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Administrative divisions of North Korea

The administrative divisions of North Korea are organized into three hierarchical levels. These divisions were created in 2002. Many of the units have equivalents in the system of South Korea. At the highest level are nine provinces and four special municipalities. The second-level divisions are cities, counties, and districts. These are further subdivided into third-level entities: towns, dongs (neighborhoods), ris (villages), and workers' districts.

The three-level administrative system used in North Korea was first inaugurated by Kim Il Sung in 1952, as part of a massive restructuring of local government. Previously, the country had used a multi-level system similar to that still used in South Korea.

(The English translations are not official, but approximations. Names are romanized according to the McCune-Reischauer system as officially used in North Korea; the editor was also guided by the spellings used on the 2003 National Geographic map of Korea).

First-level divisions
The nine provinces (to; ) derive from the traditional provinces of Korea, but have been further subdivided since the division of Korea. They are large areas including cities, rural and mountainous regions. The four special cities (t'ŭkpyŏlsi; ) are large metropolitan cities that have been separated from their former provinces to become first-level units. Four other cities have been directly governed in the past, but were subsequently reunited with their provinces or otherwise reorganized.

The three special administrative regions were all created in 2002 for the development of collaborative ventures with South Korea and other countries. One of them, the Sinuiju Special Administrative Region, was intended to draw Chinese investment and enterprise, but as of 2006 appears never to have been implemented. The special administrative regions do not have any known second- and third-level subdivisions.

Second-level divisions

 * ''See List of second-level administrative divisions of North Korea for a complete list.

The most common second-level division is the county (kun; ), a less urbanized area within a province or directly governed city. The more populous districts within provinces are cities (si; ).

The city centers of the directly governed cities are organized into districts (kuyŏk, equivalent to South Korean gu).

Third-level divisions
Rural parts of cities and counties are organized into villages (ri, ). The downtown areas within cities are divided into neighborhoods (dong, ), and a populous part of a county forms a town (ŭp, ). Some counties also have workers' districts (rodongjagu, ).

title: Administrative divisions of North Korea


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MDA (TV series)

MDA is an Australian television series that aired between 2002 and 2005 on the Australian Broadcasting Corporation (ABC). It concerned the day-to-day operation of legal firm MDA, which specialised in medical defence.

Synopsis
The title refers to the firm Medical Defence Australia, a team of lawyers and doctors who defend doctors charged with malpractice, ranging from Botox injections gone wrong to spinal cord injuries. The firm operates by collecting annual subscriptions from doctors, rather than on a case-by-case fee basis.

The main characters in the pilot episode included Dr. Louella "Ella" Davis, the moral centre of the firm whose passion lies equally distributed between her work at St Albans Hospital Emergency Ward, and defending doctors; "Happy" Henderson, a lawyer whose nickname can be greatly misleading; Dr. Jamie Lawless, an optimistic young doctor whose passion for helping others often leads him to inner conflict; Caitlin King, the new law recruit at MDA whose ambitions far exceed what she can do at the firm; Layla Young of the Bahá'í faith, the friendly receptionist; Dr. Tony McKinnon, a doctor who works with Ella at the hospital; and Richard Savage – the cutthroat plaintiff's advocate who often does battles with MDA.

MDA premiered in 2002 during a downturn in the making of Australian television. Despite critical acclaim and a number of awards, initially no renewal was made after the second season (2003). A year later, the ABC ordered another 12 episodes for 2005, but by this time several key actors had moved on. More multi-episode story arcs were used and critical response was lukewarm. Although sentiment eventually warmed, the series was not renewed after the third season.

Season 1
In the opening episodes, Ella faced personal problems when her lover Nick wished to move out of the country, and she often discussed these with her sister Edwina, but those characters quickly faded into the background. Edwina did return, for one episode, in the second season.

The first episodes did not draw impressive ratings, and the critics were ambivalent, but by the eighth episode – "Bowels, Bosch and the Whole Damn Thing", in which Happy faced health problems – Jamie fell for Wendy Rossi, a doctor facing manslaughter, and Caitlin began to consider working with Richard instead of MDA – the show began to gain attention.

Other notable characters of the first season were Helena, a prosecutor whose lack of ability often led to comic relief moments; Claudia, Richard's sardonic barrister; Giles, the amiable old barrister contracted to MDA; Dr Vince Phillips, a doctor on the MDA board whose desire to take over led to a legal battle; and Dr Mark Matthews, the head of the MDA board.

In the final episodes of the season, Ella and Tony became victims of a civil suit which led to them facing considerable press exposure. They were found not guilty, but in the final moments of the season finale, Divine intervention, angry plaintiff Debbie Shanahan drove her car directly at Jamie, Tony and Ella, and the audience was left to wonder who had survived.

Season 2
Although the ratings had been average, MDA was granted a second season.

The second season improved markedly from the first season, tightening storylines and scripts. The season opened with the episode "Eternity" in which Tony died on the operating table, and Caitlin moved to Richard Savage's firm. Caitlin gets off to a bumpy start with the MDA when she becomes involved with Justin Harris (a man secretly under investigation for murder, played by Jeremy Callaghan). After Justin is cleared he feels that there is no trust in their relationship and leaves Caitlin.

Two new characters joined: Amanda McKay, a legal case manager; and Simon Lloyd, a doctor joining MDA. Amanda and Simon's relationship evolves as a will-they-or-won't-they? couple of the show, with the risk increased due to his wife who worked abroad. By season's end they were a couple, but were still easing into it.

Significant season two storylines included the destruction of Jamie and Wendy's relationship, Dr Phillips' increasing efforts to become head of MDA, and the potential destruction of MDA itself as he attempts to incite a revolution against the firm, Caitlin and Richard's personal and professional fighting, Layla's grandmother getting closer to death, and Happy dealing with his son Jason.

In the second half of the season, Caitlin was written out of the show, as the producers decided her character had run its course. Kerry Armstrong also decided to leave – because the low Government funding for the arts in Australia under the Howard conservative government (often criticised within the industry) meant that appearing on one television show was not a sustainable income. Ella, subsequently, took a full-time posting at St. Albans' as Head of Emergency and only appeared occasionally during the latter half of season 2, making her final appearance in the penultimate episode "Pas de deux".

Despite increased audience size, critical response, and award nominations, the ABC made no official announcement of the show's renewal. The final episode, "Memento Mori", aired on 17 December 2003.

While it was no surprise that the ABC did not make an immediate announcement about the show's fate – many Australian television series will often miss a year due to actor's schedules and production demands – it was eight months before an announcement was made. During this time, Jason Donovan and Felix Nobis both moved on to other projects.

Season 3
In August 2004, the ABC finally announced its new commitment: a 12-episode order, which would air as three four-hour miniseries in 2005. While the order was small, the renewal meant that MDA was the only series to have started in 2002 which was still on the air as of 2005.

The third season began on 30 June 2005, and was greeted with lacklustre ratings, despite an impressive guest cast. Critical response, initially negative, warmed as the season progressed, to the point where it was largely positive.

 * Episodes 1–4: Second chance. Facing a separation from his wife, Happy becomes enamored of a brilliant geneticist, Dr Robyn Masterson (Sigrid Thornton) whose controversial experiments are in danger of being shut down. While Happy's personal feelings lead him to champion her cause, he begins to discover that all is not as it seems. Meanwhile, Amanda investigates a separate case regarding Dr Masterson's lab assistant Julia (Anita Hegh); and Layla, Mark and Jamie fear for Happy's wellbeing. Aaron Blabey also stars as Dr. Masterson's assistant. As incident after incident befalls Robyn's team, she blames outside forces but some suspect that she herself isn't being honest with MDA, and ultimately Happy is forced to make the choice between his relationship with Robyn and the good of the company. Nicholas Hammond also guest stars in this episode.
 * Episodes 5–8: Departure lounge. With Jamie on holiday, MDA take on a temporary case manager, Dr Andrew Morello (Vince Colosimo), an anaesthetist with strong suspicions about the high rate of infant deaths at his hospital. So when he and Amanda assist Ted Walsh (Terry Brady), a prominent doctor with similar suspicions, Morello begins to investigate – which leads him to suspect prominent cardiologist Rupert Carr (Frank Gallacher). As Morello confides in Happy, he begins attempting to stop Carr's practices without coming out and speaking his mind, which will ultimately result in the end of both their careers. When Andrew goes up on his own charges, Happy recalls Jamie back to MDA so that Andrew can be dismissed. As everyone including MDA turns against him, news about his wife Lucy (Jane Allsop) ultimately compels Andrew to make a final decision. Meanwhile, Amanda goes up against Gabrielle Bromley (Wendy Hughes), a fierce prosecuting attorney.
 * Episodes 9–12: A human cost. Happy has a sudden angina attack, and while in an outer suburban hospital befriends intern Dr Liz Gibson (Lisa McCune). The next day, Gibson becomes the subject of a medical negligence writ. Concerned that her boss, Meg Morrison (Louise Siversen), and her nemesis, nurse Chloe Davis (Jacinta Stapleton) are teaming up against her, Liz seeks Happy's assistance. Even though both Amanda and Liz herself have doubts about her competence, Happy stands by her. However, when Jamie and Layla discover just how understaffed and incompetently run Prospect Valley Hospital is, they realise that someone might be making Liz a scapegoat to cover up greater crimes. Elsewhere, Amanda goes up against a Health Review Board manager, David Simpson (Erik Thomson) in court, only to find herself in a passionate relationship with him outside of work. But when she learns that he may be behind the plot to convict Liz, Amanda is put into a devastating conflict of interest. Things come to a head when Liz and her boyfriend – fellow intern Dr Tim Whitney (Paul Bishop) – must both be protected against the schemes at the hospital, and as Happy fights with Amanda over the case, his health takes a serious turn for the worse.

