title: Ode: Intimations of Immortality

text: "Ode: Intimations of Immortality" is about childhood, but the poem doesn't completely focus on childhood or what was lost from childhood. Instead, the ode, like "The Prelude" and "Tintern Abbey", places an emphasis on how an adult develops from a child and how being absorbed in nature inspires a deeper connection to humanity. The ode focuses not on Dorothy or on Wordsworth's love, Mary Hutchinson, but on himself and is part of what is called his "egotistical sublime". Of his childhood, Wordsworth told Catherine Clarkson in an 1815 letter that the poem "rests entirely upon two recollections of childhood, one that of a splendour in the objects of sense which is passed away, and the other an indisposition to bend to the law of death as applying to our particular case... A Reader who has not a vivid recollection of these feelings having existed in his mind in childhood cannot understand the poem." Childhood, therefore, becomes a means to exploring memory, and the imagination, as Wordsworth claims in the letter, is connected to man's understanding of immortality. In a letter to Isabella Fenwick, he explained his particular feelings about immortality that he held when young: "I was often unable to think of external things as having external existence, and I communed with all that I saw as something not apart from, but inherent in, my own immaterial nature." These feelings were influenced by Wordsworth's own experience of loss, including the death of his parents, and may have isolated him from society if the feelings did not ease as he matured.


title: Ode: Intimations of Immortality

text: Like the two other poems, "The Prelude" and "Tintern Abbey", the ode discusses Wordsworth's understanding of his own psychological development, but it is not a scientific study of the subject. He believed that it is difficult to understand the soul and emphasises the psychological basis of his visionary abilities, an idea found in the ode but in the form of a lamentation for the loss of vision. To Wordsworth, vision is found in childhood but is lost later, and there are three types of people that lose their vision. The first are men corrupted through either an apathetic view of the visions or through meanness of mind. The second are the "common" people who lose their vision as a natural part of ageing. The last, the gifted, lose parts of their vision, and all three retain at least a limited ability to experience visions. Wordsworth sets up multiple stages, infancy, childhood, adolescence, and maturity as times of development but there is no real boundary between each stage. To Wordsworth, infancy is when the "poetic spirit", the ability to experience visions, is first developed and is based on the infant learning about the world and bonding to nature. As the child goes through adolescence, he continues to bond with nature and this is slowly replaced by a love for humanity, a concept known as "One Life". This leads to the individual despairing and only being able to resist despair through imagination. When describing the stages of human life, one of the images Wordsworth relies on to describe the negative aspects of development is a theatre stage, the Latin idea of "theatrum mundi". The idea allows the narrator to claim that people are weighed down by the roles they play over time. The narrator is also able to claim through the metaphor that people are disconnected from reality and see life as if in a dream.


title: Ode: Intimations of Immortality

text: Wordsworth returns to the ideas found within the complete ode many times in his later works. There is also a strong connection between the ode and Wordsworth's "Ode to Duty", completed at the same time in 1804. The poems describe Wordsworth's assessment of his poetry and contains reflections on conversations held between Wordsworth and Coleridge on poetry and philosophy. The basis of the "Ode to Duty" states that love and happiness are important to life, but there is something else necessary to connect an individual to nature, affirming the narrator's loyalty to a benevolent divine presence in the world. However, Wordsworth was never satisfied with the result of "Ode to Duty" as he was with "Ode: Intimations of Immortality". In terms of use of light as a central image, the ode is related to "Peele Castle", but the light in the latter poem is seen as an illusion and stands in opposition to the ode's ideas. In an 1809 essay as part of his "Essays upon Epitaphs" for Coleridge's journal, "The Friend", Wordsworth argued that people have intimations that there is an immortal aspect of their life and that without such feelings that joy could not be felt in the world. The argument and the ideas are similar to many of the statements in the ode along with those in "The Prelude", "Tintern Abbey", and "We Are Seven". He would also return directly to the ode in his 1817 poem "Composed upon an Evening of Extraordinary Splendor and Beauty" where he evaluates his own evolving life and poetic works while discussing the loss of an early vision of the world's joys. In the "Ode: Intimations of Immortality", Wordsworth concluded that he gives thanks that was able to gain even though he lost his vision of the joy in the world, but in the later work he tones down his emphasis on the gain and provides only a muted thanks for what remains of his ability to see the glory in the world.


title: Ode: Intimations of Immortality

text: Wordsworth's ode is a poem that describes how suffering allows for growth and an understanding of nature, and this belief influenced the poetry of other Romantic poets. Wordsworth followed a Virgilian idea called "lacrimae rerum", which means that "life is growth" but it implies that there is also loss within life. To Wordsworth, the loss brought about enough to make up for what was taken. Shelley, in his "Prometheus Unbound", describes a reality that would be the best that could be developed but always has the suffering, death, and change. John Keats developed an idea called "the Burden of the Mystery" that emphasizes the importance of suffering in the development of man and necessary for maturation. However, Coleridge's "Dejection: An Ode" describes the loss of his own poetic ability as he aged and mourned what time took. In Coleridge's theory, his poetic abilities were the basis for happiness and without them there would only be misery. In addition to views on suffering, Shelley relies on Wordsworth's idea of pre-existence in "The Triumph of Life", and Keats relies on Wordsworth's interrogative technique in many of his poems, but he discards the egocentric aspects of the questions.


title: Ode: Intimations of Immortality

text: The ode praises children for being the "best Philosopher" ("lover of truth") because they live in truth and have prophetic abilities. This claim bothers Coleridge and he writes, in "Biographia Literaria", that Wordsworth was trying to be a prophet in an area that he could have no claim to prophecy. In his analysis of the poem, Coleridge breaks down many aspects of Wordsworth's claims and asks, "In what sense can the magnificent attributes, above quoted, be appropriated to a "child", which would not make them equally suitable to a "be", or a "dog", or a "field of corn": or even to a ship, or to the wind and waves that propel it? The omnipresent Spirit works equally in them, as in the child; and the child is equally unconscious of it as they." The knowledge of nature that Wordsworth thinks is wonderful in children, Coleridge feels is absurd in Wordsworth since a poet couldn't know how to make sense of a child's ability to sense the divine any more than the child with a limited understanding could know of the world. I. A. Richards, in his work "Coleridge on Imagination" (1934), responds to Coleridge's claims by asking, "Why should Wordsworth deny that, in a much less degree, these attributes are equally suitable to a bee, or a dog, or a field of corn?"


title: Ode: Intimations of Immortality

text: Later, Cleanth Brooks reanalyzes the argument to point out that Wordsworth would include the animals among the children. He also explains that the child is the "best philosopher" because of his understanding of the "eternal deep", which comes from enjoying the world through play: "They are playing with their little spades and sand-buckets along the beach on which the waves break." In 1992, Susan Eilenberg returned to the dispute and defended Coleridge's analysis by explaining that "It exhibits the workings of the ambivalence Coleridge feels toward the character of Wordsworth's poetry; only now, confronting greater poetry, his uneasiness is greater... If Wordsworth's weakness is incongruity, his strength is propriety. That Coleridge should tell us this at such length tells as much about Coleridge as about Wordsworth: reading the second volume of the "Biographia", we learn not only Wordsworth's strong and weak points but also the qualities that most interest Coleridge."


title: Ode: Intimations of Immortality

text: The "Ode: Intimations of Immortality" is the most celebrated poem published in Wordsworth's "Poems in Two Volumes" collection. While modern critics believe that the poems published in Wordsworth's 1807 collection represented a productive and good period of his career, contemporary reviewers were split on the matter and many negative reviews cast doubts on his circle of poets known as the Lake Poets. Negative reviews were found in the "Critical Review", "Le Beau Monde" and "Literary Annual Register". George Gordon Byron, a fellow Romantic poet but not an associate of Wordsworth's, responded to "Poems in Two Volumes", in a 3 July 1807 "Monthly Literary Recreations" review, with a claim that the collection lacked the quality found in "Lyrical Ballads". When referring to "Ode: Intimations of Immortality", he dismissed the poem as Wordsworth's "innocent odes" without providing any in-depth response, stating only: "On the whole, however, with the exception of the above, and other innocent odes of the same cast, we think these volumes display a genius worthy of higher pursuits, and regret that Mr. W. confines his muse to such trifling subjects... Many, with inferior abilities, have acquired a loftier seat on Parnassus, merely by attempting strains in which Mr. W. is more qualified to excel." The poem was received negatively but for a different reason from Wordsworth's and Coleridge's friend Robert Southey, also a Romantic poet. Southey, in an 8 December 1807 letter to Walter Scott, wrote, "There are certainly some pieces there which are good for nothing... and very many which it was highly injudicious to publish... The Ode upon Pre-existence is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous."


title: Ode: Intimations of Immortality

text: Francis Jeffrey, a Whig lawyer and editor of the "Edinburgh Review", originally favoured Wordsworth's poetry following the publication of "Lyrical Ballads" in 1798 but turned against the poet from 1802 onward. In response to Wordsworth's 1807 collection of poetry, Jeffrey contributed an anonymous review to the October 1807 "Edinburgh Review" that condemned Wordsworth's poetry again. In particular, he declared the ode "beyond all doubt, the most illegible and unintelligible part of the publication. We can pretend to give no analysis or explanation of it;-- our readers must make what they can of the following extracts." After quoting the passage, he argues that he has provided enough information for people to judge if Wordsworth's new school of poetry should replace the previous system of poetry: "If we were to stop here, we do not think that Mr Wordsworth, or his admirers, would have any reason to complain; for what we have now quoted is undeniably the most peculiar and characteristic part of his publication, and must be defended and applauded if the merit or originality of his system is to be seriously maintained. In putting forth his own opinion, Jeffrey explains, "In our own opinion, however, the demerit of that system cannot be fairly appretiated, until it be shown, that the author of the bad verses which we have already extracted, can write good verses when he pleases". Jeffrey later wrote a semi-positive review of the ode, for the 12 April 1808 "Edinburgh Review", that praised Wordsworth when he was least Romantic in his poetry. He believed that Wordsworth's greatest weakness was portraying the low aspects of life in a lofty tone.


