text:
Talk:Noddy Holder

Biography assessment rating comment
WikiProject Biography Summer 2007 Assessment Drive

Nearly a B.

The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. -- Yamara 16:34, 27 June 2007 (UTC) Just enjoy the music. This does not require parsing of nuances. Feel the noise. Have fun. — Preceding unsigned comment added by 67.5.242.48 (talk) 03:19, 25 November 2013 (UTC)

Discussion
Correct ,Holder had no part in the 2nd Blessings 45,nor has he any connection to Anna Ford.

I'm open to contradiction but I don't believe that Noddy sang on the second Blessings In Disguise single. Otherwise this is a well informed page. To bring it right up to date, Noddy is now the "soap" reviewer for the Mark Radcliffe show on BBC Radio 2, where he is also quite happy to answer listener's questions and comments on his time with Slade.

Century FM
You've missed off the time that Noddy Holder presented Noddy's Party Line on Manchester's 105.4 Century FM.

"Noddy"
An explanation of his name would be nice. --Dweller 16:12, 24 August 2007 (UTC)

MBE
Should his title be written "Noddy Holder, MBE" in the first part of the article? 125.236.183.11 09:47, 1 November 2007 (UTC)

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walsall
Walsall is in the West Midlands Spinksy1982 (talk) 12:12, 27 March 2016 (UTC)
 * Yes it is. And where was it on 15 June 1956? Martinevans123 (talk) 12:33, 27 March 2016 (UTC)

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He's Jewish.
Not much is said,but he is. — Preceding unsigned comment added by 23.120.254.61 (talk) 01:39, 1 November 2018 (UTC)
 * If notable, please provide a verifying source. Thanks.--Egghead06 (talk) 08:24, 1 November 2018 (UTC)

title: Talk:Noddy Holder


text:
Talk:KSCO

Why should KSCO (all capitals) not be possible? What about AIDS, UNESCO, etc. etc.?  20:58, Feb 3, 2005 (UTC)

It's my first article. I didn't know it was possible. --Luspari 21:36, 3 Feb 2005 (UTC)

 * Oh I see. Welcome to Wikipedia!  23:27, Feb 3, 2005 (UTC)

I used to listen to KSCO frequently back in the days of Mr. Logic, Brian Baloney, and Radionet. I frequently listened to Michael Zwerling when he hosted a program himself and I did not get any sense that he was particularly conservative. Perhaps giving air to those voices in a community like Santa Cruz brands him a conservative, but I might disagree with that. Admittedly, I've not listened to the station in years. I was under the impression that the Zwerling family sold the station. Rabit 23:18, 2 November 2005 (UTC)

Fair use rationale for Image:Late Night at KSCO.jpg
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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:KSCO


text:
Serpentine system

The serpentine system (also called snake seeding) is a method employed in the organization of a competition to define the seeded teams and arrange them in pools. The n ranked teams that will be involved in the tournament are distributed in m pools according to the following algorithm:

For instance, 12 teams would be organized in four-team pools, according to the serpentine  system, as follows:

To improve competitivity, this method is sometimes used in conjunction with the drawing of lots method: the serpentine system is used only for some of the teams involved in a competition ("seeds"); the rest are distributed in pools following a drawing of lots.

title: Serpentine system


text:
Talk:Armor piercing round

The article currently says depleted Uranium rounds explode on impact. I thought that Uranium dust was flammable, like magnesium, and that hot, tiny fragments of Uranium, stripped off by friction during the impact, would flare. That isn't quite the same as an explosion, is it? -- Geo Swan 20:56, 3 Feb 2005 (UTC)

 * You're right, I changed it. Securiger 10:53, 14 Mar 2005 (UTC)

The five-dollar word you're searching for is "pyrophoric" --Wesbo 03:39, 5 April 2007 (UTC)Wesbo

Whats the source on the bit on teflon coating 'cop killers'.SCVirus 10:00, 27 August 2005 (UTC)

Merge?
I think this page should be merged into Armour piercing ammunition. This page seems to focus more on penetrators, while the other page is more about HE penetrators. However, since these two pages have such similar names and cover similar topics, why not merge them? The other page could mention in the introduction that armour-piercing ammunition varies from explosive to non-explosive, then it will have subsections on explosive rounds (like it already does), then make this page the subsection on non-explosive rounds. In fact, down the bottom, it aready makes a bit of mention of small-calibre non-explosive AP rounds. This page is short enough to fit in as a subsection within a larger page, methinks. Thoughts? CeeWhy2 04:40, 9 December 2006 (UTC)

Merge notice
Merged content to Armor-piercing shot and shell.Kville105125 17:46, 17 October 2007 (UTC)

title: Talk:Armor piercing round


text:
The Iceman Cometh

The Iceman Cometh is a play written by American playwright Eugene O'Neill in 1939. First published in 1946, the play premiered on Broadway at the Martin Beck Theatre on October 9, 1946, directed by Eddie Dowling, where it ran for 136 performances before closing on March 15, 1947. It has subsequently been adapted for the screen multiple times. The work tells the story of a number of alcoholic dead-enders who live together in a flop house above a saloon and what happens to them when the most outwardly "successful" of them embraces sobriety and reveals that he has been on the run after murdering his "beloved" wife.

New York Times theatre critic Brooks Atkinson, at the beginning of the telecast of Sidney Lumet's 1960 television adaptation of The Iceman Cometh, called it, "a harsh and ruthless drama.... It is one of America's greatest plays," 14 years after it opened to mixed reviews on Broadway. Many years later, the 1999 Broadway revival, based on a 1998 London production starring Kevin Spacey as Hickey, was staged at the Brooks Atkinson Theatre.

Characters

 * Harry Hope: Widowed proprietor of the saloon and rooming house where the play takes place. He has a tendency to give free drinks, though he constantly says otherwise
 * Ed Mosher: Hope's brother-in-law (brother of Hope's late wife Bess), a con-man and former circus man
 * Pat McGloin: Former police lieutenant who was convicted on criminal charges and kicked off the force
 * Willie Oban: Harvard Law School alumnus
 * Joe Mott: Former proprietor of a gambling house
 * General Piet Wetjoen: Former leader of a Boer commando
 * Captain Cecil Lewis: Former Captain of British infantry
 * James "Jimmy Tomorrow" Cameron: Former Boer War correspondent who is constantly daydreaming about getting his old job back again tomorrow (hence his nickname)
 * Hugo Kalmar: Former editor of anarchist periodicals who often quotes the Old Testament
 * Larry Slade: Former syndicalist-anarchist
 * Rocky Pioggi: Night bartender, who is paid little and makes his living mostly by allowing Pearl and Margie to stay at the bar in exchange for a substantial cut of the money they make from prostitution, although he despises being called a pimp
 * Don Parritt: Teenage son of a former anarchist
 * Pearl: Streetwalker working for Rocky
 * Margie: Streetwalker working for Rocky
 * Cora: Streetwalker, Chuck's girlfriend
 * Chuck Morello: Day bartender, Cora's boyfriend
 * Theodore "Hickey" Hickman: Hardware salesman
 * Moran: Police detective
 * Lieb: Police detective

Plot summary
The Iceman Cometh is set in New York in 1912 in Harry Hope's downmarket Greenwich Village saloon and rooming house. The patrons, twelve men and three prostitutes, are dead-end alcoholics who spend every possible moment seeking oblivion in one another's company and trying to con or wheedle free drinks from Harry and the bartenders. They drift purposelessly from day to day, coming fully alive only during the semi-annual visits of salesman Theodore "Hickey" Hickman. When Hickey finishes a tour of his business territory, which is apparently a wide expanse of the East Coast, he typically turns up at the saloon and starts the party. As the play opens, the regulars are expecting Hickey to arrive in time for Harry's birthday party. The first act introduces the various characters as they bicker among themselves, showing how drunk and delusional they are, all the while awaiting Hickey.

Joe Mott insists that he will soon re-open his gambling casino. The English Cecil "The Captain" Lewis and South African Boer Piet "The General" Wetjoen, who fought each other during the Boer War, are now good friends, and both insist that they'll soon return to their nations of origin. Harry Hope has not left the bar since his wife Bess's death 20 years ago. He promises that he'll walk around the neighborhood on his birthday, which is the next day. Pat McGloin says he hopes to be reinstated into the police force, but is waiting for the right moment. Ed Mosher prides himself on his ability to give incorrect change, but he kept too much of his illegitimate profits to himself and was fired from the circus; he says he will get his job back someday. Hugo Kalmar, a former anarchist, is drunk and passed out for most of the play; when he is conscious, he pesters the other patrons to buy him a drink. Chuck Morello says that he will marry Cora tomorrow. Larry Slade is a former syndicalist-anarchist who looks pityingly on the rest. Don Parritt is the son of a former anarchist who shows up early in the play to talk about his mother (Larry's ex-girlfriend) to Larry; specifically her arrest due to her involvement in the anarchist movement.

When Hickey finally arrives, his changed behavior throws the characters into turmoil. With as much charisma as ever, he insists that he sees life clearly now as never before because he no longer drinks. Hickey wants the characters to cast away their delusions and accept that their heavy drinking and inaction mean that their hopes will never be fulfilled. He takes on this task with a near-maniacal fervor. How he goes about his mission, how the other characters respond, and their efforts to find out what has wrought this change in him, take over four hours to resolve. During and after Harry's birthday party, most seem to have been affected by Hickey's ramblings. Larry who says he's done with active participation in life and is content to be a spectator "in the grandstand" pretends to be unaffected, but when Don reveals he was the informant responsible for the arrest of his own mother (Larry's former girlfriend), Larry angrily insists he doesn't want to hear it. Willie the former lawyer proposes that he'll represent McGloin in his appeal to get his old police job back as a way to brush up his own lawyering skills before he tries to get back his old job with the district attorney, and Rocky admits he is a pimp, not a bartender.

