title: George Herbert Mead

abstract: George Herbert Mead was an American philosopher, sociologist, and psychologist, primarily affiliated with the University of Chicago. He was one of the key figures in the development of pragmatism. He is regarded as one of the founders of symbolic interactionism, and was an important influence on what has come to be referred to as the Chicago School of Sociology.

text:
# George Herbert Mead

**George Herbert Mead** (February 27, 1863 – April 26, 1931) was an American philosopher, sociologist, and psychologist, primarily affiliated with the University of Chicago. He was one of the key figures in the development of pragmatism. He is regarded as one of the founders of symbolic interactionism, and was an important influence on what has come to be referred to as the Chicago School of Sociology.

## Biography

George Herbert Mead was born on February 27, 1863, in South Hadley, Massachusetts. He was raised in a Protestant, middle-class family comprising his father, Hiram Mead, his mother, Elizabeth Storrs Mead (née Billings), and his sister Alice. His father was a former Congregationalist pastor from a lineage of farmers and clergymen and who later held the chair in Sacred Rhetoric and Pastoral Theology at Oberlin College's theological seminary. Elizabeth taught for two years at Oberlin College and subsequently, from 1890 to 1900, served as president of Mount Holyoke College in South Hadley, Massachusetts.

In 1879, George Mead enrolled at the Oberlin Academy at Oberlin College and then the college itself, graduating in 1883 with a Bachelor of Arts. After graduation, Mead taught grade school for about four months. From the end of 1883 through the summer of 1887, he worked as a surveyor for the Wisconsin Central Railroad Company.

In autumn 1887, Mead enrolled at Harvard University, where his main interests were philosophy and psychology. At Harvard, Mead studied with Josiah Royce, a major influence upon his thought, and William James, whose children he tutored. In 1888, Mead left Harvard after receiving only a B.A. and moved to Leipzig, Germany to study with psychologist Wilhelm Wundt, from whom he learned the concept of "the gesture", which would become central to his later work.

In 1891, Mead married Helen Kingsbury Castle (1860–1929), the sister of Henry Northrup Castle (1862–1895), a friend he met at Oberlin. Despite never finishing his dissertation, Mead was able to obtain a post at the University of Michigan in 1891. There, Mead met Charles Horton Cooley and John Dewey, both of whom would influence him greatly. In 1894, Mead moved, along with Dewey, to the University of Chicago, where he taught until his death. Dewey's influence led Mead into educational theory, but his thinking soon diverged from that of Dewey, and developed into his famous psychological theories of mind, self and society.

He was active in Chicago's social and political affairs; his many activities include work for the City Club of Chicago. Mead believed that science could be used to deal with social problems and played a key role in conducting research at the settlement house in Chicago. He also worked as treasurer for Chicago's Hull House. He also collaborated closely with Jane Addams on matters of social justice.

Mead died of heart failure on April 26, 1931.

## Theory

### Pragmatism and symbolic interactionism

Much of Mead's work focused on the development of the self and the objectivity of the world within the social realm: he insisted that "the individual mind can exist only in relation to other minds with shared meanings". The two most important roots of Mead's work, and of symbolic interactionism in general, are the philosophy of *pragmatism* and *social* *behaviorism*.

**Social behaviorism** (as opposed to psychological behaviorism) refers to Mead's concern of the stimuli of gestures and social objects with rich meanings, rather than bare physical objects which psychological behaviourists considered stimuli. Mead was a critic of John B. Watson's form of behaviorism.

**Pragmatism** is a wide-ranging philosophical position from which several aspects of Mead's influences can be identified into four main tenets:

1. True reality does not exist "out there" in the real world, it "is actively created as we act in and toward the world".
2. People remember and base their knowledge of the world on what has been useful to them and are likely to alter what no longer "works".
3. People define the social and physical "objects" they encounter in the world according to their use for them.
4. If we want to understand actors, we must base that understanding on what people actually do.

Three of these ideas are critical to symbolic interactionism:

* the focus on the interaction between the actor and the world;
* a view of both the actor and the world as dynamic processes and not static structures; and
* the actor's ability to interpret the social world.

Thus, to Mead and symbolic interactionists, consciousness is not separated from action and interaction, but is an integral part of both. Symbolic interactionism as a pragmatic philosophy was an antecedent to the philosophy of *transactionalism*. Mead's theories in part, based on pragmatism and behaviorism, were transmitted to many graduate students at the University of Chicago who then went on to establish symbolic interactionism.

### Social philosophy (social behaviorism)

Mead was a very important figure in 20th-century social philosophy. One of his most influential ideas was the emergence of mind and self from the communication process between organisms, discussed in *Mind, Self and Society* (1934)*,* also known as *social behaviorism*. This concept of how the mind and self emerge from the social process of communication by signs founded the symbolic interactionist school of sociology.

Rooted intellectually in Hegelian dialectics and process philosophy, Mead, like John Dewey, developed a more materialist process philosophy that was based upon human action and specifically communicative action. Human activity is, in a pragmatic sense, the criterion of truth, and through human activity meaning is made. Joint activity, including communicative activity, is the means through which our sense of self is constituted. The essence of Mead's social behaviorism is that mind is not a substance located in some transcendent realm, nor is it merely a series of events that takes place within the human physiological structure. This approach opposed the traditional view of the mind as separate from the body. The emergence of mind is contingent upon interaction between the human organism and its social environment; it is through participation in the social act of communication that individuals realize their potential for significantly symbolic behaviorthat is, thought. Mind, in Mead's terms, is the individualized focus of the communication process. It is linguistic behavior on the part of the individual. There is, then, no "mind or thought without language"; and language (the content of mind) "is only a development and product of social interaction". Thus, mind is not reducible to the neurophysiology of the organic individual, but is emergent in "the dynamic, ongoing social process" that constitutes human experience.

For Mead, mind arises out of the social act of communication. Mead's concept of the social act is relevant not only to his theory of mind, but to all facets of his social philosophy. His theory of "mind, self, and society" is, in effect, a philosophy of the act from the standpoint of a social process involving the interaction of many individuals, just as his theory of knowledge and value is a philosophy of the act from the standpoint of the experiencing individual in interaction with an environment. Action is very important to his social theory and, according to Mead, actions also occur within a communicative process.

The initial phase of an act constitutes a **gesture**. A *gesture* is a preparatory movement that enables other individuals to become aware of the intentions of the given organism. The rudimentary situation is a conversation of gestures, in which a gesture on the part of the first individual evokes a preparatory movement on the part of the second, and the gesture of the second organism in turn calls out a response in the first person. On this level no communication occurs. Neither organism is aware of the effect of its own gestures upon the other; the gestures are nonsignificant. For communication to take place, each organism must have knowledge of how the other individual will respond to its own ongoing act. Here the gestures are **significant symbols**. A *significant symbol* is a kind of gesture that only humans can make. Gestures become significant symbols when they arouse in the individual who is making them the same kind of response they are supposed to elicit from those to whom the gestures are addressed. Only when we have significant symbols can we truly have communication. Mead grounded human perception in an "*action-nexus*". We perceive the world in terms of the "means of living." To perceive food is to perceive eating. To perceive a house is to perceive shelter. That is to say, perception is in terms of action. Mead's theory of perception is similar to that of J. J. Gibson.

#### Social acts

Mead argued, in tune with Durkheim, that the individual is a product of an ongoing, pre-existing society; or, more specifically, of social interaction that is a consequence of a *sui generis* society. The *self* arises when the individual becomes an object to themself. Mead argued that we are objects first to other people, and secondarily we become objects to ourselves by taking the perspective of other people. Language enables us to talk about ourselves in the same way as we talk about other people, and thus through language we become other to ourselves. In joint activity, which Mead called *social acts*, humans learn to see themselves from the standpoint of their co-actors. A central mechanism within the social act, which enables perspective taking, is position exchange. People within a social act often alternate social positions (e.g., giving/receiving, asking/helping, winning/losing, hiding/seeking, talking/listening). In children's games there is repeated position exchange, for example in hide-and-seek, and Mead argued that this is one of the main ways that perspective taking develops.

However, for Mead, unlike Dewey and J. J. Gibson, the key is not simply human action, but rather social action. In humans the "manipulatory phase of the act" is socially mediated; that is to say, in acting towards objects humans simultaneously take the perspectives of others toward that object. This is what Mead means by "the social act" as opposed to simply "the act" (the latter being a Deweyan concept). Non-human animals also manipulate objects, but that is a non-social manipulation; they do not take the perspective of other organisms toward the object. Humans, on the other hand, take the perspective of other actors towards objects, and this is what enables complex human society and subtle social coordination. In the social act of economic exchange, for example, both buyer and seller must take each other's perspectives toward the object being exchanged. The seller must recognize the value for the buyer, while the buyer must recognize the desirability of money for the seller. Only with this mutual perspective taking can the economic exchange occur. (Mead was influenced on this point by Adam Smith.)

### Nature of the self

A final piece of Mead's social theory is the mind as the individual importation of the social process. Mead states that "the self is a social process", meaning that there are series of actions that go on in the mind to help formulate one's complete self. As previously discussed, Mead presented the self and the mind in terms of a social process. As *gestures* are taken in by the individual organism, the individual organism also takes in the collective attitudes of others, in the form of gestures, and reacts accordingly with other organized attitudes. This process is characterized by Mead as the *I* and the *Me*. The 'Me' is the social self and the 'I' is the response to the 'Me'. In other words, the 'I' is the response of an individual to the attitudes of others, while the 'Me' is the organized set of attitudes of others which an individual assumes.

Mead develops William James' distinction between the 'I' and the 'Me'. The 'Me' is the accumulated understanding of "the generalized otheri.e., how one thinks one's group perceives oneself, and so on. The 'I' is the individual's impulses. The 'I' is *self as subject*; the 'Me' is *self as object*. The 'I' is the knower; the 'Me' is the known. The mind, or stream of thought, is the self-reflective movements of the interaction between the 'I' and the 'Me'. There is neither 'I' nor 'Me' in the conversation of gestures; the whole act is not yet carried out, but the preparation takes place in this field of gesture. These dynamics go beyond selfhood in a narrow sense, and form the basis of a theory of human cognition. For Mead the thinking process is the internalized dialogue between the 'I' and the 'Me'. Mead rooted the self's "perception and meaning" deeply and sociologically in "a common praxis of subjects", found specifically in social encounters.

Understood as a combination of the 'I' and the 'Me', Mead's self proves to be noticeably entwined within a sociological existence. For Mead, existence in community comes before individual consciousness. First one must participate in the different social positions within society and only subsequently can one use that experience to take the perspective of others and thus become '*conscious*'.

### Philosophy of science

Mead was a major American philosopher by virtue of beingalong with John Dewey, Charles Peirce and William James one of the founders of pragmatism. He also made significant contributions to the philosophies of nature, science, and history, to philosophical anthropology, and to process philosophy. Dewey and Alfred North Whitehead considered Mead a thinker of the first rank. He is a classic example of a social theorist whose work does not fit easily within conventional disciplinary boundaries.

In his work on philosophy of science, Mead sought to find the psychological origin of science in the efforts of individuals to attain power over their environment. The notion of a physical object arises out of manipulatory experience. There is a social relation to inanimate objects, for the organism takes the role of things that it manipulates directly, or that it manipulates indirectly in perception. For example, in taking (introjecting or imitating) the resistant role of a solid object, an individual obtains cognition of what is "inside" nonliving things. Historically, the concept of the physical object arose from an animistic conception of the universe.

