1962 British novels 1962 science fiction novels Fiction about mind control Books written in fictional dialects British novellas British novels adapted into films British novels adapted into plays British philosophical novels British science fiction novels Censored books Dystopian novels Fiction with unreliable narrators Novels about music Novels by Anthony Burgess Obscenity controversies in literature Novels about rape Heinemann (publisher) books English-language novels Novels set in London Metafictional novels Novels about sociopathy Science fiction novels adapted into films Crime novels

Amsterdam Amsterdam ( , , ) is the capital and most populous city of the Netherlands; with a population of 872,680 within the city proper, 1,558,755 in the urban area and 2,480,394 in the metropolitan area. Found within the Dutch province of North Holland, Amsterdam is colloquially referred to as the "Venice of the North", due to the large number of canals which form a UNESCO World Heritage Site. Amsterdam was founded at the Amstel, that was dammed to control flooding; the city's name derives from the Amstel dam. Originating as a small fishing village in the late 12th century, Amsterdam became one of the most important ports in the world during the Dutch Golden Age of the 17th century, and became the leading centre for the finance and trade sectors. In the 19th and 20th centuries, the city expanded and many new neighborhoods and suburbs were planned and built. The 17th-century canals of Amsterdam and the 19–20th century Defence Line of Amsterdam are on the UNESCO World Heritage List. Sloten, annexed in 1921 by the municipality of Amsterdam, is the oldest part of the city, dating to the 9th century. Amsterdam's main attractions include its historic canals, the Rijksmuseum, the Van Gogh Museum, the Stedelijk Museum, Hermitage Amsterdam, the Concertgebouw, the Anne Frank House, the Scheepvaartmuseum, the Amsterdam Museum, the Heineken Experience, the Royal Palace of Amsterdam, Natura Artis Magistra, Hortus Botanicus Amsterdam, NEMO, the red-light district and many cannabis coffee shops. It drew more than 5 million international visitors in 2014. The city is also well known for its nightlife and festival activity; with several of its nightclubs (Melkweg, Paradiso) among the world's most famous. Primarily known for its artistic heritage, elaborate canal system and narrow houses with gabled façades; well-preserved legacies of the city's 17th-century Golden Age. These characteristics are arguably responsible for attracting millions of Amsterdam's visitors annually. Cycling is key to the city's character, and there are numerous biking paths and lanes spread throughout the entire city. The Amsterdam Stock Exchange is considered the oldest "modern" securities market stock exchange in the world. As the commercial capital of the Netherlands and one of the top financial centres in Europe, Amsterdam is considered an alpha world city by the Globalization and World Cities (GaWC) study group. The city is also the cultural capital of the Netherlands. Many large Dutch institutions have their headquarters in the city, including: the Philips conglomerate, AkzoNobel, Booking.com, TomTom, and ING. Moreover, many of the world's largest companies are based in Amsterdam or have established their European headquarters in the city, such as leading technology companies Uber, Netflix and Tesla. In 2012, Amsterdam was ranked the second-best city to live in by the Economist Intelligence Unit (EIU) and 12th globally on quality of living for environment and infrastructure by Mercer.