Main cast

 * Shane Bourne as Bill 'Happy' Henderson
 * Angus Grant as Dr Jamie Lawless
 * Petra Jared as Layla Young
 * Angie Milliken as Amanda McKay (2003–05)
 * Kerry Armstrong as Dr Louella "Ella" Davis (2002–03)
 * Jason Donovan as Richard Savage (2002–03)
 * Alice McConnell as Caitlin King (2002–03)
 * Aaron Pedersen as Dr Tony McKinnon (2002 + first episode of season 2)
 * Felix Nobis as Dr Simon Lloyd (2003)

Guest cast

 * Aaron Blabey as Luke Rodman, Dr. Masterson's assistant (2005)
 * Ailsa Piper as Dr Carol Westerman (2003)
 * Alan Hopgood as Dr. Hugo Willard (2002-03)
 * Alex Papps as Dr Hamish McGregor (2002, 1 episode)
 * Alexandra Schepisi as Edwina "Ed" Davis (2002–03)
 * Amanda Douge as Lucy Carlton (1 episode)
 * André De Vanny as Joshua Tranter (2003)
 * Anita Hegh as Julia Delvecchio, Dr Masterson's lab assistant (2005, 4 episodes)
 * Belinda Giblin as Renae Samon (1 episode)
 * Daniella Farinacci as Dr Wendy Rossi (2002–03)
 * David Clencie as Jack Panogeas (2002, 1 episode)
 * Erik Thomson as David Simpson
 * Frank Gallacher as Rupert Carr (4 episodes)
 * Gareth Yuen as Dr Angus Yu (2 episodes)
 * Greg Stone as Dr Garth Carmody (1 episode)
 * Helen Thomson as Nerida Bailey (2 episodes)
 * Jacinta Stapleton as Nurse Chloe Davis (2005)
 * Jack Phillpotts as Eddie Delaney (2003)
 * Jane Allsop as Lucy
 * Jeremy Callaghan as Justin Harris (2003)
 * John McTernan as Dr Michael Forsythe (2002)
 * Lisa McCune as Dr Liz Gibson (intern)
 * Louise Siversen as Meg Morrison
 * Mandy McElhinney as Helena (2002–03)
 * Michael Carman as Dr Mark Matthews
 * Nicholas Bell as Oliver Maudson (2002, 2 episodes)
 * Nicholas Hammond as Dr Nick Standish (2004, 4 episodes)
 * Nicki Paull as Dr Karen Hill (1 episode)
 * Nina Landis as Claudia Monserrat (2002–03)
 * Paul Bishop as Dr Tim Whitney (intern)
 * Rebecca Frith as Fran Griffin (2003, 3 episodes)
 * Rhys McConnochie as Giles Jones, QC (2002–03)
 * Robert Taylor as Paul Bennett (2002)
 * Sarah Chadwick as Dr Sarah Christie (2003, 1 episode)
 * Sigrid Thornton as Dr Robyn Masterson (2005, 4 episodes)
 * Simon Stone as Jason Henderson (2002–03)
 * Stephen Kearney (actor) as Dr Vince Phillips (2002–03)
 * Steve Mouzakis as Bart Saunders (2003, 1 episode)
 * Suzi Dougherty as Debbie Shanahan (2002–03)
 * Terence Donovan as Eric Savage (2003)
 * Terry Brady as Dr Ted Walsh
 * Tim Burns (actor) as Tom Cusack (2002)
 * Tim Rogers as Joel (2005, 1 episode)
 * Vince Colosimo as Dr Andrew Morello (2005, 4 episodes)
 * Wendy Hughes as Gabrielle Bromley

Awards

 * 2002 – Nominee – Australian Film Institute Awards – Best Drama Series
 * 2002 – Nominee – Australian Film Institute Awards – Best Actor – Shane Bourne
 * 2002 – Nominee – Australian Film Institute Awards – Best Supporting Actor – Angus Grant
 * 2002 – Nominee – Australian Film Institute Awards – Best Actress – Kerry Armstrong
 * 2003 – Nominee – Australian Film Institute Awards – Best Screenplay – Bill Garner, episode: "Crossing the Line"
 * 2003 – Nominee – International Emmy Awards – Best Drama Series
 * 2003 – Winner – Australian Film Institute Awards – Best Drama Series
 * 2003 – Winner – Australian Film Institute Awards – Best Actor – Shane Bourne
 * 2003 – Winner – Australian Film Institute Awards – Best Actress – Angie Milliken
 * 2004 – Winner – Australian Cinematographers Society – Award of Distinction – Graham Brumley – episode: "A Bird in the Hand"
 * 2005 – Winner – Australian Film Institute Awards – Best Actor in Television – Shane Bourne
 * 2005 – Winner – Australian Film Institute Awards – Best Supporting Actress in Television – Anita Hegh

Releases
The ABC released online seven-day rental copies of series one and two under its ABC Digital label.

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

title: MDA (TV series)


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Live at the Astoria

Live at the Astoria is a live concert video by the English rock group Radiohead, taken from their performance at the London Astoria on 27 May 1994. It features performances of songs from their first two albums, Pablo Honey (1993) and The Bends (1995). It was released on VHS on 13 March 1995, the same day as the release of The Bends. A DVD release followed in 2005. The performance of "My Iron Lung" was used for The Bends, with Thom Yorke's vocals replaced and the audience removed.

Release
The DVD edition of Live at the Astoria, digitally restored and remastered, was released on 21 November 2005 in Europe and on 22 November 2005 in North America.

To be included on the bonus discs of the collector's editions of Pablo Honey and The Bends, the concert was split between the two. "You", "Ripcord", "Creep", "Prove Yourself", "Vegetable", "Stop Whispering", "Anyone Can Play Guitar", "Pop Is Dead" and "Blow Out" were included on the re-release of Pablo Honey. Whereas "Bones", "Black Star", "The Bends", "My Iron Lung", "Maquiladora", "Fake Plastic Trees" "Just", and "Street Spirit (Fade Out)" featured on the re-release of The Bends.

On 28 May 2020 the video premiered on YouTube, as part of Radiohead's "quarantine concert series" to compensate for a lack of live performances during the COVID-19 pandemic.

Setlist

 * 1) "You" (3:48)
 * 2) "Bones" (3:08)
 * 3) "Ripcord" (3:17)
 * 4) "Black Star" (3:44)
 * 5) "Creep" (4:10)
 * 6) "The Bends" (3:56)
 * 7) "My Iron Lung" (5:06)
 * 8) "Prove Yourself" (2:24)
 * 9) "Maquiladora" (3:16)
 * 10) "Vegetable" (3:14)
 * 11) "Fake Plastic Trees" (4:29)
 * 12) "Just" (3:43)
 * 13) "Stop Whispering" (5:16)
 * 14) "Anyone Can Play Guitar" (4:16)
 * 15) "Street Spirit (Fade Out)" (4:24)
 * 16) "Pop Is Dead" (2:22)
 * 17) "Blow Out" (6:14)

Personnel
All songs written by Radiohead and published by Warner Chappell Music Ltd.
 * Thom Yorke - vocals, guitar
 * Jonny Greenwood - guitar
 * Colin Greenwood - bass guitar
 * Ed O'Brien - guitar, backing vocals
 * Philip Selway - drums
 * Dianne Swann - keys on "Street Spirit (Fade Out)"
 * Jim Warren - mixing
 * Brett Turnbull - director
 * Sarah Bayliss - producer
 * Stanley Donwood and The White Chocolate Farm - artwork

title: Live at the Astoria


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File talk:Action potential.svg

Refractory period
The "refractory period" label on the current graph is misleading; it seems to suggest that the refractory period is due to the hyperpolarizing overshoot (perhaps through K-channel shunting?). In the case of the standard neural action potential, refractory period is the result of Na-channel inactivation, so doesn't have much to do with the overshoot.

Would be better to label the overshoot appropriately as "hyperpolarizing overshoot" and label the stretch beginning with the overshoot and continuing to the end of the graph the "refractory period".

title: File talk:Action potential.svg


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Talk:Gargish

I wanted to point out an error on this page, but feel that I lack the experience and knowledge to actually correct it.

The Gargish langauge is NOT the language of Britannian magick. That would be the Britannian langauge, which is called Runic in game. Each Runic character has a "word of power" associated with it, which are used to form the magic spells.

 * You're getting confused between the scripts and the languages. In the entire Ultima series, the Runic alphabet is only ever used to translate English words. However, the Gargish script is used to write words in an actual Gargish language. Twenty-six of these words of the Gargish language have been chosen to correspond to the twenty-six single-letter runes of the Britannian Runic script. These twenty-six Gargish words are the so-called "words of power". Neither the runic script nor the Ophidian script is actually a "language" - they are no more than second-level writing systems used to encode English. Gargish is actually more developed than this, and is a proper language on a par with, say, Klingon. That's why, even if you know the Gargish alphabet, you still can't translate the Gargish signs and books of Ultima VI directly into English. (Try it sometime if you don't believe me.) thefamouseccles 13:15, 09 Apr 2006 (UTC)

As a side note, Ultima features a third written language, called Ophidian. To my knowledge, it was only found in Ultima VII Part 2: Serpent Isle.

title: Talk:Gargish


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Portobello, Edinburgh

Portobello is a coastal suburb of Edinburgh in eastern central Scotland. It lies 3 miles (5 km) east of the city centre, facing the Firth of Forth, between the suburbs of Joppa and Craigentinny. Although historically it was a town in its own right, it is officially a residential suburb of Edinburgh. The promenade fronts onto a wide sandy beach.

Early years
The area was originally known as Figgate Muir, an expanse of moorland through which the Figgate Burn flowed, from Duddingston Loch fed by the Braid Burn to the west, to the sea, with a broad sandy beach on the Firth of Forth. The name "Figgate" has been thought to come from an Old English term for "cow's ditch", but the land was used as pasture for cattle by the monks of Holyrood Abbey and the name is more likely to mean "cow road", as in Cowgate in Edinburgh. In 1650 it was the supposed scene of a secret meeting between Oliver Cromwell and Scottish leaders. A report from 1661 describes a race in which twelve browster-wives ran from the Burn (recorded as the Thicket Burn) to the top of Arthur's Seat.

