text:
Title: English English
Subject: Comparison of American and British English, Peterborough, Cockney, Speech Assessment Methods Phonetic Alphabet chart for English, Berwick-upon-Tweed, Jamaican English, Modern English, Glasgow patter, Korean won, Hawaiian Pidgin
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The English language in England refers to the English language as spoken in England. These forms of English are a subsection of British English, as spoken throughout the United Kingdom. Other terms used to refer to the English language as spoken in England include: English English,[1][2] Anglo-English,[3][4] and English in England.[5]
The related term "British English" has "all the ambiguities and tensions in the word "British" and as a result can be used and interpreted in two ways, more broadly or more narrowly, within a range of blurring and ambiguity"[6] but is usually reserved to describe the features common to English English, Welsh English, and Scottish English (England, Wales, and Scotland are the three traditional countries on the island of Great Britain; the main dialect of the fourth country of the United Kingdom, Northern Ireland, is Ulster English, which is generally considered a sub-dialect of Hiberno-English).
1 General features
2 Change over time
3 Southern England
4 South West England
5 East Anglia
5.1 Norfolk
6 Midlands
6.1 West Midlands
6.2 East Midlands
6.3 South-East Midlands
7 Northern England
7.1 Liverpool (Scouse)
7.2 Yorkshire
7.3 Teesside
7.4 Lancashire
7.5 Cumbria
7.6 North-East England
8 Examples of accents used by public figures
9 Radio and TV featuring regional English accents
There are many different accents and dialects throughout England and people are often very proud of their local accent or dialect. In fact, English Language itself implies the language spoken by only the English excluding the possibility of other regional variations. However, accents and dialects also highlight social class differences, rivalries, or other associated prejudices—as illustrated by George Bernard Shaw's comment:
The three largest recognisable dialect groups in England are Southern English dialects, Midlands English dialects and Northern English dialects. The most prominent isogloss is the foot–strut split, which runs roughly from mid-Shropshire (on the Welsh border) to south of Birmingham and then to The Wash. South of the isogloss, in the Midlands and Southern dialects, the Middle English phoneme /ʊ/ split into /ʌ/ (as in cut, strut) and /ʊ/ (put, foot); this change did not occur north of the isogloss.
The accent of English English best known to people outside the United Kingdom is that of Received Pronunciation (RP), though it is used by only a small minority of speakers in England. Until recently, RP was widely considered to be more typical of educated speakers than other accents. It was referred to by some as the Queen's (or King's) English, or even "BBC English" (because for many years of broadcasting it was rare to hear any other accent on the BBC). These terms, however, do not refer only to accent features but also to grammar and vocabulary, as explained in Received Pronunciation. Since the 1960s regional accents have become increasingly accepted in mainstream media, and are frequently heard on radio and television. RP is also sometimes called an "Oxford accent"; the Oxford English Dictionary gives RP pronunciations for each word, as do most other English dictionaries published in Britain.
Most native English speakers can tell the general region in England that a speaker comes from, and experts or locals may be able to narrow this down to within a few miles. Historically, such differences could be a major impediment to understanding between people from different areas. There are also many cases where a large city has a very different accent from the rural area around it (e.g. Bristol and Avon, Hull and the East Riding, Liverpool and Lancashire). But modern communications and mass media have reduced these differences in some parts of the country.[7][8] Speakers may also change their pronunciation and vocabulary, particularly towards Received Pronunciation and Standard English when in public.
British Isles varieties of English, including English English, are discussed in John C. Wells (1982). Some of the features of English English are that:
Most versions of this dialect have non-rhotic pronunciation, meaning that [r] is not pronounced in syllable coda position. Nonrhoticism is also found elsewhere in the English-speaking world, including in Australian English, New Zealand English, and South African English, as well as most nonnative varieties spoken throughout the Commonwealth of Nations.[9] Rhotic accents exist in the West Country, parts of Lancashire, the far north of England and in the town of Corby, both of which have a large Scottish influence on their speech.
As noted above, Northern versions of the dialect lack the foot–strut split, so that there is no distinction between /ʊ/ and /ʌ/, making put and putt homophones as /pʊt/.
In the Southern varieties, words like bath, cast, dance, fast, after, castle, grass etc. are pronounced with the long vowel found in calm (that is, [ɑː] or a similar vowel) while in the Midlands and Northern varieties they are pronounced with the same vowel as trap or cat, usually [a]. For more details see Trap–bath split. There are some areas of the West Country that use [aː] in both the TRAP and BATH sets. The Bristol area, although in the south of England, uses the short [a] in BATH.[10]
Many varieties undergo h-dropping, making harm and arm homophones. This is a feature of working-class accents across most of England, but was traditionally stigmatised (a fact the comedy musical My Fair Lady was quick to exploit) but less so now.[11] This was geographically widespread, but the linguist A.C.Gimson stated that it did not extend to the far north, nor to East Anglia, Essex, Wiltshire or Somerset.[12] In the past, working-class people were often unsure where an h ought to be pronounced, and, when attempting to speak "properly", would often preface any word that began with a vowel with an h (e.g. "henormous" instead of enormous, "hicicles" instead of icicles); this was referred to as the "hypercorrect h" in the Survey of English Dialects, and is also referenced in literature (e.g. the policeman in Danny the Champion of the World).
A glottal stop for intervocalic /t/ is now common amongst younger speakers across the country; it was originally confined to some areas of the south-east and East Anglia.
The distinction between /w/ and /hw/ in wine and whine is lost in most varieties, "wh" being pronounced consistently as /w/.
Most varieties have the horse–hoarse merger. However some northern accents retain the distinction, pronouncing pairs of words like for/four, horse/hoarse and morning/mourning differently.[13]
The consonant clusters /sj/, /zj/, and /lj/ in suit, Zeus, and lute are preserved by some.
Many Southern varieties have the bad–lad split, so that bad /bæːd/ and lad /læd/ do not rhyme.
In most of the eastern half of England, plurals and past participle endings which are pronounced /ɪz/ and /ɪd/ (with the vowel of kit) in RP may be pronounced with a schwa /ə/. This can be found as far north as Wakefield and as far south as Essex. This is unusual in being an east-west division in pronunciation when English dialects generally divide between north and south. Another east-west division involves the rhotic [r]; it can be heard in the speech of country folk (particularly the elder), more or less west of the course of the Roman era road known as Watling Street (the modern A5), which at one time divided King Alfred's Wessex and English Mercia from the Danish kingdoms in the east. The rhotic [r] is rarely found in the east.
Sporadically, miscellaneous items of generally obsolete vocabulary survive: come in the past tense rather than came; the use of thou and/or ye for you.
Change over time
There has been academic interest in dialects since the late 19th century. The main works are On Early English Pronunciation by A.J. Ellis, English Dialect Grammar by Joseph Wright, and the English Dialect Dictionary also by Joseph Wright. The Dialect Test was developed by Joseph Wright so he could hear the differences of the vowel sounds of a dialect by listening to different people reading the same short passage of text.
In the 1950s and 1960s the Survey of English Dialects was undertaken to preserve a record of the traditional spectrum of rural dialects that merged into each other. The traditional picture was that there would be a few changes in lexicon and pronunciation every couple of miles, but that there would be no sharp borders between completely different ways of speaking. Within a county, the accents of the different towns and villages would drift gradually so that residents of bordering areas sounded more similar to those in neighbouring counties.
Because of greater social mobility and the teaching of "Standard English" in secondary schools, this model is no longer very accurate. There are some English counties in which there is little change in accent/dialect, and people are more likely to categorise their accent by a region or county than by their town or village. As agriculture became less prominent, many rural dialects were lost. Some urban dialects have also declined; for example, traditional Bradford dialect is now quite rare in the city, and call centres have seen Bradford as a useful location for the very fact there is a lack of dialect in potential employees.[14][15] Some call centres state that they were attracted to Bradford because it has a regional accent which is relatively easy to understand.[16] But working in the opposite direction concentrations of migration may cause a town or area to develop its own accent. The two most famous examples are Liverpool and Corby. Liverpool's dialect is influenced heavily by Irish and Welsh, and it sounds completely different from surrounding areas of Lancashire. Corby's dialect is influenced heavily by Scots, and it sounds completely different from the rest of Northamptonshire. The Voices 2006 survey found that the various ethnic minorities that have settled in large populations in parts of Britain develop their own specific dialects. For example, many residents of east London, even if they are not from Bangladesh, may have a Bangladeshi influence on their accent so sometimes urban dialects are now just as easily identifiable as rural dialects. In the traditional view, urban speech was just seen as a watered-down version of that of the surrounding rural area. Historically, rural areas had much more stable demographics than urban areas, but there is now only a small difference. It has probably never been true since the Industrial Revolution caused an enormous influx to cities from rural areas.
Main article: British English in Southern England
In general, Southern English accents are distinguished from Northern English accents primarily by not using the short a in words such as "bath". In the south-east, the broad A is normally used before a /f/, /s/ or /θ/: words such as "cast" and "bath" are pronounced /kɑːst/, /bɑːθ/ rather than /kæst/, /bæθ/. This sometimes occurs before /nd/: it is used in "command" and "demand" but not in "brand" or "grand".
In the south-west, an /aː/ sound in used in these words but also in words that take /æ/ in RP; there is no trap–bath split but both are pronounced with an extended fronted vowel.[17] Bristol is an exception to the bath-broadening rule: it uses /a/ in the trap and bath sets, just as is the case in the North and the Midlands.[18]
Accents originally from the upper-class speech of the London–Oxford–Cambridge triangle are particularly notable as the basis for Received Pronunciation.
Southern English accents have three main historical influences:
The London accent, in particular, Cockney.
Received Pronunciation ('R.P.').
Southern rural accents, of which the West Country, Kent and East Anglian accents are examples.
Relatively recently, the first two have increasingly influenced southern accents outside London via social class mobility and the expansion of London. From some time during the 19th century, middle and upper-middle classes began to adopt affectations, including the RP accent, associated with the upper class. In the late 20th and 21st century other social changes, such as middle-class RP-speakers forming an increasing component of rural communities, have accentuated the spread of RP. The south-east coast accents traditionally have several features in common with the West country; for example, rhoticity and the a: sound in words such as bath, cast, etc. However, the younger generation in the area is more likely to be non-rhotic and use the London/East Anglian A: sound in bath.
After the Second World War, about one million Londoners were relocated to new and expanded towns throughout the south east, bringing with them their distinctive London accent (and possibly sowing the seed of Estuary English).
Main article: West Country dialects
The West Country dialects accents are the English dialects and accents used by much of the indigenous population of South West England, the area popularly known as the West Country.
This region encompasses Bristol, Cornwall, Devon, Dorset and Somerset, while Gloucestershire, Herefordshire and Wiltshire are usually also included, although the northern and eastern boundaries of the area are hard to define and sometimes even wider areas are encompassed. The West Country accent is said to reflect the pronunciation of the Anglo-Saxons far better than other modern English Dialects.
In the nearby counties of Berkshire, Oxfordshire, Hampshire and the Isle of Wight, it was possible to encounter comparable accents and, indeed, distinct local dialects until perhaps the 1960s. There is now limited use of such dialects amongst older people in local areas. Although natives of such locations, especially in western parts, can still have West Country influences in their speech, the increased mobility and urbanisation of the population have meant that local Berkshire, Oxfordshire, Hampshire and Isle of Wight dialects (as opposed to accents) are today essentially extinct.
Academically the regional variations are considered to be dialectal forms. The Survey of English Dialects captured manners of speech across the West Country that were just as different from Standard English as anything from the far North. Close proximity has completely different languages such as Cornish, which is a Celtic language related to Welsh, and more closely to Breton.
The Norfolk dialect is spoken in the traditional county of Norfolk and areas of north Suffolk. Famous speakers include Keith Skipper. The group FOND (Friends of Norfolk Dialect) was formed to record the county's dialect and to provide advice for TV companies using the dialect in productions.
East Anglian dialect is also spoken in areas of Cambridgeshire. It is characterised by the use of [ei] for /iː/ in FLEECE words.[19]
As in the North, Midlands accents generally do not use a broad A, so that cast is pronounced [kast] rather than the [kɑːst] pronunciation of most southern accents. The northern limit of the [ɑː] in many words crosses England from mid-Shropshire to The Wash, passing just south of Birmingham.
Midlands speech also generally uses the northern short U, so putt is pronounced the same as put. The southern limit of this pronunciation also crosses from mid-Shropshire to the Wash, but dipping further south to the northern part of Oxfordshire.
The West Midlands accent is often described as having a pronounced nasal quality, the East Midlands accent much less so.
Old and cold may be pronounced as "owd" and "cowd" (rhyming with "loud" in the West Midlands and "ode" in the East Midlands), and in the northern Midlands home can become "wom".
Whether Derbyshire should be classed as the West or East Midlands in terms of dialect is debatable. Stanley Ellis, a dialect expert, said in 1985 that it was more like the West Midlands, but it is often grouped with the East and is part of the region East Midlands.
Cheshire, although part of the North-West region, is usually grouped the Midlands for the purpose of accent and dialect.
The best known accents in the West Midlands area are the Birmingham accents (see "Brummie") and the Black Country accent (Yam Yam).
There is no Ng-coalescence. Cases of the spelling -ing are pronounced as [ɪŋɡ] rather than [ɪŋ]. Wells noted that there were no exceptions to this rule in Stoke-on-Trent, whereas there were for other areas with the [ɪŋɡ] pronunciation, such as Liverpool.[20]
Dialect verbs are used, for example am for are, ay for is not (related to ain't), bay for are not, bin for am or, emphatically, for are. Hence the following joke dialogue about bay windows: "What sort of windas am them?" "They'm bay windas." "Well if they bay windas wot bin them?". There is also humour to be derived from the shop-owner's sign of Mr. "E. A. Wright" (that is, "He ay [isn't] right," a phrase implying someone is saft [soft] in the jed [head]). Saft also may mean silly as in, "Stop bein' so saft".
The Birmingham and Coventry accents are distinct, even though the cities are only 19 miles/30 km apart. Coventry being closer to an East Midlands accent.
Around Stoke-on-Trent, the short i can sometimes sound rather like ee, as very obvious when hearing a local say it, however this is not always the case as most other words such as "miss" or "tip" are still pronounced as normal. The Potteries accent is perhaps the most distinctly 'northern' of the West Midlands accents, given that the urban area around Stoke-on-Trent is close to the Cheshire border.
Herefordshire and parts of Worcestershire and Shropshire have a rhotic accent somewhat like the West Country, and in some parts mixing with the Welsh accent, particularly when closer to the English/Welsh border.
East Midlands accents are generally non-rhotic, instead drawing out their vowels, resulting in the Midlands Drawl, which can to non-natives be mistaken for dry sarcasm.
The PRICE vowel has a very far back starting-point, and can be realised as [ɑɪ].[21]
Yod-dropping, as in East Anglia, can be found in some areas[where?], for example new as /nuː/, sounding like "noo".
The u vowel of words like strut is often [ʊ], with no distinction between putt and put. In Lincolnshire, such sounds are even shorter than in the North.
In Leicester, words with short vowels such as up and last have a northern pronunciation, whereas words with vowels such as down and road sound rather more like a south-eastern accent. The vowel sound at the end of words like border (and the name of the city) is also a distinctive feature.[22]