Contact experience includes experiences of position, balance, and support, and these are used by the organism when it creates its conceptions of the physical world. Our scientific concepts of space, time, and mass are abstracted from manipulatory experience. Such concepts as that of the electron are also derived from manipulation. In developing a science we construct hypothetical objects in order to assist ourselves in controlling nature. The conception of the present as a distinct unit of experience, rather than as a process of becoming and disappearing, is a scientific fiction devised to facilitate exact measurement. In the scientific worldview, immediate experience is replaced by theoretical constructs. The ultimate in experience, however, is the manipulation and contact at the completion of an act.

### Play and game and the generalized other

Mead theorized that human beings begin their understanding of the social world through "play" and "game". *Play* comes first in the child's development. The child takes different roles that he/she observes in "adult" society, and plays them out to gain an understanding of the different social roles. For instance, a child may first play the role of police officer and then the role of thief while playing "Cops and Robbers", and play the roles of doctor and patient when playing "Doctor". As a result of such play, the child learns to become both subject and object and begins to become able to build a self. However, it is a limited self, because the child can only take the role of distinct and separate others; they still lack a more general and organized sense of themself.

In the next stage, the *game* stage, it is required that a person develop a full sense of self. Whereas in the play stage the child takes on the role of distinct others, in the game stage the child must take on the role of everyone else involved in the game. Furthermore, these roles must have a definite relationship to one another. To illustrate the game stage, Mead gives his famous example of a baseball game:

> But in a game where a number of individuals are involved, then the child taking one role must be ready to take the role of everyone else. If he gets in a ball nine he must have the responses of each position involved in his own position. He must know what everyone else is going to do in order to carry out his own play. He has to take all of these roles. They do not all have to be present in consciousness at the same time, but at some moments he has to have three or four individuals present in his own attitude, such as the one who is going to throw the ball, the one who is going to catch it and so on. These responses must be, in some degree, present in his own make-up. In the game, then, there is a set of responses of such others so organized that the attitude of one calls out the appropriate attitudes of the other.

In the game stage, organization begins and definite personalities start to emerge. Children begin to become able to function in organized groups and, most importantly, to determine what they will do within a specific group. Mead calls this the child's first encounter with "the generalized other", which is one of the main concepts that Mead proposes for understanding the emergence of the (social) self in human beings. "The generalized other" can be thought of as understanding the given activity and the actors' place within the activity from the perspective of all the others engaged in the activity. Through understanding "the generalized other", the individual understands what kind of behavior is expected, appropriate and so on, in different social settings.

Some may find that social acts (e.g. games and routine forms of social interaction) enable perspective taking through "position exchange". Assuming that games and routine social acts have differentiated social positions, and that these positions create our cognitive perspectives, then it might be that by moving between roles in a game (e.g. between hiding and seeking or buying and selling) we come to learn about the perspective of the other. This new interpretation of Mead's account of taking the perspective of the other has experimental support. Other recent publications argue that Mead's account of the development of perspective taking is relevant not only with respect to human ontogeny but also to the evolution of human sociality.

## Writings

In a career spanning more than 40 years, Mead wrote almost constantly and published numerous articles and book reviews in both philosophy and psychology. However, he did not publish any books. Following his death, several of his students put together and edited four volumes from records of Mead's social psychology course at the University of Chicago, his lecture notes (Mead's Carus Lectures, 1930, edited by Charles W. Morris), and his numerous unpublished papers.

In his lifetime, Mead published around 100 scholarly articles, reviews, and incidental pieces. Given their diverse nature, access to these writings is difficult. The first editorial efforts to change this situation date from the 1960s. In 1964, Andrew J. Reck collected twenty-five of Mead's published articles in *Selected Writings: George Herbert Mead*. Four years later, John W. Petras published *George Herbert Mead: Essays on his Social Psychology*, a collection of fifteen articles that included previously unpublished manuscripts.

More recently, Mary Jo Deegan (2001) published *Essays in Social Psychology*, a book project originally abandoned by Mead in the early 1910s. In 2010, Filipe Carreira da Silva edited *G.H. Mead. A Reader*, a comprehensive collection including thirty of Mead's most important articles, ten of them previously unpublished. Likewise, the Mead Project at Brock University in Toronto intends to publish all of Mead's 80-odd remaining unpublished manuscripts.

### Bibliography

#### Collected volumes (posthumous)

* 1932. *The Philosophy of the Present*.
* 1934. *Mind, Self, and Society.*
* 1936. *Movements of Thought in the Nineteenth Century.*
* 1938. *The Philosophy of the Act.*
* 1964. *Selected Writings*. — This volume collects articles Mead himself prepared for publication.
* 1982. *The Individual and the Social Self: Unpublished Essays by G. H. Mead*.
* 2001. *Essays in Social Psychology*.
* 2010. *G.H. Mead. A Reader*.

#### Notable papers

* "Suggestions Towards a Theory of the Philosophical Disciplines" (1900);
* "Social Consciousness and the Consciousness of Meaning" (1910);
* "What Social Objects Must Psychology Presuppose" (1910);
* "The Mechanism of Social Consciousness" (1912);
* "The Social Self" (1913);
* "Scientific Method and the Individual Thinker"(1917);
* "A Behavioristic Account of the Significant Symbol" (1922);
* "The Genesis of Self and Social Control" (1925);
* "The Objective Reality of Perspectives" (1926);
* "The Nature of the Past" (1929); and
* "The Philosophies of Royce, James, and Dewey in Their American Setting" (1929).

1. Baldwin, John (2009). *George Herbert Mead*. Sage. p. . ISBN 978-0-8039-2320-1.
2. "George herbert mead". Archived from the original on 2020-08-01. Retrieved 2019-02-03.
3. "Mead, George Herbert | Internet Encyclopedia of Philosophy". Retrieved 2024-03-25.
4. Cook, Gary A. (1993). *George Herbert Mead: the making of a social pragmatist*. University of Illinois Press. p. 4. ISBN 978-0-252-06272-8.
5. Miller, David (2009). *George Herbert Mead: Self, Language, and the World*. University of Texas Press. pp. xii–xix. ISBN 978-0-292-72700-7.
6. Ritzer, George (2008). *Sociological Theory*. McGraw-Hill. ISBN 978-0-07-352818-2.
7. George H. Mead (1907). "The Social Settlement: Its basis and function". *University of Chicago Record*: 108–110.
8. Ritzer, George (2004). *Encyclopedia of Social Theory*. Thousand Oaks, California: SAGE Publications. p. 491. ISBN 0-7619-2611-9.
9. "George Herbert Mead, Philosophy". *www.lib.uchicago.edu*. 2003. Archived from the original on 2020-11-24.
10. Lowe, Barbara J. (2923)'The Complementary Theory and Practice of Jane Addams and George Herbert Mead: Bending Toward Justice', in Patricia M. Shields, Maurice Hamington, and Joseph Soeters (eds), The Oxford Handbook of Jane Addams Oxford Academic, https://doi.org/10.1093/oxfordhb/9780197544518.013.32
11. "New York Times: Prof. George H. Mead, Philosopher, Is Dead". *brocku.ca*. Retrieved 2024-03-25.
12. Mead, George Herbert. 1982. *The Individual and the Social Self: Unpublished Essays by G. H. Mead*, edited by D. L. Miller. Chicago: University of Chicago Press. ISBN 978-0-608-09479-3
13. Troyer, William Lewis (1946). "Mead's Social and Functional Theory of Mind". *American Sociological Review*. **11** (2): 198–202. doi:10.2307/2086709. ISSN 0003-1224.
14. McDermid, Douglas. "Pragmatism." *Internet Encyclopedia of Philosophy*. ISSN 2161-0002.
15. Phillips, Trevor J.; Tibbels, Kirkland; Patterson, John (2015). *Transactionalism: An Historical and Interpretive Study* (2 ed.). Influence Ecology. p. 54. Archived from the original on 2016-09-24.
16. Nungesser, Frithjof. 2021. "Pragmatism and Interaction." In: *Routledge International Handbook of Interactionism*, edited by Dirk Vom Lehn, Natalia Ruiz-Junco, and Will Gibson. London; New York: Routledge: 25-36. ISBN 9780367227708
17. Desmonde, William H (2006) \[1967\]. "Mead, George Herbert (1863-1931)". In Borchert, Donald M. (ed.). *Encyclopedia of Philosophy*. Vol. 6. Macmillan Reference. pp. 79–82. ISBN 0-02-865786-1.
18. Mead, George Herbert. 1967 \[1934\]. *Mind, Self, and Society*, edited by C. W. Morris. Chicago: University of Chicago Press. ISBN 978-0-226-51668-4.
19. Cronk, George (2005), "George Herbert Mead", in Fieser, James; Dowden, Bradley (eds.), *The Internet Encyclopedia of Philosophy*
20. Joas, Hans. 1985. *George Herbert Mead: A Contemporary Re-examination of His Thought*. Cambridge, MA: MIT Press.
21. Gillespie, Alex (2006). *Becoming Other: From Social Interaction to Self-Reflection*. Information Age Publishing. ISBN 978-1-59311-230-1.
22. Margolis, Joseph; Jacques Catudal (2001). *The Quarrel between Invariance and Flux*. Pennsylvania: Pennsylvania State University Press.
23. Alex Gillespie (2012). "Position exchange: The social development of agency". *New Ideas in Psychology*. **30** (1): 32–46. doi:10.1016/j.newideapsych.2010.03.004. hdl:1893/2492.
24. Alex Gillespie (2011). "Exchanging social positions: Enhancing intersubjective coordination within a joint task". *European Journal of Social Psychology*. **41**: 608–616. doi:10.1002/ejsp.788.
25. Nungesser, Frithjof. "The Social Evolution of Perspective-taking. Mead, Tomasello, and the Development of Human Agency" (PDF). *Pragmatism Today*. **11**: 84–105.
26. *Selected Writings: George Herbert Mead*. Bobbs-Merrill, The Liberal Arts Press. 1964.
27. Mead, George Herbert. 2001 \[c. 1910s\]. *Essays in Social Psychology*, edited by M. J. Deegan. New Brunswick, NJ: Transaction. ISBN 0-765-80082-9.
28. da Silva, Filipe Carreira, ed. 2010. *G.H. Mead. A Reader*. London: Routledge.
29. The Mead Project at Brock University
30. Mead, George Herbert. 1932. *The Philosophy of the Present*. Open Court Publishing.
31. Mead, George Herbert. 1936. *Movements of Thought in the Nineteenth Century*, edited by Merritt H. Moore. Chicago: University of Chicago Press.
32. Mead, George Herbert. 1938. *The Philosophy of the Act*, edited by C. W. Morris, et al. Chicago: University of Chicago Press.
33. Reck, Andrew J., ed. 1964. *Selected Writings: George Herbert Mead*. Chicago: University of Chicago Press. ISBN 978-0-226-51671-4.
34. Miller, David L., ed. 1982. *The Individual and the Social Self: Unpublished Essays by G. H. Mead*. Chicago: University of Chicago Press. ISBN 978-0-608-09479-3.
35. "Suggestions Towards a Theory of the Philosophical Disciplines" (1900)
36. "Social Consciousness and the Consciousness of Meaning" (1910)
37. "What Social Objects Must Psychology Presuppose" (1910)
38. "The Mechanism of Social Consciousness"
39. Mead, George Herbert. 1913. "The Social Self." *Journal of Philosophy, Psychology, and Scientific Methods* 10:374–80. – via *Classics in the History of Psychology*, transcribed by C. D. Green. Toronto: York University. Also available via The Mead Project. Toronto: Brock University.
40. "Scientific Method and the Individual Thinker" (1917)
41. "A Behavioristic Account of the Significant Symbol" (1922)
42. "George Herbert Mead: The Genesis of the Self and Social Control". Brocku.ca. Retrieved 2013-08-01.
43. "George Herbert Mead: The Objective Reality of Perspectives". Brocku.ca. Retrieved 2013-08-01.
44. "George Herbert Mead: The Nature of the Past". Brocku.ca. Retrieved 2013-08-01.
45. "George Herbert Mead: The Philosophies of Royce, James and Dewey in their American setting". Brocku.ca. Retrieved 2013-08-01.

