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The Yellow Emperor, also known as the Yellow Thearch or by his Chinese name Huangdi (), is either an individual deity (shen) in Chinese religion, one of the legendary Chinese sovereigns and cultural heroes included among the mytho-historical Three Sovereigns and Five Emperors, or a part of the Five Regions' Highest Deities (Chinese: 五方上帝; pinyin: Wǔfāng Shàngdì). Calculated by Jesuit missionaries, who based their work on various Chinese chronicles, and later accepted by the twentieth-century promoters of a universal calendar starting with the Yellow Emperor, Huangdi's traditional reign dates are 2697–2597 or 2698–2598 BC.
Huangdi's cult became prominent in the late Warring States and early Han dynasty, when he was portrayed as the originator of the centralized state, as a cosmic ruler, and as a patron of esoteric arts. A large number of texts – such as the Huangdi Neijing, a medical classic, and the Huangdi Sijing, a group of political treatises – were thus attributed to him. Having waned in influence during most of the imperial period, in the early twentieth century Huangdi became a rallying figure for Han Chinese attempts to overthrow the rule of the Qing dynasty, which they considered foreign because its emperors were Manchu people. To this day the Yellow Emperor remains a powerful symbol within Chinese nationalism. Traditionally credited with numerous inventions and innovations – ranging from the lunar calendar (Chinese calendar), Taoism, wooden houses, boats, carts, "the compass needle", "the earliest forms of writing", civilization and its benefits, and/or an early form of football – the Yellow Emperor is now regarded as the initiator of Han culture (later Chinese culture).

Names
"Huangdi": Yellow Emperor, Yellow Thearch
Until 221 BC when Qin Shi Huang of the Qin dynasty coined the title huangdi (皇帝) – conventionally translated as "emperor" – to refer to himself, the character di 帝 did not refer to earthly rulers but to the highest god of the Shang dynasty (c. 1600–1046 BC) pantheon. In the Warring States period (c. 475–221 BC), the term di on its own could also refer to the deities associated with the five Sacred Mountains of China and colors. Huangdi (黃帝), the "yellow di", was one of the latter. To emphasize the religious meaning of di in pre-imperial times, historians of early China commonly translate the god's name as "Yellow Thearch" and the first emperor's title as "August Thearch", in which "thearch" refers to a godly ruler.In the late Warring States period, the Yellow Emperor was integrated into the cosmological scheme of the Five Phases, in which the color yellow represents the earth phase, the Yellow Dragon, and the center. The correlation of the colors in association with different dynasties was mentioned in the Lüshi Chunqiu (late 3rd century BC), where the Yellow Emperor's reign was seen to be governed by earth. The character huang 黃 ("yellow") was often used in place of the homophonous huang 皇, which means "august" (in the sense of 'distinguished') or "radiant", giving Huangdi attributes close to those of Shangdi, the Shang supreme god.

Xuanyuan and Youxiong
The Records of the Grand Historian, compiled by Sima Qian in the first century BC, gives the Yellow Emperor's name as "Xuan Yuan" (traditional Chinese: 軒轅; simplified Chinese: 轩辕; pinyin: Xuān Yuán < Old Chinese (B-S) *qʰa[r]-[ɢ]ʷa[n], lit. "Chariot Shaft"). Third-century scholar Huangfu Mi, who wrote a work on the sovereigns of antiquity, commented that Xuanyuan was the name of a hill where Huangdi had lived and that he later took as a name. The Classic of Mountains and Seas mentions a Xuanyuan nation whose inhabitants have human faces, snake bodies, and tails twisting above their heads; Yuan Ke, a contemporary scholar of early Chinese mythology, "noted that the appearance of these people is characteristic of gods and suggested that they may reflect the form of the Yellow Thearch himself". The Qing dynasty scholar Liang Yusheng (梁玉繩, 1745–1819) argued instead that the hill was named after the Yellow Emperor. Xuanyuan is also the name of the star Regulus in Chinese, the star being associated with Huangdi in traditional astronomy. He is also associated to the broader constellations Leo and Lynx, of which the latter is said to represent the body of the Yellow Dragon  (黃龍 Huánglóng), Huangdi's animal form.Huangdi was also referred to as "Youxiong" (有熊; Yǒuxióng). This name has been interpreted as either a place name or a clan name. According to British sinologist Herbert Allen Giles (1845–1935), that name was "taken from that of [Huangdi's] hereditary principality". William Nienhauser, a modern translator of the Records of the Grand Historian, states that Huangdi was originally the head of the Youxiong clan, which lived near what is now Xinzheng in Henan. Rémi Mathieu, a French historian of Chinese myths and religion, translates "Youxiong" as "possessor of bears" and links Huangdi to the broader theme of the bear in world mythology. Ye Shuxian has also associated the Yellow Emperor with bear legends common across northeast Asia people as well as the Dangun legend.

Other names
Sima Qian's Records of the Grand Historian describes the Yellow Emperor's ancestral name as Gongsun (公孫).In Han dynasty texts, the Yellow Emperor is also called upon as the "Yellow God" (黃神 Huángshén). Certain accounts interpret him as the incarnation of the "Yellow God of the Northern Dipper" (黄神北斗 Huángshén Běidǒu), another name of the universal god (Shangdi 上帝 or Tiandi 天帝). According to a definition in apocryphal texts related to the Hétú 河圖, the Yellow Emperor "proceeds from the essence of the Yellow God".As a cosmological deity, the Yellow Emperor is known as the "Great Emperor of the Central Peak" (中岳大帝 Zhōngyuè Dàdì), and in the Shizi as the "Yellow Emperor with Four Faces" (黃帝四面 Huángdì Sìmiàn). In old accounts the Yellow Emperor is identified as a deity of light (and his name is explained in the Shuowen jiezi to derive from guāng 光, "light") and thunder, and as one and the same with the "Thunder God" (雷神 Léishén), who in turn, as a later mythological character, is distinguished as the Yellow Emperor's foremost pupil, such as in the Huangdi Neijing.

