title: USS Delta (AR-9)

abstract: USS Delta (AK-29/AR-9) was the lead ship of her class of repair ships in the United States Navy during World War II. She was originally built as the merchant ship SS Hawaiian Packer before her requisition by the U.S. Navy in 1941. Before conversion to a repair ships, Delta briefly served as a U.S. Navy cargo ship.

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# USS Delta (AR-9)

**USS *Delta* (AK-29/AR-9)** was the lead ship of her class of repair ships in the United States Navy during World War II. She was originally built as the merchant ship **SS *Hawaiian Packer*** before her requisition by the U.S. Navy in 1941. Before conversion to a repair ships, *Delta* briefly served as a U.S. Navy cargo ship.

## Career

### World War II

*Delta* was built in 1941 as the *Hawaiian Packer* by Newport News Shipbuilding, Newport News, Virginia, one of four Type C3 ships ordered by the Matson Navigation Company. Launched on 2 April, she was acquired by the Navy on 4 June 1941; and commissioned as USS *Delta* (AK-29) on 16 June 1941.

From 8 July 1941 to May 1942 *Delta* carried cargo from east coast ports to Guantanamo Bay, Cuba; Puerto Rico; Bermuda; Argentina; Newfoundland, Halifax, and Nova Scotia, Canada; and Reykjavík, Iceland. On 1 July 1942, *Delta* was reclassified as **AR-9**, and was placed in reserve commission for conversion to a fleet repair ship by Cramp Shipyard, Philadelphia.

*Delta* sailed from Philadelphia on 3 March 1943, and between March and June repaired amphibious ships and craft at Oran, Algeria. She served similarly at Bizerte, Tunisia, from June to March 1944, then at Palermo, Italy, and on 8 July sailed for Pozzuouli, Italy, to prepare landing craft for their return to the United States. Her final Mediterranean duty, from November to April 1945, was to tend destroyers at Oran.

She returned to Norfolk Naval Shipyard for overhaul on 27 April 1945, and on 15 June sailed for Pearl Harbor for a month of repair duty. On 26 August, she arrived at Yokosuka Naval Base for general fleet repair work, including the assignment of preparing *Nagato*, the former Japanese battleship, for the atomic weapons tests of 1946 at Bikini. *Delta* served the Fleet at Shanghai from March through June 1946, and on 17 July arrived at Philadelphia, where she was decommissioned and placed in reserve on 5 March 1947.

### Korea

Recommissioned 1 November 1950, *Delta* arrived at San Diego on 8 March 1951 to provide repair services to ships of the Pacific Fleet there and at Long Beach, California as well as on periodic deployments to the Far East. Her first such, during the Korean War, was from 25 June 1952 until 14 February 1953. On her second, in 1953 and 1954, she joined in Operation "Passage to Freedom", the evacuation of Vietnamese to South Vietnam upon the partition of Indochina. During her last Far Eastern service, in 1955, she served as flagship for the Blockading and Escort Force off Korea. She returned from this cruise to Tacoma, Washington, where she was decommissioned and placed in reserve 1 December 1955.

### Vietnam

On 31 October 1959, *Delta* was recommissioned in a dual ceremony at Bremerton Naval Shipyard, as USS *Kermit Roosevelt* (ARG-16) was decommissioned and her crew simultaneously recommissioned *Delta*. She served for another eleven years until being decommissioned on 20 June 1970 at Bremerton Naval Shipyard. *Delta* was stricken from the Naval Register on 1 October 1977 and transferred to the Maritime Administration (MARAD) for lay up in the National Defense Reserve Fleet. MARAD finally sold *Delta* on 19 July 1983, probably for scrapping.

*Delta* served as a floating machine shop at Mare Island Naval Shipyard under MARAD in 1980 and was located there until detached from MARAD in 1983.

## Awards

*Delta* received two battle stars for World War II service, one battle star for Korean War service and one campaign star for Vietnam War service.

## InfoBox

| USS *Delta* in the 1960s | |
| --- | --- |
| History | |
| United States | |
| Name | USS *Delta* |
| Builder | Newport News Shipbuilding |
| Launched | 2 April 1941 |
| Acquired | 4 June 1941 |
| Commissioned | 16 June 1941 |
| Decommissioned | 5 March 1947 |
| Recommissioned | 1 November 1950 |
| Decommissioned | 1 December 1955 |
| Recommissioned | 31 October 1959 |
| Decommissioned | 20 June 1970 |
| Stricken | 1 October 1970 |
| Fate | Sold for scrapping 1983 |
| General characteristics | |
| Displacement | 8,975 long tons  light |
| Length | 490 ft 6 in (149.50 m) |
| Beam | 69 ft 6 in (21.18 m) |
| Draught | 23 ft 6 in (7.16 m) |
| Speed | 18 knots (33 km/h; 21 mph) |
| Armament |  |


title: Ancient Roman sarcophagi

abstract: In the burial practices of ancient Rome and Roman funerary art, marble and limestone sarcophagi elaborately carved in relief were characteristic of elite inhumation burials from the 2nd to the 4th centuries AD. At least 10,000 Roman sarcophagi have survived, with fragments possibly representing as many as 20,000. Although mythological scenes have been quite widely studied, sarcophagus relief has been called the "richest single source of Roman iconography," and may also depict the deceased's occupation or life course, military scenes, and other subject matter. The same workshops produced sarcophagi with Jewish or Christian imagery. Early Christian sarcophagi produced from the late 3rd century onwards, represent the earliest form of large Christian sculpture, and are important for the study of Early Christian art. They were mostly made in a few major cities, including Rome and Athens, which exported them to other cities. Elsewhere the stela gravestone remained more common. They were always a very expensive form reserved for the elite, and especially so in the relatively few very elaborately carved examples; most were always relatively plain, with inscriptions, or symbols such as garlands. Sarcophagi divide into a number of styles, by the producing area. "Roman" ones were made to rest against a wall, and one side was left uncarved, while "Attic" and other types were carved on all four sides; but the short sides were generally less elaborately decorated in both types. The time taken to make them encouraged the use of standard subjects, to which inscriptions might be added to personalize them, and portraits of the deceased were slow to appear. The sarcophagi offer examples of intricate reliefs that depict scenes often based on Greek and Roman mythology or mystery religions that offered personal salvation, and allegorical representations. Roman funerary art also offers a variety of scenes from everyday life, such as game-playing, hunting, and military endeavors. Early Christian art quickly adopted the sarcophagus, and they are the most common form of early Christian sculpture, progressing from simple examples with symbols to elaborate fronts, often with small scenes of the Life of Christ in two rows within an architectural framework. The Sarcophagus of Junius Bassus is of this type, and the earlier Dogmatic Sarcophagus rather simpler. The huge porphyry Sarcophagi of Helena and Constantina are grand Imperial examples. Cremation was the predominant means of disposing of remains in the Roman Republic. Ashes contained in cinerary urns and other monumental vessels were placed in tombs. From the 2nd century AD onward, inhumation became more common, and after the Roman Empire came under Christian rule, was standard practice. The Sarcophagus of Lucius Cornelius Scipio Barbatus is a rare example from much earlier. A sarcophagus, which means "flesh-eater" in Greek, is a stone coffin used for inhumation burials. Sarcophagi were commissioned not only for the elite of Roman society, but also for children, entire families, and beloved wives and mothers. The most expensive sarcophagi were made from marble, but other stones, lead, and wood were used as well. Along with the range in production material, there existed a variety of styles and shapes, depending on where the sarcophagus was produced and whom it was produced for.

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# Ancient Roman sarcophagi

In the burial practices of ancient Rome and Roman funerary art, marble and limestone sarcophagi elaborately carved in relief were characteristic of elite inhumation burials from the 2nd to the 4th centuries AD. At least 10,000 Roman sarcophagi have survived, with fragments possibly representing as many as 20,000. Although mythological scenes have been quite widely studied, sarcophagus relief has been called the "richest single source of Roman iconography," and may also depict the deceased's occupation or life course, military scenes, and other subject matter. The same workshops produced sarcophagi with Jewish or Christian imagery. Early Christian sarcophagi produced from the late 3rd century onwards, represent the earliest form of large Christian sculpture, and are important for the study of Early Christian art.

They were mostly made in a few major cities, including Rome and Athens, which exported them to other cities. Elsewhere the stela gravestone remained more common. They were always a very expensive form reserved for the elite, and especially so in the relatively few very elaborately carved examples; most were always relatively plain, with inscriptions, or symbols such as garlands. Sarcophagi divide into a number of styles, by the producing area. "Roman" ones were made to rest against a wall, and one side was left uncarved, while "Attic" and other types were carved on all four sides; but the short sides were generally less elaborately decorated in both types.

The time taken to make them encouraged the use of standard subjects, to which inscriptions might be added to personalize them, and portraits of the deceased were slow to appear. The sarcophagi offer examples of intricate reliefs that depict scenes often based on Greek and Roman mythology or mystery religions that offered personal salvation, and allegorical representations. Roman funerary art also offers a variety of scenes from everyday life, such as game-playing, hunting, and military endeavors. Early Christian art quickly adopted the sarcophagus, and they are the most common form of early Christian sculpture, progressing from simple examples with symbols to elaborate fronts, often with small scenes of the Life of Christ in two rows within an architectural framework. The Sarcophagus of Junius Bassus (ca. 359) is of this type, and the earlier Dogmatic Sarcophagus rather simpler. The huge porphyry Sarcophagi of Helena and Constantina are grand Imperial examples.

Cremation was the predominant means of disposing of remains in the Roman Republic. Ashes contained in cinerary urns and other monumental vessels were placed in tombs. From the 2nd century AD onward, inhumation became more common, and after the Roman Empire came under Christian rule, was standard practice. The Sarcophagus of Lucius Cornelius Scipio Barbatus is a rare example from much earlier. A sarcophagus, which means "flesh-eater" in Greek, is a stone coffin used for inhumation burials. Sarcophagi were commissioned not only for the elite of Roman society (mature male citizens), but also for children, entire families, and beloved wives and mothers. The most expensive sarcophagi were made from marble, but other stones, lead, and wood were used as well. Along with the range in production material, there existed a variety of styles and shapes, depending on where the sarcophagus was produced and whom it was produced for.

