title: The Great Mare

abstract: The Great Mare was a gigantic mare that served as a mount for giants in several Renaissance works. Stemming from medieval traditions inspired by Celtic mythology, she first appeared in The Grand and Priceless Chronicles of the Great and Enormous Giant Gargantua, written in 1532, in which Merlin created her from bones atop a mountain. Rabelais was inspired by these Chronicles and proceeded build on upon the given descriptions, including in his writings that the mare was Gargantua's mount in The Very Horrific Life of the Great Gargantua, Father of Pantagruel, which was published five years later. It was saddled up to be a parody, examples of this being the instances when the mare drowned her enemies with her urine and leveled all of the trees of Beauce, transforming the region into a plain. This animal seemingly originated from a primeval dragon modeler or from the mountain of Celtic Gods. According to Henri Dontenville and Claude Gaignebet, the mount shares the same origin as Bayard's horse. There are also toponymes dedicated to her, without direct connections to Renaissance writings.

text:
# The Great Mare

The **Great Mare** (**la Grand Mare**, **grant jument** or **grand'jument** in French) was a gigantic mare that served as a mount for giants in several Renaissance works. Stemming from medieval traditions inspired by Celtic mythology, she first appeared in *The Grand and Priceless Chronicles of the Great and Enormous Giant Gargantua*, written in 1532, in which Merlin created her from bones atop a mountain.

Rabelais was inspired by these *Chronicles* and proceeded build on upon the given descriptions, including in his writings that the mare was Gargantua's mount in *The Very Horrific Life of the Great Gargantua, Father of Pantagruel*, which was published five years later. It was saddled up to be a parody, examples of this being the instances when the mare drowned her enemies with her urine and leveled all of the trees of Beauce, transforming the region into a plain.

This animal seemingly originated from a primeval dragon modeler or from the mountain of Celtic Gods. According to Henri Dontenville and Claude Gaignebet, the mount shares the same origin as Bayard's horse. There are also toponymes dedicated to her, without direct connections to Renaissance writings.

## Origin

As seen in two major Renaissance literary works, the Great Mare likely arose from popular traditional stories and ancient oral folklore. Many theories exist regarding her origin, with the majority of them having been put forth by Henri Dontenville.

According to him, the original Grand Mare had a white coat, a direct reference to the ancient established presence of the white horse in French folklore. She was ridden by a giant anguiped (a deity with a rooster's head and serpents for legs) in the oldest versions of her stories. The giant Gargantua is reminiscent of Gargan, a demiurge known by Celtic people. He was a builder and creator, of whom it is said marked out all of the pre-Christian pilgrimage routes and created chasms and mountains by stomping up and down on the earth. In addition to this, it is believed that he dug fords as he drank from streams and created rivers by urinating. According to Dontenville, the mare and its rider were mistakenly taken for a dragon, as is attested in the etymology of "G-R-G", a reference found in the names of the Giants of Rabelais (Grandgousier, Gargamelle and Gargantua). As a result of their similarities and histories, the Great Mare and Bayard's Mare share the same narrative folklore; that of a gigantic primitive dragon who transforms landscapes with her actions.

Another speculation of her origin is that the mare was the mount of the Gallic psychopomp goddess Epona. This Celtic origin was referenced by Henri Dontenville, who wrote that there are several gods accompanied by:

" ... a white horse or white mare..." who would gallop from the East to West, bringing to pass springtime each year and pulling the sun along with them. This symbolic motif is also used by Jacques Duchaussoy and classifies these creatures as a celestial being.

## Testimonials and Toponymes

The legend of "The Great Mare" and other similar tales of white horses are present in French beliefs and toponymes related to the west coast sea. On the banks of the Loire in Tours, there exists a White Horse Inn on the wharf of the Grand'Jument. A 25 by 25 meter granite monolith named "The Great Mare", exists in Montgothier, and was mined from 1800 to 1803 by Ernest Poulnln, a quarryman who also destroyed another block of granite in order to pay hommage to local legends.

In Paul Sébillot's collections of popular traditions it is written that the sea in Poitou is referred to as "the Great White Mare". The same name is used by fishermen in Vendée. In the 16th century, Noël du Fail described the sea as being "the great Margo mare, who is bridled by her tail". In addition to this, off the coast of Ouessant there exists La Jument lighthouse built on the Ar Gazec reef ("the mare" in Breton).

Bernard M. Henry, of the Friends of Rabelais and La Devinière Association, noted the existence of several boulders that had been named "The Horses", "The Mare" and "The Great Mare" in Sables-d'Olonne. He wrote that he believed the existence of these toponymes and the city they belonged to inspired Rabelais to write the arrival of the Great Mare. According to the French mythological society, this Great Mare made gigantic imprints that can still be seen in modern day, one within the Jura mountains, and the second in Normandie.

## The Great Mare in *The Great and Inestimable Chronicles of the Great and Enormous Giant Gargantua*

The Great Mare made one of its most notable appearances in *The Great and Priceless Chronicles of the Great and Enormous Giant Gargantua*, an anonymous text that was, in older accounts, written in 1532. This is surmised as it contains references to France and Bretagne Matters.The writings report that Merlin was to advise King Arthur to be on guard against his enemies, and as Merlin left the king's court he decided to go to the Mont d'Orient to make the giants Grandgousier and Gallemelle from whale bones. After that, he created the Great Mare from the many bones of other mares,,. According to Bernard Sergen this theme of creating beings from bones could be a direct reference to a shamanic motif. Regardless, the Great Mare is undeniably a fae creature, because it was forged by Merlin, who had many connections to the fae.

The beast's purpose was to serve as a mount for giants. She was a great Flemish mare, one so powerful that

> "...she carried them \[Grandgousier et Gallemelle\] as well as a 10 crown horse would carry a simple man..."

.

The mare belonged to Gallemelle and Grandgousier, the parents of Gargantua. When the young giant reached seven years old, his parents decided to present him to King Arthur. Upon their departure, Merlin told them, "...turn your mare's reins to the West, and let it go on and it will lead you well without fail...". The mare's tail then turned into a ax and following this, Gargantua then hung the bells of the Notre-Dame de Paris cathedaral around her neck. When the young giant entered King Arthur's service, the giant then left the mare in the forest of Bruyères-le-Châtel.

To this day, there still an often disputed point of whether or not Rabelais is the author of this particular text.

## The Great Mare in Rabelais's Works

François Rabelais was largely inspired by the *Grand Mare* that was present in the *Chronicles*, and those inspirations added to the popular traditions of his time encouraged the creation of the Gargantua's giant mount in, *The Very Horrific Life of the Great Gargantua, Father of Pantagruel and son of Grangousier* (written in 1534), and its continuations. In these, he departs from the traditional fairy tales of that time, a genre that the *Chronicles* and the backstory of the mare's nature stem from. *The Great Gargantua is a* coming-of-age story and a parody of medieval tales of chevalry. In addition, in this story the Great Mare is given to the young giant by Grandgousier in order he might go to Paris to learn.

In Rabelais' text, Gargantua was trained from childhood in the equestrian arts by riding on artificial horses. The mare is mentioned for the first time in chapter XVI, in a scene which matches up almost verbatim to a passage from *The Chronicles*. This scene borrowed the concept of the flight of the Notre-Dame bells, which the giant hung around the neck of his mare (however, under Rabelais' pen script the passage takes on a new dimension by approaching the themes of culture, politics, morals, religion and aesthetics). The giant then left Paris on his mare to defend the country, and quickly encounted a troop of enemies. To defeat them, the mare drowned them in her urine.

In the aforementioned chapter XVI, the mare is given a tone in the fable that marks a break in the ambience of the story into a more popular and less academic burlesque. From that point it has a comedic function, and according to George Hoffman,

> "...it opposes pedagogical or esoteric interpretation."

Rabelais sets aside supernatural elements, in a very distinct manner than *The Chronicles* or *The Four Aymon Sons*, in order for this chapter's background to evoke the concerns of peasants and city dwellers, and therefore emphasize the relationship between man and nature. Claude Gaignebet, in contrast, compares the Grand Mare to the Bayard horse of the *Song of the Four Aymon Sons*, saying that she is a magical creature that stemmed from popular folklore in connection with the alchemical and erudite tradition, as a result of her creator, Merlin.

Other ancient theories perceived the source of the Grand Mare's inspiration as possibly being Diane de Poitiers, nicknamed "The Great Seneschal" from Rabelais' time.

### Description

Deemed "bigger and more monstrous than any mare we have ever seen", the Grand Mare was a gift from Africa sent by "Fayoles, Tetrarch King of Numidie". She was used solely as a means of transport for the giants. She herself was transported to Olone, in Thalmondoys, by four ships including three large Genoese sailing vessels, the "carracks". Her size was that of "six elephants", she had the hanging ears of a Languedoc goat, with her "feet split into fingers like Jules César's horse \[...\] and a small horn on the flank". Her coat was that of burnt chestnut dappled gray in some spots.

> "...the ears thus hanging like the goats of Languegoth and a little horn on the rump. The rest was covered in a chestnut coat with crisscrossed grey."

La Grand Jument did not escape the parodic and humorous description that Rabelais was particularly fond of, especially in regard to her gigantism. Gargantua is able to make it to Paris in a few strides of the mare's gallop and then instantly finds his father, however it is the urine of the mare that makes the story especially comical. Indeed,

> "...she proves her efficiency by the abundance of her urine..."

, however, even though Gargantua created Rhône by relieving himself, the long-term effects of the mare's relief are not detailed either in *The Chronicles* or in Rabelais:

> "And from the story, that if his father's great mare had been there and pissed alike, that there had been a deluge larger than that of Deucalion: for she only pissed a river no bigger than the Rosne."

Her 200 fathom-tall tail was "like the Sainct Mars pile", a quadrangular tower located near Langeais. It dragged behind the mare, and divided into multiple branches.

The mare gives an impression of Africa at the time as being a "land of animality", and its powerful kicks do not refer, according to Guy Demerson, to a supernatural creature like seen in *The Chronicles*, but the animality of a simple monstrous creature. On the other hand, according George Hoffmann, this description is akin to "natural wonder" and calls for animal comparisons to support the "generative power of nature".

### The Beauce Episode

As mentioned before, as soon Gargantua received the Grand Mare as a gift, he immediately decided to go to Paris. On his way, Gargantua passed through Beauce. At this point in the tale, Rabelais created a new whimsical etymology for this region inspired by the mare. This passage corresponds to a "hero's phase of development", which is "close to his big horse as he would be close to a small dog".

