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Balut (food)

Balut (, ; also spelled as balot) is a fertilized developing egg embryo that is boiled or steamed and eaten from the shell. It is commonly sold as street food most notably in the Philippines, Cambodia (ពងទាកូន, paung tea kaun) and Vietnam (trứng vịt lộn, hột vịt lộn).

The length of incubation before the egg is cooked is a matter of local preference, but generally ranges between 14 and 21 days.

Description
A balut is a fertilized bird egg (usually a duck) which is incubated for a period of 14 to 21 days, depending on the local culture, and then steamed. The contents are eaten directly from the shell. Balut that is incubated for longer periods have a well-developed embryo and the features of the duckling are recognizable. The partially developed embryo bones are soft enough to chew and swallow as a whole. The mallard duck (Anas platyrhynchus), also known as the "Pateros duck", is often used to make balut. Balut is a renowned dish due to its different developmental stages; some people prefer it when the duck embryo is still largely liquid, while others prefer it when it is more mature and has a chewier texture. A combination of savory, gamey, and rich characteristics can be found in the flavor, which makes it an acquired taste that many Philipinos treasure as a culinary treat and a part of their culture.

Balut is common street food in the Philippines and other localities, and is also sold in stores and malls. It is a relatively cheap source of protein and calcium. Balut was introduced to the Philippines by the Chinese in 1565 or around 1885 and since then, balut has been included as a traditional part of the culture. Wherever Filipinos migrated for work, a large market for balut would develop. Controversies arose as knowledge of the food spread around the Southeast Asian countries and then globally. People have questioned the ethics of eating balut. Ethical concerns are most often attributed to the presence of a fertilized embryo within the dish, given the fact that the egg has not yet hatched nor been given the chance to hatch.

Preparation

Traditionally, the fertilized eggs are incubated in the sun or buried in sand, and stored in baskets to retain warmth. In order for the embryo to develop normally, it must be exposed to heat for the correct period of time, while ensuring that the temperature is not too hot to harm the eggs or too cold to permit growth. The embryo is extremely sensitive to high temperatures, and is easily killed upon cooking in the sun. After nine days, the eggs are held to a light, in a process called candling, to reveal the embryo inside. The production of balut depends on egg maturation cycles, where the egg begins developing and changes in texture. Throughout these various maturation periods, different temperatures are required to accentuate the specific egg and embryo characteristics. Within the first few stages of maturation, balut is known as "balut sa puti" ("wrapped in white") when it is white; the embryo inside is insufficiently developed to show a beak, feathers or claws, and the bones are undeveloped. These are made from very specific egg types, less than five days old and with no visible surface cracks.

The duration of egg incubation is a matter of local preference. In the Philippines, balut is generally incubated for 14 to 18 days before being boiled for consumption. At about 14 to 16 days of incubation, the embryo floats on top of the egg white and yolk, and the balut is called "mamatong". For most balut makers, the ideal incubation is said to be 17 days old.

There are other versions of balut. In the Cambodian version, pong tea khon, the egg is incubated for 18 to 20 days. In the Vietnamese version, trứng vịt lộn, the egg is incubated for 19 to 21 days, when the embryo is old enough to be recognizable as a baby duck and has bones that will be firm but tender when cooked. Some men prefer to eat an embryo that is much more developed, "...so that it looks gross, because that is a way to prove your manhood."

Chemistry of cooking
During this cooking process, changes occur in the food chemistry of balut, such as the sol dispersion of water molecules within the embryonic fluid. This liquid becomes the broth for the solid which are parts of the duck within the egg. Although balut mainly consists of protein, fat is present and is emulsified within the fertilized embryo. After cooking, it can be considered a protein gel (depending on the length of time it was cooked). Heating high-protein food such as balut can cause the chemical changes to take place and fully or partially denature proteins, causing the surface to become thick and causing an irreversible gel protein to form.

Temperature has a significant impact on the final taste and texture of the cooked balut. Warm temperatures of 29 - 30 C change the taste and texture of the yolk by making it more grainy. This can be attributed to the changes in proteins, and their partial denaturation, during the heating and incubation process. When boiling or cooking eggs, the white of the egg tends to solidify because the proteins are denatured in an irreversible reaction and turn from transparent to an opaque white. Physical and chemical changes in the final balut product can also be attributed to microbial infections and the rate that microbes infect the balut at various stages.

There are many chemical changes that occur inside the duck egg as it is being processed, which can vary depending on how or what it is cooked with. While boiling, added salt can contribute to a number of chemical changes; it seems to increase the proportional weight of egg white within the shell, which can be due to the weight differences between the embryo and the egg white itself. Added salt can also increase the hardness of the egg yolk and affect the overall texture of the final balut product. Other chemical changes observed in nutrient content of the duck egg as it is processed are a slight decrease in the amount of available amino acids, water-soluble vitamins and minerals after the processing is complete.

Nutrition
There are different nutritional values for balut, since it can be either fertilized chicken or duck eggs. Balut nutrition specifications between chicken and duck have minor differences, but both eggs have around 14 grams of crude protein, 188 calories each, and around 100 milligrams of calcium. A duck egg might have a higher value of nutrition than a chicken egg but overall, both chicken and duck balut have approximately the same nutritional value.

In folk medicine, according to popular Vietnamese belief, these eggs are a nutritious and restorative food for pregnant or delivering women.

Dishes and vending
Balut eggs are savored for their balance of textures and flavors. The broth surrounding the embryo is sipped from the egg before the shell is peeled, and the yolk and young chick inside can be eaten. All of the contents of the egg may be consumed, although the white albumen may remain uneaten depending on the age of the fertilized egg. This white albumen may have an unappetizing cartilaginous taste and is tough and rubbery in texture.

In the Philippines, balut have recently entered haute cuisine by being served as appetizers in restaurants, cooked adobo style, fried in omelettes, or even used as filling in baked pastries. In Vietnam, balut is eaten with a pinch of pepper salt with lime/kumquat or ginger and rau răm (also known as laksa leaf). The dish "trứng vịt lộn" can be served as boiled balut or grilled balut. In Cambodia, balut is eaten while still warm in the shell and served with nothing more than a little garnish, which is usually a mixture of lime juice and ground pepper.

A similar preparation is known in China as maodan, modan , wangjidan or huozhuzi. Chinese traders and migrants are said to have brought the idea of eating fertilized duck eggs to the Philippines. However, the knowledge and craft of balut-making has been localized by the balut-makers (magbabalut). Today, balut production has not been mechanized in favor of the traditional production by hand.

Vendors sell cooked balut from buckets of sand (used to retain warmth) accompanied by small packets of salt. Uncooked balut are rarely sold in Southeast Asia. In the United States, Asian markets occasionally carry uncooked balut eggs. Alternatively, they can be ordered by mail. The cooking process is identical to that of hard-boiled chicken eggs, and baluts are eaten while still warm.

Duck eggs that are not properly developed after nine to twelve days are sold as penoy, which look, smell and taste similar to a regular hard-boiled egg. In Filipino cuisine, these are occasionally beaten and fried, similar to scrambled eggs, and served with a vinegar dip.

Locations of consumption
Balut is consumed in high amounts within countries in Southeast Asia, including Laos, Cambodia, Vietnam, Thailand, and the Philippines. Pateros is a first-class municipality in Metro Manila, Philippines that is famous for its duck-raising industry and balut production. The Pateros municipality was actually named for its duck farmers by speakers of Spanish.

Balut is recognized as a national food of the Philippines. It is commonly sold as a street food and served as an appetizer in restaurants. The taste of balut is similar to chicken soup. It has an unusual texture.

Balut is found in some countries and locations of North America. While it cannot be found in every store in North America, specialty stores such as T&T, and, in particular, Filipino stores in the Greater Vancouver area, often sell balut. In the United States, growers such as Metzer Farms specialize in balut production, spreading the knowledge of balut and its awareness.

A reason it may not be found or consumed as frequently in North America is that the majority of people outside of Southeast Asia still recognize balut as a novel and taboo food and often are anxious about trying it.

Consumption
In the Philippines, balut is often eaten with salt or a chili, garlic and vinegar (white or coconut sap) mixture to season, depending on personal preference. Balut can be served in many ways and may be cooked, boiled, and fried. It may be cooked adobo-style, fried in omelets, and used as filling in pastries. Although balut is globally recognized as a Filipino food, it is being consumed less and less in the Philippines. This is partly due to increasingly Western tastes, but also because balut is often associated with poverty.

Some countries and locations will serve balut raw, although this is not a common practice. "Raw," in this sense, could mean the balut was lightly boiled or cooked very briefly. This is potentially dangerous since it increases the risk of spoiling and of ingesting harmful microorganisms.

In Saigon, Vietnam, balut can be found in the streets where vendors operate on the back of motorbikes in alleys. Balut is served as quail eggs. First it is steamed and then served with salt, chili and pepper.

Incubation and storage

Balut is considered to be a street food, and like many other street foods, it is best consumed as soon as it is prepared and served. Sources suggest that at most, the shelf-life of a cooked balut is one day, but it can last up to a week in the refrigerator.

According to the FDA Food Code, balut can perish over time or due to temperature changes. After being cooked, balut should be handled either at 57 C and above, or kept at or below 5 C.

While most countries have specific regulations and standards for food, Canada has certain egg regulations pertaining to what products can be labelled as an egg. Balut eggs are not subjected to the egg regulations in Canada under the Canadian Food Inspection Agency, meaning they do not require the specific labeling requirements and rules of the traditional chicken egg.

Religious prohibitions
Eating balut is forbidden for some religious groups. Both Judaism and Islam have strict prohibitions on consuming food that is prepared in manners incompatible with religiously prescribed dietary laws. In Judaism, the embryo of a chick inside an egg of a bird, even a kosher bird, is forbidden for consumption. The Quran forbids consumption of meat if the animal has not been slaughtered properly, making the animal or animal-product "maytah". Because balut is an egg containing a partly developed embryo, this makes it "haram", or "forbidden".

Animal welfare
Information relating to whether boiling a partially developed embryo is ethically acceptable or not can be found in the legislation relating to the euthanasia and treatment of research animals. Bird embryos that have reached greater than 50% of their incubation have developed a neural tube sufficient for pain perception; therefore, they should be euthanized by similar methods used in avian neonates such as anesthetic overdose, decapitation, or prolonged exposure to carbon dioxide. Similarly, in the UK, embryonic birds are "protected animals" once they have reached the last third of their incubation period. There are specified methods of humanely killing protected animals used in research, but boiling is not one of these. Depending on the species of duck, some eggs used for balut would be boiled within the last half or third of embryo development. Duck embryos are often taken off incubation in order to stunt the growth process; the embryos no longer develop, and become readily available for purchasing. The RSPCA Australia recommends against boiling the duck embryo from the 18th day of incubation onwards due to the potential for suffering beyond that point, and notes that it is "an area that is yet to be further researched".