## Further reading

## InfoBox

| George Herbert Mead | |
| --- | --- |
|  | |
| Born | (1863-02-27)February 27, 1863<br>South Hadley, Massachusetts, U.S. |
| Died | (1931-04-26)April 26, 1931<br>Chicago, Illinois, U.S. |
| Alma mater |  |
| Notable work | Mind, Self and Society |
|  | |
| Era | 20th-century philosophy |
| Region | Western philosophy |
| School | Pragmatism |
| Institutions |  |
|  | |


title: Peter Grant Hay

abstract: Peter Grant Hay was an Australian brewer, landowner, pastoralist and thoroughbred racehorse breeder. He founded the Richmond N.S. Brewing Co. Ltd in Melbourne Australia. He is responsible for both the introduction of pasteurisation to Australia's dairy industry and the introduction of the Swiss Nathan System of brewing to Australia. He was the youngest of five children.

text:
# Peter Grant Hay

**Peter Grant Hay** (9 July 1879 – 29 August 1961) was an Australian brewer, landowner, pastoralist and thoroughbred racehorse breeder. He founded the Richmond N.S. (Nathan System) Brewing Co. Ltd (Carlton & United Breweries) in Melbourne Australia.

He is responsible for both the introduction of pasteurisation to Australia's dairy industry and the introduction of the Swiss Nathan System of brewing to Australia. He was the youngest of five children.

## Early life and background

Grant Hay was born in Bright, Victoria, the son of James Grant Hay, partner of Melbourne shipping firm, Coulson Hay & Co. and Catherine Margaret (née Cox), daughter of Irish distillery founder, Charles Cox. The Grant Hay's owned hop farm estates in Bright, Victoria and the Derwent Valley in Tasmania and were the main supplier of hops to Carlton & United Breweries in Victoria.

### United States & England

Upon the death of his father in 1914, Grant Hay traveled to America by steamship to San Francisco on board the USS American, meeting Tooheys Brewery manager Arnold Resch. The two agreed to inspect the major American breweries of Milwaukee, including the Valentin Blatz Brewing Company, Joseph Schlitz Brewing Company, and the Miller Brewing Company and Anheuser-Busch brewing company in St Louis. Grant Hay then sailed to London to inspect the Courage Brewery plant and its hotels.

### Switzerland & Germany

He then flew to Zurich and met with Dr Leopold Nathan, a Swiss chemist, who had invented a new brewing system. Grant Hay drove to Munich and attended Oktoberfest in the company of the Reinheitsgebot before the outbreak of war and returned to Australia.

### Australia

In 1918 he married Margaret Glover, cousin of Australian landscape artist John Glover. Grant Hay was forty. They had four children, Patricia, Kathleen, Alison and Peter. The Grant Hay's settled at Sackville Street, Kew and later moved to 'Egoline' at Albany Road in Toorak, Victoria. The family also owned 'Kilby Park,'a one hundred acre dairy farm and thoroughbred racehorse stud at Kew, Victoria.

By age fifty Grant Hay was already one of Victoria's wealthiest hop merchants when the Victorian beer wars began in 1925. Carlton & United Breweries had grown into Australia's largest brewer and began to use monopolistic practices of lowering the cost of supply to hop growers, including Grant Hay's 'Kentdale' hops from the Derwent Valley.

## Richmond N.S. Brewing Co.

### Hop Merchants

The Kentdale Hop Estate was one of the finest properties in Tasmania. It was located fifty kilometres from Hobart and harvested thirty hectares of finest-quality hops. In 1927 a business disagreement took place between Grant Hay and Carlton & United Breweries over the price and quantity of hops, causing Carlton to cancel its contract with Kentdale.

Resentful of Carlton's unfair business practices, Grant Hay proceeded to off-load his hops successfully to Carlton's interstate rival, Tooheys. He then summoned a meeting of his hop estate managers from Bright in Victoria and the Derwent Valley in Tasmania for a meeting at Coulson Hay & Co. headquarters in Melbourne to establish his own brewery.

### Zurich, Prohibition & Chicago

On 4 April 1927, Grant Hay wired a cable to Dr Leopold Nathan in Zurich, Switzerland for the order of the first Swiss Nathan Brewing System to be shipped to Melbourne and to be accompanied by Master Swiss Brewer, Heinrich Walter Haenggi of Zurich. Over the course of three months, Grant Hay proceeded to buy up five industrial sites adjoining his Church Street property. He then ordered a consignment of three thousand units of purified gin to be shipped from British Army headquarters in Lahore and resold the rebottled gin to American bootleggers in prohibition controlled Chicago, netting Coulson Hay & Co. a million pounds. The deal set Grant Hay up for life, and bankrolled the construction of the brewery.

### Construction & Law

On 13 August 1927, Grant Hay's application for permit to build a brewery on the site at Church Street Richmond was approved by the Richmond City Council. Grant Hay then hired contractors to excavate the site in preparation of the brewery's construction, when the excavation was delayed, Grant Hay proceeded to dynamite the site himself using three tonnes of dynamite.

On the morning of 23 August 1927, the sound of percussion could be heard as far away as Brighton, and was said to have woken the Mayor of Melbourne from his sleep. When nearby Richmond residents objected, Grant Hay sued the residents and offered to buy their homes. Eventually, council sided with the residents and sought an injunction against Grant Hay to the detonation, but Grant Hay won on appeal and continued unabated.

Mr Grant Hay retained Brigadier Sir Eugene Gorman KBE, MC, QC as his full-time barrister and confidant. Litigous by nature, Grant Hay later sued the Camberwell City Council on its liquor licensing trading laws on appeal before the Privy Council, UK. Mr Gorman's rooms in the Equity Chambers building on Melbourne's Bourke Street are named Gorman Chambers in his honour.

### Nathan System

On 24 October 1927, Heinrich Walter Haenggi and his wife arrived at Port Melbourne aboard the SS Modolva bringing with them the single largest steel works consignment for disembarkation. Three transports were used to unload and deliver the Swiss brewing plant machinery and equipment to Church Street. Mr Grant Hay drove the Haenggi's to their hotel in his new 1927 Packard Roadster and held a dinner in honour of their arrival at his home.

By Easter of 1928, the construction of the Richmond Brewery was completed and a toast was held on the assembly line by Mrs Grant Hay and included two hundred guests, from growers, hoteliers and workers. The brewery began its first run of Richmond Lager and Bitter Beer on 24 April 1928 with 88 dozen bottles of output per week which continued to grow to 200 dozen bottles of output per week by 1929. Within three years output of beer had grown to 1000 hogsheads per week (317,974 bottles) and Richmond beer couldn’t be produced fast enough. The quality of the beer, and the fact that it had been produced free of any combine commended the beverage to the public's taste. With his own hop supplies, Grant Hay had lowered his costs of production and unit costs considerably. He then followed Courage Brewery's example by purchasing his own pubs and hotel outlets across Australia, exclusively serving Richmond beer.

### Success & Output

The Richmond Brewery was a remarkable success. By 1940 shipments of Richmond Lager were eagerly consumed in Melbourne, Perth, Sydney, Brisbane and Adelaide. By 1950 annual turnover revenues in the Richmond Brewery had grown to almost three million pounds. Exports to India and Brazil soon followed, with the bottle labels Richmond Pilsener, Lager Bitter and Stout all sporting the illustrated Tiger's head logo, designed by Mrs Grant Hay.

### World War II & Racing

During World War II, Grant Hay negotiated the supply of Richmond Beer to Australian troops in North Africa and American troops stationed at Sandown Racecourse, which he owned. He also purchased land on Flinders Island in Tasmania where he stood Fourth Hand, winner of the 1927 Irish 2,000 Guineas and bred champion Australian racehorse Counsel, winner of the 1944 Caulfield Cup and champion American racehorse, Warra Nymph at Del Mar. Grant Hay also owned the seventy-two foot ketch, "Jane Moorhead" which was used by General Douglas MacArthur for the Allied troop landings in the Pacific.

By 1960 the brewery continued to prosper controlling sixteen per cent of Victorian beer sales and eight per cent of Australian beer sales nationally. Mr Grant Hay's health was however deteriorating and no succession plan was put in place, despite his only surviving son. A charismatic autocrat and fierce business competitor, Mr Grant Hay would not allow the company to be controlled by anyone but himself. He refused to publicly list the company and repeatedly rejected merger offers from Courage Brewery and Carlton & United Breweries.

Upon his death in 1961, Mrs Grant Hay negotiated the sale of the Richmond Brewery between bidders Courage Brewery, Asahi Breweries and Carlton & United Breweries, accepting a final offer to purchase the brewery from Carlton & United Breweries on January 26, 1962.

### Terms of Settlement

The financial terms of the agreement reached included an undisclosed cash and share settlement to the Grant Hay family in Carlton & United Breweries, with the caveat that no member of the Grant Hay family or its heirs shall commence operations in a brewing enterprise against Carlton & United Breweries or its subsidiaries in Australia until after the year 2018. Mr Grant Hay is survived by his direct descendants including his grandson, James Grant Hay.

Carlton & United Breweries closed the Richmond Brewery doors on April 13, 1962, and later demolished and sold the site in 1964. Carlton & United Breweries own the intellectual property labels of the Richmond Brewery. Foster's Group Limited was renamed Carlton & United Breweries prior to its 2011 sale to British-South African multinational SABMiller.

### Appendix

The Richmond Brewery Company's headquarters were located at 654 Church Street, Richmond and had offices at 26 Hunter Street and Sussex Street, Sydney, 86 King Street, Perth and 5 Cliff Street, Freemantle. There were one hundred and thirty five full-time staff and the company owned and operated twenty-eight hotels and pubs across Australia.

## InfoBox

| Peter Grant Hay | |
| --- | --- |
| Born | (1879-07-09)9 July 1879
Bright, Victoria, Australia |
| Died | 29 August 1961(1961-08-29) (aged 82)
Melbourne, Victoria, Australia |
| Nationality | Australian |
| Occupation(s) | Brewer, Racehorse Breeder |
| Spouse | Margaret Glover |
| Children | Patricia, Kathleen, Alison, Peter |
| Parent(s) | James Grant Hay
Catherine Margaret Cox |
| Relatives | James Grant Hay (grandson)
Sir Rupert Clarke (son in-law) |


title: Hisashi Inoue

abstract: Inoue Hisashi was a leading Japanese playwright and writer of comic fiction. From 1961 to 1986, he used the pen name of Uchiyama Hisashi.

text:
# Hisashi Inoue

**Inoue Hisashi** (井上 ひさし, *Inoue Hisashi*, 16 November 1934  9 April 2010) was a leading Japanese playwright and writer of comic fiction. From 1961 to 1986, he used the pen name of **Uchiyama Hisashi**.

## Early life

Inoue was born in what is now part of Kawanishi in Yamagata Prefecture, where his father was a pharmacist. His father was involved in an agrarian reform movement and also managed a local drama troupe. A novel his father had written won a prize and he was offered a job as a scriptwriter in a film company. But when he was preparing to move to Tokyo, he became ill with spinal caries and, soon after, when Hisashi Inoue was 5 years old, he died at age 34. His father's sudden death influenced Hisashi to be a writer. After suffering from child abuse at the hands of his stepfather, he was subsequently sent off to a Lasallian orphanage in Sendai, where he received a Christian baptism. He graduated from Sophia University’s Facility of Letters, continuing on to graduate school in French literature, with a two-year hiatus in between to raise more money for his studies by working at a sanatorium in Kamaishi, Iwate.

