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Author

In legal discourse, an author is the creator of an original work, whether that work is in written, graphic, or recorded medium. The creation of such a work is an act of authorship. Thus, a sculptor, painter, or composer, is an author of their respective sculptures, paintings, or compositions, even though in common parlance, an author is often thought of as the writer of a book, article, play, or other written work. In the case of a work for hire, the employer or commissioning party is considered the author of the work, even if they did not write or otherwise create the work, but merely instructed another individual to do so.

Typically, the first owner of a copyright is the person who created the work, i.e. the author. If more than one person created the work, then a case of joint authorship takes place. Copyright laws differ around the world. The United States Copyright Office, for example, defines copyright as "a form of protection provided by the laws of the United States (title 17, U.S. Code) to authors of 'original works of authorship.

Some works are considered to be authorless. For example, the monkey selfie copyright dispute in the 2010s involved photographs taken by Celebes crested macaques using equipment belonging to a nature photographer. The photographer asserted authorship of the photographs, which the United States Copyright Office denied, stating: "To qualify as a work of 'authorship' a work must be created by a human being". More recently, questions have arisen as to whether images or text created by a generative artificial intelligence have an author.

Legal significance of authorship
Holding the title of "author" over any "literary, dramatic, musical, artistic, [or] certain other intellectual works" gives rights to this person, the owner of the copyright, especially the exclusive right to engage in or authorize any production or distribution of their work. Any person or entity wishing to use intellectual property held under copyright must receive permission from the copyright holder to use this work, and often will be asked to pay for the use of copyrighted material.

The copyrights on intellectual work expire after a certain time. It enters the public domain, where it can be used without limit. Copyright laws in many jurisdictions – mostly following the lead of the United States, in which the entertainment and publishing industries have very strong lobbying power – have been amended repeatedly since their inception, to extend the length of this fixed period where the work is exclusively controlled by the copyright holder. Technically, someone owns their work from the time it's created. A notable aspect of authorship emerges with copyright in that, in many jurisdictions, it can be passed down to another, upon one's death. The person who inherits the copyright is not the author, but has access to the same legal benefits.

Intellectual property laws are complex. Works of fiction involve trademark law, likeness rights, fair use rights held by the public (including the right to parody or satirize), and many other interacting complications.

Authors may portion out the different rights that they hold to different parties at different times, and for different purposes or uses, such as the right to adapt a plot into a film, television series, or video game. If another party chooses to adapt the work, they may have to alter plot elements or character names in order to avoid infringing previous adaptations. An author may also not have rights when working under contract that they would otherwise have, such as when creating a work for hire (e.g., hired to write a city tour guide by a municipal government that totally owns the copyright to the finished work), or when writing material using intellectual property owned by others (such as when writing a novel or screenplay that is a new installment in an already established media franchise).

In the United States, the Copyright Clause of the Constitution of the United States (Article I, Section 8, Clause 8) provides the Congress with the power of "securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries". The language regarding authors was derived from proposals by Charles Pinckney, "to secure to authors exclusive rights for a limited time", and by James Madison, "to secure to literary authors their copyrights for a limited time", or, in the alternative, "to encourage, by proper premiums & Provisions, the advancement of useful knowledge and discoveries". Both proposals were referred to the Committee of Detail, which reported back a proposal containing the final language, which was incorporated into the Constitution by unanimous agreement of the convention.

Philosophical views of the nature of authorship
In literary theory, critics find complications in the term author beyond what constitutes authorship in a legal setting. In the wake of postmodern literature, critics such as Roland Barthes and Michel Foucault have examined the role and relevance of authorship to the meaning or interpretation of a literary text.

Barthes challenges the idea that a text can be attributed to any single author. He writes, in his essay "Death of the Author" (1968), that "it is language which speaks, not the author." The words and language of a text itself determine and expose meaning for Barthes, and not someone possessing legal responsibility for the process of its production. Every line of written text is a mere reflection of references from any of a multitude of traditions, or, as Barthes puts it, "the text is a tissue of quotations drawn from the innumerable centers of culture"; it is never original. With this, the perspective of the author is removed from the text, and the limits formerly imposed by the idea of one authorial voice, one ultimate and universal meaning, are destroyed. The explanation and meaning of a work does not have to be sought in the one who produced it, "as if it were always in the end, through the more or less transparent allegory of the fiction, the voice of a single person, the author 'confiding' in us." The psyche, culture, fanaticism of an author can be disregarded when interpreting a text, because the words are rich enough themselves with all of the traditions of language. To expose meanings in a written work without appealing to the celebrity of an author, their tastes, passions, vices, is, to Barthes, to allow language to speak, rather than author.

Michel Foucault argues in his essay "What is an author?" (1969) that all authors are writers, but not all writers are authors. He states that "a private letter may have a signatory—it does not have an author." For a reader to assign the title of author upon any written work is to attribute certain standards upon the text which, for Foucault, are working in conjunction with the idea of "the author function." Foucault's author function is the idea that an author exists only as a function of a written work, a part of its structure, but not necessarily part of the interpretive process. The author's name "indicates the status of the discourse within a society and culture," and at one time was used as an anchor for interpreting a text, a practice which Barthes would argue is not a particularly relevant or valid endeavor.

Expanding upon Foucault's position, Alexander Nehamas writes that Foucault suggests "an author [...] is whoever can be understood to have produced a particular text as we interpret it," not necessarily who penned the text. It is this distinction between producing a written work and producing the interpretation or meaning in a written work that both Barthes and Foucault are interested in. Foucault warns of the risks of keeping the author's name in mind during interpretation, because it could affect the value and meaning with which one handles an interpretation.

Literary critics Barthes and Foucault suggest that readers should not rely on or look for the notion of one overarching voice when interpreting a written work, because of the complications inherent with a writer's title of "author." They warn of the dangers interpretations could suffer from when associating the subject of inherently meaningful words and language with the personality of one authorial voice. Instead, readers should allow a text to be interpreted in terms of the language as "author."

Self-publishing
Self-publishing is a model where the author takes full responsibility and control of arranging financing, editing, printing, and distribution of their own work. In other words, the author also acts as the publisher of their work.

Traditional publishing
With commissioned publishing, the publisher makes all the publication arrangements and the author covers all expenses.

The author of a work may receive a percentage calculated on a wholesale or a specific price or a fixed amount on each book sold. Publishers, at times, reduced the risk of this type of arrangement, by agreeing only to pay this after a certain number of copies had sold. In Canada, this practice occurred during the 1890s, but was not commonplace until the 1920s. Established and successful authors may receive advance payments, set against future royalties, but this is no longer common practice. Most independent publishers pay royalties as a percentage of net receipts – how net receipts are calculated varies from publisher to publisher. Under this arrangement, the author does not pay anything towards the expense of publication. The costs and financial risk are all carried by the publisher, who will then take the greatest percentage of the receipts. See Compensation for more.

Vanity publishing
Vanity publishers normally charge a flat fee for arranging publication, offer a platform for selling, and then take a percentage of the sale of every copy of a book. The author receives the rest of the money made. Most materials published this way are for niche groups and not for large audiences.

Vanity publishing, or subsidy publishing, is stigmatized in the professional world. In 1983, Bill Henderson defined vanity publishers as people who would "publish anything for which an author will pay, usually at a loss for the author and a nice profit for the publisher." In subsidy publishing, the book sales are not the publishers' main source of income, but instead the fees that the authors are charged to initially produce the book are. Because of this, the vanity publishers need not invest in making books marketable as much as other publishers need to. This leads to low quality books being introduced to the market.

Relationship with editor
The relationship between the author and the editor, often the author's only liaison to the publishing company, is typically characterized as the site of tension. For the author to reach their audience, often through publication, the work usually must attract the attention of the editor. The idea of the author as the sole meaning-maker of necessity changes to include the influences of the editor and the publisher to engage the audience in writing as a social act.

There are three principal kinds of editing:
 * Proofing (checking the grammar and spelling, looking for typographical errors),
 * Story (potentially an area of deep angst for both author and publisher), and
 * Layout (the typesetting needed to ready a work for publishing often requires minor text changes, so a layout editor is employed to ensure that these do not alter the sense of the text).

Pierre Bourdieu's essay "The Field of Cultural Production" depicts the publishing industry as a "space of literary or artistic position-takings," also called the "field of struggles," which is defined by the tension and movement inherent among the various positions in the field. Bourdieu claims that the "field of position-takings [...] is not the product of coherence-seeking intention or objective consensus," meaning that an industry characterized by position-takings is not one of harmony and neutrality. In particular for the writer, their authorship in their work makes their work part of their identity, and there is much at stake personally over the negotiation of authority over that identity. However, it is the editor who has "the power to impose the dominant definition of the writer and therefore to delimit the population of those entitled to take part in the struggle to define the writer". As "cultural investors," publishers rely on the editor position to identify a good investment in "cultural capital" which may grow to yield economic capital across all positions.