History
The Chinese historian Sima Qian – and much Chinese historiography following him – considered the Yellow Emperor to be a more historical figure than earlier legendary figures such as Fu Xi, Nüwa, and Shennong. Sima Qian's Records of the Grand Historian begins with the Yellow Emperor, while passing over the others.Throughout most of Chinese history, the Yellow Emperor and the other ancient sages were considered to be historical figures. Their historicity started to be questioned in the 1920s by historians such as Gu Jiegang, one of the founders of the Doubting Antiquity School in China. In their attempts to prove that the earliest figures of Chinese history were mythological, Gu and his followers argued that these ancient sages were originally gods who were later depicted as humans by the rationalist intellectuals of the Warring States period. Yang Kuan, a member of the same current of historiography, noted that only in the Warring States period had the Yellow Emperor started to be described as the first ruler of China. Yang thus argued that Huangdi was a later transformation of Shangdi, the supreme god of the Shang dynasty's pantheon.Also in the 1920s, French scholars Henri Maspero and Marcel Granet published critical studies of China's accounts of high antiquity. In his Danses et légendes de la Chine ancienne ["Dances and legends of ancient China"], for example, Granet argued that these tales were "historicized legends" that said more about the time when they were written than about the time they purported to describe.In the "middle of the [20th] century, a group of" Chinese "historians proposed the theory that [the Three Sovereigns and Five Emperors]" were originally Chinese gods who became thought of as human during the later period of the Zhou dynasty. Most scholars now agree that the Yellow Emperor originated as a god who was later represented as a historical person. K.C. Chang sees Huangdi and other cultural heroes as "ancient religious figures" who were "euhemerized" in the late Warring States and Han periods. Historian of ancient China Mark Edward Lewis speaks of the Yellow Emperor's "earlier nature as a god", whereas Roel Sterckx, a professor at University of Cambridge, calls Huangdi a "legendary cultural hero".

Origin of the myth
The origin of Huangdi's mythology is unclear, but historians have formulated several hypotheses about it. Yang Kuan, a member of the Doubting Antiquity School (1920s–40s), argued that the Yellow Emperor was derived from Shangdi, the highest god of the Shang dynasty. Yang reconstructs the etymology as follows: Shangdi 上帝 → Huang Shangdi 皇上帝 → Huangdi 皇帝 → Huangdi 黄帝, in which he claims that huang 黃 ("yellow") either was a variant Chinese character for huang 皇 ("august") or was used as a  way to avoid the naming taboo for the latter. Yang's view has been criticized by Mitarai Masaru and by Michael Puett.Historian Mark Edward Lewis agrees that huang 黄 and huang 皇 were often interchangeable, but disagreeing with Yang, he claims that huang meaning "yellow" appeared first. Based on what he admits is a "novel etymology" likening huang 黄 to the phonetically close wang 尪 (the "burned shaman" in Shang rainmaking rituals), Lewis suggests that "Huang" in "Huangdi" might originally have meant "rainmaking shaman" or "rainmaking ritual."  Citing late Warring States and early Han versions of Huangdi's myth, he further argues that the figure of the Yellow Emperor originated in ancient rain-making rituals in which Huangdi represented the power of rain and clouds, whereas his mythical rival Chiyou (or the Yan Emperor) stood for fire and drought.Also disagreeing with Yang Kuan's hypothesis, Sarah Allan finds it unlikely that such a popular myth as the Yellow Emperor's could have come from a taboo character.  She argues instead that pre-Shang "'history'," including the story of the Yellow Emperor, "can all be understood as a later transformation and systematization of Shang mythology." In her view, Huangdi was originally an unnamed "lord of the underworld" (or the "Yellow Springs"), the mythological counterpart of the Shang sky deity Shangdi.  At the time, Shang rulers claimed that their mythical ancestors, identified with "the [ten] suns, birds, east, life, [and] the Lord on High" (i.e., Shangdi), had defeated an earlier people associated with "the underworld, dragons, west."  After the Zhou dynasty overthrew the Shang dynasty in the eleventh century BC, Zhou leaders reinterpreted Shang myths as meaning that the Shang had vanquished a real political dynasty, which was eventually named the Xia dynasty. By Han times – as seen in Sima Qian's account in the Shiji – the Yellow Emperor, who as lord of the underworld had been symbolically linked to the Xia, had become a historical ruler whose descendants were thought to have founded the Xia.Given that the earliest extant mention of the Yellow Emperor was on a fourth-century BC Chinese bronze inscription claiming that he was the ancestor of the royal house of the state of Qi, Lothar von Falkenhausen speculates that Huangdi was invented as an ancestral figure as part of a strategy to claim that all ruling clans in the "Zhou dynasty culture sphere" shared common ancestry.