World War II ended when Inoue was just 11 years old. The experience of war helped shape Inoue’s own writing style, and fostered an anti-war perspective.

## Literary career

Even before graduation, Inoue began his literary career by working as a stage manager and writing scripts for the *Furansu-za* striptease theater in Asakusa, Tokyo. It was common to have a one-hour vaudeville performance before and between strip acts, and many famous actors, including Kiyoshi Atsumi started their careers in such an environment. He wrote a semi-fictional account of his life during this period in *Mokkinpotto Shi no Atoshimatsu* ("The Fortunes of Father Mockinpott"). After graduation, he obtained a position as a script writer for a puppet drama *Hyokkori Hyotanjima*, which aired from April 1964 for a five-year period.

After an initial career in radio, he wrote his first stage play *Nihonjin no Heso* in 1969 for Theatre Echo. He first gained literary recognition for his satirical comic plays in the tradition of the Edo period *gesaku* genre. Inoue has won a very large number of literary awards in the course of his career, including the 67th Naoki Prize in 1972 for his novel *Tegusari Shinju* ("Handcuffed Double Suicide"). He followed on this success in 1981 with *Kirikirijin* ("The People of Kirikiri"), which was inspired by Leicester Hemingway's New Atlantis and was awarded both the Yomiuri Literary Prize and the 2nd Japan Science Fiction Award.

In 1983, Inoue established his own theatre troupe called "Komatsuza" to perform his own plays. Komatsuza gave its debut in 1984 with a play on writer Ichiyō Higuchi, *Zutsuu katakori Higuchi Ichiyō*. Another biographical work centered on Meiji period writer Ishikawa Takuboku, whom together with Higuchi Inoue had long admired. His 2002 play *Taiko tataite, fue fuite*, based on the late years of writer Fumiko Hayashi, received the Tsuruya Nanboku Drama Award.

In 1988, he completed a comic trilogy: *Kirameku seiza, Yami ni saku hana, Yuki ya kon kon*, depicting the lives of ordinary people in the Shōwa period. Despite his activity with the theatre, Inoue continued to write novels, winning the 1982 Seiun Award for Best Novel for *Kirikirijin*, the Yoshikawa Eiji Literary Prize for *Treasury of Disloyal Retainers* in 1986, the 27th Tanizaki Prize for *Shanghai Moon* in 1991, and the Kikuchi Kan Prize for *Tokyo Seven Roses* in 1999. In 1984, the Writer's Block Library was opened in Kawanishi, Yamagata, thanks to Inoue's donation of his 100,000 volume book collection. Inoue was awarded the Asahi Prize in the year 2000 and the Yomiuri Literary Prize again in 2010. In 2004, he was designated a Person of Cultural Merit by the Japanese government.

His career delves into the genre of science fiction. He started radio broadcasting with the play *X-Man* (1960). He also wrote for the daily children's television show *Hyokkori Hyōtanjima* \["Madcap Island"\] (1964), which was a puppet show in which a volcanic eruption destroyed a whole community adrift. There were hints of adult and dark humor in the children's show.

Inoue's career was long and distinguished. He didn't only work as a writer, he also produced and wrote anime as a writer and lyricist. He created the theme songs for *Himitsu no Akko-chan*, *Hans Christian Andersen Stories* and *Moomin* (1969). He is also known for writing the lyrics and screenplay for *The Wonderful World of Puss 'n Boots* (1969).

*Chichi to kuraseba*, has been translated into the English by Roger Pulvers under the title *The Face of Jizo*.

## Style

Inoue had shown a self-reflective attitude about the war. His perspectives came from his early life. When he was young, he thought that he would die due to the war. However, the war was ended with the use of the atomic bomb, and it offered him a new chance to see the world. His experience during the war also made him see himself as just one man who alone who didn't have the power to create change.

In reflecting on Japan's experience during the war, he has written, *"When I bring up the subject of Hiroshima and Nagasaki, an increasing number of people say, ‘It is wrong to dwell on having been victimized, because the Japanese of those days also victimized Asia.’ The second part of this view is certainly accurate. The Japanese did victimize all of Asia. However, I will never accept this first statement because I believe that the two atomic bombs were not merely dropped on the Japanese; they were dropped on the entire human existence . …modern world who cannot escape from the existence of nuclear weapons."*

When compared with other modern Japanese writers, he shows a stronger influence of Japanese culture, particularly popular culture. His writing is for Japanese people, and his plays were usually have strong influenced from Japanese culture. In turn, he has influenced Japanese broadcast systems and his influence could be easily found in the Japanese modern theatre culture, other drama, and Japanese shows. He is also famous for using high quality Japanese words in his writing. As a result, translators find it hard to translate his plays and other writing. However, because of his play was influenced by Japanese culture a lot, it would be hard to translate it into different cultures, but his writing is considered to be helpful to understand a Japanese perspective. Inoue's novel *Kirikirijin* (*Kirikiri People*, 1981) shows Inoue's sharp humor and word play.

Inoue became famous as comedy writer. In his early literary career, he worked as broadcast writer and comedy writer in strip show. These early literary career influence him to be comedy writer. His suffered young life from the death of his father and World War II also influenced him to have interest about the life of ordinary people.

Inoue had warm and kind perspectives about poor or weak people, and it is shown in his plays. His play tries to give hope and show the kind side of society. His writing was based on Humanism, and this likely accounts for his popularity with the public. He also usually focused on showing how ordinary people's lives were destroyed by war or calamity and how they cured themselves.

## Personal life

Inoue lived in Ichikawa, Chiba in the 1970s, and moved to Kamakura, Kanagawa from 1989, where he lived until his death. He had three daughters by his first wife, Yoshiko Nishidate, who was a stage actress and political activist. His second wife, Lily, was the sister of essayist and translator Mari Yonehara, and the daughter of Arika Yonehara, a senior member of the Japan Communist Party. Together they had a son.

Inoue hated air travel, but was fascinated by the city of Bologna in Italy, which he visited in 2004. He had previously visited Australia in 1976, and had also visited New York City in the 1980s for discussion about a possible Broadway version of a story of Miyamoto Musashi he was planning to write.

Inoue served as president of the Japan P.E.N. Club from 2003 to 2007. He was also director of the Japan Association of Playwrights, and director of the Institute of Japanese Literature. An outspoken pacifist, Inoue established a political group in support of the Constitution of Japan with Kenzaburō Ōe in 2004.

A heavy smoker, Inoue was diagnosed with lung cancer in October 2009 and died at his home on 9 April 2010 at the age of 75.

## Selected works

### Scripts

* *Ame* (雨), 1976.
* *Buraun kangoku no shiki* (ブラウン 監獄 の 四季), Tōkyō : Kōdansha, 1977.
* *Jūninin no tegami* (十二人 の 手紙), Tōkyō : Chūō Kōronsha, 1978.
* *Tanin no chi* (他人 の 血), Tōkyō : Kōdansha, 1979.
* *Seibo no dōkeshi* (聖母 の 道化師), 1981.
* *Shikaban Nihongo bunpō* (私家版 日本語 文法), Tokyo : Shinchōsha, 1981.
* *Hon no makura no sōshi* (本 の 枕 草子), Tōkyō : Bungei Shunjū, 1982.
* *Kotoba o yomu* (ことば を 読む), Tōkyō : Chūō Kōronsha, 1982.
* *Shichinin no sakkatachi : intabyū-shū* (七人 の 作家たち : インタビュー集), Tōkyō : Doyō Bijutsusha, 1983.
* *Moto no mokuami* (もと の 黙阿弥), Tōkyō : Bungei Shunjū, 1983.
* *Nippon hakubutsushi* (にっぽん 博物誌), Tōkyō : Asahi Shinbunsha, 1983.
* *Inoue Hisashi zen shibai* (井上 ひさし 全 芝居), Tōkyō : Shinchōsha, 1984.
* *Jikasei bunshō-dokuhon* (自家製 文章読本), Tōkyō : Shinchōsha, 1984.
* *Fu Chūshingura* (不 忠臣蔵), Tōkyō : Shūeisha, 1985.
* *Kuni yutaka ni shite gi o wasure* (国 ゆたか に して 義 を 忘れ), Tōkyō : Kadokawa Shoten, 1985.
* *Fukkoki* (腹鼓記), Tōkyō : Shinchōsha, 1985.
* *Yonsenmanpo no otoko. Ezo hen* (四千万步 の 男. 蝦夷 篇 ), Tōkyō : Kōdansha, 1986.
* *Yonsenmanpo no otoko. Izu hen* (四千万步 の 男. 伊豆 篇 ), Tōkyō : Kōdansha, 1989.
* *Shanhai mūn* (シャンハイ ムーン), Tōkyō : Shūeisha, 1991.
* *Nihongo nikki* (ニホン語 日記), Tōkyō : Bungei shunjū, 1993.
* *Chichi to kuraseba* (父と暮せば), Tōkyō: Shinchōsha, 1994.
* *Besuto serā no sengoshi* (ベスト セラー の 戦後史), Tōkyō : Bungei Shunjū, 1995.
* *Hon no unmei* (本 の 運命), Tōkyō : Bungei Shunjū, 1997.
* *Yonsenmanpo no otoko, Chūkei no ikikata* (四千万步 の 男・忠敬 の 生き方), Tōkyō : Kōdansha, 2003.
* *Little Boy, Big Taifoon* (リトル・ボーイ、ビッグ・タイフーン～少年口伝隊一九四五～), 2008.

### Books

## InfoBox

| Hisashi Inoue | |
| --- | --- |
| Inoue in 2008 | |
| Native name | 井上 ひさし |
| Born | (1934-11-16)16 November 1934
Kawanishi, Yamagata, Japan |
| Died | 9 April 2010(2010-04-09) (aged 75)
Kamakura, Kanagawa, Japan |
| Occupation | Writer |
| Genre | Novels, stage plays |


title: Northside Hip Hop Archive

abstract: Northside Hip Hop Archive (NSHHA) is a digital archive of Canadian hip hop culture from the 1980s and 1990s. NSHHA aims to preserve cultural artifacts from the pioneering years of the Canadian hip hop scene. This online archive digitizes oral histories, event flyers, posters, street magazines, album covers, newspaper articles, graffiti and analog recordings. Founded by Dr. Mark V. Campbell aka DJ Grumps, in 2010, NSHHA “take[s] seriously the accomplishments and hidden histories of Canadian hip hop and is interested in providing resources for future generations of hip hoppers.” The archive’s funders include Canada Council for the Arts and Heritage Canada.

text:
# Northside Hip Hop Archive

**Northside Hip Hop Archive** (NSHHA) is a digital archive of Canadian hip hop culture from the 1980s and 1990s. NSHHA aims to preserve cultural artifacts from the pioneering years of the Canadian hip hop scene. This online archive digitizes oral histories, event flyers, posters, street magazines, album covers, newspaper articles, graffiti and analog recordings. Founded by Dr. Mark V. Campbell aka DJ Grumps, in 2010, NSHHA “take\[s\] seriously the accomplishments and hidden histories of Canadian hip hop and is interested in providing resources for future generations of hip hoppers.”

The archive’s funders include Canada Council for the Arts and Heritage Canada.

## History

Campbell was working on a chapter for a high school text book entitled *Black History: Africa, the Caribbean and the Americas*, when he realized that there was a dearth of information about the Canadian hip hop scene. The memorabilia of Canadian hip hop from before the internet age had not made its way online. He called on hip hop connections from his days as a community radio DJ to source artifacts that would document this music culture. Pioneering Canadian hip hop DJs, emcees, artists and producers contributed personal artifact collections to NSHHA.