According to the studies of James Curran, the system of shared values among editors in Britain has generated a pressure among authors to write to fit the editors' expectations, removing the focus from the reader-audience and putting a strain on the relationship between authors and editors and on writing as a social act. Even the book review by the editors has more significance than the readership's reception.

Compensation
Authors rely on advance fees, royalty payments, adaptation of work to a screenplay, and fees collected from giving speeches.

A standard contract for an author will usually include provision for payment in the form of an advance and royalties.

 * Advance: a lump sum paid before publication. An advance must be earned out before royalties are payable. It may be paid in two lump sums: the first payment on contract signing, and the second on delivery of the completed manuscript or on publication.

 * Royalty payment: the sum paid to authors for each copy of a book sold and is traditionally around 10–12%, but self-published authors can earn about 40% – 60% royalties per each book sale. An author's contract may specify, for example, that they will earn 10% of the retail price of each book sold. Some contracts specify a scale of royalties payable (for example, where royalties start at 10% for the first 10,000 sales, but then increase to a higher percentage rate at higher sale thresholds).

Usually, an author's book must earn the advance before any further royalties are paid. For example, if an author is paid a modest advance of $2000, and their royalty rate is 10% of a book priced at $20 – that is, $2 per book – the book will need to sell 1000 copies before any further payment will be made. Publishers typically withhold payment of a percentage of royalties earned against returns.

In some countries, authors also earn income from a government scheme such as the ELR (educational lending right) and PLR (public lending right) schemes in Australia. Under these schemes, authors are paid a fee for the number of copies of their books in educational and/or public libraries.

These days, many authors supplement their income from book sales with public speaking engagements, school visits, residencies, grants, and teaching positions.

Ghostwriters, technical writers, and textbooks writers are typically paid in a different way: usually a set fee or a per word rate rather than on a percentage of sales.

In the year 2016, according to the U.S. Bureau of Labor Statistics, nearly 130,000 people worked in the country as authors, making an average of $61,240 per year.

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Andrey Markov

Andrey Andreyevich Markov (14 June 1856 – 20 July 1922) was a Russian mathematician best known for his work on stochastic processes. A primary subject of his research later became known as the Markov chain. He was also a strong, close to master-level, chess player.

Markov and his younger brother Vladimir Andreevich Markov (1871–1897) proved the Markov brothers' inequality. His son, another Andrey Andreyevich Markov (1903–1979), was also a notable mathematician, making contributions to constructive mathematics and recursive function theory.

Biography
Andrey Markov was born on 14 June 1856 in Russia. He attended the St. Petersburg Grammar School, where some teachers saw him as a rebellious student. In his academics he performed poorly in most subjects other than mathematics. Later in life he attended Saint Petersburg Imperial University (now Saint Petersburg State University). Among his teachers were Yulian Sokhotski (differential calculus, higher algebra), Konstantin Posse (analytic geometry), Yegor Zolotarev (integral calculus), Pafnuty Chebyshev (number theory and probability theory), Aleksandr Korkin (ordinary and partial differential equations), Mikhail Okatov (mechanism theory), Osip Somov (mechanics), and Nikolai Budajev (descriptive and higher geometry). He completed his studies at the university and was later asked if he would like to stay and have a career as a mathematician. He later taught at high schools and continued his own mathematical studies. In this time he found a practical use for his mathematical skills. He figured out that he could use chains to model the alliteration of vowels and consonants in Russian literature. He also contributed to many other mathematical aspects in his time. He died at age 66 on 20 July 1922.

Timeline
In 1877, Markov was awarded a gold medal for his outstanding solution of the problem

About Integration of Differential Equations by Continued Fractions with an Application to the Equation $$ (1+x^2) \frac{dy}{dx} = n (1+y^2)$$.

During the following year, he passed the candidate's examinations, and he remained at the university to prepare for a lecturer's position.

In April 1880, Markov defended his master's thesis "On the Binary Square Forms with Positive Determinant", which was directed by Aleksandr Korkin and Yegor Zolotarev. Four years later in 1884, he defended his doctoral thesis titled "On Certain Applications of the Algebraic Continuous Fractions".

His pedagogical work began after the defense of his master's thesis in autumn 1880. As a privatdozent he lectured on differential and integral calculus. Later he lectured alternately on "introduction to analysis", probability theory (succeeding Chebyshev, who had left the university in 1882) and the calculus of differences. From 1895 through 1905 he also lectured in differential calculus.

One year after the defense of his doctoral thesis, Markov was appointed extraordinary professor (1886) and in the same year he was elected adjunct to the Academy of Sciences. In 1890, after the death of Viktor Bunyakovsky, Markov became an extraordinary member of the academy. His promotion to an ordinary professor of St. Petersburg University followed in the fall of 1894.

In 1896, Markov was elected an ordinary member of the academy as the successor of Chebyshev. In 1905, he was appointed merited professor and was granted the right to retire, which he did immediately. Until 1910, however, he continued to lecture in the calculus of differences.

In connection with student riots in 1908, professors and lecturers of St. Petersburg University were ordered to monitor their students. Markov refused to accept this decree, and he wrote an explanation in which he declined to be an "agent of the governance". Markov was removed from further teaching duties at St. Petersburg University, and hence he decided to retire from the university.

Markov was an atheist. In 1912, he responded to Leo Tolstoy's excommunication from the Russian Orthodox Church by requesting his own excommunication. The Church complied with his request.

In 1913, the council of St. Petersburg elected nine scientists honorary members of the university. Markov was among them, but his election was not affirmed by the minister of education. The affirmation only occurred four years later, after the February Revolution in 1917. Markov then resumed his teaching activities and lectured on probability theory and the calculus of differences until his death in 1922.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Andrey Markov


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Angst

Angst is fear or anxiety (anguish is its Latinate equivalent, and the words anxious and anxiety are of similar origin). The dictionary definition for angst is a feeling of anxiety, apprehension, or insecurity.

Etymology
The word angst was introduced into English from the Danish, Norwegian, and Dutch word angst and the German word Angst. It is attested since the 19th century in English translations of the works of Søren Kierkegaard and Sigmund Freud. It is used in English to describe an intense feeling of apprehension, anxiety, or inner turmoil.

In other languages (with words from the Latin pavor for "fear" or "panic"), the derived words differ in meaning; for example, as in the French anxiété and peur. The word angst has existed in German since the 8th century, from the Proto-Indo-European root , "restraint" from which Old High German angust developed. It is pre-cognate with the Latin angustia, "tensity, tightness" and, "choking, clogging"; compare to the Ancient Greek (ánkhō) "strangle". It entered English in the 19th century as a technical term used in Psychiatry, though earlier cognates existed, such as ange.

Existentialism
In existentialist philosophy, the term angst carries a specific conceptual meaning. The use of the term was first attributed to Danish philosopher Søren Kierkegaard (1813–1855). In The Concept of Anxiety (also known as The Concept of Dread), Kierkegaard used the word Angest (in common Danish, angst, meaning "dread" or "anxiety") to describe a profound and deep-seated condition. Where non-human animals are guided solely by instinct, said Kierkegaard, human beings enjoy a freedom of choice that we find both appealing and terrifying. It is the anxiety of understanding of being free when considering undefined possibilities of one's life and the immense responsibility of having the power of choice over them. Kierkegaard's concept of angst reappeared in the works of existentialist philosophers who followed, such as Friedrich Nietzsche, Jean-Paul Sartre, and Martin Heidegger, each of whom developed the idea further in individual ways. While Kierkegaard's angst referred mainly to ambiguous feelings about moral freedom within a religious personal belief system, later existentialists discussed conflicts of personal principles, cultural norms, and existential despair.

Music
Existential angst makes its appearance in classical musical composition in the early twentieth century as a result of both philosophical developments and as a reflection of the war-torn times. Notable composers whose works are often linked with the concept include Gustav Mahler, Richard Strauss (operas Elektra and Salome), Claude Debussy (opera Pelléas et Mélisande, ballet Jeux), Jean Sibelius (especially the Fourth Symphony), Arnold Schoenberg (A Survivor from Warsaw), Alban Berg, Francis Poulenc (opera Dialogues of the Carmelites), Dmitri Shostakovich (opera Lady Macbeth of Mtsensk, symphonies and chamber music), Béla Bartók (opera Bluebeard's Castle), and Krzysztof Penderecki (especially Threnody to the Victims of Hiroshima). Angst began to be discussed in reference to popular music in the mid- to late 1950s, amid widespread concerns over international tensions and nuclear proliferation. Jeff Nuttall's book Bomb Culture (1968) traced angst in popular culture to Hiroshima. Dread was expressed in works of folk rock such as Bob Dylan's "Masters of War" (1963) and "A Hard Rain's a-Gonna Fall". The term often makes an appearance in reference to punk rock, grunge, nu metal, and works of emo where expressions of melancholy, existential despair, or nihilism predominate.