History of Huangdi's cult
Earliest mention
Explicit accounts of the Yellow Emperor started to appear in Chinese texts during the Warring States period. "The most ancient extant reference" to Huangdi is an inscription on a bronze vessel made during the first half of the fourth century BC by the royal family (surnamed Tian 田) of the state of Qi, a powerful eastern state.Harvard University historian Michael Puett writes that the Qi bronze inscription was one of several references to the Yellow Emperor in the fourth and third centuries BC within accounts of the creation of the state. Noting that many of the thinkers who were later identified as precursors of the Huang–Lao – "Huangdi and Laozi" – tradition came from the state of Qi, Robin D. S. Yates hypothesizes that Huang–Lao originated in that region.

Warring States period
The cult of Huangdi became very popular during the Warring States period (5th century–221 BC), a period of intense competition between rival states which ended with the unification of the realm by the state of Qin. In addition to his role as ancestor, he became associated with "centralized statecraft" and emerged as a figure paradigmatic of emperorship.

The state of Qin
In his Shiji, Sima Qian claims that the state of Qin started worshipping the Yellow Emperor in the fifth century BC, along with Yandi, the Fiery Emperor. The altars were established at Yong 雍 (near modern Fengxiang County in Shaanxi province), which was the capital of Qin from 677 to 383 BC. By the time of King Zheng, who became king of Qin in 247 BC and First Emperor of a unified China in 221 BC, Huangdi had become by far the most important of the four "thearchs" (di 帝) who were then worshiped at Yong.

The Shiji version
The figure of Huangdi had appeared sporadically in Warring States texts. Sima Qian's Shiji (or Records of the Grand Historian, completed around 94 BC) was the first work to turn these fragments of myths into a systematic and consistent narrative of the Yellow Emperor's "career". The Shiji's account was extremely influential in shaping how the Chinese viewed the origin of their history.The Shiji begins its chronological account of Chinese history with the life of Huangdi, whom it presents as a sage sovereign from antiquity. It recounts that Huangdi's father was Shaodian and his mother was Fubao(附寶). The Yellow Emperor had four wives. His first wife Leizu of Xiling bore him two sons. His other three wives were his second wife Fenglei (封嫘), third wife Tongyu (彤魚) and fourth wife Momu (嫫母). The emperor had a total of 25 sons, 14 of whom began their own surnames and clans. The oldest was Shaohao or Xuan Xiao, who lived in Qingyang by the Yangtze River. Changyi, the second son, lived by the Ruo River. When the Yellow Emperor died, he was succeeded by Changyi's son, Zhuan Xu.The chronological tables found in chapters 13 of the Shiji represent all past rulers – legendary ones such as Yao and Shun, the first ancestors of the Xia, Shang, and Zhou dynasties, as well as the founders of the main ruling houses in the Zhou sphere – as descendants of Huangdi, giving the impression that Chinese history was the history of one large family.

Imperial era
The Yellow Emperor was credited with an enormous number of cultural legacies and esoteric teachings. While Taoism is often regarded in the West as arising from Laozi, many Chinese Taoists claim the Yellow Emperor formulated many of their precepts. The Yellow Emperor's Inner Canon (黃帝內經 Huángdì Nèijīng), which presents the doctrinal basis of traditional Chinese medicine, was named after him. He was also credited with composing the Four Books of the Yellow Emperor (黃帝四經 Huángdì Sìjīng), the Yellow Emperor's Book of the Hidden Symbol (黃帝陰符經 Huángdì Yīnfújīng), and the "Yellow Emperor's Four Seasons Poem" included in the Tung Shing fortune-telling almanac."Xuanyuan (+ number)" is also the Chinese name for Regulus and other stars of the constellations Leo and Lynx, of which the latter is said to represent the body of the Yellow Dragon. In the Hall of Supreme Harmony in Beijing's Forbidden City, there is also a mirror called the "Xuanyuan Mirror".

In Taoism
In the second century AD, Huangdi's role as a deity was diminished because of the rise of a deified Laozi. A state sacrifice offered to "Huang-Lao jun" was not offered to Huangdi and Laozi, as the term Huang-Lao would have meant a few centuries earlier, "yellow Laozi". Nonetheless, Huangdi kept being considered as an immortal: he was seen as a master of longevity techniques and as a god who could reveal new teachings – in the form of texts such as the sixth-century Huangdi Yinfujing – to his earthly followers.

Twentieth century
The Yellow Emperor became a powerful national symbol in the last decade of the Qing dynasty (1644–1911) and remained dominant in Chinese nationalist discourse throughout the Republican period (1911–49). The early twentieth century is also when the Yellow Emperor was first referred to as the ancestor of all Chinese people.