Several groups wish to ban balut. A petition has been raised to get 5,000 signatures to have balut labeled "fertilized duck egg with embryo" and taken off the menu in the Maharlika restaurant, New York. , the restaurant was selling balut for $5 each. As a response to this petition, Filipino New Yorkers have created a counter petition asking to leave the food item alone.

Health
The incubation temperatures and environment required for the proper development of balut during processing are ideal growth conditions for many bacteria including Salmonella enteritidis. In addition, faecal pathogens can be deposited on the egg shell surface during laying. Balut is therefore labelled as a "Hazardous Food" in Canada. Warnings have been published to obtain balut only from safe, well-known producers.

Outside Southeast Asia
Outside of Southeast Asia, balut has been featured on reality television shows, such as in season 1 of Bizarre Foods with Andrew Zimmern, or as part of eating challenges, such as on Fear Factor in 2002, Hell's Kitchen in 2013, The Amazing Race Asia 2, The Amazing Race Australia 2, The Amazing Race Ukraine, Survivor: Palau, Survivor: China, Survivor: Caramoan, and Survivor: Cambodia.

In the United States, eggs are sold at Asian markets. However, to get the right age eggs and to ensure freshness, it is recommended that they be purchased from a professional or an egg vendor at Asian farmers markets.

Guinness World Record
On April 10, 2015, former Pateros mayor Jaime C. Medina collaborated with Center for Culinary Arts (CCA, Manila) and the History Channel to attempt to set the record for the world's largest serving of balut in Pateros, Metro Manila. The CCA chefs, headed by Tristan Encarnacion, prepared 1,000 pieces of balut into an adobo dish that was recorded to have weighed 117.5 kilograms. The resulting dish was enjoyed by the townsfolk in a symbolic boodle fight, with tables topped with banana leaves stretching along B. Morcilla Street.

title: Balut (food)


text: Category:Body piercing

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

title: Category:Body piercing


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Ross Creek Landing

Ross Creek Landing is a golf course in middle Tennessee, located in rolling countryside in Wayne County along the banks of the Tennessee River.

Golf course
Ross Creek Landing is a par 72 course designed by Jack Nicklaus. It measures more than 7000 yards from the back tees. There are five sets of tees on every hole to allow golfers of differing abilities to enjoy this course. During the construction and design of this course, Nicklaus made some adjustments to shorten two of the par fives so that the golfer may have the opportunity to reach the green in two shots. He also designed the par 4 fourth hole into a 'drivable' par 4 that offers a variety of 'go for it' and 'lay up' options.

The course offers a variety of wooded and meadow golf holes. Oak, Hickory, Hackberry, Cedar and even some Cypress line the fairways. Marshes and ponds have been created to benefit the environment and provide strategy on some of the golf holes. During the construction of the course, special efforts were made to preserve stream corridors and existing woods and meadows. New grades for the golf course were carefully tied into these existing features so that it appears that the course has always been here.

History
Ross Creek Landing was built as a state park golf course called Bear Trace at Ross Creek Landing, the fifth in a series of Nicklaus-designed golf courses located in Tennessee state parks. The state Department of Environment and Conservation sold the property in 2008 after experiencing annual operating losses of about $0.5 million. The sale price of $2.15 million was reported to represent a loss to the state of more than $2.6 million.

title: Ross Creek Landing


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Roland Dyens

Roland Dyens (19 October 1955 – 29 October 2016) was a French classical guitarist, composer, and arranger.

Life and career
Dyens was born in Tunisia and lived most of his life in Paris. He studied with Spanish classical guitarist Alberto Ponce and with Désiré Dondeyne.

As a performer, Dyens was known for improvisation. Sometimes he opened his concerts with an improvised piece, and he might improvise the program itself, without planning or announcing beforehand what he would be playing. He said that a journalist once told him he had the hands of a classical musician but the mind of a jazz musician. He played Bach suites and he played with jazz musicians at the Arvika Festival in Sweden. A heavy metal band did a version of the third movement of his Libra Sonatine.

Dyens released several volumes of arrangements that included not only the classical music of Fernando Sor but also the Brazilian music of Heitor Villa-Lobos, jazz standards by Thelonious Monk, the French pop of Edith Piaf, and the Gypsy jazz of Django Reinhardt.

Tango en Skaï (1985), is one of his best-known pieces, but also widely played is the more extended Libra Sonatine (1986) written in three movements: "India", "Largo", "Fuoco", composed after Dyens had heart surgery. "Its three movements are an explicit portrayal of that very particular period of my life: first the chaotic India (before the operation), then the Largo (during it) and finally the Fuoco, in which the unrestrained rhythms depict a veritable incarnation of my return to life (and several guitarists often play this last movement as an independent piece)" quotes Dyens. "Skaï" is a French slang term for imitation leather and here refers to the gauchos (cowboys) of Argentina and southern Brazil who are known for their leather outfits.

He taught at Conservatoire National Supérieur de Musique in the position held by his teacher, Alberto Ponce. He died on 29 October 2016 at the age of 61.

Awards and honors

 * International Competition Città di Alessandria, Italy, 1979
 * Grand Prix de Académie Charles Cros, Villa-Lobos Concerto for Guitar and Small Orchestra

Selected list of works

 * 20 Lettres Pour Guitare Solo
 * Alba Nera (solo guitar)
 * Aria (guitar quintet)
 * Austin Tango (4 guitars or ensemble)
 * Brésils (4 guitars or ensemble)
 * Chansons françaises Vol.1 (solo guitar )
 * Chansons françaises Vol.1 (solo guitar - tablatures)
 * Chansons françaises Vol.2 (solo guitar)
 * Citrons doux et le Quatuor Accorde (solo guitar)
 * Concertino de Nürtingen (solo guitar & guitar ensemble)
 * Concerto en si (solo guitar & guitar ensemble)
 * Concerto métis (guitar & piano)
 * Concerto métis (solo guitar & string orchestra)
 * Concertomaggio (2 guitars and string orchestra)
 * Comme un rond d'eau (4 guitars)
 * Côté Nord (2 guitars)
 * Côté Sud (guitar octet - quartet possible)
 * Eloge de Léo Brouwer (solo guitar)
 * El último recuerdo (solo guitar)
 * Hamsa (4 guitars or guitar ensemble)
 * Hommage à Franck Zappa (solo guitar)
 * Hommage à Villa-Lobos (solo guitar)
 * L.B. Story (solo guitar)
 * Les 100 de Roland Dyens (solo guitar)
 * Libra Sonatine (solo guitar)
 * Lulla by Melissa (solo guitar)
 * Mambo des Nuances et Lille Song (solo guitar)
 * Mes arrangements à l’amiable (solo guitar)
 * Muguet et L’Allusive (solo guitar)
 * Rossiniana n°1 d’après Mauro Giuliani (solo guitar & string quartet)
 * Rythmaginaires (guitar octet)
 * Saudade No.3 (Solo guitar)
 * Santo Tirso (solo guitar)
 * Songe Capricorne (solo guitar)
 * Suite Polymorphe (4 guitars or guitar ensemble)
 * Tango en Skaï (solo guitar & string quartet)
 * Tango en Skaï (solo guitar)
 * Triaela (solo guitar)
 * Trois (3) pièces polyglottes - Valse des loges, Flying Wigs & Sols d’Ièze (solo guitar)
 * Trois Saudades
 * Valse des anges - Angel's waltz (solo guitar)
 * Valse en skaï (solo guitar)
 * Variations sur un thème de la "Flûte Enchantée" Mozart/ Sor (4 guitars or guitar ensemble)
 * Ville d'Avril (4 guitars or guitar ensemble)
 * Ville d'Avril (solo guitar)

Selected discography

 * 1987 Villa-Lobos: Concerto/Suite Populaire Bresilienne/Choros, No. 1/Dyens: Hommage a Villa-Lobos
 * 1995 Chansons Françaises 1
 * 1997 Paris Guitare
 * 1999 Nuages: Solo Guitar Works
 * 2001 Roland Dyens: Citrons doux
 * 2001 20 Lettres Pour Guitare Solo
 * 2003 Night and Day
 * 2007 Rodrigo: Concierto de Aranjuez; Dyens: Concerto métis
 * 2007 Sor & Giuliani
 * 2009 Naquele Tempo
 * 2015 Night and Day/Visite au Jazz

title: Roland Dyens


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Marin-Epagnier

Marin-Epagnier was a municipality in the district of Neuchâtel in the Swiss canton of Neuchâtel. On 1 January 2009, Marin-Epagnier and Thielle-Wavre merged to form the new municipality of La Tène.

It is located at the northeastern tip of Lake Neuchâtel at an elevation of 455 meters, and,, a population of 3,925 people. It lies close to Biel, at the boundary between French- and German-speaking regions, and at a knot of highways. Marin Epagnier has attracted numerous administrative offices and workshops of the micromechanics, electronics, and watchmaking industries, such as Métaux Précieux SA Métalor and TAG Heuer watches.

The blazon of Marin-Epagnier's coat-of-arms is: "Sable, a Lion rampant or langued and armed Gules".

The Iron Age archaeological site of La Tène is within Marin-Epagnier's communal boundaries; see La Tène culture for an account of the history of the site. La Tène was the name of the lakeside area south of Epagnier, at the eastern end of the Lake Neuchâtel. La Tène has a sandy beach, unique in Switzerland.

title: Marin-Epagnier


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Talk:Lazarus (New Testament)

Historical Evidence
Do we have any historical evidence outside of the bible to suggest that either Lazarus was a real person. Please add some sources. If not then the first sentence should be altered.

 * Do you honestly expect there to be any?

 * Is there some reason to suggest that Lazarus of Bethany is not a real person? Even if there is only a single primary source mentioning him, that would not be unusual for antiquity. Does the fact that the single source is the Bible somehow make it less reliable than say Tacitus? This Lazarus has generally been considered a real person throughout history.
 * Regardless, I think the first sentence now has a neutral POV.--Nomadic Whitt (talk) 18:00, 7 October 2009 (UTC)

Parable of Lazarus
“A Fundamentalist Protestant belief is that ...". Why restrict this to Fundamentalist Protestants?  Most Protestants are not Fundamentalists, and many Christians have the same belief.  I have changed it to “Many Christians believe...” Ergateesuk (talk) 23:25, 19 June 2008 (UTC)

Software
"Lazarus" is also a well known software. lazarus.freepascal.org

--

Information on the Lazarus software project has been moved to Lazarus (software) Peter Grey 04:21, 21 Jun 2005 (UTC)

Question
So the Bible didn't say why Jesus raised him from the dead? --Menchi 14:09, 6 Aug 2004 (UTC)
 * It seems that Jesus was rather upset about the news of Lazarus' death, and also that he was a close personal friend (or friend 'of the family'). The Secret Gospel of Mark may indicate an even closer relationship.--81.156.179.151 20:13, 26 Oct 2004 (UTC)
 * One could look at as Jesus' explanation in the context of the narrative - "for the glory of God, that the Son of God may be glorified by it."--Nomadic Whitt (talk) 15:54, 13 September 2009 (UTC)

Osiris
Could we have a name of one of the `scholars` talking about Osiris in this context? In my opinion this paragraph is speculation at best and doesn`t warrant inclusion. User:Andycjp 13th March 2005
 * It's been over a year, and no citation has appeared, so I removed the dubious paragraph. Wesley 06:43, 19 April 2006 (UTC)

"Unrelated" uses
The X-files clearly is related, and Swarbrick's group.