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Anxiety

Anxiety is an emotion which is characterised by an unpleasant state of inner turmoil and includes feelings of dread over anticipated events. Anxiety is different from fear in that fear is defined as the emotional response to a present threat, whereas anxiety is the anticipation of a future one. It is often accompanied by nervous behavior such as pacing back and forth, somatic complaints, and rumination.

Anxiety is a feeling of uneasiness and worry, usually generalized and unfocused as an overreaction to a situation that is only subjectively seen as menacing. It is often accompanied by muscular tension, restlessness, fatigue, inability to catch one's breath, tightness in the abdominal region, nausea, and problems in concentration. Anxiety is closely related to fear, which is a response to a real or perceived immediate threat (fight-or-flight response); anxiety involves the expectation of a future threat including dread. People facing anxiety may withdraw from situations which have provoked anxiety in the past.

The emotion of anxiety can persist beyond the developmentally appropriate time-periods in response to specific events, and thus turning into one of the multiple anxiety disorders (e.g. generalized anxiety disorder, panic disorder). The difference between anxiety disorder (as mental disorder) and anxiety (as normal emotion), is that people with an anxiety disorder experience anxiety excessively or persistently during approximately 6 months, or even during shorter time-periods in children. Anxiety disorders are among the most persistent mental problems and often last decades. Anxiety can also be experienced within other mental disorders, e.g., obsessive-compulsive disorder, post-traumatic stress disorder.

Anxiety vs. fear
Anxiety is distinguished from fear, which is an appropriate cognitive and emotional response to a perceived threat. Anxiety is related to the specific behaviors of fight-or-flight responses, defensive behavior or escape. There is a false presumption that often circulates that anxiety only occurs in situations perceived as uncontrollable or unavoidable, but this is not always so. David Barlow defines anxiety as "a future-oriented mood state in which one is not ready or prepared to attempt to cope with upcoming negative events," and that it is a distinction between future and present dangers which divides anxiety and fear. Another description of anxiety is agony, dread, terror, or even apprehension. In positive psychology, anxiety is described as the mental state that results from a difficult challenge for which the subject has insufficient coping skills.

Fear and anxiety can be differentiated into four domains: (1) duration of emotional experience, (2) temporal focus, (3) specificity of the threat, and (4) motivated direction. Fear is short-lived, present-focused, geared towards a specific threat, and facilitating escape from threat. On the other hand, anxiety is long-acting, future-focused, broadly focused towards a diffuse threat, and promoting excessive caution while approaching a potential threat and interferes with constructive coping.

Joseph E. LeDoux and Lisa Feldman Barrett have both sought to separate automatic threat responses from additional associated cognitive activity within anxiety.

Symptoms
Anxiety can be experienced with long, drawn-out daily symptoms that reduce quality of life, known as chronic (or generalized) anxiety, or it can be experienced in short spurts with sporadic, stressful panic attacks, known as acute anxiety. Symptoms of anxiety can range in number, intensity, and frequency, depending on the person. However, most people do not suffer from chronic anxiety.

Anxiety can induce several psychological pains (e.g. depression) or mental disorders, and may lead to self-harm or suicide.

The behavioral effects of anxiety may include withdrawal from situations which have provoked anxiety or negative feelings in the past. Other effects may include changes in sleeping patterns, changes in habits, increase or decrease in food intake, and increased motor tension (such as foot tapping).

The emotional effects of anxiety may include feelings of apprehension or dread, trouble concentrating, feeling tense or jumpy, anticipating the worst, irritability, restlessness, watching for signs of danger, and a feeling of empty mindedness. as well as "nightmares/bad dreams, obsessions about sensations, déjà vu, a trapped-in-your-mind feeling, and feeling like everything is scary." It may include a vague experience and feeling of helplessness.

The cognitive effects of anxiety may include thoughts about suspected dangers, such as an irrational fear of dying or having a heart attack, when in reality all one is experiencing is mild chest pain, for example.

The physiological symptoms of anxiety may include:
 * Neurological, as headache, paresthesias, fasciculations, vertigo, or presyncope.
 * Digestive, as abdominal pain, nausea, diarrhea, indigestion, dry mouth, or bolus. Stress hormones released in an anxious state have an impact on bowel function and can manifest physical symptoms that may contribute to or exacerbate IBS.
 * Respiratory, as shortness of breath or sighing breathing.
 * Cardiac, as palpitations, tachycardia, or chest pain.
 * Muscular, as fatigue, tremors, or tetany.
 * Cutaneous, as perspiration, or itchy skin.
 * Uro-genital, as frequent urination, urinary urgency, dyspareunia, or impotence, chronic pelvic pain syndrome.

Types
There are various types of anxiety. Existential anxiety can occur when a person faces angst, an existential crisis, or nihilistic feelings. People can also face mathematical anxiety, somatic anxiety, stage fright, or test anxiety. Social anxiety refers to a fear of rejection and negative evaluation (being judged) by other people.

Existential
The philosopher Søren Kierkegaard, in The Concept of Anxiety (1844), described anxiety or dread associated with the "dizziness of freedom" and suggested the possibility for positive resolution of anxiety through the self-conscious exercise of responsibility and choosing. In Art and Artist (1932), the psychologist Otto Rank wrote that the psychological trauma of birth was the pre-eminent human symbol of existential anxiety and encompasses the creative person's simultaneous fear of – and desire for – separation, individuation, and differentiation.

The theologian Paul Tillich characterized existential anxiety as "the state in which a being is aware of its possible nonbeing" and he listed three categories for the nonbeing and resulting anxiety: ontic (fate and death), moral (guilt and condemnation), and spiritual (emptiness and meaninglessness). According to Tillich, the last of these three types of existential anxiety, i.e. spiritual anxiety, is predominant in modern times while the others were predominant in earlier periods. Tillich argues that this anxiety can be accepted as part of the human condition or it can be resisted but with negative consequences. In its pathological form, spiritual anxiety may tend to "drive the person toward the creation of certitude in systems of meaning which are supported by tradition and authority" even though such "undoubted certitude is not built on the rock of reality".

According to Viktor Frankl, the author of Man's Search for Meaning, when a person is faced with extreme mortal dangers, the most basic of all human wishes is to find a meaning of life to combat the "trauma of nonbeing" as death is near.

Depending on the source of the threat, psychoanalytic theory distinguishes three types of anxiety: realistic, neurotic and moral.

Test
According to Yerkes-Dodson law, an optimal level of arousal is necessary to best complete a task such as an exam, performance, or competitive event. However, when the anxiety or level of arousal exceeds that optimum, the result is a decline in performance.

Test anxiety is the uneasiness, apprehension, or nervousness felt by students who have a fear of failing an exam. Students who have test anxiety may experience any of the following: the association of grades with personal worth; fear of embarrassment by a teacher; fear of alienation from parents or friends; time pressures; or feeling a loss of control. Sweating, dizziness, headaches, racing heartbeats, nausea, fidgeting, uncontrollable crying or laughing and drumming on a desk are all common. Because test anxiety hinges on fear of negative evaluation, debate exists as to whether test anxiety is itself a unique anxiety disorder or whether it is a specific type of social phobia. The DSM-IV classifies test anxiety as a type of social phobia.

Research indicates that test anxiety among U.S. high-school and college students has been rising since the late 1950s. Test anxiety remains a challenge for students, regardless of age, and has considerable physiological and psychological impacts. Management of test anxiety focuses on achieving relaxation and developing mechanisms to manage anxiety. The routine practice of slow, Device-Guided Breathing (DGB) is a major component of behavioral treatments for anxiety conditions.

Performance and competitive
Performance anxiety and competitive anxiety (competitive trait anxiety, competitive state anxiety) happen when an individual's performance is measured against others. An important distinction between competitive and non-competitive anxiety is that competitive anxiety makes people view their performance as a threat. As a result, they experience a drop in their ordinary ability, whether physical or mental, due to that perceived stress.

Competitive anxiety is caused by a range of internal factors including high expectations, outside pressure, lack of experience, and external factors like the location of a competition. It commonly occurs in those participating in high pressure activities like sports and debates. Some common symptoms of competitive anxiety include muscle tension, fatigue, weakness, sense of panic, apprehensiveness, and panic attacks.

There are 4 major theories of how anxiety affects performance: Drive theory, Inverted U theory, Reversal theory, and The Zone of Optimal Functioning theory.

Drive theory believes that anxiety is positive and performance improves proportionally to the level of anxiety. This theory is not well accepted.