*T-dot Pioneers*, an exhibition at Toronto Free Gallery, launched Northside Hip Hop Archive with an exhibition of plaques, awards, flyers, posters, newspaper articles, vinyl recordings, cassettes, clothing, comics, archival video from b-boy battles, and rare audio footage from community radio shows from across Canada.

## Exhibitions

### For the Record: ‘An Idea of the North’

In 2019, Northside Hip Hop put on the mixed media exhibition *For the Record: ‘An Idea of the North’ Exhibit* delineating the role soundsystems and DJs had in the emerging Toronto hip hop scene, in the TD Gallery at the Toronto Reference Library. CBC News writes: “The exhibit tracks the progress of Toronto's hip-hop scene and its growth through the last few decades when bboy battles, independent record labels and community college radio stations were the paths to success.”

### Everything Remains Raw: Photographing Toronto’s Hip Hop Culture from Analogue to Digital

In 2018, NSHHA partnered with the McMichael Canadian Art Collection for the exhibition *Everything Remains Raw: Photographing Toronto’s Hip Hop Culture from Analogue to Digital*, which featured photos from Craig Boyko, Michael Chambers, Stella Fakiyesi, Demuth Flake, Patrick Nichols, Sheinina Raj, and Nabil Shash that documented the growth of the Canadian hip hop music scene.

The exhibition also featured artwork from painter David Strickland, video artist Mark Valino and graffiti writers Elicser, Eklipz, and EGR. The Globe and Mail made note of the juxtaposition of the Gallery, a “purveyor of Canadiana” and hip hop history:

> When you visit the McMichael Canadian Art Collection in Kleinburg, before you spot a canvas, before you even touch a door handle, you'll pass by a small cemetery where six members of the Group of Seven are buried. That is to say: There are expectations about the kind of art you'll find there. And a paean to homegrown hip hop likely doesn't count first among them. But if the gallery is committed to its mission, the new exhibit ...Everything Remains Raw is exactly the sort of art it ought to showcase.

The exhibition was part of the Scotiabank CONTACT Photography Festival and is documented in Campbell's book *Everything Remains Raw: Photographing Toronto's Hip Hop Culture from Analogue to Digital*.

### T-Dot Pioneers 2011: The Glenn Gould Remix

*T-Dot Pioneers 2011: The Glenn Gould Remix* was a photography exhibit that partnered with the Canadian Broadcasting Corporation to “visually intertwine Toronto’s hip hop history with the various commemorations of famed Canadian classical pianist Glenn Gould.”

## I Was There! Tour

In 2016, Northside Hip Hop went on the *I Was There!* Tour across four cities, highlighting Canadian hip hop icons: DJ Ron Nelson of Toronto; DJ Butcher T of Montreal; emcee Eekwol of Saskatoon and visual artist Eklipz of Hamilton.

Campbell told *The Fader*: "\[I\[n the '70s, this guy \[Butcher T\] was finding his own way to New York to just witness this thing called hip-hop. There was no marketing, no infrastructure — he was just a kid that was excited about what he saw, and he brought that back to Montreal.” He cited the children of Caribbean immigrants as the first, enthusiastic audiences for hip-hop stars from the U.S. such as Biz Markie, Run DMC and Queen Latifah who came to Canada to perform.


title: La Nazione Albanese

abstract: La Nazione Albanese was a newspaper of the Arbereshe community of Italy during end of 19th-century and early 20th-century. It covered political, socio-cultural, and informative functions toward the Arbereshe community and Albanians in general. It also covered thematics such as the Albanian National Awakening and state-forming, Italian-Albanian relationships, as well as political events of a broader spectrum. It was founded and managed by Italian lawyer and publicist Anselmo Lorecchio, an Arbereshe from Pallagorio, Calabria. It published articles from Albanian writers and publicists as well.

text:
# La Nazione Albanese

***La Nazione Albanese*** ("The Albanian Nation") was a newspaper of the Arbereshe community of Italy during end of 19th-century and early 20th-century. It covered political, socio-cultural, and informative functions toward the Arbereshe community and Albanians in general. It also covered thematics such as the Albanian National Awakening and state-forming, Italian-Albanian relationships, as well as political events of a broader spectrum. It was founded and managed by Italian lawyer and publicist Anselmo Lorecchio, an Arbereshe from Pallagorio, Calabria. It published articles from Albanian writers and publicists as well.

## History

The *Società Nazionale Albanese* (Albanian National Society) was founded in 1895 out of an Arberesh congress held in Corigliano Calabro and led by scholar Girolamo De Rada. Lorecchio would become head of the society in February 1897, during the second congress held in Lungro. Just a few weeks before *La Nazione Albanese* had already started publishing and served from that moment on as a press organ of the society, although its official newspaper remained *Ylli i Arbëreshëve* ("The star of the Arbereshe") published in Corigliano Calabro.

On 18 April 1900, the *Società Nazionale Albanese* transformed into *Comitato Nazionale Albanese* (Albanian National Committee) and the headquarters were transferred to Rome. The newspaper moved as well and was published there since then, printed in "Tipografia Dante Alighieri".
The death of Lorecchio in 1924 brought the newspaper as well to an end.

## Importance

> The newspaper came in a particularly delicate moment for Albania and the wider political equilibrium of Europe in that period. Especially the Albanian issue, which served as battlefield of imperialistic interests of Italy and Austro-Hungary. The political essence of Lorecchio's work came into action specifically in this context: it managed to transmit clear and explicit political values to the Arbëreshë Intellectual Movement, and the newspaper that he founded and directed served as the main instrument for translating the cultural aspirations into a political project.
>
> Antonio D'Alessandri, Roma Tre University

## InfoBox

La Nazione Albanese
| Shkiperia Avanti! (Forward Albania!) | |
| --- | --- |
|  | |
| Type | Bimonthly |
| Founder(s) | Anselmo Lorecchio |
| Publisher | Albanian National Society 1897–1900
Albanian National Committee 1900–1924 |
| Managing editor | Anselmo Lorecchio |
| Founded | 15 January 1897 |
| Political alignment | Albanian National Cause
Arbereshe Intellectual Movement |
| Language | Italian, Arbereshe, Albanian |
| Ceased publication | March 1924 |
| City | Pallagorio (Catanzaro) 1897–1900
Rome 1900–1924 |
| Country | Italy |
| OCLC number | 235868818 |
|  | |


title: Triclonide

abstract: Triclonide is a synthetic glucocorticoid corticosteroid which was never marketed.

text:
# Triclonide

**Triclonide** (developmental code name **RS-4464**) is a synthetic glucocorticoid corticosteroid which was never marketed.

## InfoBox

Triclonide
|  | |
| --- | --- |
| Clinical data | |
| Other names | RS-4464; 6α-Fluoro-9α,11β,21-trichloro-16α,17α-dihydroxypregna-1,4-diene-3,20-dione cyclic acetal with acetone; 6α-Fluoro-9α,11β,21-trichloro-16α,17α-((1-methylethylidene)bis(oxy))-pregna-1,4-diene-3,20-dione |
| Drug class | Corticosteroid; Glucocorticoid |
| Identifiers | |
| IUPAC name * (4a*S*,4b*R*,5*S*,6a*S*,6b*S*,9a*R*,10a*S*,10b*S*,12*S*)-4b,5-Dichloro-6b-(chloroacetyl)-12-fluoro-4a,6a,8,8-tetramethyl-4a,4b,5,6,6a,6b,9a,10,10a,10b,11,12-dodecahydro-2*H*-naphtho\[2',1':4,5\]indeno\[1,2-*d*\]\[1,3\]dioxol-2-one | |
| CAS Number |  |
| PubChem CID |  |
| ChemSpider |  |
| UNII |  |
| KEGG |  |
| ChEMBL |  |
| CompTox Dashboard (EPA) |  |
| Chemical and physical data | |
| Formula | C24H28Cl3FO4 |
| Molar mass | 505.83 g·mol−1 |
| 3D model (JSmol) |  |
| SMILES * C\[C@\]12C\[C@@H\](\[C@\]3(\[C@H\](\[C@@H\]1C\[C@@H\]4\[C@\]2(OC(O4)(C)C)C(=O)CCl)C\[C@@H\](C5=CC(=O)C=C\[C@@\]53C)F)Cl)Cl | |
| InChI * InChI=1S/C24H28Cl3FO4/c1-20(2)31-19-9-13-14-8-16(28)15-7-12(29)5-6-21(15,3)23(14,27)17(26)10-22(13,4)24(19,32-20)18(30)11-25/h5-7,13-14,16-17,19H,8-11H2,1-4H3/t13-,14-,16-,17-,19+,21-,22-,23-,24+/m0/s1 * Key:VSVSLEMVVAYTQW-VSXGLTOVSA-N | |


title: Viral protein

abstract: The term viral protein refers to both the products of the genome of a virus and any host proteins incorporated into the viral particle. Viral proteins are grouped according to their functions, and groups of viral proteins include structural proteins, nonstructural proteins, regulatory proteins, and accessory proteins. Viruses are non-living and do not have the means to reproduce on their own, instead depending on their host cell's machinery to do this. Thus, viruses do not code for most of the proteins required for their replication and the translation of their mRNA into viral proteins, but use proteins encoded by the host cell for this purpose.

text:
# Viral protein

The term **viral protein** refers to both the products of the genome of a virus and any host proteins incorporated into the viral particle. Viral proteins are grouped according to their functions, and groups of viral proteins include structural proteins, nonstructural proteins, regulatory proteins, and accessory proteins. Viruses are non-living and do not have the means to reproduce on their own, instead depending on their host cell's machinery to do this. Thus, viruses do not code for most of the proteins required for their replication and the translation of their mRNA into viral proteins, but use proteins encoded by the host cell for this purpose.

## Viral structural proteins

Most viral structural proteins are components for the capsid and the envelope of the virus.

### Capsid

The genetic material of a virus is stored within a viral protein structure called the capsid. The capsid is a "shield" that protects the viral nucleic acids from getting degraded by host enzymes or other types of pesticides or pestilences. It also functions to attach the virion to its host, and enable the virion to penetrate the host cell membrane. Many copies of a single viral protein or a number of different viral proteins make up the capsid, and each of these viral proteins are coded for by one gene from the viral genome. The structure of the capsid allows the virus to use a small number of viral genes to make a large capsid.

Several protomers, oligomeric (viral) protein subunits, combine to form capsomeres, and capsomeres come together to form the capsid. Capsomeres can arrange into an icosahedral, helical, or complex capsid, but in many viruses, such as the herpes simplex virus, an icosahedral capsid is assembled. Three asymmetric and nonidentical viral protein units make up each of the twenty identical triangular faces in the icosahedral capsid.

### Viral envelope

The capsid of some viruses are enclosed in a membrane called the viral envelope. In most cases, the viral envelope is obtained by the capsid from the host cell's plasma membrane when a virus leaves its host cell through a process called budding. The viral envelope is made up of a lipid bilayer embedded with viral proteins, including viral glycoproteins. These **viral glycoproteins** bind to specific receptors and coreceptors on the membrane of host cells, and they allow viruses to attach onto their target host cells. Some of these glycoproteins include:

Viral glycoproteins play a critical role in virus-to-cell fusion. Virus-to-cell fusion is initiated when viral glycoproteins bind to cellular receptors.