## History

### Before sarcophagi

Inhumation burial practices and the use of sarcophagi were not always the favored Roman funerary custom. The Etruscans and Greeks used sarcophagi for centuries before the Romans finally adopted the practice in the second century. Prior to that period, the dead were usually cremated and placed in marble ash chests or ash altars, or were simply commemorated with a grave altar that was not designed to hold cremated remains. Despite being the main funerary custom during the Roman Republic, ash chests and grave altars virtually disappeared from the market only a century after the advent of the sarcophagus.

It is often assumed that the popularity for sarcophagi began with the Roman aristocracy and gradually became more accepted by the lower classes. However, in the past, the most expensive and ostentatious grave altars and ash chests were commissioned more frequently by wealthy freedmen and other members of the emerging middle class than by the Roman elite. Due to this fact and the lack of inscriptions on early sarcophagi, there is not enough evidence to make a judgment on whether or not the fashion for sarcophagi began with a specific social class. Surviving evidence does indicate that a great majority of early sarcophagi were used for children. This suggests that the change in burial practice may not have simply stemmed from a change in fashion, but perhaps from altered burial attitudes. It is possible that the decision to begin inhuming bodies occurred because families believed that inhumation was a kinder, and less disturbing burial rite than cremation, thus necessitating a shift in burial monument.

### Stylistic transition from altars and ash chests to sarcophagi

Although grave altars and ash chests virtually disappeared from the market in the second century, aspects of their decoration endured in some stylistic elements of sarcophagi. The largest stylistic group of early sarcophagi in the second century is garland sarcophagi, a custom of decoration that was previously used on ash chests and grave altars. Though the premise of the decoration is the same, there are some differences. The garland supports are often human figures instead of the animal heads used previously. In addition, specific mythological scenes fill the field, rather than small birds or other minor scenes. The inscription panel on garland ash altars and chests is also missing on garland sarcophagi. When a sarcophagus did have an inscription, it seemed to be an extra addition and usually ran along the top edge of the chest or between the decorations. The fact that early garland sarcophagi continued the tradition of grave altars with decorated garlands suggests that the customers and sculptors of sarcophagi had similar approaches to those who purchased and produced grave altars. Both monuments employed a similar collection of stylistic motifs with only subtle shifts in iconography.

### Metropolitan Roman, Attic, and Asiatic sarcophagus production centers

Sarcophagi production of the ancient Roman Empire involved three main parties: the customer, the sculpting workshop that carved the monument, and the quarry-based workshop that supplied the materials. The distance between these parties was highly variable due to the extensive size of the Empire. Metropolitan Roman, Attic, and Asiatic were the three major regional types of sarcophagi that dominated trade throughout the Roman Empire. Although they were divided into regions, the production of sarcophagi was not as simple as it might appear. For example, Attic workshops were close to Mount Pentelikon, the source of their materials, but were usually very far from their client. The opposite was true for the workshops of Metropolitan Rome, who tended to import large, roughed out sarcophagi from distant quarries in order to complete their commissions. Depending on distance and customer request (some customers might choose to have elements of their sarcophagi left unfinished until a future date, introducing the possibility of further work after the main commission), sarcophagi were in many different stages of production during transport. As a result, it is difficult to develop a standardized model of production.

#### Metropolitan Rome

Rome was the primary production center in the western part of the empire. A Metropolitan Roman sarcophagus often took the shape of a low rectangular box with a flat lid. As the sarcophagus was usually placed in a niche or against a wall in a mausoleum, they were usually only decorated on the front and two shorter sides. Many were decorated with carvings of garlands and fruits and leaves, as well as narrative scenes from Greek mythology. Battle and hunting scenes, biographical events from the life of the deceased, portrait busts, the profession of the deceased and abstract designs were also popular.

#### Attic

Athens was the main production center for Attic style sarcophagi. These workshops mainly produced sarcophagi for export. They were rectangular in shape and were often decorated on all four sides, unlike the Metropolitan Roman style, with ornamental carvings along the bottom and upper edge of the monument. The lids were also different from the flat metropolitan Roman style and featured a pitched gable roof, or a kline lid, which is carved in the style of couch cushions on which the form of the deceased reclines. The great majority of these sarcophagi also featured mythological subjects, especially the Trojan War, Achilles, and battles with the Amazons.

#### Asia Minor (Asiatic)

The Dokimeion workshops in Phrygia specialized in architecturally formed large-scale Asiatic sarcophagi. Many featured a series of columns joined by an entablature on all four sides with human figures in the area between the columns. The lids were often made in the gabled-roof design in order to complete the architectural-style sarcophagi so the coffin formed a sort of house or temple for the deceased. Other cities in Asia Minor produced sarcophagi of the garland tradition as well. In general, the sarcophagi were decorated on either three or four sides, depending on whether they were to be displayed on a pedestal in an open-air setting or against the walls inside tombs.

### Myth and meaning on ancient Roman sarcophagi

A transition from the classical garland and seasonal reliefs with smaller mythological figures to a greater focus on full mythological scenes began with the break up of the classical style in the late second century towards the end of Marcus Aurelius' reign. This shift led to the development of popular themes and meanings portrayed through mythological scenes and allegories. The most popular mythological scenes on Roman sarcophagi functioned as aids to mourning, visions of life and happiness, and opportunities for self-portrayal for Roman citizens.

Images of Meleager, the hero who slew the Calydonian Boar, being mourned by his lover and hunting companion Atlanta, as well as images of Achilles mourning Patroclus were very common on sarcophagi that acted as grieving aids. In both cases, the mythological scenes were akin to mourning practices of ordinary Roman citizens in an effort to reflect their grief and comfort them when they visited the tomb. Playful images depicting Nereids, Dionysiac triumphs, and love scenes of Dionysus and Ariadne were also commonly represented on sarcophagi. It is possible that these scenes of happiness and love in the face of death and mourning encouraged the living to enjoy life while they could, and reflected the celebration and meals that the mourners would later enjoy in the tomb when they returned to visit the deceased. The third century involved the return in popularity of self-representation on Roman sarcophagi.

There were several different ways Roman citizens approached self-representation on sarcophagi. Some sarcophagi had actual representations of the face or full figure of the deceased. In other cases, mythological portraits were used to connect characteristics of the deceased with traits of the hero or heroine portrayed. For example, common mythological portraits of deceased women identified them with women of lauded traits in myth, such as the devoted Selene or loyal Alcestis. Scenes featuring the figures of Meleager and Achilles expressed bravery and were often produced on sarcophagi holding deceased men. Biographical scenes that emphasize the true virtues of Roman citizens were also used to commemorate the deceased. Scholars argue that these biographical scenes, as well as the comparisons to mythological characters, suggest that self-portrayal on Roman sarcophagi did not exist to celebrate the traits of the deceased, but rather to emphasize favored Roman cultural values and demonstrate that the family of the deceased were educated members of the elite that could understand difficult mythological allegories.

### Third- and fourth-century sarcophagi

The breakup of the classical style led to a period in which full mythological reliefs with an increase in the number of figures and an elongation of forms became more popular, as discussed above. The proportion of figures on the reliefs also became increasingly unbalanced, with the main figures taking up the greatest area with smaller figures crowded in the small pockets of empty space. In the third century, another transition in theme and style of sarcophagi involved the return in popularity of representing mythological and non-mythological portraits of the deceased. Imagery of the four seasons also becomes popular during the third and fourth centuries. With the advent of Christianity in the third century, traditional motifs, like the seasons, remained, and images representing a belief in the afterlife appeared. The change in style brought by Christianity is perhaps most significant, as it signals a change in emphasis on images of retrospection, and introduced images of an afterlife.

## Themes and imagery

### The Tragic Sarcophagi

#### The Massacre of the Niobids

The story of Niobe and her 14 children is a tragic one. Niobe, after having so many children that reached maturity, bragged about having so many children to Leto, who had only two. This act of hubris was unforgivable to the Titan, so she sent her two children, Apollo and Artemis, to kill her children. According to Ovid's version, the twins kill the sons first while they practice riding outside the city, and then the daughters as they are mourning their brothers and fathers. In the myth, supposedly the father kills himself out of grief after their seven sons die, and when Artemis has killed all but the youngest daughter, Niobe begs for her to be spared. Alas, she is not spared, and out of grief Niobe turns to stone.

On the Sarcophagus showing the massacre of Niobe's children, carved ca. 160 AD and now in Munich's Glyptothek, Artemis is depicted on the far left shooting five female Niobids (“Niobids” is a term for the children of Niobe), with Apollo on the far right shooting five male Niobids, both of which have a dead child laying at their feet. The front of this sarcophagus only shows ten Niobids, but two more are depicted on either side of it. There are also two bearded Pedagogues shown trying to save the Niobids on the front and a nurse on the left trying to do the same on the front, along with Niobe herself on the left trying to protect one of her daughters. The lid depicts all 14 corpses stacked on top of one another in a disorderly fashion, emphasizing the heartlessness of this tragedy.

This myth is used on relatively few sarcophagi, but like many other sarcophagi depicting tragedies, the intention behind this imagery is to show the viewer how tragic the death of their loved one was. All 14 Niobids were taken as children, which is a tragedy in that they had so much longer to live and more things to do, and the manner in which they died is also highly tragic. Niobe, especially, must have felt very upset with the loss of her children, since she was previously so happy to have had so many children, she had farther to fall emotionally. Plus, she lost her husband due to this massacre, so she was truly alone in the world. The person who picked out this sarcophagus for their loved one likely saw themselves as Niobe and their loved one as the Niobids, left behind after a tragedy to mourn alone. This imagery was not used to comfort those left behind, but to emphasize to the latter what had been lost, and perhaps they found solace in comparing their own loss to that of Niobe.

#### Medea/Creusa

Medea’s story is commonly considered one of the first feminist pieces of literature, since the plight of its main character, Medea, a strong-willed woman hemmed in by a patriarchal system, is shown to be a sympathetic one, even if her actions are questionable. In her myth, she betrays her father, Aeëtes, king of Colchis, to help Jason, leader of the Argonauts, steal the Golden Fleece. Then, they sail to Corinth, where they live together happily for a few years and have two children. Eventually, Jason repudiates Medea in order to marry the princess of Corinth, Creusa (or sometimes referred to as Glauce). Medea does not take lightly to this, since she gave up everything for Jason, so in her rage, she infuses a golden diadem and a robe with poisonous magic, and has her two sons deliver the lethal gifts to the princess. Creusa puts them on, assuming these gifts innocuous, and catches on fire, her flesh melting from the magical enchantments. Her father, Creon, attempts to pull the gifts off his daughter, but—as related in Euripides's canonical drama—he too dies from this contact. Both Creon and Creusa/Glauce thus suffer horrible deaths. For the final touch, Medea kills her own children, takes their corpses, and rides off on her chariot drawn by snakes.