Most of the men Hickey talked with do go out into the world—dressed up, hopeful of turning their lives around—but they fail to make any progress. Eventually, they return and are jolted by a sudden revelation. Hickey, who had earlier told the other characters first that his wife had died and then that she was shot and then that she was murdered, admits that he is the one who killed her. The police arrive, called by Hickey himself, to arrest Hickey. Hickey tries to explain his murder of the woman he loved so deeply in a long dramatic monologue, saying that he did it out of love for her. He relates that his father was a preacher in the backwoods of Indiana. Evidently he was both charismatic and persuasive, and it was his inheriting these traits which led Hickey to become a salesman. An angry kid trapped in a small town, Hickey had no use for anyone but his sweetheart, Evelyn. Evelyn's family forbade her to associate with Hickey, but she ignored them. After Hickey left to become a salesman, he promised he would marry Evelyn as soon as he was able. He became a successful salesman, then sent for her and the two were very happy until Hickey became increasingly guilty following his wife's constant forgiveness of his infidelities and drinking. He then recounts how he murdered her to free her from the pain of his persistent philandering and drinking because she loved him too much to live apart from him. But, in retelling the murder, he laughs and tells Evelyn, "Well, you know what you can do with that pipe dream now, don't you?" In realizing he said this, Hickey breaks down completely. He says that he must have been insane and that people need their empty dreams to keep existing. The others are now relieved that what Hickey had been telling them all throughout the play, which had made them all face the truth about themselves, was just the ravings of a lunatic, and so they could now safely resume believing their old "pipe dreams" and excuses about themselves and resume drinking and their old lives hanging out in Harry Hope's bar. The reaffirm their solidarity with Hickey and pledge to testify to his insanity at his murder trial, despite Hickey's desire for a death sentence. He no longer wishes to live now that he has no illusions about life.

They return to their empty promises and pipe dreams except for Parritt, who runs to his room and jumps off the fire escape, unable to live with the knowledge of what he has done to his mother after discarding the last of his lies about his action and motivation for it. He first claims that he did it due to patriotism and then for money, but finally admits he did it because he hated his mother, who was so obsessed with her own freedom of action that she became self-centered and alternately ignored or dominated him. Despite witnessing the young man's fatal leap, and acknowledging the futility of his own situation, as Larry says at the end, "Be God, there’s no hope! I’ll never be a success in the grandstand— or anywhere else! Life is too much for me! I’ll be a weak fool looking with pity at the two sides of everything till the day I die!"

Development
Emma Goldman, whom O'Neill admired, inspired the play's anarchist subplot. The Iceman Cometh is often compared to Maxim Gorky's The Lower Depths, which may have been O'Neill's inspiration for his play.

James Barton, in his performance as Hickey, was reportedly not up to the massive emotional and physical demands of such a titanic part, and sometimes forgot his lines or wore out his voice.

Marlon Brando was offered the part of Don Parritt in the original Broadway production, but turned it down. Brando was able to read only a few pages of the script the producers gave him before falling asleep, and he later argued at length with the producers, describing the play "ineptly written and poorly constructed" in the hopes they would explain what the play was about and not discover that he hadn't read it.

Stage productions
1947: The original production was staged at the Martin Beck Theatre and opened on October 9, 1946, and closed on March 15, 1947, after 136 performances. It was directed by Eddie Dowling with production and lighting design by Robert Edmond Jones. The cast starred James Barton (Theodore "Hickey" Hickman), Jeanne Cagney (Margie), Leo Chalzel (Hugo Kalmar), Russell Collins (James "Jimmy Tomorrow" Cameron), Paul Crabtree (Don Parritt), Dudley Digges (Harry Hope), Ruth Gilbert (Pearl), Charles Hart (Lieb), Nicholas Joy (Cecil "The Captain" Lewis), Marcella Markham (Cora), Joe Marr (Chuck Morello), John Marriott (Joe Mott), E. G. Marshall (Willie Oban), Al McGranary (Pat McGloin), Tom Pedi (Rocky Pioggi), Carl Benton Reid (Larry Slade), Morton L. Stevens (Ed Mosher), Frank Tweddell (Piet "The General" Wetjoen), and Michael Wyler (Moran). The play received mixed reviews.

1956: An Off-Broadway production staged after O'Neill's death featured Jason Robards as Hickey and was directed by José Quintero. This production was an unqualified success and established the play as a great modern tragedy.

1973: A Broadway revival staged at the Circle in the Square Theatre ran from December 13, 1973, to February 16, 1974, with James Earl Jones as Hickey.

1985: A Broadway revival staged at the Lunt-Fontanne Theatre featured Jason Robards as Hickey with a cast that included Barnard Hughes as Harry Hope, Donald Moffat as Larry Slade, and again directed by José Quintero. It ran from September 29, 1985, to December 1, 1985.

1990: Chicago's Goodman Theatre mounted a production directed by Robert Falls, starring Brian Dennehy as Hickey, Jerome Kilty as Hope and James Cromwell as Slade.

1998: A London production featuring Kevin Spacey had a successful and critically acclaimed run through 1998 and 1999 at the Almeida Theatre and the Old Vic in London.

1999: A Broadway revival from the 1998 London production staged at the Brooks Atkinson Theatre with Kevin Spacey as Hickey. It ran from April 8, 1999, to July 17, 1999.

2012: A revival at Chicago's Goodman Theatre featured Nathan Lane in the lead role of Hickey, Brian Dennehy this time as Larry Slade, and was directed by Robert Falls. It started its run at the Goodman Theatre in April 2012, slated for a six-week engagement. It was a huge success for the Goodman Theater, whose management stated it was the most successful production in its history. This production omitted the character of Pat McGloin.

2015: The Goodman Theatre production directed by Falls, starring Lane and Dennehy and the rest of the original cast with the creative team from Chicago was produced at the Harvey Theater of the Brooklyn Academy of Music with a six-week engagement starting on February 5, 2015, that featured Nathan Lane and John Douglas Thompson. For his performance, Thompson won an Obie Award.

2018: Denzel Washington starred as Hickey and Tammy Blanchard as Cora, in a Broadway revival directed by George C. Wolfe. The production ran for 14 weeks at the Bernard B. Jacobs Theatre, beginning in previews on March 23, 2018, and opening officially on April 26. The cast featured Frank Wood as Cecil Lewis, Bill Irwin as Ed Mosher, Reg Rogers as James Cameron, Colm Meaney as Harry Hope, David Morse as Larry Slade, and Austin Butler as Don Parritt. The sets were by Santo Loquasto, costumes by Ann Roth, and lighting design by Jules Fisher and Peggy Eisenhauer.

Adaptations
1960: TV Production for Play of the Week on the National Telefilm Associates (NTA) syndication network, directed by Sidney Lumet. This production featured Jason Robards as Hickey, Tom Pedi from the original 1947 stage production as Rocky Pioggi, Sorrell Booke as Hugo Kalmar, and Robert Redford as Don Parritt. It is presented as two separate episodes of the series due to the length of the work, with a total run time of 210 minutes. It is notable in view of TV standards of the time that while much dialog was omitted for time, that which was retained was not changed to soften its language. For example, at the end of Hickey's breakdown, Robards says the words "that damned bitch" exactly as O'Neill had written.

1973: A film adaptation as part of the American Film Theatre directed by John Frankenheimer. This production featured many well known actors including Lee Marvin as Hickey, Fredric March as Harry Hope, Robert Ryan as Larry Slade, Tom Pedi as Rocky Pioggi, Bradford Dillman as Willie Oban, Sorrell Booke as Hugo Kalmar, Martyn Green as Cecil Lewis, Moses Gunn as Joe Mott, George Voskovec as The General (Piet Wetjoen) and Jeff Bridges as Don Parritt. This film was the final film appearance of Fredric March, Robert Ryan and Martyn Green. The film run time is 239 minutes. Dialog was consistently trimmed for time as might be done for a stage production. The character of Ed Mosher was excised entirely. There are some variations in words or word order in ordinary speech that differ from the published text. The most important speeches are present and usually performed in full from the published text. Some segments of dialog are presented in an order that differs from the published text.

2020: The Iceman Cometh was broadcast as a two-part Zoom Premiere on YouTube Live as a benefit for the Actors Fund. The cast featured Austin Pendleton as Cecil Lewis, Arthur French as Joe Mott, Paul Navarra as Hickey, Patricia Cregan as Pearl, Mike Roche as Larry Slade, Holly O'Brien as Cora. Marygrace Navarra was the stage manager. The event was produced by Caroline Grace Productions, in association with the 2020 Theatre Company. The event was a benefit for the Actors Fund during the COVID-19 pandemic of 2020.

Notable performers

 * Jason Robards played the role of Hickey in multiple stage productions and the 1960 TV adaptation.
 * Tom Pedi played the role of Rocky the bartender in the original 1947 stage production, the 1960 TV adaptation and the 1973 film adaptation.
 * Sorrell Booke played the role of Hugo Kalmar in both the 1960 TV adaptation and the 1973 film adaptation.
 * Robert Redford played the role of Don Parritt in the 1960 TV adaptation.
 * James Earl Jones played the role of Hickey in the 1973 stage production.
 * Jeff Bridges played the role of Don Parritt in the 1973 film adaptation and Lee Marvin played Hickey.
 * Denzel Washington played the role of Hickey in the 2018 stage production.
 * Austin Butler played the role of Don Parritt in the 2018 stage production.
 * Kevin Spacey played the role of Hickey in the 1999 Broadway and London Old Vic Productions.
 * Nathan Lane played the role of Hickey and Brian Dennehy played Larry Slade in the 2012 Goodman Theater production, which was revived in 2015 at BAM.

title: The Iceman Cometh


text:
Alister McGrath

Alister Edgar McGrath (born 1953) is a Northern Irish theologian, Anglican priest,  intellectual historian, scientist, Christian apologist, and public intellectual. He currently holds the Andreas Idreos Professorship in Science and Religion in the Faculty of Theology and Religion, and is a fellow of Harris Manchester College at the University of Oxford, and is Professor of Divinity at Gresham College. He was previously Professor of Theology, Ministry, and Education at King's College London and Head of the Centre for Theology, Religion and Culture, Professor of Historical Theology at the University of Oxford, and was principal of Wycliffe Hall, Oxford, until 2005.

Aside from being a faculty member at Oxford, McGrath has also taught at Cambridge University and is a Teaching Fellow at Regent College. McGrath holds three doctorates from the University of Oxford: a doctoral degree in molecular biophysics, a Doctor of Divinity degree in theology, and a Doctor of Letters degree in intellectual history.