1700s
By the 18th century the area had become a haunt of seamen and smugglers. A cottage was built in 1742 on what is now the High Street (close to the junction with Brighton Place) by a seaman called George Hamilton, who had served under Admiral Edward Vernon in the capture of Porto Bello, Panama, in 1739, and he named the cottage Portobello Hut in honour of the victory. By 1753 there were other houses around it. The cottage remained intact until 1851, when it became a hostelry for travellers known as the Shepherd's Ha.

In 1763 the lands known as the Figgate Whins were sold by Lord Milton to Baron Mure for about £1,500. They were afterwards feued out by the latter to William Jameson or Jamieson at the rate of £3 per acre. Jameson discovered a valuable bed of clay near the burn, and built a brick and tile works beside the stream. He later built an earthenware pottery factory, and the local population grew into a thriving village. Land values subsequently rose, and by the beginning of the 19th century some parts had been sold at a yearly feu duty of £40 per annum per acre.

An advertisement for bathing machines for hire on Portobello beach appeared in the Edinburgh Evening Courant of 11 June 1795, according to a report in the Evening Dispatch. It says the bathing machines have steady horses and careful drivers, and the bathing sands are perfectly free from stones and "danders", the water clear and the beach very retired.

1800s
Portobello Sands were used at that time by the Edinburgh Light Horse for drill practice. Walter Scott was their quartermaster. While riding in a charge in 1802 he was kicked by a horse and confined to his lodgings for three days. While recovering he finished The Lay of the Last Minstrel. The Scots Magazine in 1806 noted that the lands were "a perfect waste covered almost entirely with whins or furze". Portobello grew into a bathing resort, and in 1807 new salt-water baths at the foot of Bath Street and Regent Street were erected at a cost of £5,000. In 1822, a visit of King George IV to Scotland organised by Scott included a review of troops and Highlanders held on the sands, with spectators crowding the dunes.

Before Portobello had a promenade and public beach, there was only a belt of dry sand between the firmer sand of the beach and the private properties adjoining the shore. Access to the beach was restricted by these property holders, as Sir William Rae discovered in 1842 when he tried to gain access to his favourite section for bathing. The proprietor of a villa adjoining the shore had extended his garden to include the sand and had built a wall leading right down to the sea. Sir William, a former Lord Advocate, viewed this as interfering with his right of way, as a private citizen and as an officer of the Crown. After legal action over several years and an appeal right up to the House of Lords, the proprietor and his neighbours were forced in July 1849 to demolish the walls they had erected. Fifteen years later, Portobello Town Council began to build the Promenade, so securing public access to the beach along its 2 mi.

Portobello became industrialized in the 19th century, manufacturing bricks ("Portobello brick"), glass, lead, paper, pottery, soap and mustard. Joppa to the east was important as a salt producer.

In 1833 the town was made a burgh, and jointly with Leith and Musselburgh, it was represented by one member of Parliament. Then in 1896 Portobello was incorporated into Edinburgh by Act of Parliament. The Scotsman in 1912 noted that "It was by the provisions of the Edinburgh Extension Act of 1895 under which Portobello was amalgamated with the city, that Edinburgh gave an undertaking to build and maintain the town hall in Portobello, and in February of this year the Corporation decided to implement the bargain". A formidable red-brick power station was built in 1923 at the west end of the beach. It was extended by Ebenezer James MacRae) in 1938, and operated until 1977 when it was closed. It was demolished in the following 18 months.

Between 1846 and 1964 a railway station provided access for visitors to the resort, whose facilities came to include a large open-air swimming pool, heated by waste from the power station. The actor Sean Connery once worked there as a lifeguard. The pool was closed in 1979. There was also a lido (now demolished) and a permanent funfair, which closed in 2007 and was also eventually demolished to make way for new housing.

1900s
Portobello Baths were constructed in 1898 and completed in 1901 on The Promenade overlooking the beach. These, now known as Portobello Swim Centre, include one of only three remaining public Turkish baths in Scotland.

Portobello Pier was a pleasure pier near the end of Bath Street, open from 23 May 1871 until the start of the First World War. At 1,250 feet (381 m) long with a restaurant and observatory at the end, it cost £7,000 to build to a design by Sir Thomas Bouch, who was infamously linked to the Tay Bridge disaster. The iron supports rusted away and the pier was demolished as uneconomic to repair in 1917.

The Edinburgh Marine Gardens laid out north of Kings Road in 1908–1909 included an open-air theatre, an industrial hall, a ballroom (later a skating rink), a scenic railway, a "rustic mill and water-wheel" and a speedway track. It fell out of use in the First World War and never recovered, although the speedway/motor cycle track remained in use until the outbreak of the Second World War in 1939. The site was cleared in 1966 for the Lothian Buses Marine bus depot.

The 1933 Portobello Lido received police and media attention with the July 1983 abduction of five-year-old Caroline Hogg from the Promenade area and her murder by Robert Black.

Portobello's peak as a resort in the late 19th century gave way to slow decline through the 20th century. Whilst visitors were mainly from Edinburgh, it was also once popular with Glaswegians, particularly as the Glasgow Fair "trade holiday" signalled the start of a two-week holiday for the west of Scotland. By the 1960s, it had become an area of amusement arcades and permanent funfair attractions. From the 1980s these gradually disappeared, and by the end of the 20th century the Promenade had hardly any attractions specific to a seaside location, although the Tower Amusements arcade remains in business.

2000s
The 21st century has seen the emergence of community activities, some focused on the Promenade. The beach hosts regular beach volleyball, including Olympic beach-volleyball qualifiers, and the annual Big Beach Busk event. Other community activities focus more on the sea. They include the Portobello, Sailing, Kayaking and Rowing Club, Rowporty, and Eastern Amateur Coastal Rowing Club. Others concern community gardens, a monthly local food market, a youth theatre (now using a new web address), and culture and music. Artistic activity has become popular, including the annual Art Walk Porty. In April 2020 the Portobello Pencil Sharpening Project, thought to be an art installation, went viral on Twitter.

In 2019 Portobello was voted the best neighbourhood in the UK at the 2020 Urbanism Awards. In 2021 it was considered by a Sunday Times panel to be one of the top eight places to live in Scotland.

The Scottish Environment Protection Agency (SEPA) classed the quality of the swimming water as "sufficient" in its 2019 survey, a small improvement on the previous year, when dolphins were sighted off the coast. In 2020 there was a sighting of what was thought to be a swordfish. A wild swimmers' club has been braving the waves through the year since 2010. Meanwhile, a warmer alternative is provided by the Turkish Baths in Portobello Swim Centre.

In October 2016 Portobello became the first urban community in Scotland to register a Community Right to Buy after the 2016 expansion of Land reform in Scotland to cover urban areas. Purchase of Bellfield Old Parish Church and Halls by Action Porty for £600,000 was confirmed by Scottish Government Ministers on 3 May 2017. The purchase was funded partly by the Scottish Land Fund and partly by community donations and borrowing. The buildings and grounds formally passed from the Church of Scotland to Action Porty on 6 September 2017 and opened as Bellfield (Community Centre), Portobello on 23 June 2018.

Work in 2019 on re-laying the paving setts in Brighton Place caused controversy over the cost and duration: the main road was closed to traffic until the end of 2019 while the work was done. Ultimately, the new surface proved of high quality, including smooth sets for cycling and a refuge for safe turning into the Christian Path. The final cost of about £750,000 was less than predicted. Minor problems remaining with drainage were to be dealt with when the spring 2020 lockdown was lifted.

During the 2020 Coronavirus Lockdown, police praised the public for curbing the spread of the virus by avoiding Portobello over Easter weekend, although as the weather improved in May the visitor numbers increased, causing concern to politicians. Portobello continued busy over the summer of 2020, with some disturbances reported. In August a Ferris wheel appeared on the old Fun City site, but its licence was suspended before it opened, as it broke government rules on the reopening of funfairs; despite this, some smaller attractions in the area have come and gone since. Concerns about overcrowding on Portobello promenade continued into 2021.

In September 2021, it was announced that the Swim Centre would shortly close for a £2.5 million refurbishment.

Buses
Portobello is served by Lothian Buses which provide eleven services to the area, continuing towards Joppa and Eastfield to Musselburgh, Port Seton, Tranent or North Berwick, down Brighton Place to Fort Kinnaird or Royal Infirmary, and from Kings Road to Craigentinny. The former electric tramways operated by Edinburgh Corporation Transport Department were replaced by diesel buses in November 1956.

Railway
Portobello's first railway station was initially served by the Edinburgh and Dalkeith Railway. The Portobello (E&DR) railway station operated from 1832 until 1846, when it was replaced by the Portobello (NBR) railway station operated by the North British Railway. The station closed in 1964 under the Beeching cuts.

Hovercraft
For two weeks in 2007 there was an experimental hovercraft service to Kirkcaldy in Fife. Stagecoach was interested in running a regular service, but the local authority refused planning permission for the infrastructure. Stagecoach planned to use a terminal to be built in Leith using public funds, which failed to materialise.

Sport
The Promenade and beach host two annual 4 mi running races: Portobello Beach Race every summer since 2013, and the Promathom most New Year's Days since 1987. A weekly 5 km Park Run every Saturday in Figgate Park provoked press-reported controversy and exhibitionism in 2018.

Town halls
As an independent burgh, Portobello had aspirations for a town hall, the town council having first met in rooms in Brighton Place and then in Rosefield House. The first purpose-built hall (now the Baptist Church in the High Street) was designed by David Bryce and erected in 1862. This proved inadequate for the purpose and was replaced in 1877 by a building designed by Robert Paterson, which is now the Police Station.

The Edinburgh Extension Act 1895, which amalgamated Portobello with Edinburgh, gave effect to a number of undertakings, including extension of the Promenade, building of the Baths, surfacing various streets, providing drainage, extending the trams, providing a public park and a new town hall for public meetings. The new Portobello Town Hall was intended to hold at least 800 people and was built on the site of Inverey House to a design by the City Architect, James A. Williamson, opening in 1914.