The Inverted U theory is based on the idea that performance peaks at a moderate stress level. It is called Inverted U theory because the graph that plots performance against anxiety looks like an inverted "U".

Reversal theory suggests that performance increases in relation to the individual's interpretation of their arousal levels. If they believed their physical arousal level would help them, their performance would increase, if they didn't, their performance would decrease. For example: Athletes were shown to worry more when focusing on results and perfection rather than the effort and growth involved.

The Zone of Optimal Functioning theory proposes that there is a zone where positive and negative emotions are in a balance which lead to feelings of dissociation and intense concentration, optimizing the individual's performance levels.

Stranger, social, and intergroup anxiety
Humans generally require social acceptance and thus sometimes dread the disapproval of others. Apprehension of being judged by others may cause anxiety in social environments.

Anxiety during social interactions, particularly between strangers, is common among young people. It may persist into adulthood and become social anxiety or social phobia. "Stranger anxiety" in small children is not considered a phobia. In adults, an excessive fear of other people is not a developmentally common stage; it is called social anxiety. According to Cutting, social phobics do not fear the crowd but the fact that they may be judged negatively.

Social anxiety varies in degree and severity. For some people, it is characterized by experiencing discomfort or awkwardness during physical social contact (e.g. embracing, shaking hands, etc.), while in other cases it can lead to a fear of interacting with unfamiliar people altogether. Those with this condition may restrict their lifestyles to accommodate the anxiety, minimizing social interaction whenever possible. Social anxiety also forms a core aspect of certain personality disorders, including avoidant personality disorder.

To the extent that a person is fearful of social encounters with unfamiliar others, some people may experience anxiety particularly during interactions with outgroup members, or people who share different group memberships (i.e., by race, ethnicity, class, gender, etc.). Depending on the nature of the antecedent relations, cognitions, and situational factors, intergroup contact may be stressful and lead to feelings of anxiety. This apprehension or fear of contact with outgroup members is often called interracial or intergroup anxiety.

As is the case with the more generalized forms of social anxiety, intergroup anxiety has behavioral, cognitive, and affective effects. For instance, increases in schematic processing and simplified information processing can occur when anxiety is high. Indeed, such is consistent with related work on attentional bias in implicit memory. Additionally recent research has found that implicit racial evaluations (i.e. automatic prejudiced attitudes) can be amplified during intergroup interaction. Negative experiences have been illustrated in producing not only negative expectations, but also avoidant, or antagonistic, behavior such as hostility. Furthermore, when compared to anxiety levels and cognitive effort (e.g., impression management and self-presentation) in intragroup contexts, levels and depletion of resources may be exacerbated in the intergroup situation.

Trait
Anxiety can be either a short-term "state" or a long-term "personality trait". Trait anxiety reflects a stable tendency across the lifespan of responding with acute, state anxiety in the anticipation of threatening situations (whether they are actually deemed threatening or not). A meta-analysis showed that a high level of neuroticism is a risk factor for development of anxiety symptoms and disorders. Such anxiety may be conscious or unconscious.

Personality can also be a trait leading to anxiety and depression and their persistence. Through experience, many find it difficult to collect themselves due to their own personal nature.

Choice or decision
Anxiety induced by the need to choose between similar options is recognized as a problem for some individuals and for organizations. In 2004, Capgemini wrote: "Today we're all faced with greater choice, more competition and less time to consider our options or seek out the right advice." Overthinking a choice is called analysis paralysis.

In a decision context, unpredictability or uncertainty may trigger emotional responses in anxious individuals that systematically alter decision-making. There are primarily two forms of this anxiety type. The first form refers to a choice in which there are multiple potential outcomes with known or calculable probabilities. The second form refers to the uncertainty and ambiguity related to a decision context in which there are multiple possible outcomes with unknown probabilities.

Panic disorder
Panic disorder may share symptoms of stress and anxiety, but it is actually very different. Panic disorder is an anxiety disorder that occurs without any triggers. According to the U.S. Department of Health and Human Services, this disorder can be distinguished by unexpected and repeated episodes of intense fear. Someone with panic disorder will eventually develop constant fear of another attack and as this progresses it will begin to affect daily functioning and an individual's general quality of life. It is reported by the Cleveland Clinic that panic disorder affects 2 to 3 percent of adult Americans and can begin around the time of the teenage and early adult years. Some symptoms include: difficulty breathing, chest pain, dizziness, trembling or shaking, feeling faint, nausea, fear that you are losing control or are about to die. Even though they have these symptoms during an attack, the main symptom is the persistent fear of having future panic attacks.

Anxiety disorders
Anxiety disorders are a group of mental disorders characterized by exaggerated feelings of anxiety and fear responses. Anxiety is a worry about future events and fear is a reaction to current events. These feelings may cause physical symptoms, such as a fast heart rate and shakiness. There are a number of anxiety disorders: including generalized anxiety disorder, specific phobia, social anxiety disorder, separation anxiety disorder, agoraphobia, panic disorder, and selective mutism. The disorder differs by what results in the symptoms. People often have more than one anxiety disorder.

Anxiety disorders are caused by a complex combination of genetic and environmental factors. To be diagnosed, symptoms typically need to be present for at least six months, be more than would be expected for the situation, and decrease a person's ability to function in their daily lives. Other problems that may result in similar symptoms include hyperthyroidism, heart disease, caffeine, alcohol, or cannabis use, and withdrawal from certain drugs, among others.

Without treatment, anxiety disorders tend to remain. Treatment may include lifestyle changes, counselling, and medications. Counselling is typically with a type of cognitive behavioral therapy. Medications, such as antidepressants or beta blockers, may improve symptoms. A 2023 review found that regular physical activity is effective for reducing anxiety.

About 12% of people are affected by an anxiety disorder in a given year and between 12% and 30% are affected at some point in their life. They occur about twice as often in women than they do in men, and generally begin before the age of 25. The most common anxiety disorders are specific phobias, which affect nearly 12% of people, and social anxiety disorder, which affects 10% of people at some point in their life. They affect those between the ages of 15 and 35 the most and become less common after the age of 55. Rates appear to be higher in the United States and Europe.

Short- and long-term anxiety
Anxiety can be either a short-term "state" or a long-term "trait". Whereas trait anxiety represents worrying about future events, anxiety disorders are a group of mental disorders characterized by feelings of anxiety and fears.

Four ways to be anxious
In his book Anxious: The Modern Mind in the Age of Anxiety Joseph LeDoux examines four experiences of anxiety through a brain-based lens:

 * 1) In the presence of an existing or imminent external threat, you worry about the event and its implications for your physical and/or psychological well-being. When a threat signal occurs, it signifies either that danger is present or near in space and time or that it might be coming in the future. Nonconscious threats processing by the brain activates defensive survival circuits, resulting in changes in information processing in the brain, controlled in part by increases in arousal and behavioral and physiological responses in the body that then produce signals that feed back to the brain and complement the physiological changes there, intensifying them and extending their duration.
 * 2) When you notice body sensations, you worry about what they might mean for your physical and/or psychological well-being. The trigger stimulus does not have to be an external stimulus but can be an internal one, as some people are particularly sensitive to body signals.
 * 3) Thoughts and memories may lead to you to worry about your physical and/or psychological well-being. We do not need to be in the presence of an external or internal stimulus to be anxious. An episodic memory of a past trauma or of a panic attack in the past is sufficient to activate the defence circuits.
 * 4) Thoughts and memories may result in existential dread, such as worry about leading a meaningful life or the eventuality of death. Examples are contemplations of whether one's life has been meaningful, the inevitability of death, or the difficulty of making decisions that have a moral value. These do not necessarily activate defensive systems; they are more or less pure forms of cognitive anxiety.

Co-morbidity
Anxiety disorders often occur with other mental health disorders, particularly major depressive disorder, bipolar disorder, eating disorders, or certain personality disorders. It also commonly occurs with personality traits such as neuroticism. This observed co-occurrence is partly due to genetic and environmental influences shared between these traits and anxiety.

It is common for those with obsessive–compulsive disorder to experience anxiety. Anxiety is also commonly found in those who experience panic disorders, phobic anxiety disorders, severe stress, dissociative disorders, somatoform disorders, and some neurotic disorders. Anxiety has also been linked to the experience of intrusive thoughts. Studies have revealed that individuals who experience high levels of anxiety (also known as clinical anxiety) are highly vulnerable to the experience of intense intrusive thoughts or psychological disorders that are characterised by intrusive thoughts.