McGrath is noted for his work in historical theology, systematic theology, and the relationship between science and religion, as well as his writings on apologetics. He is also known for his opposition to New Atheism and antireligion and his advocacy of theological critical realism. Among his best-known books are The Twilight of Atheism, The Dawkins Delusion?, Dawkins' God: Genes, Memes, and the Meaning of Life, and A Scientific Theology. He is also the author of a number of popular textbooks on theology.

Biography
McGrath was born on 23 January 1953 in Belfast, Northern Ireland, and grew up in Downpatrick, County Down, where he attended Down High School. In September 1966 he became a pupil at the Methodist College Belfast, where his studies focused on mathematics, physics and chemistry. He went up to Wadham College, Oxford, in 1971 and gained first-class honours in chemistry in 1975. He began research in molecular biophysics in the Oxford University Department of Biochemistry under the supervision of George Radda and was elected to an E.P.A. Cephalosporin Research Studentship at Linacre College, Oxford, for the academic year 1975–1976, and to a Domus Senior Scholarship at Merton College, Oxford, for the period 1976–1978. During these three years, he carried out scientific research while studying for the Oxford University Final Honour School of Theology. He was awarded an Oxford Doctor of Philosophy degree for his research in molecular biophysics (December 1977), and gained first-class honours in theology in June 1978.

Reflecting on his time as an undergraduate at Wadham, McGrath has written, "I was discovering that Christianity was far more intellectually robust than I had ever imagined. I had some major rethinking to do, and by the end of November [1971], my decision was made: I turned my back on one faith and embraced another."

McGrath then left Oxford to work at the University of Cambridge, where he also studied for ordination in the Church of England. In September 1980, he was ordained deacon and began ministry as a curate at St Leonard's Parish Church, Wollaton, Nottingham, in the English East Midlands. He was ordained priest at Southwell Minster in September 1981. In 1983, he was appointed lecturer in Christian doctrine and ethics at Wycliffe Hall, Oxford, and a member of the Oxford University Faculty of Theology. He was awarded a BD by Oxford in 1983, for research in historical theology. He spent the fall semester of 1990 as the Ezra Squire Tipple Visiting Professor of Historical Theology at the Divinity School of Drew University, Madison, New Jersey.

McGrath was elected University Research Lecturer in Theology at Oxford University in 1993 and also served as research professor of theology at Regent College, Vancouver, from 1993 to 1999. In 1995, he was elected Principal of Wycliffe Hall and in 1999, was awarded a personal chair in theology by the University of Oxford with the title "Professor of Historical Theology". He was awarded the Oxford degree of DD in 2001 for his research in historical and systematic theology, and was a founding member of the International Society for Science and Religion. On 1 September 2008 McGrath took up the Chair of Theology, Ministry and Education in the Department of Education and Professional Studies at King's College London. In 2009, he delivered the Gifford Lectures on A Fine-Tuned Universe: The Quest for God in Science and Theology at the University of Aberdeen. In 2010 McGrath was included in "The 20 Most Brilliant Christian Professors" list. In 2013 he was awarded his third doctorate from Oxford University, a DLitt, Division of Humanities, for research into science and religion, and natural theology. He is married to Joanna Collicutt McGrath and they have two adult children.

In 2014, McGrath was appointed the 32nd Professor of Divinity at Gresham College, a position dating back to 1597. In this position he delivered a series of free public lectures on Science, Faith, and God: The Big Questions, in which he aimed to present "a coherent exploration of how Christian theology can engage with concerns and debates within modern culture, focusing on one of its leading elements – the natural sciences."

Views
A former atheist, McGrath accepts and promotes evolution. In 2004 McGrath suggested in The Twilight of Atheism that atheism was in decline. He has been highly critical of Richard Dawkins, calling him "embarrassingly ignorant of Christian theology". His book, The Dawkins Delusion? – a response to Dawkins's The God Delusion – was published by SPCK in February 2007, and the two had public debate on the topic, "Does religious belief damage the health of a society, or is it necessary to provide the moral and ethical foundations of a healthy society?"

McGrath has also debated with Daniel Dennett, at the Greer-Heard Point-Counterpoint Forum in New Orleans in February 2007, as well as Christopher Hitchens at Georgetown University. In March 2007, McGrath debated with Peter Atkins at the University of Edinburgh on the topic 'Darwin and Humanity: Should We Rid the Mind of God?' In November that year, he debated with Susan Blackmore on the existence of God. McGrath has debated with David Helfand at the Veritas Forum on whether belief in God is a delusion. In 2011, he debated with Stephen Law on the topic 'Why Won't God Go Away?' He was interviewed by Richard Dawkins about his book Dawkins' God and faith in general for the television documentary The Root of All Evil? McGrath's interview was not included in the final cut, but the unedited footage is available online.

Writings
The author of more than 50 books, among McGrath's more notable works are:
 * A Life of John Calvin (1993) ISBN 0-631-18947-5
 * A Passion for Truth: The Intellectual Coherence of Evangelicalism (1996) ISBN 0-8308-1866-9
 * Science and Religion: An Introduction (1998) ISBN 0-631-20842-9
 * Historical Theology: An Introduction to the History of Christian Thought (1998) ISBN 0-631-20844-5
 * I Believe: Exploring the Apostles' Creed (1998) ISBN 0-8308-1946-0
 * T. F. Torrance: An Intellectual Biography (1999) ISBN 0-567-08683-6
 * The Journey: A Pilgrim in the Lands of the Spirit (2000) ISBN 978-0-385-49588-2
 * Christian Theology: An Introduction (2001) ISBN 0-631-22528-5 (often used as a seminary textbook)
 * The Christian Theology Reader (2001) ISBN 0-631-20637-X (containing primary sources referred to in his Christian Theology)
 * In the Beginning : The Story of the King James Bible and How It Changed a Nation, a Language, and a Culture (2001) ISBN 0-385-72216-8
 * Glimpsing the Face of God: The Search for Meaning in the Universe (2001) ISBN 0-8028-3980-0
 * The Reenchantment of Nature: The Denial of Religion and the Ecological Crisis (2002) ISBN 978-0-385-50059-3
 * Knowing Christ (2002) ISBN 0-385-50316-4
 * A Scientific Theology v. 3 (2003) ISBN 0-567-08349-7
 * A Brief History of Heaven (2003) ISBN 0-631-23354-7
 * The Intellectual Origins of the European Reformation (2003) ISBN 0-631-22939-6
 * The Twilight of Atheism: The Rise and Fall of Disbelief in the Modern World (2004) ISBN 0-385-50061-0
 * Christianity's Dangerous Idea: The Protestant Revolution from the Sixteenth to the Twenty-First Century (2007) ISBN 978-0-06-082213-2
 * The Dawkins Delusion? Atheist Fundamentalism and the denial of the divine (2007) ISBN 0-281-05927-6 (A critical response to Dawkins' book The God Delusion)
 * The Open Secret: A New Vision for Natural Theology (2008) ISBN 978-1-4051-2691-5
 * A Fine-Tuned Universe: The Quest for God in Science and Theology (2009) ISBN 0-664-23310-4
 * Heresy: A History of Defending the Truth (2009) ISBN 978-0-06-082214-9
 * Mere Theology: Christian Faith and the Discipleship of the Mind (2010) ISBN 0-281-06209-9
 * Chosen Ones (Series: The Aedyn Chronicles Volume: 1) (2010) ISBN 0-310-71812-0
 * Surprised by Meaning: Science, Faith, and How We Make Sense of Things (2011) ISBN 0-664-236-928
 * Why God Won't Go Away: Engaging with the New Atheism (2011) ISBN 0-281-06387-7
 * Flight of the Outcasts (Series: The Aedyn Chronicles Volume: 2) (2011) ISBN 0-310-71813-9
 * Darkness Shall Fall (Series: The Aedyn Chronicles Volume: 3) (2011) ISBN 978-0-310-71814-7
 * Reformation Thought: An Introduction (2012) ISBN 0-470-67281-1
 * Darwinism and the Divine: Evolutionary Thought and Natural Theology (Oxford: Blackwell-Wiley, 2011). The 2009 Hulsean Lectures at the University of Cambridge
 * Mere apologetics: how to help seekers and skeptics find faith (Baker Books, 2012) ISBN 978-0-8010-1416-1
 * The Intellectual World of C. S. Lewis (2013) ISBN 978-0-470-67279-2
 * C. S. Lewis- A Life: Eccentric Genius, Reluctant Prophet (2013)
 * Dawkins' God: Genes, Memes, and the Meaning of Life ([2004] 2015), 2nd ed., Wiley. ISBN 1-4051-2538-1 ISBN 0-281-05927-6 ISBN 978-1-4051-2538-3, pbk. (A critique of scientist Richard Dawkins' attitude towards religion)
 * The Big Question: Why We Can't Stop Talking About Science, Faith, and God (2015), St. Martin's Press, ISBN 978-1-250-07792-9
 * Enriching Our Vision of Reality: Theology and Natural Sciences in Dialogue (2016), Templeton Press, ISBN 978-1-599-47534-9
 * The Landscape of Faith: An Explorer's Guide to Christian Creeds (2018), SPCK, ISBN 978-0-281-07625-3
 * Mere Discipleship: Growing in Wisdom and Hope (2018), Baker Books, ISBN 978-0-801-09422-4
 * Narrative Apologetics: Sharing the Relevance, Joy, and Wonder of the Christian Faith (2019), Baker Books, ISBN 978-0-801-07577-3
 * Richard Dawkins, C.S. Lewis and the Meaning of Life (2019), SPCK, ISBN 978-0-281-08019-9
 * A Theory of Everything (That Matters): A Brief Guide to Einstein, Relativity, and His Surprising Thoughts on God (2019), Tyndale, ISBN 978-1-4964-3807-2
 * J.I. Packer: His Life and Thought (2020), InterVarsity Press, ISBN 978-0-8308-4177-6
 * A Cloud of Witnesses: 10 Great Christian Thinkers (2005), Wipf and Stock Publishers, ISBN 978-1-5975-2304-2
 * Mere Discipleship: Growing in Wisdom and Hope (2018), Baker Books, ISBN 978-0-801-09422-4
 * Narrative Apologetics: Sharing the Relevance, Joy, and Wonder of the Christian Faith (2019), Baker Books, ISBN 978-0-801-07577-3
 * Richard Dawkins, C.S. Lewis and the Meaning of Life (2019), SPCK, ISBN 978-0-281-08019-9
 * A Theory of Everything (That Matters): A Brief Guide to Einstein, Relativity, and His Surprising Thoughts on God (2019), Tyndale, ISBN 978-1-4964-3807-2
 * J.I. Packer: His Life and Thought (2020), InterVarsity Press, ISBN 978-0-8308-4177-6
 * A Cloud of Witnesses: 10 Great Christian Thinkers (2005), Wipf and Stock Publishers, ISBN 978-1-5975-2304-2

title: Alister McGrath


text:
Icefall

An icefall is a portion of certain glaciers characterized by relatively rapid flow and chaotic crevassed surface, caused in part by gravity. The term icefall is formed by analogy with the word waterfall, which is a similar phenomenon of the liquid phase but at a more spectacular speed. When ice movement of a glacier is faster than elsewhere, because the glacier bed steepens or narrows, and the flow cannot be accommodated by plastic deformation, the ice fractures, forming crevasses. Where two fractures meet, seracs (or ice towers) can be formed. When the movement of the ice slows down, the crevasses can coalesce, resulting in the surface of the glacier becoming smoother.