In June 2019, the town hall was closed by the city council after the masonry and plasterwork were found to be in poor condition. The city council put the building on the market for lease in February 2020, and, following a competitive process, it agreed to enter into exclusive talks with a local community organisation known as Portobello Central in May 2021. The city council confirmed, in June 2021, that it had allocated £350,000 of capital investment to the town hall project, money provided by the Scottish Government under its Place Based Investment Programme. Portobello Central indicated that it hoped the funding would enable it to re-open the building by April 2022. The Town Hall opened for business on 1 June 2023, under a 25-year, full repairing lease from the City of Edinburgh Council at £1 per year rent.

Notable people
In birth order:
 * Alexander Laing (1752–1823), architect based in Portobello, where he died
 * The Misses Corbett, Grace (c. 1765/1770–1843) and Walterina (died 1837), poets and authors from Portobello
 * Dr David Laing LLD (1792–1878), librarian to the Signet Library and noted archaeologist, lived at 12 James Street
 * Mackintosh MacKay (1793–1873), compiler of a Gaelic dictionary and Moderator of the General Assembly of the Free Church of Scotland, died in Portobello
 * Rear Admiral Thomas Fraser (1796–1870), hero of the First Anglo-Burmese War
 * Hugh Miller (1802–1856), a founding father of geology, lived in the tower in Tower Street.
 * Alan Stevenson (1806–1865), lighthouse engineer, lived his final years at 13 Pittville St, then called Pitt St
 * Stevenson Macadam (1829–1901), scientist and author, lived much of his life in East Brighton Crescent, Portobello
 * William Durham FRSE (1834–1893), chemist, papermaker and astronomer, lived and died at 16 Straiton Place
 * Lucy Bethia Walford, née Colquhoun (1845–1915), novelist, was born in Portobello
 * James Graham Fairley (1846–1934) architect, lived at 47 Abercorn Terrace.
 * Marion Grieve (1848–1938), suffragette, lived at Coillesdene House, Joppa
 * William Ivison Macadam (1856–1902), chemist and antiquarian, spent his childhood in Portobello.
 * Helen Hopekirk (1856–1945), composer, pianist and teacher, lived at 148 High Street, Portobello from 1856 to 1868 and is commemorated by a blue plaque
 * Alexander Philip (1858–1932), a lawyer born in Portobello, became a campaigner for calendar reform
 * William Robertson (VC) (1865–1949), recipient of the Victoria Cross, lived at 21 Lee Crescent.
 * Harry Lauder (1870–1950), music hall entertainer, was born at 3 Bridge Street. Although he and his family left the town within weeks of his birth, a Harry Lauder memorial garden was opened in 1970 in the grounds of the Town Hall built in 1912 and designed by architect James A Williamson. ) Portobello's main bypass is named Sir Harry Lauder Road.
 * William Russell Flint (1880–1969), painter, lived at 9 Rosefield Place.
 * Alexander Heron (1884–1971), a member of 1921 British Mount Everest reconnaissance expedition and Director of the Geological Survey of India (1936–39), lived in Hamilton Terrace in 1900–1911.
 * Madge Elder (1893-1985), born in Portobello, is a noted gardener and writer.
 * Ned Barnie (1896–1983), born in Portobello, became in 1950 the first Scot to swim the English Channel.
 * Norrie Haywood (1910–1979), born in Portobello, became a professional footballer and football manager.
 * James Rankin (1913–1975), born in Portobello, was a RAF fighter pilot in the Second World War.
 * Johnny Cunningham (1957–2003), Celtic fiddle virtuoso, was born in Portobello.
 * Gail Porter (born 1971), TV presenter, grew up here, attending Portobello High School.
 * Ewen Bremner (born 1972), born in Portobello, is a noted film and TV actor.
 * Iron Virgin (1970s), glam punk rock band
 * The Valves (1977), punk band from Portobello
 * Shauna Macdonald (born 1981), actress, grew up in Portobello.
 * Emun Elliott (born 1983) Actor

Extant

 * St John the Evangelist RC Church, Portobello
 * Bellfield Community Centre (previously Bellfield Church)
 * George Cinema
 * Portobello Library
 * Portobello Swim Centre

Demolished

 * Portobello Open Air Pool
 * Portobello Power Station
 * Portobello Marine Gardens
 * Portobello Railway Station

Portobello Parish Church
The building was designed by William Sibbald and the foundation stone was laid on 27 October 1808 with the church opening for worship in 1810. It originally had the status of Chapel of Ease for Duddingston Parish Church to the west. In May 1834 the General Assembly of the Church of Scotland gave it the status of a quoad sacra church. It received full independent parish status in 1861.

The church hall, built in 1964, stands on the former graveyard, but several stones survive, for instance in the narrow gap behind the back of the hall and the boundary.

In 2017 the church was sold by the Church of Scotland to the local community and reopened in 2018 as Bellfield community centre.

title: Portobello, Edinburgh


text: Category:Marion County, Texas

title: Category:Marion County, Texas


text:
Talk:Tiberian vocalization

Unnamed
I suggest, regarding the title of this entry, that "Tiberian" not be called a "Hebrew language" at all, but rather a written system developed for the vocalisation of Biblical Hebrew.

 * If so, then perhaps it should be merged with niqqudot. Note that that article right now is very incomplete, as it constrains to the pronunciation of Standard Hebrew without mentioning the Tiberian system that was developed. - Gilgamesh 08:32, 11 Aug 2004 (UTC)

There is a chance of an alternative modern Hebrew academy forming

Invitation on Youtube to those speaking Yemenite to join to together in rebeling againist Present modern Hebrew, and that Professions join a group which goal is to

Use Biblical, 'Adeni Yemenite Hebrew, & Sa'ani Yemenite Hebrew, Samaritan Hebrew. The dream that we can form a academy to revive the true biblical Hebrew of ʾAḇrāhām & patriarch of peoples of Yiśrāʾēl, Yišmāʿêl, ʾĔḏôm & the Leshon Ha-Kodesh from -- YaH'WuH ha·'Elo·hah′ --as the backbone of a new modern true Hebrew. Any interested please reply. Rules are at present being recorded on standard improved transliterating. —Preceding unsigned comment added by 72.38.211.144 (talk) 07:33, 8 January 2008 (UTC)

Niqqudot
I just wanted to confirm the name niqqudot. I would have thought Nequdot, no? Am I mistaken? jnothman talk 13:57, 13 November 2005 (UTC)

You're right. There are two different words: נְקֻדּוֹת nəquddot 'dots' (the plural of nəqudda) and נִקּוּד niqqud '(the act of) dotting'. (Obviously I just used a mixed sort of transcription to try to make the point clear. In the Tiberian pronunciation style they're [naquddóːθ], [niqqúːð]; in Israeli Hebrew נקודות [nekudót],  ניקוד [nikúd].)

Evidence
There is currently a single source for this pronunciation approach. It is not clear to an outside nonexpert reader (such as myself) if this is widely accepted among scholars or a single individual's opinion. It seems to present the individual's personal research. Has this article been published in a scholarly publication? If not, it's not clear it satifies WP:SOURCE policy. This subject is not my area, just want to make sure this article is appropriately sourced, and also that it appropriately assesses the viewpoint's notability and reliability as WP requires. I can't can't tell from the article. Additional sources, especially sources directed at a lay rather than a scholarly audience, as well as dissenting views if any, would be appreciated. --Shirahadasha 19:32, 27 August 2006 (UTC)

 * The gist of the article is common knowledge to people in the field. There aren't even any points of dispute on the basic history. As time goes on I'm sure people will add basic refs. to some books or articles. Perhaps the most convenient link would be to the articles at the Aleppo Codex website. 06:40, 28 August 2006 (UTC)

Writing style or pronunciation style?
First, I'll define my terms. By the phrase "pronunciation style", I refer to the fact that some people will pronounce a word one way, and others will pronounce it another way. (For example, people from Boston will call the city "Bah-stn", but others will call it "Baw-stn".) By the phrase "writing style", I refer to the fact that some people will write a word one way, and others will write it another way. (For example, "color" and "colour".)

Does "Tiberian" refer to one, or the other or both? On the one hand, the "Jewish Languages" box in this article lists Tiberian as a dialect, alongside Ashkenazi, Sephardi, Yemenite, and others. I understand this to be the same as what I've called a "pronunciation style". Similarly, throughout Wikipedia, there are many articles which offer "Tiberian" as an alternate pronunciation. For example, the article about Moses begins:

The use of Latin characters ( Mošə and Mōšeh ) clearly implies that we're not talking about a style of writing Hebrew. (They didn't use Latin characters in Tiberias!)

On the other hand, most of what appears in this article describes Tiberian as a system of how to put Hebrew sounds on paper, that is, a way of transcribing phonetic sounds. For example at this link, IPA is contrasted with other ways of communicating the proper way to pronounce "Al-Qaeda". If this is a correct way of understanding "Tiberian", then it does not refer to a local dialect of how words were pronounced in Tiberias, but rather it refers to the invention of a set of nikud and symbols which are used to show how to pronounce Hebrew words. But if that's the case, then what is "Tiberian" in contrast to? Were there other, competing writing styles? (Other than the obvious consonant-only version of written Hebrew?) --Keeves 12:45, 21 September 2006 (UTC)

 * It is very hard to draw analogies to English, and they are not likely to be accurate. This is especially because in semitic languages there are no formal vowel-letters.

 * To be precise: This article discusses a complex set of symbols that were created in order to preserve an extremely detailed oral textual tradition (yes, there is such a thing) for how to read the Hebrew Bible. This tradition preserved an exact way of pronouncing each and every word in the Bible, as well as detailed information on syntax (how to group words and divide sentences) and further information on letters (i.e. how words should be spelled in the written text, which did not contain the then-new set of symbols for vowels and cantillation).

 * There were indeed other competing systems of pronunciation, such as the Babylonian, for which competing sets of written symbols were developed. Some details of spelling differed between them as well.