Beauce was covered in a vast forest during the time of this tale, measuring 35 leagues long and 17 leagues wide, infested with biting horse flies and hornets. As soon as she was on her way with her rider, the Grand Mare was stung by the pests and defended herself by whipping about her tail. She then bucked and kicked in every direction, leveling the entire forest to nothing. The desolation resulted in a vast countryside, of which Gargantua exclaimed  : "I find this beautiful". Hence it is said that is how Beauce got its name,

Gargantua takes obvious joy from seeing the rampaging damage from his mount, but is careful not to expressly show the emotion, a reaction that is meant to give the reader the impression that he is an adolescent. At the end of its rampage, the mare proceeds to clear out the rest of the forest in a manner similar to that of the countryfolk of that time. Even though this episode gives a perspective of the forest being a place of hostility and the cleared countryside being one of great beauty, Beauce is famous for being monotonous and flat without many landmarks. In the tale and in real life, the topic of deforestation was at the center of tensions between the royal authority, the bourgeoisie and the countryfolk. This episode could also be a reflection of the fight against "illegal grazing" of cattle and horses in forested areas, specifically because Gargantua's mount is a clear representation of the aforementioned livestock that were prohibited from grazing in forests.

This episode is presented in *The Chronicles* with few discrepancies, as the destruction of the forests of Champagne actually precedes that of Beauce.

## Note

1. In Rabelais's work, Olone, en Thalmondoys is an imaginary port that would correspond to the port the Sables-d'Olonne, in Vendée, very active at the time of the author.

### Bibliography

## InfoBox

The Great Mare
|  | |
| --- | --- |
| Grouping | Gigantic white mare |
| Sub grouping | Bayard |
| Folklore | Folklore, Horse |
| First attested | *The Grand and Priceless Chronicles of the Great and Enormous Giant Gargantua* |
| Other name(s) | Grant Jument, Grand'jument |
| Country | Traditional French oral stories |
| Region | France |


title: Disability in American slavery

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# Disability in American slavery

It is estimated that about 9 percent of American slaves were disabled on the eve of the Emancipation Proclamation due to some type of physical, sensory, psychological, neurological, or developmental condition. This means that roughly 360,000 to 540,000 American slaves had a disability. In the antebellum age, slaves were described as disabled if their injury or condition prevented them from performing labor, such as blindness, deafness, loss of limbs, and even infertility. Since disabled slaves could not fend for themselves or perform the normal types of slave labor, they usually depended on their masters and mothers to take care of them. In terms of labor, disabled slaves usually found themselves working in the kitchen or in nurseries. Since they could not work as fast as non-disabled slaves, disabled slaves were often subject to harsh treatment that included weapons. Often, slave owners would sell off their disabled slaves to doctors who would then perform medical experiments on them. After slavery ended, disabled slaves mostly remained on plantations until the government was able to set up hospitals and asylums to house them.

## Definition of disability in slaves

In the antebellum South, the term "disabled" did not just apply to African American slaves who had been born with a mental or physical disability. Rather, slaveholders usually referred to slaves who had been subject to lack of food, harsh penalties, harmful work conditions, or abuse as mentally or physically disabled. Slaveholders developed the idea of soundness; a slave's soundness depended upon their ability to perform manual labor, their value as a commodity, and lastly their actual health. Because of this, the term disability described many enslaved African Americans because of the multitude of injuries that left them unable to perform manual labor. These "injuries" included diseases, such as rickets, pellagra, and scurvy, which caused sight impairment and stunted growth. Injuries such as fractures, burns, loss of limbs, or head trauma left slaves unable to perform their manual labor which thus labelled them disabled. One of the most common forms of disability was blindness which could have been caused by birth defects, grueling days in the field, or severe beatings or whippings where the eyes were harmed. Infertility, or inability to reproduce, categorized women as disabled as they were unable to perform their most important duty. Along with these disabilities, psychological impairments, neurological problems like epilepsy, old age, and injuries from abuses such as whippings led to slaves being labelled as disabled.

## Life and labor

During childhood, disabled slaves challenged not only slave owners but also their own mothers. Doctors and mothers spent more time providing medical care or attending to their disabled children. Children were often sent away to doctors who performed surgeries to correct their disabilities; owners hoped that the disabled slaves would be restored to working capability. Many disabled children were subject to surgeries that attempted to fix conditions such as "clubbed feet" and blindness. When owners did not pay medical attention to child slaves with disabilities, the role of caretaker fell to their mothers. Along with taking care of disabled children, mothers had to take care of their other children, deal with their declining health caused by age and living conditions, as well as perform their work duties on the plantation. Mothers advocated for their children and often put their disabled child's needs ahead of their duties on the plantation which often resulted in punishment. Despite the struggles that went along with raising a disabled child on a plantation, mothers did not have as much fear of their child being sold or taken away. Sometimes, slaveholding families would even buy disabled children along with their enslaved mothers because they felt pity for the disabled children.

Slaves with disabilities were subjected to most of the same labor and punishments as other slaves. In terms of labor, slaves with disabilities were involved with cooking, sewing, gardening, and taking care of the children and livestock. Although their tasks were generally limited, it did not mean that their jobs were easier. When it came to cooking, disabled slaves did not avoid hard work as they were expected to wake up before their master and other slaves to cook meals; cooking meals often included the strenuous tasks of grinding meat and gathering wood for fires. Similarly, disabled slaves who worked in the nursery had to deal with little children throughout the day; this was usually too much for old, disabled slaves who were given that job. Despite these more common jobs and tasks, disabled slaves were sometimes given very odd tasks. For example, a blind slave was in charge of driving the breakfast cart out to the fields to feed the other slaves. Some slave owners sold their disabled slaves off to be tradesmen such as tailors or shoemakers. Most slaves regarded tradesmen's lifestyles to be safer than the average plantation slave's lifestyle.

## Treatment

Often, disabled African American slaves were subject to punishments due to their inability to perform tasks. Usually hindered by physical or mental limitations, disabled slaves were incapable of working as fast as other slaves and struggled with the heavy workloads that accompanied slaves that worked in the fields. Not surprisingly, disabled slaves were subject to corporal punishment such as whippings. More commonly, slaves with disabilities were neglected rather than punished. Slave owners dealt with older disabled slaves in multiple ways. Slave owners would make sure that older disabled slaves would receive reduced rations. Sometimes, slave owners would just sell the disabled slaves. When disabled slaves became "too old", slave owners would often force the slaves to move to cabins or rooms out in the middle of the woods and forced them to fend for themselves.

Slave owners often sold away slaves with disabilities to doctors who were performing medical research. Doctors attempted new techniques as well as therapeutic interventions on these disabled slaves; the hope was that these doctors would be able to "fix" the slaves' disabilities which would allow them to help white people with similar disabilities. Along with general medical research, slaves with disabilities were used as subjects of surgical demonstrations. For example, Georgia physician Crawford Long discovered that sulfuric ether could be used as anesthesia by performing surgeries on disabled African American slaves that included the amputations of their fingers and toes. Similar to medical research, Long, and other doctors who experimented with disabled slaves, believed that their findings could be used to help white people with the same ailments. White doctors also studied African American slaves born with congenital birth defects.

An example of disabled slaves who were subjected to harsh treatment were Christine-Millie McKoy, twins that were born conjoined at the hip. Before they were two years old, they were sold to a Joseph P. Smith who showcased the girls in carnivals and other events while also allowing them to be evaluated by doctors. Medical officials were obsessed with the twins' reproductive organs and anuses which led to their "digital rape." Throughout their life, the McKoy twins would be showcased all across the United States as well as Europe, kidnapped multiple times, and medically mishandled by medical professionals.

## Civil War and aftermath

During the Civil War, African American slaves, when hearing about Union advancement, abandoned their homes on the plantation to join the Union Army. However, the Union army sought out able-bodied slaves who could help dig ditches, launder uniforms, and cook meals. Therefore, disabled slaves who were unable to flee from their plantations were forced to stay enslaved. Even after the Civil War ended, disabled freed slaves who were unable to enter the workforce were forced to stay on their plantations and work for their masters. The government decided to focus some of their relief efforts towards those with disabilities which can be seen through Secretary of War E.M. Stanton's comments: "Under any circumstances, and in all large societies, even during a normal and peaceful condition of things, there will be found a certain amount of vagrancy and a certain number of indigent poor, disabled, or improvident, to whom it is a custom and a duty to extend relief." In March 1865, the US government established the Freedmen's Bureau to help freed African Americans, including disabled former slaves, adjust to freedom and what it entailed. The Freedmen's Bureau helped the government in terms of disabled persons in two ways: counting the number of disabled people in the South to estimate the amount of fiscal relief needed and setting up asylums and hospitals for disabled former slaves to reside in. In terms of their first responsibility, from "September 1, 1866 to September 1, 1867, the offices of the Bureau reported 1400 'blind' freed men, 414 'deaf and dumb',1,134 'idiotic or imbecile', 552 'insane', and 251 'club footed.'" However, these numbers represent the amount of former disabled slaves the Bureau actually saw when in reality, many more disabled slaves were still hung up in their plantations where the Freedmen's Bureau could never have found them. Secondly, due to the South's refusal to allow African American disabled people into the same asylums as white people, the Freedmen's Bureau set up asylums across the South. However, many times these asylums did not have enough funding so the Bureau was forced to have disabled African Americans perform tasks to help ends meet. For example, the Bureau had disabled African Americans work in vegetable gardens, clean laundry, and even join in the construction of facilities.


title: Disability etiquette

abstract: Disability etiquette is a set of guidelines dealing specifically with how to approach a person with a disability. There is no consensus on when this phrase first came into use, although it most likely grew out of the Disability Rights Movement that began in the early 1970s. The concept may have started as a cynical play on existing rule sheets, written for audiences without a disability, that were seen as patronizing by civil rights activists.

text:
# Disability etiquette

**Disability etiquette** is a set of guidelines dealing specifically with how to approach a person with a disability.

There is no consensus on when this phrase first came into use, although it most likely grew out of the Disability Rights Movement that began in the early 1970s. The concept may have started as a cynical play on existing rule sheets, written for audiences without a disability, that were seen as patronizing by civil rights activists.

## Guidelines

Most disability etiquette guidelines seem to be predicated on a simple dictate: "Do not assume ..." They are written to address real and perceived shortcomings in how society as a whole treats disabled people.

These guidelines can be broken down into the several broad categories.