Ice flow
Perhaps the most conspicuous consequence of glacier flow, icefalls occur where the glacier bed steepens and/or narrows. Most glacier ice flows at speeds of a few hundred metres per year or less. However, the flow of ice in an icefall may be measured in kilometres per year. Such rapid flow cannot be accommodated by plastic deformation of the ice. Instead, the ice fractures, forming crevasses. Intersecting fractures form ice columns or seracs. These processes are imperceptible for the most part; however, a serac may collapse or topple abruptly and without warning. This behavior often poses the biggest risk to mountaineers climbing in an icefall.

As the glacier transitions below the icefall, the topography of the glacier bed plays a crucial role in modifying its dynamics, leading to a flatter and/or wider bed that significantly reduces the velocity of ice movement. This change in speed and pressure causes crevasses to close up, resulting in a smoother glacier surface that presents fewer challenges for navigation and traversal.

Examples
Icefalls vary greatly in height. The Roosevelt Glacier icefall, on the north face of Mount Baker (Cascade Range, U.S.), is about 730 m high. The ice cliff of the left side of the ice fall and above the debris covering the glacier is 20 to 40 m high. Typical of mountain glaciers, this icefall forms as the ice flows from a high elevation plateau or basin accumulation zone to a lower valley ablation zone. Much larger icefalls may be found in the outlet glaciers of continental ice sheets. The icefall feeding the Lambert Glacier in Antarctica is 7 km wide and 14 km long, even though the elevation difference is only 400 m, a little more than half that of the Roosevelt Glacier icefall.

Icefalls are climbed because of their beauty and the challenge they pose. In some cases, an icefall may provide the only feasible or the easiest route up one face of a mountain. An example is the Khumbu Icefall on the Nepalese side of Mount Everest, variously described as "treacherous" and "dangerous." It is about 5,500 m above sea level.

title: Icefall


text:
Talk:Glasgow University Union

Admiting Women
"last students union in the world..." Ah come on, thats not verifiable, is it?! Grayum 17:46, 26 August 2005 (UTC)

I think it is, you may find this was mentioned in various material in the student body during the late 1970s. PatGallacher 19:25, 2005 August 26 (UTC)

Notable members
I would advise people to be cautious about adding names to this list. All male students prior to about 1980 will have been members, and probably the majority since then. We have a list of GU graduates, any list here would be substantially similar. I suggest restricting this to people who played an important role e.g. they were president. PatGallacher 17:03, 6 October 2005 (UTC)

Debating Society?
Is this organisation actually a debating society? The article does not make it clear, so I've removed it from the category. I'm fairly sure it shouldn't belong in both Category:Studept debating stcieties and Category:Student unions. DJ Clayworth 17:18, 8 June 2006 (UTC)

The Union competes as a debating society in competitions. It is therefore both a student union and a debating society. Andrew Forsyth

The debating society has a seperate article though Glasgow University Dialectic Society and isn't really a part of the union --81.151.4.230 22:11, 29 July 2006 (UTC)

The Dialectic Society is a seperate debating society. It does not send teams to inter-university competitions. The Glasgow University Union does. One of the GUU's functions is to debate. It is a debating society. Andrew Forsyth

Controversy
Completely irrelevant and insignificant content in the larger context of the Union's history. Moptakmike 15:32, 29 August 2006 (UTC)

Agree. Unverifiable, annd untrue esp the stuff about legal action Argon128 23:38, 10 October 2006 (UTC)

Large chunk of controversy section was wiped by an IP from University of Glasgow. About to revert it based on Conflict of Interest. If university staff want it deleted would it not be better to discuss it here first? Joj871 0:37, 03 August 2017 (UTC)

It was not wiped by a member of staff, but by a former student who happened at that time to be posting from a campus machine (me). There was no conflict of interest and the reversion should itself be reverted. The offending section contained material that was defamatory, which was the reason for the change made to it. 79.76.49.158 14:02, 20 August 2017 (UTC) — Preceding unsigned comment added by 79.76.49.158 (talk)

NPOV
This whole article needs to be refined for neutral point of view, it's a bit like an advertisement in places ;) Sean 20:24, 29 July 2007 (UTC)

External links modified
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title: Talk:Glasgow University Union


text:
Wikipedia:Articles for deletion/Slobodni tjednik

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Joyous 01:02, Feb 9, 2005 (UTC)

Slobodni tjednik
moved from Pages needing translation into English
 * Russian. Probably a copy-paste from somewhere, but cannot locate where. jni 16:53, 14 Jan 2005 (UTC)
 * I don't think this is Russian. It looks more like Croatian to me... Sietse 19:15, 14 Jan 2005 (UTC)
 * Xrce says it is Croatian. Bart133 20:09, 15 Jan 2005 (UTC)
 * This has had it's 2 weeks. No work. Possible copyvio. I say VfD, unless someone says otherwise in the next 24 hours. -- Jmabel | Talk 06:26, Feb 2, 2005 (UTC)
 * untranslated Croatian, possible copyvio ==> Delete -- Jmabel | Talk 21:05, Feb 3, 2005 (UTC)
 * Delete only because it hasn't been translated. Google shows this was a weekly newspaper in Croatia in the early 1990s, and it would probably meet minimal notability standards if it was a proper English-language stub.  So deletion here by VfD for lack of translation shouldn't set any precedent if someone recreates it properly in the future. -- Curps 23:50, 3 Feb 2005 (UTC)
 * Yes, I would welcome a decent article on the subject, but an untranslated probable copyvio isn't very useful. -- Jmabel | Talk 07:32, Feb 4, 2005 (UTC)
 * Delete, article as it stands is un-encyclopaedic, possible copyright violation. Megan1967 02:01, 4 Feb 2005 (UTC)
 * Delete. Since no one has translated it. But I do agree with Curps. JoaoRicardo 02:39, 4 Feb 2005 (UTC)
 * Delete, yep, the issue here is the lack of translation, not the topic. Wyss 23:52, 5 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
She Came In Through the Bathroom Window

"She Came In Through the Bathroom Window" is a song by the English rock band the Beatles from their 1969 album Abbey Road. Written by Paul McCartney and credited to Lennon–McCartney, it is the fifth song of the album's climactic medley, immediately following "Polythene Pam".

Origin
McCartney said the song was inspired by one of the fans who hung around outside McCartney's St John's Wood home, and who had broken in, later revealed to be Diane Ashley. She said:

"We were bored, he was out and so we decided to pay him a visit. We found a ladder in his garden and stuck it up at the bathroom window which he'd left slightly open. I was the one who climbed up and got in."

She then opened the front door to let the others inside. In addition to clothes, the fans also stole a number of photographs.

Margo Bird remembers being good friends with McCartney – she would often take his dog for walks – and later got a job at Apple Corps. She says that she was asked to retrieve a photograph of McCartney's father, Jim, which she did.

Recording
The rhythm track was recorded by the Beatles for this and "Polythene Pam" as one piece on 25 July 1969. After take 39, they added lead vocals, and re-recorded the drums and bass parts. On 28 July they added more vocals, guitar, percussion and piano. The song was completed two days later with additional guitar and percussion. "She Came In Through the Bathroom Window" segues abruptly after "Polythene Pam", the song on the preceding track, without pause. At the very beginning of the song, in anticipation of the change of tempo, John Lennon gives out a laugh and then shouts "Oh, look out!"

A slower version of this song, recorded in late January 1969 during the Get Back sessions, appears on the 1996 compilation Anthology 3, while an in-progress version is featured on the 2021 Let It Be 50th Anniversary Edition.

Personnel
According to Walter Everett, except where noted:

 * Paul McCartney – lead and harmony vocals, bass guitar
 * John Lennon – 12-string acoustic guitar, backing vocals
 * George Harrison – lead guitar, backing vocals
 * Ringo Starr – drums
 * uncredited – tambourine, maracas, "whipcrack" percussion

Notable cover versions

 * Joe Cocker's cover of this song reached number 30 on the Billboard top 40 in 1970.
 * Ike and Tina Turner released a cover of this song as a European single in 1972 (from their album "Feel Good"). A live version is available on their 1973 album "The World of Ike & Tina".

title: She Came In Through the Bathroom Window


text:
Brian Barnes (artist)

Brian Barnes (20 August 1944 – 28 November 2021) was an English artist. Brian Barnes was appointed a Member of the Order of the British Empire (MBE) in 2005 for services to the community in Battersea, London.

Life and work
Brian Barnes was educated at Ravensbourne from 1961 to 1966 and the Royal College of Art 1966–1969. Based in Battersea, London since 5 February 1967, Barnes is noted for colourful, large-scale murals in Battersea and the London area, designed in collaboration with local groups. His most famous mural is The Good the Bad and The Ugly, also known as The Battersea Mural, at Battersea Bridge Road, designed in 1976 and painted by a group of local people from 1976 to 1978. The 276-foot mural was demolished in 1979 by the Morgan Crucible Company.