title: Ode: Intimations of Immortality

text: Another semi-negative response to the poem followed on 4 January 1808 in the "Eclectic Review". The writer, James Montgomery, attacked the 1807 collection of poems for depicting low subjects. When it came to the ode, Montgomery attacked the poem for depicting pre-existence. After quoting the poem with extracts from the whole collection, he claimed, "We need insist no more on the necessity of using, in poetry, a language different from and superior to 'the real language of men,' since Mr. Wordsworth himself is so frequently compelled to employ it, for the expression of thoughts which without it would be incommunicable. These volumes are distinguished by the same blemishes and beauties as were found in their predecessors, but in an inverse proportion: the defects of the poet, in this performance, being as much greater than his merits, as they were less in his former publication." In his conclusion, Montgomery returned to the ode and claimed, that "the reader is turned loose into a wilderness of sublimity, tenderness, bombast, and absurdity, to find out the subject as well as he can... After our preliminary remarks on Mr. Wordsworth's theory of poetical language, and the quotations which we have given from these and his earlier compositions, it will be unnecessary to offer any further estimate or character of his genius. We shall only add one remark... Of the pieces now published he has said nothing: most of them seem to have been written "for" no purpose at all, and certainly "to" no good one." In January 1815, Montgomery returned to Wordsworth's poetry in another review and argues, "Mr. Wordsworth often speaks in ecstatic strains of the pleasure of infancy. If we rightly understand him, he conjectures that the soul comes immediately from a world of pure felicity, when it is born into this troublous scene of care and vicissitude... This brilliant allegory, (for such we must regard it,) is employed to illustrate the mournful truth, that looking back from middle age to the earliest period of remembrance we find, 'That there hath pass'd away a glory from the earth,'... Such is "Life"".


title: Ode: Intimations of Immortality

text: John Taylor Coleridge, nephew to Samuel Taylor Coleridge, submitted an anonymous review for the April 1814 "Quarterly Review". Though it was a review of his uncle's "Remorse", he connects the intention and imagery found within Coleridge's poem to that in "Ode: Intimation of Immortality" and John Wilson's "To a Sleeping Child" when saying, "To an extension or rather a modification of this last mentioned principle [obedience to some internal feeling] may perhaps be attributed the beautiful tenet so strongly inculcated by them of the celestial purity of infancy. 'Heaven lies about us in our infancy,' says Mr. Wordsworth, in a passage which strikingly exemplifies the power of imaginative poetry". John Taylor Coleridge returned to Wordsworth's poetry and the ode in a May 1815 review for the "British Critic". In the review, he partially condemns Wordsworth's emphasis in the ode on children being connected to the divine: "His occasional lapses into childish and trivial allusion may be accounted for, from the same tendency. He is obscure, when he leaves out links in the chain of association, which the reader cannot easily supply... In his descriptions of children this is particularly the case, because of his firm belief in a doctrine, more poetical perhaps, than either philosophical or christian, that 'Heaven lies about us in our infancy.'"


title: Ode: Intimations of Immortality

text: John Taylor Coleridge continues by explaining the negative aspects of such a concept: "Though the tenderness and beauty resulting from this opinion be to us a rich overpayment for the occasional strainings and refinements of sentiment to which it has given birth, it has yet often served to make the author ridiculous in common eyes, in that it has led him to state his own fairy dreams as the true interpretation and import of the looks and movements of children, as being even really in their minds." In a February 1821 review for the "British Critic", John Taylor Coleridge attacked the poem again for a heretical view found in the notion of pre-existence and how it reappeared in Wordsworth's poem "On an Extraordinary Evening of Splendour and Beauty". However, he does claim that the passage of the ode containing the idea is "a passage of exquisite poetry" and that "A more poetical theory of human nature cannot well be devised, and if the subject were one, upon which error was safe, we should forbear to examine it closely, and yield to the delight we have often received from it in the ode from which the last extract ["Ode: Intimations of Immortality"] is made." He was to continue: "If, therefore, we had met the doctrine in any poet but Mr. Wordsworth, we should have said nothing; but we believe him to be one not willing to promulgate error, even in poetry, indeed it is manifest that he makes his poetry subservient to his philosophy; and this particular notion is so mixed up by him with others, in which it is impossible to suppose him otherwise than serious; that we are constrained to take it for his real and sober belief."


title: Ode: Intimations of Immortality

text: In the same year came responses to the ode by two Romantic writers. Leigh Hunt, a second-generation Romantic poet, added notes to his poem "Feast of the Poets" that respond to the ideas suggested in Wordsworth's poetry. These ideas include Wordsworth's promotion of a simple mental state without cravings for knowledge, and it is such an ideas that Hunt wanted to mock in his poem. However, Hunt did not disagree completely with Wordsworth's sentiments. After quoting the final lines of the "Ode: Intimations of Immortality", those that "Wordsworth has beautifully told us, that to him '--the meanest flow'r that blows can give/ Thoughts that do often lie too deep for tears", Hunt claims, "I have no doubt of it; and far be it from me to cast stones into the well in which they lie,-- to disturb those reposing waters,-- that freshness at the bottom of warm hearts,-- those thoughts, which if they are too deep for tears, are also, in their best mood, too tranquil even for smiles. Far be it also from me to hinder the communication of such thoughts to mankind, when they are not sunk beyond their proper depth, so as to make one dizzy in looking down to them." Following Hunt, William Hazlitt, a critic and Romantic writer, wrote a series of essays called "Character of Mr. Wordsworth's New Poems" in three parts, starting in the 21 August 1814 "Examiner". Although Hazlitt treated Wordsworth's poetry fairly, he was critical of Wordsworth himself and he removed any positive statements about Wordsworth's person from a reprint of the essays. The 2 October 1814 essay examined poetry as either of imagination or of sentiment, and quotes the final lines of the poem as an example of "The extreme simplicity which some persons have objected to in Mr. Wordsworth's poetry is to be found only in the subject and style: the sentiments are subtle and profound. In the latter respect, his poetry is as much above the common standard or capacity, as in the other it is below it... We go along with him, while he is the subject of his own narrative, but we take leave of him when he makes pedlars and ploughmen his heroes and the interpreters of his sentiments."


title: Ode: Intimations of Immortality

text: In 1817 came two more responses by Romantic poets to the ode. Coleridge was impressed by the ode's themes, rhythm, and structure since he first heard the beginning stanzas in 1802. In an analysis of Wordsworth's poetry for his work "Biographia Literaria" (1817), Coleridge described what he considered as both the positives and the defects of the ode. In his argument, he both defended his technique and explained: "Though the instances of this defect in Mr. Wordsworth's poems are so few, that for themselves it would have been scarce just to attract the reader's attention toward them; yet I have dwelt on it, and perhaps the more for this very reason. For being so very few, they cannot sensibly detract from the reputation of an author, who is even characterized by the number of profound truths in his writings, which will stand the severest analysis; and yet few as they are, they are exactly those passages which his blind admirers would be most likely, and best able, to imitate." Of the positives that Coleridge identified within the poem, he placed emphasis on Wordsworth's choice of grammar and language that established a verbal purity in which the words chosen could not be substituted without destroying the beauty of the poem. Another aspect Coleridge favoured was the poem's originality of thought and how it contained Wordsworth's understanding of nature and his own experience. Coleridge also praised the lack of a rigorous structure within the poem and claimed that Wordsworth was able to truly capture the imagination. However, part of Coleridge's analysis of the poem and of the poet tend to describe his idealised version of positives and negative than an actual concrete object. In the same year, it was claimed by Benjamin Bailey, in a 7 May 1849 letter to R. M. Milnes, that John Keats, one of the second-generation Romantic poets, discussed the poem with him. In his recollection, Bailey said, "The following passage from Wordsworth's ode on Immortality [lines 140–148] was deeply felt by Keats, who however at this time seemed to me to value this great Poet rather in particular passages than in the full length portrait, as it were, of the great imaginative & philosophic Christian Poet, which he really is, & which Keats obviously, not long afterwards, felt him to be."


title: Ode: Intimations of Immortality

text: Following Coleridge's response was an anonymous review in the May 1820 "Blackwood's Edinburgh Magazine", possible by either John Lockhart and John Wilson together or just Lockhart on his own. Of Wordsworth's abilities as a poet in general, the review claimed: "Mr Wordsworth ... is entitled to be classed with the very highest names among his predecessors, as a pure and reverent worshipper of the true majest of the English Muse" and that "Of the genius of Mr Wordsworth, in short, it is now in the hands of every man to judge freely and fully, and for himself. Our own opinion, ever since this Journal commenced, has been clearly and entirely before them; and if there be any one person, on whose mind what we have quoted now, is not enough to make an impression similar to that which our own judgment had long before received – we have nothing more to say to that person in regard to the subject of poetry." In discussing the ode in particular, the review characterised the poem as "one of the grandest of his early pieces". In December 1820 came an article in the "New Monthly Magazine" titled "On the Genius and Writings of Wordsworth" written by Thomas Noon Talfourd. When discussing the poem, Talfourd declared that the ode "is, to our feelings, the noblest piece of lyric poetry in the world. It was the first poem of its author which we read, and never shall we forget the sensations which it excited within us. We had heard the cold sneers attached to his name... and here – in the works of this derided poet – we found a new vein of imaginative sentiment open to us – sacred recollections brought back to our hearts with all the freshness of novelty, and all the venerableness of far-off time". When analysing the relationship between infants and the divine within the poem, the article continued: "What a gift did we then inherit! To have the best and most imperishable of intellectual treasures – the mighty world of reminiscences of the days of infancy – set before us in a new and holier light".


title: Ode: Intimations of Immortality

text: William Blake, a Romantic poet and artist, thought that Wordsworth was at the same level as the poets Dante, Shakespeare, and Milton. In a diary entry for 27 December 1825, H. C. Robinson recounted a conversation between himself and William Blake shortly before Blake's death: "I read to him Wordsworth's incomparable ode, which he heartily enjoyed. But he repeated, 'I fear Wordsworth loves nature, and nature is the work of the Devil. The Devil is in us as 'far as we are nature.'... The parts of Wordsworth's ode which Blake most enjoyed were the most obscure—at all events, those which I least like and comprehend." Following Blake, Chauncy Hare Townshend produced "An Essay on the Theory and the Writings of Wordsworth"for "Blackwood's Edinburgh Magazine" in 1829. In the third part, he critiqued Wordsworth's use of pre-existence within the poem and asked "unless our author means to say that, having existed from all eternity, we are of an eternal and indestructible essence; or, in other words, that being incarnate portion of the Deity... we are as Immortal as himself. But if the poet intends to affirm this, do you not perceive that he frustrates his own aim?" He continued by explaining why he felt that Wordsworth's concept fell short of any useful purpose: "For if we are of God's indivisible essence, and receive our separate consciousness from the wall of flesh which, at our birth, was raised between us and the Found of Being, we must, on the dissolution of the body... be again merged in the simple and uncompounded Godhead, lose our individual consciousness... in another sense, become as though we had never been." He concluded his analysis with a critique of the poem as a whole: "I should say that Wordsworth does not display in it any great clearness of thought, or felicity of language... the ode in question is not so much abstruse in idea as crabbed in expression. There appears to be a laborious toiling after originality, ending in a dismal want of harmony."