Late Qing
Starting in 1903, radical publications started using the projected date of his birth as the first year of the Chinese calendar. Intellectuals such as Liu Shipei (1884–1919) found this practice necessary in order to "preserve the [Han] race" (baozhong 保種) from both dominance by Manchu people and foreign encroachment. Revolutionaries motivated by Anti-Manchuism such as Chen Tianhua (1875–1905), Zou Rong (1885–1905), and Zhang Binglin (1868–1936) tried to foster the racial consciousness they thought was missing from their compatriots, and thus depicted the Manchus as racially inferior barbarians who were unfit to rule over Han Chinese. Chen's widely circulated pamphlets claimed that the "Han race" formed one big family descended from the Yellow Emperor. The first issue (Nov. 1905) of the Minbao 民報 ("People's Journal"), which was founded in Tokyo by revolutionaries of the Tongmenghui, featured the Yellow Emperor on its cover and called Huangdi "the first great nationalist of the world." It was one of several nationalist magazines that featured the Yellow Emperor on their cover in the early twentieth century. The fact that Huangdi meant "yellow" emperor also served to buttress the theory that he was the originator of the "yellow race".Many historians interpret this sudden popularity of the Yellow Emperor as a reaction to the theories of French scholar Albert Terrien de Lacouperie (1845–94), who in a book called The Western Origin of the Early Chinese Civilization, from 2300 B.C. to 200 A.D. (1892) had claimed that Chinese civilization was founded around 2300 BCE by Babylonian immigrants.  Lacouperie's "Sino-Babylonianism" posited that Huangdi was a Mesopotamian tribal leader who had led a massive migration of his people into China around 2300 BC and founded what later became Chinese civilization. European sinologists quickly rejected these theories, but in 1900 two Japanese historians, Shirakawa Jirō and Kokubu Tanenori, omitted these criticisms and published a long summary that presented Lacouperie's views as the most advanced Western scholarship on China. Chinese scholars were quickly attracted by "the historicization of Chinese mythology" that the two Japanese authors advocated.Anti-Manchu intellectuals and activists who searched for China's "national essence" (guocui 國粹) adapted Sino-Babylonianism to their needs. Zhang Binglin explained Huangdi's battle with Chi You as a conflict opposing the newly arrived civilized Mesopotamians to backward local tribes, a battle that transformed China into one of the most civilized places in the world. Zhang's reinterpretation of Sima Qian's account "underscored the need to recover the glory of early China."  Liu Shipei also presented these early times as the golden age of Chinese civilization. In addition to tying the Chinese to an ancient center of human civilization in Mesopotamia, Lacouperie's theories suggested that China should be ruled by the descendants of Huangdi. In a controversial essay called History of the Yellow Race (Huangshi 黃史), which was published serially from 1905 to 1908, Huang Jie (黃節; 1873–1935) claimed that the "Han race" was the true master of China because it was descended from the Yellow Emperor. Reinforced by the values of filial piety and the Chinese patrilineal clan, the racial vision defended by Huang and others turned vengeance against the Manchus into a duty owed to one's ancestors.

Republican period
The Yellow Emperor continued to be revered after the Xinhai Revolution of 1911, which overthrew the Qing dynasty. In 1912, for instance, banknotes carrying Huangdi's effigy were issued by the new Republican government.  After 1911, however, the Yellow Emperor as national symbol changed from first progenitor of the Han race to ancestor of China's entire multi-ethnic population.  Under the ideology of the Five Races Under One Union, Huangdi became the common ancestor of the Han Chinese, the Manchu people, the Mongols, the Tibetans, and the Hui people, who were said to form the Zhonghua minzu, a broadly understood Chinese nation. Sixteen state ceremonies were held between 1911 and 1949 to Huangdi as the "founding ancestor of the Chinese nation" (中華民族始祖) and even "the founding ancestor of human civilization" (人文始祖).

Modern significance
The cult of the Yellow Emperor was forbidden in the People's Republic of China until the end of the Cultural Revolution. The prohibition was halted during the 1980s when the government reversed itself and resurrected the "Yellow Emperor cult". Starting in the 1980s, the cult was revived and phrases relating to the "Descendants of Yan and Huang" were sometimes used by the Chinese state when referring to people of Chinese descent.  In 1984, for example, Deng Xiaoping argued for Chinese unification saying "Taiwan is rooted in the hearts of the descendants of the Yellow Emperor," whereas in 1986 the PRC acclaimed the Chinese-American astronaut Taylor Wang as the first of the Yellow Emperor's descendants to travel in space. In the first half of the 1980s, the Party had internally debated whether this usage would make ethnic minorities feel excluded. After consulting experts from Beijing University, the Chinese Academy of Social Science, and the Central Nationalities Institute, the Central Propaganda Department recommended on March 27, 1985, that the Party speak of the Zhonghua Minzu – the "Chinese nation" broadly defined – in official statements, but that the phrase "sons and grand-sons of Yandi and the Yellow Emperor" could be used in informal statements by party leaders and in "relations with Hong Kong and Taiwanese compatriots and overseas Chinese compatriots".After retreating to Taiwan in late 1949 at the end of the Chinese Civil War, Chiang Kai-shek and the Kuomintang (KMT) ruled that the Republic of China (ROC) would keep paying homage to the Yellow Emperor on April 4, the National Tomb Sweeping Day, but neither he nor the three presidents that succeeded him ever paid homage in person. In 1955, the KMT, which was led by Mandarin speakers and still poised on retaking the mainland from the Communists, sponsored the production of the movie Children of the Yellow Emperor (Huangdi zisun 黃帝子孫), which was filmed mostly in Taiwanese Hokkien and showed extensive passages of Taiwanese folk opera. Directed by Bai Ke (1914–1964), a former assistant of Yuan Muzhi, it was a propaganda effort to convince speakers of Taiyu that they were linked to mainland people by common blood. In 2009 Ma Ying-jeou was the first ROC president to celebrate the Tomb Sweeping Day rituals for Huangdi in person, on which occasion he proclaimed that both Chinese culture and common descent from the Yellow Emperor united people from Taiwan and the mainland. Later the same year, Lien Chan – a former Vice President of the Republic of China who is now Honorary Chairman of the Kuomintang – and his wife Lien Fang Yu paid homage at the Mausoleum of the Yellow Emperor in Huangling, Yan'an, in mainland China.Gay studies researcher Louis Crompton has cited Ji Yun's report in his popular Notes from the Yuewei Hermitage (1800), that some claimed the Yellow Emperor was the first Chinese to take male bedmates, a claim that Ji Yun dismissed.  Ji Yun argued that this was probably a false attribution.Today, Xuanyuanjiao based on Taiwan represents an organised form of Yellow Emperor worship married to Confucian orthodoxy.