 * As for Moses, what you have is the Hebrew word with the Tiberian vowel symbols, followed by a transliteration of how those symbols are rendered in modern Hebrew pronunciation, followed by a further transliteration of the Tiberian pronunciation they were originally conceived to represent. (I personally think the transliterations in this particular case are both redundant and slightly inaccurate.) Dovi 13:57, 21 September 2006 (UTC)

 * If I understand you correctly, you're saying that Babylon was not only a place where other Semitic languages were found, but the Hebrew language was spoken differently there than in Tiberias. If this is accurate, then I would think that it is rather meaningless for so many dozens of articles to show the Tiberian pronunciation without contrasting it with the Babylonian pronunciation. If you agree with me (and I suspect you do, given your comment about "redundant and inaccurate"), then I'd like to invite other Wikipedians to add the Babylonian pronunciations to these articles. And if no one is able or willing to do so, then I would volunteer to remove these Tiberian pronuciations from so many articles. What do you and others think? Thanks! --Keeves 14:21, 21 September 2006 (UTC)

 * Correct. The "eastern" Jews of the Babylonian diaspora (as opposed to the "western" Jews in the Land of Israel) employed a parallel system of pronunciation for the biblical text, and developed a complementary set of written symbols for it. That doesn't mean it is "meaningless" to show Tiberian alone, since historically it was far more influential, and is much more widely studied to this very day.
 * As for whether it should be removed, I can see both keeping it (why get rid of good information?) or removing it (modern Hebrew transliteration should be enough). I have no strong opinion either way, but I do remember that a couple of years ago there was some major controversy about this, and what remains is apparently the compromise that was reached.
 * Happy Rosh Hashanah to all! May we all be blessed with a new year of peace and success. Will return after the holiday. Dovi 15:38, 21 September 2006 (UTC)

 * And we don't actually know what the Babylonian pronunciation was. It may have been like present day Yemenite Hebrew, but that has peculiarities (such as the assimilation of holam to tzere) that do not correspond to anything in the Babylonian notation. --Sir Myles na Gopaleen (the da) (talk) 09:43, 15 July 2009 (UTC)

New information
Aldozamudio 20:31, 1 December 2006 (UTC)Aldo Hi, I added some new information on the subject concerning Bibliography, phonetics (examples and IPA), the situation in our days. I added them as separate subjects and didn't mess up with what was already extant. Hope you like it.

The name
I propose moving this page to Tiberian Hebrew. It's not just a vocalization, it is (as the opening sentence says) a tradition of pronouncing Hebrew. It's not a separate language, though, so the original name of Tiberian Hebrew language is not good. Any thoughts/objections? —Angr 11:06, 10 June 2007 (UTC)

 * It's not a simple thing to define or entitle, because it is a system of written symbols that were designed to convey a very specific oral tradition of pronunciation, but which over time became read by all oral traditions of pronunciation for Hebrew, each of them interpreting the written signs in a way that made internal sense within their own oral system. Is that a tradition of pronouncing Hebrew? A vocalization? A language ("Tiberian Hebrew")? To be quite honest, I find the selection of a clear and accurate title for this to a rather complicated proposition... :-) Dovi 17:32, 10 June 2007 (UTC)
 * Well, that's why I think Tiberian Hebrew is the best name for it: that name doesn't try to define it as anything more than what's obvious. It's Hebrew, and it's Tiberian in origin. —Angr 19:57, 10 June 2007 (UTC)
 * I agree with Angr. I would move it myself but I'm not quite sure how to do that when the link to Tiberian Hebrew is a redirect to Tiberian vocalization and I want to reverse the redirect direction until a new page discussing the actual vocalization itself is created (see comment in next section). Benwing (talk) 08:38, 30 May 2009 (UTC)

name should be Tiberian Hebrew
The name of this page should be 'Tiberian Hebrew' or 'Tiberian Hebrew Dialect' or something like that. This page is obviously describing a particular dialect, not a particular writing system. 'Tiberian vocalization' is the name of a writing system and includes its origin, its use in representing different pronunciation systems of Hebrew (Sephardic, Askhenazic, Yemenite, original Tiberian, etc.). Benwing (talk) 08:36, 30 May 2009 (UTC)

חנינא (talk) 23:38, 6 July 2009 (UTC)

Well actually it's both. The article sets out to describe, first, the known rules of the Tiberian writing system and then, conjecturally, the reconstructed pronunciation that presumably underlies those rules. "Vocalization" appears to cover both bases. --Sir Myles na Gopaleen (the da) (talk) 09:32, 15 July 2009 (UTC)

mobile vs. quiet shwa
As a linguist, I'm somewhat skeptical that the actual Tiberian Hebrew dialect on which the vocalization system was based actually had such a complicated system for determining whether a shva was pronounced or silent as is described here. In particular, the system described here is at least partly phonemic in that it depends in some cases on the presence of methegs, which were clearly not considered a basic, obligatory part of the system, unlike the niqqud themselves. Native religious linguists of the sort who are interested in recording down the proper pronunciation of a liturgical language tend to be very exacting in describing down to the last detail all that isn't completely predictable (i.e. phonemic), and in other respects, the Masoretes seem to be equally exacting; hence it seems extremely puzzling to me that they would deliberately create a sign that was ambiguous as to two different phonemes (i.e. no vowel and a pronounced shwa), even if the occurrence or not of the pronounced variant was largely predictable -- compare the use of dagesh lene, which is largely predictable.

The only sensible conclusion I can make is that, despite the apparent historical evidence and the conclusions of the bulk of current writers, the actual Tiberian Hebrew dialect must have had a completely non-phonemic vocal shva, whose occurrence was due to an automatic process of epenthesis in certain well-defined scenarios (e.g. between two consonants at the beginning of a word; between the second and third of three consonants in the middle of a word, including when the first two were actually a geminate consonant; between two identical consonants when written as two letters with a shva between them). Given the desired precision of the Tiberian Masoretes, it seems highly unlikely to me that they would allow rules such as "vocal after vowels /e/, /o/, /ɔ/ except in certain well-known closed syllables" (which indicates at least a questionably phonemic distinction) or even worse "in consonants that expect a dagesh forte but don't actually take one" (which definitely indicates a phonemic distinction and requires a good knowledge of complex hebrew morphology and all the many places where dagesh forte would be expected to occur based on the structure of the word).

I suspect that the historical evidence is pointing to a related but different, and presumably rather more common, as well as more conservative, dialect/pronunciation that did preserve, at least partly, the original etymological distinction of vocal shvas that were derived from short vowels in some unstressed, open syllables (as still preserved in e.g. Classical Arabic) and quiet shvas that were derived from original lack of vowel between consonants. Presumably, in the particular local dialect that led to Tiberian Hebrew, the vocal shva phoneme disappeared as a phoneme and instead because an automatic process, similar to how in the same dialect the original distinction between long a ("kamatz gadol") and short o ("kamatz katan") merged into a single low-mid back vowel. I also suspect that a number of the researchers working on reconstructing the Tiberian pronunciation are lacking in proper training in modern linguistic theory (esp. in phonology and historical linguistics) and/or are working from sources that were created before the requisite theory in phonology and historical linguistics was even developed (e.g. Gesenius's famous Hebrew Grammar), and are unaware of this fact. This should not be as surprising as it sounds -- working in an area like this requires extensive knowledge of Ancient Hebrew and Jewish History and such, so it's more likely that researchers in this area have a solid background in Judaic Studies augmented by some basic linguistic background. Also, I've seen a number of books about Ancient Hebrew and other old languages that make lots of elementary linguistic mistakes -- Joel Hoffman's In the Beginning: A Short History of the Hebrew Language is a particularly severe example, where his whole thesis that the Masoretes "didn't know what they were doing" is predicated on a number of elementary linguistics-based logical errors.

Comments?

Benwing (talk) 09:24, 30 May 2009 (UTC)

 * Your linguistics-based assumptions about Tiberian shva are essentially identical with the "belief" expressed in Joüon's classic Hebrew grammar as updated early this decade by Muraoka. Unfortunately, instead of providing instances of how this worked in practice, the grammar moves on to (falls back on?) Levita's traditional rules for identifying shva na`! חנינא (talk) 13:29, 5 July 2009 (UTC)

Truly very interesting. Unfortunately the No original research principle dictates that, regardless of what anyone here thinks about your ideas, they may only be integrated into a Wikipedia article if you have them published by a reliable source first. Dan ☺ 22:00, 6 July 2009 (UTC)
 * In what way does the Joüon-Muraoka grammar constitute original research? חנינא (talk) 23:38, 6 July 2009 (UTC)
 * Sorry Hanina for the lack of clarity, I was referring to Benwing, not you. Dan ☺ 09:24, 7 July 2009 (UTC)
 * Oh, I see, no prob, don't mention it.חנינא (talk) 02:14, 9 July 2009 (UTC)

As I reconstruct the history, it is as follows.

The sheva symbol must originally have been invented to represent the indistinct sound "uh". This is shown by its shape: in the Tiberian symbols, adding a dot underneath always denotes flattening or retraction, so sheva is the half-way point between hiriq and qubbutz. (Similarly, qamatz is a flattened form of patach and segol is a flattened form of tzere.)

Then, in certain words (like "divre", "kitve", "li-vne"), this sound drops out though still written, like the first "i" in British English "medicine". We know that it is the remnant of a vowel, because it represents a contraction of a vocalized form ("devarim", "ketavim", "bene"), because of the evidence of cognate languages and because the following consonant does not take dagesh. In these instances sheva is phonemically vocal but phonetically silent, like the final e in French feminines: I call this evanescent sheva.

But as in these instances the symbol appears to represent the absence of a vowel, it is soon coopted to cover instances of a true zero vowel, as in "midbar", where there never was a vowel and the following consonant does take dagesh. In other words the Masoretes needed a symbol corresponding to Arabic "sukun" and this was the nearest they could find. (Interestingly, in many prints of the Aramaic Targums, the sheva symbol is only used for vocal or evanescent sheva, and unvocalized consonants are written with no sign at all.)

So it is really not so odd that the same symbol should represent both the indistinct vowel and no vowel: "bene" and "vne" (in "li-vne") are etymologically the same word and it is only the surrounding context that causes the vowel to be sometimes pronounced and sometimes not. The same ambiguity happens through the reverse process in English, where in words like "schism" and "able" the indistinct vowel is present though not written. The very word "sheva" reflects the same ambiguity: it obviously comes from "shav'" ("in vain"), so could equally mean "the nothing vowel" (the vowel without qualities!) or "no vowel".