title: Ode: Intimations of Immortality

text: The ode, like others of Wordsworth's poetry, was favoured by Victorians for its biographical aspects and the way Wordsworth approached feelings of despondency. The American Romantic poet Ralph Waldo Emerson, in his 1856 work "English Traits", claimed that the poem "There are torpid places in his mind, there is something hard and sterile in his poetry, want of grace and variety, want of due catholicity and cosmopolitan scope: he had conformities to English politics and tradition; he had egotistic puerilities in the choice and treatment of his subjects; but let us say of him, that, alone in his time he treated the human mind well, and with an absolute trust. His adherence to his poetic creed rested on real inspirations." The editor of "Harper's New Monthly Magazine", George William Curtis, praised the ode in his December 1859 column "Editor's Easy Chair" and claimed that "it was Wordsworth who has written one of the greatest English poets... For sustained splendor of imagination, deep, solemn, and progressive thought, and exquisite variety of music, that poem is unsurpassed. Since Milton's 'Ode upon the Nativity' there is nothing so fine, not forgetting Dryden, Pope, Collins, and the rest, who have written odes."


title: Ode: Intimations of Immortality

text: The philosopher John Stuart Mill liked Wordsworth's ode and found it influential to the formation of his own thoughts. In his "Autobiography" (1873), he credited Wordsworth's poetry as being able to relieve his mind and overcome a sense of apathy towards life. Of the poems, he particularly emphasised both Wordsworth's 1815 collection of poetry and the "Ode: Intimations of Immortality" as providing the most help to him, and he specifically said of the ode: "I found that he too had had similar experience to mine; that he also had felt that the first freshness of youthful enjoyment of life was not lasting; but that he had sought for compensation, and found it, in the way in which he was now teaching me to find it. The result was that I gradually, but completely, emerged from my habitual depression, and was never again subject to it." David Mason followed Mill in an 1875 essay on literature, including Wordsworth's poetry. After quoting from the ode, Mason claimed of the poem: "These, and hundreds of other passages that might be quoted, show that Wordsworth possessed, in a very high degree indeed, the true primary quality of the poet—imagination; a surcharge of personality or vital spirit, perpetually overflowing among the objects of the otherwise conditioned universe, and refashioning them according to its pleasure."


title: Ode: Intimations of Immortality

text: After Mill, critics focused on the ode's status among Wordsworth's other poems. In July 1877, Edward Dowden, in an article for the "Contemporary Review", discussed the Transcendental Movement and the nature of the Romantic poets. when referring to Wordsworth and the ode, he claimed: "Wordsworth in his later years lost, as he expresses it, "courage", the spring-like hope and confidence which enables a man to advance joyously towards new discovery of truth. But the poet of 'Tintern Abbey' and the 'Ode on Intimations of Immortality' and the 'Prelude' is Wordsworth in his period of highest energy and imaginative light". Matthew Arnold, in his preface to an 1879 edition of Wordsworth's poetry, explains that he was a great lover of the poems. However, he explains why he believed that the ode was not one of the best: "I have a warm admiration for "Laodameia" and for the great "Ode"; but if I am to tell the very truth, I find "Laodameia" not wholly free from something artificial, and the great "Ode" not wholly free from something declamatory." His concern was over what he saw as the ideas expressed on childhood and maturity: "Even the 'intimations' of the famous Ode, those corner-stones of the supposed philosophic system of Wordsworth... has itself not the character of poetic truth of the best kind; it has no real solidity" "to say that universally this instinct is mighty in childhood, and tends to die away afterwards, is to say what is extremely doubtful... In general, we may say of these high instincts of early childhood... what Thucydides says of the early achievements of the Greek race:--'It is impossible to speak with certainty of what is so remove; but from all that we can really investigate, I should say that they were no very great things.'"


title: Ode: Intimations of Immortality

text: The Victorian critic John Ruskin, towards the end of the 19th century, provided short analyses of various writers in his "Nature and Literature" essays collected in "Art and Life: a Ruskin Anthology". In speaking of Wordsworth, Ruskin claimed, "Wordsworth is simply a Westmoreland peasant, with considerably less shrewdness than most border Englishmen or Scotsmen inherit; and no sense of humor; but gifted... with vivid sense of natural beauty, and a pretty turn for reflection, not always acute, but, as far as they reach, medicinal to the fever of the restless and corrupted life around him." After mocking the self-reflective nature of Wordsworth's poetry, he then declared that the poetry was "Tuneful nevertheless at heart, and of the heavenly choir, I gladly and frankly acknowledge him; and our English literature enriched with a new and singular virtue in the aerial purity and healthful rightness of his quiet song;—but "aerial" only—not ethereal; and lowly in its privacy of light". The ode, to Ruskin, becomes a means to deride Wordsworth's intellect and faith when he claims that Wordsworth was "content with intimations of immortality such as may be in skipping of lambs, and laughter of children-incurious to see in the hands the print of the nails." Ruskin's claims were responded to by an article by Richard Hutton in the 7 August 1880 "Spectator". The article, "Mr. Ruskin on Wordsworth", stated, "We should hardly have expected Mr. Ruskin—a great master of irony though he be—to lay his finger so unerringly as he does on the weak point of Wordsworth's sublime ode on the 'Intimations of Immortality,' when he speaks of him—quite falsely, by the way—as 'content with intimations of immortality'". The article continued with praise of Wordsworth and condemns Ruskin further: "But then, though he shows how little he understands the ode, in speaking of Wordsworth as content with such intimations, he undoubtedly does touch the weak chord in what, but for that weak chord, would be one of the greatest of all monuments of human genius... But any one to whom Wordsworth's great ode is the very core of that body of poetry which makes up the best part of his imaginative life, will be as much astonished to find Mr. Ruskin speaking of it so blindly and unmeaningly as he does".


title: Ode: Intimations of Immortality

text: The ode was viewed positively by the end of the century. George Saintsbury, in his "A Short History of English Literature" (1898), declared the importance and greatness of the ode: "Perhaps twice only, in "Tintern Abbey" and in the "Ode on the Intimations of Immortality", is the full, the perfect Wordsworth, with his half-pantheistic worship of nature, informed and chastened by an intense sense of human conduct, of reverence and almost of humbleness, displayed in the utmost poetic felicity. And these two are accordingly among the great poems of the world. No unfavorable criticism on either — and there has been some, new and old, from persons in whom it is surprising, as well as from persons in whom it is natural — has hurt them, though it may have hurt the critics. They are, if not in every smallest detail, yet as wholes, invulnerable and imperishable. They could not be better done."


title: Ode: Intimations of Immortality

text: At the beginning of the 20th century, response to the ode by critics was mostly positive. Andrew Bradley declared in 1909 that "The Immortality Ode, like "King Lear", is its author's greatest product, but not his best piece of work." When speaking of Grasmere and Wordsworth, Elias Sneath wrote in 1912: "It witnessed the composition of a large number of poems, many of which may be regarded among the finest products of his imagination. Most of them have already been considered. However, one remains which, in the judgment of some critics, more than any other poem of the numerous creations of his genius, entitles him to a seat among the Immortals. This is the celebrated [ode]... It is, in some respects, one of his most important works, whether viewed from the stand point of mere art, or from that of poetic insight." George Harper, following Sneath in 1916, described the poem in positive terms and said, "Its radiance comes and goes through a shimmering veil. Yet, when we look close, we find nothing unreal or unfinished. This beauty, though supernal, is not evanescent. It bides our return, and whoever comes to seek it as a little child will find it. The imagery, though changing at every turn, is fresh and simple. The language, though connected with thoughts so serious that they impart to it a classic dignity, is natural and for the most part plain... Nevertheless, a peculiar glamour surrounds the poem. It is the supreme example of what I may venture to term the romance of philosophic thought."


title: Ode: Intimations of Immortality

text: The 1930s contained criticism that praised the poem, but most critics found fault with particular aspects of the poem. F. R. Leavis, in his "Revaluation" (1936), argued that "Criticism of Stanza VIII ... has been permissible, even correct, since Coleridge's time. But the empty grandiosity apparent there is merely the local manifestation of a general strain, a general factitiousness. The "Ode"... belongs to the transition at its critical phase, and contains decided elements of the living." He continued, "But these do not lessen the dissatisfaction that one feels with the movement—the movement that makes the piece an ode in the Grand Style; for, as one reads, it is in terms of the movement that the strain, the falsity, first asserts itself. The manipulations by which the change of mood are indicated have, by the end of the third stanza, produced an effect that, in protest, one described as rhythmic vulgarity..., and the strain revealed in technique has an obvious significance". In 1939, Basil Willey argued that the poem was "greatly superior, as poetry, to its psychological counterpart in "The Prelude"" but also said that "the semi-Platonic machinery of pre-existence... seems intrusive, and foreign to Wordsworth" before concluding that the poem was the "final and definitive expression to the most poignant experience of his poetic life".


title: Ode: Intimations of Immortality

text: Cleanth Brooks used the "Ode: Intimation of Immortality" as one of his key works to analyse in his 1947 work "The Well Wrought Urn". His analysis broke down the ode as a poem disconnected from its biographical implications and focused on the paradoxes and ironies contained within the language. In introducing his analysis, he claimed that it "may be surmised from what has already been remarked, the 'Ode' for all its fine passages, is not entirely successful as a poem. Yet, we shall be able to make our best defense of it in proportion as we recognize and value its use of ambiguous symbol and paradoxical statement. Indeed, it might be maintained that, failing to do this, we shall miss much of its power as poetry and even some of its accuracy of statement." After breaking down the use of paradox and irony in language, he analyses the statements about the childhood perception of glory in Stanza VI and argued, "This stanza, though not one of the celebrated stanzas of the poem, is one of the most finely ironical. Its structural significance too is of first importance, and has perhaps in the past been given too little weight." After analysing more of the poem, Brooks points out that the lines in Stanza IX contains lines that "are great poetry. They are great poetry because ... the children are not terrified... The children exemplify the attitude toward eternity which the other philosopher, the mature philosopher, wins to with difficulty, if he wins to it at all." In his conclusion about the poem, he argues, "The greatness of the 'Ode' lies in the fact that Wordsworth is about the poet's business here, and is not trying to inculcate anything. Instead, he is trying to dramatize the changing interrelations which determine the major imagery." Following Brooks in 1949, C. M. Bowra stated, "There is no need to dispute the honour in which by common consent it [the ode] is held" but he adds "There are passages in the 'Immortal Ode' which have less than his usual command of rhythm and ability to make a line stand by itself... But these are unimportant. The whole has a capacious sweep, and the form suits the majestic subject... There are moments when we suspect Wordsworth of trying to say more than he means. Similarly, George Mallarby also revealed some flaws in the poem in his 1950 analysis: "In spite of the doubtful philosophical truth of the doctrine of pre-existence borrowed from Platon, in spite of the curiously placed emphasis and an exuberance of feeling somewhat artificially introduced, in spite of the frustrating and unsatisfying conclusion, this poem will remain, so long as the English language remains, one of its chief and unquestionable glories. It lends itself, more than most English odes, to recitation in the grand manner."