Whilst other characters mixes related and unrelated.

-- Beardo 05:07, 22 March 2006 (UTC)

Disambiguation
In the disambiguation page says that this article is about the Lazarous who was raised from the dead by Jesus. All the reference related to the Lazarous of the Parable must been moved to the article Lazarus and Dives. (es:) Eloy

 * The disambiguation page has since been changed. This article is now more of an extended disambiguation which also explores the conflation of the two figures.--Nomadic Whitt (talk) 18:03, 7 October 2009 (UTC)

Tombs of Lazarus
This is duplicated in Lazarus of Bethany where the paragraph is fuller. This section should be linked to that article. Ergateesuk (talk) 23:25, 19 June 2008 (UTC)
 * I think this section could be moved there entirely. - Nomadic Whitt (talk) 09:32, 13 September 2009 (UTC)
 * I have moved most of the material. What now remains here is a short summary with a link to the full section at Lazarus of Bethany.--Nomadic Whitt (talk) 05:18, 14 September 2009 (UTC)

Site error?
As of August 26 2006 trying to load the Lazarus article brings up only a blank white screen. Perhaps this is a database error?

JohnH 19:48, 26 August 2006 (UTC)

Update: As of August 28, this problem seems to have been fixed. JohnH 20:43, 28 August 2006 (UTC)

Did Lazarus die a second death?
Just out of interest, since Jesus raised Lazarus from death, would it not be theologically logical (a theological loophole in a way) that Lazarus would just continue to live forever, because biological death was completely reversed (Lazarus had already began to decay)? 6 Nov 06.

Interestingly, in some esoteric circles this is exactly what is believed to have happened. Various esoteric writers have identified figures such as the Comte St Germain and/or Christian Rosenkreutz as being Lazarus. Indeed I have read one author argue that John the Beloved (the disciple mentioned in the Gospel of John as lying on Jesus' breast at the Last Supper) was Lazarus. Interesting ideas. ThePeg 00:08, 8 April 2007 (UTC)

The usual Christian theology is that Lazarus certainly did die a normal death again. In Nikos Kazantzakis' Last Temptation of Christ, Lazarus is killed by the Zealots shortly after his new life. Tb (talk) 01:56, 27 March 2008 (UTC)

Two Different Lazaruses? (Lazarusi?)
The article begins by stating the Lazarus of the parable (Luke 16:19–31) and the Lazarus that Jesus resurrects (John 11:41–44) are two separate characters. However, this assertion doesn’t seem to be defended by citation. While this may be a traditional interpretation of the New Testament, it is not the only one possible. In the alternative, the authors of Luke and John could have been telling radically different stories about the same character named Lazarus. This would be in line with other discrepancies between the gospels, for instance the difference in Jesus’ last words according to Luke 23:46 as opposed to those at John 19:30. Plaidscreen 21:02, 2 February 2007 (UTC)Plaidscreen

 * The difference is deeper than that. In John's gospel, Lazarus is a character, a part of the tale.  In Luke's, Lazarus is merely a name used by Jesus in telling a story.  Tb (talk) 01:55, 27 March 2008 (UTC)

The "In modern culture" trivia section
I've made an effort to drastically reduce the number of examples of Lazarus in pop culture, because, besides making it clear that Lazarus is entirely pervasive in all different forms (movies, music, tv, etc.) pop culture, the examples provide no new information relevant to the article. Therefore, including every last example is totally unneeded. Now, if you can provide some evidence that your example for a particular form of media is more notable than the current example, feel free to replace the current example with your own. (Please discuss the change here, first). johnpseudo 03:16, 3 December 2007 (UTC)

I agree, with some slight caveat. I think this is a good rule of thumb. But the overriding principle is: "how does this addition help to understand Lazarus better?" Pointing out tha Lazarus is pervasive is certainly a help, and unending lists is not. But if there is an edit which is a mere addition, but which also helps the user understand Lazarus better, I think it would be ok. The comment added by johnpseudo is a good rule of thumb, but the real test is the usual one: does this help the reader understand the topic of the article? Tb (talk) 01:53, 27 March 2008 (UTC)

Agreed that lengthy lists can be tiresome, but part of understanding Lazarus better is to give clear evidence "that Lazarus is entirely pervasive." I believe this resonance is important in an of itself irregardless of how the examples may illuminate our understanding of the original parables. So I don't think this section needs such strict limitations (such as deleting an existing example before adding one that is more significant). I suggest that this guideline be modified to: "addition of new examples must be accompanied by an argument that they as significant as existing examples." That said, I'd like to add two example from popular music that I believe are at least as significant as the two already cited. Woody Guthrie's "Dead or Alive (Poor Lazarus)" from the 1940's and Nick Cave And The Bad Seeds' "Dig, Lazarus, Dig!!!" a 2008 album where the parable of Lazarus resonates throughout the album's lyrics most especially in the title track. —Preceding unsigned comment added by Xpdt (talk • contribs) 15:44, 17 May 2008 (UTC)

 * Your standard is a poor one. It tends to Listiness.  Instead, how about this: don't add examples unless they better make the case that Lazarus is pervasive.  How does knowing fifty famous and important songs make the case better than knowing forty-five?  Tb (talk) 20:26, 22 May 2008 (UTC)

Surely if this section exists, it should include the album "Dig, Lazarus Dig!!!" by Nick Cave and the Bad Seeds —Preceding unsigned comment added by 71.175.54.101 (talk) 21:26, 13 August 2008 (UTC)

I expanded the second point to include Dig, Lazarus, Dig!!! since people are just going to keep complaining about it's absence. -86.166.192.132 (talk) 18:42, 16 August 2008 (UTC)

If people want to engage in this conversation and address the concerns I've raised about a ballooning modern culture section, then I'm all for it. Simply ignoring my suggestion to remove a less-important example when adding a new one and claiming that it is futile to resist the efforts of "people" who aren't talking here is not going to fly. johnpseudo 02:37, 17 August 2008 (UTC)

I am surprised at the omission of Joyce's reference to Lazarus - ''Come forth, Lazarus! And he came fifth and lost the job. ,as it is a reference to the widespread Come forth!.. .and if you come fifth you'll lose your beer money!''-type pun. From the previous discussions this would seem to come within the 'better make the case' criterion for proving that the Lazarus story is pervasive in modern(-ist!) culture. --Gilgamesh2000 (talk) 22:07, 2 November 2008 (UTC) —Preceding unsigned comment added by Gilgamesh2000 (talk • contribs) 22:03, 2 November 2008 (UTC)

I added the Star trek episode The Alternative Factor as an example in pop culture to diversify the chronological appearances of Lazaus. —Preceding unsigned comment added by 68.6.115.232 (talk) 23:37, 31 May 2009 (UTC)

I believe the examples of bands who have written songs should be allowed to be edited. With all respect to the band I Am Ghost They are basically a local band currently playing clubs, although they seem to be quite talented (I did give a listen on their myspace page) they have only been playing for 5 years and are a local phemomenon. I suggest replacing this example with the band moe.. A much more widely known band,moe. has been playing for 20 years, tour internationally, headline ampitheaters, host their own festival attracting other big name acts, and just finished playing the Bonnaroo music festival. —Preceding unsigned comment added by Gr8ful ken (talk • contribs) 21:19, 17 June 2009 (UTC)

Editor's Note: This section has been copied in its entirety to Talk:Lazarus of Bethany to follow the material discussed to that page. Feel free to continue the discuss there.--Nomadic Whitt (talk) 07:05, 14 September 2009 (UTC)

 * To Nomadic Whitt- My argument has never been over which artist or song is more worthy of being included. It's that adding more examples doesn't add anything of value to the article.  If you think that Porcupine Tree is more worthy of inclusion than Chimaira, moe., or Placebo, please feel free to make that argument and the substitution.  This section has a tendency to bloom beyond what it reasonable. johnpseudo 20:42, 6 October 2009 (UTC)

 * Johnpseudo- I understand your reluctance to add additional cultural references to a character that is ubiqitious, but I felt your deletion of the latest addition by the unregistered user without any discussion was unwarranted. I looked up Porcupine Tree when I saw the addition, since I had never heard of the band before. The fact that they were equally or possibly more notable than the other bands listed, and that they had released this song as a single, made their inclusion o.k. to me.

 * But to be honest, to follow your line of reasoning, I don't see how including any of these bands really sheds any additional light on the topic of Lazarus, since they are simply listed. If someone could add some context, like how Lazarus was referenced in their works for example, that may be more useful. If for example a song applied some aspect of the story in a way relevant to modern culture, it would warrant inclusion, while simply entitling a song "Lazarus" would not. As it is, however, one can see no reason for inclusion at all.--Nomadic Whitt (talk) 05:22, 7 October 2009 (UTC)

 * As an example, I've added the popular (for its genre) gospel song by Carman, including some context. I admit the references are pretty lame; I didn't think I could mention its popularity in gospel circles in the 1980s without a better reference, since that would probably constitute Original Research.--Nomadic Whitt (talk) 06:28, 7 October 2009 (UTC)

 * So you want to add more popular culture information? I agree with you that most of these bands don't shed any additional light on the topic of Lazarus, but I think that's the case even with more "context".  The point of the section is just to show how widespread the cultural references are throughout history and in prominent examples of various genre.  It's not to further explain the myth, and it's not to better explain those examples- that's for their own articles.  I think we need to weed out less-notable examples, especially in the Lazarus and Dives part of the section, since as you say, "The majority of the references are to Lazarus of Bethany". johnpseudo 11:46, 7 October 2009 (UTC)