#### Viral membrane fusion proteins

The fusion of the viral envelope with the cellular membrane requires high energy to occur. Viral membrane fusion proteins act as catalysts to overcome this high energy barrier. Following viral glycoprotein binding to cellular receptors, viral membrane fusion proteins undergo a change in structure conformation. This change in conformation then facilitates the destabilization and fusion of the viral envelope with the cellular membrane by allowing fusion loops (FLs) or hydrophobic fusion peptides (FPs) on the viral envelope to interact with the cell membrane. Most viral membrane fusion proteins would end up in a hairpin-like conformation after fusion, in which FLs/FPs and the transmembrane domain are all on the same side of the protein.

Viral glycoproteins and their three-dimensional structures, before and after fusion, have allowed a wide range of structural conformations to be discovered. Viral membrane fusion proteins have been grouped into four different classes, and each class is identified by characteristic structural conformations:

* Class I: Post-fusion conformation has a distinct central coiled-coil structure composed of signature trimer of α-helical hairpins. An example of a Class I viral fusion protein is the HIV glycoprotein, gp41.
* Class II: Protein lacks the central coiled-coil structure. Contains a characteristic elongated β- sheet ectodomain structure that refolds to give a trimer of hairpins. Examples of class II viral fusion proteins include the dengue virus E protein, and the west nile virus E protein.
* Class III: Structural conformation is a combination of features from Class I and Class II viral membrane fusion proteins. An example of a Class III viral fusion protein is the rabies virus glycoprotein, G.
* Class IV: Class IV viral fusion proteins are fusion-associated small transmembrane (FAST) proteins. They do not form trimers of hairpins or hairpin structures themselves, and they are the smallest known viral fusion proteins. FAST proteins are coded for by members of the nonenveloped reoviridae family of viruses.

## Viral nonstructural proteins

Viral nonstructural proteins are proteins coded for by the genome of the virus and are expressed in infected cells. However, these proteins are not assembled in the virion. During the replication of viruses, some viral nonstructural proteins carry out important functions that affect the replication process itself. Similarly, during the assembly of viruses, some of these proteins also carry out important functions that affect the assembly process. Some of these viral nonstructural protein functions are replicon formation, immunomodulation, and transactivation of viral structural protein encoding genes.

### Replicon formation

Viral nonstructural proteins interact with host cell proteins to form the replicon, otherwise known as the replication complex. In the hepatitis C virus, viral nonstructural proteins interact with cellular vesicle membrane transport protein, hVAP-33, to assemble the replicon. Viral nonstructural 4b (NS4B) protein alters the host cell's membrane and starts the formation process of the replication complex. Other viral nonstructural proteins such as NS5A, NS5B, and NS3, are also recruited to the complex, and NS4B interacts with them and binds to viral RNA.

### Immunomodulation

The immune response of a host to an infected cell can be adjusted through the immunomodulatory properties of viral nonstructural proteins. Many species of large DNA viruses encode proteins which subvert host immune response, allowing proliferation of the virus. Such proteins hold potential in developing new bio-pharmaceutical treatments for inflammatory disease in humans, as the proteins have been proven to subvert inflammatory immune mediators. Viral nonstructural protein NS1 in the West Nile virus prevents complement activation through its binding to a complement control protein, factor H. As a result, complement recognition of infected cells is reduced, and infected cells remain unharmed by the host's immune system.

## Viral regulatory and accessory proteins

Viral regulatory and accessory proteins have many functions. These viral proteins control and influence viral gene expressions in the viral genome, including viral structural gene transcription rates. Viral regulatory and accessory proteins also influence and adjust cellular functions of the host cell, such as the regulation of genes, and apoptosis.

In DNA viruses and retroviruses, viral regulatory proteins can enhance viral gene transcription, likewise, these proteins can also enhance host cellular gene transcription too.

Viral accessory proteins, also known as auxiliary proteins, are coded for by the genome of retroviruses. Most viral accessory proteins only carry out their functions in specific types of cells. Also, they do not have much influence on the replication of the virus. However, in some instances, maintaining the replication of viruses would require the help (and function) of viral accessory proteins.

## Endogenous retroviral proteins

Syncytin is an endogenous retrovirus protein that has been captured in the mammalian genome to allow membrane fusion in placental morphogenesis.


title: Northwest Biotherapeutics

abstract: Northwest Biotherapeutics, Inc. is a development-stage American pharmaceutical company headquartered in Maryland that focuses on developing immunotherapies against different types of cancer. It was founded in 1996 by Alton L. Boynton.

text:
# Northwest Biotherapeutics

**Northwest Biotherapeutics, Inc.** is a development-stage American pharmaceutical company headquartered in Maryland that focuses on developing immunotherapies against different types of cancer. It was founded in 1996 by Alton L. Boynton.

## Business model

Northwest relies upon the contract manufacturing organization Cognate Bioservices for services supporting manufacture of its products for clinical trials. Their relationship with Cognate began before 2007, and is slated to extend through the first quarter of 2016. Due to cash flow issues common to development-stage companies, Northwest compensates Cognate through a combination of cash payments and stock. Cognate has also provided Northwest with at least one short-term loan, provided and paid in mid-2013. As of 2014, Northwest's expanding clinical trials have led to an increased reliance on Cognate's services, and subsequent renegotiation of their agreement.

## Technology

The DCVax technology upon which NWBO's therapies rely involves injecting cancer patients with dendritic cells which have been harvested from them by leukapheresis (i.e. they are "autologous") and activated by incubating them *in vitro* with tissue from the patient's tumour. The dendritic cells thereby identify the antigenic make-up of the tumour after which the activated dendritic cells are injected subcutaneously into the patients in aliquots at intervals. Alternatively, in a process still under development, the harvested dendritic cells are injected directly into the tumour where they are activated *in situ* with the same result. The activated dendritic cells pass information to generations of "killer" T-cells and B-cells so that those immune cells can recognise and attack the tumourous tissue wherever it may be found.

### Dendritic cells

Discover in 1973 at Rockefeller University by Dr. Ralph Steinman, dendritic cells act as the general for the adaptive immune system. They educate and direct T-Cells and other immune system cells to mount an immune response to cancer cells. The basic principle behind the therapy is that if one injects or creates a large enough number of dendritic cells carrying mutant proteins matching a cancer, they excite enough T-cells and B-cells to overwhelm the cancer's defenses.

### DCVax-L

DCVax-L is a solid-tumor cancer therapy for newly diagnosed GBM, a common and aggressive form of brain cancer. The 5 year survival rate for GBM using current standard of care is 5%. The phase III trial sites include over 80 medical institutions in the U.S., Canada, Germany and the U.K. The results of the trial were peer reviewed and published in the Journal of American Medical Association Oncology in Nov 2022. The trial showed a meaningful increase in survival for both new diagnosed and recurrent GBM patients. For newly diagnosed the median overall survival was 19.3 months vs. 16.5 months in the external control group. The 60 month survival rate was 13% vs. 5.7%. For recurrent GBM the mean overall survival rate was markedly higher at 13.2% vs 7.8%. Over 2,100 doses of DCVax-L were administer with only 5 serious adverse advents.

In this variation of the DCVax line, the tumor is removed through surgery, and some of the tumor presented to the aforementioned dendritic cells for the scavenging of tumor proteins. These dendritic cells, laden with tumor protein antigens, are then injected under the skin near lymph nodes. The dendritic cells then travel to the local lymph node where the dendritic cells present the proteins to the T- and B-cells, as previously described.

These dendritic cells are grown in the lab from stem cells extracted from the patient's blood. Only a sugar-cube-sized sample of the tumor is needed for subsequent presentation to the dendritic cells. The tumor sample is first broken down into constituent proteins using a caustic process known as *lysing* (thus the *L* in the name DCVax-L). After the resulting "tumor lysate" is presented to the dendritic cells, they are ready for subcutaneous injection near the selected lymph node(s). (There are approximately 500 lymph nodes in the body; most are peripheral, some are internal.)

### DCVax-Direct

DCVax-Direct, the latest addition to the DCVax line. It does not require removal of the tumor, making it ideal for inoperable tumors, if proven effective. It is currently in Phase 1 testing on patients with inoperable tumors of a very large range of cancer types.

In the procedure, dendritic cells are developed as in DCVax-L, prior to antigen exposure/"pulsing". However, the subsequent exposure to tumor antigens does not occur *in vitro* but *in vivo*: The prepared dendritic cells, along with adjuncts, are injected directly into one or more tumors.

At least two adjuncts are added to the dendritic cells. One adjunct excites a general aspect of the body's immune response; another excites a more tumor-specific response. This mixture is then injected into the patient's tumor. There, the dendritic cells are expected to scavenge tumor proteins, then find their way to the local lymph node for presentation of the tumor protein antigens to T cells and B cells. The activated T and B cells then travel to the tumor and kill tumor cells. Ruptured tumor cells release more mutant proteins that are picked up by dendritic cells and other immune cells, and are carried to the lymph nodes to excite still more B and T cells. Theoretically, this cycle repeats, accelerates, then levels off at a high but safe level. The Phase 1 trial that finished enrollment in July, 2014 seeks to confirm this.

DCVax-L and DCVax-Direct, if effective, could address virtually all forms of solid tumor cancers, operable and inoperable, with the possible exception of prostate cancer.

## Products

DCVax-L is now in Phase 3 trials in USA & Europe. It was awarded orphan drug status.

DCVax-Direct is a therapy to treat inoperable solid tumors in Phase 1 trials in the US.

DCVax-Prostate finished Phase 2 trials and has been approved for Phase 3 trials in the US.

## Footnotes and references

## InfoBox

NorthWest Biotherapeutics, Inc.
|
|  |
| Company type | Public |
| Traded as | Nasdaq: NWBO |
| Industry | Pharmaceuticals |
| Founded | January 1, 1998 (1998-01-01) |
| Headquarters | Bethesda, Maryland |
| Products |  |
| Website | nwbio.com |


title: Mickhausen

abstract: Mickhausen is a municipality in the district of Augsburg in Bavaria in Germany.

text:
# Mickhausen

**Mickhausen** is a municipality in the district of Augsburg in Bavaria in Germany.

## InfoBox

| Mickhausen | |
| --- | --- |
| Municipality | |
| Mickhausen from the northwest | |
|  | |
| Location of Mickhausen within Augsburg district | |
| Mickhausen Mickhausen | |
| Coordinates: 48°15′N 10°37′E / 48.250°N 10.617°E / 48.250; 10.617 | |
| Country | Germany |
| State | Bavaria |
| Admin. region | Schwaben |
| District | Augsburg |
| Government | |
| Mayor (202026) | Mirko Kujath |
| Area | |
| Total | 15.48 km2 (5.98 sq mi) |
| Elevation | 540 m (1,770 ft) |
| Population (2023-12-31) | |
| Total | 1,394 |
| Density | 90/km2 (230/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| Postal codes | 86866 |
| Dialling codes | 08204 |
| Vehicle registration | A |
| Website | www.mickhausen.de |


title: HMS Monkey (1801)

abstract: HMS Monkey was launched in 1801 at Rochester. She served in the Channel, North Sea, and the Baltic, and was wrecked in December 1810.

text:
# HMS Monkey (1801)

**HMS *Monkey*** was launched in 1801 at Rochester. She served in the Channel, North Sea, and the Baltic, and was wrecked in December 1810.

## Career

*Monkey* was commissioned for the Nore in May 1801 under Lieutenant Nicholas Corsellis.

In March 1802 she was in the Channel under the command of Lieutenant Weir.

Lieutenant James Tillard recommissioned her between February and September 1802 for the North Sea.

On 29 March, 22 April, and 5 and 11 May 1802, *Monkey* and *Conflict* seized sundry smuggled spirits.

On 25 November 1803 *Monkey* sent into Yarmouth two vessels that a privateer lugger had taken off Orforness. The two vessels that *Monkey* had recaptured were *William*, Roskruge, master, which had been sailing from London to Yarmouoth, and *Orford*, Hogarth, master, which had been sailing from London to Shields.