title: Ode: Intimations of Immortality

text: By the 1960s and 1970s, the reception of the poem was mixed but remained overall positive. Mary Moorman analysed the poem in 1965 with an emphasis on its biographical origins and Wordsworth's philosophy on the relationship between mankind and nature. When describing the beauty of the poem, she stated, "Wordsworth once spoke of the "Ode" as 'this famous, ambitious and occasionally magnificent poem'. Yet it is not so much its magnificence that impresses, as the sense of resplendent yet peaceful light in which it is bathed—whether it is the 'celestial light' and 'glory' of the first stanza, or the 'innocent Brightness of a new-born Day' of the last." In 1967, Yvor Winters criticised the poem and claimed that "Wordsworth gives us bad oratory about his own clumsy emotions and a landscape that he has never fully realized." Geoffrey Durrant, in his 1970 analysis of the critical reception of the ode, claimed, "it may be remarked that both the admirers of the Ode, and those who think less well of it, tend to agree that it is unrepresentative, and that its enthusiastic, Dionysian, and mystical vein sets it apart, either on a lonely summit or in a special limbo, from the rest of Wordsworth's work. And the praise that it has received is at times curiously equivocal." In 1975, Richard Brantley, labelling the poem as the "great Ode", claimed that "Wordsworth's task of tracing spiritual maturity, his account of a grace quite as amazing and perhaps even as Christian as the experience recorded in the spiritual autobiography of his day, is therefore essentially completed". He continued by using the ode as evidence that the "poetic record of his remaining life gives little evidence of temptations or errors as unsettling as the ones he faced and made in France." Summarizing the way critics have approached the poem, John Beer claimed in 1978 that the poem "is commonly regarded as the greatest of his shorter works". Additionally, Beer argued that the ode was the basis for the concepts found in Wordsworth's later poetry.


title: Ode: Intimations of Immortality

text: Criticism of the ode during the 1980s ranged in emphasis on which aspects of the poem were most important, but critics were mostly positive regardless of their approach. In 1980, Hunter Davies analysed the period of time when Wordsworth worked on the ode and included it as one of the "scores of poems of unarguable genius", and later declared the poem Wordsworth's "greatest ode". Stephen Gill, in a study of the style of the 1802 poems, argued in 1989 that the poems were new and broad in range with the ode containing "impassioned sublimity". He later compared the ode with Wordsworth's "Ode to Duty" to declare that "The "Ode: Intimations", by contrast, rich in phrases that have entered the language and provided titles for other people's books, is Wordsworth's greatest achievement in rhythm and cadence. Together with "Tintern Abbey" it has always commanded attention as Wordsworth's strongest meditative poem and Wordsworth indicated his assessment of it by ensuring through the layout and printing of his volumes that the "Ode" stood apart." In 1986, Marjorie Levinson searched for a political basis in many of Wordsworth's poems and argued that the ode, along with "Michael", "Peele Castle", and "Tintern Abbey", are "incontestably among the poet's greatest works". Susan Wolfson, in the same year, claimed that "the force of the last lines arises from the way the language in which the poet expresses a resolution of grief at the same time renders a metaphor that implies that grief has not been resolved so much as repressed and buried. And this ambiguity involves another, for Wordsworth makes it impossible to decide whether the tension between resolution and repression... is his indirect confession of a failure to achieve transcendence or a knowing evasion of an imperative to do so." After performing a Freudian-based analysis of the ode, William Galperin, in 1989, argues that "Criticism, in short, cannot accept responsibility for "The Excursion"<nowiki>'</nowiki>s failings any more than it is likely to attribute the success of the 'Intimations Ode' to the satisfaction it offers in seeing a sense of entitlement, or self-worth, defended rather than challenged."


title: Ode: Intimations of Immortality

text: 1990s critics emphasised individual images within the poem along with Wordsworth's message being the source of the poem's power. In 1991, John Hayden updated Russell Noyes's 1971 biography of Wordsworth and began his analysis of the ode by claiming: "Wordsworth's great 'Ode on Immortality' is not easy to follow nor wholly clear. A basic difficulty of interpretation centers upon what the poet means by 'immortality.'" However, he goes on to declare, "the majority of competent judges acclaim the 'Ode on Immortality' as Wordsworth's most splendid poem. In no other poem are poetic conditions so perfectly fulfilled. There is the right subject, the right imagery to express it, and the right meter and language for both." Thomas McFarland, when emphasising the use of a river as a standard theme in Wordsworth's poems, stated in 1992: "Not only do Wordsworth's greatest statements--'Tintern Abbey', 'The Immortality Ode', 'The Ruined Cottage', 'Michael', the first two books of "The Prelude"--all overlie a streaming infrashape, but Wordsworth, like the other Romantics, seemed virtually hypnotized by the idea of running water." After analysing the Wordsworth's incorporation of childhood memories into the ode, G. Kim Blank, in 1995, argued, "It is the recognition and finally the acceptance of his difficult feelings that stand behind and in the greatness and power of the "Ode", both as a personal utterance and a universal statement. It is no accident that Wordsworth is here most eloquent. Becoming a whole person is the most powerful statement any of us can ever made. Wordsworth in the "Ode" here makes it for us." In 1997, John Mahoney praised the various aspects of the poem while breaking down its rhythm and style. In particular, he emphasised the poem's full title as "of great importance for all who study the poem carefully" and claimed, "The final stanza is a powerful and peculiarly Wordsworthian valediction."


title: Ode: Intimations of Immortality

text: In the 21st century, the poem was viewed as Wordsworth's best work. Adam Sisman, in 2007, claimed the poem as "one of [Wordsworth's] greatest works". Following in 2008, Paul Fry argued, "Most readers agree that the Platonism of the Intimations Ode is foreign to Wordsworth, and express uneasiness that his most famous poem, the one he always accorded its special place in arranging his successive editions, is also so idiosyncratic." He continued, "As Simplon and Snowdon also suggest, it was a matter of "achieving heights" (not the depth of 'Tintern Abbey'), and for that reason the metaphor comes easily when one speaks of the Intimations Ode as a high point in Wordsworth's career, to be highlighted in any new addition as a pinnacle of accomplishment, a poem of the transcendental imagination "par excellence"."


title: Ode: Intimations of Immortality

text: Missing above are the lines: "Though nothing can bring back the hour / Of splendour in the grass, of glory in the flower; / We will grieve not, rather find / Strength in what remains behind."


title: Ode: Intimations of Immortality

text: These lines are repeated three times in Elia Kazan’s visual interpretation of the poem. The second includes an interpretation. The film illustrates these lines by the early, innocent relations of Deanne and Bud contrasted by their relationship at the end. Natalie Wood and Warren Beatty are in the lead roles.


title: Ode: Intimations of Immortality

text: In Edgar Lee Masters' 1915 book "Spoon River Anthology", the character Mrs. Benjamin Pantier mentions the "Ode" as an indicator of her refinement: "But suppose you are really a lady, and have delicate tastes / And loathe the smell of whiskey and onions / And the rhythm of Wordsworth's "Ode" runs in your ears..."


title: Mike Harrington

text: Mike Harrington is an American programmer and businessman. He is the co-founder of the video game company Valve. After the success of the first Valve product, "Half-Life" (1998), Harrington left Valve in 2000. In 2006, he co-founded the photo editing service Picnik.


title: Mike Harrington

text: Harrington was a game programmer at Dynamix and a designer on the Windows NT operating system at Microsoft. In 1996, Harrington founded Valve with Gabe Newell, another former Microsoft employee.


title: Mike Harrington

text: Harrington and Newell funded the development of Valve's debut product, "Half-Life" (1998), which Harrington also helped program. He said: "At Microsoft you always wonder, <nowiki>'Is it me being successful or is it Microsoft?'</nowiki> But with "Half-Life" I knew Gabe and I had built that product and company from scratch." On January 15, 2000, Harrington dissolved his partnership with Newell and left Valve to spend time with his wife. According to Newell, Harrington did not want to risk another project after the success of "Half-Life".


title: Mike Harrington

text: In 2006, Harrington co-founded the photo editing service Picnik with friend and former colleague Darrin Massena. Picnik was acquired by Google in March 2010. Harrington left Google in March 2011. In January 2012, he co-founded another company with Massena, Catnip Labs. Harrington was the CTO at the Committee for Children from 2016 to 2018. Harrington served as CTO of Amplion from November 2018 until March 2020.


title: Metaphase

text: Metaphase ( and ) is a stage of mitosis in the eukaryotic cell cycle in which chromosomes are at their second-most condensed and coiled stage (they are at their most condensed in anaphase). These chromosomes, carrying genetic information, align in the equator of the cell before being separated into each of the two daughter cells. Metaphase accounts for approximately 4% of the cell cycle's duration.


title: Metaphase

text: Preceded by events in prometaphase and followed by anaphase, microtubules formed in prophase have already found and attached themselves to kinetochores in metaphase.


title: Metaphase

text: In metaphase, the centromeres of the chromosomes convene themselves on the "metaphase plate" (or "equatorial plate"), an imaginary line that is equidistant from the two centrosome poles. This even alignment is due to the counterbalance of the pulling powers generated by the opposing kinetochore microtubules, analogous to a tug-of-war between two people of equal strength, ending with the destruction of B cyclin. In certain types of cells, chromosomes do not line up at the metaphase plate and instead move back and forth between the poles randomly, only roughly lining up along the middleline. Early events of metaphase can coincide with the later events of prometaphase, as chromosomes with connected kinetochores will start the events of metaphase individually before other chromosomes with unconnected kinetochores that are still lingering in the events of prometaphase.