 * I completely disagree that the whole point of this section is to "show how widespread the cultural references are." While that is one important aspect of the section, I rather agree with Tb's comment above: the overriding principle is: "how does this addition help to understand Lazarus better?" So part of its purpose is indeed to further explain the "myth" - i.e. what relevance the original biblical stories have in today's popular culture. As for your second point, I don't see any "less notable" references to Lazarus and Divas to remove; all of these seem rather significant in literature and music.--Nomadic Whitt (talk) 17:42, 7 October 2009 (UTC)
 * I just don't see how detailing the cultural references to Lazarus adds to the understanding of Lazarus. None of these cultural references explain or add any nuance to the Lazarus myths- they're simple references.  I agree that we should explain what relevance the stories have in popular culture, but that is done by showing the prevalence of the myths' inclusion in all different notable media, not by explaining the manner in which the myths were included.  There may be exceptions to this- for example if there happen to be references in which the Lazarus stories are changed or re-interpreted.  But otherwise, I think that if our standard for inclusion is simply that the piece of art itself is notable (and not whether the reference to Lazarus is notable), the section will balloon beyond a manageable size.  I've deleted hundreds of different Lazarus references originating from "notable" media from this section over the last 3 years. johnpseudo 19:22, 7 October 2009 (UTC)

 * Ok, I've reorganized the section to more prominantly highlight retellings and reinterpretations of both of the stories. I concede that simple allusions are ubiquitous and only need a passing mention (with no context) and only if they are in significant works. I do, however, like the extended Melville and Elliott examples since the Lazarus and Dives story is alluded to so less often that the point needs to be made that these allude to that particular story.--Nomadic Whitt (talk) 04:23, 8 October 2009 (UTC)
 * Ah, allusions- that's the word I was looking for. Good job with the section! I disagree that the Melville and Elliot explanations should be kept, though.  I think you already made the distinction about which story the authors refer to without having to get into the specifics. johnpseudo 11:34, 8 October 2009 (UTC)

There's a Video Game referrence now in Mass Effect 2. The Lazarus Project resurects the main character after his/her death between the game. ME2 Wiki on the Project 207.71.14.3 (talk) 03:24, 11 March 2010 (UTC)

Requiem quotes
This paragraph from the article doesn't seem to make any sense: 'In the section In paradisum, which often appears embedded in the Requiem, the deceased is wished to Paradise—In paradisum deducant te Angeli— with Lazarus, who once was poor (cum Lazaro quondam paupere); the text reminds us how often the Lazarus of John, who possessed a rock-cut tomb and was resurrected, has been conflated with the beggar Lazarus of Luke.'

The quotations from 'In Paradisum' don't in any way suggest that it is Luke's Lazarus that is being talked about. I would change it myself, but I'd rather wait for a second opinion (change it if you agree).163.1.143.131 (talk) 23:11, 24 May 2008 (UTC)

 * Huh? The "who once was poor" is the reference to Luke's Lazarus.  Tb (talk) 18:47, 25 May 2008 (UTC)

 * I would agree with Tb that "who once was poor" refers to Luke's Lazarus. The problem with the paragraph is that there is no reason to think the In paradisum refers to the Lazarus of John. It is in the context of Paradise, after all, a subject treated in Luke's narrative and not in John's.
 * --Nomadic Whitt (talk) 15:43, 13 September 2009 (UTC)

Proposed merger to Lazarus of Bethany
There are existing articles for Lazarus of Bethany and Lazarus and Dives, as well as a disambiguation page for Lazarus. This page therefore seems to be redundant. Since most of the information here refers to the character in the Gospel of John (and saint in Orthodox and Catholic traditions) and not the subject of the parable in the Gospel of Luke. I propose we merge this page into Lazarus of Bethany and include a short section there that refers to Lazarus and Dives and any alleged connections (or historic conflations) between the two. -- Texas Whitt (talk) 06:36, 11 September 2009 (UTC)

 * This article currently opens with
 * Lazarus (Hebrew: אלעזר, Elʿāzār Eleazar "God (has) helped") is the name of two separate men mentioned in the New Testament. The more famous one is Lazarus of Bethany, the subject of the miracle recounted only in the Gospel of John,[1] in which Jesus raises him from the dead. The other appears uniquely in Jesus' parable of Lazarus and Dives, reported only in the Gospel according to Luke.

 * Further down it explains that
 * Lazarus the beggar and Lazarus the resurrected were combined in Romanesque iconography carved on portals in Burgundy and Provence.

 * Wikipedia, as should be expected, gives the history of the texts, and reports the changing interpretations in the history of ideas. Is the intention now to blur the two separate figures together, as was done in the Middle Ages? The essential fact of Lazarus is precisely that the name refers to two separate men mentioned in the New Testament. So why is Lazarus necessarily Lazarus of Bethany? Who is deciding that? Doesn't the Wikipedia reader get to sort out which Lazarus is being referred to in the passage that sent her to Wikipedia in the first place? Source texts are primary at Wikipedia, not some specific "tradition" that might be concerned to blur the two identities. --Wetman (talk) 12:31, 11 September 2009 (UTC)

 * I think most of this page is redundant with the Lazarus of Bethany page, but I agree with Wetman that a disambig page would be insufficient to explaining the history of the term. I suggest we remove ~50%+ of the "Lazarus of Bethany" section on this page, leaving more for the main article. johnpseudo 12:58, 11 September 2009 (UTC)

 * I think you're both missing my point. The vast majority of references to "Lazarus" in literature and popular culture (in particular, all of them listed at the bottom of this page) refer to the Lazarus raised from the dead, i.e. Lazarus of Bethany. Additionally, the Lazarus honored as Saint Lazarus in the Eastern and Catholic traditions (the traditions where saints are important) is Lazarus of Bethany. Therefore it seems IMO that this should be should the primary character found when one searches for "Lazarus".
 * In the opening section of Lazarus of Bethany, the reader is immediately made aware of a second biblical "Lazarus", that of the parable of Lazarus and Dives, and can go to that article. In no way does this conflate the two characters.
 * As it stands now, we have what amounts to two articles about Lazarus of Bethany, one of which (Lazarus) also happens to contain a small paragraph about the Lazarus of the parable (which, of course, already has its own page). If some additional clarification of the "history of ideas" (I'm not sure what that would refer to in this context) is needed, it can be placed on both the Lazarus of Bethany and Lazarus and Dives pages, without creating what is basically a second disambiguation page here.
 * If you want to do as johnpseudo suggests and delete 50% of this page, you would somehow need to ensure that the discussion of Lazarus of Bethany (as most of this talk page is devoted to) is moved to that page. A full merger as I suggest would accomplish that.
 * - Texas Whitt (talk) 17:02, 11 September 2009 (UTC)
 * Ok, I see what you mean. That sounds like a good idea, then. johnpseudo 18:15, 11 September 2009 (UTC)

 * RC doctrine asserts that there is no historical development in doctrine, merely progressive revealing of what is "truly" inherent from the beginning. Thus the obedient may not be "sure" what relevance the history of ideas has here, if any. However, for the secular observer, if the medieval conflation of the two Lazarus figures were obscured or suppressed, wholesome and neutral information would be lost. Deleting 50% of this cannot be a healthy step towards building an encyclopedia. We all agree, surely, that Wikipedia is not the diocesan newsletter.--Wetman (talk) 02:31, 13 September 2009 (UTC)

 * I'm now leaning toward keeping this page for Wetman's benefit, but it still seems like a redundant disambiguation page. I reworked it a little to make it more clearly distinguish between the two figures in question (from the literary point of view). I'll try to find more references to the medieval conflation of the two, since I agree with Wetman that this could be historically important and should be included. I think it would be helpful for Wetman to add whatever references he/she has on that as well, since I haven't found much on that yet. I'm assuming johnpseudo's call for deletion of the material refers to removing redundant material (such as section on tombs) which exists on another page already and not for any suppression of ideas, so I have no qualms there. As far as anyone seeking to promote RC doctrine at the expense of others (which I understand to be Wetman's contention), I haven't seen that on this page so far (in the article history or this talk page). I'm not Catholic myself, so I know that isn't my intent. - Nomadic Whitt (talk) 09:29, 13 September 2009 (UTC)

Interfaith Wikiproject
Does anyone know why this article is listed in the Interfaith project? I guess that the folks in that project would be the ones to say definitively, but this seems to be a mis-categorization, since this seems to be an exclusively Christianity-related topic.--Nomadic Whitt (talk) 18:11, 7 October 2009 (UTC)

Interfaith Wikiproject
Does anyone know why this article is listed in the Interfaith project? I guess that the folks in that project would be the ones to say definitively, but this seems to be a mis-categorization, since this seems to be an exclusively Christianity-related topic.--Nomadic Whitt (talk) 18:12, 7 October 2009 (UTC)

No reference to doubtful origins?
...The Holy See has repeatedly stated that it does not regard the present-day Order of Saint Lazarus as the continuation of the historical order by that name. It has denounced the order by name as a fraud, first in a lengthy note in L'Osservatore Romano in 1935, then again in 1953 and 1970. To this day, the Holy See has not changed its position. The Italian government has placed the Order on its official list of bogus orders. The Sovereign Military Order of Malta discourages its members from joining the Lazarists. The French government, which regulates orders and decorations, does not recognize it as an order either, and its official position remains that the last knights of the historical order were nominated in 1788, that the order was abolished in 1791 and never officially revived. Under threat of prosecution, the Paris branch of the Lazarist organization has in fact changed its name, ranks and insignia to comply with French law in 1980. There isn't a government on earth that recognizes the order, save perhaps the Franco government in the 1940s, and, it is now claimed, Croatia and South Africa.

There is no doubt in my mind that the present-day Order of Saint Lazarus is an early 20th century private revival of a defunct order. The original Order's French branch, having resisted Papal decisions, had become a royal order in the 17th century, and just as clearly its last Grand Master, once on the throne, purposefully let it disappear. No new appointments were made after 1788 and the last original knights died off in the 1840s. The revival took place around 1910, and is due to a strange coalition of French legitimists with a couple of experts in fake orders. The crooks dropped out of the picture at various dates, but the order continued. Its growth presents an amazing parallel with that of the fake Order of Saint George which involved some of the same people.

Of course, the Order has changed since then, and these unsavory origins have little bearing on the value of the Order's present-day activities, which is undeniable. But those who attach paramount importance to the notion of "legitimacy", indeed anyone who claims that this Order is the Order of Saint-Lazarus has to face the evidence. In my opinion, this order fully deserves the label of "self-styled". It has a definite role as an honourable charitable organization, and may even invoke the model of the hospitaller activities of the historical knights of Saint Lazarus as an inspiration. But whenever it tries to pass itself off as the Order of Saint-Lazarus, claiming to be in the same position vis-a-vis the historical order of that name as the Sovereign Order of Malta is vis-a-vis the historical Order of Saint John, it is perpetrating a fraud... http://www.heraldica.org/topics/orders/lazarus.htm#link —Preceding unsigned comment added by 70.52.30.94 (talk) 01:47, 27 October 2009 (UTC)

This would be relevant to the Order of Saint Lazarus page. Sir rupert orangepeel (talk) 22:14, 17 December 2009 (UTC)

this should be a disambiguation
This title should be the disambiguation page. There should be no substantial coverage of the two figures here, as they're properly described in their respective article. There's no need for separate "Lazarus (disambiguation)". There doesn't seem to be any signficant shared material to justify a shared article, except a few sentences where the two are conflated. --Rob (talk) 16:11, 23 February 2011 (UTC)
 * I agree. I'll do some splitting and redirecting when I get a chance. StAnselm (talk) 08:51, 29 August 2011 (UTC)

Shortening the section on "Saint Lazarus"
Given that the section on "Saint Lazarus" has an article specifically on it the extended explanation of it appears to be unneeded.