A further complication is the fact that, like the indistinct vowel in English, each instance of the indistinct vowel etymologically represents one or other of the full vowels, and reverts to it when one is deliberately speaking with emphasis. The hataf symbols were used, inconsistently, to show which vowel this would have been (for example, in the Aleppo Codex every vocal sheva is denoted by hataf patach), though this use now only survives in the vicinity of the gutturals. Hence the fact that, in Sephardic sources as late as 1914, there are elaborate rules for which vowel ought to be used in pronouncing vocal sheva ("i" when before yod, matching the following vowel when before a guttural, "e" otherwise) though these appear seldom if ever to have been observed in practice. --Sir Myles na Gopaleen (the da) (talk) 09:17, 15 July 2009 (UTC)

On the contents of the article
Hi. I'm glad finally some people had the time and were in the mood to criticize the article. It has barely had any changes since I wrote it back by the end of 2006. I know I have transgressed many of Wikipedia's norms, but I did so for many reasons (not that you should agree with me). I'm an Industrial Designer by trade, and have been studying Hebrew for some 8-9 years. And I was a bit disappointed when I saw the article was merely an explanation of the name in the title, rather than a language oriented explanation. I wrote the article more or less as it is right now, in order to:

- Show people there is more to Tiberian Hebrew than regular grammars teach.

- Get some experts attention to see if anyone would be able to clear any non sense I wrote.

- Get my knowledge on the subject organized.

- Give people a clear (I know it isn't clear in this present version) idea on how the Hebrew Bible was pronounced by the Masoretes.

But I stopped making any modifications at this site. I have been working on the article any time I have, understand or find anything new on the subject. That version is in my computer, awaiting completion and is much more readable. I am no linguist so I really don't fully understand what you mean, Benwing. I once read on an article by Geoffrey Khan that if the sign for sheva had a dual realization, it most probably had just one function, and that it was a zero vowel, since it cannot form a syllable on its own. How can we incorporate that into the article? And how can we explain (either by reconciling or contrasting) that Medieval treatises make explicit statements and take great pains on recording how a single sign was pronounced as zero or as a vowel? It would be great to write on that too, but my lack of knowledge in that subject prevents me from venturing into writing anything on this section (codas, epenthesis, assimilation, etc. are too cumbersome for me at this moment). I apologize for any misunderstanding, misinformation I have written in the article either by a lack of knowledge, understanding or a lack of reliable sources. Aldozamudio (talk) 17:00, 13 July 2009 (UTC)Aldozamudio
 * Hey Aldozamudio, I for one enjoyed reading the article. The way I see it, Wikipedia tries to present a coherent account of what reliable sources have published on any given matter. It's not its task to filter out the "right" information from the "wrong": if different, even conflicting interpretations, theories and points of view were published by respectable sources, then they should all be represented here, with references to these sources. Dan ☺ 23:05, 14 July 2009 (UTC)

Palestinian vocalization
"Palestinian vocalization" seems to be a well established term in the scholarly literature; see. "Eretz Yisrael vocalization", on the other hand, isn't. +Angr 10:16, 17 July 2009 (UTC)
 * I stand corrected. Dan ☺ 23:38, 17 July 2009 (UTC)

Vocalization
I like much of the rewrite. But I think that the introduction underemphasizes that what we have here is not just a kind of pronunciation but rather a detailed system of vocalization for the biblical text. Vocalization includes not just the vowels and their orthographic signs, but rather the entire oral tradition of reading/chanting the biblical text, which indeed includes vowels but also stresses (primary and secondary) and sytax (cantillation). All of these elements are interrelated and influence each other at times. The central aim of the masoretes was to commit an ancient oral tradition of how to vocalize the biblical text (every word of it) in writing. The system they created indeed contains within itself a tradition of how to pronounce Hebrew, and that is very important too, but it is certainly not the entire story. Dovi (talk) 18:31, 22 July 2009 (UTC)

The phonetic value of waw and resh
Was waw [w] or [v] in Tiberian vocalization? And, was resh [r] or [ʀ]? I noticed that in this article they are [v] and [ʀ]. — Preceding unsigned comment added by Phyong (talk • contribs) 06:06, 11 December 2010 (UTC)
 * Hi, in fact, at least in Tiberian Hebrew, waw was pronounced both ways. In an article by Geoffrey Khan (and based on some grammatical treatises as Mishael Ben Uzziel's Kitab al-Khilaf, the Book of Differences between Ben Asher and Ben Naphtali), he states that the regular pronunciation for waw was [v], but near some vowels such as [u] (and [o]), it was pronounced [w].  As for resh, experts agree that it was a "velarized, uvularized or emphatic" consonant, but they do not agree as to how it was articulated exactly.  Khan, again, states that it was regularly pronounced as [ʀ], and near [d], [t], etc... as an emphatic [r] (that is, as a rolling r in Spanish, Italian, Scottish English, but, with the back part of the tongue nearer to the palate).  Ilan Eldar, on the other hand, states that it was pronounced always as [ʀ], but with different durations.Aldozamudio (talk) 14:01, 22 December 2010 (UTC)Aldozamudio

Obtuse String of Words
"The explicit statements found in books of grammar near the 10th and 11th Centuries C.E., such as: The Sefer haQoloth of Moshe ben Asher (published by N. Allony), Diqduqé hata'amim of Aaron ben Moses ben Asher; the anonymous works entitled Horayath haQoré (G. Khan and Ilan Eldar attribute it to the Karaite Abu Alfaraj Harun), the Treatise on the Schwa (published by Kurt Levy from a Genizah fragment in 1936), and Ma'amar haschewa (published from Genizah material by Allony); the works of medieval Sephardi grammarians, such as Abraham Ibn Ezra, Judah ben David Hayyuj."

 * The main predicate/verb of this word string is unclear. This word string needs to be clarified; perhaps broken into smaller sentences. Is this basically what was meant?

 * "The statements found in books of grammar (such as the Sefer haQoloth) AND the anonymous works entitled Horayath ATTRIBUTE it to the Karaite Abu."?

I will suggest the start of a revision, if this is what was meant:

 * There are explicit statements atributing the Tiberian vocalization to the Karaite Abu Harun. These explicit statements are found in four types of literature: 1) medieval books of gramma, 2) the Horayhath haQoré, 3) a Genizah fragment, and 4) medieval Sephardi grmmarians.  The medieval books of grammar were written in the 10th and 11th centuries A.D, such as The Sefer haQoloth of Moshe ben Asher (published by N. Allony.  I leave it to the original author to clarify the rest of this Byzantine convoluted word string.EnochBethany (talk) 16:58, 19 January 2011 (UTC))

Splitting
I am going to split this article. It isn't right to have a discussion of Tiberian Hebrew consonant values in an article with "vocalization" in its title. It makes more sense for this article to discuss the orthographic system that Tiberian Hebrew used, and have a separate Tiberian Hebrew article to discuss the phonology. (I recognize that there is some overlap but this still seems more sane.) Mo-Al (talk) 16:53, 30 June 2011 (UTC) Subscript text

Examples in Tiberian_vocalization
Giving the examples with alef in Tiberian_vocalization is not such a good idea since alef cannot carry a shva. So the example alef with shva given in the 2nd table is actually impossible. This precise (impossible) example may or may not be traditional, so it may be a "mistake" or at least a poor decision of the editor who contributed it, or it may be something they just picked up from a traditional grammar, I don't know, they would have to say. But certainly, in general, traditional Hebrew grammar has not been averse to giving impossible examples: for example the decision to give the verbal paradigms on the root pa'al (slavisly imitated from Arabic grammar) was an extremely poor decision for Hebrew since the medial ayin of that root is a letter that is problematic in Hebrew, e.g. it cannot take dagesh hazaq, so actually the paradigm pi'el with dagesh hazaq on the ayin (!) is grammatical nonsense that traditional Hebrew grammar has been happy with for centuries. A real pi'el form formed from the pa'al root would be pe'el with no dagesh hazaq. In the last fifty years or so (some) grammars have started giving those examples on the root qatal which is clearly a much better idea. But the traditional names have remained the commonly used terminology and Hebrew speakers will continue to call the second binyan (paradigm) pi'el forever. Signed: Basemetal ( write to me here) 01:21, 31 January 2013 (UTC)

תְדֵמְּיוּ֫נִי /θăðammĭjuni/
Is the value /a/ (and not /e/) for tzere here a mistake (as it apparently disagrees with the presentation of the vowel qualities above), or is it correct? If it is correct, I believe it would be helpful to add an explanation. Wareh (talk) 17:42, 25 July 2020 (UTC)

Merge proposal
I propose merging Ktiv menuqad into Tiberian vocalization. Ktiv menuqad is, as I understand it, the practice of writing using the Tiberian vocalization system, and the three sentences there would comfortably fit into the main article.— Moriwen (talk) 00:39, 8 February 2024 (UTC)

 * It seems to be more "writing with niqqud" including modern iterations. But honestly it should probably be deleted, it doesn't say anything that the line "text written with niqqud is called ktiv menuqad" on the niqqud page doesn't already tell you. GordonGlottal (talk) 01:10, 8 February 2024 (UTC)

title: Talk:Tiberian vocalization


text:
William Curtis

William Curtis (11 January 1746 – 7 July 1799) was an English botanist and entomologist, who was born at Alton, Hampshire, site of the Curtis Museum.

Curtis began as an apothecary, before turning his attention to botany and other natural history. The publications he prepared reached a wider audience than early works on the subject had intended. At the age of 25 he produced Instructions for collecting and preserving insects; particularly moths and butterflies.