"**Do not assume ...**":

* "... a person with a disability either wants or requires assistance."
* "... rejection of aid is meant as a personal affront."
* "... upon acceptance of your help, that you know, without being told, what service to perform."
* "... a person who appears to have one kind of disability also has others."
* "... a disabled person is dissatisfied with their quality of life, and is thus seeking pity."
* "... a person with a disability is easily offended."
* "... that a person who does not appear disabled, or who uses assistive devices intermittently instead of all of the time, is faking or imagining their disability." (*See invisible disability*.)
* "... companions accompanying a person with a disability are there strictly to render service."
* "... a person with a disability will be receptive to personal questions, particularly in a public setting."
* "... that when a person with a disability is in a public place, that they are being escorted by a caretaker, instead of traveling alone."

Each category encompasses specific "rules". For example, the last two of these would include guidelines such as:

* "Ask questions of the person with a disability, and not of their companions."
* "Hand grocery or other receipts to the individual who is paying the bill."
* "Only ask questions about the person's disability if you know that person."

People writing on specific disabilities have given rise to their own unique guidelines. Wheelchair users may, for example, include the rule, "do not grab the push handles of a person's wheelchair without permission." Visually impaired people often list a request to, "identify yourself when you enter a room."

## Language

Like many other minority groups, disabled people do not always agree on what constitutes respectful language, and many may have contradicting views on what they prefer. Some may prefer being referred to as 'a person with a disability' rather than as a disabled person - that preference is people-first language. The language someone uses to refer to their disability can signify whether they believe in a medical model of disability or a social model of disability.


title: Disability fraud

abstract: Disability fraud is the receipt of payment(s) intended for disabled people from a government agency or private insurance company by one who should not be receiving them, or the receipt of a higher amount than one is entitled to. There are various acts that may constitute disability fraud. These include feigning a medical problem in order to be declared disabled, exaggeration of an existing medical problem that potentially can but in reality does not render the person disabled, continuing to receive payments after having recovered from a medical problem, or continuing to receive payments while working above the allowable level for those receiving the payments. Disability fraud can be harder to detect than other forms of fraud, as the majority of people receiving disability payments do not use a wheelchair or walker, or uses a wheelchair but is able to walk limited distances sometimes, while at the same time, many people who need wheelchairs would not qualify for disability payments. Since most disabilities are "silent", it is not easy to visually determine if a person receiving disability is not disabled. Such people are often able to perform physical activities, but have some other underlying cause of their disability. It is therefore common for people to believe they must report a neighbor whom they see, for example, climbing on the roof while collecting disability payments, but this is not always the case. Meanwhile, true disability fraud cases exist, for which it is hard to determine the cause as being fraudulent. Often, the perpetrator claims to have a medical condition to be declared disabled. Some medical conditions are truly debilitating and make it impossible or difficult to work if one has them, but are hard to prove against one's own word that one does not have them. Even if one with one of them is viewed engaging in some other "work-like" activity not for pay, they may have difficulty holding a job. It is possible that the illegal recipient of the disability payments is not truly disabled, and may have a case of work aversion, which in many countries is not alone considered a valid reason for being declared disabled, or the person may otherwise lack a work ethic. Others who are receiving payments are actually working, but are not reporting their employment and collecting their income in a manner that cannot easily be detected. Disability fraud can result in denial of future benefits as well as criminal prosecution.

text:
# Disability fraud

**Disability fraud** is the receipt of payment(s) intended for disabled people from a government agency or private insurance company by one who should not be receiving them, or the receipt of a higher amount than one is entitled to. There are various acts that may constitute disability fraud. These include feigning a medical problem in order to be declared disabled, exaggeration of an existing medical problem that potentially can but in reality does not render the person disabled, continuing to receive payments after having recovered from a medical problem, or continuing to receive payments while working (usually unreported) above the allowable level for those receiving the payments.

Disability fraud can be harder to detect than other forms of fraud, as the majority of people receiving disability payments (at least 90%) do not use a wheelchair or walker, or uses a wheelchair but is able to walk limited distances sometimes, while at the same time, many people who need wheelchairs would not qualify for disability payments. Since most disabilities are "silent" (meaning that they cannot be seen by others), it is not easy to visually determine if a person receiving disability is not disabled. Such people are often able to perform physical activities, but have some other underlying cause of their disability. It is therefore common for people to believe they must report a neighbor whom they see, for example, climbing on the roof while collecting disability payments, but this is not always the case.

Meanwhile, true disability fraud cases exist, for which it is hard to determine the cause as being fraudulent. Often, the perpetrator claims to have a medical condition to be declared disabled. Some medical conditions are truly debilitating and make it impossible or difficult to work if one has them, but are hard to prove against one's own word that one does not have them. Even if one with one of them is viewed engaging in some other "work-like" activity not for pay, they may have difficulty holding a job.

It is possible that the illegal recipient of the disability payments is not truly disabled, and may have a case of work aversion, which in many countries is not alone considered a valid reason for being declared disabled, or the person may otherwise lack a work ethic. Others who are receiving payments are actually working, but are not reporting their employment and collecting their income in a manner that cannot easily be detected.

Disability fraud can result in denial of future benefits as well as criminal prosecution.

## Types of fraud

The United States Social Security Administration accepts reports from the public for the following types of fraud:

* Applicants who state they are not married when they are. Those receiving Supplemental Security Income (SSI) can have their benefits reduced by their spouse's income and assets, so some applicants may wish to hide the existence, income, or assets of their spouse.
* Claims of blindness. In particular, the Social Security Administration is concerned about those who declare they are blind and unable to drive, but are later found to be in possession of a driver's license and are observed (legally) operating a motor vehicle.
* Unreported income. Some types of income that often go unreported are from renting out a portion of one's home, or from an insurance policy.
* Employment changes, in a person who was not working at the time they applied for and started to receive benefits, but has since returned to work.
* A person who is living in an institution, such as a long-term care facility or a prison.
* A person who is the legal custodian (representative payee) of a disabled person's money spending it on some expense other than that of the disabled person.
* A person who cashes the checks of a deceased person.

## Notable cases

* In 2006, a Massachusetts man was convicted of receiving more than $55,000 in disability payments while continuing to work at his bar. **Antonios Sarantos**, then 43, of Plymouth, Massachusetts, purchased and opened the *T.J. Gupeez* bar in Taunton, then purportedly injured his back working at the prison, several weeks later. Undercover officers reported witnessing Sarantos working in the bar, even as he contended he was too injured to return to prison work.

* In 2007, a UK woman was convicted of more than £11,000 in disability fraud after she claimed she could walk only four meters in five minutes, but continued to work at a job she previously held sweeping horse stables.

* In 2009, an Idaho man pleaded guilty to $1.5 million in disability fraud, the largest such case in the history of the Veterans Affairs Department.
* In October 2011, a woman and three accomplices were arrested for, among other serious criminal allegations, collecting SSI benefits from four, and possibly more, mentally disabled adults, as their representative payee, and not using the money towards their well-being. The Philadelphia basement kidnapping event is under investigation by the FBI and Philadelphia law enforcement.
* In 2013, NPR and This American Life reported on high rates of disability claims in poor rural counties, such as Hale County, Alabama, with 25% of residents claiming they are disabled and unable to work, often due to nebulous causes such as "back pain." As an alternate explanation to fraud, the article noted that these communities tend to only have jobs that require strenuous lifting.
* In 2014, 106 people, including retired NYPD officers and FDNY firefighters, received a large disability pension of $400 million due to the aftereffect of the September 11 attacks, but the person involved was indicted after it was found to be false. At that time, the scam was known as the largest pension scam in the United States.


title: The Hurdy Gurdy Man (EP)

abstract: The Hurdy Gurdy Man is a studio EP by American alternative rock band Butthole Surfers, released in 1990. The EP was named after its title track, "The Hurdy Gurdy Man," written by 1960s pop star Donovan. All versions also included one original Butthole Surfers song, "Barking Dogs," and most versions also included a remix of "The Hurdy Gurdy Man." Both songs were also part of 1991's piouhgd, marking the first time that songs from a Butthole Surfers EP were officially included on a later album.

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# The Hurdy Gurdy Man (EP)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***The Hurdy Gurdy Man*** is a studio EP by American alternative rock band Butthole Surfers, released in 1990.

The EP was named after its title track, "The Hurdy Gurdy Man," written by 1960s pop star Donovan. All versions also included one original Butthole Surfers song, "Barking Dogs," and most versions also included a remix of "The Hurdy Gurdy Man."

Both songs were also part of 1991's *piouhgd*, marking the first time that songs from a Butthole Surfers EP were officially included on a later album. (The contents of *Cream Corn from the Socket of Davis* were included on CD editions of *Rembrandt Pussyhorse* in the U.S. and *Psychic... Powerless... Another Man's Sac* in the U.K., but are not considered official parts of those albums.)

## Track listing

### U.S. CD version

1. "The Hurdy Gurdy Man" (Leitch) – 4:01
2. "Barking Dogs" – 7:31
3. "The Hurdy Gurdy Man (Jim Melly Remix)" (Leitch) – 5:32

### U.S. 7" vinyl version

1. "The Hurdy Gurdy Man" (Leitch) – 3:56
2. "Barking Dogs" – 7:31

### U.K. CD version

1. "The Hurdy Gurdy Man" (Leitch) – 4:01
2. "Barking Dogs" – 7:31
3. "The Hurdy Gurdy Man (Paul Leary Remix)" (Leitch) – 4:01

### U.K. 12" vinyl version

#### Side 1

1. "The Hurdy Gurdy Man" (Leitch) – 4:01

#### Side 2

1. "The Hurdy Gurdy Man (Paul Leary Remix)" (Leitch) – 4:01
2. "Barking Dogs" – 7:31

## Personnel

## InfoBox

| The Hurdy Gurdy Man | |
| --- | --- |
|  | |
| EP by Butthole Surfers | |
| Released | 1990 |
| Recorded | 1990 |
| Genre | Avant-garde, hardcore punk, neo-psychedelia |
| Length | 17:04 (U.S. CD version) |
| Label | Rough Trade |
| Butthole Surfers chronology | |
| *Widowermaker*
(1989) ***The Hurdy Gurdy Man***
(1990) *piouhgd*
(1991) | |


title: The Hurdy-Gurdy Player with a Dog

abstract: The Hurdy-Gurdy Player with a Dog is an oil-on-canvas painting executed c. 1622 by the French artist Georges de La Tour, now in the Musée du Mont-de-Piété de Bergues. It belongs to his early period and forms part of a set of works on the same subject, which also includes The Hurdy-Gurdy Player. He is also featured in The Musicians' Brawl.

text:
# The Hurdy-Gurdy Player with a Dog

***The Hurdy-Gurdy Player with a Dog*** is an oil-on-canvas painting executed c. 1622 by the French artist Georges de La Tour, now in the Musée du Mont-de-Piété de Bergues. It belongs to his early period and forms part of a set of works on the same subject, which also includes *The Hurdy-Gurdy Player*. He is also featured in *The Musicians' Brawl*.