A good example of its presentation on Roman sarcophagi is the piece carved ca. 150 AD and now in Berlin's Altes Museum. Reading it from left to right, we see, first, Jason standing and watching as his and Medea's two young sons prepare to carry the two poisoned gifts to the princess Creusa, while their aged nurse watches over them; and then just to the right, Jason again, paying a visit to the seated princess. The center is given over to the princess's horrific end: Creon looks on Creusa in horror as his daughter flails about, screaming, flames shooting up from her forehead, as she dies a gruesome death. To the right of that, Medea is shown drawing her sword, about to kill her children playing innocently at her feet, and then on the far right she escapes in her chariot drawn by winged serpents, with one child's corpse over her shoulder, while the leg of the other dangles limply from the back of the chariot.

Although this is Medea's story, the use of this myth on sarcophagi is not to compare the deceased to Medea, but rather to Creusa. Showing Creusa perfectly happy and youthful in the first half of the imagery and immediately following it up with her tragic death and the horrible death of Medea's children emphasizes the immense loss that the family feels. When one imagines their loved one as Creusa, it seems that she had everything waiting for her in life but was cruelly stolen from our world far before her time, and Creon likewise functions as a stand-in for the family member of the deceased who would feel the loss of their loved one most. Particularly in the time of the Romans, the greatest achievement in a woman's life was marriage, and the worst disaster her death. As such, the imagery on Medea sarcophagi show the highest point of her life, followed by her sudden, terrible death, making the tragedy all the worse through the surprise of the family.

#### Abduction of Persephone

Several versions of the myth of the abduction of Persephone survive from antiquity, the Homeric Hymn to Demeter being one, and the version in Ovid’s *Metamorphoses* being another. In the Homeric Hymn to Demeter, Persephone is picking flowers in a field with other goddesses, among them Artemis and Athena, when the ground suddenly opens up. Hades flies out of it on his chariot, grabs Persephone, and whisks her away to the underworld. When Demeter, her mother, finds out what happened, she prevents crops from growing, and therefore preventing the gods from receiving the offerings they so desire. Zeus, in exchange for her stopping her tirade, sends Hermes down to the Underworld to order Hades to bring her back, and he obliged. However, Hades had earlier offered Persephone pomegranate seeds, and she had eaten four, binding her to him as his wife (the eating of pomegranates, a symbol of sexual awakening and fertility, played a role in Greek weddings). Zeus thus determined that Persephone would spend eight months of every year above ground, with her mother, while the other four months, one for each seed eaten, would see her rejoin her dark husband in the gloom of the Underworld. In Ovid’s version, there is a stronger emphasis on Hades’ love for Persephone.

A sarcophagus in Rome's Capitoline Museum, carved between 230 and 240 AD, renders the scene in detail. It depicts Hades snatching Persephone (here she bears the portrait features of the dead woman buried within) as the central image, with Athena reaching out towards them in an attempt to prevent the abduction from taking place. Demeter is on her chariot pulled by serpents on the far left, a way of visualizing her wrath, even though she was not present during the abduction. In between her and Athena is a scene of Hades surprising Persephone, Persephone looking unwilling, Aphrodite above her urging her to go with him, and Artemis behind Hades readying her bow to protect her companion. On the far right, Hermes is seen leading Hades’ horses, Nike with a wreath in her right hand and a palm branch in her left, and Hercules with his club.

This myth used on this type of sarcophagi typically meant for women, with the head of Persephone as she gets abducted commonly being a portrait of the deceased that was buried in the sarcophagus (seen in the Sarcophagus with the Rape of Persephone, ca. 230–240). The image of Demeter, Artemis, and Athena are meant to invoke the same sense of tragedy and grief that the Roman individual who got this for their loved one would feel, through the perspective of Demeter's own loss. Persephone, like the deceased loved one that rests within, was taken in her prime, without the chance of leading a full life. The tragedy of the loss of the deceased is felt throughout their own personal world, just like in the Hymn to Demeter. Additionally, this imagery could also have been used on other sarcophagi that put portrait features on Hades riding his chariot to show that the husband, who perhaps died first, is finally in union with his wife again in the afterlife. Rather than evoking a sense of tragedy of her loss, it could bring some reprieve to the family members the deceased left behind that they are finally united with their spouse in the afterlife.

### Sarcophagi with 'Erotic Sleepers'

Among the most common themes depicted on Roman sarcophagi spread over a hundred years are variants of the 'erotic sleeper'. The finality of death was avoided through depictions of the deceased alternatively as asleep. Rather than dealing with the permanent loss of a loved one, they could be imagined as still present in a way, and somewhat aware of the world around them. Sleep allowed for hope amongst the living that they may one day reunite with the deceased in dreams or in their own eternal sleep. Frequently used mythological subjects included sarcophagi reliefs featuring the moon goddess Selene and the sleeping shepherd/hunter Endymion as well as reliefs featuring the god of wine Dionysus and the sleeping figure of Ariadne, which further introduced an erotic/romantic note into these scenes, celebrating the romantic love that the deceased couple had enjoyed.

#### Selene and Endymion

As commonly seen on sarcophagi featuring the myth of Selene and Endymion — a good example is the sarcophagus carved ca. 230–240 AD and now in the Louvre — Selene is depicted as descending from her chariot pulled by horses or sometimes oxen. Endymion lies before her, stretched out in a pose signifying sleep before the viewer, sometimes on a rock. Cupids surround the couple, representing their love. Oftentimes, either the god Hypnos, the personification of sleep, or the goddess Nox, the personification of night, are pictured carrying a poppy in one hand and pouring a sleeping potion over Endymion with the other, reiterating his eternal slumber. Pastoral imagery of shepherds, flocks of animals, and herding dogs are scattered throughout setting the tone of felicity and peace. Other gods can be seen throughout these reliefs representing physical or cosmic aspects of the myth.

Sarcophagi of this nature that were intended for a man can be read as a portrayal of a wife visiting her deceased husband and moreover, a reflection of the viewer's own experience approaching their deceased loved one. Selene carries a torch or is accompanied by cupids carrying torches in order to light her way in the night similar to how a visitor to the deceased would carry a torch to see in the darkness of a tomb. As seen on an early (ca. 150 AD) sarcophagus in the Metropolitan Museum of Art in New York City featuring Selene and Endymion, the cupids at the corners invert their torches as a customary Roman sign of mourning further emphasizing the funerary context. Selene can also be seen carrying a garland representative of the banquets and feasts that were held at tomb sites. The background characters of nymphs, shepherds, and cupids play the role of other familial visitors gathered around the actual sarcophagus to visit their beloved deceased. Many sarcophagi featuring Selene and Endymion have portrait features or the faces of Selene and Endymion carved out for portrait features, furthering the connection between Selene as wife and Endymion as husband.

While Selene and Endymion can still be imagined as a husband and wife, it was possible for Selene to be imagined as a representation of a deceased wife, and Endymion as a living husband. Specifically seen in a sarcophagus in Rome's cathedral of San Paolo fuori le mura, Selene is figured as an apparition of a bride, since she is here shown floating and dressed in bridal drapery. In this case, Endymion is imagined to actually be sleeping and representative of the husband of the deceased woman. The deceased bride is visiting her sleeping husband in his dreams. Above her are three stars, along with the vestiges of two small boys, who are probably personifications of Phosphorus and Hesperus, the morning and evening stars. Their presence implies that Selene's visits occur between the evening and morning and are also representative of recurring dream visits by the deceased.

Looking at Selene and Endymion as representative of a married couple, the myth itself relates a cosmic love. Helios and Selene are often pictured on opposite ends of these sarcophagi representing the cycle of night and day that continues eternally. The depiction of Tellus, the personification of the Earth, as sometimes seen as a background character to these sarcophagi, also displays the cosmic significance of their love. The cupids, as well as loosely draped clothing on Selene, convey an erotic tone. Endymion is often exposed and has suggestively draped clothing either pointed out or further accentuated by cupids or extra characters such as Hypnos.

Occasionally, Selene and Endymion sarcophagi are used to represent familial love rather than erotic marital love. A good example is another Selene and Endymion sarcophagus in New York's Metropolitan Museum, a huge and exquisitely carved piece carved ca. 200–220 AD. This one features a portrait and inscription on the lid explaining that the sarcophagus was commissioned by a daughter for her mother. The placement of the portrait above the goddess was likely done to emphasize the beauty of the mother and describe her as coming to visit her sleeping family similar to other sarcophagi of this subject. Endymion would then be a broad representation of family rather than a husband. A child sarcophagus commissioned by his parents displaying this subject matter was likely comparing the child's beauty to that of Endymion rather than as something Romantic. The erotic nature of the myth is toned down and the focus is placed on the deceased imagined as Endymion resting in eternal sleep.

In a more general sense, the idea of eternal sleep rather than death provided comfort to the living family of the deceased. The removal of the finality of death brought about hope that the departed was not truly gone. Sleep leaves a person in a state where they are not present or aware of the world around them resonating deeply with death. The use of pastoral imagery as seen in shepherds further relays the peace and comfort that comes with sleep. Flocks of animals on these sarcophagi or even the shepherds themselves are often seen sleeping similar to Endymion or the deceased. If the deceased is imagined as Selene coming to visit in dreams, the remaining family is comforted by the potential nighttime visits they can have with their beloved.