Curtis was demonstrator of plants and Praefectus Horti at the Chelsea Physic Garden from 1771 to 1777. He established his own London Botanic Garden at Lambeth in 1779, moving to Brompton in 1789. He published Flora Londinensis (6 volumes, 1777–1798), a pioneering work in that it devoted itself to urban nature. Financial success was not found, but he went on the publish The Botanical Magazine in 1787, a work that would also feature hand coloured plates by artists such as James Sowerby and Sydenham Edwards. (William Kilburn is often erroneously cited as having contributed plates to Curtis's Botanical Magazine. Though he did provide illustrations to Flora Londinensis, his association with Curtis seems to have ended by 1777, 10 years before the first publication of the Botanical Magazine)

Curtis was to gain wealth from the ventures into publishing, short sales on Londinensis were offset by over 3,000 copies of the magazine. Curtis said they had each brought 'pudding or praise'.

Curtis might be the editor of an exsiccata-like series Hortus siccus gramineus, followed up by the series Hortus siccus gramineus or a collection of dried specimens of British grasses with their Latin and English names... (1802-1806), distributed by William Salisbury.

The genus Curtisia is named in his honour. His publication was continued as the esteemed botanical publication, Curtis's Botanical Magazine. The noted natural history illustrators, James Sowerby and Sydenham Edwards both found a start with the eminent magazine.

He was buried in the churchyard at St. Mary's Church, Battersea at a location he chose himself, where he is commemorated in a stained glass window, as many of his samples were collected from the churchyard there. His headstone, now only partially remaining, had the epitaph:

While living herbs shall spring profusely wild, Or gardens cherish all that's blithe and gay, So long thy works shall please, dear Nature's child, So long thy mem'ry suffer no decay. The epitaph, although lost from the grave is included in the stained glass window by John Hayward. The window design includes a chaplet of flowers from Curtis's Flora Londinensis. This botanist is denoted by the author abbreviation   Curtis    when citing a botanical name.

title: William Curtis


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Harleton, Texas

Harleton is an unincorporated community in Harrison County, Texas, United States.

Education
Harleton is served by the Harleton Independent School District.

title: Harleton, Texas


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Zumaia

Zumaia (, Zumaya) is a small town in the north of Spain in the Basque Country.

The town has two beaches (Itzurun and Santiago), which are of interest to geologists because they are situated among the longest set of continuous rock strata in the world. These formations are termed flysch and they date from the mid-cretaceous period to the present, a time period of over 100 million years. The K–T boundary is present at the Itzurun beach, and fossils can be found, notably of ammonites. The strata stretches along a distance of about 8 km, between the beaches of Deba and Getaria, with Zumaia lying in the middle.

The town is also the home-turned-museum of the painter Ignacio Zuloaga. Exhibits include works by El Greco, Rivera, Zurbarán and Goya. Across the street there is a museum of craft and hand-crafted products of Laia. Within the city centre, the Basque-style Gothic church of San Pedro can be found. It has a temple with a magnificent reredos by Juan de Antxieta, the only work by this Basque sculptor found in Gipuzkoa.

Zumaia is located at the point where the Urola and Narrondo rivers come together. The origins of the town can be traced by its ancient monastery. In the Middle Ages, the people who lived in the Sehatz valley having to endure the continuous attacks of pirates and pillagers, fortified the city. The church today retains the relic of its defensive appearance.

Etymology
It has been widely theorized that Zumaia's name comes from "zuma" or "zume", the Basque word for the wicker, a plant that apparently was plentiful on the area. With regards to Villagrana, there is a theory that states the possibility to be related with "grana", meaning "seeding", that were produced by the abundant groves of evergreen oaks in that period.

Founding
Despite the disagreements in certain aspects with regards to the origins of Zumaia, all historians agree that the villa emerged surrounding the Monastery of Santa Maria. According to the first preserved parchment in which is mentioned the place "Zumaya", the Monastery of Santa Maria had been a donation by a privilege of Sancho VI of Navarre to the Roncesvalles's convent in 1292.

Despite the different conclusions about the emplacement of the monastery, the monks of the Monastery of Santa Maria the direct witnesses of the birth of this villa, after the inhabitants dispersed by the valley of Sehatz decided to put an end to the continuous assaults of piracy and plunder and raise a villa walled and strengthened from where they could defend in group against the enemy. Due to its extent, its strategic location and its direct contact with the sea, the chosen place was Zumaia. Nevertheless, the villa was not constituted juridically until 1347, when Alfonso XI of Castile provided the municipal charter to its citizens of "Villagrana de Zumaya's Villa", to which was granted the Jurisdiction of San Sebastián.

In the 16th century, Zumaia relied on 136 houses, 70 of them distributed among six streets that existed inside the wall, and the remaining ones dispersed by three neighborhoods that were staying out of the wall. In total there were 108 neighborhood surnames, 53 of them with the qualification of nobility. Nowadays there is no evidence of the fortification that only was interrupted at a height of solar houses and towers that could play the same function of defending as the wall. The entrance halls included the Principal Entrance Hall of the villa and the great cross that presided over them. They were destroyed in the middle of the 18th century to clear the surroundings of the town. The only natural door was the one of the bar of the sea, which was apparently the most dangerous for being the most accessible.

Since the 16th century the bells of the parish have been melted many times. In 1578 the mayor ordered to ring them three times consecutively so that citizens were well-informed and came more assiduously to the meetings of the regiment, which was retired long time ago. Moreover, on the eve of the General Meetings—that were celebrated in the villa every 18 years, to offer fuel-wood and coal to the secretary of the province—two oaks were cut. In one of these sessions, on 27 December 1620, the same day in which Ignatius of Loyola, Patron Saint of Gipuzkoa was chosen, the patron saint of the town was named as the Immaculate Conception of the Virgin Mary.

Economic changes and development
With the pass of centuries, has brought logically many changes not only in the former ordinances municipal written in 1584, but also in the urban development as well as in the customs and way of living of citizens. However, the best keys to notice the development of the villa from its foundation to the present day, is the economic predominant activity of every epoch. The majority of the first inhabitants of the villa were devoted to agriculture, though grouping in the same place accelerated the appearance of some professional and industrial activities. By the end of the 14th century, ships were constructed in the river. A high percentage of the population was devoted to fishing and navigation. The river was then very rich and many species could be fished, among them salmon, trout, shellfish and eels. Many were reconciling the coastal fishing with agriculture. By then, the manufacturing of cement had also become a relevant activity, for which they were taking advantage of the matters of tertiary areas of the surroundings. From the port they were departing goods towards the Netherlands as well as manufactured products were imported. Some historians even claim that the passenger liner that was joining the villa with the hermitage of Santiago – habitual accommodation of the pilgrims who were going towards Santiago de Compostela, were also among the most prominent sources of Zumaia's revenue in the 16th century.

The following centuries, 17th century and the 18th century, were not brilliant periods at all. The land continued being the principal economic activity of the neighbors, in spite of the fact that Zumaia continued having many deficits in agriculture, especially in the production of wheat, corn and beans; until that in 1766 all the houses were recognized to verify if any neighbor possessed more grain than the necessary for their maintenance. There were also citizens dedicated to both maritime and terrestrial transport of goods, mainly iron, and the fishing activity was maintained and even increased, since in 1610 was created the Cofradía de Mareantes de San Telmo, meaning the Confraternity of the Seagoing of San Telmo.

It was in this period when there was emphasized the emigration begun at the end of the 16th century (in 1616 Zumaia embraced 935 inhabitants) and it did not stop until two centuries later with the economic reappearance.

The situation began to improve very quickly in the 17th century, among other reasons because the desiccation of the marshes enabled the cultivation of the former reed-beds and, consequently, the increase of the agricultural production, especially if corn. But there were some other factors that lead this reappearance, since in the 19th century the factories of cement turned into the engine of the economy of the villa, promoting the commercial activity of the port. The terrestrial transport also improved in this period of time, since between the year 1882 and 1885 a road that joined Zumaia with Getaria was created, which was already communicated with San Sebastián, in 1900 appeared a train that would join Zumaia with Zarautz, and in 1926 the railroad of the Urola was inaugurated, which nowadays is already removed. The improvement of the communications, nevertheless, harmed to the port of Bedua, whose commercial activity started to expire due to the fact that the bridge of Urola river was blocking the way to the ships upstream.

The industry of the cement began to decline at the beginning of the 20th century, at the same time as the naval industry started to arise again strongly, and soon later also the industry of the engine. An interesting fact that took place in Zumaia is that the first diesel engine of the whole Spanish State was set here, precisely in the enterprise Yeregui Hermanos. This industrial rise brought about logically a considerable increase of the population, mainly due to the immigration.

The percentages of the different activities that were stimulating the economy of Zumaia had considerably changed by the beginning of the 20th century. In 1950, the 56.1% of the population worked in the industrial sector, while only the 17% dedicated to agriculture. Some years later, the economic crisis also came to Zumaia, sharpened by moments with readjustment of personnel and even with the closing of some big workshops that had been emblematic until then. Today, fifty years later, several more modest companies have been created, which are also more chords with the new economic trends of the market.

Octopus
The octopus and Zumaia have been together since the early days of the creation of the town. There has been a special relation between this animal and the town in which other towns, in Getaria, Zarautz or Deba (which they are 5, 10 and 16 km from Zumaia), has never occurred. The tradition of catching octopuses on the coastline of Zumaia has been very typical, and the octopus has become the essence of the culture and tradition of the town.

Fishing
There are three main places in Zumaia where people catch octopuses: The rocks of Itzurun beach, Inpernupe, and the coastline between Zumaia and Deba. The ideal moment is when the tide is not high. There have to be visible rocks to catch them, since the octopuses are hidden in the holes which the rocks usually have. So, the more rocks are visible, the more chances are to catch them. The hunt requires a fish hook to grab the octopus. But, there are different techniques, and they change according to the place:

 * Looking the remains of crabs and other small sea animals in the entrance of the holes (so, there is a signal that the octopus is inside that hole) and catching them with a hook.

 * Using a stick covered with bait to attract octopuses and, when they are visible, which they do not leave the hole if there is no bait, grab them with the hook.

Fishing octopuses has been a tradition in Zumaia. But, not all the people can catch them easily. There are some families where the tradition is strong. Some individuals had caught 100 in a day. But, they were other times, when there were many more octopuses than nowadays. The pollution, the fishing vessels and the non-limit octopus fishing years have been very prejudicial to the coastline. Because of this, the government has regulated the amount that one individual can catch (one octopus and heavier than 750 g).