Elements of Huangdi's myth
As with any myth, there are numerous versions of Huangdi's story, emphasizing different themes and interpreting the main character's significance in different ways.

Birth
According to Huangfu Mi (215–282), the Yellow Emperor was born in Shou Qiu ("Longevity Hill"), which is today on the outskirts of the city of Qufu in Shandong. Early on, he lived with his tribe near the Ji River – Edwin Pulleyblank states that "there seems to be no record of a Ji River outside the myth" – and later migrated to Zhuolu in modern-day Hebei. He then became a farmer and tamed six different special beasts: the bear (熊), the brown bear (罴; 羆), the pí (貔) and xiū (貅) (which later combined to form the mythical Pixiu), the ferocious chū (貙), and the tiger (虎).
Huangdi is sometimes said to have been the fruit of extraordinary birth, as his mother Fubao conceived him as she was aroused, while walking in the country, by a lightning bolt from the Big Dipper. She delivered her son on the mount of Shou (Longevity) or mount Xuanyuan, after which he was named.Another story states that "Huang Di came into being when the energies that instigated the beginning of the world merged with one another, and created human beings by placing earthen statues at the cardinal points of the world and leaving them exposed for 300 years. During that time, the statues became filled with the breath of creation and eventually began to move [after the 300 years]. Huang Di...received his magic powers when he was 100 years old. He [became a xian] and, riding a dragon, rose to heaven where he became one of the five [Wufang Shangdi]. Huang Di himself rules over the fifth cardinal point, the centre."

Achievements
In traditional Chinese accounts, the Yellow Emperor is credited with improving the livelihood of the nomadic hunters of his tribe. He teaches them how to build shelters, tame wild animals, and grow the Five Grains, although other accounts credit Shennong with the last. He invents carts, boats, and clothing.
Other inventions credited to the emperor include the Chinese diadem (冠冕), throne rooms (宮室), the bow sling, early Chinese astronomy, the Chinese calendar, math calculations, code of sound laws (音律), coins and the concept of money, and cuju, an early Chinese version of football. He is also sometimes said to have been partially responsible for the invention of the guqin zither, although others credit the Yan Emperor with inventing instruments for Ling Lun's compositions.There are other major traditions where Fuxi was the one who invented the calendar and the Yellow Emperor merely reformed and intercalated it.In traditional accounts, he also goads the historian Cangjie into creating the first Chinese character writing system, the Oracle bone script, and his principal wife Leizu invents sericulture and teaches his people how to weave silk and dye clothes.
At one point in his reign the Yellow Emperor allegedly visited the mythical East sea and met a talking beast called the Bai Ze who taught him the knowledge of all supernatural creatures. This beast explained to him there were 11,522 (or 1,522) kinds of supernatural creatures.

Battles
The Yellow Emperor and the Yan Emperor were both leaders of a tribe or a combination of two tribes near the Yellow River. The Yan Emperor hailed from a different area around the Jiang River, which a geographical work called the Shuijingzhu identified as a stream near Qishan in what was the Zhou homeland before they defeated the Shang. Both emperors lived in a time of warfare. The Yan Emperor proving unable to control the disorder within his realm, the Yellow Emperor took up arms to establish his domination over various warring factions.According to traditional accounts, the Yan Emperor meets the force of the "Nine Li" (九黎) under their bronze-headed leader, Chi You, and his 81 horned and four-eyed brothers and suffers a decisive defeat. He flees to Zhuolu and begs the Yellow Emperor for help. During the ensuing Battle of Zhuolu the Yellow Emperor employs his tamed animals and Chi You darkens the sky by breathing out a thick fog. This leads the emperor to develop the south-pointing chariot, which he uses to lead his army out of the miasma. He next calls upon the drought demon Nüba to dispel Chi You's storm. He then destroys the Nine Li and defeats Chi You. Later he engages in battle with the Yan Emperor, defeating him at Banquan and replacing him as the primary ruler.

Death
The Yellow Emperor was said to have lived for over a hundred years before meeting a phoenix and a qilin and then dying. Two tombs were built in Shaanxi within the Mausoleum of the Yellow Emperor, in addition to others in Henan, Hebei and Gansu.Modern-day Chinese people sometimes refer to themselves as the "Descendants of Yan and Yellow Emperor", although non-Han minority groups in China may have their own myths or not count as descendants of the emperor.

Meaning as a deity
Symbol of the centre of the universe
As the Yellow Deity with Four Faces (黃帝四面 Huángdì Sìmiàn) he represents the centre of the universe and vision of the unity which controls the four directions. It is explained in the Huangdi Sijing ("Four Scriptures of the Yellow Emperor") that regulating "heart within brings order outside". In order to reign one must "reduce himself" abandoning emotions, "drying up like a corpse", never allowing oneself to be carried away, as according to the myth the Yellow Emperor himself did during his three years of refuge on Mount Bowang in order to find himself. This practice creates an internal void where all the vital forces of creation gather, and the more indeterminate they remain and the more powerful they will be.It is from this centre that equilibrium and harmony emanate, equilibrium of the vital organs which becomes harmony between the person and the environment. As sovereign of the centre, the Yellow Emperor is the very image of the concentration or re-centering of the self. By self-control, taking charge of his own body one becomes powerful outside. The centre is also the vital point in the microcosm by means of which the internal universe viewed as an altar is created. The body is a universe, and by going into himself and by incorporating the fundamental structures of the universe, the sage will gain access to the gates of Heaven, the unique point where communication between Heaven, Earth and Man can occur. The centre is the convergence of within and outside, the contraction of chaos on the point which is equidistant from all directions. It is the place which is no place, where all creation is born and dies.The Great Deity of the Central Peak (中岳大帝 Zhōngyuèdàdì) is another epithet representing Huangdi as the hub of creation, the axis mundi (which in Chinese mythology is Kunlun) that is the manifestation of the divine order in physical reality, that opens to immortality.