#### Dionysus and Ariadne

Sarcophagi featuring Dionysus and Ariadne show the drunken Dionysus propped up by a satyr as he gazes upon his beloved Ariadne for the first time. He stands before her sleeping form as she faces the viewer, her body exposed. The remainder of the sarcophagi depicts the procession of Dionysiac revelers celebrating with song and dance. Ariadne is oftentimes given portrait features or was prepared to have portrait features. Comparisons to Ariadne are used to exemplify beauty and likely did just that for the deceased. Similar to the Selene and Endymion sarcophagi, the deceased is meant to be imagined as Ariadne being visited by her husband in the form of Dionysus. The way in which Dionysus gazes upon Ariadne is meant to evoke intense and eternal love between the pair as well as the deceased and their loved one. Ariadne is imagined to then be taken up to live happily amongst Dionysus and his revelers, providing comfort for the family that their own deceased continues to enjoy happiness even in death. Matching pairs of sleeper sarcophagi, now displayed in the Louvre in Paris, were found in Bordeaux with one displaying the myth of Selene and Endymion and the other the myth of Dionysus and Ariadne. It is believed that the Selene and Endymion sarcophagus contained the husband while the Dionysus and Ariadne sarcophagus contained the wife, drawing a direct comparison between the sleeper and deceased. The scenes of cosmic love, as well as matching sarcophagi featuring a sleeping deceased, exemplified the bond between husband and wife. The Dionysus and Ariadne sarcophagus of this pairing featured a centaur family amongst the revelers. This familial image held no significance in the myth itself but is, rather, used as a bridge between the myth and the life of a Roman visitor.

### Dionysian Imagery

One of the more curious examples of mythological and biographical sarcophagi are those featuring Dionysian imagery. Dionysus (or, as the Romans called him, Bacchus) is known as a god of celebration and revelry, particularly of wine, and the wild areas of the world outside the cities. As such he and symbolism associated with him were popular for their ability to show scenes of joy or relaxation. Dionysian imagery is usually shown through the use of wine, grapes, and a generally festive atmosphere. Dionysus is often associated with large predatory cats, especially panthers, and as such images of felines tend to crop up often as well. Dionysus himself is often shown as a young man, beardless, often drunken. His bride, Ariadne, is also depicted often, either enjoying time with her husband, or sleeping, being approached by the procession of her future husband Dionysus.

#### Various Shapes of Dionysian Sarcophagi

Most Roman sarcophagi are rectangular in shape, and as such, as a god known for ignoring conventions in his mythology, Dionysian sarcophagi sometimes fittingly go against even this most basic convention of the art. Sarcophagi with Dionysian imagery often feature ends that are curved and rounded off, rather than squared off. Sarcophagi with this shape are called *lenos* Sarcophagi, named after Greek and Roman term for a wine vat, i.e., the tub in which grapes were crushed and fermented during the process of creating wine. This lends to the metaphorical connection ripening of the body of the deceased as it decomposes and the fermenting of the grapes as they begin to form wine. This type of shape is also used to represent the passage of time, the rounded edge allowing for the imagery of unending cycles that cannot easily be represented across the corners of a traditional sarcophagus. Several of the sarcophagi with Dionysian imagery shown in this section are of lenos shape.

#### Basic Conventions of Dionysian Sarcophagi

Dionysian imagery was meant to show a fun atmosphere of enjoyment. Often this was done by depicting him and his followers in a procession across the piece. One such example is the sarcophagi displayed in Rome's Baths of Diocletian. It depicts the servants of Dionysus—the male satyrs and the female bacchants—as they play music, drink wine, and dance. A pair of donkeys, one so intoxicated that it can no longer stand, attempts to haul an old drinking buddy of Dionysus, an old, bald, pudgy, boozy reveller named Silenus, by cart. Each of these characters has a different role to play in the minds of the viewer. Silenus represents a drunken state in which the affected almost seems like an old man; hunched over, unable to walk, often barely able to stand. The Satyrs sometimes bring a sexually frisky note to the revelry. They are often depicted attempting to seduce the female bacchants who show no interest, spurn the advances, and continue playing their music and enjoying the party.

Other types of Dionysian imagery include those sarcophagi, many of them lenos-shaped, which show images of grapes and the wine making process. Often cupids gathering grapes and crushing them to obtain their juices are present. One example of a lion-headed lenos sarcophagi now in the Getty Villa in Malibu, shows cupids picking grapes from the vine, as well as others who crush grapes with their feet within a lenos. Another popular format of Roman Sarcophagi are the so-called *strigillated* sarcophagi, whose front panels are dominated by rows of S-shaped curves, often used to evoke water or another liquid. It can be associated with wine. See, for example, the lion-headed lenos sarcophagus currently in use as a water basin in Rome's Palazzo Mattei, a use which must have been inspired by the liquid associations of the S-shaped strigillated decoration.

Because of his association with the wilder parts of the human psyche, Dionysus is closely associated with large wild felines, especially lions (hence the common presence of lion heads on lenos sarcophagi shaped like wine vats) and panthers. On Roman sarcophagi, a panther can often be seen within the parade Dionysus is participating in, and lion heads can often be seen prominently on sarcophagi. A good example is the so-called "Badminton Sarcophagus" in New York's Metropolitan Museum, which shows in the center Dionysus riding a Panther, flanked by images representing the four seasons, while his various servants fill in the background. One interesting addition is Pan, a wild god, with the lower quarters and horns of a goat, associated with shepherding, rugged landscapes, and sexual desire having his cup filled with wine by Dionysus himself.

#### Dionysus and Ariadne

One of the most detailed forms of Dionysian sarcophagi is that showing the myth of Dionysus coming across the sleeping figure of Ariadne, in Greek mythology the Cretan princess who helped Theseus slay the Minotaur, only to be marooned and abandoned by Theseus on the island of Naxos. The image itself consists of Ariadne, reclining in sleep, being approached by Dionysus and his procession of satyrs and Bacchants as he is enamored by her beauty. The image became popular among couples because of its ability to represent either party during the death of the other. If a man had lost his wife the image can be used to represent a man longing for his lost love, represented as peacefully dreaming in an endless sleep. If a woman has lost her husband, the image appears as a sleeping wife whose husband has come to visit her in her sleep. One marvelous example is the Dionysus and Ariadne sarcophagus shown in The Louvre, in Paris. Ariadne lies asleep, her face uncarved, meant for a portrait that was never added. Dionysus walked toward her scantily clad form with his full procession following him.

This sarcophagus also shows the slight discomfort that too-close identification with Dionysus might cause respectable Roman men. Dionysus was depicted as young, carefree, often drunken, and androgynous. All of these were characteristics that a prestigious Roman male would not want to be associated with. It would seem that Romans liked the idea of Dionysus, as well as the feelings he was known to bring, but did not want to be directly compared to him. This led to a workaround in which, like the sarcophagi presented, Dionysus stands alone with a face carved to represent the god, and a space for a portrait image was made in the upper right of the lid. This allowed for the male to still have Dionysus imagery and atmosphere connected to him after death, and still allow him a place of prestige and respect, a step removed from the god himself.

### Seasonal and Bucolic Imagery

The third century AD saw new types of sarcophagi arise that focused on nature. These moved away from the portrayal of Greek myths that had dominated Roman sarcophagi of the preceding (second) century, preferring instead to depict the abundance and tranquility that the natural world around them had to offer. This was expressed in two different categories of Roman Sarcophagi: those that depicted the seasons; and those that depicted \[bucolic\] imagery. The season imagery shows the cycle of life and the cosmic order of things, while the bucolic imagery portrays an idyllic world removed from the hustle and bustle of the city.

#### Seasonal Imagery

Representations of the seasons on Roman sarcophagi typically showed the gifts that nature had to offer people during each season, and thus also evoked associations with the cycle of nature and of life. The sarcophagus showing Cupids holding seasonal garlands in New York's Metropolitan Museum furnishes a good example. The Cupids here hold garlands composed of various flowers, fruits, and agricultural products, each associated with a different one of the four seasons: on the very left, flowers, representing spring, then sheaves of grain representing summer, then fruit (especially grapes and grape leaves) representing autumn, and then lastly olives representing winter. At the same time, the flow of the garlands, one blending into the next, represents the fluid change in the seasons themselves. What was the allure of this imagery? It reminded the viewer that nature provides in abundance, no matter the season, and by extension, proclaimed that the deceased, while alive, had enjoyed all that nature and life had to offer, in every season. It also would have served as a promise to the deceased on the part of surviving members, that they would continue to honor her or his memory year-round, in all seasons, and continue to bring the products of the various seasons into the tomb year-round as offerings to the deceased. The lid, meanwhile, shows four Cupids engaging in a chariot race. Romans would have seen the connection between chariot races and the four seasons, because the racing teams in the Roman world were divided into four factions; moreover, Roman chariot races were dedicated to the sun god, Sol (the Greek Helios), who controlled the seasons. Each chariot on the lid is pulled by an animal representing one of the seasons (the boar, for example, was associated with winter). The seasonal agricultural products on the chest thus have their animal counterparts on the lid. Finally, much like the cycle of nature and the seasons, Roman chariot races went round and round a circular (more specifically, oval) race course. The imagery on chest and lid thus complement each other perfectly.

The imagery of the seasons on Roman sarcophagi was often associated with the god Dionysus. This was an obvious connection, since Dionysus, as god of grapes and wine, was closely associated with the natural products of a particular season and with sharing those gifts with the world. Hence many season sarcophagi include Dionysiac elements. A good example is the so-called "Badminton Sarcophagus" in New York's Metropolitan Museum, which shows in the center Dionysus on his panther, flanked by standing personifications of the Four Seasons marked by their seasonal gifts/attributes: winter stands at the far left with a brace of ducks, with a boar at his feet; then spring, holding a basket of flowers and a budding stalk; then summer, basket of grain in hand; and finally autumn at the far right, cradling a cornucopia of grapes and grape leaves in one arm while holding a captured hare. Celebration of Dionysus's natural (particularly viticultural) gifts, along with the rest of nature's never-ending abundance, and the happiness and pleasure that they bring in eternal cycle, is clearly foregrounded on a sarcophagus such as this.

Other season sarcophagi even more strongly referenced the notion of an unshakeable ever-repeating cosmic order underlying the world. A good example is the season sarcophagus in Washington D.C.'s Dumbarton Oaks Museum. Here the standing personifications of the Four Seasons flank a central tondo/roundel (Romans called this a clipeus, the term for a round shield) which contains (unfinished) portrait busts of the deceased couple buried inside. Note that carved around the rim of the clipeus are the twelve zodiac signs. Why include these? They likely symbolize the “eternal fame and everlasting state of bliss that people wished for the deceased”. But the entire cycle of twelve zodiac signs would also have served as a visual reminder of the eternally cycling order underlying the cosmos, of which the four seasons are simply an earthly manifestation. Tranquility in the face of death, and celebration of life, was to come via contemplation of this fundamental stability in the cosmic order of things.