In north Nottinghamshire ee found in short words is pronounced as two syllables, for example feet being [ˈfijəʔ], sounding like "fee-yut" (and also in this case ending with a glottal stop).
Lincolnshire also has a marked north–south split in terms of accent. The north shares many features with Yorkshire, such as the open a sound in "car" and "park" or the replacement of take and make with tek and mek. The south of Lincolnshire is close to Received Pronunciation, although it still has a short Northern a in words such as bath.
Mixing of the words was and were when the other is used in Standard English.
In Northamptonshire, crossed by the North-South isogloss, residents of the north of the county have an accent similar to that of Leicestershire and those in the south an accent similar to rural Oxfordshire.
The town of Corby in northern Northamptonshire has an accent with some originally Scottish features, apparently due to immigration of Scottish steelworkers.[23] It is common in Corby for the GOAT set of words to be pronounced with /oː/. This pronunciation is used across Scotland and most of Northern England, but Corby is alone in the Midlands in using it.[24]
South-East Midlands
The traditional dialects of Bedfordshire, Huntingdonshire and south Northamptonshire are closer to Received Pronunciation than any other dialects in Britain. This is because the upper-class who migrated into London during the 15th century were mostly from the counties just north of London . However, there are still a number of differences between their dialects and R.P.:
This area traditionally used /aː/ in words where an was followed by /f/, /s/ or /θ/. Younger speakers in the area are more likely to use the R.P. /ɑː/.[25]
The isogloss for the vowel in cup, strut, such, etc. is another traditional north-south marker, but the isogloss is slightly further south for this. Much of the area uses /ʊ/. Some parts of this area, such as Peterborough, would use the southern pronunciation for "bath" but the northern pronunciation for "suck".[26]
The TRAP vowel (corresponding to RP /æ/) is realised as [a], as is the case in all of England except the south-east and East Anglia.[27]
In common with the south-east, the vowel in about, pound, sound, etc. may be [ɛʊ] rather than /aʊ/.[28]
It is common for residents of this area to pronounce the -shire in county names as /ʃɪə/ rather than the more common /ʃə/, which is used in the Oxford Dictionary.[29]
In some areas, an /ai/ can turn into an [oi] sound. For example, nineteen ninety-five would be said as noineteen noientee foive.
Main article: Northern English
There are several accent features which are common to most of the accents of northern England (Wells 1982, section 4.4).
Northern English tends not to have /ʌ/ (strut, but, etc.) as a separate vowel. Most words that have this vowel in RP are pronounced with /ʊ/ in Northern accents, so that put and putt are homophonous as [pʊt]. But some words with /ʊ/ in RP can have [uː] in the more conservative Northern accents, so that a pair like luck and look may be distinguished as /lʊk/ and /luːk/.
The accents of Northern England generally do not use a /ɑː/. so cast is pronounced [kast] rather than the [kɑːst] pronunciation of most southern accents. This pronunciation is found in the words that were affected by the trap–bath split.
For many speakers, the remaining instances of RP /ɑː/ instead becomes [aː]: for example, in the words palm, cart, start, tomato.
The vowel in dress, test, pet, etc. is slightly more open, transcribed by Wells as [ɛ] rather than [e].
The "short a" vowel of cat, trap is normally pronounced [a] rather than the [æ] found in traditional Received Pronunciation and in many forms of American English.
In most areas, the letter y on the end of words as in happy or city is pronounced [ɪ], like the i in bit, and not [i]. This was considered RP until the 1990s. The longer [i] is found in the far north and in the Merseyside area.
The phonemes /eɪ/ (as in face) and /oʊ/ (as in goat) are often pronounced as monophthongs (such as [eː] and [oː]). However, the quality of these vowels varies considerably across the region, and this is considered a greater indicator of a speaker's social class than the less stigmatised aspects listed above.
Some dialect words used across the North are listed in extended editions of the Oxford Dictionary with a marker "North England": for example, the words ginnell and snicket for specific types of alleyway, the word fettle for to organise, or the use of while to mean until. The best-known Northern words are nowt, owt and summat, which are included in most dictionaries. For more localised features, see the following sections.
The "present historical" is named after the speech of the region, but it is often used in many working class dialects in the south of England too. Instead of saying "I said to him", users of the rule would say, "I says to him". Instead of saying, "I went up there", they would say, "I goes up there.
In the far north of England, the local speech is indistinguishable from Scots. Wells said that northernmost Northumberland "though politically English is linguistically Scottish".[30]
Liverpool (Scouse)
Main article: Scouse
The Liverpool accent, known as Scouse colloquially, is quite different from the accent of surrounding Lancashire. This is because Liverpool has had many immigrants in recent centuries, particularly of Irish people. Irish influences on Scouse speech include the pronunciation of unstressed 'my' as 'me', and the pronunciation of 'th' sounds like 't' or 'd' (although they remain distinct as dental /t̪/ /d̪/). Other features include the pronunciation of non-initial /k/ as [x], and the pronunciation of 'r' as a tap /ɾ/.
Main article: Yorkshire dialect
Wuthering Heights is one of the few classic works of English literature to contain a substantial amount of dialect. Set in Haworth, the servant Joseph speaks in the traditional dialect of the area, which many modern readers struggle to understand. This dialect was still spoken around Haworth until the late 1970s, but there is now only a minority of it still in everyday use.[31] To hear this old dialect spoken it is necessary to attend a cattle market at Skipton, Otley, Settle or similar places where older farmers from deep in the dales can be heard speaking in what can be baffling dialect to many southerners.
The accents for Teesside are sometimes grouped with Yorkshire and sometimes grouped with the North-East of England, for they share characteristics with both. As this urban area grew in the early 20th century, there are fewer dialect words that date back to older forms of English; Teesside speak is the sort of modern dialect that Peter Trudgill identified in his "The Dialects of England". There is a Lower Tees Dialect group[32] A recent study found that most people from Middlesbrough do not consider their accent to be "Yorkshire", but that they are less hostile to being grouped with Yorkshire than to being grouped with the Geordie accent.[33] Some examples of traits that are shared with [most parts of] Yorkshire include:
H-dropping.
An /aː/ sound in words such as start, car, park, etc.
In common with the east coast of Yorkshire, words such as bird, first, nurse, etc. have an [ɛː] sound. It is difficult to represent this using the alphabet, but could be written bare-d, fare-st, nare-ss. [This vowel sound also occurs in Liverpool and Birkenhead].
Examples of traits shared with the North-East include:
Absence of definite article reduction.
Glottal stops for /k/, /p/ and /t/ can all occur.
The vowel in "goat" is an /oː/ sound, as is found in both Durham and rural North Yorkshire. In common with this area of the country, Middlesbrough is a non-rhotic accent.
Main article: Lancashire dialect and accent
Main article: Cumbrian dialect
People from the Furness peninsula in south Cumbria tend to have a more Lancashire-orientated accent, whilst the dialect of Barrow-in-Furness itself is a result of migration from the likes of Strathclyde and Tyneside. Barrow grew on the shipbuilding industry during the 19th and 20th centuries, and many families moved from these already well established shipbuilding towns to seek employment in Barrow.
North-East England
Dialects in this region are often known as Geordie or Mackem. The dialects across the region are broadly similar however some differences do exist. For example, with words ending -re/-er, such as culture and father, the end syllable is pronounced by a Newcastle native as a short 'a', such as in 'fat' and 'back', therefore producing "cultcha" and "fatha" for "culture" and "father" respectively. The Sunderland area would pronounce the syllable much more closely to that of other accents. Similarly, Geordies pronounce "make" in line with standard English: to rhyme with take. However, a Mackem would pronounce "make" to rhyme with "mack" or "tack" (hence the origin of the term Mackem). For other differences, see the respective articles. For an explanation of the traditional dialects of the mining areas of County Durham and Northumberland see Pitmatic.
A feature of the North East accent, shared with Scots and Irish English, is the pronunciation of the consonant cluster -lm in coda position. As an example, "film" is pronounced as "fillum". Another of these features which are shared with Scots is the use of the word 'Aye', pronounced like 'I', its meaning is yes.
Examples of accents used by public figures
Received Pronunciation (RP): The Queen's accent has changed slightly over the years but she still speaks a conservative form of RP.[34] Margaret Thatcher, Tony Benn and the Noël Coward films are examples of old-fashioned RP, whereas David Cameron, Boris Johnson, John Cleese and David Dimbleby are examples of contemporary RP.
Berkshire (a southern rural accent): poet Pam Ayres is from Stanford in the Vale, which belonged to Berkshire until the boundary changes of 1974; comedian Ricky Gervais is from Reading.
Birmingham (Brummie): the rock musician Ozzy Osbourne (although he sometimes Americanises his speech), Jasper Carrot and Rob Halford. See Brummie for more examples.
Bristol: Professor Colin Pillinger of the Beagle 2 project, comedy writer, actor, radio DJ and director Stephen Merchant. Presenter and Comedian Justin Lee Collins.
Coventry: the actor Clive Owen, in the films Sin City and King Arthur. Singer-songwriter Terry Hall, lead vocalist with The Specials.
Gloucestershire: Laurie Lee, ruralist
Hampshire (a southern rural accent): the late John Arlott, sports presenter and gardener Charlie Dimmock.
Hertfordshire: comedian and writer Robert Newman
Lancashire: comedian Peter Kay, McFly singer and guitarist Danny Jones and BBC Radio 1 DJ Vernon Kay as well as Bernard Wrigley have degrees of broad Bolton accents. The actress, Michelle Holmes, has a Rochdale accent, which is similar to the western fringe of Yorkshire and she has featured mostly in Yorkshire dramas. Julie Hesmondhalgh, Vicky Entwistle and Julia Haworth, actresses in the soap opera Coronation Street, have East Lancashire accents which have a slightly different intonation and rhythm and also feature clear rhoticity.
Leicester: The band Kasabian have Leicester accents.
London: listen to old recordings by Petula Clark, Julie Andrews, the Rolling Stones, and The Who (although many of these contain affected patterns). For a clear example, see actor Stanley Holloway (Eliza Doolittle's father in My Fair Lady), or footballer David Beckham.
Cockney: the actors Bob Hoskins, Michael Caine. Ray Winstone has quite an old-fashioned Cockney accent, and his replacement of an initial /r/ with a /w/ has been stigmatised. More examples can be heard in the movies Snatch and Lock, Stock, and Two Smoking Barrels. The Sex Pistols had Cockney accents, with Steve Jones having the strongest.
Mockney: used by Guy Ritchie and many musicians, it is a variant of the London regional accent characterised by a non-standard mixture of linguistic and social class characteristics.
West London: the journalist Janet Street Porter.
Estuary: athlete Sally Gunnell, the model Jordan (Katie Price).
Manchester: Oasis members Liam and Noel Gallagher, Herman's Hermits, actor Dominic Monaghan, broadcaster/podcaster Karl Pilkington.
Liverpool (Scouse): Liverpool footballers Steven Gerrard and Jamie Carragher are often cited as having particularly strong scouse accents. Recordings by The Beatles (George Harrison's accent was the strongest of the four), Gerry & The Pacemakers, Echo and the Bunnymen. Also the singer Cilla Black and the actors Craig Charles and Ricky Tomlinson. The British soap Brookside was set in Liverpool so the majority of the cast, including Philip Olivier and Jennifer Ellison, had scouse accents.
St Helens: Comedian Johnny Vegas. The comedy band the Lancashire Hotpots sing in a traditional rhotic St Helens accent.
The Wirral: Comedian and TV presenter Paul O'Grady alias Lily Savage is from Birkenhead, pop singer Pete Burns of Dead or Alive is from the model village Port Sunlight.
Salford: actor Christopher Eccleston, bands Happy Mondays and New Order.
Stoke-on-Trent or The Potteries: pop star Robbie Williams, TV presenter Anthea Turner, ex pop star and TV presenter Jonathan Wilkes has a strong Potteries accent.
Sunderland (Mackem): the accent of the rock group The Futureheads is easily detected on recordings and live performances and ex-footballer Chris Waddle.
Tyneside (Geordie): former Cabinet members Alan Milburn MP and Nick Brown MP, the actors Robson Green and Tim Healy, the footballer Alan Shearer, actor and singer Jimmy Nail, rock singer Brian Johnson, television personalities Ant and Dec, Donna Air, Jayne Middlemiss. Singer Cheryl Cole of Girls Aloud fame has a strong Newcastle accent.
West Country: The Vicar of Dibley was set in Oxfordshire, and many of the characters had West Country accents.
West Midlands: Phil Drabble, presenter of One Man and His Dog.
Yorkshire:
Barnsley: in the 1969 film Kes, the lead characters, David Bradley and Freddie Fletcher, both have very broad Barnsley accents, which are less likely to be heard nowadays. Coronation Street actress Katherine Kelly, Sam Nixon from Pop Idol 2003, Top of the Pops Saturday and Reloaded and Level Up also has a Barnsley accent. Also, chat show host Michael Parkinson and ex-union leader Arthur Scargill have slightly reduced Barnsley accents.
Bradford: singers Gareth Gates, Zayn Malik of One Direction and Kimberley Walsh of Girls Aloud. In Rita, Sue and Bob Too, Bob has a Bradford accent whilst Rita and Sue sound more like Lancashire.
Hemsworth: cricketer Geoffrey Boycott has an accent similar to those found in many old coal-mining towns
Holme Valley: Actors Peter Sallis and Bill Owen of Last of the Summer Wine and Sallis in Wallace and Gromit (although Sallis himself is a Londoner)
Leeds: Melanie Brown of the Spice Girls and Beverley Callard who plays Liz McDonald in Coronation Street, singer Corinne Bailey Rae, the band Kaiser Chiefs, model Nell McAndrew, actress Angela Griffin, Radio DJ Chris Moyles, Comedian Leigh Francis alias Keith Lemon
Wakefield, singer and actress Jane McDonald, Hollyoaks actress Claire Cooper, actor Reece Dinsdale, Coronation Street Helen Worth, the band the Cribs
Scarborough: the film Little Voice
Sheffield: Sean Bean, the band Pulp. The film The Full Monty, the band Arctic Monkeys
Radio and TV featuring regional English accents
The Archers has had characters with a variety of different West Country accents (see Mummerset).
The shows of Ian La Frenais and Dick Clement have often included a variety of regional accents, the most notable being Auf Wiedersehen Pet about Geordie men in Germany. Porridge featured London and Cumberland accents, and The Likely Lads featured north east England.
The programmes of Carla Lane such as The Liver Birds and Bread featured Scouse accents.
In the 2005 version of the science fiction programme Doctor Who, various Londoners wonder that if the Doctor (played by Christopher Eccleston) is an alien, why does he sound as if he comes from the North? (Eccleston used his own Salford accent in the role; the usual response is "Lots of planets have a North!") Other accents in the same series include Cockney (used by actress Billie Piper) and Estuary (used by actress Catherine Tate).
A television reality programme Rock School was set in Suffolk in its second series, providing lots of examples of the Suffolk dialect.
Languages in the United Kingdom
Regional accents of English speakers
American and British English differences
Peters, Pam (2004). The Cambridge Guide to English Usage. Cambridge: Cambridge University Press. ISBN 0-521-62181-X.
McArthur, Tom (2002). Oxford Guide to World English. Oxford: Oxford University Press. ISBN 0-19-866248-3 hardback, ISBN 0-19-860771-7 paperback.
Trask, Larry (1999). Language: The Basics, 2nd edition. London: Routledge. ISBN 0-415-20089-X.
Trudgill, Peter (1984). Language in the British Isles. Cambridge, Cambridge University Press. ISBN 0-521-28409-0.
Trudgill, Peter and Jean Hannah. (2002). International English: A Guide to the Varieties of Standard English, 4th ed. London: Arnold. ISBN 0-340-80834-9.
Wells, J. C. (1982). Accents of English 2: The British Isles. Cambridge: Cambridge University Press. ISBN 0-521-28540-2.
Partridge, A. C. (1969). Tudor to Augustan English: a Study in Syntax and Style, from Caxton to Johnson, in series, The Language Library. London: A. Deutsch. 242 p. SBN 233-96092-9
IANA language tag for eng-GB-oed
British National Corpus. (Official website for the BNC.)
Collect Britain website.
Online British English and American English pronunciation courses
European Commission English Style Guide PDF (621 KB). (Advocates -ise spellings.)
For the Yorkshire dialect, see http://www.yorksj.ac.uk/dialect/
Dialects and accents of Modern English by continent
Brummie
Cumbrian
Kentish
Mackem
Mockney
Mummerset (mocking)
Multicultural London
Pitmatic
Received Pronunciation
Scottish (Highland)
Welsh (Cardiff)
Mid-Ulster
Gibraltarian
African American Vernacular
Baltimorese
Central Pennsylvania
Chicano
English in Puerto Rico
Inland Northern American
New York Latino English
North–Central American
Northeast Pennsylvania
Southern American
Yeshivish
Maritimer
Ottawa Valley Twang
West-Central Canadian
and Oceania
Broad Australian
Variation in Australian English
Torres Strait
South Australian
Fijian English
Comparison of American and British English
British English, American English, South African English, American Civil War, University of Cambridge
Wayback Machine, Digital object identifier, Cambridgeshire, East of England, Northamptonshire
London, Whitechapel, Scottish English, Bbc, South East England
Northumberland, London, North East England, East Coast Main Line, England