## Date

This painting belongs to the first period of the artist, the diurnal period, in which – against the current of the painting of the time marked by mannerism – La Tour depicted peasants and beggars in all the crudeness of their truth.

It is one of a series of paintings of old beggars. According to a general consensus, *The Hurdy-Gurdy Player with a Dog* is the oldest painting by La Tour on this subject, datable to around the 1620s, and in any case, predating *The Hurdy-Gurdy Player* of the Musée d'Arts de Nantes, held to be the most accomplished.

## Description

The canvas, monumental in size (186 cm × 120 cm; 73 in × 47 in), is the largest currently attributed to the painter.

It represents, full length and to scale, a blind beggar singing and accompanying himself on the hurdy-gurdy. A small dog who lies by his side on a leash probably serves as his guide. The shallow depth is suggested by pebbles and cobblestone in the foreground, and by the intersection of two side walls blocking the background, the left one in shadow, the right one illuminated by a light whose source is located in front of the frame, on the left. The shadow of the old man stands out clearly on the ground and extends onto the wall, at the right edge of the frame.

The old man has a dramatic and pitiful side at the same time, which is reinforced by the bareness of the decor, the harshness of the lighting, the voice frozen in the open mouth, and the man's unstable stance emphasized by his advanced left foot. The shining eyes that the little dog directs at the spectator, in contrast to the closed eyes of the blind man, add to the melancholy of the scene.

## Provenance

The first mention of the painting dates from 3 February 1791 when Joseph Delorge, painter and director of the Bergues drawing school, was commissioned to write the *Etats et Notices des Monuments et Peinture, sculpture and engraving from the furniture of the Abbey of Saint-Winoc in Bergues*. It is thus described there, at number 77: "A poor man playing the hurdy-gurdy, orig\[inal\] by Carache \[sic\] Urbain, on canvas, 5 ft, 6 in by 3 ft 6 in". Kept for a time in the abbey library, it was transferred, with the entire deposit, to the former Jesuit college in the city between 3 December 1792 and 5 January 1793.

In 1800, the painting was one of the thirty-eight works that the sub-prefect Louis Schadet chose "to adorn the audience hall and adjoining rooms" of the sub-prefecture of Bergues, then installed at the Town Hall. In the handwritten list that he established on the occasion of the transfer, the painting, under number 12, is presented as a "blind man playing the hurdy-gurdy, led by his dog", and attributed to "Michelangelo" – meaning Caravaggio. It entered the museum of Bergues in 1838. It is then described, without attribution but as an original painting, under number 18 of the *Catalogue of existing paintings of at the hotel of the town hall of the city of Bergues* as "a beggar of natural size 175 × 130 cm".

In 1842, the painting was entrusted, along with other works, to the painter Fabien-Napoléon Léoni to be restored. The relatively high cost of this restoration, which amounts to 250 francs, suggests that the painting was already in poor condition. Around 1846, it was placed in the gallery that the town hall dedicated to this purpose. A handwritten list, probably made by one of the members of the museum commission, then attributes *The Old Man* to Zurbarán.

In 1871, the painting was welcomed into the rooms of the new town hall converted into a museum. In the *Catalogue of paintings exhibited in the gallery of the museum of Bergues* written by the painter and restorer Pierre-Antoine Verlinde (1801–1877), the *Beggar playing the hurdy-gurdy*, under number 97, is attributed to José de Ribera. It is described as follows: "A blind old man, covered with a ragged garment and cloak, sings to the accompaniment of an hurdy-gurdy. The dog leading him by a rope is lying at his feet."

It was transferred to the city's former Mont-de-Piété when it was transformed into a museum in 1953.

### Attribution to Georges de La Tour

Noticed in 1925 by Pierre Landry, who was the first to bring it closer to the works of the master then in full rediscovery, the painting was chosen by Charles Sterling to appear in an exhibition of "painters of reality" that opened in November 1934 at the l'Orangerie of the Tuileries, but still cautiously attributed to the "workshop of Georges de La Tour". Cleaned on this occasion, it remained in Paris to be completely restored. At the end of the operation, which lasted fourteen months and was graciously donated by Pierre Landry, the painting was exhibited for some time, from June 1936, in the new acquisitions room of the Musée du Louvre.

It was not until 1958 that Michel Laclotte placed *The Hurdy-Gurdy Player with a Dog* alongside the originals from La Tour, and in particular *The Hurdy-Gurdy Player* in Nantes, on the occasion of the exhibition entitled *The French XVII|e. Masterpieces from provincial museums*. Since then, the painting has appeared in other exhibitions devoted to the painter from Lorraine, whether it be the first retrospective held from May to September 1972 at the Musée de l'Orangerie (catalogue number 3), or that of the Galeries nationales du Grand Palais, from 3 October 1997 to 26 January 1998 (catalogue number 16).

## Bibliography

* Beaussant, Philippe. 2011. *Le Vielleur Au Chien: Une Lecture De Le Vielleur Au Chien Vers 1620 De Georges De La Tour Musée Du Mont-De-Piété Bergues*. Ennetières-en-Weppes: Éditions Invenit. ISBN 978-2918698111. (French language)
* Conisbee, Philip, Jean-Pierre Cuzin, National Gallery of Art (U.S.) and Kimbell Art Museum. 1996. *Georges De La Tour and His World*. Washington D. C: National Gallery of Art. ISBN 9780300069488.
* Cuzin, Jean-Pierre and Pierre Rosenberg (préf. Jacques Thuillier). 1997. *Georges de La Tour: Paris, Galeries nationales du Grand Palais, 3 octobre 1997-26 janvier 1998*, Paris, Réunion des Musées nationaux, ISBN 2-7118-3592-8, p. 116–119. (French language)
* Cuzin, Jean-Pierre and Dimitri Salmon 1997. *Georges de La Tour: Histoire d'une redécouverte*, Paris, Gallimard, Réunion des musées nationaux, coll. « Découvertes Gallimard / Arts » (no 329). ISBN 2-07-030053-6. (French language)
* Thuillier, Jacques. 2012. *Georges De La Tour*. Paris: Flammarion. ISBN 978-2-0812-86085. (French language)

## InfoBox

| The Hurdy-Gurdy Player with a Dog | |
| --- | --- |
|  | |
| Artist | Georges de La Tour |
| Year | c.1622 |
| Dimensions | 1,86 cm × 1,20 cm (73 in × 47 in) |
| Location | Musée du Mont-de-Piété de Bergues |


title: Diodora calyculata

abstract: Diodora calyculata is a species of sea snail, a marine gastropod mollusk in the family Fissurellidae, the keyhole limpets and slit limpets.

text:
# Diodora calyculata

***Diodora calyculata*** is a species of sea snail, a marine gastropod mollusk in the family Fissurellidae, the keyhole limpets and slit limpets.

## Description

The size of the shell varies between 15 mm and 26 mm.

## Distribution

This species occurs in the Indian Ocean from Cape Agulhas to South Transkei, South Africa

* Trew, A., 1983. *The Melvill-Tomlin Collection. Handlists of the Molluscan Collections in the Department of Zoology, National Museum of Wales*. Parts 19, 20 & 21. Pleurotomariacea, Fissurellacea and Patellacea.

* World Register of Marine Species
* "*Diodora calyculata*". *Gastropods.com*. Retrieved 16 January 2019.

## InfoBox

| *Diodora calyculata* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Vetigastropoda |
| Order: | Lepetellida |
| Family: | Fissurellidae |
| Subfamily: | Fissurellinae |
| Genus: | *Diodora* |
| Species: | ***D. calyculata*** |
| Binomial name | |
| ***Diodora calyculata***<br>(Sowerby, 1823) | |
|


title: The Horn of Roland

abstract: The Horn of Roland is an adventure published by Avalon Hill in 1984 for the multi-genre role-playing game Lords of Creation.

text:
# The Horn of Roland

***The Horn of Roland*** is an adventure published by Avalon Hill in 1984 for the multi-genre role-playing game *Lords of Creation*.

## Description

*The Horn of Roland* is designed as an introductory adventure for new players. The player characters start at a modern day science fiction convention where they are investigating a murder. Their investigation uncovers evidence of supernatural events in the world, and increasingly bizarre events happen as the characters follow the murder suspect through the Bermuda Triangle.

### Components

The boxed set holds:

* 48-page book with the adventure
* five sheets of paper containing player aids, including local maps and a sketch of the murder scene

## Publication history

The multi-genre role-playing game *Lords of Creation* published by Avalon Hill in 1984 was designed by Tom Moldvay to allow the gamemaster to create adventures in almost any genre, from fantasy to science fiction to modern espionage. Moldvay also planned to write five adventures to support the game, but only three were published: *The Horn of Roland*, *The Yeti Sanction* (modern-day espionage), and *Omegakron* (post-apocalyptic science fiction).

*The Horn of Roland* featured art by Dave Billman.

## Reception

In Issue 22 of *Imagine*, Mike Dean was impressed and gave a strong recommendation, saying that "anyone seriously considering GMing \[*Lords of Creation*\] would be well advised to buy *Horn of Roland* only to see just how good an adventure can be!"

## Other recognition

* A copy of *The Horn of Roland* is held in the collection of the Strong National Museum of Play (object 110.21200).
* A copy of *The Horn of Roland* is held in the Edwin and Terry Murray Collection of Role-Playing Games, 1972-2017 (Box BG38) at Duke University.


title: The Hornet

abstract: The Hornet (Stršljen) is a 1998 Serbian drama film directed by Gorčin Stojanovic.

text:
# The Hornet

***The Hornet*** (***Stršljen***) is a 1998 Serbian drama film directed by Gorčin Stojanovic.

## Cast

## InfoBox

| The Hornet
Stršljen | |
| --- | --- |
| Directed by | Gorčin Stojanović |
| Starring | Sergej Trifunović
Mirjana Joković |
| Release date | * 24 February 1998 (1998-02-24) |
| Running time | 107 min |
| Country | Federal Republic of Yugoslavia |
| Languages | Serbian
Albanian
English |


title: The Horn of Mortal Danger

abstract: The Horn of Mortal Danger is a 1980 novel by British musician Lawrence Leonard. It relates the adventures of a brother and sister as they discover a secret civilisation buried beneath the streets of London. It is a 'classical' children's fantasy.

text:
# The Horn of Mortal Danger

***The Horn of Mortal Danger*** is a 1980 novel by British musician Lawrence Leonard. It relates the adventures of a brother and sister as they discover a secret civilisation buried beneath the streets of London. It is a 'classical' children's fantasy.