As ancestor
Throughout history, several sovereigns and dynasties claimed (or were claimed) to descend from the Yellow Emperor. Sima Qian's Shiji presented Huangdi as ancestor of the two legendary rulers Yao and Shun, and traced various lines of descent from Huangdi to the founders of the Xia, Shang, and Zhou dynasties. He claimed that Liu Bang, the first emperor of the Han dynasty, was a descendant of Huangdi. He believed that the ruling house of the Qin dynasty was originated also from the Yellow Emperor, but by stating that Qin Shihuang was in fact the child of Qin chancellor Lü Buwei, he perhaps meant to leave the First Emperor out of Huangdi's descent.
Claiming descent from illustrious ancestors remained a common tool of political legitimacy in the following ages. Wang Mang (c. 45 BC – 23 AD), of the short-lived Xin dynasty, claimed to descend from the Yellow Emperor in order to justify his overthrow of the Han. As he announced in January of 9 AD: "I possess no virtue, [but] I rely upon the fact that] I am a descendant of my august original ancestor, the Yellow Emperor..." About two hundred years later a ritual specialist named Dong Ba 董巴, who worked for at the court of the Cao Wei, which had recently succeeded the Han, promoted the idea that the Cao family was descended from Huangdi via Emperor Zhuanxu.During the Tang dynasty, non-Han rulers also claimed descent from the Yellow Emperor, for individual and national prestige, as well as to connect themselves to the Tang. Most Chinese noble families also claimed descent from Huangdi. This practice was well established in Tang and Song times, when hundreds of clans claimed such descent. The main support for this theory – as recorded in the Tongdian (801 AD) and the Tongzhi (mid 12th century) – was the Shiji's statement that Huangdi's 25 sons were given 12 different surnames, and that these surnames had diversified into all Chinese surnames. After Emperor Zhenzong (r. 997–1022) of the Song dynasty dreamed of a figure he was told was the Yellow Emperor, the Song imperial family started to claim Huangdi as its first ancestor.A number of overseas Chinese clans that keep a genealogy also trace their family ultimately to Huangdi, explaining their different surnames as name changes claimed to have derived from the fourteen surnames of Huangdi's descendants. Many Chinese clans, both overseas and in China, claim Huangdi as their ancestor to reinforce their sense of being Chinese.Gun, Yu, Zhuanxu, Zhong, Li, Shujun, and Yuqiang are various emperors, gods, and heroes whose ancestor was also supposed to be Huangdi. The Huantou, Miaomin, and Quanrong peoples were said to be descended from Huangdi.

Traditional dates
Although the traditional Chinese calendar did not mark years continuously, some Han-dynasty astronomers tried to determine the years of the life and reign of the Yellow Emperor. In 78 BC, under the reign of Emperor Zhao of Han, an official called Zhang Shouwang (張壽望) calculated that 6,000 years had passed since the time of Huangdi; the court refused his proposal for reform, countering that only 3,629 years had elapsed. In the proleptic Julian calendar, the court's calculations would have placed the Yellow Emperor in the late 38th century BC rather than in the 27th century BC that is conventional nowadays.
During their Jesuit missions in China in the seventeenth century, the Jesuits tried to determine what year should be considered the epoch of the Chinese calendar. In his Sinicae historiae decas prima (first published in Munich in 1658), Martino Martini (1614–1661) dated the royal ascension of Huangdi to 2697 BC, but started the Chinese calendar with the reign of Fuxi, which he claimed started in 2952 BCE. Philippe Couplet's (1623–1693) "Chronological table of Chinese monarchs" (Tabula chronologica monarchiae sinicae; 1686) also gave the same date for the Yellow Emperor. The Jesuits' dates provoked great interest in Europe, where they were used for comparisons with Biblical chronology. Modern Chinese chronology has generally accepted Martini's dates, except that it usually places the reign of Huangdi in 2698 BC (see next paragraph) and omits Huangdi's predecessors Fuxi and Shennong, who are considered "too legendary to include."Helmer Aslaksen, a mathematician who teaches at the National University of Singapore and specializes in the Chinese calendar, explains that those who use 2698 BC as a first year probably do so because they want to have "a year 0 as the starting point", or because "they assume that the Yellow Emperor started his year with the Winter solstice of 2698 BC", hence the difference with the year 2697 BC calculated by the Jesuits.Starting in 1903, radical publications started using the projected date of birth of the Yellow Emperor as the first year of the Chinese calendar. Different newspapers and magazines proposed different dates. Jiangsu, for example counted 1905 as year 4396 (making 2491 BC the first year of the Chinese calendar), whereas the Minbao (the organ of the Tongmenghui) reckoned 1905 as 4603 (first year: 2698 BC). Liu Shipei (1884–1919) created the Yellow Emperor Calendar to show the unbroken continuity of the Han race and Han culture from earliest times. There is no evidence that this calendar was used before the 20th century. Liu's calendar started with the birth of the Yellow Emperor, which was reckoned to be 2711 BC. When Sun Yat-sen declared the foundation of the Republic of China on January 2, 1912, he decreed that this was the 12th day of the 11th month of year 4609 (epoch: 2698 BCE), but that the state would now be using the solar calendar and count 1912 as the first year of the Republic. Chronological tables published in the 1938 edition of the Cihai (辭海) dictionary followed Sun Yat-sen in using 2698 as the year of Huangdi's accession; this chronology is now "widely reproduced, with little variation."