text:
Q: Calculating probabilities of independent events Let $H_1, H_2$ be two independent coin tosses with $P(H_1) = P(H_2) = \frac12.$
Suppose I want to calculate $P(HT).$
Would what I did below make sense?
$P(H_1) = P(H_1)P(H_2|H_1) + P(T)P(H_1|T)  = P(H_1)P(H_2) + P(T)P(H_1) =  \frac12$ and so $P(T)P(H_1)  = \frac14$ since $P(H_1)P(H_2) = \frac14$ because $H_1, H_2$ are independent.
I am just trying to get a feel for doing problems like this.

A: Do you mean to find the probability of obtaining heads in the first trial and tails in the second trial? If so, I would write that as $ P(H_1,T_2) $. Since $ H_1 $ and $ T_2 $ are independent, then:
$ P(H_1,T_2) = P(H_1) \times P(T_2) =  \frac{1}{2}\big(1-\frac{1}{2}\big) = \frac{1}{2} \times \frac{1}{2} = \frac{1}{4}$.

redpajama_set_name: RedPajamaStackExchange


text:
ITU Launches All-New TriathlonLive Streaming Platform Ahead Of WTS Season
Ahead of the first World Triathlon Series event of the season, WTS Abu Dhabi on 8 March, ITU unveils its new-look on demand platform TriathlonLive.tv with over 40 live events already scheduled for 2019.
Since broadcasting its first live race in 2009, TriathlonLive.tv has become the home of on-demand world triathlon, live streaming every stop of the World Triathlon Series and providing fans around the world with exclusive content and interviews with the biggest names in the sport. As the most prestigious series in the triathlon calendar enters its second decade of existence, the platform has been overhauled to provide users a more complete experience and even more live coverage than ever, as well as a brand new mobile app to help keep all the action at subscribers' fingertips, wherever they are in the world.
"Across the past ten years of the World Triathlon Series, ITU and its partners have been developing our live offering to provide the most complete and in-depth coverage of the races possible," said ITU President and IOC member, Marisol Casado. "The relaunch of the TriathlonLive.tv platform, with Texaco Havoline as our first official OTT Digital Partner, brings the front-end user experience right up to date in line with the progress we have made with the broadcasts. In conjunction with our long-term digital media partners Infront, we will be expanding our coverage at each event and bringing more live races, including ITU World Cups, the World Paratriathlon Series, Multisport World Championships and many more, including races not organized by ITU like the SuperLeague or the Isklar Norseman Xtreme Triathlon, to provide even more entertainment for our users."
For the past six months, ITU has been working closely with Infront to expand its coverage and provide a more complete package to subscribers. The new platform allows users instant access to ITU's biggest live events, which will see an exclusive new 30-minute show before and after all WTS races being launched for the 2019 season.
"Triathlon is enjoying an unprecedented period of growth and popularity and, in conjunction with the ITU, we have developed a service that really reflects that," said Infront Vice President of Summer Sports Julien Ternisien. "This is a fresh approach that takes the pure entertainment of live racing and combines it with content that has a broad appeal for triathlon newcomers and experienced athletes alike."
The vast archive of content includes interviews with athletes and coaches, tips from the pros, a section on development and the ASICS World Triathlon Team's journey to the Olympic Games and a comprehensive library of highlights from the past 20 years of triathlon racing.
Alongside the seven WTS races and World Triathlon Grand Final Lausanne, subscribers will be able to watch all the action from the Tokyo Olympic Qualification Event, the Mixed Relay World Series and Paratriathlon World Series, as well as numerous ITU World and Continental Cups, Winter Triathlon and Super League or Isklar Norseman Xtreme Triathlon events from around the globe.
The new platform is also available as an app for Apple iOS & tvOS, for Android, Android TV, Amazon Fire and Roku, available shortly for download in all stores.
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redpajama_set_name: RedPajamaCommonCrawl