In 1804 *Monkey* was under the command of Lieutenant William Tatham.

In 1805–1806 *Monkey* was under the command of Lieutenant Richard William Simmonds.

Early in the morning of 24 April 1805 HMS *Leda* sighted twenty-six French vessels rounding Cap Gris Nez. Honyman immediately ordered *Fury*, *Harpy*, *Railleur*, *Bruiser*, *Gallant*, *Archer*, *Locust*, *Tickler*, *Watchful*, *Monkey*, *Firm*, and *Starling* to intercept. After a fight of about two hours, *Starling* and *Locust* had captured seven armed schuyts in an action within pistol-shot of the shore batteries on Cap Gris Nez. The schuyts were all of 25 to 28 tons burthen, and carried in all 117 soldiers and 43 seamen under the command of officers from the 51st. Infantry Regiment. The French convoy had been bound for Ambleteuse from Dunkirk. On the British side the only casualty was one man wounded on *Archer*.

*Lloyd's List* (*LL*) reported on 22 November 1805 that *Monkey* had sent into Portsmouth the American packet *Lowell*, which had been sailing from Boston to Rotterdam when *Monkey* had detained her.

On 10 February 1806 a French privateer captured *Cicero* off Fairleigh as *Cicero* was sailing from Deptford to Chepstow. *Monkey* recaptured *Cicero* and sent her into the Downs.

On 27 March HMS *Musquito* was with *Ariadne* and *Monkey* when they captured *Vrow Cornelia*, R.R. Cruzenga, Master. On 7 April *Musquito*, *Monkey*, *Bold* and *Urgent* captured *Bradford*. On 14 April *Musquito*, *Ariadne*, *Monkey*, and *Blazer* captured the merchant vessel *Elizabeth Anna*.

*Lloyd's List* reported that *Monkey* had detained and sent into the Downs a large ship from Hamburg.

On 22 April *Monkey* detained and sent into the Downs a ship from the Mediterranean. Next, *Monkey* detained and sent into the Downs a dogger carrying sugar, coffee, tobacco, and rum to Hamburg.

*Monkey* detained and sent into Dover two more ships. One was *New Harmony*, of Altona, Smith, master, which was sailing from Hamburg to StThomas's. The second was *Enigheden*, Marck, master, which was sailing from Galipoli to Hamburg. Lastly, *Monkey* detained the American ship *Hamilton*, which had been sailing from Amsterdam to Baltimore, and sent her into the Downs.

In 1807 to 1810 *Monkey* was under the command of Lieutenant Thomas Fitzgerald. He sailed her to the Baltic in 1809.

*LL* reported on 6 October 1807 that *Monkey* had detained and sent into the Downs *Flora*, which had been sailing from Baltimore to Amsterdam.

On 31 October 1808 *Monkey* captured *Fraw Maria Dorithea*, and *Anna Catharina*.

On 30 April 1809, *Tartar* captured *Charlotte*, with *Superb*, *Stately*, *Vanguard*, *Allart*, *Constant*, *Monkey*, and *Urgent* being in company or in sight.

On 12 August Commander John Willoughby Marshall and *Lynx*, in the company of the gun-brig *Monkey*, under the command of Lieutenant Thomas Fitzgerald, discovered three Danish luggers off the Danish coast. The water was too shallow for *Lynx*, so Marshall sent *Monkey* and boats from *Lynx* in to cut them out. The largest of the luggers, which had four guns and four howitzers, opened fire on *Monkey* before all three luggers ran ashore once *Monkey* and the launch's 18-pounder carronade returned fire. The British refloated the luggers and brought them out the next day, having taken no casualties. In their haste to quit the vessels, the Danes failed to fire the fuse on a cask of gunpowder they had left by the fireplace on the largest lugger. Marshall thought the Danes' behaviour in leaving the explosive device disgraceful. The largest lugger was *Captain Japen* (or *Captain Jassen*). She had had a crew of 45 men, who had fled, and during the engagement she had thrown two of her howitzers overboard. The second lugger, name unknown, had four guns and a crew of 20. The third lugger was *Speculation*, of three guns and 19 men. Her crew too had thrown two guns overboard.

In 1810 *Monkey* was part of the force blockading Lorient.

On 28 March 1810 *Monkey* and *Minerva* were in company when they captured *Epervier*.

On 29 April *Monkey* was in company with *Armide* and the hired armed cutter *Adrian* at the capture of *Aimable Betzie*. *Daring* also shared in the proceeds of the capture of *Aimable Betsie*.

On 4 May boats from *Armide*, with the assistance of boats from the 8-gun *Cherokee*-class brig-sloop *Cadmus*, and the gun-brigs *Monkey* and *Daring*, attacked a French convoy of armed and coasting vessels off the Île de Ré. Despite strong fire from shore batteries and the convoy's escorts, the British accounted for 17 ships, burning 13 of them and forcing four ashore. *Armide* lost three men killed and three wounded.

On 20 June *Monkey* captured the Chasse-marée *Pelagic*.

On 23 September the French ketch *Jeune Julie*, with her cargo of salt, arrived at Plymouth. She was a prize to *Monkey*.

Next, on 13 December 1810 *Monkey* was in company with *Venerable* and several other vessels at the capture of *Goede Trouw*.

## Fate

*Monkey* was wrecked on Belle Isle on 25 December 1810. She was part of the force blockading Lorient. After enduring gales for several days Fitzgerald steered her towards Belle Isle in Quiberon Bay to take shelter. As she approached Belle Isle the wind increased. At 4am, as she prepared to anchor, the wind blew out or split her sails. She dropped her anchors, but one cable broke immediately and the other could not hold her. Within an hour she was aground on the rocks, which pierced her hull. As she filled with water her crew took to her rigging. The crew then jumped in the water to swim to the nearby shore. Lieutenant Fitzgerald and one seaman died in the attempt.

The French took the survivors prisoner. On 25 May 1814 the surviving officers and crew underwent a court-martial in Portsmouth aboard HMS *Gladiator* for the loss of *Monkey*. The crew reported that Fitzgerald had jumped into the sea when waves smashed him between the hull and the rocks, breaking his legs. The receding waves swept him away.

## Citations

1. Winfield (2008), p. 336.
2. "No. 15659". *The London Gazette*. 20 December 1803. p. 1806.
3. *LL* 2 December 1803, No. 4407.
4. "No. 15800". *The London Gazette*. 23 April 1805. pp. 553–554.
5. *LL* 22 November 1805, No. 4273.
6. *LL* 11 February 186, No. 4296.
7. "No. 16081". *The London Gazette*. 31 October 1807. p. 1443.
8. "No. 16359". *The London Gazette*. 7 April 1810. p. 531.
9. "No. 16209". *The London Gazette*. 13 December 1808. p. 1697.
10. "No. 16235". *The London Gazette*. 7 March 1809. p. 315.
11. *LL* 18 April 1806, No. 4045.
12. *LL* 25 April 1806, No. 4047.
13. *LL* 6 May 1806, No. 4048.
14. *LL* 16 May 1806, No. 4050.
15. *LL* 16 May 1806, No. 4053.
16. *LL* 6 October 1807, No. 4193.
17. "No. 16385". *The London Gazette*. 7 July 1810. p. 1010.
18. "No. 16903". *The London Gazette*. 15 January 1814. p. 1139.
19. "No. 16934". *The London Gazette*. 13 September 1814. p. 1861.
20. "No. 16296". *The London Gazette*. 9 September 1809. pp. 1456–1457.
21. Norie (1827), p. 202.
22. "No. 16459". *The London Gazette*. 26 February 1811. p. 388.
23. "No. 16431". *The London Gazette*. 1 December 1810. p. 1928.
24. "No. 16487". *The London Gazette*. 21 May 1811. p. 947.
25. "No. 16371". *The London Gazette*. 19 May 1810. p. 731.
26. "No. 16459". *The London Gazette*. 26 February 1811. p. 385.
27. *LL* 28 September 1810, No. 4497.
28. "No. 16543". *The London Gazette*. 19 November 1811. p. 2244.
29. Hepper (1994), p. 135.
30. *Naval Chronicle* (Jan-June 1814), Vol.31, p.486.
* Hepper, David J. (1994). *British Warship Losses in the Age of Sail, 1650–1859*. Rotherfield: Jean Boudriot. ISBN 0-948864-30-3.
* Norie, J. W. (1827). *The naval gazetteer, biographer and chronologist; containing a history of the late wars from ... 1793 to ... 1801; and from ... 1803 to 1815, and continued, as to the biographical part to the present time*. London: C. Wilson.
* Winfield, Rif (2008). *British Warships in the Age of Sail 1793–1817: Design, Construction, Careers and Fates*. Seaforth Publishing. ISBN 978-1-86176-246-7.

## InfoBox

| HMS *Lynx* and HMS *Monkey* capturing three Danish luggers, 12 August 1809; oil on canvas, 19th century | |
| --- | --- |
| History | |
| United Kingdom | |
| Name | HMS *Monkey* |
| Ordered | 7 January 1801 |
| Builder | John Nicholson, Rochester |
| Laid down | January 1801 |
| Launched | 11 May 1801 |
| Fate | Wrecked 25 December 1810 |
| General characteristics | |
| Class and type | *Bloodhound*-class gun-brig |
| Tons burthen | 1875294 (bm) |
| Length | * Overall:80 ft 2 in (24.4 m) * Keel:65 ft 11+12 in (20.1 m) |
| Beam | 23 ft 1+12 in (7.0 m) |
| Depth of hold | 8 ft 6 in (2.6 m) |
| Sail plan | Brig |
| Complement | 50 |
| Armament | 12 × 18-pounder carronades (2 as bow chasers) |


title: Jean Chantavoine

abstract: Jean François Henri Chantavoine was a French musicologist and biographer and the secretary-general of the Paris Conservatoire. Chantavoine was born in Paris. He published numerous books and articles, including biographies of Beethoven, Liszt, Saint-Saëns and Mozart. In 1933, in an article in the periodical Le Ménestrel, he revealed the existence of Bizet's Symphony in C, the manuscript of which was housed in the library of the Conservatoire. Chantavoine also was the first to publish many of Beethoven's manuscript sketches and letters, for example in his 1903 Correspondance de Beethoven. He died, aged 75, in Mussy-sur-Seine.

text:
# Jean Chantavoine

**Jean François Henri Chantavoine** (17 May 1877  16 July 1952) was a French musicologist and biographer and the secretary-general of the Paris Conservatoire.

Chantavoine was born in Paris. He published numerous books and articles, including biographies of Beethoven, Liszt, Saint-Saëns and Mozart.

In 1933, in an article in the periodical *Le Ménestrel*, he revealed the existence of Bizet's Symphony in C, the manuscript of which was housed in the library of the Conservatoire. Chantavoine also was the first to publish many of Beethoven's manuscript sketches and letters, for example in his 1903 *Correspondance de Beethoven*. He died, aged 75, in Mussy-sur-Seine.

## InfoBox

| Jean Chantavoine | |
| --- | --- |
| Born | 1877
Paris |
| Died | 1952
Mussy-sur-Seine |
| Nationality | French |
| Occupation(s) | Musicologist, biographer |


title: Hisashi Kagawa

abstract: Hisashi Kagawa Hisashi Kagawa is a Japanese animator, character designer, and animation director that gained popularity for his episode animation director work for the 1990s Sailor Moon anime series. His other notable works as a character designer includes Phantom Thief Jeanne, Toriko and Fresh Pretty Cure!.

text:
# Hisashi Kagawa

**Hisashi Kagawa** (Japanese: 香川 久, Hepburn: *Kagawa Hisashi*, born June 23, 1965) is a Japanese animator, character designer, and animation director that gained popularity for his episode animation director work for the 1990s *Sailor Moon* anime series. His other notable works as a character designer includes *Phantom Thief Jeanne*, *Toriko* and *Fresh Pretty Cure!*.