Amsterdam Amsterdam ( , , ) is the capital and most populous city of the Netherlands; with a population of 872,680 within the city proper, 1,558,755 in the urban area and 2,480,394 in the metropolitan area. Found within the Dutch province of North Holland, Amsterdam is colloquially referred to as the "Venice of the North", due to the large number of canals which form a UNESCO World Heritage Site. Amsterdam was founded at the Amstel, that was dammed to control flooding; the city's name derives from the Amstel dam. Originating as a small fishing village in the late 12th century, Amsterdam became one of the most important ports in the world during the Dutch Golden Age of the 17th century, and became the leading centre for the finance and trade sectors. In the 19th and 20th centuries, the city expanded and many new neighborhoods and suburbs were planned and built. The 17th-century canals of Amsterdam and the 19–20th century Defence Line of Amsterdam are on the UNESCO World Heritage List. Sloten, annexed in 1921 by the municipality of Amsterdam, is the oldest part of the city, dating to the 9th century. Amsterdam's main attractions include its historic canals, the Rijksmuseum, the Van Gogh Museum, the Stedelijk Museum, Hermitage Amsterdam, the Concertgebouw, the Anne Frank House, the Scheepvaartmuseum, the Amsterdam Museum, the Heineken Experience, the Royal Palace of Amsterdam, Natura Artis Magistra, Hortus Botanicus Amsterdam, NEMO, the red-light district and many cannabis coffee shops. It drew more than 5 million international visitors in 2014. The city is also well known for its nightlife and festival activity; with several of its nightclubs (Melkweg, Paradiso) among the world's most famous. Primarily known for its artistic heritage, elaborate canal system and narrow houses with gabled façades; well-preserved legacies of the city's 17th-century Golden Age. These characteristics are arguably responsible for attracting millions of Amsterdam's visitors annually. Cycling is key to the city's character, and there are numerous biking paths and lanes spread throughout the entire city. The Amsterdam Stock Exchange is considered the oldest "modern" securities market stock exchange in the world. As the commercial capital of the Netherlands and one of the top financial centres in Europe, Amsterdam is considered an alpha world city by the Globalization and World Cities (GaWC) study group. The city is also the cultural capital of the Netherlands. Many large Dutch institutions have their headquarters in the city, including: the Philips conglomerate, AkzoNobel, Booking.com, TomTom, and ING. Moreover, many of the world's largest companies are based in Amsterdam or have established their European headquarters in the city, such as leading technology companies Uber, Netflix and Tesla. In 2012, Amsterdam was ranked the second-best city to live in by the Economist Intelligence Unit (EIU) and 12th globally on quality of living for environment and infrastructure by Mercer.

The city was ranked 4th place globally as top tech hub in the Savills Tech Cities 2019 report (2nd in Europe), and 3rd in innovation by Australian innovation agency 2thinknow in their Innovation Cities Index 2009. The Port of Amsterdam is the fifth largest in Europe. The KLM hub and Amsterdam's main airport, Schiphol, is the Netherlands' busiest airport as well as the third busiest in Europe and 11th busiest airport in the world. The Dutch capital is considered one of the most multicultural cities in the world, with at least 177 nationalities represented. A few of Amsterdam's notable residents throughout history include: painters Rembrandt and Van Gogh, the diarist Anne Frank, and philosopher Baruch Spinoza. History Prehistory Due to its geographical location in what used to be wet peatland, the founding of Amsterdam is of a younger age than the founding of other urban centers in the Low Countries. However, in and around the area of what later became Amsterdam, local farmers settled as early as three millennia ago. They lived along the prehistoric IJ river and upstream of its tributary Amstel. The prehistoric IJ was a shallow and quiet stream in peatland behind beach ridges. This secluded area could grow there into an important local settlement center, especially in the late Bronze Age, the Iron Age and the Roman Age. Neolithic and Roman artefacts have also been found downstream of this area, in the prehistoric Amstel bedding under Amsterdam's Damrak and Rokin, such as shards of Bell Beaker culture pottery (2200-2000 BC) and a granite grinding stone (2700-2750 BC). But the location of these artefacts around the river banks of the Amstel probably point to a presence of a modest semi-permanent or seasonal settlement of the previous mentioned local farmers. A permanent settlement would not have been possible, since the river mouth and the banks of the Amstel in this period in time were too wet for permanent habitation. Etymology and founding The origins of Amsterdam is linked to the development of the peatland called Amestelle, meaning 'watery area', from Aa(m) 'river' + stelle 'site at a shoreline', 'river bank'. In this area, land reclamation started as early as the late 10th century. Amestelle was located along a side arm of the IJ. This side arm took the name from the eponymous land: Amstel. Amestelle was inhabited by farmers, who lived more inland and more upstream, where the land was not as wet as at the banks of the downstream river mouth. These farmers were starting the reclamation around upstream Ouderkerk aan de Amstel, and later at the other side of the river at Amstelveen. The Van Amstel family, known in documents by this name since 1019, held the stewardship in this northwestern nook of the ecclesiastical district of the bishop of Utrecht. The family later served also under the count of Holland. A major turning point in the development of the Amstel river mouth is the All Saint's Flood of 1170.