Cultural references
The emperor appears as an ancestor hero in the strategy game Emperor: Rise of the Middle Kingdom made by Sierra Entertainment. In the game, he is a patron of acupuncturist and silk weaver, and has the skills needed for leading men into battle, especially the Chariot-Fort soldiers.
The emperor serves as the hero in Jorge Luis Borges's story, "The Fauna of the Mirror". British fantasy writer China Miéville used this story as the basis for his novella The Tain, which describes a post-apocalyptic London. "The Tain" was included in Miéville's short-story collection "Looking For Jake" (2005).
The popular Chinese role-playing video game series for the PC, Xuanyuan Jian, revolves around the legendary sword used by the emperor.
The emperor is an important NPC in the action RPG Titan Quest, The player must reach the emperor to learn the truth about Typhon's imprisonment. He also reveals a bit of information about the war between the gods and the titans, while also revealing that he has been following the players actions since the beginning of the Silk Road.
A 2016 Chinese drama film about the story of the Yellow Emperor is titled "Xuan Yuan: The Great Emperor" (軒轅大帝).
In the Shin Megami Tensei games, Huang Di is a summonable ally. He's created in various means depending on which game he is in.

See also
Chinese folk religion
Chinese theology
Emperors Yan and Huang (monument)
Jiutian Xuannü, goddess of war, sex, and longevity as well as teacher of the Yellow Emperor
Simianshen
Tianxia
Xuanyuanism
Jade Emperor

Notes
Passage 2:
Hartley Lobban
Hartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.

Life and career
Lobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.
He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.
Passage 3:
Valeria Bruni Tedeschi
Valeria Bruni Tedeschi, also written Bruni-Tedeschi (Italian pronunciation: [vaˈlɛːrja ˈbruːni teˈdeski]; born 16 November 1964), is an Italian-French actress, screenwriter and film director. Her 2013 film, A Castle in Italy, was nominated for the Palme d'Or at the 2013 Cannes Film Festival.

Personal life
Bruni Tedeschi was born in Turin, Italy, in the Piedmont region of Italy. Like her younger sister, Carla Bruni, she has settled in France. The girls were raised bilingually, as their family moved to Paris in 1973, fearing kidnappings and, later, the terrorism of the Red Brigades. She holds dual Italian and French citizenship. Her mother is Italian with French ancestry. Her father is Italian. She is a second cousin of Alessandra Martines. Tedeschi had a relationship with the French actor Louis Garrel from 2007 to 2012. Together they adopted a girl, Oumy, from Senegal in 2009. Allegedly, Bruni Tedeschi is in a relationship with French actor Sofiane Bennacer as of 2022.

Selected filmography
She was present at the 2005 Berlinale, the Berlin International Film Festival, to promote two films she had acted in: Tickets (2005), a three-segment film directed by Ermanno Olmi, Abbas Kiarostami, and Ken Loach, and Crustacés et Coquillages, a comedy directed by the French duo of Olivier Ducastel and Jacques Martineau.
She also played a lead role in the short film Drugstore (2000), as part of a French anti-drug awareness raising campaign Drug Scenes (Original French title: Scénarios sur la Drogue), directed by Marion Vernoux based on a script by Eric Ellena.

Notable TV appearances
She recently appeared in one episode of the TV series In Treatment (2013).

Directing
Her debut film as a director, It's Easier for a Camel..., earned her two awards at the Tribeca Film Festival for Emerging Narrative Filmmaker and Best Actress in 2003. The film also won an award at the Ankara Flying Broom Women's Film Festival in 2004. It was also awarded Louis Delluc Prize for Best First Film. It was also entered into the 25th Moscow International Film Festival. According to Tim Palmer the film is an engaging example of contemporary French pop-art cinema, referring to directors who wittily merge the features of intellectual/arthouse cinema with mass/popular cinema, putting Bruni Tedeschi in the company of other filmmakers such as François Ozon, Maîwenn le Besco, Sophie Fillières, Serge Bozon, etc.In 2007, Bruni Tedeschi directed Actrices, which won the Prix Spécial du Jury at the 2007 Cannes Film Festival. Her 2022 film Les Amandiers	(Forever Young) also premiered in the main competition of the 2022 Cannes Film Festival.
Passage 4:
A Castle in Italy
A Castle in Italy (French: Un château en Italie) is a 2013 French drama film directed by Valeria Bruni Tedeschi. It was nominated for the Palme d'Or at the 2013 Cannes Film Festival.

Plot
An upper-middle-class family is selling their family home. Meanwhile, Louise meets Nathan while taking care of her brother Ludovic, who is ill.

Cast
Louis Garrel as Nathan
Valeria Bruni Tedeschi as Louise
Xavier Beauvois as Serge
Céline Sallette as Jeanne
Filippo Timi as Ludovic
André Wilms as André
Marie Rivière as Nathan's mother
Pippo Delbono as The priest
Silvio Orlando as  The Italian mayor
Passage 5:
Kuei-Mei, a Woman
Kuei-Mei, a Woman (Chinese: 我這樣過了一生) is a 1985 Taiwanese drama film directed by Chang Yi. The film was selected as the Taiwanese entry for the Best Foreign Language Film at the 58th Academy Awards, but was not accepted as a nominee. It won the Golden Horse Award for Best Feature Film in 1985.