Any thoughts?

115.124.4.18 (talk) 11:02, 24 July 2011 (UTC)

 * Article is now OK, we not need shortening.--Yopie (talk) 14:15, 24 July 2011 (UTC)

title: Talk:Lazarus (New Testament)


text:
Shiloh National Military Park

Shiloh National Military Park preserves the American Civil War Shiloh and Corinth battlefields. The main section of the park is in the unincorporated town of Shiloh, about nine miles (14 km) south of Savannah, Tennessee, with an additional area located in the city of Corinth, Mississippi, 23 miles (37 km) southwest of Shiloh. The Battle of Shiloh (April 6–7, 1862) began a six-month struggle for the key railroad junction at Corinth. Afterward, Union forces marched from Pittsburg Landing to take Corinth in a May siege, then withstood an October Confederate counter-attack.

The visitor center provides exhibitions, films and a self-guided auto-tour.

Shiloh battlefield
The Battle of Shiloh was one of the first major battles in the Western Theater of the American Civil War. The two-day battle, April 6–7, 1862, involved about 65,000 Union troops under Ulysses S. Grant and Don Carlos Buell and 44,000 Confederates under Albert Sidney Johnston (killed in the battle) and P.G.T. Beauregard. The battle resulted in nearly 24,000 killed, wounded, and missing. The two days of fighting did not end in a decisive tactical victory for either side—the Union held the battlefield but failed to pursue the withdrawing Confederate forces. However, it was a decisive strategic defeat for the Confederate forces that had massed to oppose Grant's and Buell's invasion through Tennessee. After the Battle of Shiloh, the Union forces proceeded to capture Corinth and the critical railroad junction there.

The battlefield is named after Shiloh Methodist Church, a small log church near Pittsburg Landing, Tennessee. Pittsburg Landing is the point on the Tennessee River where the Union forces landed for the battle; they referred to the battle as "The Battle of Pittsburg Landing".

Park information

 * Total area: 3,997 acres (16.18 km2)
 * Federal area: 3,942 acres (15.95 km2)
 * Nonfederal area: 55 acres (0.22 km2)

The Shiloh National Military Park was established on December 27, 1894. In 1904, Basil Wilson Duke was appointed commissioner of Shiloh National Military Park by President Theodore Roosevelt. There were requests of local farmers who had grown tired of their pigs rooting up the remains of soldiers that had fallen during the battle, insisting that the federal government do something about it. The park was transferred from the War Department to the National Park Service on August 10, 1933. As with all historic areas administered by the National Park Service, the military park was listed on the National Register of Historic Places on October 15, 1966. On September 22, 2000, sites associated with the Corinth battlefield (see First and Second Battles of Corinth) were added to the park. The Siege and Battle of Corinth Sites was designated a National Historic Landmark on May 6, 1991. The National Park Travelers Club held its 2013 convention at Shiloh. As of early 2024, the American Battlefield Trust and its federal, state and local partners have acquired and preserved 1,554 acres of the battlefield in more than 26 different transactions since 2001. Most of this land has been sold or conveyed to the National Park Service and incorporated into the park.

Visitor center
Permanent exhibitions, films, displays and self-guided 12-mile auto-tour, stopping at the Peach Orchard, the Hornet's Nest and General Johnston's death site.

Shiloh National Cemetery
Shiloh National Cemetery is in the northeast corner of the park adjacent to the visitor center and bookstore. Buried within its 20.09 acre are 3,584 Union dead (of whom 2,357 are unknown), who were re-interred in the cemetery created after the war, in 1866. There are two Confederate dead interred in the cemetery. The cemetery operations were transferred from War Department to the National Park Service in 1933. An unknown number of Confederate dead are interred in mass graves in the park.

Shiloh Indian Mounds Site
The Shiloh battlefield has within its boundaries the well preserved prehistoric Shiloh Indian Mounds Site, which is also a National Historic Landmark. The site was inhabited during the Early Mississippian period from about 1000 to 1450.

title: Shiloh National Military Park


text:
Angoulême International Comics Festival Prize for Best Album

The Prize for Best Album (Prix du meilleur album), also known as the Fauve d'Or ("Golden Wildcat"), is awarded to comics authors at the Angoulême International Comics Festival. As is the customary practice in Wikipedia for listing awards such as Oscar results, the winner of the award for that year is listed first, the others listed below are the nominees.

At the first two festivals (1974 and 1975), prizes were given only to creators, not books. From 1976 to 1978, the "best work" award was presented in four categories, foreign and French realistic and comical work. In 1981, the award was revived as simply "best album." From 1986 to 2001 it was again divided into two awards, French and foreign comic, but since 2002 it has once again returned to a single "best album" category.

1970s

 * 1976: Foreign comical work:  La tribu terrible (Redeye) by Gordon Bess (artist) and Greg (author), Le Lombard
 * 1976: Foreign realistic work:  Corto Maltese: La Ballade de la mer salée by Hugo Pratt, Casterman
 * 1976: French comical work:  Gai-Luron: En écrase méchamment by Gotlib, Vaillant
 * 1976: French realistic work:  Le vagabond des limbes: L'empire des soleils noirs by Julio Ribera (artist) and Christian Godard (author), Dargaud
 * 1977: Foreign comical work:  Andy Capp: Si c'est pas pire, ça ira! by Reginald Smythe, SAGE
 * 1977: Foreign realistic work:  Les Peaux-Rouges: Les Maîtres du tonnerre by Hans G. Kresse, Casterman
 * 1977: French comical work:  Le Baron noir part 1 by Yves Got (artist) and René Pétillon (author), GOT
 * 1977: French realistic work:  Légende et réalité de Casque d'or by Annie Goetzinger, Glénat
 * 1978: Foreign comical work:  Boule et Bill by Roba, Dupuis
 * 1978: Foreign realistic work:  Alack Sinner part 1 by José Antonio Muñoz (artist) and Carlos Sampayo (author), Ed. du Square
 * 1978: French comical work:  Le Génie des alpages: Barre-toi de mon herbe by F'Murr, Dargaud
 * 1978: French realistic work:  Alix: Le Spectre de Carthage by Jacques Martin, Casterman
 * (1979: no award in this category)

1980s

 * (1980: no award in this category)
 * 1981: ' by Carlos Giménez''', AUDIE
 * 1981 (joint winner):  Silence (bande dessinée) by Comès, Casterman
 * 1982: Jonathan (bande dessinée): Kate by Cosey, Le Lombard
 * 1983: Alack Sinner: Flic ou privé by José Antonio Muñoz and Carlos Sampayo, Casterman
 * 1984: Marcel Labrume: À la recherche des guerres perdues by Attilio Micheluzzi, Les Humanoïdes Associés
 * 1985: Les Cités Obscures: La fièvre d'Urbicande by François Schuiten and Benoît Peeters, Casterman
 * 1986: ''La Femme du magicien by Jerome Charyn and François Boucq, Casterman
 * 1986: Foreign comic: Torpedo: Chaud devant by Jordi Bernet and Enrique Sánchez Abulí, Albin Michel
 * 1987: Vic Valence: Une nuit chez Tennessee by Jean-Pierre Autheman, Dargaud
 * 1987: Foreign comic:  Un été indien (Indian Summer) by Hugo Pratt and Milo Manara, Casterman
 * 1988: Jonathan Cartland: les Survivants de l’ombre by Laurence Harlé and Michel Blanc-Dumont, Dargaud
 * 1988: Foreign comic:  Maus: Un survivant raconte by Art Spiegelman, Flammarion
 * 1989: Théodore Poussin: Marie-Vérité by Frank Le Gall and Yann (comics), Dupuis
 * 1989 (special mention): Gens de France et d'ailleurs by Jean Teulé, Casterman
 * 1989: Foreign comic:  Les Gardiens (Watchmen): Ozymandias by Alan Moore and Dave Gibbons, Zenda

1990s

 * 1990: Gazoline et la Planète rouge by Jano, Albin Michel
 * 1990: Foreign comic:  V pour Vendetta (V for Vendetta): Visages by David Lloyd and Alan Moore, Zenda
 * 1991: Le Chemin de l'Amérique (Road to America) by Baru (comics), Jean-Marc Thévenet and Daniel Ledran, Albin Michel
 * 1991: Foreign comic:  Manuel Montano by Miguelanxo Prado and Luna, Casterman
 * 1992: Couma acò by Edmond Baudoin, Futuropolis
 * 1992: Foreign comic:  Calvin & Hobbes: En avant tête de thon! by Bill Watterson, Hors Collection
 * 1993: Basil et Victoria: Jack by Edith and Yann (comics), Les Humanoïdes Associés
 * 1993: Foreign comic:  Maus part 2 by Art Spiegelman, Flammarion
 * 1994: L'Histoire du corbac aux baskets by Fred, Dargaud
 * 1994: Foreign comic:  Trait de craie by Miguelanxo Prado, Casterman
 * 1995: Le cahier bleu by André Juillard, Casterman
 * 1995: Foreign comic:  Jonas Fink: L’enfance by Vittorio Giardino, Casterman
 * 1996: L'Autoroute du soleil by Baru (comics), Casterman
 * 1996: Foreign comic:  Bone: La forêt sans retour by Jeff Smith, Delcourt
 * 1997: Qui a tué l'idiot ? by Nicolas Dumontheuil, Casterman
 * 1997: Foreign comic:  Le Silence de Malka by Ruben Pellejero and Jorge Zentner, Casterman
 * 1998: Léon la came: Laid, pauvre et malade by Nicolas de Crécy and Sylvain Chomet, Casterman
 * L'ascension du haut mal: Tome 2 (Epileptic) by David B., L'Association
 * La Der des ders by Jacques Tardi and Didier Daeninckx, Casterman
 * Houppeland: Tome 1 by Tronchet, Dupuis
 * Le Sursis (bande dessinée): Tome 1 by Jean-Pierre Gibrat, Dupuis
 * Un ver dans le fruit by Pascal Rabaté, Vents d'Ouest
 * 1998: Foreign comic:  Fax de Sarajevo (Fax from Sarajevo) by Joe Kubert, Vertige Graphic
 * Chicanos by Eduardo Risso and Carlos Trillo, Vents d'Ouest
 * The Far Side by Gary Larson, Dupuis
 * Fleur de Pierre: Partisan by Hisashi Sakaguchi, Vents d'Ouest
 * L'île du Pacifique by Sergio Toppi, Mosquito
 * Jonas Fink: L'apprentissage by Vittorio Giardino, Casterman
 * 1999: Monsieur Jean (bande dessinée): Vivons heureux sans en avoir l'air by Dupuy and Berberian, Les Humanoïdes Associés
 * Ibicus: Tome 1 by Pascal Rabaté, Vents d'Ouest
 * Le Réflexe de survie by Étienne Davodeau, Delcourt
 * Le Sommeil du monstre by Enki Bilal, Les Humanoïdes Associés
 * 1999: Foreign comic:  Cages by Dave McKean, Delcourt
 * Big Man by David Mazzucchelli, Cornélius
 * La vie est belle malgré tout (It's a Good Life, If You Don't Weaken) by Seth, Les Humanoïdes Associés