The city was ranked 4th place globally as top tech hub in the Savills Tech Cities 2019 report (2nd in Europe), and 3rd in innovation by Australian innovation agency 2thinknow in their Innovation Cities Index 2009. The Port of Amsterdam is the fifth largest in Europe. The KLM hub and Amsterdam's main airport, Schiphol, is the Netherlands' busiest airport as well as the third busiest in Europe and 11th busiest airport in the world. The Dutch capital is considered one of the most multicultural cities in the world, with at least 177 nationalities represented. A few of Amsterdam's notable residents throughout history include: painters Rembrandt and Van Gogh, the diarist Anne Frank, and philosopher Baruch Spinoza. History Prehistory Due to its geographical location in what used to be wet peatland, the founding of Amsterdam is of a younger age than the founding of other urban centers in the Low Countries. However, in and around the area of what later became Amsterdam, local farmers settled as early as three millennia ago. They lived along the prehistoric IJ river and upstream of its tributary Amstel. The prehistoric IJ was a shallow and quiet stream in peatland behind beach ridges. This secluded area could grow there into an important local settlement center, especially in the late Bronze Age, the Iron Age and the Roman Age. Neolithic and Roman artefacts have also been found downstream of this area, in the prehistoric Amstel bedding under Amsterdam's Damrak and Rokin, such as shards of Bell Beaker culture pottery (2200-2000 BC) and a granite grinding stone (2700-2750 BC). But the location of these artefacts around the river banks of the Amstel probably point to a presence of a modest semi-permanent or seasonal settlement of the previous mentioned local farmers. A permanent settlement would not have been possible, since the river mouth and the banks of the Amstel in this period in time were too wet for permanent habitation. Etymology and founding The origins of Amsterdam is linked to the development of the peatland called Amestelle, meaning 'watery area', from Aa(m) 'river' + stelle 'site at a shoreline', 'river bank'. In this area, land reclamation started as early as the late 10th century. Amestelle was located along a side arm of the IJ. This side arm took the name from the eponymous land: Amstel. Amestelle was inhabited by farmers, who lived more inland and more upstream, where the land was not as wet as at the banks of the downstream river mouth. These farmers were starting the reclamation around upstream Ouderkerk aan de Amstel, and later at the other side of the river at Amstelveen. The Van Amstel family, known in documents by this name since 1019, held the stewardship in this northwestern nook of the ecclesiastical district of the bishop of Utrecht. The family later served also under the count of Holland. A major turning point in the development of the Amstel river mouth is the All Saint's Flood of 1170.