CRM Real Estate Investing Software, Solutions - Defined Ventures, Inc.
Customizable solutions for real estate investors.
Investing in real estate can be remarkably profitable – but it takes real work. In order to experience success, you have to stay organized, on the ball, and ready to jump on last-minute opportunities before other investors get to them. Between reaching out to leads, organizing legal sales and buying processes, and growing your business, running your real estate investment business can be hectic.
CRM real estate investing software takes the pain out of running your investment business by streamlining your access to critical software platforms.
Free up time to close deals and organize your business by using Podio to manage your leads. We set you up with a customized lead management CRM that is tailored to your business, your team, and your workflow. Automate time-consuming activities like creating and delegating tasks, follow-ups, and pulling reports, while staying in contact with your team. No more searching for scattered data and contacts – now you can run every facet of your business all in one place.
Combining the powers of Panda Doc and Podio means you can sign, send, and automatically attach documents to individual sellers and buyers.
Track which agent is the most effective at converting leads, as well as how much time is being spent on each lead.
By connecting Podio with MailChimp, you can send, manage, and monitor your newsletters and updates, as well as set up automatic status emails as your lead moves through the process.
Improved communication, monitoring, and automated follow-ups.
At Defined Ventures, we develop ever CRM software for real estate investors with one thing in mind: your efficiency and quality of life at work. Each platform is packed with feature-rich benefits designed to let you automate, streamline, organize, arrange, assign, and analyze your most critical data in seconds. Unlike off-the-shelf, cookie cutter CRMs, our software for real estate investors is unique. Every feature provides next-level abilities, tailor-made to best suit industry-specific needs and requirements.
That's what makes our CRM platforms so special.
Automate tasks, monitor agent-related duties, create to-do lists, and plan ahead for anticipated workloads.
At Defined Ventures, we know the real estate industry and busy investors often are throughout the year. Your focus is on finding leads, sealing the deal, and moving on to the next potential investment. Our focus is on finding ways to help you do that while also trimming back on time and effort investment.
With our CRM real estate investing software, task automation factors like to-do lists, assigned tasks in multi-investor firms, and task forecasting is easier than ever. You can add, remove, assign, manage, and move tasks around in seconds. Naturally, it's easier to stay ahead of the pack because you can plan out your days, weeks, months, and even years, especially compared to manual spreadsheeting and tracking.
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Declutter and organize all your paperwork.
One of the biggest time-wasters in the real estate industry is paperwork. Despite the fact that we're slowly moving to computerized systems, many states and cities still require paper contracts, receipts, and deeds for real estate sales and purchases. Add to this the need to keep thorough records for the IRA and clients – it's a significant amount of paper to file, organize, and keep for up to seven years.
If you're blogging, communicating with clients, sending out memos, reaching out to clients via snail mail, or even sending out promos, you may even have paperwork on file for these activities, too. Being able to access what you need quickly and easily from anywhere? That makes much more sense.
Stop searching through endless emails, Google Drive, text messages, and phone calls to find what you're looking for. Integrate a documentation management platform, like Panda Doc, to easily send, sign, and attach ALL client documentation to their Podio profile. Now you can keep your client profiles comprehensive and detailed. Your employees will thank you!
Customizable dashboards for enhanced performance data visualization.
Investing is all about maximizing your profit, no matter what industry you invest in. In order to make your investments succeed, you need to be able to see months worth of data and visualize it for better digestion. Many investors turn to innovative forecasting tools that map out factors like local market statistics, year-end sales, current real estate trends, and even client or lead lists. We can help you integrate those tools into your CRM software for real estate investors.
By integrating a stunning reporting software, like Tableau, to your Podio system, you can see up-to-date reporting on a daily, weekly, or monthly basis. Because Tableau and Podio are so customizable, you can collect data within Podio – across several departments – to gather a comprehensive view of your return on investments. From daily views to yearly projections, you'll be able to make informed decisions with easy-to-read data.
Because our CRM software for real estate investors is so well-suited to the industry, you'll find it easier than ever to track your ROI. Enjoy increased confidence in your strategy and make adjustments faster than ever when they're needed. The evidence of your success will always remain just a click away.
Maintain good customer record keeping.
To an outsider or layperson, it might seem strange for a real estate investor to be concerned about client support. At Defined Ventures, we know better.
Your clients are your leads, and without your leads, your business can't succeed. By ensuring that you're always responsive and on top of their needs, you're much more likely to close the deal.
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Program your own rules for sending follow-up emails after completing particular tasks and items so no one gets lost.
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Collect all texts, emails, and touch points in one place; view previous communication and stop spending time searching endlessly for an email!
The road to getting your business organized begins with filling out our contact form. If you are unsure about any of the fields, that's okay! We just want to get a general idea of your business' wants and needs.
After we receive your contact information, our Software Engineer Team will reach out to you with any further questions or clarifications.
In our onboarding call, we'll show you a demo of our base template, plus additional integrations and add-on features. This is where we can assess your business needs and customize your CRM to fit.
The main goal of our onboarding call is to determine which features best suit your business. We'll go over workflow, employee roles, and goals.
It only takes us five business days to connect your customized system. We'll meet again to make sure it's exactly to your specifications. We then turn it over to you and your team for bug test and approval.
We recommend allowing for two weeks of employee training and implementation. We will be available if you have any questions.
We are a team of business consultants, software engineers, and designers, that help stressed-out businesses strategize, streamline operations, and automate processes.


text:
Stephen Edwards ist der Name folgender Personen:

* Stephen Edwards (Cricketspieler) (* 1951), britischer Cricketspieler
 Stephen Edwards (Komponist) (* 1962), US-amerikanischer Filmkomponist
 Stephen Edwards (Skirennläufer) (* 1969), britischer Skirennläufer

Siehe auch:
 Steven Edwards

redpajama_set_name: RedPajamaWikipedia


text:
Q: ¿Cómo hacer búsquedas con combianción de palabras en varias tablas? Tengo en el controlador la consulta y los JOINS:
public function index(Request $request)
{

    $search = $request->get('search');

    $accommodations = Accommodation::search($request->search)
                    ->join("cities","cities.id","=","accommodations.city_id")
                    ->join("regions","regions.id","=","cities.region_id")
                    ->join("provinces","provinces.id","=","cities.province_id")
                    ->join("users","users.id","=","accommodations.user_id")
                    ->paginate(12);

    return view('admin/accommodations/index', compact('accommodations'));

}

Luego el Query Scope:
public function scopeSearch($query, $search)
{
    if (trim($search) != "")
        return $query->where(DB::raw("CONCAT(title, ' ', street, ' ', city, ' ', first_name, ' ', last_name, ' ', price, ' ', province, ' ', region)"), "LIKE", "%$search%");
}

Las búsquedas me funcionan bien, mientras consulto individualmente, ejemplo: Miramar, San Isidro, etc... Los busca en el campo City
O sí busco: La provincia, por alguna palabra que componga el titulo por precio, etc... Individualmente, pero necesito poder escribir: Posadas en Miramar y que me haga la búsqueda de coincidencias en ambos campos, city y title
¿Cómo podría lograrlo?
PD: en un cuadro de texto (Input) llamado search obtengo lo que el usuario escribe, y en base a ello se realiza la búsqueda.
------------------ Editado --------------------
Modifiqué mi scope y me funciona pero las palabras deben ser precisas para que encuentre los resultados (tal como están en la base de datos), si está en sigular la palabra en la BD la encuentra de esa manera, pero no en plural, además con oraciones como: posada en miramar (funciona) pero con: posada en buenos aires (no) usando el "EN" con más de dos palabras posteriores no funciona, probé con "orWhere" pero no lo soluciona.
Scope:
public function scopeSearch($query, $find)
{
    $search = explode(" ", $find);
    $total = count($search);

        $array = array();
        for($i=0; $i<$total; $i++ ) {

         $array = $query->where(DB::raw("CONCAT(title, ' ', street, ' ', city, ' ', first_name, ' ', last_name, ' ', price, ' ', province, ' ', region)"), "LIKE", "%$search[$i]%");

        }

        return $array;

}

A: Tal vez, una buena forma de abordar esto sería agregando los filtros directamente sobre tu query. Por ejemplo:
public function index(Request $request)
{

   $search = $request->get('search');
   $accommodations = Accommodation::search($request->search)
                ->join("cities","cities.id","=","accommodations.city_id")
                ->join("regions","regions.id","=","cities.region_id")
                ->join("provinces","provinces.id","=","cities.province_id")
                ->join("users","users.id","=","accommodations.user_id");

   if($search) {
       $accommodations = $accommodations
                  ->where('nombre_tabla.city', 'like', $search)
                  ->orWhere('nombre_tabla.title', 'like', $search);

   }

   $accommodations = $accommodations->get()->paginate(12);

   return view('admin/accommodations/index', compact('accommodations'));

}

Esta forma de hacerlo creo que hace el código más claro y manejable. Si no le envías parámetros de búsqueda trabajara sobre todos los registros, pero si le mandas los parámetros de búsqueda será mucho más eficiente. Debes considerar que buscar sobre concatenaciones es es más costoso, y al manejar un alto volumen de datos puede volverse inmantenible.
De esta forma también podrías ir añadiendo nuevos criterios de búsqueda de manera más simple e intuitiva.
Esto dará resultados mucho mejores si los campos city y title (y todos aquellos sobre los que quieras buscar) están indexados en la base de datos.
Espero aportar

A: Volví a leer tu problema y creo que se me ocurrió una forma para abordarlo.
Primero que todo te cuento lo que entendí. Una persona va a buscar una frase, pero de esa frase hay palabras que pertenecen a un campo en la base de datos, y otras palabras a otro campo. Si es así, la única solución que veo es que separes las palabras de la frase de búsqueda.
Por ejemplo:
$palabras_search = explode(" ", $search);

Entonces podrías iterarlas con un foreach y por cada palabra ir agregando los filtros where/orWhere para ver si existen en una u otra columna.
Claro, para que funcione, cada iteración en sí misma debe ser un "OR", porque podrán poner palabras que no estén. Me explico: Si yo busco,por ejemplo, "Restaurant en Ciudad1" el campo title podría contener la palabra "Restaurant" y el campo city podría contener la palabra "Ciudad1" pero la palabra "en", que es un mero conector, no estará en ninguno, de modo que debiera ser un OR, cosa que si no pilla esa palabra, que simplemente se pase por alto dicho filtro.
Honestamente, no estoy seguro si la tecnología utilizada es la mejor para ese tipo de problemas. Si puedes, es mejor que se filtre por ciudad y aparte por título de la búsqueda.
Espero aportar

A: En base a la edición de tu pregunta se me ocurre que puedes hacer esto:
public function scopeSearch($query, $find)
{
    $search = explode(" ", $find);
    $total = count($search);

    $array = array();
    for($i=0; $i<$total; $i++ ) {
         if( $i == 0 ) {
              $array = $query->where(DB::raw("CONCAT(title, ' ', street, ' ', city, ' ', first_name, ' ', last_name, ' ', price, ' ', province, ' ', region)"), "LIKE", "%$search[$i]%");
          } else {
              $array = $array->orWhere(DB::raw("CONCAT(title, ' ', street, ' ', city, ' ', first_name, ' ', last_name, ' ', price, ' ', province, ' ', region)"), "LIKE", "%$search[$i]%");
          }

    }

    return $array;

}

Es un poco difícil sin probarlo pero mi idea consiste en lo siguiente:
1) Primero creamos un filtro que será el básico
2) Todos los demás filtros van con un orWhere
Lo que no estoy completamente seguro es si se están concatenando bien los where pero siempre puedes comprobar la query que te está generando con:
$query->toSql();