Other important murals include Seaside Picture, Thessaly Road (1979), Nuclear Dawn in Brixton (1981) (part of the Brixton murals), the H. G. Wells mural, Market Square, Bromley (1986) Battersea in Perspective, Dagnall Street (1988), and the Violette Szabo mural in Stockwell (2001).

The Violette Szabo mural also commemorates the locals who gave their life in the war. This mural was listed in Time Out as one of London's top ten murals. Controversy surrounded the mural in 2005, when Brian Barnes added a painting of Jean Charles de Menezes to the memorial which was removed soon after.

Barnes works as a printmaker, in particular dealing with local campaigns and issues, and was also involved in the long-standing campaign to preserve Battersea Power Station. He founded the Battersea Power Station Community Group in 1983, to see that the listed building is preserved and that local people are involved in the redevelopment.

He died on 28 November 2021 at the age of 77.

title: Brian Barnes (artist)


text:
Talk:Fibonacci coding

The values of digits starting from left in fibonacci coding are 1,2,3,5,8,etc. Rightmost digit (which is always 1) does not have any value. There does not exist any such simple rule for tribonacci coding (I've tried to come up with one). There is also no citation. I don't think fibonacci coding can be easily generalised using n-bonacci numbers. I'm not able to add new secton in mobile version.

Big-endian and little-endian?
Can anyone substantiate the premise that there are two separate incompatible systems, big-endian and little-endian, for encoding integers as the sum of Fibonacci numbers? I can find no verification of this and would like to see some before we change the page entirely to reflect this idea. -- Antaeus Feldspar 21:08, 3 Feb 2005 (UTC)
 * Big-endian just means that the bits are arranged in least-to-most significant order. Little-endian means that they are sorted most-to-least. Given the description of the code here, I would assume that big-endian is the only possibility. Ravenswood 21:39, 28 Apr 2005 (UTC)
 * Well, the "big-endian" system described is not actually impossible, but a) 1 cannot be encoded in it, since there is no leading "10" to remove, and b) it seems an unnecessary complication for no reward. -- Antaeus Feldspar 22:23, 28 Apr 2005 (UTC)

Ooph
How about this:

To find the Fibonacci code for a number x, start with the code for x-1 and remove the 011 at the end. Assuming the resulting number to be little-endian, add 1 repeatedly until the result does not include the sequence "11". If the result exceeds the number of digits in the previous result, start over with that number of zeroes plus one.

Of course it could be written better, but there's my idea :-) --67.172.99.160 23:53, 25 August 2005 (UTC)

Example
Fibonacci numbers: 0, 1, 1, 2, 3, 5, 8, 13... Nth unique FN:    1.,2.,..,3.,4.,5.,6.,7.,..

calculate Fibonacci coding for 11: 11 = 8 + 3 8 is the 6th unique FN, 3 is the 4th unique FN, therefore:

1 1 digits 123456

putting a 1 after the last 1 and filling up with 0's:

0001011     digits 1234567

but the article says 001011 digits 123456 (one digit less).

Did I assume the wrong Fibonacci numbers? (removing zero from the Fibonacci numbers works). --Abdull 17:15, 9 March 2006 (UTC)

I think you already figured it out, but for the benefit of others who might read this:

Unique, non-zero Fibonacci numbers: 1, 2, 3, 5, 8, 13, 21, ... Nth unique non-zero FN:            1, 2, 3, 4, 5,  6,  7, ...

calculate Fibonacci coding for 11: 11 = 8 + 3 8 is the 5th unique non-zero FN, 3 is the 3th unique non-zero FN, therefore:

1  1 digits 1 2 3 4 5 value 1 2 3 5 8

putting a 1 after the last 1 and filling up with 0's:

0 0 1 0 1 1 == fibonacci code for eleven. digits 1 2 3 4 5 value 1 2 3 5 8

Is there some way to clarify the main article to make this obvious? --68.0.120.35 22:18, 16 January 2007 (UTC)

Merge discussion
See Talk:Zeckendorf's theorem. --N Shar 18:18, 20 February 2007 (UTC)

Sample Code
This is a piece of Java code that will output natural numbers, followed by its decomposition as a Fibonacci sum and its Fibonacci coding. That is: 16 = 3+13 > 0010011 17 = 1+3+13 > 1010011 18 = 5+13 > 0001011 19 = 1+5+13 > 1001011

I think this would be a good starting point for anyone that wants "put the hands" on Fibonacci coding, and could improve the corresponding article, but It would be good to hear more opinions on the matter.

public class Zeckendorf {

static int[] fibos;

static int maxBinaryDigits = 10;

public static void main(String[] args) { int a = 0, b = 1, c = a;		fibos = new int[maxBinaryDigits + 1]; System.out.println("Fibos:"); for (int i = 0; i < maxBinaryDigits + 1; i++) { c = a + b;			fibos[i] = a;			if (i > 1) System.out.print(" " + a); a = b;			b = c;		} System.out.println("\nZecks:"); combination(0, maxBinaryDigits, 0); }

private static void combination(int indx, int limit, int comb) { if (indx == limit) return; int mask = 1 << indx; // set comb[i] = 0 combination(indx + 1, limit, comb & ~mask); if (indx + 1 == limit) return; // set comb[i] = 1 and comb[i+1] = 0 comb = comb | mask; mask <<= 1; comb = comb & ~mask; printZack(comb, limit - 1); combination(indx + 2, limit, comb); }

private static void printZack(int n, int digits) { int mask = 1 << digits, z = 0; StringBuffer sbSum = new StringBuffer; StringBuffer sbBin = new StringBuffer; for (int i = digits - 1; i >= 0; i--) { mask >>= 1; if (n > 0) sbBin.append((n & mask) >> i); if ((n & mask) > 0) { z += fibos[maxBinaryDigits - i]; sbSum.append(fibos[maxBinaryDigits - i] + "+"); n -= mask; }		}		System.out.println(z + " = "				+ sbSum.toString.substring(0, sbSum.length - 1) + " > "				+ sbBin + "1"); } }

I made the code using only information I got from Wikipedia, and I have no restrictions on its usage or distribution. --150.162.0.162 19:53, 22 February 2007 (UTC)

 * My opinion is that since you wrote this Java code yourself, it comes under the heading of "original research", which is not allowed in Wikipedia articles (see our policy document WP:NOR). Also, the Wikipedia computer science manual of style says "avoid writing sample code unless it contributes significantly to a fundamental understanding of the encyclopedic content". I don't think a code sample adds to the clarity of the Fibonacci coding article, so even if you found a published code sample that was not original research, I would still be against including it in the article. Gandalf61 10:26, 23 February 2007 (UTC)

 * Original research is fine. In this case, it is easily verifiable - anyone having a java compiler can do it. However, I think it is too complicated, and agree that it does not seem to contribute to the clarity of the article. Instead of this I would add a much simpler, smaller code (if exists) in the article. --Hirak 99 (talk) 10:36, 18 March 2009 (UTC)

 * The code is not illuminating in the slightest. If I were a user with a login I would remove it. —Preceding unsigned comment added by 155.212.15.131 (talk) 13:29, 17 March 2010 (UTC)

Formula
I have added on the page the formula found here: http://wiki.tcl.tk/12324 The page also contains sample code to generate codes

Inventors?
Would it be benefitual to list the inventors of the Fibonacci Code and the patents that they hold? Kensavage 19:00, 28 September 2007 (UTC)

Confusing
well, perhaps a bit slow, but I do not understand the last part of the phrase "....All tokens end with "11" and have no "11" before the end...." can it be made more clear? is it just saying a coded stream cannot end with a number code ie xxx11 but some other padding or ? --Billymac00 (talk) 03:35, 27 January 2009 (UTC)

 * It means that the only place you see a "11" in a Fibonacci coding is at the end of a number token. So the string "101111011", for example, can be unambiguously parsed as "1011/11/011" i.e. 4 1 2. Gandalf61 (talk) 10:20, 27 January 2009 (UTC)

By the definition of Fibonacci numbers the sequence
 * ...0110...=...0*F(n-1)+1*F(n)+1*F(n+1)+0*F(n+2)...=...0*F(n-1)+0*F(n)+0*F(n+1)+1*F(n+2)...

That is to say it can be rewritten as ...0001...Laelele (talk) 11:09, 8 November 2012 (UTC)

Heading
I added "It is one example of representations of integers based on Fibonacci numbers." in the heading since there is no common agreement that "this is the way to do it" when we use Fibonacci numbers to represent integers.Laelele (talk) 09:17, 13 November 2012 (UTC)

Misleading definition of Fibonacci sequence?
This seems clunky as it seems to introduce an "alternative" Fibonacci sequence:

where F(i) is the ith Fibonacci number, and so F(i+2) is the ith distinct Fibonacci number starting with $$1,2,3,5,8,13,\ldots$$

In my opinion, it's much better to point to the operative definition adopted (0-based indexes, sequence starting with 0):

where F(k) is the k-th number in the Fibonacci sequence $$0,1,1,2,3,5,8,13,\ldots$$, with index k≥0

If you prefer the 1-based indexes and the sequence starting with 1, of course:

where F(k) is the k-th number in the Fibonacci sequence $$1,1,2,3,5,8,13,\ldots$$, with index k≥1

213.203.132.119 (talk) 07:52, 20 December 2017 (UTC)

title: Talk:Fibonacci coding


text:
User talk:Cborges

mwahahahahahaha

title: User talk:Cborges


text:
Dahlgren gun

Dahlgren guns were muzzle-loading naval gun designed by Rear Admiral John A. Dahlgren USN (November 13, 1809 – July 12, 1870), mostly used in the period of the American Civil War. Dahlgren's design philosophy evolved from an accidental explosion in 1849 of a 32 lb gun being tested for accuracy, killing a gunner. He believed a safer, more powerful naval cannon could be designed using more scientific design criteria. Dahlgren guns were designed with a smooth curved shape, equalizing strain and concentrating more weight of metal in the gun breech where the greatest pressure of expanding propellant gases needed to be met to keep the gun from bursting. Because of their rounded contours, Dahlgren guns were nicknamed "soda bottles", a shape which became their most identifiable characteristic.