title: Metaphase

text: One of the cell cycle checkpoints occurs during prometaphase and metaphase. Only after all chromosomes have become aligned at the "metaphase plate", when every kinetochore is properly attached to a bundle of microtubules, does the cell enter anaphase. It is thought that unattached or improperly attached kinetochores generate a signal to prevent premature progression to anaphase, even if most of kinetochores have been attached and most of the chromosomes have been aligned. Such a signal creates the mitotic spindle checkpoint. This would be accomplished by regulation of the anaphase-promoting complex, securin, and separase.


title: Metaphase

text: The analysis of metaphase chromosomes is one of the main tools of classical cytogenetics and cancer studies. Chromosomes are condensed (thickened) and highly coiled in metaphase, which makes them most suitable for visual analysis. Metaphase chromosomes make the classical picture of chromosomes (karyotype). For classical cytogenetic analyses, cells are grown in short term culture and arrested in metaphase using mitotic inhibitor. Further they are used for slide preparation and banding (staining) of chromosomes to be visualised under microscope to study structure and number of chromosomes (karyotype). Staining of the slides, often with Giemsa (G banding) or Quinacrine, produces a pattern of in total up to several hundred bands. Normal metaphase spreads are used in methods like FISH and as a hybridization matrix for comparative genomic hybridization (CGH) experiments.


title: Metaphase

text: Malignant cells from solid tumors or leukemia samples can also be used for cytogenetic analysis to generate metaphase preparations. Inspection of the stained metaphase chromosomes allows the determination of numerical and structural changes in the tumor cell genome, for example, losses of chromosomal segments or translocations, which may lead to chimeric oncogenes, such as bcr-abl in chronic myelogenous leukemia.


title: Sencha

text: Among the types of Japanese green tea prepared by infusion, sencha is distinguished from such specific types as gyokuro in that it is shaded for a shorter time or not at all, or bancha which is the same tea but harvested later in the season. It is the most popular tea in Japan, representing about 80 percent of the tea produced in the country.


title: Sencha

text: The flavour depends upon the season and place where it is produced, but shincha, or 'new tea' from the first flush of the year, is considered the most delicious. Tea-picking in Japan begins in the south, gradually moving north with the spring warmth. During the winter, tea plants store nutrients, and the tender new leaves which sprout in the spring contain concentrated nutrients. Shincha represents these tender new leaves. The shincha season, depending upon the region of the plantation, is from early April to late May, specifically the 88th day after Setsubun which usually falls around February 4, a cross-quarter day traditionally considered the start of spring in Japan. Setsubun or Risshun is the beginning of the sexagenary cycle; therefore, by drinking sencha one can enjoy a year of good health.


title: Sencha

text: The ideal colour of the sencha beverage is a greenish golden colour. Depending upon the temperature of the water in which it is decocted, the flavour will be different, adding to the appeal of sencha. With relatively more temperate water, it is relatively mellow; with hot water, it is more astringent. Some varieties expand when steeped to resemble leaf vegetable greens in smell, appearance, and taste.


title: Sencha

text: The tea production process by which sencha and other Japanese "ryokucha" are created differs from Chinese green teas, which are initially pan-fired. Japanese green tea is first steamed for between 15 and 20 seconds to prevent oxidization of the leaves. Then, the leaves are rolled, shaped, and dried. This step creates the customary thin cylindrical shape of the tea. Finally, the leaves are sorted and divided into differing quality groups.


title: Sencha

text: The initial steaming step imparts a difference in the flavour between Chinese and Japanese green tea, with Japanese green tea having a more vegetal, almost grassy flavour (some taste seaweed-like). Infusions from sencha and other green teas that are steamed (like most common Japanese green teas) are also greener in colour and slightly more bitter than Chinese-style green teas.


title: Sencha

text: , 'new tea', represents the first month's harvest of sencha. Basically, it is the same as , 'the first-picked tea', and is characterized by its fresh aroma and sweetness. Ichibancha distinguishes shincha from both nibancha ('the second-picked tea') and sanbancha ('the third-picked tea'). Use of the term "shincha" makes emphatically clear that this tea is the year's earliest, the first tea of the season.


title: Sencha

text: is sencha grown in the shade to increase amino acids, such as theanine, which contribute to its distinctive flavor. About a week before the tea leaf buds are picked in the spring, the plantation is covered with a screen to cut out the direct sunlight. This shading produces a milder tea than standard sencha. The shaded tea known as gyokuro differs from kabusecha in that it is shaded for a longer period: about 20 days.


title: Sencha

text: Special nets () are hung over the plants to obtain a natural shade without completely blocking out sunlight. Kabusecha sencha has a mellower flavour and more subtle colour than sencha grown in direct sunlight.


title: Sencha

text: "Senchadō" ( 'Way of Sencha') is the formal art of enjoying "sencha". Generally it involves the high-grade "gyokuro" class.


title: Shinya Yamanaka

text: He received the 2010 BBVA Foundation Frontiers of Knowledge Award in the biomedicine category, the 2011 Wolf Prize in Medicine with Rudolf Jaenisch, and the 2012 Millennium Technology Prize together with Linus Torvalds. In 2012, he and John Gurdon were awarded the Nobel Prize for Physiology or Medicine for the discovery that mature cells can be converted to stem cells. In 2013, he was awarded the $3 million Breakthrough Prize in Life Sciences for his work.


title: Shinya Yamanaka

text: Yamanaka was born in Higashiōsaka, Japan, in 1962. After graduating from Tennōji High School attached to Osaka Kyoiku University, he received his M.D. degree at Kobe University in 1987 and his Ph.D. degree at Osaka City University Graduate School in 1993. After this, he went through a residency in orthopedic surgery at National Osaka Hospital and a postdoctoral fellowship at the J. David Gladstone Institutes of Cardiovascular Disease, San Francisco.


title: Shinya Yamanaka

text: Afterwards, he worked at the Gladstone Institutes in San Francisco, US, and Nara Institute of Science and Technology in Japan. Yamanaka is currently a professor at Kyoto University, where he directs its Center for iPS Research and Application. He is also a senior investigator at the Gladstone Institutes as well as the director of the Center for iPS Cell Research and Application.


title: Shinya Yamanaka

text: Between 1987 and 1989, Yamanaka was a resident in orthopedic surgery at the National Osaka Hospital. His first operation was to remove a benign tumor from his friend Shuichi Hirata, a task he could not complete after one hour when a skilled surgeon would have taken ten minutes or so. Some seniors referred to him as "Jamanaka", a pun on the Japanese word for obstacle.


title: Shinya Yamanaka

text: From 1993 to 1996, he was at the Gladstone Institute of Cardiovascular Disease. Between 1996 and 1999, he was an assistant professor at Osaka City University Medical School, but found himself mostly looking after mice in the laboratory, not doing actual research.


title: Shinya Yamanaka

text: His wife advised him to become a practicing doctor, but instead he applied for a position at the Nara Institute of Science and Technology. He stated that he could and would clarify the characteristics of embryonic stem cells, and this can-do attitude won him the job. From 1999–2003, he was an associate professor there, and started the research that would later win him the 2012 Nobel Prize. He became a full professor and remained at the institute in that position from 2003–2005. Between 2004 and 2010, Yamanaka was a professor at the Institute for Frontier Medical Sciences. Currently, Yamanaka is the director and a professor at the Center for iPS Cell Research and Application at Kyoto University.


title: Shinya Yamanaka

text: In 2006, he and his team generated induced pluripotent stem cells (iPS cells) from adult mouse fibroblasts. iPS cells closely resemble embryonic stem cells, the "in vitro" equivalent of the part of the blastocyst (the embryo a few days after fertilization) which grows to become the embryo proper. They could show that his iPS cells were pluripotent, i.e. capable of generating all cell lineages of the body. Later he and his team generated iPS cells from human adult fibroblasts, again as the first group to do so.


title: Shinya Yamanaka

text: A key difference from previous attempts by the field was his team's use of multiple transcription factors, instead of transfecting one transcription factor per experiment. They started with 24 transcription factors known to be important in the early embryo, but could in the end reduce it to 4 transcription factors – Sox2, Oct4, Klf4 and c-Myc.


title: Shinya Yamanaka

text: The 2012 Nobel Prize in Physiology or Medicine was awarded jointly to Sir John B. Gurdon and Shinya Yamanaka "for the discovery that mature cells can be reprogrammed to become pluripotent."


title: Shinya Yamanaka

text: There are different types of stem cells. These are some types of cells that will help in understanding the material.


title: Shinya Yamanaka

text: The prevalent view during the early 20th century was that mature cells were permanently locked into the differentiated state and cannot return to a fully immature, pluripotent stem cell state. It was thought that cellular differentiation can only be a unidirectional process. Therefore, non-differentiated egg/early embryo cells can only develop into specialized cells. However, stem cells with limited potency (adult stem cells) remain in bone marrow, intestine, skin etc. to act as a source of cell replacement.


title: Shinya Yamanaka

text: The fact that differentiated cell types had specific patterns of proteins suggested irreversible epigenetic modifications or genetic alterations to be the cause of unidirectional cell differentiation. So, cells progressively become more restricted in the differentiation potential and eventually lose pluripotency.


title: Shinya Yamanaka

text: In 1962, John B. Gurdon demonstrated that the nucleus from a differentiated frog intestinal epithelial cell can generate a fully functional tadpole via transplantation to an enucleated egg. Gurdon used somatic cell nuclear transfer (SCNT) as a method to understand reprogramming and how cells change in specialization. He concluded that differentiated somatic cell nuclei had the potential to revert to pluripotency. This was a paradigm shift at the time. It showed that a differentiated cell nucleus has retained the capacity to successfully revert to an undifferentiated state, with the potential to restart development (pluripotent capacity).


title: Shinya Yamanaka

text: However, the question still remained whether an intact differentiated cell could be fully reprogrammed to become pluripotent.


title: Shinya Yamanaka

text: Shinya Yamanaka proved that introduction of a small set of transcription factors into a differentiated cell was sufficient to revert the cell to a pluripotent state.


title: Shinya Yamanaka

text: Yamanaka focused on factors that are important for maintaining pluripotency in embryonic stem (ES) cells. This was the first time an intact differentiated somatic cell could be reprogrammed to become pluripotent.


title: Shinya Yamanaka

text: Knowing that transcription factors were involved in the maintenance of the pluripotent state, he selected a set of 24 ES cell transcriptional factors as candidates to reinstate pluripotency in somatic cells. First, he collected the 24 candidate factors. When all 24 genes encoding these transcription factors were introduced into skin fibroblasts, few actually generated colonies that were remarkably similar to ES cells.