Every year when there are big tides a lot of people usually go the coastline to fish for octopus, and as some of them are experienced, they fish more than 20 octopuses on a day. Nowadays, it is illegal to fish more than one per day, but some people (specially the old people who have been fishing all their lives) still fish a lot of them. The octopus cannot be eaten after it is fished. It has to be treated, but there are different ways to treat it. And, the way it is cooked depends on who it is treated after fishing it.

Fresh octopus meat is gristly, so it has to be frozen for at least a week to tenderize.

If the octopus is fresh, and it is tenderized after a lot of hits, it is cooked with tomatoes, a la gallega or with peppers and onion. But, those cooking recipes are very common in other places like Asturias or Galicia, where there are traditions of fishing and cooking octopuses. It was and still is common to cook in those ways. But, there is a recipe, which it needs dry octopus, that it is exclusively from Zumaia. In other towns near Zumaia there is not this tradition.

Drying
Drying octopuses is a typical tradition in Zumaia despite it being an uncommon practice on coastal populations. It consists of cleaning the octopus once dead, leaving it to dry in a bucket for 3 to 5 days and putting it in a stick for 7 to 8 days. Up to 80% of the original weight might be lost, and the result emits a strong odor.

IUGS geological heritage site
In respect of the site being 'one of the best exposed, most continuous and highly studied outcrops of deep marine sediments in the world' the 'Cretaceous-Paleogene Stratigraphic Section of Zumaia' was included by the International Union of Geological Sciences (IUGS) in its assemblage of 100 'geological heritage sites' around the world in a listing published in October 2022. The organisation defines an 'IUGS Geological Heritage Site' as 'a key place with geological elements and/or processes of international scientific relevance, used as a reference, and/or with a substantial contribution to the development of geological sciences through history.'

title: Zumaia


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Woodlawn, Texas

Woodlawn is a rural unincorporated community in north-central Harrison County, Texas, United States. Woodlawn is located eight miles north of the county seat, Marshall, on U.S. Route 59 (future Interstate 369).

The Marshall Independent School District serves area students.

title: Woodlawn, Texas


text:
Zen in the Art of Archery

Zen in the Art of Archery (Zen in der Kunst des Bogenschießens) is a book by German philosophy professor Eugen Herrigel, published in 1948, about his experiences studying Kyūdō, a form of Japanese archery, when he lived in Japan in the 1920s. It is credited with introducing Zen to Western audiences in the late 1940s and 1950s.

Origin
Herrigel (1884–1955) was a German professor of philosophy, with a special interest in mysticism. From 1924 to 1929 he taught philosophy in Japan, and studied Kyūdō (the art of the Japanese bow) under a master named Awa Kenzô. Awa taught kyūdō in a way that was regarded by some as a mystical religion, called Daishadokyo. Daishadokyo was an approach to kyūdō that placed great emphasis on the spiritual aspect and differed from much of the mainstream practice at the time. In 1936, Herrigel wrote a 20-page essay about his experiences, and then in 1948 expanded the essay into a short book. The book was translated into English in 1953 and Japanese in 1955.

Book
The book sets forth theories about motor learning. Herrigel has an accepting spirit towards and about unconscious control of outer activity that Westerners heretofore considered to be wholly under conscious-waking control and direction. For example, a central idea in the book is how through years of practice, a physical activity becomes effortless both mentally and physically, as if our physical memory (today known as "muscle memory") executes complex and difficult movements without conscious control from the mind.

Herrigel describes Zen in archery as follows: "(...) The archer ceases to be conscious of himself as the one who is engaged in hitting the bull's-eye which confronts him. This state of unconscious is realized only when, completely empty and rid of the self, he becomes one with the perfecting of his technical skill, though there is in it something of a quite different order which cannot be attained by any progressive study of the art (...)"

Influence
Herrigel's book may have inspired Tim Gallwey's 1974 book The Inner Game of Tennis. Both Herrigel and Gallwey approach sport and life as opportunities for learning inner cooperation. Zen in the Art of Archery also relates to the "inner child" idea in humanistic psychology. Later literature either discusses balancing the "inner game" and the "outer game" or counseling approaches to accessing, communicating and collaborating with the inner child beyond sports.

The title "Zen in the Art of Archery" most likely inspired the titles of many other works, either directly or indirectly. Foremost among these is Robert Pirsig's 1974 book Zen and the Art of Motorcycle Maintenance. More than 200 works have been created with similar titles, including Ray Bradbury's 1990 book Zen in the Art of Writing, as well as Zen and the Art of Poker, Zen and the Art of Knitting, Crazy Legs Conti: Zen and the Art of Competitive Eating, and so on.

J. D. Salinger's fictional character Seymour Glass applied one aspect of Zen archery—aiming by deliberately not taking aim—to playing the children's game of marbles.

The wider theme of many of these works is that a regular routine can have a spiritual dimension.

Criticism
Both Arthur Koestler and Gershom Scholem accused Herrigel's book of being influenced by and justifying the politics of the Nazi party on the pages of Encounter magazine. Scholem also accuses Herrigel's widow of editing his writing and hiding the fact that he was an active member of the Nazi party and the Nazi organization the Militant League for German Culture.

Others, such as Shoji Yamada in his book Shots in the Dark, claims that many of the conversations between Herrigel and Awa Kenzo were altered or completely fabricated by the author.

title: Zen in the Art of Archery


text:
Edwin Brock

Edwin Brock (19 October 1927 – 7 September 1997) was a British poet. Brock published ten volumes of poetry from 1959 through his death in 1997.

Two of Brock's poems In particular --   Five Ways to Kill a Man (1972) and Song of the Battery Hen (1977) -- have been heavily anthologized.

Early life
Brock was born in Dulwich, London, in 1927. He grew up in a working-class family with no literary aspirations. He won a scholarship to a local grammar school but his formal education ended after he gained his School Certificate. Brock's interest in poetry was inspired by a paperback anthology of modern verse which he picked up idly as a bored 18-year-old, waiting to be de-mobbed from the Royal Navy at the end of the Second World War. This chance encounter in Hong Kong was to prove revelatory and from then on Brock, completely self-taught, began to write his own poems.

Professional life
Gradually Brock started to be published, firstly in the smaller magazines and eventually in the Times Literary Supplement. During this period, Brock served as a police officer in the Metropolitan force, the unusual combination of policeman and poet giving rise to a brief period of fame when a tabloid journalist published an interview with Brock under the banner headline: "THE THINGS HE THINKS UP AS HE POUNDS THE PECKHAM BEAT". Brock was embarrassed by the sudden attention, but he continued to pursue his writing with serious intent. His efforts bore fruit when his first collection was accepted by the small but prestigious Scorpion Press in 1959. Its title, An Attempt at Exorcism, touches on the essentially personal nature of Brock's work, the frankness of which connects him to confessional poetry which at that time was in the ascendancy in the United States. Indeed, Brock is one of the few British poets of this period to be known in America, with New Directions publishing several of his collections.

Brock left the police to become an advertising copywriter, a profession which he claimed to despise, but in which he became very successful, creating the famous strapline for the UK Financial Times newspaper of 'No FT. No comment'. Brock resented the way work distracted him from his real creative life in poetry, but he continued to write alongside his career, publishing over a dozen collections and becoming increasingly prolific toward the end of his life. He was also editor of the magazine Ambit for almost four decades. In 1966 his status was recognised by his inclusion in the influential Penguin Modern Poets series together with Geoffrey Hill and Stevie Smith.

Personal life
Brock married Patricia Weller (Nellie V. Weller, born 1930, died 2020) in 1949, with whom he had a son and daughter. The marriage proved to be an unhappy one and was dissolved in 1964. The traumatic experience of marital conflict and divorce permeated his poetry at the time, for instance in the bitter and powerful An Arrangement for Seeing Children. In 1964, Brock married Elizabeth Skilton to whom he remained married for 33 years until his death.

Brock died on 7 September 1997 in Norfolk, England.

Titles
Brocapps listed ten volumes of poetry collections, a novel and an autobiography.

Brock wrote two of the best-known poems of the last century, Five Ways to Kill a Man and Song of the Battery Hen, but his work deserves wider recognition beyond these anthology favourites.

Brock's poems amply demonstrate the virtues of his "intensely felt, supple, direct and memorable work." Five Ways to Kill a Man is chilling in its deliberately emotionless tone as it uses the language of a practical manual to explore humanity's cruelty. Progress is reduced to the way in which mankind has "improved" its methods of killing. Inspired by a performance of Benjamin Britten's War Requiem and written quickly, the poem has an air of authority which Brock's reading emphasises. Song of the Battery Hen is similarly suited to being spoken aloud. Though written as a dramatic monologue, in his introduction Brock makes it clear the poem has autobiographical resonance. As such it is a good example of his belief that "most activity is an attempt to define oneself in one way or another: for me poetry, and only poetry, has provided this self-defining act.".

Brock's works include:

 * An Attempt at Exorcism (poetry collection, 1959)
 * The Little White God (novel, 1962)
 * "A Cold Day At The Zoo" (1970)
 * "Invisibility Is The Art Of Survival" (1972)
 * "I Never Saw It Lit" (chapbook, 1974)
 * "Paroxisms" (1974)
 * "The Blocked Heart" (1976)
 * Here, Now, Always (autobiography, 1977)
 * "Song of the Battery Hen: Selected Poems" (1977)
 * "The River & The Train" (1979)
 * "Five Ways To Kill A Man: New and Selected Poems" (1990)
 * "And Another Thing" (1999)

title: Edwin Brock


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Corrib

Corrib has multiple meanings. Among the possible ones are:

 * Lough Corrib, a lake in the west of Ireland, north of Galway.
 * River Corrib, a river connecting Lough Corrib to Galway Bay through the city of Galway.
 * Corrib gas field, a natural gas reservoir in the Atlantic, about 80 km off County Mayo on the west coast of Ireland

title: Corrib