#### Bucolic Imagery

While the seasonal imagery focuses on nature's abundance and the cosmic order that underlies it, bucolic imagery emphasizes a slightly different side to what nature might offer. Bucolic sarcophagi imagine nature as a place of escape from the strains of city life. They present an idealized vision of the 'natural state' to be enjoyed in the countryside — free from crushing crowds, free from noise, free from politics, free from social demands and social strife, in short, free from everything negative that elite Romans associated with the city — which is visually embodied on the sarcophagi through images of shepherds tending their flocks in rustic surrounds.

A gorgeous example is the sarcophagus of Iulius Achilleus (his name is inscribed on the coffin) now on display in the Baths of Diocletian in Rome. Like many other bucolic sarcophagi, this one shows the life of a shepherd as one of peace, tranquility and prosperity, with plenty of leisure time for idle musing and soulful contemplation. The shepherds here are surrounded by their happy herds (including sheep, goats, cattle, and horses), who appear to smile as they nibble away contentedly. One shepherd is shown resting his head on a stick lost in thought, showing that they have all the time in the world to rest and reflect upon what lies ahead of them. Notice the arch behind a shepherd in the top left: this is a depiction of a city gate in the background, an explicit reminder to the viewer that the 'natural state' shown is something only found *outside* the city, free from its politics, burdens, and strife. Of course, such bucolic scenes never present the gritty facts of real ancient pastoral life — ceaseless tending of the flocks, baking in ferocious summer heat, freezing in winter, at the mercy of the elements and uncertain food supplies, miserable accommodations, a life of wretched poverty — but instead serve up a sanitized fantasy of rustic life designed to indulge the pampered yearnings of elite city-dwellers eager for scenes of tranquility in an imagined 'natural state'. Like the seasonal imagery just discussed, bucolic scenes too were especially popular during the second half of the third century and the early part of the fourth centuries: more than 400 sarcophagi carved between 260 and 320 AD have survived. They would also have a long afterlife in later Western art, as the bucolic motifs popularized on Roman sarcophagi—above all, the figure of a shepherd with a sheep slung around his shoulders—was enthusiastically adopted by early Christian art (since this image of a 'good shepherd' could be re-interpreted as an image of Christ).

## Personalization

**Sarcophagi personalization** is the customization of a sarcophagus to display the attributes, achievements, or history of the deceased through art and/or inscriptions. The key way in which sarcophagi were personalized was through portraiture of a mythological character that would be carved with the facial features of the deceased. Because many sarcophagi were made in advance of being bought, several examples of unfinished portrait heads remain.

### Sarcophagus of Lars Pulena

The sculpted scene on the front of the coffin shows the deceased in the Underworld between two Charuns (Etruscan death demons) in which signified that his journey to the afterlife was successful. On the lid, Pulena is shown laid across, in a reclining position, resting on his left arm and in front of him, a list of his life's achievements which were inscribed on an open scroll in Etruscan.

### Melfi Sarcophagus

The Asiatic sarcophagus with kline portrait of a woman also carried an Etruscan influence of sculpting portraiture on the lid. Made of marble, with reliefs on all four sides of the box (a feature in Eastern Sarcophagi production), and sculpted mini statues of Greek gods and heroes in frames are depicted. The lid displays a portrait of the woman with Cupid (right end) and a little dog (in which the paws only remain at the left end).

### Battle of Romans and barbarians

The Portonaccio sarcophagus is an example of one of a group of about twenty-five late Roman battle sarcophagi, with one exception all apparently dating to 170–210, made in Rome or in some cases Athens. These derive from Hellenistic monuments from Pergamon in Asia Minor showing Pergamene victories over the Gauls, and were all presumably commissioned for military commanders. The Portonaccio sarcophagus is the best known and most elaborate of the main Antonine group, and shows both considerable similarities to the Great Ludovisi sarcophagus, the late outlier from about 250, and a considerable contrast in style and mood.

The face of the general is unfinished, either because the sculptors awaited a model to work from, or they had produced the work speculatively with no specific commission. The general and his wife are also each shown twice on the lid frieze, together holding each other's hands at the centre, and singly at the ends, again with unfinished faces.

The unusually large Ludovisi Battle sarcophagus shows a chaotic battle scene between the Romans and barbarian foes. At the centre, a young general wears no helmet nor wields any weapon and has emblem of Mithras, the Persian god of light, truth, and victory over death carved into his forehead. Several scholars have identified him as one of the sons of Trajan Decius, who died of plague.

### Santa Maria Antiqua Sarcophagus

A sarcophagus from the church of Santa Maria Antiqua with philosopher, orant, and Old and New Testament scenes is Early Christian art in which displays the story of Jonah on the left one-third, heads of a praying woman and a seated man reading from a scroll which are unfinished (intended to be portraits of the deceased) in the center, and continuing on, Christ as Good Shepherd, and the baptism of Christ.

* Awan, Heather T. (2007). "Roman Sarcophagi". *Heilbrunn Timeline of Art History*. New York: The Metropolitan Museum of Art.
* Elsner, Jas; Huskinson, Janet; Davies, Glenys (2010). *Life, Death and Representation: Some New Work on Roman Sarcophagi* (Before Sarcophagi). Vol. 29. Berlin: Walter De Gruyter. pp. 21–55.
* Elsner, Jas; Huskinson, Janet; Russell, Ben (2010). "The Roman Sarcophagus 'Industry': A Reconsideration". *Life, Death and Representation: Some New Work on Roman Sarcophagi*. Vol. 29. Berlin: Walter De Gruyter. pp. 119–149.
* Henig, Martin (ed, Ch 3, "Sculpture" by Anthony Bonanno), *A Handbook of Roman Art*, Phaidon, 1983, ISBN 0714822140
* Strong, Donald (1995). *Roman Art* (2 ed.). Yale University Press. ISBN 0300052936.
* Toynbee, J. M. C. (1996). *Death and Burial in the Roman World*. Baltimore, MD: JHU Press.
* Zanker, Paul; Ewald, Björn C. (2012). *Living with Myths: the Imagery of Roman Sarcophagi*. Translated by Julia Slater. Oxford: Oxford University Press.

## Further reading

* Mont Allen, "Sarcophagus", in *The Oxford Encyclopedia of Ancient Greece and Rome*, edited by Michael Gagarin, vol. 6, p. 214–218 (Oxford: Oxford University Press, 2010).
* Barbara Borg, *Crisis and Ambition: Tombs and Burial Customs in Third-Century CE Rome* (Oxford: Oxford University Press, 2013).
* Susan Walker, *Memorials to the Roman Dead* (London: British Museum Press, 1985).
* Paul Zanker and Björn C. Ewald, *Living with Myths: The Imagery of Roman Sarcophagi* (Oxford: Oxford University Press, 2012).
* (in Italian) Becatti G., *L'arte dell'età classica*, Firenze 1989 (VI edizione)
* (in Italian) Bianchi Bandinelli R., *Roma. La fine dell'arte antica*, Milano 1988 (IV edizione)
* (in Italian) Giuliano A., *Il commercio dei sarcofagi attici*, Roma 1962
* (in German) Robert C., et al. (ed.), *Die antiken Sarkophag-Reliefs*, Berlin 1890- (ongoing, 27 volumes or fascicles have been published so far, as of 2020)
* (in Italian) Vaccaro Melucco A., "Sarcofagi romani di caccia al leone", in *Studo Miscellanei* 11 (A.A. 1963–1964)
* (in Italian) Valenti Zucchini G.-Bucci M., "I sarcofagi a figure e a carattere simbolico", in *Corpus della scultura paleocristiana, bizantina e altomedievale di Ravenna*, vol. II, Roma 1968


title: Mícheál Ó Sé

abstract: Mícheál "Maidhc" Ó Sé is a former Irish sportsperson. Born in Ard na Caithne, County Kerry with his 4 siblings Páidí, MaryEllen, Antain and Caitlín. Míchéal went to school in St.Brendans Killarney. He went on to study in Maynooth University. He played Gaelic football with his local club An Ghaeltacht and was a member of the Kerry senior inter-county team from 1968 until 1976 winning two All-Ireland medals, and All-Ireland medal with Kerry Minors and a 1976 club junior County championship title. Ó Sé provided commentary in Irish for RTÉ's The Sunday Gameand also on Radió na Gaeltachta where he also had his own show Saol Ó Dheas. He is married to Jacqueline O Shea of Ventry with whom he has three children, Tríona Ní Shé, Mícheál Óg Ó Sé and Ciara Ní Shé.

text:
# Mícheál Ó Sé

**Mícheál "Maidhc" Ó Sé** (born 1946) is a former Irish sportsperson. Born in Ard na Caithne, County Kerry with his 4 siblings Páidí, MaryEllen, Antain and Caitlín. Míchéal went to school in St.Brendans Killarney (The Sem). He went on to study in Maynooth University. He played Gaelic football with his local club An Ghaeltacht and was a member of the Kerry senior inter-county team from 1968 until 1976 winning two All-Ireland medals, and All-Ireland medal with Kerry Minors and a 1976 club junior County championship title. Ó Sé provided commentary in Irish for RTÉ's *The Sunday Game*and also on Radió na Gaeltachta where he also had his own show Saol Ó Dheas. He is married to Jacqueline O Shea of Ventry with whom he has three children, Tríona Ní Shé, Mícheál Óg Ó Sé and Ciara Ní Shé.

## InfoBox

Mícheál Ó Sé
|  | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Irish name | *Mícheál Ó Sé* | | |
| Sport | Gaelic football | | |
| Position | Wing Back | | |
| Born | (1946-07-24) 24 July 1946<br>Ard Na Caithne, County Kerry | | |
| Height | 6 ft 1 in (1.85 m) | | |
| Nickname | Maidhc | | |
| Club(s) | | | |
| Years | **Club** | | |
| 1960s - 1980s | An Ghaeltacht | | |
| Inter-county(ies) | | | |
| Years | **County** | **Apps (scores)** |
| 1969 - 1973 | Kerry | 16 |
| Inter-county titles | | | |
| Munster titles | 3 | | |
| All-Irelands | 2 | | |
| NFL | 5 | | |
| All Stars | 0 | | |


title: Philip Levine (poet)

abstract: Philip Levine was an American poet best known for his poems about working-class Detroit. He taught for more than thirty years in the English department of California State University, Fresno and held teaching positions at other universities as well. He served on the Board of Chancellors of the Academy of American Poets from 2000 to 2006, and was appointed Poet Laureate of the United States for 2011–2012.

text:
# Philip Levine (poet)

**Philip Levine** (January 10, 1928 – February 14, 2015) was an American poet best known for his poems about working-class Detroit. He taught for more than thirty years in the English department of California State University, Fresno and held teaching positions at other universities as well. He served on the Board of Chancellors of the Academy of American Poets from 2000 to 2006, and was appointed Poet Laureate of the United States for 2011–2012.