title: Shinya Yamanaka

text: Secondly, further experiments were conducted with smaller numbers of transcription factors added to identify the key factors, through a very simple and yet sensitive assay system.


title: Shinya Yamanaka

text: Lastly, he identified the four key genes. They found that 4 transcriptional factors (Myc, Oct3/4, Sox2 and Klf4) were sufficient to convert mouse embryonic or adult fibroblasts to pluripotent stem cells (capable of producing teratomas "in vivo" and contributing to chimeric mice).


title: Shinya Yamanaka

text: These pluripotent cells are called iPS (induced pluripotent stem) cells; they appeared with very low frequency. iPS cells can be selected by inserting the b-geo gene into the Fbx15 locus. The Fbx15 promoter is active in pluripotent stem cells which induce b-geo expression, which in turn gives rise to G418 resistance; this resistance helps us identify the iPS cells in culture.


title: Shinya Yamanaka

text: Moreover, in 2007, Yamanaka and his colleagues found iPS cells with germline transmission (via selecting for Oct4 or Nanog gene). Also in 2007, they were the first to produce human iPS cells.


title: Shinya Yamanaka

text: Some issues that current methods of induced pluripotency face are the very low production rate of iPS cells and the fact that the 4 transcriptional factors are shown to be oncogenic.


title: Shinya Yamanaka

text: In July 2014, a scandal regarding the research of Haruko Obokata was connected to Yamanaka. She could not find the lab notes from the period in question and was made to apologise.


title: Shinya Yamanaka

text: Since the original discovery by Yamanaka, much further research has been done in this field, and many improvements have been made to the technology. Improvements made to Yamanaka's research as well as future prospects of his findings are as follows:


title: Shinya Yamanaka

text: Yamanaka's research has "opened a new door and the world's scientists have set forth on a long journey of exploration, hoping to find our cells’ true potential."


title: Shinya Yamanaka

text: In 2013, iPS cells were used to generate a human vascularized and functional liver in mice in Japan. Multiple stem cells were used to differentiate the component parts of the liver, which then self-organized into the complex structure. When placed into a mouse host, the liver vessels connected to the hosts vessels and performed normal liver functions, including breaking down of drugs and liver secretions.


title: Shinya Yamanaka

text: In 2007, Yamanaka was recognized as a "Person Who Mattered" in the Time Person of the Year edition of "Time Magazine". Yamanaka was also nominated as a 2008 Time 100 Finalist. In June 2010, Yamanaka was awarded the Kyoto Prize for reprogramming adult skin cells to pluripotential precursors. Yamanaka developed the method as an alternative to embryonic stem cells, thus circumventing an approach in which embryos would be destroyed.


title: Shinya Yamanaka

text: In May 2010, Yamanaka was given "Doctor of Science honorary degree" by Mount Sinai School of Medicine.


title: Shinya Yamanaka

text: Yamanaka has been listed as one of the 15 Asian Scientists To Watch by "Asian Scientist" magazine on May 15, 2011. In June 2011, he was awarded the inaugural McEwen Award for Innovation; he shared the $100,000 prize with Kazutoshi Takahashi, who was the lead author on the paper describing the generation of induced pluripotent stem cells.


title: Shinya Yamanaka

text: In June 2012, he was awarded the Millennium Technology Prize for his work in stem cells. He shared the 1.2 million euro prize with Linus Torvalds, the creator of the Linux kernel. In October 2012, he and fellow stem cell researcher John Gurdon were awarded the Nobel Prize in Physiology or Medicine ""for the discovery that mature cells can be reprogrammed to become pluripotent.""


title: Shinya Yamanaka

text: Yamanaka practiced judo (2nd Dan black belt) and played rugby as a university student. He also has a history of running marathons. After a 20-year gap, he competed in the inaugural Osaka Marathon in 2011 as a charity runner with a time of 4:29:53. He took part in Kyoto Marathon to raise money for iPS research since 2012. His personal best is 3:25:20 at 2018 Beppu-Ōita Marathon.


title: Tapestry, Inc.

text: Tapestry, Inc. is an American multinational luxury fashion holding company. It is based in New York City and is the parent company of three major brands: Coach New York, Kate Spade New York and Stuart Weitzman. Originally named Coach, Inc., the business changed its name to Tapestry on October 31, 2017.


title: Tapestry, Inc.

text: Coach was founded in 1941. Starting as a workshop, it grew into a company with over 17,000 employees. Seeking wider recognition and a larger market, the company acquired brands such as Kate Spade and Stuart Weitzman. This broadened the appeal to consumers of all three brands. The company changed names, reducing the share price because investors felt that the name change was not well received by customers. The share price later recovered.


title: Tapestry, Inc.

text: American fashion designer Kate Spade founded Kate Spade New York in 1993. It was initially similar to the Coach company. The company was purchased by Coach in 2017 in a $2.4 billion deal.


title: Tapestry, Inc.

text: Stuart Weitzman started out in the late 1950s as a luxury shoe company named after one of the brothers who started it. It grew into a large operation in Manhattan. The brand was purchased by Coach in 2015 for $574 million. It was made to broaden Coach's product line.


title: Tapestry, Inc.

text: This business originally named Coach changed its name to Tapestry to become better match the fashion industry and its customers. The company officially changed its name and ticker symbol on the New York Stock Exchange from COH to TPR on October 31, 2017. The company wanted to include more than just Coach-brand handbags, the company switched its name to represent a wider range of products. Most of these products are accessories, such as handbags, key-chains, shoes and other small fashion items. Most of these items are leather-goods and are produced by the individual subsidiaries.


title: Tapestry, Inc.

text: In late July, 2020, the company named Joanne Crevoiserat, Tapestry's CFO since early 2019, the new CEO. She became the 36th female to lead a Fortune 500 company.


title: Tapestry, Inc.

text: In July 2020, Tapestry CEO Jide Zeitlin resigned from his positions as CEO and chairman amidst an investigation into his personal behavior. Previously, a woman had accused him of luring her into a romantic relationship in 2007 by pretending to be a photographer.


title: Hilton Valentine

text: Hilton Stewart Paterson Valentine (21 May 1943 – 29 January 2021) was an English skiffle and rock and roll musician who was the original guitarist in The Animals. He was inducted into the Rock and Roll Hall of Fame in 1994 and into Hollywood’s Rock Walk of Fame in 2001 with the other members of The Animals.


title: Hilton Valentine

text: Following The Animals' breakup in 1966, Valentine produced several solo albums including "All in Your Head" (1969) and "It’s Folk ‘N’ Skiffle, Mate! ("2004). He also toured New England and participated in several The Animals reunions.


title: Hilton Valentine

text: Valentine was born in North Shields, Northumberland, England, and was influenced by the 1950s skiffle craze. His mother bought him his first guitar in 1956 when he was 13, he taught himself some chords from a book called ""Teach Yourself a Thousand Chords"". He continued to develop his musical talent at Tynemouth High School and formed his own skiffle group called the Heppers. They played local gigs and a newspaper described them at the time as, "A young but promising skiffle group". The Heppers eventually evolved into a rock and roll band, the Wildcats in c. 1959. During this period Valentine played a Futurama III solid guitar, this was the UK brandname of importer Selmer, his next guitar was a Burns Vibra-Artiste which he bought in 1960–61. The Wildcats were a popular band in the Tyneside area, getting a lot of bookings for dance halls, working men's clubs, church halls etc., and it was during this period that they decided to record a 10" acetate LP titled "Sounds of the Wild Cats" (sic).


title: Hilton Valentine

text: In 1963, the Animals were starting to form and Chas Chandler heard about Hilton Valentine's wild guitar playing and asked him to join what was then the Alan Price Combo. Eric Burdon was already a member and John Steel joined immediately following Valentine's arrival. Within a few months, this group changed their name to the Animals.


title: Hilton Valentine

text: While the Animals are often remembered most for Burdon's vocals and Price's organ, Valentine is credited with the electric guitar arpeggio introduction to the Animals' 1964 signature song "The House of the Rising Sun", which inspired countless beginning guitarists. It was played on his Gretsch Tennessean guitar which he bought in Newcastle in early 1962 while he was still with the Wildcats, and a Selmer amplifier. Later, in 1964, Rickenbacker gave him a 1964 Rose Morris guitar to use along with a 12-string model. Valentine continued to play and record with the Animals, until the first incarnation of the band dissolved in September 1966. In 1977, Valentine rejoined the group and recorded a reunion album called "Before We Were So Rudely Interrupted".


title: Hilton Valentine

text: After he left The Animals, Valentine moved to California and in 1969 recorded a solo album entitled "All In Your Head", which was not successful.The album was produced and arranged by later Animals member Vic Briggs. Valentine then returned to the UK, and over the years joined several Animals reunions.


title: Hilton Valentine

text: Along with Eric Burdon, Chas Chandler, Alan Price and John Steel, Valentine was inducted into the Rock and Roll Hall of Fame in 1994. Along with the other Animals, Hilton was inducted into Hollywood's Rock Walk of Fame in May 2001. He released a new album, "It's Folk 'n' Skiffle, Mate!" in 2004.


title: Hilton Valentine

text: From that release until October 2009 he played throughout New England, New York and South Carolina, with his Skiffledog solo project. As well, from February 2007 to November 2008 Valentine toured with Eric Burdon. In 2011, Valentine released a new album titled "Skiffledog on Coburg Street" and a Christmas album with Big Boy Pete Miller (ex-Peter Jay and the Jaywalkers) titled "Merry Skifflemas!".


title: Hilton Valentine

text: Valentine's last recording was "River Tyne", a 2019 video that celebrated the river close to his boyhood home.


title: Hilton Valentine

text: Valentine died on 29 January 2021 at the age of 77; no cause or place of death was given. He is survived by his wife and daughter Samantha.


title: Hilton Valentine

text: The Animals' version of the "House of the Rising Sun" is generally considered to be the definitive version of the song, and was cited by Bob Dylan as one of the reasons why he transitioned from acoustic to electric sound. Speaking of Valentine's opening riff for the song, Ian MacDonald noted that "It is one of the most instantly recognizable introductions to one of the most memorable songs of the 60s. A seemingly simple, but technically perfect execution of an on-going arpeggio figure over a repeated chord progression in A minor, which countless budding guitarists have tried to emulate over the decades, though rarely with such accuracy and precision."