## Plot summary

Simon ("Widgie") and Jen Widgeon are innocently exploring the abandoned Highgate rail tunnel near their home when they discover a hidden gateway halfway along it. Through this they find their way to a little old-fashioned railway station.

At first the tunnels seem deserted. However, as Jen wanders down the tunnel to explore, the Railwaymen emerge and capture Widgie. Jen, in her turn, discovers an underground canal, complete with a little steamboat, which the railway crosses through a retractable bridge. Men emerge from the boat and take her captive.

It quickly becomes apparent that Widgie and Jen have become caught up in an entire underground civilisation, the North London System, kept secret for centuries from the world above. Two civilisations, in fact, seemingly perpetually at war. The siblings' arrival is the catalyst for a climactic battle between the Railwaymen and the Canallers.

Widgie manages to escape and rescues Jen, and the realisation of the threat they pose should they escape aboveground and expose the System forces the Railwaymen and the Canallers to set aside their differences for the time being, to collaborate in an effort to recapture them. In the course of the battle giant rats, kept imprisoned in a blocked-up tunnel, are released and proceed to spread through the whole system. As Widgie and Jen escape into the Post Office Railway, it appears that the entire civilisation is on the verge of disintegration under the assault from the rats.

## Structure

It is worth noting that, seemingly in imitation of *The Lord of the Rings* (1937 and 1949), Leonard includes appendices relating the aftermath of the story underground, in which the Railwaymen and Canal Folk discuss the joint threats of the children and the rats, and giving a short history of the North London System (and suggesting that similar societies exist beneath many major cities, at least in England). It also includes two short "Interludes", set aboveground, concerning the search for the missing children.

## Allusions/references to actual history, geography and current science

Leonard's secondary world is unusual in that it overlaps with the primary one and is separated from it, it seems, through nothing stronger than blind luck. Uniquely among such fantasies, Leonard never employs magic, and indeed seems at pains to explain how his underground System works. There are no women seen underground, nor any apparent means to produce food to support the Undergrounders, but rather than hoping his readers will not notice this (as the children do), he explains very concisely the why and how of this in a throwaway manner near the beginning.

The technology of railways and canals is borrowed from observation of the Aboveground world, but the System is conservative and usually does not adopt new things very quickly. They have no electricity, though the Railway is reportedly looking into the matter. The children finally make their escape through an Observation Shaft, similar to the one they entered through, which leads into the Post Office Railway, and is used to study the operation of electric trains.

In the story, the System had existed for centuries before the Tube, and it is mentioned in the second Appendix that the beginning of construction of the Tube caused the Undergrounders considerable alarm, although tempered by pride that the Abovegrounders were (seemingly) imitating them for a change.

The key clue to the location of the System is the River Fleet, diverted underground in the eighteenth century. It serves as the spine of the canal network and the setting for one of the most dramatic scenes in the book, as both the train (with Widgie on board) and the boat (with Jen) race against time to reach and pass a bridge over it as the river becomes swollen and flooded.

Several locations (King's Cross, Paddington, Camden Lock) are named after real-world locations, and it appears from the map in the book that these are intended to be very near their real-world locations: the System incorporates the area roughly bounded on the surface by Muswell Hill to the north, Tottenham and Islington to the east, Paddington and Oxford Street to the south and Finchley Road to the west. The southern part of this area includes the River Fleet, which drains southwards into the Thames.

## InfoBox

The Horn of Mortal Danger
| First edition | |
| --- | --- |
| Author | Lawrence Leonard |
| Cover artist | Gavin Rowe |
| Language | English |
| Genre | Science fiction |
| Publisher | Julia MacRae |
| Publication date | 1980 |
| Publication place | United Kingdom |
| Pages | 224 |
| ISBN | 0-7445-0847-9 |
| OCLC | 59211869 |


title: The High Frontier (album)

abstract: The High Frontier is the second studio album by American rock band Lumerians. It was released in August 2013 under Partisan Records.

text:
# The High Frontier (album)

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 68/100 |
| Review scores | |
| Source | Rating |
| Consequence of Sound |  |

***The High Frontier*** is the second studio album by American rock band Lumerians. It was released in August 2013 under Partisan Records.

## Track listing

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Dogon Genesis" | 5:54 |
| 2. | "High Frontier" | 5:00 |
| 3. | "The Bloom" | 5:35 |
| 4. | "Koman Tong" | 3:30 |
| 5. | "Smokies Tangle" | 7:24 |
| 6. | "Life Without Skin" | 6:02 |
| 7. | "Abudhabijhab" | 6:56 |

## InfoBox

| The High Frontier | |
| --- | --- |
|  | |
| Studio album by Lumerians | |
| Released | August 6, 2013 (2013-08-06) |
| Genre | Psychedelic rock |
| Label | Partisan |
| Lumerians chronology | |
| *Transmallinia*
(2011) ***The High Frontier***
(2013) | |


title: The Husband of the Rat's Daughter

abstract: The Husband of the Rat's Daughter is a Japanese fairy tale. Andrew Lang included it in The Brown Fairy Book. It is Aarne-Thompson type 2031C, a chain tale or cumulative tale. Another story of this type is The Mouse Turned into a Maid.

text:
# The Husband of the Rat's Daughter

**The Husband of the Rat's Daughter** is a Japanese fairy tale. Andrew Lang included it in *The Brown Fairy Book*. It is Aarne-Thompson type 2031C, a chain tale or cumulative tale. Another story of this type is *The Mouse Turned into a Maid*.

## Synopsis

Two rats had a remarkably beautiful daughter. In some variants, the father would have been happy to marry her to a rat of finer family, but the mother did not want her daughter to marry a mere rat; in others, they both agreed that she must marry the greatest being in the world. They offered her to the sun, telling him they wanted a son-in-law who was greater than all. The sun told them that he could not take advantage of their ignorance: the cloud, which blotted out his face, was greater. So they asked the cloud instead. The cloud told them that the wind freely blew it about. They asked the wind. The wind told them that the wall could easily stop it. They asked the wall. The wall told them that a rat could reduce it to powder with its teeth. So they married her to a rat.


title: Direct reduced iron

abstract: Direct reduced iron (DRI), also called sponge iron, is produced from the direct reduction of iron ore into iron by a reducing gas which contains elemental carbon and/or hydrogen. When hydrogen is used as the reducing gas no carbon dioxide is produced. Many ores are suitable for direct reduction. Direct reduction refers to solid-state processes which reduce iron oxides to metallic iron at temperatures below the melting point of iron. Reduced iron derives its name from these processes, one example being heating iron ore in a furnace at a high temperature of 800 to 1,200 °C in the presence of the reducing gas syngas, a mixture of hydrogen and carbon monoxide, or pure hydrogen.

text:
# Direct reduced iron

**Direct reduced iron** (**DRI**), also called **sponge iron**, is produced from the direct reduction of iron ore (in the form of lumps, pellets, or fines) into iron by a reducing gas which contains elemental carbon (produced from natural gas or coal) and/or hydrogen. When hydrogen is used as the reducing gas no carbon dioxide is produced. Many ores are suitable for direct reduction.

Direct reduction refers to solid-state processes which reduce iron oxides to metallic iron at temperatures below the melting point of iron. Reduced iron derives its name from these processes, one example being heating iron ore in a furnace at a high temperature of 800 to 1,200 °C (1,470 to 2,190 °F) in the presence of the reducing gas syngas, a mixture of hydrogen and carbon monoxide, or pure hydrogen.

## Process

Direct reduction processes can be divided roughly into two categories: gas-based and coal-based. In both cases, the objective of the process is to remove the oxygen contained in various forms of iron ore (sized ore, concentrates, pellets, mill scale, furnace dust, etc.) in order to convert the ore to metallic iron, without melting it (below 1,200 °C (2,190 °F)).

The direct reduction process is comparatively energy efficient. Steel made using DRI requires significantly less fuel, in that a traditional blast furnace is not needed. DRI is most commonly made into steel using electric arc furnaces to take advantage of the heat produced by the DRI product.

### Benefits

Direct reduction processes were developed to overcome the difficulties of conventional blast furnaces. DRI plants need not be part of an integrated steel plant, as is characteristic of blast furnaces. The initial capital investment and operating costs of direct reduction plants are lower than integrated steel plants and are more suitable for developing countries where supplies of high grade coking coal are limited, but where steel scrap is generally available for recycling. Many other countries use variants of the process.

Factors that help make DRI economical:

* Direct-reduced iron has about the same iron content as pig iron, typically 90–94% total iron (depending on the quality of the raw ore) so it is an excellent feedstock for the electric furnaces used by mini mills, allowing them to use lower grades of scrap for the rest of the charge or to produce higher grades of steel.
* Hot-briquetted iron (HBI) is a compacted form of DRI designed for ease of shipping, handling, and storage.
* Hot direct reduced iron (HDRI) is DRI that is transported hot, directly from the reduction furnace, into an electric arc furnace, thereby saving energy.
* The direct reduction process uses pelletized iron ore or natural "lump" ore. One exception is the fluidized bed process which requires sized iron ore particles.
* The direct reduction process can use natural gas contaminated with inert gases, avoiding the need to remove these gases for other use. However, any inert gas contamination of the reducing gas lowers the effect (quality) of that gas stream and the thermal efficiency of the process. The use of natural gas also produces greenhouse gases.
* Supplies of powdered ore and raw natural gas are both available in areas such as Northern Australia, avoiding transport costs for the gas. In most cases, the DRI plant is located near a natural gas source as it is more cost effective to ship the ore rather than the gas.
* To eliminate fossil fuel use in iron and steel making, renewable hydrogen gas can be used in place of syngas to produce DRI and eliminate production of greenhouse gases.

### Problems

Direct reduced iron is highly susceptible to oxidation and rusting if left unprotected, and is normally quickly processed further to steel. The bulk iron can also catch fire (it is pyrophoric). Unlike blast furnace pig iron, which is almost pure metal, DRI contains some siliceous gangue (if made from scrap, not from new iron from direct reduced iron with natural gas), which needs to be removed in the steel-making process.

## History

Producing sponge iron and then working it was the earliest method used to obtain iron in the Middle East, Egypt, and Europe, where it remained in use until at least the 16th century.

The advantage of the bloomery technique is that iron can be obtained at a lower furnace temperature, only about 1,100 °C or so. The disadvantage, relative to a blast furnace, is that only small quantities can be made at a time.