Dahlgren boat howitzers
During the Mexican–American War the U.S. found itself lacking in light guns that could be fired from ships' boats and landed to be used as light artillery in support of landing parties. Light artillery borrowed from the army proved unsatisfactory. In 1849, then-lieutenant Dahlgren began to design a family of smoothbore muzzle-loading boat howitzers that could be mounted in ships' launches and cutters as well as being mounted onto field carriages. The first boat howitzers to be designed were a light 12 lb "12-pounder", a heavy 12-pounder (originally designated a "medium"), and a 24 lb "24-pounder". Later a lighter 12-pounder (the "small") and a rifled 12-pounder heavy howitzer were introduced. All of the boat howitzers were very similar in design, cast in bronze, with a mounting lug or loop on the bottom of the barrel instead of trunnions, and an elevating screw running through the cascabel. Having the single mounting lug expedited moving the howitzer from the launch to field carriage and back. In naval service the boat howitzers had gun crews of 10 in the boat and 11 ashore.

The field carriage was made of wrought iron. No limber was used in naval service, but two ammunition boxes (each containing nine rounds) could be lashed to the axle of the field carriage. Members of the gun crew also carried a single round in an ammunition pouch. The smoothbore boat howitzers fired shell, shrapnel, and canister. The rifled 12-pounder fired shot and shell. Percussion primers were used in naval service, but the howitzers could also use friction primers obtained from the army.

The small and the light 12-pounder boat howitzers were not popular. The heavy 12-pounder howitzers were most popular at their intended jobs, while the 24-pounder boat howitzer were found to serve excellently as primary and secondary armaments on river gunboats and similar small vessels. Some 24-pounder boat howitzers were apparently rifled, but some contemporary accounts confuse rifled 24-pounder boat howitzers and the 20-pounder rifles (discussed below)

Army use of boat howitzers
Aside from use in naval service, boat howitzers saw service with the land forces as well. The boat howitzers were occasionally used in artillery batteries, but were more often used in infantry units, in a role that would later be called infantry support guns.

At First Bull Run, Company I of the 71st New York Infantry Regiment brought two boat howitzers with them. The unit had trained on boat howitzers while deployed at Washington D.C., and when called to Bull Run, brought two of them along. When the regiment retreated they left the howitzers behind for the Confederate forces to capture.

During the Antietam Campaign, Whiting's Battery (Company K, 9th NY Infantry [ Hawkins' Zouaves ] ), employed five Dahlgren boat howitzers (two rifled, two smoothbore, and one of indeterminate type). The howitzers fired on Confederate skirmishers at Snavely's Ford and suppressed them. The Confederate Grimes' (Portsmouth) Battery had two smoothbore Dahlgren boat howitzers, with which they fought near Piper's Stone Barn. The boat howitzers appeared to be popular—when Grimes' battery was forced to turn in one of its guns, it chose to turn in a three-inch ordnance rifle rather than one of its boat howitzers.

The 1st New York Marine Artillery Regiment ("Howard's Artillery, Naval Brigade") also armed themselves with boat howitzers, using them for their designed use of amphibious expeditions. The unit participated in 16 raids along the North Carolina coast employing their boat howitzers. The New York Marine Artillery was issued twelve 12-pounder rifled boat howitzers made by Norman Wiard out of semi-steel, a low-carbon iron alloy. Other than the material used, the Wiard boat howitzers were identical to the Dahlgren 12-pounder rifled boat howitzers. The Wiard howitzers were not made in large numbers.

Boat howitzers were used in the western theaters also. The Indiana Brigade used a Dahlgren boat howitzer in fighting near Grand Prairie, Arkansas, on July 5, 1862. .

While boat howitzers were never commonly used by either army, by the end of the war their use by land forces was very rare.

Dahlgren shell guns
Throughout the 18th and early 19th centuries, the primary ship-to-ship weapons were muzzle-loading smoothbore broadside guns firing solid iron shot short distances. This all changed when the French Navy adopted a design of Col. Henri-Joseph Paixhans for a shell gun (canon-obusier) of 22 cm (8.7-inch) capable of throwing a 59 lb shell in a reasonably flat trajectory in 1842. The U.S. Navy shortly followed suit, adopting an 8 in, 63 -Scwt Paixhans-style shell gun. Dahlgren was determined to design a new generation of shell gun that would be capable of firing explosive shells at higher velocity and greater range. They would also have the capacity to effectively fire solid shot. The ability to fire solid shot would become increasingly important as armored warships appeared on the scene:

"Paixhans had so far satisfied naval men of the power of shell guns as to obtain their admission on shipboard; but by unduly developing the explosive element, he had sacrificed accuracy and range.... The difference between the system of Paixhans and my own was simply that Paixhans guns were strictly shell guns, and were not designed for shot, nor for great penetration or accuracy at long ranges. They were, therefore, auxiliary to, or associates of, the shot-guns. This made a mixed armament, was objectionable as such, and never was adopted to any extent in France... My idea was, to have a gun that should generally throw shells far and accurately, with the capacity to fire solid shot when needed. Also to compose the whole battery entirely of such guns."

All of the Dahlgren shell guns were cast iron columbiads, with a distinctive soda bottle shape, and all but two had an elevating screw running through the cascabel. Although some Dahlgren shell guns were tested to failure, no Dahlgren shell gun burst during service, a notable distinction for the time. Dahlgren shell guns were capable of firing shot, shell, shrapnel, canister, and (with the exception of the XV-inch shell gun) grapeshot.

Thirty-two-pounder
'''Thirty-two-pounder gun of 27 cwt. M.1855''': Little is known about the 32 lb 27 -Scwt gun as few were believed to have been produced. The U.S. Navy had several different models of 32-pounders, which are hard to differentiate in records. Thirty-two-pounders were the primary armaments of older ships like USS Cumberland (1842) (commissioned 1842, sunk by CSS Virginia) and USS Congress (1841) (commissioned 1842, struck its colors to CSS Virginia). Later ships were armed with mixtures of shell guns, most of which were designed by Dahlgren. The 32-pounders were still useful in providing primary or secondary armament to smaller ships and river gunboats. While earlier 32-pounders primarily fired solid shot, and these guns were called shot guns these newer guns could also fire shell. The 32-pounder gun of 27 cwt. had a crew of six and a powder-boy.

Thirty-two-pounder gun of 4,500 pounds and VIII-inch Dahlgren shell gun: 383 of the 32-pounders each weighing 4500 lb and 355 of the 8 in Dahlgrens were cast by Alger Builders, Fort Pitt Foundry, and Seyfert, McManus & Co. between 1864 and 1867. The 32-pounder had a crew of 10 and a powder-boy while the VIII-inch had a crew of 12 and a powder-boy. Some have argued that these guns are not Dahlgren designs, pointing out that while the guns generally resemble his designs, these guns used old-style breeching jaws instead of the breech loop found on other Dahlgrens and that there is no elevating screw running through the cascabel. It is also asserted that the guns would have to be elevated by quoins. This is not accurate, particularly for the VIII-inch Dahlgren, as a new iron carriage with an elevating screw beneath the breech of the gun was developed for VIII-inch and other carriages with breech elevating screws were also used. It is also argued that the bores were too small for their late introduction and very few saw service during or after the American Civil War. These guns would most likely have been intended for small riverine and estuarine gunboats, which the navy scrapped as quickly as possible after the war. The documentary evidence also supports a conclusion that these two guns should be considered to be Dahlgren designs. In Mrs. Dahlgren's petition to the national government for compensation for the use of Admiral Dahlgren's inventions, both the 32-pounder gun of 4,500 pounds and VIII-inch shell gun are specifically described as designs of Admiral Dahlgren. Also, in February 1867, Cyrus Alger & Co. paid a royalty on the Dahlgren patent for production of "ten eight-inch guns weighing 64,270, $642.70." There can be little doubt that both of these guns should be credited as Dahlgren designs.

IX-inch
IX-inch Dahlgren shell gun: 1,185 guns were cast at Alger, Bellona, Fort Pitt, Seyfert, McManus & Co., Tredegar, and West Point foundries between 1855 and 1864. Fort Pitt Foundry also made 16 for the army in 1861. The IX-inch Dahlgren was the most popular and versatile of Dahlgren shell guns made. The IX-inch guns served as broadside armament on larger ships such as USS Susquehanna (1847), which carried 12 IX-inch Dahlgren guns in broadside mounts in addition to her two pivot guns and USS Powhatan (1850) which carried 10 IX-inch guns in broadside mounts in addition to her two XI-inch Dahlgren pivot guns. These broadside guns would normally be mounted on a Marsilly carriage (see illustration). Smaller coastal blockade ships such as USS Fort Henry and USS Hunchback mounted IX-inch Dahlgrens on pivot mounts. IX-inch Dahlgrens were used on several river gunboats such as USS Essex (1856) and USS Benton. If mounted as either a pivot gun or a broadside gun the IX-inch Dahlgren had a crew of 16 and a powderman.

X-inch
X-inch Dahlgren shell gun (light): 10 were cast at Seyfert, McManus & Co. and West Point foundries between 1855 and 1864. Pivot mounted on board ships such as USS Cumberland (1842), USS Brooklyn (1858) and USS Merrimack (1855) (pre-CSS Virginia) with a crew of 20 and a powderman.

X-inch Dahlgren shell gun (heavy): 34 cast between 1862 and 1865. Designed from the beginning to fire shot against armored ships with heavier powder charges. Mounted on a pivot mount with a crew of 20 and a powderman.

XI-inch
XI-inch Dahlgren shell gun: 465 were cast at Alger; Builders; Fort Pitt; Hinkley, Williams & Co.; Portland Locomotive Works; Seyfert, McManus & Co.; Trenton Iron Works; and West Point foundries between 1856 and 1864. This is the only Dahlgren gun to have been designed both with and without a muzzle swell. The gun was typically mounted on a pivot or in a turret on a monitor. When mounted in a turret, the crew for an XI-inch Dahlgren was seven including powdermen. The crew for the gun when mounted on a pivot was 24 men and a powderman. XI-inch Dahlgrens were carried on USS Neosho (1863), USS Marietta (1864), USS Casco (1864), USS Milwaukee (1864), and (1 XI-inch and 1 XV-inch short) class monitors as well as the original USS Monitor. USS Kearsarge (1861), USS Powhatan (1850), and many other conventional ships carried XI-inch Dahlgrens on pivot mounts. A few larger river gunboats, such as USS Tuscumbia (1862) and USS Indianola also carried XI-inch Dahlgrens.