## Biography

Philip Levine grew up in industrial Detroit, the second of three sons and the first of identical twins of Jewish immigrant parents. His father, Harry Levine, owned a used auto parts business, his mother, Esther Priscol (Pryszkulnik) Levine, was a bookseller. When Levine was five years old, his father died. While growing up, he faced the anti-Semitism embodied by Father Coughlin, the pro-Nazi radio priest. In high school, a teacher told him, “You write like an angel. Why don't you think about becoming a writer?“ At this point, he was already working at night in auto factories, though he was just 14 years old. Detroit Central High School graduated him in 1946, and he went to college at Wayne University (now Wayne State University) in Detroit, where he began to write poetry, encouraged by his mother, to whom he dedicated the book of poems *The Mercy*. Levine earned his A.B. in 1950 and went to work for Chevrolet and Cadillac in what he called "stupid jobs." The work, he later wrote, was “so heavy and monotonous that after an hour or two I was sure each night that I would never last the shift.”

He married his first wife, Patty Kanterman, in 1951. The marriage lasted until 1953.

In 1953, he attended the University of Iowa without registering, studying with, among others, poets Robert Lowell and John Berryman, the latter of whom Levine called his "one great mentor."

In 1954, he earned a mail-order master's degree with a thesis on John Keats' "Ode to Indolence," and married actress Frances J. Artley.

He returned to the University of Iowa teaching technical writing and completed his Master of Fine Arts degree in 1957. The same year, he was awarded the Jones Fellowship in Poetry at Stanford University. In 1958, he joined the English department at California State University, Fresno, where he taught until his retirement in 1992. He also taught at many other universities, among them New York University as a Distinguished Writer-in-Residence, Columbia, Princeton, Brown, Tufts, Vanderbilt, and the University of California, Berkeley.

Levine and his wife had made their homes in Fresno and Brooklyn Heights. He died of pancreatic cancer on February 14, 2015, at age 87.

## Work

The familial, social, and economic world of twentieth-century Detroit is one of the major subjects of Levine's work. His portraits of working-class Americans and his continuous examination of his Jewish immigrant inheritance (both based on real life and described through fictional characters) has left a testimony of mid-twentieth century American life.

Levine's working experience lent his poetry a profound skepticism with regard to conventional American ideals. In his first two books, *On the Edge* (1963) and *Not This Pig* (1968), the poetry dwells on those who suddenly become aware that they are trapped in some murderous processes not of their own making. In 1968, Levine signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse to make tax payments in protest against the Vietnam War.

In his first two books, Levine was somewhat traditional in form and relatively constrained in expression. Beginning with *They Feed They Lion*, typically Levine's poems are free-verse monologues tending toward trimeter or tetrameter. The music of Levine's poetry depends on the tension between his line-breaks and his syntax. The title poem of Levine's book *1933* (1974) is an example of the cascade of clauses and phrases one finds in his poetry. Other collections include *The Names of the Lost*, *A Walk with Tom Jefferson*, *New Selected Poems,* and the National Book Award-winning *What Work Is*.

On November 29, 2007, a tribute was held in New York City in anticipation of Levine's eightieth birthday. Among those celebrating Levine's career by reading Levine's work were Yusef Komunyakaa, Galway Kinnell, E. L. Doctorow, Charles Wright, Jean Valentine and Sharon Olds. Levine read several new poems as well.

Near the end of his life, Levine, an avid jazz aficionado, collaborated with jazz saxophonist and composer Benjamin Boone  on the melding of his poetry and narration with music. The resulting CD, “The Poetry of Jazz” (Origin Records 82754), was released posthumously on March 16, 2018. It contains fourteen of Levine's poems and performances by Levine and Boone as well as jazz greats Chris Potter, Greg Osby, and Tom Harrell.

## Awards

## Bibliography

### Poetry

Collections * Levine, Philip (1963). *On the edge*. Iowa City: Stone Wall Press.
* (1964). *On the edge*. Iowa City: A Second Press.
* *Not This Pig*, Wesleyan University Press, 1968, ISBN 978-0-8195-2038-8; Wesleyan University Press, 1982, ISBN 978-0-8195-1038-9
* *Pili's Wall*, Unicorn Press, 1971; Unicorn Press, 1980
* *Red Dust* (1971)
* *They Feed They Lion*, Atheneum, 1972
* *1933*, Atheneum, 1974, ISBN 978-0-689-10586-9
* *The Names of the Lost*, Atheneum, 1976
* *Ashes: Poems New and Old*, Atheneum, 1979, ISBN 978-0-689-10975-1
* *7 Years From Somewhere*, Atheneum, 1979, ISBN 978-0-689-10974-4
* *One for the Rose*, Atheneum, 1981, ISBN 978-0-689-11223-2
* *Selected Poems*, Atheneum, 1984, ISBN 978-0-689-11456-4
* *Sweet Will*, Atheneum, 1985, ISBN 978-0-689-11585-1
* *A Walk With Tom Jefferson*, A.A. Knopf, 1988, ISBN 978-0-394-57038-9
* *New Selected Poems*, Knopf, 1991, ISBN 978-0-679-40165-0
* *What Work Is*, Knopf, 1992, ISBN 978-0-679-74058-2
* *The Simple Truth*, Alfred A. Knopf, 1994, ISBN 978-0-679-43580-8; Alfred A. Knopf, 1996, ISBN 978-0-679-76584-4
* *Unselected Poems*, Greenhouse Review Press, 1997, ISBN 978-0-9655239-0-5
* *The Mercy*, Random House, Inc., 1999, ISBN 978-0-375-70135-1
* *Breath* Knopf, 2004, ISBN 978-1-4000-4291-3; reprint, Random House, Inc., 2006, ISBN 978-0-375-71078-0
* *Stranger to Nothing: Selected Poems*, Bloodaxe Books, UK, 2006, ISBN 978-1-85224-737-9
* *News of the World*, Random House, Inc., 2009, ISBN 978-0-307-27223-2
* . Edward Hirsch (ed.). *The last shift*. New York: Random House.

Translations * *Off the Map: Selected Poems of Gloria Fuertes*, edited and translated with Ada Long (1984)
* *Tarumba: The Selected Poems of Jaime Sabines*, edited and translated with Ernesto Trejo (1979)

### Essays

* *The Bread of Time* (1994)

### Interviews

———————

Notes

## Discography

### Albums

### Recorded interviews

* "Interlochen Center for the Arts", Interview with Interlochen Arts Academy students on March 17, 1977.
* *Moyers & Company*, on December 29, 2013, Philip Levine reads some of his poetry and explores how his years working on Detroit's assembly lines inspired his poetry.

1. "Philip Levine". Poets.org. Retrieved February 15, 2015.
2. Charles McGrath (August 9, 2011). "Voice of the Workingman to Be Poet Laureate". *The New York Times*. Retrieved August 9, 2011.
3. Poetry Foundation website February 15, 2015
4. Russel Frank (December 28, 1994). "The Poet of the Night Shift: Literature: For Philip Levine, it was not a long trip from factory work to writing some of America's best poetry". *The Los Angeles Times*. Retrieved August 15, 2011.
5. Christopher Buckley, ed. (1991). *On the poetry of Philip Levine: stranger to nothing*. University of Michigan Press. pp. 1–3. ISBN 978-0-472-06392-5.
6. Dana Gioia; Chryss Yost; Jack Hicks, eds. (2004). "Philip Levine". *California poetry: from the Gold Rush to the present*. A California legacy book. Heyday. pp. 159–160. ISBN 978-1-890771-72-0.
7. "American-Jewish poet Phillip Levine named U.S. Poet Laureate". *Haaretz*. August 10, 2011. Retrieved August 15, 2011.
8. "The Poet of the Assembly Line". *The Attic*. Retrieved September 25, 2018.
9. Edward Hirsch and Philip Levine (1999). "The Unwritten Biography: Philip Levine and Edward Hirsch in Conversation". American Poet. Retrieved August 15, 2011.
10. Mona Simpson (Summer 1988). "Philip Levine, The Art of Poetry No. 39". *The Paris Review No. 107*. Retrieved August 15, 2011.
11. "Philip Levine". Academy of American Poets. Retrieved August 15, 2011.
12. "Librarian of Congress Appoints Philip Levine Poet Laureate". Library of Congress. August 10, 2011. Retrieved August 15, 2011.
13. Donald Munro (August 9, 2011). "Fresno's Philip Levine named nation's poet laureate". *The Fresno Bee*. Retrieved August 15, 2011.
14. Kan, Elianna. "My Lost Poet", *The Paris Review*, February 23, 2015. Accessed January 17, 2019. "In the spring of 2012, Philip Levine delivered a lecture at the Library of Congress called “My Lost Poets,” marking the end of his tenure as the eighteenth U.S. poet laureate.... I arrived at his home on Willow Street in Brooklyn Heights just as he and his wife, Franny, were finishing lunch."
15. Fox, Margalit (February 15, 2015). "Philip Levine, U.S. Poet Laureate Who Won Pulitzer, Dies At 87". *New York Times.com*. Retrieved February 15, 2015.
16. "Poet laureate Philip Levine dies at age 87". Seattle Times.com. Retrieved February 15, 2015.
17. "Philip Levine, former U.S. poet laureate and Fresno State professor, dead at 87". Fresno Bee.com. Archived from the original on February 15, 2015. Retrieved February 15, 2015.
18. “Writers and Editors War Tax Protest” January 30, 1968 *New York Post*
19. "Celebrating Philip Levine's 80th". Albany Poets.com. November 16, 2007. Retrieved February 15, 2015.
20. "Philip Levine's Jazz Poetry Mashup Will Finally Get Released Next Year". Fresno Bee.com. Retrieved December 28, 2017.
21. "At 87, Poet Laureate Philip Levine Jazzed It Up". KQED.org. February 20, 2015. Retrieved January 29, 2018.
22. "National Book Awards – 1980". National Book Foundation. Retrieved 2012-02-27.
(With essay by John Murillo from the Awards 60-year anniversary blog.)
23. "National Book Awards – 1991". National Book Foundation. Retrieved February 27, 2012.
24. "Benjamin Boone | Philip Levine The Poetry of Jazz, Vol. 2 (Origin 82772)".