A definition of the term "Sister Mary Joseph nodule" is presented. It refers to a hard, periumbilical lymph node, sometimes present when pelvic or gastrointestinal tumors have metastasized.
A definition of the medical term "periosteoma" is presented. It refers to an abnormal growth surrounding a bone. It also refers to a tumor of the periosteum, the tissue surrounding a bone. The definition is from the "Taber's Cyclopedic Medical Dictionary," published by F.A. Davis Co.
A definition of the medical term "periostoma " is presented. It refers to a bony neoplasm around a bone or arising from its membranous sheath. The definition is from the "Taber's Cyclopedic Medical Dictionary," published by F.A. Davis Co.
A definition of the term "staging" is presented. It refers to a process in which tumors, particularly malignant tumors, are classified with reference to their degree of differentiation, their potential for responding to therapy, and to the prognosis of patient.
A definition of the term "terminal duct lobular unit" is presented. It refers to the blind ending of the lactiferous duct containing the lobule and its duct. From this unit, most benign and malignant breast lesions arise.
A definition of the term "thecoma," is presented. It means a spindle-cell tumor of the ovary which occur during or after menopause. One can get elevated serum tumor markers, adhesions to neighboring structures, or ascites.
A definition of the term "varicoblepharon" is presented. The term refers to varicose tumor of the eyelid.
A definition of the term "villoma" is presented. It refers to a villous tumor.
A definition of the term "VIPoma" is presented. It refers to a rare form of neuroendocrine tumor that causes watery diarrhea, hypokalemia, and achlorhydria as a result of the release of vasoactive intestinal peptide.


text:
Intro date: 2/22/2017 Current Controlling Legislative Body: Committee on Transportation and Public Way
Title: Grant(s) of privilege in public way for Paulina Super Market, Inc.
Sponsors: Moore, Joseph
Attachments: 1. O2017-1352.pdf
3/23/2017 Committee on Transportation and Public Way Recommended to Pass Pass Action details Meeting details Not available
PAULINA SUPER MARKET INC Acct. No. 3286 - 1 Permit No. 1126033
Be It Ordained by the City Council ofthe City of Chicago:
SECTION 1. Permission and authority are hereby given and granted to PAULINA SUPER MARKET INC, upon the terms and subject to the conditions of this ordinance to maintain and use, as now constructed, four (4) Light Fixture(s) projecting over the public right-of-way adjacent to its premises known as 7622 N. Paulina St
Said Light Fixture(s) at N. Paulina Street measure(s):
Four (4) at three (3) feet in length, one (1) foot in width and fifteen (15) feet above grade level.
The location of said privilege shall be as shown on prints kept on file with the Department of Business Affairs and Consumer Protection and the Office of the City Clerk.
Said privilege shall be constructed in accordance with plans and specifications approved by the Department of Transportation (Division of Project Development).
This grant of privilege in the public way shall be subject to the provisions of Section 10-28-015 and all other required provisions of the Municipal Code of Chicago.
The grantee shall pay to the City of Chicago as compensation forthe privilege #1126033 herein granted the sum of ninety ($90.00) per annum in advance.
A 25% penalty will be added for payments received after due date.
The permit holder agrees to hold the City of Chicago harmless for any damage, relocation or replacement costs associated with damage, relocation or removal of private property caused by the City performing work in the public way.
Authority herein given and granted for a period of five (5) years from and after Date of Passage.
, Small Business Center - Public Way Use Unit
City Hall - 121 N. LaSalle Street, Room 800 • Chicago, IL 60602 312-74-GOBIZ/312-744-6249 • (312) 744-1944 (TTY) hUp://\vww.cilvofchicago ora/bacp
Alderman Joe Moore Ward # 49 City of Chicago City Hall, Roo...