Risk factors
Anxiety disorders are partly genetic, with twin studies suggesting 30-40% genetic influence on individual differences in anxiety. Environmental factors are also important. Twin studies show that individual-specific environments have a large influence on anxiety, whereas shared environmental influences (environments that affect twins in the same way) operate during childhood but decline through adolescence. Specific measured 'environments' that have been associated with anxiety include child abuse, family history of mental health disorders, and poverty. Anxiety is also associated with drug use, including alcohol, caffeine, and benzodiazepines, which are often prescribed to treat anxiety.

Neuroanatomy
Neural circuitry involving the amygdala, which regulates emotions like anxiety and fear, stimulating the HPA axis and sympathetic nervous system, and hippocampus, which is implicated in emotional memory along with the amygdala, is thought to underlie anxiety. People who have anxiety tend to show high activity in response to emotional stimuli in the amygdala. Some writers believe that excessive anxiety can lead to an overpotentiation of the limbic system (which includes the amygdala and nucleus accumbens), giving increased future anxiety, but this does not appear to have been proven.

Research upon adolescents who as infants had been highly apprehensive, vigilant, and fearful finds that their nucleus accumbens is more sensitive than that in other people when deciding to make an action that determined whether they received a reward. This suggests a link between circuits responsible for fear and also reward in anxious people. As researchers note, "a sense of 'responsibility', or self-agency, in a context of uncertainty (probabilistic outcomes) drives the neural system underlying appetitive motivation (i.e., nucleus accumbens) more strongly in temperamentally inhibited than noninhibited adolescents".

The gut-brain axis
The microbes of the gut can connect with the brain to affect anxiety. There are various pathways along which this communication can take place. One is through the major neurotransmitters. The gut microbes such as Bifidobacterium and Bacillus produce the neurotransmitters GABA and dopamine, respectively. The neurotransmitters signal to the nervous system of the gastrointestinal tract, and those signals will be carried to the brain through the vagus nerve or the spinal system. This is demonstrated by the fact that altering the microbiome has shown anxiety- and depression-reducing effects in mice, but not in subjects without vagus nerves.

Another key pathway is the HPA axis, as mentioned above. The microbes can control the levels of cytokines in the body, and altering cytokine levels creates direct effects on areas of the brain such as the hypothalamus, the area that triggers HPA axis activity. The HPA axis regulates production of cortisol, a hormone that takes part in the body's stress response. When HPA activity spikes, cortisol levels increase, processing and reducing anxiety in stressful situations. These pathways, as well as the specific effects of individual taxa of microbes, are not yet completely clear, but the communication between the gut microbiome and the brain is undeniable, as is the ability of these pathways to alter anxiety levels.

With this communication comes the potential to treat. Prebiotics and probiotics have been shown to reduce anxiety. For example, experiments in which mice were given fructo- and galacto-oligosaccharide prebiotics and Lactobacillus probiotics have both demonstrated a capability to reduce anxiety. In humans, results are not as concrete, but promising.

Genetics
Genetics and family history (e.g. parental anxiety) may put an individual at increased risk of an anxiety disorder, but generally external stimuli will trigger its onset or exacerbation. Estimates of genetic influence on anxiety, based on studies of twins, range from 25 to 40% depending on the specific type and age-group under study. For example, genetic differences account for about 43% of variance in panic disorder and 28% in generalized anxiety disorder. Longitudinal twin studies have shown the moderate stability of anxiety from childhood through to adulthood is mainly influenced by stability in genetic influence. When investigating how anxiety is passed on from parents to children, it is important to account for sharing of genes as well as environments, for example using the intergenerational children-of-twins design.

Many studies in the past used a candidate gene approach to test whether single genes were associated with anxiety. These investigations were based on hypotheses about how certain known genes influence neurotransmitters (such as serotonin and norepinephrine) and hormones (such as cortisol) that are implicated in anxiety. None of these findings are well replicated, with the possible exception of TMEM132D, COMT and MAO-A. The epigenetic signature of BDNF, a gene that codes for a protein called brain derived neurotrophic factor that is found in the brain, has also been associated with anxiety and specific patterns of neural activity. and a receptor gene for BDNF called NTRK2 was associated with anxiety in a large genome-wide investigation. The reason that most candidate gene findings have not replicated is that anxiety is a complex trait that is influenced by many genomic variants, each of which has a small effect on its own. Increasingly, studies of anxiety are using a hypothesis-free approach to look for parts of the genome that are implicated in anxiety using big enough samples to find associations with variants that have small effects. The largest explorations of the common genetic architecture of anxiety have been facilitated by the UK Biobank, the ANGST consortium and the CRC Fear, Anxiety and Anxiety Disorders.

Medical conditions
Many medical conditions can cause anxiety. This includes conditions that affect the ability to breathe, like COPD and asthma, and the difficulty in breathing that often occurs near death. Conditions that cause abdominal pain or chest pain can cause anxiety and may in some cases be a somatization of anxiety; the same is true for some sexual dysfunctions. Conditions that affect the face or the skin can cause social anxiety especially among adolescents, and developmental disabilities often lead to social anxiety for children as well. Life-threatening conditions like cancer also cause anxiety.

Furthermore, certain organic diseases may present with anxiety or symptoms that mimic anxiety. These disorders include certain endocrine diseases (hypo- and hyperthyroidism, hyperprolactinemia), metabolic disorders (diabetes), deficiency states (low levels of vitamin D, B2, B12, folic acid), gastrointestinal diseases (celiac disease, non-celiac gluten sensitivity, inflammatory bowel disease),   heart diseases, blood diseases (anemia), cerebral vascular accidents (transient ischemic attack, stroke), and brain degenerative diseases (Parkinson's disease, dementia, multiple sclerosis, Huntington's disease), among others.

Substance-induced
Several drugs can cause or worsen anxiety, whether in intoxication, withdrawal or as side effect. These include alcohol, tobacco, sedatives (including prescription benzodiazepines), opioids (including prescription pain killers and illicit drugs like heroin), stimulants (such as caffeine, cocaine and amphetamines), hallucinogens, and inhalants.

While many often report self-medicating anxiety with these substances, improvements in anxiety from drugs are usually short-lived (with worsening of anxiety in the long term, sometimes with acute anxiety as soon as the drug effects wear off) and tend to be exaggerated. Acute exposure to toxic levels of benzene may cause euphoria, anxiety, and irritability lasting up to 2 weeks after the exposure.

Psychological
Poor coping skills (e.g., rigidity/inflexible problem solving, denial, avoidance, impulsivity, extreme self-expectation, negative thoughts, affective instability, and inability to focus on problems) are associated with anxiety. Anxiety is also linked and perpetuated by the person's own pessimistic outcome expectancy and how they cope with feedback negativity. Temperament (e.g., neuroticism) and attitudes (e.g. pessimism) have been found to be risk factors for anxiety.

Cognitive distortions such as overgeneralizing, catastrophizing, mind reading, emotional reasoning, binocular trick, and mental filter can result in anxiety. For example, an overgeneralized belief that something bad "always" happens may lead someone to have excessive fears of even minimally risky situations and to avoid benign social situations due to anticipatory anxiety of embarrassment. In addition, those who have high anxiety can also create future stressful life events. Together, these findings suggest that anxious thoughts can lead to anticipatory anxiety as well as stressful events, which in turn cause more anxiety. Such unhealthy thoughts can be targets for successful treatment with cognitive therapy.

Psychodynamic theory posits that anxiety is often the result of opposing unconscious wishes or fears that manifest via maladaptive defense mechanisms (such as suppression, repression, anticipation, regression, somatization, passive aggression, dissociation) that develop to adapt to problems with early objects (e.g., caregivers) and empathic failures in childhood. For example, persistent parental discouragement of anger may result in repression/suppression of angry feelings which manifests as gastrointestinal distress (somatization) when provoked by another while the anger remains unconscious and outside the individual's awareness. Such conflicts can be targets for successful treatment with psychodynamic therapy. While psychodynamic therapy tends to explore the underlying roots of anxiety, cognitive behavioral therapy has also been shown to be a successful treatment for anxiety by altering irrational thoughts and unwanted behaviors.

Evolutionary psychology
An evolutionary psychology explanation is that increased anxiety serves the purpose of increased vigilance regarding potential threats in the environment as well as increased tendency to take proactive actions regarding such possible threats. This may cause false positive reactions but an individual with anxiety may also avoid real threats. This may explain why anxious people are less likely to die due to accidents. There is ample empirical evidence that anxiety can have adaptive value. Within a school, timid fish are more likely than bold fish to survive a predator.

When people are confronted with unpleasant and potentially harmful stimuli such as foul odors or tastes, PET-scans show increased blood flow in the amygdala. In these studies, the participants also reported moderate anxiety. This might indicate that anxiety is a protective mechanism designed to prevent the organism from engaging in potentially harmful behaviors.