## InfoBox

| Philip Levine | |
| --- | --- |
| Levine reading in 2006 | |
| Born | (1928-01-10)January 10, 1928
Detroit, Michigan, US |
| Died | February 14, 2015(2015-02-14) (aged 87)
Fresno, California, US |
| Occupation | Poet |
| Education | Wayne State University (BA)
University of Iowa (MFA) |
| Years active | 1963–2015 |
| Notable awards | United States Poet Laureate |
| Spouse | Patty Kanterman
(1951–1953),
Frances J. Artley
(1954–2015) |
| Children | 3 |


title: No. 1 grenade

abstract: The Grenade, Hand, No. 1 was the first British hand grenade used in World War I. It was designed in the Royal Laboratory, based on reports and samples of Japanese hand grenades during the Russo-Japanese War provided by General Sir Aylmer Haldane, who was a British observer of that war. The grenade proper is a container of explosive material with an iron fragmentation band. The fuse was of the impact sort, detonating when the top of the grenade hit the ground. A long cane handle allowed the user to throw the grenade further than the blast of the explosion. To ensure that the grenade hit the ground nose first, a cloth streamer was attached to the end of the handle. When thrown, this unfurled and acted as a tail to stabilize flight. The grenade came with a metal loop so it could hang from a belt.

text:
# No. 1 grenade

The **Grenade, Hand, No. 1** was the first British hand grenade used in World War I. It was designed in the Royal Laboratory, based on reports and samples of Japanese hand grenades during the Russo-Japanese War provided by General Sir Aylmer Haldane, who was a British observer of that war.

The grenade proper is a container of explosive material with an iron fragmentation band. The fuse was of the impact sort, detonating when the top of the grenade hit the ground. A long cane handle (approximately 16 inches or 40 cm) allowed the user to throw the grenade further than the blast of the explosion.

To ensure that the grenade hit the ground nose first, a cloth streamer was attached to the end of the handle. When thrown, this unfurled and acted as a tail to stabilize flight. The grenade came with a metal loop so it could hang from a belt.

## In the trenches

When the battlefield became confined to the trenches, the long handle became a liability, causing several accidents. Reaching back for the throw, the fuse could strike the trench side. The No. 3, a variant of the No. 1, had a shorter handle for easier use in trenches.

Even with these adjustments, the No. 1 and its variants did poorly in battle. According to German prisoners captured at Ypres in January 1916, the No. 1 could be deflected by wooden boards. In some cases, the deflected grenade could be thrown back.

Manufacturing the No. 1 was difficult, as it required a special detonator that could only be produced by the ordnance factories. Because of this, the British Expeditionary Force got far fewer No. 1s than were ordered. A version that used a more common detonator, the No. 18, was designed, but by then battlefield experience had shown that the No. 1's design was ineffective.

The difficulty of operating it in trenches plus the special detonator caused Britain to create several stopgap grenades, such as the jam tin grenade, until the Mills bomb was adopted.

## InfoBox

| No. 1 grenade | |
| --- | --- |
| Hand grenade No. 1 Mark I | |
| Type | Hand grenade |
| Place of origin | United Kingdom |
| Service history | |
| Used by | United Kingdom |
| Wars | World War I |
| Production history | |
| Designer | Royal Laboratories |
| Designed | 1908 |
| Produced | 1908-1915 |
| Variants | No. 3 (shorter handle), No. 18 (different detonator) |
| Specifications | |
| Mass | 2 lb (0.9 kg) |
| --- | |
| Filling | Lyddite |
| Detonation<br>mechanism | Percussion fuse (impact detonated) |


title: Lancang Jingmai Airport

abstract: Lancang Jingmai Airport is an airport serving Lancang Lahu Autonomous County in Pu'er, Yunnan province, southwest China. The airport is located in Donghui Township (东回乡), 30 kilometres (19 mi) from the county seat of Lancang. Menglian and Ximeng counties are also nearby. The airport received approval from the State Council and the Central Military Commission of China in January 2013. It is expected to cost 1.514 billion yuan to build. The airport opened on 26 May 2017.

text:
# Lancang Jingmai Airport

| Lancang Jingmai Airport | |
| --- | --- |
|  | |
| Simplified Chinese | 澜沧景迈机场 |
| Traditional Chinese | 瀾滄景邁機場 |
| Transcriptions  Standard Mandarin  Hanyu Pinyin Láncāng Jǐngmài Jīchǎng | |
|  | |

**Lancang Jingmai Airport** (IATA: **JMJ**, ICAO: **ZPJM**) is an airport serving Lancang Lahu Autonomous County in Pu'er, Yunnan province, southwest China. The airport is located in Donghui Township (东回乡), 30 kilometres (19 mi) from the county seat of Lancang. Menglian and Ximeng counties are also nearby. The airport received approval from the State Council and the Central Military Commission of China in January 2013. It is expected to cost 1.514 billion yuan to build. The airport opened on 26 May 2017.

## Facilities

The airport has a 2,600-meter runway (class 4C), and four aircraft parking spots. It is designed to handle 250,000 passengers and 750 tons of cargo per year by 2020.

## Airlines and destinations

| Airlines | Destinations |
| --- | --- |
| China Eastern Airlines | Kunming |
| China Express Airlines | Guiyang, Mangshi |
| Lucky Air | Kunming, Qionghai |

## InfoBox

| Lancang Jingmai Airport<br>澜沧景迈机场 | |
| --- | --- |
|  | |
| Summary | |
| Airport type | Public |
| Serves | Lancang, Yunnan |
| Location | Donghui Township |
| Opened | 26 May 2017 (2017-05-26) |
| Elevation AMSL | 1,350 m / 4,429 ft |
| Coordinates | 22°24′57″N 099°47′11″E / 22.41583°N 99.78639°E / 22.41583; 99.78639 |
| Map | |
| **JMJ**Location of airport in Yunnan | |
| Runways | |
| Direction Length Surface  m ft  12/30 2,600 8,530 | |
| Statistics (2021) | |
| Passengers 419,435  Aircraft movements 5,090  Cargo (metric tons) 279.6 | |


title: Mill Town: Reckoning with What Remains

abstract: Mill Town: Reckoning with What Remains is a 2020 book by Kerri Arsenault about the paper and pulp industry in the American city Rumford, Maine. The book focusses on Rumford Mill and perceptions about the mill's health impact on the local community. Reviewers described the book as part memoir and part exposé and firmly neither, making the claims in the book difficult to critique. Aside from the genre ambiguity, the book received positive critical reception.

text:
# Mill Town: Reckoning with What Remains

***Mill Town: Reckoning with What Remains*** is a 2020 book by Kerri Arsenault about the paper and pulp industry in the American city Rumford, Maine.

The book focusses on Rumford Mill and perceptions about the mill's health impact on the local community.

Reviewers described the book as part memoir and part exposé and firmly neither, making the claims in the book difficult to critique. Aside from the genre ambiguity, the book received positive critical reception.

## Publication

*Mill Town* is a memoir, written by Kerri Arsenault, a Maine-based Acadian. Arsenault grew up in Mexico, near the United States border not far from Rumford, Maine. *Mill Town* is her first book.

## Synopsis

The book is about the small, rural town of Mexico, Maine, where for over 100 years the community orbited around a paper mill that provided jobs for nearly everyone in town, including three generations of Arsenault's family. While she had a happy childhood, years after she moved away, she realized the price she paid for that childhood. The price everyone paid. The mill, while providing the social, cultural, and economic cohesion for the community, also contributed to its demise. This is a book about environmental and family legacies.

## Critical reception

The book won the Rachel Carson Environmental Book Award in 2021 and the Maine Literary Award for Nonfiction the same year. The Italian translation won a special Inge Feltrinelli Prize, dedicated to women writers who have used their voices in defense of human rights. Mill Town was also a finalist for the Connecticut Book Awards, The Eric Zencey Prize in Environmental Economics, The National Book Critics Circle Leonard Prize for best first book in any genre, the New England Society Book Award, and was a bestseller for the American Bookseller Association and the New England Independent Booksellers Association. It was a New York Times Editors Choice and received starred reviews from Kirkus and Publisher's Weekly, and acclaim from Chicago Tribune’s “Top 10 books of 2020; Publisher’s Weekly “Best Books of 2020; Publisher’s Weekly “Top 10 books for Politics & Current Events”, 2020; Barnes & Noble’s “Essential Election Reading”, 2020; Oprah magazine’s “Best Books of Fall 2020” ; Newsweek’s “Fall Must-Read Fall Nonfiction”; People magazine’s “Best New Books”, 2020; Indie Next Pick, 2020; Amazon Editors’ pick “Best Biographies and Memoirs 2020”; Literary Hub’s favorite books of 2020; Barnes & Noble’s “Best Social Science Books 2020”; Literary Hub’s “September's Best Reviewed Memoirs and Biographies”, 2020; Junior Library Guild selection, 2021; Mr. Porter’s “Ultimate Guide To Labor Day Weekend 2020; BuzzFeed’s “Twenty-one books to get excited about this Fall”, 2020 ; Literary Hub’s “Most Anticipated Books of 2020”; The Revelator’s “New Environmental Books to Motivate Action”, 2020; Goodreads’ “September 2020 top History/Biography Pick; The Millions’ “Most Anticipated Books”, 2020; Goodreads “Six Great Books of Fall 2020”; National Review “Hot 5 Books”, 2020; and Alma’s “Favorite Books for Fall 2020

Emily Cooke writing for *New York Times* describes the writing as "earnest" and notes the opaqueness of a book that is part memoir part investigative journalism, but concretely neither, which was Arsenault's goal. Alex Hanson, writing in *Los Angeles Review of Books* made the same observation. Michael Berry, writing in the *Portland Press Herald* described the book as an "intelligent mix of memoir and reportage."