XIII-inch
XIII-inch Dahlgren shell gun: The XIII-inch Dahlgren was originally intended for Passaic-class monitors but proved unsuccessful and the XV-inch Dahlgren was used instead.

XV-inch
XV-inch Dahlgren shell gun (short or Passaic): 34 were cast by the Fort Pitt Foundry between 1862 and 1864. The first XV-inch guns' barrels were so short that the muzzle was inside the monitor's turret when the gun was discharged (although the Passaic class' turrets featured gunports drilled to fit the XI-inch Dahlgren in any case). The resulting blast and fumes in the turret would have made the gun impossible to work. The navy constructed smoke-boxes inside the turrets of the monitors equipped with the short XV-inch gun (see illustration), but the presence of the smoke-boxes slowed the rate of fire for the guns. When mounted in a turret, the crew for a XV-inch Dahlgren was 10 including powdermen. These were carried on USS Passaic (1862) (1 XI-inch and 1 XV-inch short) and early Canonicus-class monitors. 15-inch Dahlgren guns for the Russian version of the Passaic, the Uragan-class monitor, were produced at the new Aleksandrovsk gun factory in Petrozavodsk in Russian Karelia.

XV-inch Dahlgren shell gun (long or "Tecumseh"): 86 were cast by the Alger, Fort Pitt, and Seyfert, McManus & Co. foundries between 1864 and 1872. The new XV-inch gun was lengthened 16 inches so that the muzzle was flush with the outside of the turret when fired, eliminating the need for the smoke-box, Carried on later Canonicus-class monitors.

XX-inch
XX-inch Dahlgren shell gun: four were cast by the Fort Pitt Foundry between 1864 and 1867 as part of the original planned armament for USS Puritan (1864). Three of these, named 'Satan', 'Lucifer' and 'Moloch' were accepted by the U.S. Navy, but saw no service. The fourth gun, named 'Beelzebub' was sold to Peru, where it became part of the defenses of Callao.

Dahlgren shell guns and Rodman casting
The navy's demand for 15-inch guns to defeat the new Confederate ironclads placed Dahlgren in a dilemma. All of his earlier shell guns had been cast solid, then had the bore drilled out—the traditional way to make artillery. Dahlgren's efforts with the XIII-inch shell gun were unsatisfactory and it was not clear that he could solid cast a 15-inch gun. However 15-inch guns had been successfully cast using the hollow casting technique developed by Thomas Jackson Rodman. In his method the gun was cast around a pipe. As the casting cooled, a smaller pipe was inserted into the first and water was pumped through the small pipe. At the same time hot coals were placed against the outside of the casting. This caused the casting to cool slowly from the inside out. As the outer parts of the casting cooled, they compressed the already cooled inner parts, making a stronger gun. The Bureau of Ordnance ordered that the Dahlgren XV-inch and XX-inch shell guns be cast using the Rodman hollow casting method. This use of Rodman hollow casting with a Dahlgren designed gun led to friction between Dahlgren and the Bureau of Ordnance, as well as some confusion in nomenclature.

Table of Dahlgren shell and related guns
Estimated values are indicated by an asterisk. Estimates by, except for the estimate of the overall length of the X-inch (heavy) which is based on a bore length of 117.75 inches and the estimate of the weight of the XX-inch shell which is based on the weight of the shell for the Columbiad, Seacoast, 20-inch, Model 1864.

Dahlgren rifled guns
Dahlgren also designed several rifled muzzle-loading cannon. Twenty-pounder rifle: an entirely bronze gun that was popular and was the only Dahlgren rifle (other than the 12-pounder boat howitzer) that continued in service after the American Civil War. Crew of six and a powder-boy, firing a 20 lb. shell in front of 2 lb. of powder it had a range of 1,960 yards at a 6.5° elevation.

Thirty-pounder rifle: these guns were iron with bronze trunnions and trunnion bands. They were cast at the Fort Pitt Foundry and the Washington Navy Yard. In February 1862, Dahlgren recommended that the first 13 cast at Fort Pitt be withdrawn because the iron was inferior. One 30-pounder rifle was mounted on USS Harriet Lane.

Fifty-pounder rifle: these guns were typical Dahlgren rifles—iron with bronze trunnions and trunnion bands. They were apparently a popular design, although by the end of the war it had been supplanted by the 60-pounder Parrott rifle, which continued in service after the American Civil War. A photograph of Admiral Dahlgren leaning against a 50-pounder rifle may be found at the beginning of this article. Eighty-pounder rifle: the first 80-pounder was cast at the West Point foundry with trunnions. Subsequent rifles were cast without trunnions and bronze trunnion band and trunnions were added. The gun was initially well received but soon showed a tendency to burst. USS Hetzel, a converted Coastal Survey ship armed with one IX-inch Dahlgren and one 80-pounder Dahlgren rifle was engaged in the bombardment of Roanoke Island in support amphibious landings, when the following entry was made in her log for February 7, 1862: "At 5:15, rifled 80-pounder aft, loaded with six pounds powder and solid Dahlgren shot, 80 pounds, burst in the act of firing into four principal pieces. The gun forward of the trunnions fell on deck. One third of the breech passed over the mastheads and fell clear of the ship on the starboard bow. One struck on port quarter. And the fourth piece, weighing about 1,000 pounds, driving through the deck and magazine, bringing up on the keelson, set fire to the ship. Fire promptly extinguished."

One hundred-fifty-pounder rifle: the 150-pounder was a typical Dahlgren rifle with a cast iron barrel and a bronze trunnion band and trunnions. Although the test firing was successful the guns were not placed in service, because Dahlgren doubted the quality of the iron.

Twelve-inch rifle: in 1864 the Fort Pitt foundry bored three XV-inch Dahlgren shell gun blanks, one was finished using the Atwater design, one with the Parrott design, and one with the Rodman approach. The Rodman solid shot weighed 618 to 619 pounds and the Atwater solid shot 416 to 535 pounds. The weights of the Parrott projectiles are not recorded. In 1867, at Fort Monroe, the guns were tested with charges varying between 35 and 55 pounds until the guns failed.

Table of Dahlgren rifled guns
Estimated values are indicated by an asterisk. Estimates by.

title: Dahlgren gun


text:
L. P. Hartley

Leslie Poles Hartley (30 December 1895 – 13 December 1972) was an English novelist and short story writer. Although his first fiction was published in 1924, his best-known works are the Eustace and Hilda trilogy (1944–1947) and The Go-Between (1953). The latter was made into a film in 1971, as was his 1957 novel The Hireling in 1973.

Hartley began writing stories at the age of 11. He worked as an editor during his time at Oxford and spent many years afterwards writing book reviews. In his private life, Hartley spent much of his time rowing, swimming, and socializing, often traveling with friends. He made frequent visits to Venice for many years and enjoyed days out on the canals. His writing career began with short story collections, with his first novel, The Shrimp and the Anemone, published at age 49. He was known for writing about social codes, moral responsibility and family relationships, and many of his works portray passion as leading to disaster. Hartley died in December 1973 at the age of 76.

Early life
Leslie Poles Hartley was born on 30 December 1895 in Whittlesey, Cambridgeshire. He was named after Leslie Stephen, the father of the writer Virginia Woolf. His father, Harry Bark Hartley, was a solicitor and justice of the peace near Peterborough but later ran a brickworks. His mother was Mary Elizabeth Thompson, and he had two sisters, Enid and Annie Norah. Hartley was raised in the Methodist faith. He was known to be a hypochondriac, particularly afraid of tetanus and a painful death. Many believe this fear of sickness came from his mother, who was known to be overly concerned about his health.

While he was young, his family moved to Fletton Tower, near Peterborough. Hartley began his education at home and particularly enjoyed the work of Edgar Allan Poe. He wrote his first story, a fairy tale about a prince and dwarf, when he was 11 years old. In 1908 he attended Northdown Hill Preparatory School in Cliftonville and then briefly Clifton College. It was there he likely first met Clifford Kitchin, who became a lifelong friend. In 1910, Hartley finally settled at Harrow School, where he was a Leaf Scholar and earned prizes in reading and English literature. Highly regarded by his peers, they saw him as civilized and mature with a "singular outward calm". While there, Hartley converted to Anglicanism but was still greatly influenced by his earlier Methodism.

In 1915, during the First World War, he went to Balliol College, Oxford, to read Modern History. This period was a time when most of his contemporaries were volunteering for the armed services instead of pursuing university careers. In 1916, with the arrival of conscription, Hartley joined the army, and in February 1917, he was commissioned as an officer in the Norfolk Regiment; however, he never saw active duty because of a weak heart. He returned to Oxford in 1919, with the intention of becoming a writer. While there, Hartley made a number of literary friends, including Lord David Cecil and Aldous Huxley. He left Oxford in 1921 with second-class honours in modern history.

Editor and reviewer
Oxford Poetry first published Hartley's work in 1920 and 1922. During this time, he edited Oxford Outlook with Gerald Howard and A. B. B. Valentine, publishing work by L. A. G. Strong, Edmund Blunden, John Strachey, and Maurice Bowra. His essays, short stories, and reviews were included in its pages.

In this early part of his career, Hartley spent most of his time broadening his social life. He was introduced by Huxley to Lady Ottoline Morrell, who welcomed him into her famed literary circle. Kitchin, with whom he had been reunited at Oxford, introduced him to Cynthia Asquith, who became a lifelong friend. He also met the writer and socialite Elizabeth Bibesco, whose support and status catapulted Hartley into aristocratic British circles. Although he enjoyed rapid social success, his career as a writer was slow to take off.

After his years at Oxford, Hartley worked as a book reviewer. He wrote articles for multiple publications, such as The Spectator, Saturday Review, The Nation and Athenaeum, and The Sketch. Hartley was praised extensively for his critical, steady, and wise reviews. However, the large number of books he had to read distracted him from his goal to write novels.