Social
Social risk factors for anxiety include a history of trauma (e.g., physical, sexual or emotional abuse or assault), bullying, early life experiences and parenting factors (e.g., rejection, lack of warmth, high hostility, harsh discipline, high parental negative affect, anxious childrearing, modelling of dysfunctional and drug-abusing behaviour, discouragement of emotions, poor socialization, poor attachment, and child abuse and neglect), cultural factors (e.g., stoic families/cultures, persecuted minorities including those with disabilities), and socioeconomics (e.g., uneducated, unemployed, impoverished although developed countries have higher rates of anxiety disorders than developing countries). A 2019 comprehensive systematic review of over 50 studies showed that food insecurity in the United States is strongly associated with depression, anxiety, and sleep disorders. Food-insecure individuals had an almost 3 fold risk increase of testing positive for anxiety when compared to food-secure individuals.

Gender socialization
Contextual factors that are thought to contribute to anxiety include gender socialization and learning experiences. In particular, learning mastery (the degree to which people perceive their lives to be under their own control) and instrumentality, which includes such traits as self-confidence, self-efficacy, independence, and competitiveness fully mediate the relation between gender and anxiety. That is, though gender differences in anxiety exist, with higher levels of anxiety in women compared to men, gender socialization and learning mastery explain these gender differences.

Treatment
The first step in the management of a person with anxiety symptoms involves evaluating the possible presence of an underlying medical cause, the recognition of which is essential in order to decide the correct treatment. Anxiety symptoms may mask an organic disease, or appear associated with or as a result of a medical disorder.

Cognitive behavioral therapy (CBT) is effective for anxiety disorders and is a first line treatment. CBT appears to be equally effective when carried out via the internet. While evidence for mental health apps is promising, it is preliminary.

Anxiety often affects relationships, and interpersonal psychotherapy addresses these issues by improving communication and relationship skills.

Psychopharmacological treatment can be used in parallel to CBT or can be used alone. As a general rule, most anxiety disorders respond well to first-line agents. Such drugs, also used as anti-depressants, are the selective serotonin reuptake inhibitors and serotonin-norepinephrine reuptake inhibitors, that work by blocking the reuptake of specific neurotransmitters and resulting in the increase in availability of these neurotransmitters. Additionally, benzodiazepines are often prescribed to individuals with anxiety disorder. Benzodiazepines produce an anxiolytic response by modulating GABA and increasing its receptor binding. A third common treatment involves a category of drug known as serotonin agonists. This category of drug works by initiating a physiological response at 5-HT1A receptor by increasing the action of serotonin at this receptor. Other treatment options include pregabalin, tricyclic antidepressants, and moclobemide, among others.

Anxiety is considered to be a serious psychiatric illness that has an unknown true pervasiveness due to affected individuals not asking for proper treatment or aid, and due to professionals missing the diagnosis.

Prevention
The above risk factors give natural avenues for prevention. A 2017 review found that psychological or educational interventions have a small yet statistically significant benefit for the prevention of anxiety in varied population types.

Pathophysiology
Anxiety disorder appears to be a genetically inherited neurochemical dysfunction that may involve autonomic imbalance; decreased GABA-ergic tone; allelic polymorphism of the catechol-O-methyltransferase (COMT) gene; increased adenosine receptor function; increased cortisol.

In the central nervous system (CNS), the major mediators of the symptoms of anxiety disorders appear to be norepinephrine, serotonin, dopamine, and gamma-aminobutyric acid (GABA). Other neurotransmitters and peptides, such as corticotropin-releasing factor, may be involved. Peripherally, the autonomic nervous system, especially the sympathetic nervous system, mediates many of the symptoms. Increased flow in the right parahippocampal region and reduced serotonin type 1A receptor binding in the anterior and posterior cingulate and raphe of patients are the diagnostic factors for prevalence of anxiety disorder.

The amygdala is central to the processing of fear and anxiety, and its function may be disrupted in anxiety disorders. Anxiety processing in the basolateral amygdala has been implicated with expansion of dendritic arborization of the amygdaloid neurons. SK2 potassium channels mediate inhibitory influence on action potentials and reduce arborization.

title: Anxiety


text:
A. A. Milne

Alan Alexander Milne (18 January 1882 – 31 January 1956) was an English writer best known for his books about the teddy bear Winnie-the-Pooh, as well as for children's poetry. Milne was primarily a playwright before the huge success of Winnie-the-Pooh overshadowed all his previous work. Milne served in both world wars, as a lieutenant in the Royal Warwickshire Regiment in the First World War and as a captain in the Home Guard in the Second World War.

Milne was the father of bookseller Christopher Robin Milne, upon whom the character Christopher Robin is based. It was during a visit to London Zoo, where Christopher became enamoured with the tame and amiable bear Winnipeg, that Milne was inspired to write the story of Winnie-the-Pooh for his son. Milne bequeathed the original manuscripts of the Winnie-the-Pooh stories to the Wren Library at Trinity College, Cambridge, his alma mater.

Early life and military career
Alan Alexander Milne was born in Kilburn, London, to John Vine Milne, who was born in Jamaica, and Sarah Marie Milne (née Heginbotham), on 18 January 1882. He grew up at Henley House School, 6/7 Mortimer Road (now Crescent), Kilburn, a small independent school run by his father. One of his teachers was H. G. Wells, who taught there in 1889–90. Milne attended Westminster School and Trinity College, Cambridge, where he studied on a mathematics scholarship, graduating with a B.A. in Mathematics in 1903. He edited and wrote for Granta, a student magazine. He collaborated with his brother Kenneth and their articles appeared over the initials AKM. Milne's work came to the attention of the leading British humour magazine Punch, where Milne was to become a contributor and later an assistant editor. Considered a talented cricket fielder, Milne played for two amateur teams that were largely composed of British writers: the Allahakbarries and the Authors XI. His teammates included fellow writers J. M. Barrie, Arthur Conan Doyle and P. G. Wodehouse.

Milne joined the British Army during World War I and served as an officer in the Royal Warwickshire Regiment. He was commissioned into the 4th Battalion, Royal Warwickshire Regiment, on 1 February 1915 as a second lieutenant (on probation). His commission was confirmed on 20 December 1915. He served on the Somme as a signals officer from July-November 1916, but caught trench fever and was invalided back to England. Having recuperated, he worked as a signals instructor, before being recruited into military intelligence to write propaganda articles for MI7 (b) between 1917 and 1918. He was discharged on 14 February 1919, and settled in Mallord Street, Chelsea. He relinquished his commission on 19 February 1920, retaining the rank of lieutenant.

After the war, he wrote a denunciation of war titled Peace with Honour (1934), which he retracted somewhat with 1940's War with Honour. During World War II, Milne was one of the most prominent critics of fellow English writer (and Authors XI cricket teammate) P. G. Wodehouse, who was captured at his country home in France by the Nazis and imprisoned for a year. Wodehouse made radio broadcasts about his internment, which were broadcast from Berlin. Although the light-hearted broadcasts made fun of the Germans, Milne accused Wodehouse of committing an act of near treason by cooperating with his country's enemy. Wodehouse got some revenge on his former friend (e.g. in The Mating Season) by creating fatuous parodies of the Christopher Robin poems in some of his later stories, and claiming that Milne "was probably jealous of all other writers.... But I loved his stuff."

Milne married Dorothy "Daphne" de Sélincourt (1890–1971) in 1913 and their son Christopher Robin Milne was born in 1920. In 1925, Milne bought a country home, Cotchford Farm, in Hartfield, East Sussex.

During World War II, Milne was a captain in the British Home Guard in Hartfield & Forest Row, insisting on being plain "Mr. Milne" to the members of his platoon. He retired to the farm after a stroke and brain surgery in 1952 left him an invalid; and by August 1953, "he seemed very old and disenchanted." Milne died in January 1956, aged 74.

1903 to 1925
After graduating from Cambridge University in 1903, A. A. Milne contributed humorous verse and whimsical essays to Punch, joining the staff in 1906 and becoming an assistant editor.

During this period he published 18 plays and three novels, including the murder mystery The Red House Mystery (1922). His son was born in August 1920 and in 1924 Milne produced a collection of children's poems, When We Were Very Young, which were illustrated by Punch staff cartoonist E. H. Shepard. A collection of short stories for children A Gallery of Children, and other stories that became part of the Winnie-the-Pooh books, were first published in 1925.

Milne was an early screenwriter for the nascent British film industry, writing four stories filmed in 1920 for the company Minerva Films (founded in 1920 by the actor Leslie Howard and his friend and story editor Adrian Brunel). These were The Bump, starring Aubrey Smith; Twice Two; Five Pound Reward; and Bookworms. Some of these films survive in the archives of the British Film Institute. Milne had met Howard when the actor starred in Milne's play Mr Pim Passes By in London.