## InfoBox

Mill Town: Reckoning with What Remains
|  | |
| --- | --- |
| Author | Kerri Arsenault |
| Subject | Rumford Mill |
| Genre | Part memoir, part investigative journalism |
| Publisher | St. Martin's Press |
| Publication date | 2020 |
| ISBN | 978-1250155931 |


title: IEEE Sensors Journal

abstract: The IEEE Sensors Journal is a biweekly peer-reviewed scientific journal, covering research on sensors. It is published by the IEEE Sensors Council. The editor-in-chief is Zeynep Celik. According to the Journal Citation Reports, the journal has a 2022 impact factor of 4.325, as well as an Eigenfactor at 0.03365, and an Article Influence Score at 0.612

text:
# IEEE Sensors Journal

The ***IEEE Sensors Journal*** is a biweekly peer-reviewed scientific journal, covering research on sensors. It is published by the IEEE Sensors Council. The editor-in-chief is Zeynep Celik. According to the *Journal Citation Reports*, the journal has a 2022 impact factor of 4.325, as well as an Eigenfactor at 0.03365, and an Article Influence Score at 0.612

## Journal leadership

| Editor-in-Chief | Start Date | End date |
| --- | --- | --- |
| Vladimir Lumelsky, University of Wisconsin Madison, USA | 2001 | 2003 |
| H Troy Nagle, North Carolina State University, USA | 2004 | 2009 |
| Evgeny Katz, Clarkson University, USA | 2009 | 2011 |
| Krikor B Ozanyan, The University of Manchester, England | 2012 | 2018 |
| Sandro Carrara, EPFL, Lausanne, Switzerland | 2018 | 2023 |
| Zeynep Celik, University of Texas, Arlington, USA | 2024 | Present |

## Best paper awards

The annual *IEEE Sensors Journal* Best Paper Award recognizes the best paper published in the journal. Winners are presented with a certificate and $2,000 split equally among the authors.

## InfoBox

*IEEE Sensors Journal*
|  | |
| --- | --- |
| Discipline | Sensors |
| Language | English |
| Edited by | Sandro Carrara |
| Publication details | |
| History | 2001–present |
| Publisher | IEEE Sensors Council |
| Frequency | Biweekly |
| Impact factor | 4.325 (2021) |
| Standard abbreviations
 | |
| ISO 4 | *IEEE Sens. J.* |
| Indexing
 | |
| CODEN | ISJEAZ |
| ISSN | 1530-437X
 |
| LCCN | 00214867 |
| OCLC no. | 44160724 |
| Links | |
|  | |


title: USS Admittance

abstract: USS Admittance was a brig in the United States Navy. Little is known about Admittance. She was an American merchant brig operating along the California coast during the Mexican–American War. The United States sloop of war Portsmouth seized this vessel on 8 April 1847 at San Jose, California, for "trading with the enemy." Commander John B. Montgomery, commanding officer of Portsmouth, took the prize into the Navy. Under the command of Lt. Joseph Warren Revere, she served until 6 May 1848. No record of her fate thereafter seems to have survived.

text:
# USS Admittance

**USS *Admittance*** was a brig in the United States Navy.

Little is known about *Admittance*. She was an American merchant brig operating along the California coast during the Mexican–American War. The United States sloop of war *Portsmouth* seized this vessel on 8 April 1847 at San Jose, California, for "trading with the enemy."

Commander John B. Montgomery, commanding officer of *Portsmouth*, took the prize into the Navy. Under the command of Lt. Joseph Warren Revere, she served until 6 May 1848. No record of her fate thereafter seems to have survived.

## InfoBox

|  | |
| --- | --- |
| History | |
| United States | |
| Name | USS *Admittance* |
| Acquired | by seizure, 8 April 1847 |
| Out of service | 6 May 1848 |
| Fate | Unknown |
| General characteristics | |
| Type | Brig |


title: Hōrai Bridge

abstract: Hōrai Bridge The Hōrai Bridge is a wooden pedestrian bridge over the Ōi River located in the city of Shimada, Shizuoka, Japan. It was constructed in 1879 and rebuilt after a flood in the 1960s. With a length of 897.422 metres (2,944.30 ft), the bridge was registered in The Guinness Book of Records as the longest wooden walking bridge in the world in 1997.

text:
# Hōrai Bridge

The **Hōrai Bridge** (蓬莱橋, *Hōrai-bashi*) is a wooden pedestrian bridge over the Ōi River located in the city of Shimada, Shizuoka, Japan. It was constructed in 1879 and rebuilt after a flood in the 1960s. With a length of 897.422 metres (2,944.30 ft), the bridge was registered in The Guinness Book of Records as the longest wooden walking bridge in the world in 1997.

## History

The Hōrai Bridge is on the Edo period route of the Tōkaidō, connecting Edo with Kyoto. The Tokugawa shogunate expressly forbid the construction of any bridge or ferry service over the Ōi River for defensive purposes, forcing travelers to wade across its shallows. However, whenever the river flooded due to strong or long rains, crossing the river was impossible. During period of long rains, visitors were sometimes forced to stay at Shimada-juku or Kanaya-juku, sometimes for several days. Following the Meiji restoration, former samurai loyal to the Tokugawa clan settled in the Makinohara area and began to develop tea plantations. To facilitate crossing the river, this bridge was built in 1879. In 1965 its wooden pilings were replaced by concrete, but its wooden top was retained.

## InfoBox

| Hōrai Bridge<br>蓬莱橋 | |
| --- | --- |
| Hōrai Bridge | |
| Coordinates | 34°49′17″N 138°11′10″E / 34.821390°N 138.186213°E / 34.821390; 138.186213 |
| Crosses | Ōi River |
| Locale | Shimada, Shizuoka, Japan |
| Characteristics | |
| Total length | 897.422 metres (2,944 ft) |
| Width | 2.7 metres (9 ft) |
| History | |
| Construction end | 1879 (1879) |
| Statistics | |
| Toll | yes |
| Location | |
|  | |


title: Mícheál Ó hAodha

abstract: Mícheál Ó hAodha is an Irish poet and nonfiction writer. He also works in the departments of history and comparative literature at the University of Limerick, where he is a part-time lecturer.

text:
# Mícheál Ó hAodha

**Mícheál Ó hAodha** (born 1969) is an Irish poet and nonfiction writer. He also works in the departments of history and comparative literature at the University of Limerick, where he is a part-time lecturer.

## Works

Ó hAodha's poems have been collected in the books

* *Dúchas Dóchasach \["Survivor": Representations of the New Irish\]* (as Michael Hayes, illustrated by Jean Hakizimana, Cambridge Scholars Publishing 2007)
* *Slán le hÉireann \[A Farewell to Ireland: Migrant Poems\]* (Coiscéim, 2012)
* *Leabhar Dubh an tSneachta \[The Black Book of Snow\]* (2015)
* *Leabhar na nAistear \[The Book of Journeys\]* (Coiscéim, 2017)
* *Leabhar na nAistear II* (Coiscéim, 2019)

He is also the author of:

* *Canting with Cauley: a Glossary of Travellers' Cant/Gammon* (with William Cauley, A. & A. Farmar, 2006)
* *Parley with me: a Compendium of Fairground Speech* (A. & A. Farmar, 2006)
* *Irish Travellers: Representations and Realities* (as Michael Hayes, Liffey Press, 2007)
* *Postcolonial Artist: Johnny Doran and Irish Traveller Tradition* (with David Duohy, Cambridge Scholars Publishing, 2008)
* *"Insubordinate Irish": Travellers in the Text* (Manchester University Press, 2011)

He has a particular interest in minority groups including Irish Travellers and the Irish-speaking minority of the west of Ireland and has written many books in collaboration with Travellers, Roma, fairground/circus people and others. He has also written on the experiences of Irish emigrants, and the Irish experience in Britain.

## InfoBox

| Mícheál Ó hAodha | |
| --- | --- |
| Born | 1969 (age 5455) |
| Nationality | Irish |
| Occupation | Poet |
|  | |
| Academic work | |
| Institutions | University of Limerick |
|  | |


title: Joaquim Pina Moura

abstract: Joaquim Pina Moura was a Portuguese politician and economist. He was a member of the Socialist Party.

text:
# Joaquim Pina Moura

**Joaquim Pina Moura** (22 February 1952 – 20 February 2020) was a Portuguese politician and economist. He was a member of the Socialist Party.

## Biography

Moura attended the University of Porto, where he took courses in mechanical engineering. He held a bachelor's degree in economics and a doctorate in monetary and financial economics. He was a member of the European Bank for Reconstruction and Development.

Moura joined the Portuguese Communist Party in 1972, and joined the Opposition Congress the following year, as part of the Portuguese Democratic Movement against the Estado Novo regime. In 1995, Moura joined the Socialist Party. He was appointed Deputy Secretary of State to Prime Minister António Guterres that same year. He was promoted to Minister of Economy in 1997. He served as a Deputy on the Assembly of the Republic from 1995 until his resignation in 2007.

Joaquim Pina Moura died on 20 February 2020 at the age of 67.

## InfoBox

| Joaquim Pina Moura | |
| --- | --- |
|  | |
| Born | 22 February 1952
Loriga, Portugal |
| Died | 20 February 2020(2020-02-20) (aged 67)
Lisbon, Portugal |
| Nationality | Portuguese |
| Occupation(s) | Economist
Politician |


title: Hallaxa iju

abstract: Hallaxa iju is a species of sea slug or dorid nudibranch, a marine gastropod mollusk in the family Actinocyclidae.

text:
# Hallaxa iju

***Hallaxa iju*** is a species of sea slug or dorid nudibranch, a marine gastropod mollusk in the family Actinocyclidae.

## Distribution

This species is found off in the Pacific Ocean, off the coasts of Papua New Guinea, Marshall Islands, Okinawa, Philippines, Hong Kong, and Hawaii.

## Description

*Hallaxa iju* has an oval shaped body, with individual coloration varying. Most have a cream colored, brown, dark violet or black body, spotted with white dots. The rhinophores are club shaped, the tops of which are opaque white, with the base matching the body color. Most specimens have a length of 5mm-1 cm.

## Ecology

## InfoBox

| *Hallaxa iju* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Order: | Nudibranchia |
| Family: | Actinocyclidae |
| Genus: | *Hallaxa* |
| Species: | ***H. iju*** |
| Binomial name | |
| ***Hallaxa iju***<br>Gosliner & S. Johnson, 1994 | |
|