title: Amen (TV series)

text: Amen is an American sitcom produced by Carson Productions that aired on NBC from September 27, 1986, to May 11, 1991. Set in Sherman Hemsley's real-life hometown of Philadelphia, "Amen" stars Hemsley as the deacon of a church and was part of a wave of successful sitcoms on NBC in the 1980s and early 1990s that featured predominantly black casts – others included "The Cosby Show", "A Different World", "The Fresh Prince of Bel-Air", and "227".


title: Amen (TV series)

text: The series revolves around Ernest Frye, a widower deacon of the First Community Church of Philadelphia, who also works as a lawyer. He is often dishonest and frequently gets into trouble with his many harebrained schemes. Frye has a single daughter named Thelma. Reuben Gregory is the new, young pastor of the church, and also the object of Thelma's affection. The two get married during season four, despite the fact that Gregory and Frye often butt heads. In the series finale, Thelma gives birth to the couple's first child.


title: Amen (TV series)

text: The Mount Pisgah African Methodist Episcopal Church in Philadelphia, a stone gothic church building, was used for exterior views of the First Community Church. Consequently, the Mount Pisgah Church became known to the nation as the ""Amen" Church".


title: Freud family

text: The family of Sigmund Freud, the pioneer of psychoanalysis, lived in Austria and Germany until the 1930s before emigrating to England, Canada, and the United States. Several of Freud's descendants and relatives have become well known in different fields.


title: Freud family

text: Sigmund Freud (1856–1939) was born to Jewish Galician parents in the Moravian town of Freiberg in Mähren, in what then was the Austrian Empire (now called Příbor and in the Czech Republic). He was the eldest child of Jacob Freud (1815–1896), a wool merchant, and his third wife, Amalia Nathansohn (1835–1930). Jacob Freud was born in Tysmenitz, then part of the Austrian Partition of Poland called the Kingdom of Galicia and Lodomeria (now called Tysmenytsia and in Ukraine), the eldest child of Schlomo and Peppi (Pessel), née Hoffmann, Freud. His two brothers, Abae (c1815-c1885) and Josef (1825-1897), had difficulties that concerned the family, the former because of his mentally incapacitated children, the latter because his business dealings came under criminal investigation.


title: Freud family

text: Amalia Freud was the daughter of Jacob Nathansohn (1805–1865) and Sara Wilenz born in Brody, then also part of the Kingdom of Galicia and Lodomeria and now also part of Ukraine. They later moved to Vienna. Her brother Hermann (1822–1895), who was a stockbroker in Odessa in the Russian Empire, was Freud's favourite uncle. She had three other brothers: Nathan (b. c.1825), Adolf (c.1830–1862) and Julius (c.1837–1858). Jacob and Amalia Freud had eight children:


title: Freud family

text: Anna married Eli Bernays (1860–1921), the elder brother of Sigmund's wife Martha. There were four daughters: Judith (1885–1977), Lucy (1886–1980), Hella (1893–1994), Martha (1894–1979) and one son, Edward (1891–1995). In 1892 the family moved to the United States where Edward Bernays became a major influence in modern public relations. He married Doris E. Fleischman (1891–1980) who became known as a prominent feminist activist. Their daughters are Doris Bernays Held (b. 1929), a psychotherapist who married Richard Held (1922-2016) a neuroscientist, and Anne Bernays (b. 1930) a writer and editor, as was her husband, Justin Kaplan (1925–2014).


title: Freud family

text: Rosa (Regina Deborah Graf-Freud) married a lawyer, Heinrich Graf (1852–1908). Their son, Hermann (1897–1917) was killed in the First World War; their daughter, Cäcilie (1899–1922), committed suicide after an unhappy love affair. In March or early April 1943 Rosa was transported from Vienna to the Treblinka extermination camp where she was killed.


title: Freud family

text: Mitzi (Marie Freud) married her cousin Moritz Freud (1857–1922). There were three daughters: Margarethe (1887–1981), Lily (1888–1970), Martha (1892–1930) and one son, Theodor (1904–1923) who died in a drowning accident. Martha, who was known as Tom, worked as a children's book illustrator. After the suicide of her husband, Jakob Seidmann, a journalist, she took her own life. Their daughter, Angela, was sent to live with relatives in Haifa. Lily became an actress and in 1917 married the actor Arnold Marlé. They subsequently adopted Angela. In July 1942 Mitzi was transported from Vienna to the Theresienstadt concentration camp. The following September she was transported to the Maly Trostinets extermination camp, near Minsk, where she was killed.


title: Freud family

text: Dolfi (Esther Adolfine Freud) did not marry and remained in the family home to care for her parents. In July 1942 Dolfi was transported from Vienna to the Theresienstadt concentration camp where she died of malnutrition on 29 September 1942.


title: Freud family

text: Pauli (Pauline Regine Winternitz-Freud) married Valentine Winternitz (1859–1900) and emigrated to the United States where their daughter Rose Beatrice (1896–1969) was born. After the death of her husband she and her daughter returned to Europe. Rose (known as Rosi) married Ernst Waldinger, a poet, in 1923. They moved to New York City after the war where a daughter, Ruth, was born. In July 1942 Pauli was transported from Vienna to the Theresienstadt concentration camp. The following September she was transported to the Maly Trostinets extermination camp, near Minsk, where she was killed.


title: Freud family

text: Alexander Freud married Sophie Sabine Schreiber (1878–1970). They fled the Nazi regime in Austria with their son, Harry (1909–1968), and emigrated to Canada. Harry subsequently emigrated to the United States where he married Leli Margaret Horn.


title: Freud family

text: Both Freud's half-brothers emigrated to Manchester, England, shortly before the rest of the Freud family moved to Vienna in 1860.


title: Freud family

text: Emanuel Freud married Maria Milow (1836–1923) in Freiberg where their first two children were born: John (b. 1856, disappeared pre-1919), the "inseparable playmate" of Freud's early childhood; and Pauline (1855–1944). Their other children were born in Manchester: Matilda (1862–1868), Harriet (1865–1868), Bertha (1866–1940), Henrietta (1866 infant death) and Soloman (1870–1945, known as Sam). None of the children married.


title: Freud family

text: Philipp Freud married Bloomah Frankel (b. 1845 Birmingham, d.1925 Manchester). There were two children: Pauline (1873–1951) who married Fred Hartwig (1881–1958); and Morris (b. 1875 Manchester, d.1938 Port Elizabeth, South Africa). The death of the childless Pauline in 1951 marked the end of the Manchester Freuds.


title: Freud family

text: Freud visited his half-brothers and their families in England twice, in 1875 while still a student, and again in 1908. He kept in touch through a regular correspondence with Sam Freud. They would eventually meet again in London in 1938.


title: Freud family

text: The systematic persecution of Jews by Nazi Germany and the ensuing Holocaust had a profound effect on the family. Four of Freud's five sisters were murdered in concentration camps: in 1942 Mitzi Freud (eighty-one) and Paula Winternitz (seventy-eight) were transported to Theresienstadt and taken from there to the Maly Trostinets extermination camp, near Minsk, where they were murdered. In 1943 Dolfi Freud died in Theresienstadt of internal bleeding, probably due to advanced starvation and Rosa Graf (eighty-two) was deported to Treblinka, where she was killed. Freud's brother, Alexander, escaped with his family to Switzerland shortly before the Anschluss and they subsequently emigrated to Canada. Freud's sons Oliver, a civil engineer, and Ernst Ludwig, an architect, lived and worked in Berlin until Hitler came to power in Germany in 1933 after which they fled with their families to France and England respectively. Oliver Freud and his wife later emigrated to the United States. Their daughter Eva Freud had remained in France and died there of an infection contracted during an abortion.


title: Freud family

text: Freud and his remaining family left Nazi-occupied Vienna in 1938 after Ernest Jones, the then President of the International Psychoanalytic Association, secured immigration permits for them to move to Britain. Permits were also secured for Freud's housekeeper and maid, his doctor, Max Schur and his family, as well as a number of Freud's colleagues and their families. Freud's grandson, Ernst Halberstadt, was the first to leave Vienna, initially for Paris, before going on to London where after the war he would adopt the name Ernest Freud and train as a psychoanalyst. Next to leave for Paris were Ernestine, Sophie and Walter Freud, the wife and children of Freud's eldest son, Martin. Walter joined his father in London. His mother and sister remained in France and subsequently emigrated to the United States. His maternal grandmother, Ida Drucker, was deported from Biarritz in 1942 and murdered in Auschwitz. Freud's sister-in-law, Minna Bernays, was the first to leave for London early in May 1938. She was followed by his son, Martin, on 14 May and then his daughter Mathilde and her husband, Robert Hollitscher, on 24 May. Freud, his wife and daughter, Anna, left Vienna on 4 June, accompanied by their household staff and a physician. Their arrival at Victoria Station, London on 6 June attracted widespread press coverage. Freud's Vienna consulting room was replicated in faithful detail in the new family home, 20 Maresfield Gardens in Hampstead, North London.


title: Freud family

text: After Sigmund Freud's death in 1939, Martha and Anna Freud made their home available to relatives and friends fleeing the Nazi occupation of Europe. In 1941, following the death of Martha's sister, Minna, Dorothy Burlingham (1891–1979) became a permanent member of the household. From their first meeting in Vienna in 1925, Anna and Dorothy developed “intimate relations that closely resembled those of lesbians”, although Anna “categorically denied the existence of a sexual relationship”. Dorothy had been a patient of Freud's and her four children, Bob, Mary (Mabbie), Katrina, and Michael, were among the first of Anna’s after she had begun her own psychoanalytic practice. During and after the war they collaborated in establishing the Hampstead War Nursery that provided therapy and residential care for children whose lives had been disrupted by the war. Their work laid the foundations for the post-war Hampstead Clinic (later renamed the Anna Freud National Centre for Children and Families).


title: Freud family

text: Martin and Walter Freud were both interned in 1940 as enemy aliens. Following a change in government policy on internment, both were subsequently recruited to the Pioneer Corps. After the war, denied recognition as a (Vienna-trained) lawyer by the British legal profession, Martin Freud ran a tobacconist shop in Bloomsbury. His autobiographical memoir of Freud family life in Vienna, "Glory Reflected", was published in 1952. Walter Freud was deported to an internment camp in New South Wales, Australia. On his return to England in 1941 he was recruited to the Pioneer Corps and subsequently to the SOE. In April 1945 he was parachuted behind enemy lines in Austria. Advised to change his name in case of capture, he refused, declaring : “I want the Germans to know a Freud is coming back”. He narrowly survived separation from his comrades and took the leading role in securing the surrender of the strategically important Zeltweg aerodrome in southern Austria. When the war ended he was assigned to war crimes investigation work in Germany. Given the fate of his great aunts and maternal grandmother at the hands of the Nazis, he was particularly pleased to help secure the prosecution of directors of the firm that supplied Zyklon B gas to the concentration camps, two of whom were executed for war crimes. In 1946, he left the army with the rank of major. The following year he was granted British citizenship and resumed a career as an industrial chemist.