From the 1950s to the 1970s, the histories and criticism of modern and contemporary Chinese literature published in mainland China ignored Eileen Chang. In other words, for thirty years in the second half of the twentieth century, Eileen Chang was thrown into the dustbin of history. In addition to Eileen Chang, writers such as Hu Shi, Zhou Zuoren, Shen Congwen, and Qian Zhongshu were also thrown into the dustbin of history. What C. T. Hsia's A History of Modern Chinese Fiction managed to achieve was to rediscover some writers ignored by autocratic power and ideology. As it reintroduced these writers to the public and restored their reputation in the history of modern Chinese literature, it ushered in a new phase in the study of modern Chinese literature.
In his book, C. T. Hsia praises Eileen Chang without any reservation. While describing the achievements Eileen Chang made in her fiction, he helps Chinese and foreign readers recognize her as a literary genius. This feat in the study of modern Chinese literature proves that critics and literary historians should not try to catch up with the latest fashion or repeat their predecessors' conclusions all the time. Neither should they just write biographies and explications of well-known and well-studied writers or simply reshuffle the rankings of these writers. Instead, they should use their own knowledge and taste to discover truly valuable writers and works, especially those unusual writers and works ignored in contemporary times, and explain their achievements and significance. As for those well-studied writers, they should come up with their own objective evaluations rather than simply sing their praises. C. T. Hsia deserves our admiration not only because he has rediscovered writers such as Eileen Chang and Shen Congwen, but also because he has offered an entirely personal approach to the study of modern Chinese fiction.
Although many of C. T. Hsia's comments on Eileen Chang are remarkable, some of his statements still leave room for further discussion. For example, he is certainly right to point out that artistically Eileen Chang's short stories (in his opinion Eileen Chang's representative works "The Golden Cangue" and "Love in a Fallen City" are short stories, not novellas) are characterized by "rich imagery" and "profound exploration of human nature," but his discussion of historical awareness and moral concern as the two features of the spiritual content of Eileen Chang's short stories is not quite accurate. As a matter of fact, some of Eileen Chang's novels and novellas, including "Xiao Ai," Rice-sprout Song and Love in Redland, are characterized by historical awareness and moral concern. In contrast, her best works "The Golden Cangue" and "Love in a Fallen City" transcend historical awareness and moral judgment, which is precisely what makes these works such remarkable masterpieces.
But in contrast to the world of stable moral standards and feminine fashions of the latter novel [Dream of the Red Chamber], Eileen Chang deals with a society in transition, where the only constants are the egoism in every bosom and the complementary flicker of love and compassion. Her imagery, therefore, not only embraces a wider range of elegance and sordidness but has to suggest the persistence of the past in the present, the continuity of Chinese modes of behavior in apparently changing material circumstances. In that respect her imagery has a strong historical awareness (396).
She is little tempted to follow the dazzling fashions of present-day Western fiction–to pursue, for example, stream of consciousness to the neglect of weightier moral concerns (397).
Miss Chang does not profess high-minded ideals, but this does not mean that her moral passion is in any way less intense than that of the professed didacticist. On the contrary, her registration of the inescapable pettiness and sadness of human endeavor is nearly always morally disturbing precisely because, given the human condition, she refrains from overt gestures of indignation or protest. A profound pessimist, she can afford at the same time to be a gay satirist, a good-natured critic of urban manners (414).
In this century, Eileen Chang is one of the few philosophical writers to ponder deeply over abstract issues. Consequently, her works are permeated with a profound pessimistic feeling about life and the world. As a writer she is in possession of a unique perception. She sees a wilderness where other people see civilization, the powerlessness of human emotion where other people see emotional strength and possibilities where other people see impossibilities. "Love in a Fallen City" tells us that, instead of making progress, the world is gradually entering a desolate wilderness. Human beings, who dominate the world, are selfish and their behavior is controlled by endless desires that corrupt human nature and cause the collapse of love. These desire will continue to exist until time has run its course and the world has come to its end. Only then can humankind rediscover love and revive the innocence in human nature. What "Love in a Fallen City" shows is precisely how war, which pushes the world to its end, salvages love. Eileen Chang is pessimistic about life, human civilization and the world. To her everything in reality–successes, failures, glories, and humiliations–will turn into nothingness and death in the end. So only nothingness and death are real. Thinking about the vast span between the remote past and the distant future without being able to find a true companion in an endless universe, she cannot help feeling sad and tearful. Her works are shot through with a feeling of desolation and this feeling of desolation is uniquely premised on her pessimistic view of human civilization and human nature. What gives rise to her pessimistic view is a discovery she makes in life about a tragic paradox humankind faces: humankind creates civilization to escape from the wilderness, yet the desires stimulated by civilization push humankind toward another wilderness. Human beings strive to get freedom, but they can never reach this goal. As hostages to the world and to their own desires, they resemble those birds and butterflies painted on screens, for which imprisonment and death are only too real and who fly only in viewers' imagination. Eileen Chang's doubts about the meaning of life and her questions about the significance of human existence give her works a remarkable philosophical depth. With its social concern, modern Chinese literature is, in general, focused on condemning the injustices in society, but it does not ask questions about the meaning of human existence. Yet Eileen Chang masterfully describes many human tragedies as she asks these questions.
Today I want to clarify my view by saying that what makes Eileen Chang a philosopher and not a historian is her ability to transcend the limits of space (urban areas) and time (history). In order to make my point, I borrow some views from Wang Guowei. According to Wang Guowei, there are two types of works in Chinese literature: one represented by Peach Blossom Fan and the other by Dream of the Red Chamber. He argues that "Peach Blossom Fan is concerned with politics, the nation and history whereas Dream of the Red Chamber is concerned with philosophy, the universe, and literature itself." Similar to Dream of the Red Chamber, Eileen Chang's works transcend the limits of politics, the nation, and history while remaining concerned with philosophy, the universe, and literature itself. Eileen Chang inherits her style from Dream of the Red Chamber. More important, she inherits fromDream of the Red Chamber an understanding about the dilemmas in human existence and human nature that lurk behind family activities, love relationships, and marriages. In so doing, she consciously or unconsciously demonstrates a concern for the fate of humankind, an everlasting concern that transcends the boundaries of space (Shanghai and Hong Kong) and time (her own era). At first glance, Eileen Chang's best works, including "The Golden Cangue" and "Love in a Fallen City," describe the details of family activities, love relationships, and marriages that occupy mundane life in places like Shanghai, but they in fact reveal the eternal mysteries in human nature that lie beneath the surface of life, mysteries of human desires for power and money. Human desires have something to do with politics, ethics, and history, but they are not the same as politics, ethics, or history. Specifically, Eileen Chang's works deal with Shanghai and Hong Kong, but they are not just about Shanghai or Hong Kong, just as they are not just about the 1930s and the 1940s they describe. As powerful motivating forces, human desires exist in reality, yet it is difficult to explain them in logical terms. However, they can be fully portrayed in literature. The success of Eileen Chang's early works comes precisely from her resistance to the restraints of history and ethics. She demonstrates her skills as a writer in expertly describing the workings of human desires.
The conventional view holds Cao Qiqiao, the main character in "The Golden Cangue," to be a terribly bad woman, but this moralistic judgment does not do justice to the story In fact, Qiqiao is a woman full of life and "The Golden Cangue" describes her changes in life. As the saying goes, "when a daughter-in-law becomes a mother-in-law herself after years of suffering at the hands of her mother-in-law, it is hard for her not to be cruel." Qiqiao lives in anguish as a powerless daughter-in-law. Although she is married to a son of a wealthy family, she herself is a daughter of a lowly sesame oil vender, for which she is ridiculed by everyone. To make things worse, her husband is a ne'er-do-well. As she suffers class discrimination and sexual frustration, she represses her desires for years. However, her desires begin to run out of control once she becomes a mother-in-law and gains power. Subsequently, she gives rein to her desires and indulges herself in doing whatever she wants. She toys with her former secret crush (Jize), making him grovel in front of her before pushing him away. She knows what attracts this man is power and money, not her as a person. Subconsciously she is aware that the world is a machine running on power and money. So the golden cangue is a symbol of power and money. An autocrat who refuses to yield to anyone or make any compromise, she sees through everything, especially the golden cangue. The golden cangue harbors the ugliest and dirtiest aspects of the world, but it holds people under its spell and makes them debase themselves willingly. As a social product, Qiqiao derives her desires from a powerful male-centered society. As a result, she represents the desires for power and money in a male-dominated society, just as Grandmother Jia represents all the female rulers in Chinese political history and Ah Q represents all the deficiencies in the national character of the Chinese. What she represents not only exists in China but also in the rest of the world, because it is part of human nature and not limited to modern China. It is therefore more accurate to regard "The Golden Cangue" as a philosophical allegory about a society obsessed with power than to call it a historical record of modern Chinese society. In this allegory, Eileen Chang demonstrates her rare genius with her unsentimental revelation of the human world as an ugly network of power and money, a network in which human beings struggle as two-legged animals wrapped in the trappings of civilization and driven by desires. If we regard Lu Xun's "Diary of a Madman" as an allegory about the cannibalistic features of traditional Chinese culture, we can regard "The Golden Cangue" as an allegory about people's self-destructive as well as cannibalistic behavior in the network of power. In "The Golden Cangue," the main character is transformed into an animal driven by desires for power and money, just as the main character in Kafka's Metamorphosis is transformed into a beetle. Like all other masterpieces in world literature, "The Golden Cangue" conveys a multiplicity of hidden messages about the nature of the world and the nature of humankind, about the absurdity of the world and humankind, and about the unpredictability of fate and the unreliability of love. In its world, notions of truth and falsity, good and evil, cause and effect and right and wrong are irrelevant, just as they are in the remarkable world of Dream of the Red Chamber. As it overcomes the restraints of these notions, it portrays the dilemmas humankind will always face. Unfortunately, Eileen Chang herself did not realize her own genius. So she thought her success had come from her portrayals of ordinary people and harmony, which stands in contradistinction to aggression. (Where can we find harmony among the diabolic conflicts in "The Golden Cangue"?) She also believed that ordinary people represent society in its entirety better than heroes ("My Own Writings"). In fact whether this statement is true or not depends on whether the writer lives in an era of poetry or in an era of prose. According to Hegel, ancient times, in which heroes, ideals, wars, and revolutions served as fundamental symbols, can be called an era of poetry. In such times (ancient Greece for example), heroes of course represented society better than ordinary people. On the other hand, modern society is very prosaic in that it does not have heroes, ideals, or revolutions. In this prosaic environment, ordinary people can indeed represent society better. Eileen Chang did not understand that her success did not come from her skills in portraying ordinary people but from her ability to enter a philosophical, universal, and eternal world as she transcended the boundaries of politics, the nation, and history. In other words, she is able to move from the world ofPeach Blossom Fan to the world of Dream of the Red Chamber.
It is precisely the philosophical, universal, and literary elements in "The Golden Cangue" and "Love in a Fallen City" that make them continue to attract people's attention today. What these works describe is the way humankind lives and human nature exists throughout history, subject matter unrestrained by politics, the nation and history, or by moral standards. At first glance "The Golden Cangue" supports the notion of retribution, since selfishness, cold-heartedness, and domestic tyranny all get their just deserts and even Qiqiao's children suffer because of her behavior. So in that sense it touches some moral issues. However, at a deeper level it deals with irresistible human desires and the way human desires subtly control people's fate. Here Walter Benjamin's comment on Goethe's novella "Elective Affinities" can shed some light for us. "Elective Affinities" describes an extramarital affair. In this novella, the male protagonist Eduard falls in love with his wife's niece Ottilie and, in the meantime, his wife Charlotte falls for a friend of his, a captain. As they pursue sexual gratification, their son is drowned in an accident. The death shocks everyone. Burdened by a guilty conscience, Ottilie commits suicide. Eduard also dies in sorrow. Although Charlotte and the captain manage to live on, they always feel shadowed by death and, no matter how hard they try, they remain unable to overcome their guilty feelings. Many critics argue that in this work Goethe emphasizes the sanctity of marriage and the immorality of extramarital affairs. Instead of passing another moral judgment, Benjamin focuses his attention on the irresistibility of fate reflected in this story about an extramarital affair. He argues that the subject matter of "Elective Affinities" is not marriage, because from the very beginning the ethical force of marriage begins to recede like a wave receding from a beach and, in the end, such a force is nowhere to be seen. In this work, marriage is neither an ethical issue nor a social issue. Moreover, it has even less to do with the behavioral pattern of the bourgeoisie. As the marriage system disintegrates, all the elements in human nature begin to show. As a result, myth remains the core of the work. In Benjamin's view, the tragedies experienced by the characters in "Elective Affinities" are neither moral tragedies nor historical tragedies. Instead, they are mysterious philosophical and universal tragedies, tragedies human beings cannot control or resist. That is what he means by the word "myth." If we read "The Golden Cangue" and "Love in a Fallen City" from Benjamin's point of view, we can see their rich philosophical connotations.