2000s

 * 2000: Ibicus: Tome 2 by Pascal Rabaté, Vents d'Ouest
 * Lie-de-Vin by Olivier Berlion and Éric Corbeyran, Dargaud
 * Professeur Bell: Le mexicain à deux têtes by Joann Sfar, Delcourt
 * La terre sans mal by Emmanuel Lepage and Anne Sibran, Dupuis
 * Zeke raconte des histoires by Cosey, Dupuis
 * 2000: Foreign comic:  Passage en douce: Carnet d'errance by Helena Klakocar, Fréon
 * 300 by Frank Miller and Lynn Varley, Rackham
 * L'Art invisible (Understanding Comics) by Scott McCloud, Vertige Graphic
 * Comme un gant de velours pris dans la fonte (Like a Velvet Glove Cast in Iron) by Daniel Clowes, Cornélius
 * Tabou by Ruben Pellejero and Jorge Zentner, Casterman
 * Vieilles Canailles: L'esprit de famille by Trillo and Mandrafina, Albin Michel
 * 2001: Jack Palmer: L'enquête corse by René Pétillon, Albin Michel
 * Le capitaine écarlate by David B. and Emmanuel Guibert, Dupuis
 * Déogratias by Jean-Philippe Stassen, Dupuis
 * Les Entremondes: Lazaar by Patrice Larcenet and Emmanuel Larcenet, Dargaud
 * Luc Leroi: Toutes les fleurs s'appellent Tiaré by Jean-Claude Denis, Casterman
 * 2001: Foreign comic:  Le Canard qui aimait les poules by Carlos Nine, Albin Michel
 * A Journal of My Father part 3 by Jiro Taniguchi, Casterman
 * Gemma Bovery by Posy Simmonds, Denoël
 * Caricature by Daniel Clowes, Rackham
 * Grimmy part 10 by Mike Peters, Dargaud
 * 2002: Isaac le pirate: Les Amériques by Christophe Blain, Dargaud
 * Aberzen: Commencer par mourir by Marc N'Guessan, Soleil
 * Frida Kahlo by Corona, Rackham
 * Hicksville by Dylan Horrocks, L'Association
 * La lecture des ruines by David B., Dupuis
 * Pilules bleues by Frederik Peeters, Atrabile
 * Tirésias (bande dessinée): L'outrage and Tirésias: La révélation by Serge Le Tendre and Christian Rossi, Casterman
 * Uncle Sam by Steve Darnall and Alex Ross, Semic
 * 2003: Jimmy Corrigan (Jimmy Corrigan, the Smartest Kid on Earth) by Chris Ware, Delcourt
 * Le Chat du rabbin: Le Malka des lions by Joann Sfar, Dargaud
 * 5 est le numéro parfait (5 is the Perfect Number) by Igort, Casterman
 * David Boring by Daniel Clowes, Cornélius
 * McCay: Les Cœurs retournés by Jean-Philipe Bramanti and Thierry Smolderen, Delcourt
 * Six cent soixante-seize apparitions de Killoffer (676 Apparitions of Killoffer) by Patrice Killoffer, L'Association
 * 2004: Le combat ordinaire: Tome 1 (Ordinary Victories) by Emmanuel Larcenet, Dargaud
 * L'ascension du haut mal: Volume 6 (Epileptic) by David B., L'Association
 * Blonde platine (Summer Blonde) by Adrian Tomine, Le Seuil
 * Broderies (Embroideries) by Marjane Satrapi, L'Association
 * Daredevil: Underboss and Daredevil: Le scoop by Brian Michael Bendis and Alex Maleev, Marvel
 * Lupus: Tome 1 by Frédérik Peeters, Atrabile
 * La vie de ma mère: Face A and Face B by Jean-Christophe Chauzy and Thierry Jonquet, Gallimard
 * 2005: Poulet aux prunes by Marjane Satrapi, L'Association
 * L'homme sans talent by Yoshiharu Tsuge, Ego comme X
 * Louis Riel, l'insurgé (Louis Riel: A Comic-Strip Biography) by Chester Brown, Casterman
 * Lupus: Tome 2 by Frédérik Peeters, Atrabile
 * Mariée par correspondance by Kalesniko, Paquet
 * Panorama de l'enfer by Hideshi Hino, Imho
 * Une tragédie américaine (Boulevard of Broken Dreams) by Kim Deitch, Denoël Graphic
 * 2006: Notes pour une histoire de guerre by Gipi, Actes sud
 * Les damnés de Nanterre by Chantal Montellier, Denoel graphic
 * Fritz Haber: l'esprit du temps by David Vandermeulen, Delcourt
 * Hanté by Philippe Dupuy, Cornélius
 * Olivia Sturgess by Floc'h and François Rivière, Dargaud
 * Le petit bleu de la Côte Ouest by Jacques Tardi (after Manchette), Les Humanoïdes Associés
 * Ripple by Dave Cooper, Le Seuil
 * 2007: NonNonBâ by Shigeru Mizuki, Cornélius
 * 2008: Là où vont nos pères (The Arrival) by Shaun Tan, Dargaud
 * 2009: Pinocchio by Winshluss, Les Requins Marteaux

2010s

 * 2010: Pascal Brutal: Tome 3 by Riad Sattouf (Audie)
 * 2011: Cinq mille kilomètres par seconde by Manuele Fior (Atrabile)
 * 2012: Chroniques de Jérusalem (Jerusalem) by Guy Delisle (Delcourt)
 * 2013: Quai d'Orsay: Tome 2 by Christophe Blain and Abel Lanzac (Delcourt)
 * 2014: Come Prima (bande dessinée) by Alfred (cartoonist) (Delcourt)
 * 2015: L'Arabe du futur by Riad Sattouf (Allary)
 * 2016: Ici by Richard McGuire (Gallimard)
 * 2017: Paysage après la bataille (bande dessinée) by Éric Lambé & Philippe de Pierpont (Actes Sud BD / Frémok)
 * 2018: La Saga de Grimr by Jérémie Moreau (Delcourt)
 * 2019: My Favorite Thing Is Monsters by Emil Ferris (Fantagraphics)

2020s

 * 2020 : Révolution, vol. 1:Liberté, by Florent Grouazel and Younn Locard (Actes Sud / Éditions de l'An 2
 * 2021: L'Accident de chasse (The Hunting Accident) by Landis Blair and David L. Carlson (éditions Sonatine)
 * 2022: Écoute, jolie Marcia, by Marcello Quintanilha (Éditions Çà et là)


text:
Hornsea Pottery

Hornsea Pottery was a business located in the coastal town of Hornsea in the East Riding of Yorkshire, England. They specialized in tableware with elegant contemporary designs.

The pottery was founded in 1949, in a small terraced house, by brothers Colin and Desmond Rawson with funding from local business man, Philip Clappison. The factory's earliest pieces were mostly designed by Colin Rawson. The products sold well and the pottery moved to larger premises and took on its first employee in 1950.

Expansion of the business in the 1950s brought moves to larger sites in Hornsea. A second factory in Lancaster opened in 1974. In 1984, the company struggled and was bought out. Despite its difficulties, the factory continued to produce tableware and ornaments until April 2000 when it went into receivership.

As part of the asset sales during receivership the design rights to the successful Taunton range of table wares was acquired by Poole Pottery. The remainder of the designs, patterns and Intellectual Property rights were sold to Mainscore Ltd and are now owned by Hornsea Potteries Intellectual Properties USA LLC.

In 2008, Hornsea Museum opened a permanent exhibition of Hornsea Pottery.

The V & A in London has numerous Hornsea Pottery items in its permanent collection.

Early years
In 1949, Desmond and Colin Rawson started a business making plaster of Paris models to sell as souvenirs to tourists who were visiting the seaside town of Hornsea. Both had attended the Batley College of Art but they had no pottery-making experience. They worked in the scullery of their kitchen at 4 Victoria Avenue in the town. Initial funding came from a friend and local business man, Philip Clappison. After the purchase of a small kiln, they started working with clay. Additional funding was received from Charles Wright, a retired Morecambe hotelier, whose son, Micheal Wright, was working with Desmond on early products. Desmond Rawson's father-in-law, Henry Knowles, a solicitor in Morecambe, provided not only cash investment but all legal services for the rest of his life.

Their products sold well and by 1950 they took on their first employee and moved to larger premises at The Old Hall in the Hornsea Market Place. Robert (Bob) Hindle, Desmond's brother-in-law, joined the company and provided additional share funding, and his 'straight dealing' policy provided the company with an excellent sales directorship for over 20 years.

Edenfield site
In the mid-1950s, the Rawson brothers started to recognise the potential of Philip's son, John Clappison, a student at Hull College of Art who produced the stylish, contemporary Elegance range of wares which are much in demand with collectors today. In 1954, the business moved to the site of the defunct Hornsea Brick and Tile Works. At this time the Pottery also employed other noted designers such as Dorothy Marion Campbell and Alan Luckham as modeller. In 1967, the factory started to produce full ranges of tableware, the first being the John Clappison-designed Heirloom, followed by his Saffron and Bronte patterns. In the 1970s, the Queensbury-Hunt partnership became involved in Hornsea tableware design, and their Contrast and Concept ranges proved popular. Though innovative, these products were not always practical in use. By 1974, the Edenfield Works employed 250 people and turned out three million pieces a year.

From the mid-1950s, the Hornsea Pottery business became more diverse. Tourist activities began with factory tours, then added more activities for families with children. These included a model village, birds of prey exhibition, car museum, a large adventure playground in the style of a wooden fort, remote control boats and go-karts. For adults, there were cafés, the Hornsea Pottery shop and factory tour and, towards the end of the factory's lifetime, a number of shops which turned the site into an American-style outdoor factory outlet mall, selling clothing and other items at reduced prices.