title: Freud family

text: Retribution for the murder of his aunts was also a concern for Alexander Freud's son, Harry. He arrived in post-war Vienna as a U.S. army officer to investigate the circumstances of their deportation and helped track down and bring before the courts Anton Sauerwald, the Nazi commissar charged with the supervision of the Freuds’ assets. Sauerwald gained early release from prison in 1947 when, at the request of his wife, Anna Freud intervened on his behalf, revealing that he had, by concealing evidence of Freud's Swiss bank account, "used his office as our appointed commissar in such a manner as to protect my father".


title: Freud family

text: Ernst Freud and his three sons, Stephan, Clement and Lucian, were spared the ordeal of internment but only through the intervention of his father’s close friend and colleague Princess Marie Bonaparte. His numerous attempts to secure naturalisation status for the family since their arrival in the UK in 1933 had met without success and, with preparations for war in place, by 1939 the government had banned all German citizens from the process. Bonaparte was in London to visit his ailing father who advised her of the problem. She took advantage of her royal family connections to persuade her relative, Prince George, Duke of Kent, to intervene with the immigration authorities and this secured the prompt issue of naturalisation documentation in September 1939. Ernst's three sons served during the war, Stephan and Clement in the army, Lucian in the Merchant Navy. After the war Ernst resumed his architectural practice, Stephan worked in publishing, Lucian became well known as an artist, Clement as a broadcaster, journalist and MP.


title: Freud family

text: Sigmund Freud married Martha Bernays (1861–1951) in 1886. Martha was born in Hamburg, the daughter of Berman Bernays (1826–1879), a businessman, and Emmeline Philipp (1830–1910). Her grandfather, Isaac Bernays (1792–1849), was a Chief Rabbi of Hamburg. Two of her uncles were prominent academics: Jakob Bernays (1824–1881) was a professor of classics at the University of Bonn; Michael Bernays (1834–1897) was a professor of German literature at the University of Munich. In 1869, the Bernays family moved to Vienna where Berman Bernays became secretary to the economist Lorenz von Stein. After his sudden death in 1879, his post was taken over by his son Eli while Martha and her mother moved back to Hamburg. In 1883, Eli married Freud’s oldest sister Anna. Martha's sister, Minna Bernays (1865–1941), became a permanent member of the Freud household after the death of her fiancé in 1895.


title: Bulletproof (TV series)

text: Bulletproof is a British police procedural series, created by and starring Noel Clarke and Ashley Walters, that first broadcast on Sky One on 15 May 2018. Produced by Vertigo Films and Company Pictures, the series follows NCA detectives, and best friends, Aaron Bishop (Clarke) and Ronnie Pike Jr. (Walters), who investigate some of the country's most dangerous criminals, including traffickers, drug dealers and armed robbers, whilst being overseen by their boss Sarah Tanner (Lindsey Coulson).


title: Bulletproof (TV series)

text: The series was co-created and principally written by scriptwriter and director Nick Love, who was approached by Sky to work on the series following his work on the 2012 remake of "The Sweeney". Walters and Clarke commented to "Deadline Hollywood" that the series was inspired by films such as "Lethal Weapon" and "Bad Boys", quoting that "the humour and funny moments come from the relationships between the characters." The series' opening theme, "All Goes Wrong", was also personally chosen by Clarke and Walters. The complete series was released on DVD on 23 July 2018. Worldwide distribution is handled by Sky Vision.


title: Bulletproof (TV series)

text: On 19 June 2018, the day of the series one finale, a second series consisting of seven episodes was confirmed. Sky TV announced in December 2019 that the second series would air on 20 March 2020. Further, in August 2019 it was announced that a new three-part special would be broadcast in Autumn 2020. The special began airing on 20 January 2021, with all episodes released for on-demand viewing. It sees Bishop and Pike journeying to South Africa to investigate the country's criminal underworld.


title: Bulletproof (TV series)

text: On 15 January 2021, five days before the third series premiered, "Bulletproof" was renewed for a fourth series. The series was set to consist of eight episodes; filming had been scheduled to begin later in the year. However, following allegations against Clarke in late April 2021 of sexual misconduct and bullying, filming was suspended, and makers Vertigo said they would investigate whether any of the allegations related to their productions. In May 2021, the series was officially cancelled by Sky One.


title: Bulletproof (TV series)

text: Aaron Bishop (Noel Clarke) and Ronnie Pike (Ashley Walters) are childhood friends, albeit from very different backgrounds. Ronnie is from a high-achieving middle-class family with a history in the police, with his father now working as Director-General of the National Crime Agency. Bishop, however, grew up in foster homes and on the streets. Despite their differences, they retain a close fraternal bond and work together as detectives for the National Crime Agency in London, dealing with serious organised crime.


title: Bulletproof (TV series)

text: "Bulletproof" premiered in the US on The CW in August 2019. The series returned to the network for the second season in June 2020, and then the following year for the third season in March 2021. The series was pulled from the network's streaming and on-demand platforms on 30 April 2021 after the allegations against Clarke were revealed.


title: Bulletproof (TV series)

text: On 3 April 2020, Sky TV released "Bulletproof: The Interrogation", an interactive film in which Clarke and Walters reprise their roles from the original series. Created through Charisma.ai software, the viewer is able to interact with multiple characters through typing and using their microphone. The aim of the film is to try and prevent a captured serial killer from killing his next victim.


title: O. G. Mack

text: Omar Portee, also known as OG Mack (born c. 1969) is an American gang leader, known for founding the One Eight Trey Gangsters and United Blood Nation while serving time at Rikers Island.


title: O. G. Mack

text: In the early hours of August 16th, 1987, Portee claimed to have witnessed Don Taylor shoot and kill Terrance Joyner in Bronx, New York. Based on Portee's eyewitness testimony, Taylor was convicted on April 25, 1989 and sentenced to 22½ years to life. At the time of his original testimony, Portee was facing multiple charges in New York stemming from his arrest on August 31, 1987. Portee faced substantial prison time, 16⅔ to 50 years, if convicted. Instead, as part of a cooperation agreement, which included his testimony against Don Taylor in "People v Taylor", Portee was allowed to plead to two to six years for all charged crimes (two 1st-degree robbery convictions), received credit for 21 months' time served and was promised a favorable letter to the parole board. He started serving his sentence on June 9, 1989. He was released on June 20, 1990. Portee later recanted his prior testimony, and Taylor's conviction was vacated in 2004, whereupon Taylor was released from prison after having served over 10 years.


title: O. G. Mack

text: Portee and fellow inmate Leonard "OG Dead Eye" McKenzie established the United Blood Nation while incarcerated in 1993, which was responsible for spreading gang violence from Los Angeles to New York City. Portee was released from jail in 1999 and returned to the streets to build the Bloods into a powerful street gang.


title: O. G. Mack

text: Branches were created in different areas of the city, such as 1-8 Trey (The Bronx), 9 Trey Gangsters (citywide), Valentine Gang (The Bronx), Sex Money Murder (The Bronx), Grenade Gang (The Bronx), and G-Shine (Brooklyn). He was convicted of ten counts of criminal activity, including racketeering, murder, conspiracy, credit card fraud, and drug trafficking, on August 27, 2002. He was sentenced to 50 years and is currently incarcerated in ADX Florence in Fremont County, Colorado. In 2021, Portee was moved from ADX to United States Penitentiary, Florence High, in the ADX step-down program. As of January 2022, Portee is back at ADX.


title: Concentric zone model

text: The concentric zone model, also known as the Burgess model or the CCD model, is one of the earliest theoretical models to explain urban social structures. It was created by sociologist Ernest Burgess in 1925.


title: Concentric zone model

text: Based on human ecology theory done by Burgess and applied on Chicago, it was the first to give the explanation of distribution of social groups within urban areas. This concentric ring model depicts urban land usage in concentric rings: the Central Business District (or CBD) was in the middle of the model, and the city is expanded in rings with different land uses. It is effectively an urban version of Von Thünen's regional land use model developed a century earlier. It influenced the later development of Homer Hoyt's sector model (1939) and Harris and Ullman's multiple nuclei model (1945).


title: Concentric zone model

text: The model is more detailed than the traditional down-mid-uptown divide by which downtown is the CBD, uptown the affluent residential outer ring, and midtown in between.


title: Concentric zone model

text: Burgess's work helped generate the bid rent curve. This theory states that the concentric circles are based on the amount that people will pay for the land. This value is based on the profits that are obtainable from maintaining a business on that land. The center of the town will have the highest number of customers so it is profitable for retail activities. Manufacturing will pay slightly less for the land as they are only interested in the accessibility for workers, 'goods in' and 'goods out'. Residential land use will take the surrounding land.


title: Concentric zone model

text: The model has been challenged by many contemporary urban geographers. First, the model does not work well with cities outside the United States, in particular with those developed under different historical contexts. Even in the United States, because of changes such as advancement in transportation and information technology and transformation in global economy, cities are no longer organized with clear "zones" (see: Los Angeles School of Urban Analysis).


title: FN EVOLYS

text: The FN EVOLYS is a general purpose machine gun designed by FN Herstal, chambered for 5.56×45mm NATO and 7.62×51mm NATO ammunition. It is produced since 2021. The EVOLYS was designed to be lighter and more ergonomic than other machine guns, such as the FN Minimi.


title: FN EVOLYS

text: On 22 April 2021, FN Herstal created a teaser trailer, showcasing a new machine gun with the title "A New Chapter Begins". On May 6, FN Herstal released a 20 minute promotional video, discussing the new design, including its technical aspects, and revealing its name: the EVOLYS. In September 2021, the EVOLYS was first displayed to the public at the Defence and Security Equipment International trade show in London, and it began to enter pre-production the same month.


title: FN EVOLYS

text: The EVOLYS was designed from the ground up for use in urban warfare, which has become more common, and which holds specific requirements. Rather than taking the base of fire from a squad, the EVOLYS was designed to improve the amount of firepower that could be provided by a single soldier. It is select fire, with the option between semi-automatic and fully automatic fire modes. The EVOLYS uses a lateral feed mechanism with the belt at a 45° angle, and it is fully ambidextrous, with all its controls accessible on both its sides, and it can be loaded with one hand.