Looking back on this period (in 1926), Milne observed that when he told his agent that he was going to write a detective story, he was told that what the country wanted from a "Punch humorist" was a humorous story; when two years later he said he was writing nursery rhymes, his agent and publisher were convinced he should write another detective story; and after another two years, he was being told that writing a detective story would be in the worst of taste given the demand for children's books. He concluded that "the only excuse which I have yet discovered for writing anything is that I want to write it; and I should be as proud to be delivered of a Telephone Directory con amore as I should be ashamed to create a Blank Verse Tragedy at the bidding of others."

1926 to 1928
Milne is most famous for his two Pooh books about a boy named Christopher Robin after his son, Christopher Robin Milne (1920–1996), and various characters inspired by his son's stuffed animals, most notably the bear named Winnie-the-Pooh. Christopher Robin Milne's stuffed bear, originally named Edward, was renamed Winnie after a Canadian black bear named Winnie (after Winnipeg), which was used as a military mascot in World War I, and left to London Zoo during the war. "The Pooh" comes from a swan the young Milne named "Pooh". E. H. Shepard illustrated the original Pooh books, using his own son's teddy Growler ("a magnificent bear") as the model. The rest of Christopher Robin Milne's toys, Piglet, Eeyore, Kanga, Roo and Tigger, were incorporated into A. A. Milne's stories, and two more characters – Rabbit and Owl – were created by Milne's imagination. Christopher Robin Milne's own toys are now on display in New York where 750,000 people visit them every year. The fictional Hundred Acre Wood of the Pooh stories derives from Five Hundred Acre Wood in Ashdown Forest in East Sussex, South East England, where the Pooh stories were set. Milne lived on the northern edge of the forest at Cotchford Farm, 51.09°N, 0.107°W, and took his son walking there. E. H. Shepard drew on the landscapes of Ashdown Forest as inspiration for many of the illustrations he provided for the Pooh books. The adult Christopher Robin commented: "Pooh's Forest and Ashdown Forest are identical." Popular tourist locations at Ashdown Forest include: Galleon's Lap, The Enchanted Place, the Heffalump Trap and Lone Pine, Eeyore's Sad and Gloomy Place, and the wooden Pooh Bridge where Pooh and Piglet invented Poohsticks.

Not yet known as Pooh, he made his first appearance in a poem, "Teddy Bear", published in Punch magazine in February 1924 and republished that year in When We Were Very Young. Pooh first appeared in the London Evening News on Christmas Eve, 1925, in a story called "The Wrong Sort of Bees". Winnie-the-Pooh was published in 1926, followed by The House at Pooh Corner in 1928. A second collection of nursery rhymes, Now We Are Six, was published in 1927. All four books were illustrated by E. H. Shepard. Milne also published four plays in this period. He also "gallantly stepped forward" to contribute a quarter of the costs of dramatising P. G. Wodehouse's A Damsel in Distress. The World of Pooh won the Lewis Carroll Shelf Award in 1958.

1929 onward
The success of his children's books was to become a source of considerable annoyance to Milne, whose self-avowed aim was to write whatever he pleased and who had, until then, found a ready audience for each change of direction: he had freed pre-war Punch from its ponderous facetiousness; he had made a considerable reputation as a playwright (like his idol J. M. Barrie) on both sides of the Atlantic; he had produced a witty piece of detective writing in The Red House Mystery (although this was severely criticised by Raymond Chandler for the implausibility of its plot in his essay The Simple Art of Murder in the eponymous collection that appeared in 1950). But once Milne had, in his own words, "said goodbye to all that in 70,000 words" (the approximate length of his four principal children's books), he had no intention of producing any reworkings lacking in originality, given that one of the sources of inspiration, his son, was growing older.

Another reason Milne stopped writing children's books, and especially about Winnie-the-Pooh, was that he felt "amazement and disgust" over the immense fame his son was exposed to, and said that "I feel that the legal Christopher Robin has already had more publicity than I want for him. I do not want CR Milne to ever wish that his name were Charles Robert."

In his literary home, Punch, where the When We Were Very Young verses had first appeared, Methuen continued to publish whatever Milne wrote, including the long poem "The Norman Church" and an assembly of articles entitled Year In, Year Out (which Milne likened to a benefit night for the author).

In 1929, Milne adapted Kenneth Grahame's novel The Wind in the Willows for the stage as Toad of Toad Hall. The title was an implicit admission that such chapters as Chapter 7, "The Piper at the Gates of Dawn," could not survive translation to the theatre. A special introduction written by Milne is included in some editions of Grahame's novel. It was first performed at the Playhouse Theatre, Liverpool, on 21 December 1929 before it made its West End debut the following year at the Lyric Theatre on 17 December 1930. The play was revived in the West End from 1931 to 1935, and since the 1960s there have been West End revivals during the Christmas season; actors who have performed in the play include Judi Dench and Ian McKellen.

Milne and his wife became estranged from their son, who came to resent what he saw as his father's exploitation of his childhood and came to hate the books that had thrust him into the public eye. Christopher's marriage to his first cousin, Lesley de Sélincourt, distanced him still further from his parents – Lesley's father and Christopher's mother had not spoken to each other for 30 years.

Commemoration
A. A. Milne died at his home in Hartfield, Sussex, on 31 January 1956, nearly two weeks after his 74th birthday. A memorial service took place on 10 February at All Hallows-by-the-Tower church in London.

The rights to A. A. Milne's Pooh books were left to four beneficiaries: his family, the Royal Literary Fund, Westminster School and the Garrick Club. After Milne's death in 1956, thirteen days after his 74th birthday, his widow sold her rights to the Pooh characters to Stephen Slesinger, whose widow sold the rights after Slesinger's death to the Walt Disney Company, which has made many Pooh cartoon movies, a Disney Channel television show, as well as Pooh-related merchandise. In 2001, the other beneficiaries sold their interest in the estate to the Disney Corporation for $350m. Previously Disney had been paying twice-yearly royalties to these beneficiaries. The estate of E. H. Shepard also received a sum in the deal. The UK copyright on the text of the original Winnie the Pooh books expires on 1 January 2027; at the beginning of the year after the 70th anniversary of the author's death (PMA-70), and has already expired in those countries with a PMA-50 rule. This applies to all of Milne's works except those first published posthumously. The illustrations in the Pooh books will remain under copyright until the same amount of time has passed, after the illustrator's death; in the UK, this will be on 1 January 2047. In the US, copyright will not expire until 95 years after publication for each of Milne's books first published before 1978, but this includes the illustrations.

In 2008, a collection of original illustrations featuring Winnie-the-Pooh and his animal friends sold for more than £1.2 million at auction in Sotheby's, London. Forbes magazine ranked Winnie the Pooh the most valuable fictional character in 2002; Winnie the Pooh merchandising products alone had annual sales of more than $5.9 billion. In 2005, Winnie the Pooh generated $6 billion, a figure surpassed only by Mickey Mouse.

A memorial plaque in Ashdown Forest, unveiled by Christopher Robin in 1979, commemorates the work of A. A. Milne and Shepard in creating the world of Pooh. The inscription states they "captured the magic of Ashdown Forest, and gave it to the world". Milne once wrote of Ashdown Forest: "In that enchanted place on the top of the forest a little boy and his bear will always be playing."

In 2003, Winnie-the-Pooh was ranked number 7 on the BBC's The Big Read poll which determined the UK's "best-loved novels". In 2006, Winnie-the-Pooh received a star on the Hollywood Walk of Fame, marking the 80th birthday of Milne's creation.

Marking the 90th anniversary of Milne's creation of the character, and the 90th birthday of Queen Elizabeth II, Winnie-the-Pooh Meets the Queen (2016) sees Pooh meet the Queen at Buckingham Palace. The illustrated and audio adventure is narrated by the actor Jim Broadbent. Also in 2016, a new character, a Penguin, was unveiled in The Best Bear in All the World, which was inspired by a long-lost photograph of Milne and his son Christopher with a toy penguin.

An exhibition entitled Winnie-the-Pooh: Exploring a Classic appeared at the Victoria and Albert Museum in London from 9 December 2017 to 8 April 2018.

The composer Harold Fraser-Simson, a near neighbour, produced six books of Milne songs between 1924 and 1932. The poems have been parodied many times, including with the books When We Were Rather Older and Now We Are Sixty. The 1963 film The King's Breakfast was based on Milne's poem of the same name.

Milne has been portrayed in television and film. Domhnall Gleeson plays him in Goodbye Christopher Robin, a 2017 biographical drama film. In the 2018 fantasy film Christopher Robin, an extension of the Disney Winnie the Pooh franchise, Tristan Sturrock plays Milne, and filming took place at Ashdown Forest.

An elementary school in Houston, Texas, operated by the Houston Independent School District (HISD), is named after Milne. The school, A. A. Milne Elementary School in Brays Oaks, opened in 1991.