## Chemistry

The following reactions successively convert hematite (from iron ore) into magnetite, magnetite into ferrous oxide, and ferrous oxide into iron by reduction with carbon monoxide or hydrogen.

$\ce {3 Fe2O3 + CO/H2 -\> 2 Fe3O4 + CO2/H2O}$ $\ce {Fe3O4 + CO/H2 -\> 3 FeO + CO2/H2O}$ $\ce {FeO + CO/H2 -\> Fe + CO2/H2O}$

Carburizing produces cementite (Fe3C):

$\ce {3 Fe + CH4 -\> Fe3C + 2H2}$ $\ce {3 Fe + 2CO -\> Fe3C + CO2}$ $\ce {3 Fe + CO +H2 -\> Fe3C + H2O}$

## Economy

India is the world’s largest producer of direct-reduced iron.

## Uses

Sponge iron is not useful by itself, but can be processed to create wrought iron or steel. The sponge is removed from the furnace, called a bloomery, and repeatedly beaten with heavy hammers and folded over to remove the slag, oxidize any carbon or carbide, and weld the iron together. This treatment usually creates wrought iron with about three percent slag and a fraction of a percent of other impurities. Further treatment may add controlled amounts of carbon, allowing various kinds of heat treatment (e.g. "steeling").

Today, sponge iron is created by reducing iron ore without melting it. This makes for an energy-efficient feedstock for specialty steel manufacturers which used to rely upon scrap metal.

### Food

Hydrogen-reduced iron is used as a source of food-grade iron powder, for food fortification and for oxygen scavenging. This elemental form is not absorbed as well as ferrous forms, but the oxygen-scavenging function keeps it attractive. Purity standards for this use are established in 1977.

Notes Bibliography


title: The Homesteaders

abstract: The Homesteaders is a 1953 American Western film directed by Lewis D. Collins, and starring Bill Elliott, Robert Lowery, and Emmett Lynn.

text:
# The Homesteaders

***The Homesteaders*** is a 1953 American Western film directed by Lewis D. Collins, and starring Bill Elliott, Robert Lowery, and Emmett Lynn.

## Plot

## Cast

## InfoBox

| The Homesteaders | |
| --- | --- |
| Theatrical film poster | |
| Directed by | Lewis D. Collins |
| Written by | Milton Raison
Sidney Theil |
| Produced by | Vincent M. Fennelly |
| Starring | Bill Elliott
Robert Lowery
Emmett Lynn |
| Cinematography | Ernest Miller |
| Edited by | Sam Fields |
| Music by | Raoul Kraushaar |
| Production
company | Silvermine Productions |
| Distributed by | Allied Artists |
| Release date | * March 23, 1953 (1953-03-23) |
| Running time | 62 minutes |
| Country | United States |
| Language | English |


title: The Homewood

abstract: The Homewood is a modernist house in Esher, Surrey, England. Designed by architect Patrick Gwynne for his parents, The Homewood was given by Gwynne to the National Trust in 1999.

text:
# The Homewood

**The Homewood** is a modernist house in Esher, Surrey, England. Designed by architect Patrick Gwynne for his parents, The Homewood was given by Gwynne to the National Trust in 1999.

## Origins

The family demolished the original rambling Victorian house called "Homewood", to make way for the house on stilts (pilotis) their son Patrick Gwynne would design and build to replace it, at the age of 24. The family sold off property in Wales to finance the project which cost £10,000 at the time, exceeding the original estimate.

## Influences and structure

The Homewood was Gwynne's first house project and his lasting favourite. His influences included Le Corbusier and Mies van der Rohe, fathers of the modernist International Style that took hold in the 1920s. Like Le Corbusier and Frank Lloyd Wright before him, he designed everything including the furniture and fittings, even the grounds. But unlike Wright, he emphasised the grounds being arranged for the house rather than the house built for the grounds. He created two models of measurement used throughout to regulate proportions. The vertical model was 20 inches and multiples of this would delineate everything upright, for example, from window ledges, to window and ceiling heights. The horizontal model was four feet.

The new Homewood was structured so that bedrooms and offices were on one side and on the other, living and utility areas. At one end is the servants' quarters. Below are the car spaces and entrance.

## Style

The elevated house with its lean modernist lines and industrial materials, is open plan with the spaces signified by furniture arrangement. It is spare, spacious and functional, yet comfortable. The concrete interior staircase is lit by a sunken uplight. Décor includes signature wall papers, innovations such as mechanised blinds over the floor to ceiling windows, convertible work desks, multipurpose cabinets (some with interior lighting), concealed storage and bedroom ensuites. There were originally five bedrooms, later four, and the colour scheme is neutral ranging from cream or white, shades of brown to chocolate and black with some sky blue accessories. In contrast, there is one lavish bespoke glass chandelier on the landing. The Homewood served as Gwynne's living portfolio to clients and students, exhibiting his designs from architecture to furniture, finishes and fittings, as well as attention to detail and complete design control.

As post-War years meant no staff, Gwynne installed a pool and converted the servants' quarters to an entertainment/relaxation centre which relocated this function from the roof (rooftop entertaining being a 1930s custom that favoured flat roofs) to the grounds, making access easier for the purpose.

Since each member of the family had a car, the stilts provided space for four cars. The entrance was approached by driving in completely under cover. Gwynne's blue-green Aston Martin remains at The Homewood.

When Patrick, his sister and father enlisted or joined the war effort, the house was tenanted until they returned. Both parents died of natural causes before the end of World War II and did not survive to live in the final result. After his sister left the house because she married, Patrick lived alone in the house for 46 years. In his later years he lived in the former servants' quarters while working with the National Trust to restore it to the original.

## After Gwynne’s death

Gwynne entered into discussions with the National Trust in 1993 but the negotiations were not concluded until 1999. When he gave the house to the Trust in 1999 it was on the basis that he had the right to live there until his death and that, when he died, a family would live in it and that it must be open to the public for one day a week for six months of the year. The Trust also agreed to undertake some repairs and renovations under his supervision. These commenced in 1999 and were ongoing at the time of his death in May 2003. After five rounds of interviews organised by the Trust, the house was offered in October 2007 to David Scott, Louise Cavanagh, and their daughter Isabella. The property has been featured in the ITV series *Endeavour* ("Rocket" episode) and Agatha Christie's Marple (Endless Night), both shown in 2013. It is open to the public on alternate Fridays and Saturdays from April to October.

* *National Trust: National Treasures : Homewood/ Willow Road*  2005 TV Documentary showing fine homes across Britain and Northern Ireland, shown ABC TV January 25, 2006

1. Bingham, Neil (2004). *The Homewood*. Swindon: National Trust. pp. 7–8. ISBN 978-1-84359-100-9.
2. Campbell, Sophie (7 June 2008), "Modernist man required for dream house", *The Daily Telegraph*, pp. Travel T19

## InfoBox

| The Homewood | |
| --- | --- |
| The Homewood and Garden | |
| Type | Private house |
| Location | Esher |
| Coordinates | 51°21′00″N 0°23′19″W / 51.350003°N 0.388602°W / 51.350003; -0.388602 |
| Area | Surrey |
| Built | 1938 |
| Architect | Patrick Gwynne |
| Architectural style(s) | Modernist |
| Owner | National Trust |
|  | |
| Listed Building – Grade II | |
| Official name | The Homewood |
| Designated | 28 January 1971 |
| Reference no. | 1365884 |
|  | |
|  | |
| Location of The Homewood in Surrey | |


title: Diplom-Is

abstract: Diplom-Is AS is a Norwegian manufacturer of ice cream owned by the dairy group Tine. In 2005, the company produced 51,100,000 litres of ice cream, and held a market share of 53% domestically. Among the most notable own brands are Royal, Dream, Krone-Is, Pin-Up, Lollipop, Sandwich, Pia, Gullpinne, Gigant and Klin Kokos. It also produces the franchise Mövenpick, Mars and Nestlé in Scandinavia.

text:
# Diplom-Is

**Diplom-Is AS** is a Norwegian manufacturer of ice cream owned by the dairy group Tine. In 2005, the company produced 51,100,000 litres (11,200,000 imp gal; 13,500,000 US gal) of ice cream, and held a market share of 53% domestically.

Among the most notable own brands are Royal, Dream, Krone-Is, Pin-Up, Lollipop, Sandwich, Pia, Gullpinne, Gigant and Klin Kokos. It also produces the franchise Mövenpick, Mars and Nestlé in Scandinavia.

## History

The first ice cream factories in Norway were established in the 1920s, and towards the end of the decade the Norwegian Dairies established their own brand, Diplom Is in Oslo, with its first advertisement appearing in 1930. By 1931 the production went on continually through the year, and Oslo got its own ice cream truck. Production was low during World War II, and after the war there were numerous independent ice cream manufacturers. Many of these were owned by the regional dairy cooperatives. In 1951 these were all branded as Diplom-Is and the brand became national. Though having a common brand, it was not until 1991 that all the production of ice cream by the dairies was collected in one company, **Norsk Iskrem BA** (lit. *Norwegian Ice Cream*). The following four years saw the "ice cream war" between Diplom-Is and the Swedish GB Is, but by 1995 GB had to withdraw from the market. At the same time Diplom-Is started to franchise produce the Swiss brand Mövenpick. In 1992, the company established itself in Denmark, and in 2004 in Sweden. In 2002 the legal name changed to Diplom-Is AS. On 30 September 2010 Unilever signed an asset purchase agreement with the Norwegian dairy group TINE, to acquire the activities of Diplom-Is in Denmark.

## InfoBox

Diplom-Is AS
|
|  |
| Company type | Subsidiary |
| Industry | Ice cream |
| Founded | 1930 |
| Headquarters | Oslo, Norway |
| Area served | Scandinavia |
| Key people | Martin Kjekshus (CEO) |
| Revenue | 1,154 billion kr |
| Number of employees | 510 (2020) |
| Parent | Tine |
| Website | www.diplom-is.no |


title: The Journey Up

abstract: The Journey Up is a 1938 novel by the British writer Robert Hichens.

text:
# The Journey Up

***The Journey Up*** is a 1938 novel by the British writer Robert Hichens.

## Bibliography

* Vinson, James. *Twentieth-Century Romance and Gothic Writers*. Macmillan, 1982.