Lancaster site
During the 1960s, Hornsea Pottery had become the biggest employer in the town and Hornsea Pottery had become so successful that the need for increased production called for expansion. Plans for further development at Hornsea were frustrated by local government objections, so locations outside the town were sought. A number of sites for the second factory were considered and Lancaster was chosen and the new 'Pottery in a Garden' opened in 1974. Unfortunately, there were many teething problems and it took factory workers longer to train to the higher standards required for the newly introduced brown Vitramic body. Despite this shaky start the first three ranges produced at the Lancaster factory received Design Centre Awards and with them Hornsea Pottery enhanced its worldwide reputation. The Lancaster site only lasted for twelve years. Despite overcoming the early difficulties and its eventual profit making, it could not stand up against the economic climate of the time. It closed in 1988.

Heyday
Hornsea tablewares were sold worldwide for over 20 years and all tableware ranges were accepted for inclusion on the Design Centre Index before entering production. At one stage production of the Heirloom tableware soon could not keep up with the demand and department stores had to be limited on a quota basis.

Decline
In 1979 the number of employees rose to 460, and by 1981 it peaked at 700. However, this state of affairs did not last and after 1978 profits plummeted owing to development costs associated with its new factory in Lancaster, and production losses at its new plant. In 1980 a team from the National Westminster Bank was sent to review the company's management and appoint a new managing director, Mr Anthony Kusmirek who joined the company in 1975 as project director. Noel Rawson the sales director and Anthony Kusmirek the new managing director were both dismissed after attempting to redress the company's sales performance and improve the product range. In 1981 the National Westminster Bank then appointed Gordon Barker as managing director and nominated a new management team.

It was during this time that John Clappison’s unique Strata trinket boxes and his People series were produced. Clappison was made redundant on 31 December 1984, subsequently gaining employment with Royal Doulton. The ceramic tableware market was witnessing a great change with Japanese imports flooding the American market and cheaper tableware coming into Europe. The problems continued, and in April 2000 the National Westminster Bank sent in the receivers. The pottery factory no longer exists. The retail outlet shopping village known as Hornsea Freeport has traded on the main retail and touristic site ever since, whilst the old factory buildings have been demolished and the area re-developed for housing.

Following its dissolution, several of the redundant managers and staff were able to relocate to the newly constructed Park Rose Pottery, on a green field site situated on the main road entering the seaside town of Bridlington. Park Rose Pottery was founded by Anthony Kusmirek and Noel Rawson in 1982. The founder's original giftware range consisted of vases, plant pot holders and ceramic lamp bases. One of their first customers was IKEA. They went on to produce and sell a successful range of designer ware in their own right. Park Rose Pottery itself ceased to trade in June 2012. Hornsea Pottery designs are now available across a wide range of homewares, clothing and accessories via the official Hornsea Pottery website.

Museum
Over 2,000 pieces from the pottery's beginnings in 1949 to 2000 are on display in two converted 18th century cottages in Hornsea Museum in Newbegin, the main street of Hornsea. Geoffrey Hindle, (Jolley Geoff); son of Bob Hindle, the driving force behind the very successful sales organisation; also nephew of Desmond Rawson, has spent many hours recording both of their life's work, donated all the family's pieces of pottery and many photographs to help the collection's guardians Carol Harker and Museum founder Dr Stuart Walker tell the full story of the company's success and eventual demise.

The Intellectual Properties of Hornsea Potteries including all the designs and trademarks were acquired at the time of receivership by Hornsea Potteries Intellectual Properties Ltd.

title: Hornsea Pottery


text:
T. O. Fuller State Park

T.O. Fuller State Park is a state park in the city of Memphis, Tennessee, USA. It consists of 1138 acre of mostly forest located in South Memphis on Mitchell Road. It is the only state park within the city limits and is suitable for wildlife.

The park is named in honor of Dr. Thomas O. Fuller, who spent his life empowering and educating African Americans. The park facilities were originally built for the use of African Americans in the Great Depression by the Civilian Conservation Corps (CCC). It was the first state park in the United States east of the Mississippi River that was open to African Americans.

CCC camp number 1464-SP-10, which was composed of African Americans, initiated construction of the park facilities in 1938. During excavation for a proposed swimming pool in 1940, CCC workers unearthed evidence of a prehistoric village. The site has since been developed as Chucalissa Indian Village and includes a village, preserved archeological excavations and the C.H. Nash Museum at Chucalissa.

Facilities
Amenities at T.O. Fuller State Park include sheltered picnic areas, tennis courts, swimming pool, basketball courts, softball field, six miles (10 km) of hiking trails and camping facilities. The park's nature center is open in the summer and features natural history exhibits and programs.

C.H. Nash Museum at Chucalissa
During construction of T.O. Fuller State Park in 1938, the CCC discovered Native American artifacts on the site, now known as Chucalissa. The University of Tennessee initiated archaeological excavations of this Mississippian mound complex in 1940, but this work was interrupted by World War II. Excavations and other work at Chucalissa began once again in 1955. The facility is currently operated by the University of Memphis and serves as a gateway for understanding archaeology and the interpretation of Native American history.

It was declared a National Historic Landmark in 1994.

title: T. O. Fuller State Park


text:
Alessandro Baricco

Alessandro Baricco (born 25 January 1958) is an Italian writer, director and performer. His novels have been translated into a number of languages.

Early life, family and education
Baricco was born in Turin, Italy.

He has earned degrees in philosophy (under Gianni Vattimo) and in piano.

Career
Baricco published essays on music criticism: Il genio in fuga (1988) on Gioachino Rossini, and L'anima di Hegel e le mucche del Wisconsin ("Hegel's Soul and the Cows of Wisconsin", 1992) on the relation between music and modernity. He subsequently worked as music critic for La Repubblica and La Stampa, and hosted talk shows on Rai Tre.

Baricco debuted as a novelist with Castelli di rabbia (translated as Lands of Glass) in 1991.

In 1993, he co-founded a creative writing school in Turin, naming it Scuola Holden after J. D. Salinger's Holden Caulfield. The Scuola Holden hosts a variety of courses on narrative techniques including screenwriting, journalism, novels and short stories.

In the following years, his fame grew throughout Europe, with his works topping the Italian and French best-seller lists. Larger recognition followed the adaptation of his theatrical monologue Novecento into the movie The Legend of 1900, directed by Giuseppe Tornatore.

He has also worked with the French band Air, releasing "City Reading", a mix of the band's music with Baricco's reading of his novel City.

Baricco directed the critically acclaimed film Lezione 21 on Beethoven's Ninth Symphony.

Personal life
Baricco resides in his hometown, Turin. He has two sons. He and his girlfriend Gloria Campaner live together.

In January 2022, Baricco announced he had been diagnosed with chronic myelomonocytic leukemia.

Novels

 * Castelli di rabbia, Rizzoli 1991, Tascabili Bompiani 1994; Lands of Glass, Penguin 1992. Awarded with Prix Médicis étranger – France
 * Oceano Mare, Rizzoli 1993; Ocean Sea, ISBN 0-375-70395-0, 1993. Awarded with 'Palazzo al Bosco' — Italy
 * Novecento. Un monologo, Giangiacomo Feltrinelli Editore, Milan, 1994; Novecento: pianist, 1994.
 * Seta, Rizzoli 1996; Silk, ISBN 978-0-307-27797-8, 1996 (See Silk for the film adaptation.)
 * City (original title), ISBN 978-0-375-72548-7 (edition in English), Rizzoli 1999
 * Constellations (original title), 1999
 * Senza sangue, Rizzoli 2002; Without Blood ISBN 1-4000-3478-7, 2002 (Also published in revised form in The New Yorker)
 * Questa storia, Fandango 2005
 * Emmaus, Feltrinelli 2009
 * Mr Gwyn, Feltrinelli 2011
 * Tre volte all'alba, Feltrinelli 2012
 * Smith & Wesson, Feltrinelli 2014
 * La Sposa giovane, Feltrinelli 2015; The Young Bride ISBN 9781609453343, Europa Editions 2016

Theatre

 * Totem, a literary and musical happening staged in various locations throughout Italy with varying structure and contents. Mostly it consisted of a two-night theatrical event in which Baricco himself, helped by director Gabriele Vacis, actor Eugenio Allegri and musician Daniele Sepe, would read and comment on bits of literature from all centuries and countries, accompanying them with music. In 2001 Rizzoli published the video of Totem recorded in Milan in 1997.
 * Novecento, Feltrinelli 1994; The Legend of 1900 (1994) – originally a monologue for theatre staged by director Gabriele Vacis, adapted in 1998 into a film by Giuseppe Tornatore, La leggenda del pianista sull'oceano, with music composed by Ennio Morricone.
 * Davila Roa, staged only once by director Luca Ronconi. Reportedly a huge fiasco, it was never published in written form.
 * Omero, Iliade, Feltrinelli 2004; An Iliad, Vintage International 2004 ( ISBN 978-0-307-27539-4 ) – a rewriting of Homer's Iliad consisting of 24 chapters, each telling a part of the story through the eyes and words of a prominent character in the poem. The theatrical event from which the book originated was staged only twice due to its logistic difficulties: it spanned over three nights during which the best contemporary Italian actors would impersonate one character each, eight per night.
 * Palamedes - the cancelled hero, 2016; a theatrical event about Palamedes translated from ancient Greek by Andrea Marcolongo and staged by Baricco himself and the Italian actress Valeria Solarino.

Cinema

 * Partita Spagnola, Audino Editore 2003 (screenplay never shot).
 * Lecture 21, 2008 (written and directed).

Collected short writings

 * Barnum. Cronache dal Grande Show, Feltrinelli 1995
 * Barnum 2. Altre cronache del Grande Show, Feltrinelli 1998
 * Next. Piccolo libro sulla globalizzazione e il mondo che verrà, Feltrinelli 2002
 * Il nuovo Barnum, Feltrinelli 2016

Essays

 * Il genio in fuga. Sul teatro musicale di Rossini, Il Melangolo 1988, Einaudi 1997
 * L'anima di Hegel e le mucche del Wisconsin, Garzanti 1992
 * I Barbari, La Repubblica 2006
 * The Game, 2018

Awards

 * Prix Médicis étranger — France
 * Selezione Campiello — Italy
 * Viareggio – Italy
 * Palazzo al Bosco – Italy

title: Alessandro Baricco


text:
Operation Nightfall

Operation Nightfall can refer to:

 * Operation Nightfall, a covert operation central to the first and third seasons of the TV series, 24
 * Operation Knightfall, a military operation in the film, Star Wars Episode III: Revenge of the Sith

title: Operation Nightfall


text:
Chess notation

Chess notation systems are used to record either the moves made or the position of the pieces in a game of chess. Chess notation is used in chess literature, and by players keeping a record of an ongoing game. The earliest systems of notation used lengthy narratives to describe each move; these gradually evolved into more compact notation systems. Algebraic notation is now the accepted international standard, with several variants. Descriptive chess notation was used in English- and Spanish-language literature until the late 20th century, but is now obsolescent. Portable Game Notation (PGN) is a text file format based on English algebraic notation which can be processed by most chess software. Other notation systems include ICCF numeric notation, used for international correspondence chess, and systems for transmission using Morse code over telegraph or radio. The standard system for recording chess positions is Forsyth–Edwards Notation (FEN).