I do not like to rank writers when dealing with the history of literature. Granted, critics can evaluate the different qualities of different writers, but it is difficult to compare some outstanding writers qualitatively, because each has his or her own unique characteristics. For instance, whom should we vote for if we are supposed to choose the most outstanding writer from among Lu Xun, Eileen Chang, Shen Congwen, Li Jieren, and Xiao Hong? In dealing with this problem, I am inclined to agree with Hugo that critics should refrain from comparing master writers because they are equally outstanding. If forced to make such a choice, however, I could certainly choose between Lu Xun and Eileen Chang and, in the end, vote for Lu Xun. The reason for my choice is that Lu Xun put his genius to full use while Eileen Chang did not. A genius can only display his/her brilliance when all his/her talents are fully utilized. Unfortunately, Eileen Chang abandoned her unique aesthetic approach right after reaching the peak of her career. This tragic turn put an end to the most outstanding phase of her career and made her a genius who failed to tap all her potential.
In twentieth-century China, only two writers had a genuine sense of despair: Lu Xun and Eileen Chang. When despairing, Lu Xun tried to overcome his despair and, as a result, his writings are characterized by anger and frustration; whereas Eileen Chang just felt despair and, as a result, her works are characterized by a feeling of desolation. Lu Xun saw through life, but he also confronted life and struggled hard with it, so his works display a masculine sublimity; whereas Eileen Chang could see through life but did not have the courage to face it. As a result of her constant attempts to escape into the details of mundane life, her works display a unique feminine sensibility. Although these two writers portray the existential and mental state of the Chinese people in masterful yet different ways, Lu Xun obviously goes much further than Eileen Chang in his spiritual exploration.
Eileen Chang's tragedy began with "Xiao Ai" (1950) and Tender Age (Shiba chun, 1951), two works written at a time when China was going through a political transition. Compared with "The Golden Cangue" and "Love in a Fallen City," "Xiao Ai" and Tender Age can only be considered second- or third-rate works. Yet the beginning parts of these works still demonstrate Eileen Chang's brilliance. In "Xiao Ai," Eileen Chang manages to describe the suffering of those women living at the bottom of Chinese society in a particularly moving manner. Nonetheless, the plotlines, especially the endings, of these two works obviously try to meet a political demand. Since they do not falsify life, it is hard to say whether the author made such attempts against her conscience, yet it is undeniable that these attempts indicate the dilemmas Eileen Chang faced as a writer who wanted to have nothing to do with revolution.
In the past, Third Mistress had a maidservant, a smart girl named Lianxi who was bought together with Xiao Ai and who was a few years older than her. Lianxi's later escape left a deep impression on Xiao Ai, still young at the time. Then Xiao Ai heard that someone ran into Lianxi in the street and found out she had become a streetwalker. It was said that she met a bad guy who lied to her and sold her under the pretext of sending her to work in a factory. When Xiao Ai heard the story, she felt sad, but at the same time she also gained a better understanding of the cannibalistic society.
As he listened, Jinkui fell silent for a while before he said, "I don't think you can blame your parents. They must have been forced to do what they had to do. Since you have grown up in the Xi household, of course you don't understand the situation in the countryside." He then told her how peasants were exploited and how they starved even when they had a good harvest and how they had no choice but to sell their children to pay back the high-interest loans they had to take out when they had a poor harvest and failed to pay their rent on time.
It was the last spring in which the Jiang bandits still controlled Shanghai. In May the city was liberated. . . . After liberation, Jinkui threw himself into study with all his enthusiasm. Just as he did right after he met Xiao Ai, he always carried a book with him wherever he went. He would read on the trolley on his way to the printing house and on his way home. At home he would often explain "new democracy" and the history of social development to Xiao Ai and others. Xiao Ai liked to listen to his discussions. To her, theoretical talk was a kind of decoration for men, so she always smiled contentedly as he talked, without trying too hard to figure out what he meant. At first, what she felt most keenly was that prices had been stabilized and life had become peaceful. However, since human beings were forgetful animals, not long after starting this good life, she gradually forgot the nightmarish past.
In "Xiao Ai," Eileen Chang resorts to clear-cut political and moral judgments: the old society was cannibalistic, while the new society saves people; the old society was a nightmare, while the new society is brimming with light; in the past, people were exploited, but now they are liberated; and the old society was evil, while the new society is good, with the Jiang bandits as the source of all evils. As a witness, Xiao Ai, with all her wounds, reminds people that they should not become "forgetful animals" that fail to keep in mind the nightmarish cannibalistic old society and how much the working classes had suffered in the past. "Xiao Ai" is written in an unsentimental style, but its condemnation of the old society is very harsh and, as a result, it can be seen as a classic text for class education and for contrasting past misery with present happiness. In "Xiao Ai," Eileen Chang does not distort reality, and we, for our part, should not pass any judgment on her moral and political judgments. But one thing is clear in the political orientation of this work: Eileen Chang is no longer a writer in search of eternal literary and aesthetic values. Given the politicization of this 1950 work, Love in Redland (written in 1954 in Hong Kong) is just a further development with an entirely different political direction. What I want to show with my detailed discussion of "Xiao Ai" is that Eileen Chang's genius was ruined by historical changes, not by the United States Information Agency. The new era no longer provided a refuge for any writer who wanted to transcend the times. Whether she lived in Shanghai or Hong Kong, Eileen Chang was forced to deny her old self and, as a result, a tragedy took place in her career.
In the middle of the twentieth century, Eileen Chang and Ding Ling, two outstanding female writers, experienced the same tragedy in entirely different political situations. This shared tragedy was a typical tragedy of aesthetics rather than a tragedy of politics. Ding Ling was a talented writer who emerged on the literary scene after the May Fourth movement with outstanding works such as "The Diary of Miss Sophia" and "When I Was in Hsia Village." Eventually, however, she wrote The Sun Shines on the Sanggan River to carry out an order and to flesh out the policies of the Land Reform movement. Eileen Chang had an entirely different political stand, yet in her career, from the writing of "The Golden Cangue" and to the writing of Love in Redland, she followed the same tragic path. In spite of their opposite political standpoints, Eileen Chang and Ding Ling shared the same motivation and the same way of writing when they wrote about the "Redland" and the "Red Area," respectively. Driven by political considerations, they both used fiction as a political tool and tried to sound a clarion call for their times. This interesting phenomenon in the history of modern Chinese literature can be regarded as the same tragedy played out by two different writers from opposite political directions.
In this way, I try to describe how humankind has lived throughout history so that I can provide a lesson for the present. I do not know if I have succeeded in carrying out my plan. Generally speaking, I do not have the ability to write anything that can be called a "monument to its time." Neither will I try to write such a work, since it seems that the source materials for such a work are still too scarce. Focused only on the small matters among men and women, my works have nothing to do with war or revolution. I believe human beings are more innocent and freer in love than in war or revolution. Because of their nature, war and revolution often need intelligence more urgently than they need emotion. Consequently, those works about war or revolution often fail because their artistic elements are overwhelmed by practical considerations. In contrast to the freedom in love, coercion characterizes war and in revolution people often force themselves to participate.
The above statement, made in December 1944, shows how clearheaded Eileen was at the time. She tells her readers that: (1) she wrote about things that exist throughout history, namely, eternal subjects that refuse to be monuments to their times because they transcend their specific historical periods (a clear indication that Eileen Chang's early works are marked not by their "historical awareness" but by their resistance to historical awareness; in other words, they are marked not by an awareness of a specific historical period but by an awareness of eternity); and (2) this standpoint enabled her to free herself from the restraints of weighty, fashionable subjects such as war and revolution and to choose to write about things that exist eternally, things such as the love between a man and a woman. At that time, it took a strong belief in art and strength in character to keep a distance from war and revolution and to reject the historical trend and fashionable subjects. As we reread the early works Eileen Chang wrote in Shanghai, we realize that she indeed keeps a distance from politics. Without making any moral judgment on society, life, or the characters, these works have neither heroes nor villains. Their characters are all ordinary people who struggle to exist. As they make calculations in their own interest, they become rather worldly. As for the female characters in these works, they are often selfish women living in a mundane world, with tricks up their sleeves to deal with the entanglements of love. Feeling lost in a fast-changing society, these women are poles apart from the female revolutionaries. They never want to change society. All they manage to do is to carefully struggle with the details of life. As Eileen Chang says in her essay "Changing Clothes": "Unable to improve their social environment, people can only create their bodily environments–namely, clothes, since we all live in our clothes." As a result, for these women, clothing becomes a refuge where they are sheltered from the hardships in life and can take a break.
With this statement about her stand as a writer (written in 1944 in "My Own Writings") in mind, we are surprised to find that ten years later, as she wrote Love in Redland in Hong Kong, Eileen Chang had become an entirely different writer. Instead of writing about subjects that exist throughout history, she wrote about the tremendous social changes of the time. Instead of avoiding war and revolution, she focused her attention exclusively on war and revolution. Instead of resisting the dominant historical trend, she embraced it, followed it, and tried to reflect it in her novel.
Eileen Chang's early works are more interesting than those she wrote later in her career. It is a remarkable phenomenon that she reached the peak of her career soon after she began writing as a young writer. Unfortunately, she did not fully recognize the significance of her unique artistic approach and, as she wrote Love in Redland and Rice-sprout Song, she soon stopped pursuing her goal and stopped thinking about life and the universe in an unsentimental, philosophical manner. Her early works excel in ruminations on eternal questions and stay away from contemporary issues. In contrast, political considerations replace the aesthetic concerns and philosophical reflections on eternal, universal questions of her later works. Instead of using her own unique imagery to portray the familiar urban areas, she began to use popular symbols to describe the unfamiliar countryside. In the meantime, instead of conducting subtle aesthetic exploration of her characters' minds and souls, she chose to illustrate their personalities and fates according to foregone conclusions. In short, she gave up her transcendental aesthetic standpoint to embrace a vulgar standpoint, which stunted her development as a precocious writer and prevented her from becoming a first-rate master.
I like Eileen Chang's works, but I do not want to create a myth about her. It took me more than ten years to free myself from the myth of Lu Xun as a vengeful fighter that I had once believed in. I do not want to be seduced by another myth. Any genius has his/her own flaws. I can understand Eileen Chang's narcissism, masochism, worldliness, and her final self-seclusion, but I do not admire these traits. Just as I cannot accept Lu Xun's recalcitrance, I cannot accept Eileen Chang's vulgarity and cynicism.
. The first part of this article was written in October, 2000. The second part was written in November, 2001 on the campus of the City University of Hong Kong. The entire article was first published in Shijie (Scope) no. 7 (2002).
. All citations come from A History of Modern Chinese Fiction (New Haven: Yale University Press, 1971).
. See "Another Discussion of Eileen Chang" in my book Xi xun guxiang (Looking for a homeland in the West) (Hong Kong: Tiandi tushu, 1997), pp. 291-292.
. See David Der-wei Wang, Xiaoshuo Zhongguo (Fiction China) (Taipei: Maitian, 1993), pp. 327-335.
.See my book Fangzhu zhu shen (Exiling the gods) (Hong Kong: Tiandi tushu, 1994).
. See my article "Another Discussion of Eileen Chang," in Liu Zaifu, Xi xun guxiang (Looking for a homeland in the West) (Hong Kong: Tiandi tushu, 1997), pp. 291-292.