## InfoBox

The Journey Up
| First edition (US) | |
| --- | --- |
| Author | Robert Hichens |
| Language | English |
| Genre | Drama |
| Publisher | Cassell (UK)<br>Doubleday, Doran (US) |
| Publication date | 1938 |
| Publication place | United Kingdom |
| Media type | Print |


title: The Ignerents

abstract: The Ignerents were formed in 1977 in Whitstable, Kent, by brothers Chris and Steve Harris, joined by neighbour Mark Leighton on guitar, vocalist Kevin Holmes, and drummer Stan 'Gretsch' Littlejohn. The band were an important part of the local Kent punk scene in the late 1970s in Kent alongside bands like Wild Billy Childish's Pop Rivets, The Names, Naughty Thoughts, and The Rivals. All of the band went to Queen Elizabeth's School in Faversham. The band were managed by a third Harris brother, Phil, who was quick to recruit Ben Challis from another local punk band, The Plague, when Kevin Holmes dropped out as lead singer just before the band's first gig in Whitstable. In its final and most successful lineup, the band was a fourpiece consisting of Ben Challis (vocals), Steve Harris (guitar), Chris Harris (base), and Stan Gretsch (drums). The band released one single in 1979. The Ignerents also featured on the First Offenders compilation album in 1980 with two tracks, Harbour Street and I Won't Be There. Wrong Place Wrong Time also featured on the German Punk series 'Back To Front'. The band finally evolved into a new band, The Beekeepers, which featured Nick Appleton on guitar alongside Steve and with Chris, Ben and Stan, and then finally with Russel Lax on drums. The Beekeepers released one single, Platform 5 b/w The Trouble With You in 1981. On the live circuit the Ignerents were active from 1977-1981 with numerous gigs that included the Marquee Club and the Vortex in London and support slots with bands like 999, The Only Ones, Wayne County & The Electric Chairs and Chelsea. The band's history has been marred by the deaths of Stan, by now drummer with the Rivals, in a road accident in 1981; and Chris, who died in a drowning accident in 1994 whilst on holiday. The band released the Beekeepers single to celebrate Stan's life and played a final tribute gig to celebrate Chris's life at the Tankerton Arms in Whitstable in 1994 and in 1997 released a CD which featured all of the Ignerents' previously released tracks and another ten archive tracks. Various tracks also feature on other compilation albums including Wrong Place Wrong Time on Back To Front Vol 4 and Call me Irresponsible on Punks, Skins & Rude Boys III.

text:
# The Ignerents

**The Ignerents** were formed in 1977 in Whitstable, Kent, by brothers Chris and Steve Harris, joined by neighbour Mark Leighton on guitar, vocalist Kevin Holmes, and drummer Stan 'Gretsch' Littlejohn. The band were an important part of the local Kent punk scene in the late 1970s in Kent alongside bands like Wild Billy Childish's Pop Rivets, The Names, Naughty Thoughts, and The Rivals.

All of the band went to Queen Elizabeth's School in Faversham. The band were managed by a third Harris brother, Phil, who was quick to recruit Ben Challis from another local punk band, The Plague, when Kevin Holmes dropped out as lead singer just before the band's first gig in Whitstable. In its final and most successful lineup (as the Ignerents), the band was a fourpiece consisting of Ben Challis (vocals), Steve Harris (guitar), Chris Harris (base), and Stan Gretsch (drums). The band released one single in 1979 (*Radio Interference* b/w *Wrong Place Wrong Time*). The Ignerents also featured on the First Offenders compilation album in 1980 with two tracks, *Harbour Street* and *I Won't Be There*. *Wrong Place Wrong Time* also featured on the German Punk series 'Back To Front'. The band finally evolved into a new band, The Beekeepers, which featured Nick Appleton on guitar alongside Steve and with Chris, Ben and Stan, and then finally with Russel Lax on drums (who, in the then small Kent new wave music scene had, I think, been the Pop Rivets' drummer and ended up as the drummer with local folk heroes the Oysterband!). The Beekeepers released one single, *Platform 5* b/w *The Trouble With You* in 1981.

On the live circuit the Ignerents were active from 1977-1981 with numerous gigs that included the Marquee Club and the Vortex in London and support slots with bands like 999, The Only Ones, Wayne County & The Electric Chairs and Chelsea.

The band's history has been marred by the deaths of Stan, by now drummer with the Rivals, in a road accident in 1981; and Chris, who died in a drowning accident in 1994 whilst on holiday. The band released the Beekeepers single to celebrate Stan's life and played a final tribute gig to celebrate Chris's life at the Tankerton Arms in Whitstable in 1994 and in 1997 released a CD (*Woodbines, Tears and Jealousy*) which featured all of the Ignerents' previously released tracks and another ten archive tracks.

Various tracks also feature on other compilation albums (see the Discography) including *Wrong Place Wrong Time* on Back To Front Vol 4 and *Call me Irresponsible* on Punks, Skins & Rude Boys III.

## Discography

1979 Radio Interference B/W Wrong Place Wrong Time ACE RECORDS/RUNDOWN RECORDS

1980 Harbour Street, I Won't Be There ON FIRST OFFENDERS, COMPILATION, CRIMINAL RECORDS

1981 Platform 5 B/W The Trouble With You (AS THE BEEKEEPERS) RUNDOWN RECORDS

1994 Wrong Place Wrong Time ON BACK TO FRONT VOL IV INCOGNITO RECORDS

1997 WOODBINES, TEARS & JEALOUSY Radio Interference, I Won't Be There, Wrong Place Wrong Time, Call Me Irresponsible, Harbour Street, Commuter Zone, Rundown, Black Doctor Martens, I Like You, Collector's Item, You're So Stupid, Uganda Calling, The Trouble With You, Woodbines, Tears & Jealousy RUNDOWN RECORDS

1997 Radio Interfence, Wrong Place Wrong Time on RAW AND RARE VOL 1 (R+R 001)

2002 Call Me Irresponsible ON PUNKS, SKINS AN RUDEBOYS NOW VOLUME III, COMPILATION, GARAZ MAGAZINE

In July 2012, Ben Challis reformed a version of the band as the Pig Ignerents with Jord Kewen on bass, Jonah Baldwin on guitar and Heather Britton on drums. Having been booked to play the main stage at the late cancelled 'Last Jubilee' punk festival in Bath on 4 June, The band played the Good Ship in Kilbun on 14 July and Guilfest on 15 July on the Viva le Rock stage headlined by The Undertones, Buzzcocks and The Beat. You can see a video from the Good Ship on YouTube here. In 2014 James Crosley joined the band as drummer and the band became Manchester based. In March the band recorded eight new tracks of 'Ignerents' songs and also in March two major festival dates were confirmed by the Pig Ignerents at the Bazant Pohoda festival in Slovakia and at the Exit Festival in Serbia.


title: The Idolmaster SideM

abstract: The Idolmaster SideM The Idolmaster SideM is a Japanese multimedia spin-off series of The Idolmaster, starting with a 2014 game and expanding to include music CDs, two anime series, a web radio show, printed manga, and a rhythm game. The series focuses on the male idols of 315 Production, in contrast with the normally female idol centric series. The original game was published by Bandai Namco Entertainment and developed by Alt Plus Inc. was released on the Mobage platform in 2014. and is a male idol raising simulation game. A second game, a rhythm game developed by Akatsuki, was released in August 2017. An anime adaptation by A-1 Pictures aired between October and December 2017, and a second chibi slice of life anime adaptation of a manga, animated by Zero-G, aired from October to December 2018. On October 6, 2021, THE iDOLM@STER SideM GROWING STARS, a spinoff rhythm game, was released for Android and iOS. On April 4, 2023, Bandai Namco announced that the game will end its service on July 31, 2023. On November 4, 2022, Bandai Namco announced that the Mobage game will end its service on January 5, 2023.

text:
# The Idolmaster SideM

***The Idolmaster SideM*** (Japanese: アイドルマスター SideM, Hepburn: *Aidorumasutā Saido Emu*, stylized as ***THE iDOLM@STER SideM***) is a Japanese multimedia spin-off series of *The Idolmaster*, starting with a 2014 game and expanding to include music CDs, two anime series, a web radio show, printed manga, and a rhythm game. The series focuses on the male idols of 315 Production, in contrast with the normally female idol centric series.

The original game was published by Bandai Namco Entertainment and developed by Alt Plus Inc. was released on the Mobage platform in 2014. and is a male idol raising simulation game. A second game, a rhythm game developed by Akatsuki, was released in August 2017. An anime adaptation by A-1 Pictures aired between October and December 2017, and a second chibi slice of life anime adaptation of a manga, animated by Zero-G, aired from October to December 2018.

On October 6, 2021, *THE iDOLM@STER SideM GROWING STARS*, a spinoff rhythm game, was released for Android and iOS. On April 4, 2023, Bandai Namco announced that the game will end its service on July 31, 2023.

On November 4, 2022, Bandai Namco announced that the Mobage game will end its service on January 5, 2023.

## Overview

The series follows the male idols and the producer and staff of *315 Production* (315プロ, *Saiko Production*) and their activities as idols, including concerts, events, and stage productions. The idols are grouped into set units, although they are not limited to working within these groups.

Some of the idols are from other series; the *Jupiter* trio from Idolmaster and Ryo Akizuki from Dearly Stars.

## Gameplay

### Mobile game

The game is a free-to-play raising simulation in which the player, as the producer, collects idols and completes work tasks. In the games, the idols are individually categorized into one of three attributes: physical, Intelligent, and Mental. Idols are collected through cards that are ranked by rarity, strengthened through lessons, and do work for resources. Idols can 'battle' other idols in auditions, live concerts, and in battles against other players.

The game also contains a mini-game called SideMini, in which miniature versions of the idols bring the player items.

Within the game exists manga about the idols in the form of 'magazines' that can be unlocked via gameplay items.

The game originally opened on February 28, 2014, but due to difficulties arising from an unexpectedly large number of players, the game was closed a day later and reopened five months later on July 17, 2014.

A version for feature phones was available from launch until June 7, 2016. Around the same time, a Chrome app version was released on May 4.

### *Live on Stage*

A 3D model rhythm game titled *The Idolmaster SideM: Live on Stage* was released August 30, 2018 for Android and iOS platforms.

### *Growing Stars*

A rhythm game titled *The Idolmaster SideM: Growing Stars* was released on October 6, 2021 for Android and iOS platforms.

## Media

### Anime

An anime television series animated by A-1 Pictures aired in 2017 on Tokyo MX and BS11, and directed by Takahiro Harada and Miyuki Kuroki. The series was introduced with an extended length special Episode 0. The series focuses on some of the idol groups of *SideM* with their producer at 315 Pro and features animated performance sequences alongside the story.

A special unaired episode was included as part of the DVD and Blu-ray releases.