Short stories and novels
In 1924, he met Constant Huntington of G. P. Putnam, who published his first volume of short stories, Night Fears, in that year, as well as his novella Simonetta Perkins in 1925. Night Fears was relatively unsuccessful, earning him no money. Simonetta Perkins brought him only £12, though it was written about favourably. The Saturday Review called the young writer "one of the most hopeful talents", and The Calendar of Modern Letters said that Simonetta Perkins was a "distinguished first novel". Modern critics have called it his most dangerous novel, as Hartley explored infatuation and sexuality in a way considered less respectable at the time. In 1932, Hartley published The Killing Bottle, a collection of ghost stories. Cynthia Asquith included some of them in an anthology, which increased his popularity with the public.

Hartley did not publish The Shrimp and the Anemone, his first full-length novel, until the age of 49. He had started and stopped writing the novel many times and even submitted it to a writing contest under a different name, but it did not win. The main characters, Eustace and Hilda, were inspired by Hartley himself and his sister Enid. He continued the series with the novels The Sixth Heaven and Eustace and Hilda. The trilogy explores the ideas of childhood nostalgia and the reality of adulthood. By the time of the third book's publication, Hartley had become a well-known author. Critics reviewed the books favourably, often marvelling at the author's ability to create characters that were lovable despite their high-class status. Walter Allen in the New Statesman called the trilogy "one of the few masterpieces in contemporary fiction", and other critics agreed in similar reviews. Some, however, found the plentiful Italian dialogue pretentious. Despite the overwhelmingly good reviews, Hartley most valued the reactions of his friends and fellow writers. Both Edith Sitwell and Clifford Kitchin wrote him touching letters, expressing their awe and love of the novel.

After writing a few more novels with moderate success, Hartley wrote The Go-Between in just five months. Having left his previous publisher after disputes over compensation, he decided to publish this one with Hamish Hamilton. Critics' reviews were enthusiastic, and Knopf immediately wanted to publish the novel in the United States. There, it became extremely popular and even made The New York Times's bestseller list. The novel was translated into Italian, French, Danish, Norwegian, Swedish, Finnish and Japanese. Hartley gained favour with other writers as well. W. H. Auden read the book and told Hartley that he was his favourite novelist. Many of Hartley's friends drew parallels between him and the main character Leo; just like Hartley, Leo was stuck between his middle-class upbringing and his high-class social circle. Hartley had intended The Go-Between to be a commentary on the loss of innocence and morality; however, he was shocked when he found that many readers sympathized with the characters he thought should be hated. He was known to be a strict moralist, once describing compassion as doing away with moral worth and a substitute for justice.

Personal life
While attending Oxford, Hartley proposed to Joan Mews; it is not known if she accepted his proposal or not. In 1922, he suffered a nervous breakdown. In 1922, he made his first of many visits to Venice, Italy, and it became an escape for him from the pressures of life in England. He travelled there with his aristocratic circle, eventually buying a home next to the church of San Sebastiano. A statue of Saint Sebastian outside the church, with arrows piercing his body, had a great influence on Hartley, as he would soon come to see the saint as "a symbol of mankind". While there, he owned a gondola, employed his own personal gondolier, and was known to spend entire days on the canals. He also entertained many guests – including the painter Henry Lamb, the art critic Adrian Stokes, and the novelist Leo Myers – and often set his writing aside to focus on social events.

During the later part of his life, Hartley resided in London at Rutland Gate, enjoying rowing on the Avon River in his free time. He was known to have many servants, a number of whom became dear companions and appeared in his novels. Hartley became relatively reclusive during these years, no longer attending the social gatherings that had punctuated much of his earlier life. Hartley enjoyed reading a number of his contemporary authors, such as Elizabeth Bowen, Edith Wharton, and Henry Green.

During his trips to Venice, David Cecil joined him many times, leading many to believe that Hartley was homosexual. The first novel in which he included homosexual characters was My Fellow Devils – but instead of painting their sexuality in a favourable light, he portrays it as the reason for a friendship's ruin. He regarded his 1971 novel The Harness Room as his "homosexual novel" and feared the public reaction to it. Hartley died in London on 13 December 1972, aged 76, and was cremated at Golders Green Crematorium.

Conflicts with Virginia Woolf and Cynthia Asquith
Although Hartley joined the Chelsea literary group, the Bloomsbury group was also prominent in England at the time. The Bloomsbury circle was more popular, but Hartley had no interest in joining them. He expressed his distaste for Virginia Woolf after her novel The Waves was published, asking Raymond Mortimer of the Bloomsbury group: "What are the Wild Waves saying?" On another occasion Woolf asked Hartley "Have you written any more shabby books, Mr. Hartley?", particularly referring to "the one that might have been written by a man with one foot in England and the other in Venice". She advised him to change his writing style.

Cynthia Asquith was a support through much of Hartley's career, publishing some of his early writings in her anthologies and welcoming him into her social circles. However, feelings started to change after Hartley did not allow her to publish his novel The Go-Between. Asquith reminded him of this fact often, and Hartley came to believe that the only reason she continued to be friends with him was his increased popularity. At one point, Asquith convinced Hartley's cook to leave him and work for her. On another occasion, she gave him a drink of vinegar instead of alcohol.

Major themes and influences
The major influences on Hartley's work were Nathaniel Hawthorne, Henry James, and Emily Brontë. His books often explore themes of social and personal morality—often depicting passion as a route to disaster, particularly outside of marriage. He wrote about characters on the brink between adolescence and adulthood, contrasting childhood innocence with eventual self-knowledge. Hartley's novels frequently comment on cultural traditions and moral values. He is known for using symbolism to express tension stemming from moral motivations. He is also praised for introducing fantasy, horror, and mysticism to comment on the mystery of existence. In columns Hartley wrote for The Daily Telegraph, he often expressed a distaste for the flaws of contemporary culture. Beginning in 1952, Hartley travelled in England, Germany, Italy, and Portugal to lecture about his critical ideas.

Awards and legacy
Hartley was awarded the James Tait Black Memorial Prize for his 1947 novel Eustace and Hilda, and his 1953 novel The Go-Between was joint winner of the Heinemann Award. He was appointed a Commander of the Order of the British Empire in the 1956 New Year Honours. In 1972, he was named a Companion of Literature by the Royal Society of Literature. He was the head of the English section of P.E.N. and was also a member of the management council of the Society of Authors.

In 1971, the director Joseph Losey made a film based on Hartley's novel The Go-Between, starring Julie Christie and Alan Bates. In 1991, the filmmaker Clive Dunn directed a documentary about Hartley for Anglia Television, titled Bare Heaven.

List of works
Works by Hartley include the following:
 * Night Fears (1924):
 * "The Island", "Talent", "Night Fears", "The Telephone Call", "St. George and the Dragon", "Friends of the Bridegroom", "A Portrait", "A Sentimental Journey", "A Beautiful Character", "A Summons", "A Visit to the Dentist", "The New Prime Minister", "A Condition of Release", "A Tonic", "Witheling End", "Apples", "The Last Time"
 * Simonetta Perkins (1925)
 * The Killing Bottle (1932):
 * "A Visitor from Down Under", "The Killing Bottle", "Conrad and the Dragon", "A Change of Ownership", "The Cotillon", "Feet Foremost"
 * The Shrimp and the Anemone (1944), Eustace and Hilda Trilogy I
 * The Sixth Heaven (1946), Eustace and Hilda Trilogy II
 * Eustace and Hilda (1947), Eustace and Hilda Trilogy III
 * The Travelling Grave and Other Stories (1948):
 * "A Visitor from Down Under", "Podolo", "Three, or Four, for Dinner", "The Travelling Grave", "Feet Foremost", "The Cotillon", "A Change of Ownership", "The Thought", "Conrad and the Dragon", "The Island", "Night Fears", "The Killing Bottle"
 * The Boat (1949)
 * My Fellow Devils (1951)
 * The Go-Between (1953)
 * The White Wand and Other Stories (1954):
 * "The White Wand", "Apples", "A Tonic", "A Condition of Release", "Witheling End", "Mr Blandfoot's Picture", "A Rewarding Experience", "W.S.", "The Vaynes", "Monkshood Manor", "Up the Garden Path", "Hilda's Garden", "A Summons", "The Price of the Absolute"
 * A Perfect Woman (1955)
 * The Hireling (1957)
 * Facial Justice (1960)
 * Two for the River (1961):
 * "Two for the River", "Someone in the Lift", "The Face", "The Corner Cupboard", "The Waits", "The Pampas Clump", "Won by a Fall", "A Very Present Help", "A High Dive", "The Crossways", "Per Far L'Amore", "Interference", "Noughts and Crosses", "The Pylon"
 * The Brickfield (1964)
 * The Betrayal (1966)
 * Essays by Divers Hands, Volume XXXIV (1966), editor
 * The Novelist's Responsibility (1967), essays
 * Poor Clare (1968)
 * The Collected Short Stories of L. P. Hartley (1968)
 * The Love-Adept: A Variation on a Theme (1969)
 * My Sisters' Keeper (1970)
 * Mrs. Carteret Receives (1971):
 * "Mrs Carteret Receives", "Paradise Paddock", "Pains and Pleasures", "Please Do Not Touch", "Roman Charity", "Home Sweet Home", "The Shadow on the Wall", "The Silver Clock", "Fall In at the Double"
 * The Harness Room (1971)
 * The Collections: A Novel (1972)
 * The Will and the Way (1973)
 * The Complete Short Stories of L. P. Hartley (1973)
 * The Collected Macabre Stories (2001):
 * "From the Introduction to Lady Cynthia Asquith’s Third Ghost Book", "A Visitor from Down Under", "Podolo", "Three, or Four, for Dinner", "The Travelling Grave", "Feet Foremost", "The Cotillon", "A Change of Ownership", "The Thought", "Conrad and the Dragon", "The Island", "Night Fears", "The Killing Bottle", "A Summons", "W.S.", "The Two Vaynes", "Monkshood Manor", "Two for the River", "Someone in the Lift", "The Face", "The Corner Cupboard", "The Waits", "The Pampas Clump", "The Crossways", "Per Far L'Amore", "Interference", "The Pylon", "Mrs Carteret Receives", "Fall In at the Double", "Paradise Paddock", "Roman Charity", "Pains and Pleasures", "Please Do Not Touch", "Home Sweet Home", "The Shadow on the Wall", "The Sound of Voices", "Mrs G. G.", "The Stain on the Chair"

title: L. P. Hartley