## Career

Hisashi Kagawa entered the anime industry in 1988, and provided various episode animation direction for the second season of *Sally the Witch*.

From 1992 to 1997, Kagawa then provided many key animations and episode animation direction for *Sailor Moon* series, and eventually provided character designs and animation direction for its two movies: *Sailor Moon S: The Movie* and *Sailor Moon SuperS: The Movie*.

After *Sailor Moon* had ended, from 1997 to 2008, Kagawa provided various episode animation direction for *Revolutionary Girl Utena*, and character designs for *St. Luminous Mission High School*, *Phantom Thief Jeanne*, *Bomberman Jetters*, *Saikano: The Last Love Song on This Little Planet*, *Tai Chi Chasers*, *Wangan Midnight* and *Glass Maiden*.

In 2009, Kagawa provided the character designs for one of the *Pretty Cure* series, titled *Fresh Pretty Cure!*.

In 2011, Kagawa provided the character designs for *Toriko* series. In 2015, Kagawa provided character design and animation director for *Pumpkin Kingdom's Treasure* segment in *Go! Princess Pretty Cure the Movie: Go! Go!! Gorgeous Triple Feature!!!*. In 2016, Kagawa provided the character design for *Tiger Mask W*, and that same year, Kagawa provided the animated attack sequence for *Come Back! Shuriken Sentai Ninninger: Ninnin Girls vs. Boys FINAL WARS* live-action sentai film.

In 2020, Kagawa provided the character designs for *Oda Cinnamon Nobunaga* series.

## Works

### TV Anime

| Year | Title | Credit | Note |
| --- | --- | --- | --- |
| 1989 | *Sally the Witch! 2* | Animation Director (eps. 18, 23, 28, 34, 40, 44, 49, 56, 61, 67, 73, 79, 85) |  |
| 1992-93 | *Sailor Moon* | Animation Director (eps. 14, 20, 25, 32, 38, 40), Key Animation (eps. 14, 25, 44) |  |
| 1993-94 | *Sailor Moon R* | Animation Director (eps. 5, 24, 39), Key Animation (eps. 5, 13, 17, 24, 39) |  |
| 1994-95 | *Sailor Moon S* | Animation Director (eps. 3) |  |
| 1995-96 | *Sailor Moon SuperS* | Animation Director (eps. 3, 8, 14, 20) |  |
| | *Wedding Peach* | Key Animation (eps. 9, 29, 50) |  |
| 1996-97 | *Sailor Moon Sailor Stars* | Key Animation (OP; eps. 1, 34) |  |
| 1997 | *Revolutionary Girl Utena* | Animation Director (eps. 10, 17, 30), Key Animation (eps. 10, 17, 30, 34, 39) |  |
| 1999 | *Magic User's Club* | Key Animation (eps. 4, 13) |  |
| 1999-2000 | *Phantom Thief Jeanne* | Character Design, Animation Director (eps. 27, 34), Key Animation (eps. 34) |  |
| 2000 | *Pocket Monsters* | Animation Director (eps. 143) |  |
| 2001 | *Angelic Layer* | Animation Director (eps. 4), Key Animation (4, 8) |  |
| 2002-03 | *Bomberman Jetters* | Character Design, Animation Director (eps. 24, 29, 39, 52) |  |
| 2002-05 | *Saikano: The Last Love Song on This Little Planet* | Character Design, Animation Director (OP, ED; eps. 5), Key Animation (eps. 1, 13) |  |
| 2003-04 | *Fullmetal Alchemist* | Key Animation (eps. 51) |  |
| 2006 | *Ray The Animation* | Charactet Design, Chief Animation Director, Animation Director (eps. 13) |  |
| 2007-08 | *Tai Chi Chasers* | Character Design |  |
| | *Wangan Midnight* | Character Design, Character Animation Supervisor (eps. 1–3, 6–7, 15) |  |
| 2008 | *Glass Maiden* | Character Design, Chief Animation Director, Animation Director (OP), Key Animation (eps. 1) |  |
| | *Code Geass: Lelouch of the Rebellion R2* | Assistant Animation Director (eps. 16) |  |
| 2009-10 | *Fresh Pretty Cure!* | Character Design, Animation Director (eps. 24, 36, 50), Key Animation (eps. 1–3, 8, 13, 18, 24, 26, 36–37, 50) |  |
| 2011-14 | *Toriko* | Character Design, Chief Animation Director (eps. 2–3, 5–16, 26, 43, 46, 51, 59, 68, 71, 83), Animation Director (eps. 1, 24, 34), Key Animation (ED 3 & 4; eps. 34) |  |
| 2013 | *Dream 9 Toriko & One Piece & Dragon Ball Z Super Collaboration Special!!* | Character Design (*Toriko*), Chief Animation Director (*Toriko*), Key Animation |  |
| 2014-15 | *Mysterious Joker* | Key Animation (OP1-2) |  |
| | *Majin Bone* | Animation Director (eps. 16, 23, 34, 45, 51), Key Animation (eps. 16, 23, 29, 34, 40, 45, 51) |  |
| 2015 | *Go! Princess PreCure* | Key Animation (eps. 11) |  |
| | *Dragon Ball Super* | Key Animation (OP) |  |
| | *The Disappearance of Nagato Yuki-chan* | Animation Director (OP; eps. 10, 13), Key Animation (eps. 1, 10) |  |
| 2016 | *Tiger Mask W* | Character Design, Chief Animation Director (eps. 1–7, 12–13, 22, 28), Animation Director (eps. 18, 27, 32, 37) |  |
| 2019 | *Dororo* | Key Animation (OP2) |  |
| 2020 | *Oda Cinnamon Nobunaga* | Character Design, Chief Animation Director |  |
| 2020-22 | *Dragon Quest: The Adventure of Dai* | Chief Animation Director (eps. 8, 11, 13, 15, 17, 19, 21, 23, 25, 27, 29, 31, 35, 38, 41, 45, 49, 54, 57, 61, 65, 69, 73, 78, 84, 88, 92, 95, 98), Animation Director (eps. 100), Key Animation (eps. 73, 98) |  |
| 2024 | *Bucchigiri?!* | Key Animation (eps. 7) |  |
|

### Anime film

| Year | Title | Credit | Note |
| --- | --- | --- | --- |
| 1993 | *Sailor Moon R: The Movie* | Key Animation |  |
| 1994 | *Sailor Moon S: The Movie* | Character Design, Animation Director |  |
| 1995 | *Sailor Moon SuperS: The Movie* | Character Design, Animation Director |  |
| 1999 | *Pikachu's Rescue Adventure* | Key Animation | Short feature released alongside *Pocket Monsters the Movie: Revelation Lugia* |
| | *Adolescence of Utena* | Key Animation |  |
| 2000 | *Pocket Monsters the Movie: Emperor of the Crystal Tower-ENTEI* | Character Design, Chief Animation Director |  |
| 2005 | *Futari wa Pretty Cure Max Heart the Movie* | Key Animation |  |
| | *Futari wa Pretty Cure Max Heart the Movie 2: Friends of the Snow-Laden Sky* | Key Animation |  |
| 2009 | *Pretty Cure All Stars DX: Everyone's Friends - the Collection of Miracles!* | Original Character Design (*Fresh Pretty Cure!*) |  |
| | *Fresh Pretty Cure! the Movie: The Toy Kingdom has Lots of Secrets!?* | Character Design |  |
| 2010 | *Pretty Cure All Stars DX2: Light of Hope - Protect the Rainbow Jewel!* | Original Character Design (*Fresh Pretty Cure!*), Key Animation |  |
| | *HeartCatch PreCure! the Movie: Fashion Show in the Flower Capital…Really?!* | Assistant Animation Director |  |
| 2011 | *Pretty Cure All Stars DX3: Deliver the Future! The Rainbow-Colored Flower That Connects the World* | Original Character Design (*Fresh Pretty Cure!*), Key Animation |  |
| | *Buddha: The Great Departure* | Animation Director |  |
| | *Toriko 3D: Kaimaku! Gourmet Adventure!!* | Character Design, Key Animation |  |
| 2012 | *Pretty Cure All Stars New Stage: Friends of the Future* | Original Character Design (*Fresh Pretty Cure!*), Key Animation |  |
| 2013 | *Pretty Cure All Stars New Stage 2: Friends of the Heart* | Original Character Design (*Fresh Pretty Cure!*) |  |
| | *Toriko the Movie: Secret Recipe of the Gourmet God!* | Character Design |  |
| 2014 | *Pretty Cure All Stars New Stage 3: Eternal Friends* | Original Character Design (*Fresh Pretty Cure!*) |  |
| 2015 | *Pretty Cure All Stars: Spring Carnival* | Original Character Design (*Fresh Pretty Cure!*) |  |
| | *Go! Princess Pretty Cure the Movie: Go! Go!! Gorgeous Triple Feature!!!* | Character Design (*Pumpkin Kingdom's Treasure*), Animation Director (*Pumpkin Kingdom's Treasure*) |  |
| 2016 | *Pretty Cure All Stars: Singing with Everyone! Miraculous Magic!* | Original Character Design (*Fresh Pretty Cure*), Key Animation |  |
| | *Pop in Q* | Key Animation |  |
| 2017 | *Kirakira Pretty Cure a la Mode the Movie: Crisply! The Memory of Mille-feuille!* | Assistant Animation Director |  |
| 2018 | *Pretty Cure Super Stars!* | Character Design, Chief Animation Director |  |
| | *Hug! Pretty Cure Futari wa Pretty Cure: All Stars Memories* | Original Character Design (*Fresh Pretty Cure!*) |  |
| | *The Seven Deadly Sins the Movie: Prisoners of the Sky* | Key Animation |  |
| 2019 | *Pretty Cure Miracle Universe* | Original Character Design (*Fresh Pretty Cure*) |  |
| 2021 | *Pretty Guardian Sailor Moon Eternal The Movie* | Key Animation (Part 1) | 2-Part film, Season 4 of *Sailor Moon Crystal* (*Dead Moon* arc) |
| 2022 | *One Piece Film: Red* | Key Animation |  |
| 2023 | *Pretty Cure All Stars F* | Original Character Design (*Fresh Pretty Cure*), Key Animation |  |
| | *Birth of Kitarō: The Mystery of GeGeGe* | Key Animation |  |
|

### OVA (Original Video Animation)

| Year | Title | Credit | Note |
| --- | --- | --- | --- |
| 1996-97 | *Magic User's Club* | Key Animation (eps. 4, 6) |  |
| 2005 | *Saikano: Another Love Song* | Character Design, Key Animation |  |
| 2011 | *Valkyria of the Battlefield 3: The Wound Taken from Someone's Sake* | Key Animation (OP) |  |
|

### Live-Action

| Year | Title | Credit | Note |
| --- | --- | --- | --- |
| 2016 | *Come Back! Shuriken Sentai Ninninger: Ninnin Girls vs. Boys FINAL WARS* | Key Animation | Live-action direct-to-video film
Animated attack sequence. |
|

## InfoBox

| Hisashi Kagawa | |
| --- | --- |
| 香川 久 | |
| Born | (1965-06-23) June 23, 1965
Ehime Prefecture, Japan |
| Nationality | Japanese |
| Occupation(s) | Animator, Character Designer, Animation Director |
| Years active | 1988–present |
| Notable work |  |