The *Wake Atte Mini!* anime series directed by Mankyū is based on the official chibi manga and is animated by Zero-G. The anime is a series of shorts featuring all *SideM* idols and aired in 2018.

### Music

*SideM* has image songs published by Lantis (company) (later a label for Bandai Namco Arts.), released in several series. These songs are performed at SideM live concerts and similar live performance events.

The music was later used in the anime, with some songs being part of an animated performance. The anime also introduced original music of its own.

Some of music was integrated into the gameplay of *LIVE ON ST@GE*.

### Manga

In addition to the comics available in-game, SideM has several published serialized manga.

Multiple manga have been serialized in Dengeki Maoh and later collected in volumes.

A series drawn by Michiru Satou called *Idolmaster SideM Dramatic Stage* ran from November 2015 to September 2017.
Another manga drawn by the same artist titled *Idolmaster SideM Struggle Heart* ran from December 2017 to April 2020.

The chibi manga *Wake Atte Mini!* drawn by Sumeragi was serialized in the magazine from June 2016 to March 2018. It received an anime adaptation in 2018, which in turn lead to a short second serialization from November 2018 to March 2019.

## InfoBox

| The Idolmaster SideM | |
| --- | --- |
| Promotional art for the anime | |
| アイドルマスター サイドエム
(*Aidorumasutā Saido Emu*) | |
| Video game | |
| Developer | Alt Plus Inc. |
| Publisher | Bandai Namco Entertainment |
| Genre | Simulation, Social network game |
| Platform | Mobage (iOS, Android, Google Chrome) |
| Released | * JP: February 28, 2014 (reopened: July 17, 2014) |
| Anime television series | |
| Directed by | Miyuki Kuroki
Takahiro Harada |
| Written by | Yuniko Ayana
Yukie Sugahara |
| Music by | Effy |
| Studio | A-1 Pictures |
| Original network | Tokyo MX, Tochigi TV, Gunma TV, BS11, ABC, Mētele, AT-X |
| Original run | October 7, 2017  December 30, 2017 |
| Episodes | 13 + special |
| Video game | |
| *The Idolmaster SideM LIVE ON ST@GE!* | |
| Developer | Akatsuki |
| Publisher | Bandai Namco Entertainment |
| Genre | Simulation, Rhythm Game, Social network game |
| Platform | iOS, Android |
| Released | * JP: August 30, 2017 |
| Anime television series | |
| *The Idolmaster SideM Wake Atte Mini!* | |
| Directed by | Mankyū |
| Written by | Sumeragi |
| Music by | Effy |
| Studio | Zero-G |
| Original network | Tokyo MX, BS11 |
| Original run | October 9, 2018  December 25, 2018 |
| Episodes | 12 + 3 OVAs |
| Video game | |
| *The Idolmaster SideM GROWING STARS* | |
| Developer | Bandai Namco Studios |
| Publisher | Bandai Namco Entertainment |
| Genre | Simulation, Rhythm Game |
| Platform | iOS, Android |
| Released | * JP: October 6, 2021 |


title: The Imperial Granary

abstract: The Imperial Granary, an ancient storehouse as old as the Forbidden City, has witnessed the reign of 24 emperors from Ming Dynasty to Qing Dynasty, and seen the entire capital history from the time of the Republic of China and subsequent history to the present. It is the imperial storehouse that has survived the ravages of time on the largest scale, and is the one with the most intact current condition.. As the terminal of the Grand Canal, the Imperial Granary (Nanxincang) will be selected into the list of China Cultural Heritage.

text:
# The Imperial Granary

**The Imperial Granary** (Chinese: 皇家粮仓; Chinese: 皇家糧倉; pinyin: *Huángjiāliángcāng*), an ancient storehouse as old as the Forbidden City, has witnessed the reign of 24 emperors from Ming Dynasty to Qing Dynasty, and seen the entire capital history from the time of the Republic of China and subsequent history to the present. It is the imperial storehouse that has survived the ravages of time on the largest scale, and is the one with the most intact current condition.. As the terminal of the Grand Canal, the Imperial Granary (Nanxincang) will be selected into the list of China Cultural Heritage.

## Architecture

**The Imperial Granary** faces towards south. It is 22.9m in width, 16.9m in depth, 9.9m in height and occupies 500 square metres, supported by 8 columns dating back to Ming dynasty reinforced with modern steel. The wall is 1.5m in thickness. The Granary serves as crop storage for the imperial household and the royal guards and thus is built in the class of military defence, which ensures its endurance. Furthermore, the Granary employs state-of-the-art ecological technology of ancient China. Location on a higher terrain enables efficient drainage underground while the thick wall with vent guarantees nice draught and consistency in room temperature.

## History

In 1409,**The Imperial Granary** rebuilt in to replace the Yuan Dynasty structure initially in its place.

In 2001 the structure was granted the title of Key Cultural Relics of the State.

From 2007, the Granary hosts private events and Kunqu performances which including The Peony Pavilion and The Fragrant Companion.

1. Pierre-Etienne Will and R. Bin Wong, *Nourish the people: The state civilian granary system in China, 1650–1850* (University of Michigan Press, 2020).


title: The Imperial Presidency

abstract: The Imperial Presidency is a nonfiction book by historian Arthur M. Schlesinger Jr. It was published in 1973 by Houghton Mifflin and reissued in 2004. The book details the history of the presidency of the United States from its conception by the Founding Fathers through the latter half of the 20th century, primarily in the aspects of war powers. Schlesinger's book popularized the term imperial presidency to describe excesses of executive power. The Imperial Presidency has been described as "the most prominent school of thought on executive war powers" and "a lens through which to understand and critique the executive branch in the post-9/11 world".

text:
# The Imperial Presidency

***The Imperial Presidency*** is a nonfiction book by historian Arthur M. Schlesinger Jr. It was published in 1973 by Houghton Mifflin and reissued in 2004. The book details the history of the presidency of the United States from its conception by the Founding Fathers through the latter half of the 20th century, primarily in the aspects of war powers. Schlesinger's book popularized the term *imperial presidency* to describe excesses of executive power. *The Imperial Presidency* has been described as "the most prominent school of thought on executive war powers" and "a lens through which to understand and critique the executive branch in the post-9/11 world".

## Background

Schlesinger began writing *The Imperial Presidency* in March, 1973, shortly after Richard Nixon's reelection as president and the escalation of the Watergate scandal. Schlesinger had intended the book to examine how war-making power had been extended unofficially by the office of the president; in his journal, he reflected that "Watergate came along to provide the climax and, I trust, denouement." The rapidly written book was published by Thanksgiving. Schlesinger, who had been a vocal advocate for a strong, activist executive being essential to democracy, acknowledges in *The Imperial Presidency* that expansions of presidential power had led to dangerous abuse of the office.

The reissue in 2004 included a new introduction in which Schlesinger excoriated George W. Bush as an imperial president, calling the 2003 invasion of Iraq "the needless war".

## Synopsis

*The Imperial Presidency* examines changes in the extent of executive power, particularly in the context of war, from the establishment of the United States through the presidency of Richard Nixon. It discusses how the applications of the Constitutional authority to declare war given to Congress and the Constitutional authority to conduct foreign policy and act as commander-in-chief given to the president have evolved since the government's inception, creating a dangerous imbalance in the separation of powers.

The book argues that throughout US history, the office of the president gradually appropriated authority exceeding that which was granted to the presidency by the Constitution, resulting in a concurrent erosion in congressional authority. *The Imperial Presidency* identifies a pattern of presidents during critical points in history setting policies and taking actions that were arguably the province of Congress, to be followed by a return to "normalcy" when the crisis had passed. Schlesinger presents James K. Polk's deployment of troops to the disputed area between Texas and Mexico, leading to the Mexican–American War, as the first example of a president exploiting the ambiguity of war-making powers in the Constitution. Another example he gives is Abraham Lincoln and his executive orders and actions during the American Civil War, such as the suspension of habeas corpus.

The book argues that the pattern of expansion and reversion was disrupted by World War II. The state of world affairs in its wake engendered a condition of "perpetual crisis", a condition that presidents relied upon to justify extending executive privilege largely unabated. Most of *The Imperial Presidency* addresses events after World War II. Schlesinger writes:

> ...by the 1970s the American President had become on issues of war and peace the most absolute monarch (with the possible exception of Mao Tse-tung of China) among the great powers of the world.

The book criticizes Nixon extensively, but concludes that the Nixon administration was "not an aberration but a culmination" of the trend toward an imperial presidency. As Congress permitted its authority to be diminished in deference to the presidents, it encouraged the presidents to extend their imperial powers in the domestic sphere as well.

The final third of the book presents prescriptions for potential reforms of the presidency.

## Reception

A review in *The Baltimore Sun* by Stuart Rochester called the book "brilliant, timely", noting that it clearly illustrates Schlesinger's personal conviction of the need for a strong presidency. Historian Laura Kalman wrote that the book "fares less well as scholarship than activism, history than polemic", but calls it a "beautifully written page-turner". She also observes that Schlesinger's preferences for specific presidents colors his evaluations of their policies and actions.

Reviewer Richard J. Walton admired Schlesinger's examination of the justification for presidents exceeding the letter of the Constitution, but wrote that the haste with which the book was written was obvious and that some of the language, particularly in regards to Nixon, could be considered overly polemic.

Christopher Lehmann-Haupt observed that *The Imperial Presidency* read like two overlapping books: one that presents a compelling history of the relationship between the executive and legislative branches of the government, and one that prescribes approaches for dealing with the Watergate crisis. Lehmann-Haupt concludes, "what he has ended up with is hybrid — not completely history and not quite a polemic."

Harry McPherson wrote that despite occasional bias, *The Imperial Presidency* is "an invaluable guide to those who wish to see, in the maelstrom of recent events, the outlines of a legitimate Presidency".

In *The New York Times*, Garry Wills argued that *The Imperial Presidency* was unable to deal with the problem that Nixon, like previous presidents, was fulfilling the demands of the general populace, and that systematic changes would not prevent a president from catering to the public.

An article in *Presidential Studies Quarterly*, 25 years later, noted that *The Imperial Presidency* "has provided political discourse with a common vocabulary and a common understanding" and called it "a classic in the field".

## Further reading

## InfoBox

The Imperial Presidency
|  | |
| --- | --- |
| Author | Arthur M. Schlesinger Jr. |
| Language | English |
| Publisher | Houghton Mifflin |
| Publication date | 1973 |
| Publication place | United States |
| Pages | 505 |
| ISBN | 978-0-395-17713-6 |
| OCLC | 704887 |