The city was ranked 4th place globally as top tech hub in the Savills Tech Cities 2019 report (2nd in Europe), and 3rd in innovation by Australian innovation agency 2thinknow in their Innovation Cities Index 2009. The Port of Amsterdam is the fifth largest in Europe. The KLM hub and Amsterdam's main airport, Schiphol, is the Netherlands' busiest airport as well as the third busiest in Europe and 11th busiest airport in the world. The Dutch capital is considered one of the most multicultural cities in the world, with at least 177 nationalities represented. A few of Amsterdam's notable residents throughout history include: painters Rembrandt and Van Gogh, the diarist Anne Frank, and philosopher Baruch Spinoza. History Prehistory Due to its geographical location in what used to be wet peatland, the founding of Amsterdam is of a younger age than the founding of other urban centers in the Low Countries. However, in and around the area of what later became Amsterdam, local farmers settled as early as three millennia ago. They lived along the prehistoric IJ river and upstream of its tributary Amstel. The prehistoric IJ was a shallow and quiet stream in peatland behind beach ridges. This secluded area could grow there into an important local settlement center, especially in the late Bronze Age, the Iron Age and the Roman Age. Neolithic and Roman artefacts have also been found downstream of this area, in the prehistoric Amstel bedding under Amsterdam's Damrak and Rokin, such as shards of Bell Beaker culture pottery (2200-2000 BC) and a granite grinding stone (2700-2750 BC). But the location of these artefacts around the river banks of the Amstel probably point to a presence of a modest semi-permanent or seasonal settlement of the previous mentioned local farmers. A permanent settlement would not have been possible, since the river mouth and the banks of the Amstel in this period in time were too wet for permanent habitation. Etymology and founding The origins of Amsterdam is linked to the development of the peatland called Amestelle, meaning 'watery area', from Aa(m) 'river' + stelle 'site at a shoreline', 'river bank'. In this area, land reclamation started as early as the late 10th century. Amestelle was located along a side arm of the IJ. This side arm took the name from the eponymous land: Amstel. Amestelle was inhabited by farmers, who lived more inland and more upstream, where the land was not as wet as at the banks of the downstream river mouth. These farmers were starting the reclamation around upstream Ouderkerk aan de Amstel, and later at the other side of the river at Amstelveen. The Van Amstel family, known in documents by this name since 1019, held the stewardship in this northwestern nook of the ecclesiastical district of the bishop of Utrecht. The family later served also under the count of Holland. A major turning point in the development of the Amstel river mouth is the All Saint's Flood of 1170.

In an extremely short period of time, the shallow river IJ turned into a wide estuary, which from then on offered the Amstel an open connection to the Zuiderzee, IJssel and waterways further afield. This made the water flow of the Amstel more active, so excess water could be drained better. With drier banks, the downstream Amstel mouth became attractive for permanent habitation. Moreover, the river had grown from an insignificant peat stream into a junction of international waterways. A settlement was built here immediately after the landscape change of 1170, and right from the start of its foundation it focused on traffic, production and trade; not on farming, as opposed to how communities had lived further upstream for the past 200 years and northward for thousands of years. The construction of a dam at the mouth of the Amstel, eponymously named Dam, is historically estimated to have occurred between 1264 and 1275. The settlement first appeared in a document concerning a road toll granted by the count of Holland Floris V to the residents apud Amestelledamme 'at the dam in the Amstel' or 'at the dam of Amstelland'. This allowed the inhabitants of the village to travel freely through the County of Holland, paying no tolls at bridges, locks and dams. By 1327, the name had developed into Aemsterdam. Middle Ages Amsterdam was granted city rights in either 1300 or 1306. From the 14th century on, Amsterdam flourished, largely from trade with the Hanseatic League. In 1345, an alleged Eucharistic miracle in Kalverstraat rendered the city an important place of pilgrimage until the adoption of the Protestant faith. The Miracle devotion went underground but was kept alive. In the 19th century, especially after the jubilee of 1845, the devotion was revitalised and became an important national point of reference for Dutch Catholics. The Stille Omgang—a silent walk or procession in civil attire—is the expression of the pilgrimage within the Protestant Netherlands since the late 19th century. In the heyday of the Silent Walk, up to 90,000 pilgrims came to Amsterdam. In the 21st century, this has reduced to about 5,000. Conflict with Spain In the 16th century, the Dutch rebelled against Philip II of Spain and his successors. The main reasons for the uprising were the imposition of new taxes, the tenth penny, and the religious persecution of Protestants by the newly introduced Inquisition. The revolt escalated into the Eighty Years' War, which ultimately led to Dutch independence. Strongly pushed by Dutch Revolt leader William the Silent, the Dutch Republic became known for its relative religious tolerance. Jews from the Iberian Peninsula, Huguenots from France, prosperous merchants and printers from Flanders, and economic and religious refugees from the Spanish-controlled parts of the Low Countries found safety in Amsterdam. The influx of Flemish printers and the city's intellectual tolerance made Amsterdam a centre for the European free press.