Cast
Hui San Yang as Kuei-Mei
Lichun Lee as Kuei-Mei's husband

See also
List of submissions to the 55th Academy Awards for Best Foreign Language Film
List of Taiwanese submissions for the Academy Award for Best Foreign Language Film
Passage 6:
The Hole (1998 film)
The Hole (Chinese: 洞; pinyin: dòng; lit. 'hole'), also known as The Last Dance, is a 1998 Taiwanese drama-musical film directed by Tsai Ming-liang. It stars Yang Kuei-mei and Lee Kang-sheng.

Plot
Just before the turn of the new millennium, a strange disease hits Taiwan that causes people to crawl on the floor and search for dark places. It also rains constantly. Despite evacuation orders, tenants of a rundown apartment building stay put, including Hsiao Kang (Lee Kang-sheng). Hsiao Kang runs a food store with few customers.
One day, a plumber arrives at Hsiao Kang's apartment to check the pipes. He drills a small hole into the floor which comes down through the ceiling of the woman downstairs (Yang Kuei-mei). The woman, who maintains her flooded apartment while stockpiling toilet paper, becomes annoyed by Hsiao Kang's antics on the other side of the hole. She confronts him at his store.
However, the hole remains there, and the two continue to get on each other's nerves. The woman sprays her room, creating a smell that Hsiao Kang cannot stand; Hsiao Kang's alarm clock goes off, waking the woman. In spite of this, the two begin forming a connection. Someone rings Hsiao Kang's doorbell, but he does not answer. He lies down next to the hole and sticks his leg into it.
The woman catches the disease and crawls into the toilet paper fort that she made. Hsiao Kang gets distraught. He bangs on the floor near the hole with a hammer. Eventually, the woman emerges from the fort. Hsiao Kang offers her a glass of water through the hole, and she drinks it. Hsiao Kang then pulls her up through the hole. In the final scene, the two slow dance with each other.

Cast
Yang Kuei-mei - the woman downstairs
Lee Kang-sheng - Hsiao Kang / the man upstairs
Miao Tien - the customer
Tong Hsiang-Chu - the plumber
Lin Hui-Chin - a neighbor
Lin Kun-huei - the kid

Production
The Hole was made for the 2000, Seen By... project, initiated by the French company Haut et Court to produce films depicting the approaching turn of the millennium seen from the perspectives of 10 different countries.The film was directed by Tsai Ming-liang and starred two actors he had worked with before, Yang Kuei-mei and Lee Kang-sheng. According to Tsai, Yang needed a lot of direction from him, while Lee did not need any. The two actors "never really clicked in a creative way." When they had to shoot scenes together, Yang often complained to Lee about his acting, saying that he was not working with her. Lee told Tsai on set that he did not want to be in any more of Tsai's films, but Lee went on to star in Tsai's next film, What Time Is It There? (2001). They would continue to collaborate for over 30 years.

Reception
Variety described the film as an "eerie, dank, claustrophobic mood piece."The Hole was entered into the 1998 Cannes Film Festival. It was nominated for the Palme d'Or award and won the FIPRESCI Prize (competition) "for its daring combination of realism and apocalyptic vision, desperation and joy, austerity and glamour." The film won the Gold Hugo for best feature at the 1998 Chicago International Film Festival. It also won three Silver Screen Awards at the 1999 Singapore International Film Festival - for best Asian feature film, best Asian feature film director (Tsai Ming-liang), and best actress (Yang Kuei-mei).
The film has an 80% fresh rating on Rotten Tomatoes.
Passage 7:
Ringo-en no shōjo
Ringo-en no shōjo (リンゴ園の少女, Ringo-en no shōjo, lit. "Girl of Apple Park") is a 1952 black and white Japanese film directed by Koji Shima.The art director was Tomoo Shimogawara.

Cast
Hibari Misora as Marumi
Akihiko Katayama
Kokuten Kōdō
Yōko Kosono as Yoko Kozono
Koji Mitsui
Hideaki Miura
Bontarō Miyake as Bontaro Miake
Zeko Nakamura as Zekō Nakamura
Takeshi Sakamoto
Isao Yamagata
So Yamamura

See also
List of films in the public domain in the United States
Passage 8:
John McMahon (Surrey and Somerset cricketer)
John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.

Surrey cricketer
McMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.

Somerset cricketer
Somerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.
McMahon instantly became a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: "The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen," it said. McMahon took 85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table.
The figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called "clever variation of flight and spin". These matches brought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langford returning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in which he exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only a single end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that "proved highly controversial".

Sacked by Somerset
The reason behind McMahon's sacking did not become public knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as "a man who embraced the antipodean virtues of candour and conviviality". It went on: "Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'" The obituary recounts a further escapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by "a POW-type loop" organised by McMahon, "with his team-mates escaping through a ground-storey window and then presenting themselves again". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case there had been "an embarrassing episode at Swansea's Grand Hotel" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahon to be reinstated, but the county club was not to be moved.
After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines.

== Notes and references ==
Passage 9:
Wale Adebanwi
Wale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.

Education background
Wale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.

Career
Adebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.

Works
His published works include:
Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)
Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)
Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.

The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)
Writers and Social Thought in Africa (Routledge, 2016)
(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)
(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).
(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)
(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).

Awards
Rhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.
Passage 10:
Henry Moore (cricketer)
Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.

Life and family
Henry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great
grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.

Cricket career
Moore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a "very fine exhibition of free hitting, combined with good defence". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, "Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving." Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.