Archive

The original manuscripts for Winnie-the-Pooh and The House at Pooh Corner are archived at Trinity College Library, Cambridge.

The bulk of A. A. Milne's papers are housed at the Harry Ransom Center at the University of Texas at Austin. The collection, established at the centre in 1964, consists of manuscript drafts and fragments for over 150 of Milne's works, as well as correspondence, legal documents, genealogical records, and some personal effects. The library division holds several books formerly belonging to Milne and his wife Dorothy. The center also has small collections of correspondence from Christopher Robin Milne and Milne's frequent illustrator E. H. Shepard.

Religious views
Milne did not speak out much on the subject of religion, although he used religious terms to explain his decision, while remaining a pacifist, to join the British Home Guard. He wrote: "In fighting Hitler we are truly fighting the Devil, the Anti-Christ ... Hitler was a crusader against God."

His best known comment on the subject was recalled on his death: "The Old Testament is responsible for more atheism, agnosticism, disbelief – call it what you will – than any book ever written; it has emptied more churches than all the counter-attractions of cinema, motor bicycle and golf course."

He wrote in the poem "Explained":

"Elizabeth Ann Said to her Nan: 'Please will you tell me how God began? must have made Him. So Who could it be, 'cos I want to know?'"

He also wrote in the poem "Vespers":

"'Oh! Thank you, God, for a lovely day. And what was the other I had to say? I said 'Bless Daddy,' so what can it be? Oh! Now I remember it. God bless Me.'"

Novels

 * Lovers in London (1905. Some consider this more of a short story collection; Milne did not like it and considered The Day's Play as his first book.)
 * Once on a Time (1917)
 * Mr. Pim (1921) (A novelisation of his 1919 play Mr. Pim Passes By)
 * The Red House Mystery (1922). Serialised: London (Daily News), serialised daily from 3 to 28 August 1921
 * Two People (1931) (Inside jacket claims this is Milne's first attempt at a novel.)
 * Four Days' Wonder (1933)
 * Chloe Marr (1946)

Non-fiction

 * Peace With Honour (1934)
 * It's Too Late Now: The Autobiography of a Writer (1939)
 * War With Honour (1940)
 * War Aims Unlimited (1941)
 * Year In, Year Out (1952) (illustrated by E. H. Shepard)

Punch articles

 * The Day's Play (1910)
 * The Holiday Round (1912)
 * Once a Week (1914)
 * The Sunny Side (1921)
 * Those Were the Days (1929) [The four volumes above, compiled]

Newspaper articles and book introductions

 * The Chronicles of Clovis by "Saki" (1911) [Introduction to]
 * Not That It Matters (1919)
 * If I May (1920)
 * By Way of Introduction (1929)
 * Women and Children First!. John Bull, 10 November 1934
 * It Depends on the Book (1943, in September issue of Red Cross Newspaper The Prisoner of War)

Story collections for children

 * A Gallery of Children (1925)
 * Winnie-the-Pooh (1926) (illustrated by Ernest H. Shepard)
 * The House at Pooh Corner (1928) (illustrated by E. H. Shepard)
 * Short Stories

Poetry collections for children

 * When We Were Very Young (1924) (illustrated by E. H. Shepard)
 * Now We Are Six (1927) (illustrated by E. H. Shepard)

Story collections

 * The Secret and other stories (1929)
 * The Birthday Party (1948)
 * A Table Near the Band (1950)

Poetry

 * When We Were Very Young (1924) (illustrated by E. H. Shepard)
 * For the Luncheon Interval (1925) [poems from Punch]
 * Now We Are Six (1927) (illustrated by E. H. Shepard)
 * Behind the Lines (1940)
 * The Norman Church (1948)

Screenplays and plays

 * Wurzel-Flummery (1917)
 * Belinda (1918)
 * The Boy Comes Home (1918)
 * Make-Believe (1918) (children's play)
 * The Camberley Triangle (1919)
 * Mr. Pim Passes By (1919)
 * The Red Feathers (1920)
 * The Romantic Age (1920)
 * The Stepmother (1920)
 * The Truth About Blayds (1920)
 * The Bump (1920, Minerva Films), starring C. Aubrey Smith and Faith Celli
 * Twice Two (1920, Minerva Films)
 * Five Pound Reward (1920, Minerva Films)
 * Bookworms (1920, Minerva Films)
 * The Great Broxopp (1921)
 * The Dover Road (1921)
 * The Lucky One (1922)
 * The Truth About Blayds (1922)
 * The Artist: A Duologue (1923)
 * Give Me Yesterday (1923) (a.k.a. Success in the UK)
 * Ariadne (1924)
 * The Man in the Bowler Hat: A Terribly Exciting Affair (1924)
 * To Have the Honour (1924)
 * Portrait of a Gentleman in Slippers (1926)
 * Success (1926)
 * Miss Marlow at Play (1927)
 * Winnie the Pooh. Written specially by Milne for a 'Winnie the Pooh Party' in aid of the National Mother-Saving Campaign, and performed once at Seaford House on 17 March 1928
 * The Fourth Wall or The Perfect Alibi (1928) (later adapted for the film Birds of Prey (1930), directed by Basil Dean)
 * The Ivory Door (1929)
 * Toad of Toad Hall (1929) (adaptation of The Wind in the Willows)
 * Michael and Mary (1930)
 * Other People's Lives (1933) (a.k.a. They Don't Mean Any Harm)
 * Miss Elizabeth Bennet (1936) [based on Pride and Prejudice]
 * Sarah Simple (1937)
 * Gentleman Unknown (1938)
 * The General Takes Off His Helmet (1939) in The Queen's Book of the Red Cross
 * The Ugly Duckling (1941)
 * Before the Flood (1951).

title: A. A. Milne


text:
Asociación Alumni

Asociación Alumni, usually just Alumni, is an Argentine rugby union club located in Tortuguitas, Greater Buenos Aires. The senior squad currently competes at Top 12, the first division of the Unión de Rugby de Buenos Aires league system.

The club has ties with former football club Alumni because both were established by Buenos Aires English High School students.

Background
The first club with the name "Alumni" played association football, having been found in 1898 by students of Buenos Aires English High School (BAEHS) along with director Alexander Watson Hutton. Originally under the name "English High School A.C.", the team would be later obliged by the Association to change its name, therefore "Alumni" was chosen, following a proposal by Carlos Bowers, a former student of the school.

Alumni was the most successful team during the first years of Argentine football, winning 10 of 14 league championships contested. Alumni is still considered the first great football team in the country. Alumni was reorganised in 1908, "in order to encourage people to practise all kinds of sports, specially football". This was the last try to develop itself as a sports club rather than just as a football team, as Lomas, Belgrano and Quilmes had successfully done in the past, but the efforts were not enough. Alumni played its last game in 1911 and was definitely dissolved on April 24, 1913.

Rebirth through rugby
In 1951, two guards of the BAEHS, Daniel Ginhson (also a former player of Buenos Aires F.C.) and Guillermo Cubelli, supported by the school's alumni and fathers of the students, decided to establish a club focused on rugby union exclusively. Former players of Alumni football club and descendants of other players already dead gave their permission to use the name "Alumni".

On December 13, in a meeting presided by Carlos Bowers himself (who had proposed the name "Alumni" to the original football team 50 years before), the club was officially established under the name "Asociación Juvenil Alumni", also adopting the same colors as its predecessor.

The team achieved good results and in 1960 the club presented a team that won the third division of the Buenos Aires league, reaching the second division. Since then, Alumni has played at the highest level of Argentine rugby and its rivalry with Belgrano Athletic Club is one of the fiercest local derbies in Buenos Aires. Alumni would later climb up to the first division winning 5 titles: 4 consecutive between 1989 and 1992, and the other in 2001.

In 2002, Alumni won its first Nacional de Clubes title, defeating Jockey Club de Rosario 23–21 in the final.

Current roster
As of January 2018:

 * Federico Lucca
 * Gaspar Baldunciel
 * Guido Cambareri
 * Iñaki Etchegaray
 * Bernardo Quaranta
 * Tobias Moyano
 * Mariano Romanini
 * Santiago Montagner
 * Tomas Passerotti
 * Lucas Frana
 * Luca Sabato
 * Franco Batezzatti
 * Franco Sabato
 * Rafael Desanto
 * Nito Provenzano
 * Tomas Bivort
 * Juan.P Ceraso
 * Santiago Alduncin
 * Juan.P Anderson
 * Lucas Magnasco
 * Joaquin Diaz Luzzi
 * Felipe Martignone
 * Tomas Corneille

Honours

 * Nacional de Clubes (1): 2002
 * Torneo de la URBA (6): 1989, 1990, 1991, 1992, 2001, 2018

title: Asociación Alumni