SF Rec and Park Says Like Us or Follow Us and Cheer for 49ers!
SAN FRANCISCO – San Francisco Recreation and Park Department announced today that 49ers fans can enter a fun SF Rec and Park contest and win two free tickets to the 49ers last Game at Candlestick Park Stadium this coming Monday, December 23, 2013. The general public can enter the contest by liking SF Rec and Park on Facebook or following us on Twitter, then post or tweet your favorite memory of the "Stick" by 7:00 p.m. on Thursday, December 19th, 2013. Extra point for those who post and tweet with photos and videos!
The winning entry will be announced on Friday, December 20th. Any 49ers fans can enter the contest through SF Rec and Park's Facebook Page is http://www.facebook.com/sfrecpark , and Twitter is https://twitter.com/RecParkSF.
Today, besides overseeing more than 220 parks and recreation centers in San Francisco's park system, RPD also manages both Kezar Stadium, the original home stadium for the 49ers and Candlestick Stadium. The 49ers played 25 seasons at Kezar Stadium. They have played at Candlestick since 1971. Candlestick Stadium, established in 1960 with the capacity of 70,000, is the second oldest stadium in the nation.


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Extra! Prince Charles 'Black Spider' Letters Revealed
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The Times, May 14, 2015
After a 10-year legal battle, the contents of 27 secret letters written by Prince Charles to British ministers were published Tuesday, revealing the extent of the prince's attempts to influence the government.
On the front page of its Thursday edition, The Times ran a picture of the Prince of Wales in front of what have become known as the "black spider memos" (so called because of the prince's scrawled handwriting). According to the London-based newspaper, the heir to the throne wrote to members of the government, including then-Prime Minister Tony Blair, suggesting changes to policies concerning a variety of topics ranging from badger culling to global warming, agriculture, the defense budget and alternative medicine.
The letters are controversial because members of the royal family are not supposed to interfere with governmental matters. He wrote them between September 2004 and April 2005, and they were made public under the Freedom of Information Act on the orders of the Supreme Court.
ABOUT THE SOURCE: The Times is a British daily national newspaper based in London. It began in 1785 under the title The Daily Universal Register and became The Times on 1 January 1788.
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