Notation systems
In organized competition, both players are required to keep a record of the moves played on a. If required, score sheets may be used to resolve disputes, for example about whether an illegal move has been made or whether a threefold repetition has occurred. In addition, if the time control requires the players to complete a specified number of moves in a specified time, an accurate count of the moves must be kept. All chess coaches strongly recommend the recording of one's games so that one can look for improvements in one's play.

 * Algebraic notation is the most widely used method for recording moves. It is based on a system of coordinates (a–h for files, 1–8 for ranks) to uniquely identify each square. In embryonic form it was used by Philip Stamma in the 1737 book Essai sur le jeu des echecs. It was later adopted (in long form) by the influential Handbuch des Schachspiels and became standard in German publications. It is more compact and less prone to error than the English descriptive system. Algebraic notation is the official notation of FIDE; if a player records the game in a different notation system, their scoresheet may not be used as evidence in the event of a dispute. The U.S. Chess Federation prefers the use of algebraic notation but still permits descriptive notation.

 * Long algebraic notation includes the starting and  of the piece.
 * Short algebraic notation omits the starting and  of the piece, unless it is necessary to disambiguate the move.
 * Minimal algebraic notation is similar to short algebraic notation but omits the indicators for capture ("x"), en passant capture ("e.p."), check ("+") and checkmate ("#"). It was used by Chess Informant.
 * Figurine algebraic notation replaces the letter that stands for a piece by its symbol, e.g., ♞c6 instead of Nc6 or ♖xg4 instead of Rxg4. Pawns are omitted as in standard algebraic notation. This style is widely used in chess literature to allow the moves to be read independent of language. To display or print these symbols on a computer, one or more fonts with good Unicode support must be installed, and the document (web page, word processor document, etc.) must use one of these fonts. For more information see Chess symbols in Unicode.
 * Reversible algebraic notation is based on long algebraic notation, but adds an additional letter for the piece that was captured, if any. The move can be reversed by moving the piece to its original square, and restoring the captured piece. For example, Rd2xBd6.
 * Concise reversible algebraic notation is similar to reversible algebraic notation, but omits the file or rank if it is not needed to disambiguate the move. For example, Rd2xB6. This notation is recommended by Gene Milener in Play Stronger Chess by Examining Chess 960: Usable Strategies for Fischer Random Chess Discovered.
 * Figurine concise reversible algebraic notation is a form of concise reversible algebraic notation with non-Staunton figurines, used by Gene Milener during Chess960 tournaments.

 * Descriptive notation was the prevalent notation in English-speaking countries until the late 1970s. In this system, files are named after the piece that is initially on the back rank, and each square has two names depending on whether it is from White's or Black's point of view. This is still used by a dwindling number of mainly older players, and knowledge of descriptive notation is necessary to study older chess books. Similar systems were used in other languages, including Spanish and French.
 * ICCF numeric notation. In international correspondence chess the use of algebraic notation may cause confusion, since different languages have different names for the pieces. The standard for transmitting moves in this form of chess is ICCF numeric notation.
 * Smith notation is a straightforward chess notation designed to be reversible and represent any move without ambiguity. The notation encodes the source square, destination square, and what piece was captured, if any.
 * Coordinate notation is similar to algebraic notation except that no abbreviation or symbol is used to show which piece is moving. It can do this almost without ambiguity because it always includes the square from which the piece moves as well as its destination, but promotions must be disambiguated by including the promoted piece type, such as in parentheses. It has proved hard for humans to write and read, but is used internally by some chess-related computer software.

The following table lists examples of the same moves in some of the notations which may be used by humans. Each table cell contains White's move followed by Black's move, as they are listed in a single line of written notation.

In all forms of notation, the result is usually indicated at the conclusion of the game by either "1–0", indicating that White won, "0–1" indicating that Black won or "½–½", indicating a draw. Moves that result in checkmate can be marked with "#", "++", "≠", or "‡" or to indicate the end of game and the winner, instead of or in addition to "1–0" or "0–1".

Annotators commenting on a game frequently use question marks ("?") and exclamation marks ("!") to label a move as bad or praise the move as a good one (see Chess annotation symbols).

Notation systems for computers
The following are commonly used for chess-related computer systems (in addition to Coordinate and Smith notation, which are described above):
 * Portable Game Notation (PGN). This is a text-based file format in which chess moves are recorded with standard English algebraic notation with a small amount of markup to record the players and circumstances of the game. Most chess software is configured to process PGN files.
 * Steno-Chess. This is another format suitable for computer processing. It sacrifices the ability to play through games (by a human) for conciseness, which minimises the number of characters required to store a game.
 * Forsyth–Edwards Notation (FEN). A single line format which gives the current positions of pieces on a board, to enable generation of a board in something other than the initial array of pieces.  It also contains other information such as castling rights, move number, and color on move.  It is incorporated into the PGN standard as a Tag Pair in conjunction with the SetUp tag.
 * Extended Position Description (EPD). Another format which gives the current positions of a board, with an extended set of structured attribute values using the ASCII character set. It is intended for data and command interchange among chess playing programs. It is also intended for the representation of portable opening library repositories. It is better than FEN for certain chess variants, such as Chess960.

Notation for telegraph and radio
Some special methods of notation were used for transmitting moves by telegraph or radio, usually using Morse Code. The Uedemann code and Gringmuth notation worked by using a two-letter label for each square and transmitting four letters – two letters for the origin square followed by two letters for the destination square. Castling is shown as a king move. Squares are designated from White's side of the board, files from left to right and ranks from nearest to farthest. The Rutherford code first converted the move into a number and then converted the move number into a composite Latin word. It could also transmit moves of two games at the same time.

Uedemann code
This code was devised by Louis Uedemann (1854–1912). The method was never actually used, mainly because a transposition of letters can result in a valid but incorrect move. Many sources incorrectly use this name for the Gringmuth code.

The files are labeled "A", "E", "I", "O", "O", "I", "E", and "A". The ranks are labeled "B", "D", "F", "G", "H", "K", "L", and "P". A square on the is designated by its file letter and then its rank letter. A square on the is designated by its rank letter then its file letter.

Gringmuth notation
This method was invented by Dmitry Alexeyevich Gringmuth but it is sometimes incorrectly called the Uedemann Code. It was used as early as 1866. Files were designated with one of two letters, depending on whether it was on White's side or Black's side. These letters were: B and M, C and N, D and P, F and R, G and S, H and T, K and W, L and Z. Ranks were labeled: "A", "E", "I", "O", "O", "I", "E", and "A".

Rutherford code
This code was invented in 1880 by Sir William Watson Rutherford (1853–1927). At the time, the British Post Office did not allow digits or ciphers in telegrams, but they did allow Latin words. This method also allowed moves for two games to be transmitted at the same time. In this method, the legal moves in the position were counted using a system until the move being made was reached. This was done for both games. The move number of the first game was multiplied by 60 and added to the move number of the second game. Leading zeros were added as necessary to give a four-digit number. The first two digits would be 00 through 39, which corresponded to a table of 40 Latin roots. The third digit corresponded to a list of 10 Latin prefixes and the last digit corresponded to a list of 10 Latin suffixes. The resulting word was transmitted.

After rules were changed so that ciphers were allowed in telegrams, this system was replaced by the Gringmuth Notation.

Recording positions
Positions are usually shown as diagrams (images), using the symbols shown here for the pieces.

There is also a notation for recording positions in text format, called the Forsyth–Edwards notation (FEN). This is useful for adjourning a game to resume later or for conveying chess problem positions without a diagram. A position can also be recorded by listing the pieces and the squares they reside on, for example: White: Ke1, Rd3, etc.

Written chess notation recording is often necessary when participating in chess tournaments. In many tournaments players are required to record their games' notation on a score sheet.

Endgame classification
There are also systems for classifying types of endgames. See for more details.

History
[[Image:ChessOldDN.jpg|right|thumb|280px|Page from 1841 [[Chess Player's Chronicle]]. In modern algebraic notation, this would be written as 1.e4 e5 2.Bc4 Bc5 3.b4 Bxb4 4.f4 d5 5.exd5 Nf6 6.fxe5 Nxd5 7.Nf3 Bg4 8.0-0 0-0 9.c3 Ba5 10.Ba3 Re8 11.Qb3 Bxf3 12.Rxf3 Bb6+ 13.d4 Rxe5 14.Nd2 Nc6 15.Kh1 Na5 16.Qc2 Nxc4 17.Nxc4 Rh5 18.Ne5 Nxc3 19.Nxf7 Qxd4 20.Rg1 c5 21.Rxc3 Bc7 22.h3 b6 23.Rf3 Qd5 24.Bb2 g5 25.Qc3 Qd4 26.Qb3 c4 27.Qb4 Qc5 28.Qc3 Be5 29.Nxe5

]] The notation for chess moves evolved slowly, as these examples show. The last is in algebraic chess notation; the others show the evolution of descriptive chess notation and use spelling and notation of the period.
 * The white king commands his owne knight into the third house before his owne bishop.

 * K. knight to His Bishop's 3d.

 * K.Kt. to B.third sq.

 * K.Kt. to B's 3rd.

 * K. Kt. to B. 3d.

 * K Kt to B3

 * KKt-B3

 * Kt-KB3

 * N-KB3

 * Nf3

A text from Shakespeare's time uses complete sentences to describe moves, for example, "Then the black king for his second draught brings forth his queene, and placest her in the third house, in front of his bishop's pawne", which nowadays would be written simply as 2...Qf6. The great 18th-century player Philidor used an almost equally verbose approach in his influential book Analyse du jeu des Échecs, for example, "The king's bishop, at his queen bishop's fourth square."

Algebraic chess notation was first used by Philipp Stamma (c. 1705–1755) in an almost fully developed form, before the now-obsolete descriptive chess notation evolved. The main difference between Stamma's system and the modern system is that Stamma used "p" for pawn moves and the original of the piece ("a" through "h") instead of the initial letter of the piece. In London in 1747, Philidor convincingly defeated Stamma in a match. Consequently, his writings (which were translated into English) became more influential than Stamma's in the English-speaking chess world; this may have led to the adoption of a descriptive system for writing chess moves, rather than Stamma's coordinate-based approach. However, algebraic notation became popular in Europe following its adoption by the highly influential Handbuch des Schachspiels, and became dominant in Europe during the 20th century. It did not become popular in the English-speaking countries, however, until the 1970s.

title: Chess notation


text:
Talk:Scott Walker (boxer)

Untitled
U.S. boxer? I wonder why there are so many people who forget to add the nationality of the person they are writing about.  14:20, 6 Aug 2004 (UTC)

Yes, he was a U. S. boxer. He was born in McAlester, Oklahoma.

title: Talk:Scott Walker (boxer)