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Zanni

Zanni, Zani or Zane is a character type of commedia dell'arte best known as an astute servant and a trickster. The Zanni comes from the countryside and is known to be a "dispossessed immigrant worker". Through time, the Zanni grew to be a popular figure who was first seen in commedia as early as the 14th century. The English word zany derives from this character. The longer the nose on the characters mask, the more foolish the character.

Origin of the name
The name "Zanni" (as well as "Zuan") is a variant of the name Gianni and was common in the Lombard-Venetian countryside which provided most of the servants to the wealthy nobles and merchants of Venice. In Italian it is specifically a name of someone whose identity is not of any importance. It is one of the oldest characters in commedia dell'arte, but over the course of time became subdivided into a number of similar characters with more specific traits. These included Arlecchino, Pulcinella, Mezzettino and Truffaldino, as well as Beltrame and Brighella. Arlecchino, for example, was more representative of a jester than an ordinary servant and was frequently depicted as very acrobatic. Zanni was shortened to Zan when used to provide further identification of an individual. For example, Zan Ganassa was the stage name of Alberto Naseli, who was one of the first actors specializing in Zanni roles to perform outside of Italy.

Overall, the Zanni in early commedia dell'arte is the name for the 'carter', which is the servant. The name Zanni became a "technical term to define all of the servants".

Variations
Some characters in commedia that are derived from Zanni are Arlecchino (Harlequin), Brighella, Scapino, Mescolino and Mezzettino, Scaramuccia (aka Scaramouche), Pulcinella, Pedrolino, Giangurgolo, Tartaglia, Trappolino, and Burratino.

Characteristics
The earliest literary evidence portrays Zanni as a servant of Pantalone. Of all of the commedia archetypes, Zanni's survival instinct is the strongest. Zanni is also always hungry, which leads to a vision of Utopia where "everything is comestible, reminiscent of the followers of gluttony in carnival processions". A Zanni also has an animistic view of the world in that he senses a spirit in everything, so it could be eaten. Zanni is ignorant, loutish, and has no self-awareness. The simple act of thinking does not seem to be natural to Zanni. He is a very faithful individual who prefers to live in the present day. Zanni never looks for a place to sleep; it just seems to happen to him often in situations where it shouldn't, like a drunkard. Lastly, all of his reactions are completely emotional.

Zanni is born into an immigrant background and is known for performing both "duty and necessity" and also plays an active role in the "game" of breaking up and unifying relationships. Zanni is also known for his ability to scheme and manipulate. The role of Zanni is known as being a "stupid genius"; this contradiction prevents Zanni from approaching daily life in a rational manner. Zanni's stupidity prevents him from performing simple tasks, while his genius gives him the ability to make the impossible possible.

Two types of Zanni
The evolution of the character Zanni was of two distinct types, one of the silly servant and the other of the cunning servant. These two components developed over the course of the history of the commedia dell'arte, and players began to specialize in the two types who were called "first Zanni" and "second Zanni". Mezzetino and Brighella are examples of the first Zanni; Arlecchino and Pulcinella are examples of the second. A scenario must always have at least two Zanni.

The first Zanni is known to be clever and witty, and is known as il furbo (lit. 'the clever'). The first Zanni can trick and cheat anyone whom they come across. It is a must that they are cynically sharp. The first Zanni is also known to be the go-between. The job of the first Zanni is to advance the action and give it some movement, with a slightly cynical twist. In some traditions, first Zanni are said to be from Val Brembana in the province of Bergamo; in others they are attributed to the upper city of Bergamo.

The second Zanni is known as lo stupido. The second Zanni must be foolish, clumsy, and dull. The second Zanni is also unable to tell his right hand from his left. He is a dull-witted peasant who can be simple and also ridiculous. Second Zanni, in particular with Arlecchino, does not so much advance plot as maintain a steady stream of comic relief throughout the scenario. Second Zanni are assumed to be from the lower city of Bergamo. Between the two of them they make up one person of "less than average intelligence". Before developing this dualistic person of the two types of clever and silly servant, Zanni was a character in its own right.

Actors
The performance of a commedia actor relies on the acting itself. A scenario should be playable in different ways and seem different each time the audience sees it. The actors who play Zanni must be clever and equally talented, because an actor's success relies primarily on their dialogue partner. If the partner does not reply to them at the right moment or interrupts them in the wrong place, the actor's "discourse falters and the liveliness of their wit is extinguished". He must be acrobatic, able to walk on his hands and on stilts, dance, skip and somersault. In this respect, the Zanni is one of the most physically demanding of all the Masks.

Costume and mask
The Zanni's costume usually consists of white baggy clothing. This clothing was traditionally made out of flour sacks. This was similar to the dress of peasants and farmworkers of the time. A specific type of Zanni, Brighella, wore accents of green to indicate his tricky and devious nature. Arlecchino, however, was known for his irregular colored patches that eventually became the essence of the entire outfit. The Zanni are also known to sport a peaked hat and a wooden sword. The Zanni at first wore a full faced carnival mask, but because of the need for dialogue between Pantalone and the Zanni, the bottom of the mask was hinged and eventually cut away altogether. The longer the nose of the Zanni, the stupider he is said to be.

Stance
The stance of Zanni has a "lowered centre of gravity" either from the earth or from carrying heavy bags and chairs. Zanni's back is arched when he stands up and his knees are bent and apart with splayed feet. The support knee is bent and the other leg is extended with his toe pointed. He switches his feet a lot while speaking or listening within the same position, and without his head moving up and down. Zanni's elbows are usually bent and arms half lifted. Zanni also has a variety of poses. These include crouching with the elbows on the knees and the chin in the hands, or sitting with the feet splayed bending at the hips with the elbows slightly elevated.

Six types of walks
In commedia, Zanni has a variety of at least six different types of walks. These walks include The Little Zanni, The Big Zanni, Zanni Running, Zanni Jubilant, Vain Zanni, and Soldier Zanni.

The Little Zanni walk is a development of a basic stance. The Zanni's feet are constantly changing but on each shift, The Zanni takes a tiny step forward. The feet are to be pointed, shoulders down, and elbows forward. The Zanni's knees come high off of the ground and to the side. The Zanni's head is to peck like a chicken, but the Zanni have to be sure not to bob their head up and down. A two-time rhythm is used with even beats.

The Big Zanni walk includes sticking the chest forward and the backside up. The feet need to be in fourth extended with the knees bent. The Zanni has to lower his center of gravity. This walk can be used by a Zanni when he pretends to cross the stage without being seen or when he wants to get himself out of a difficult situation.

Zanni Running includes swift movements with legs kicking out in front of him with his toes pointed. His arms move opposite to his legs.

Zanni Jubilant involves skipping on his toes with his center of gravity moving from side to side. This type of walk also involves the hands being placed on the belt.

Vain Zanni's steps are a smaller version of the Big Zanni walk with the hands placed on the belt as seen in the Zanni Jubilant. When the Zanni's leg lifts, his chest is forward and his arms are in the position of a chicken. This type of walk is used when the Zanni has a "...new button or a feather on his cap".

Soldier Zanni holds a stick in one hand and inclines it over his shoulder like he is holding a rifle. The Zanni marches with his shoulders moving up and down in a two-time rhythm but in three beats: "'tramper-tramp, tramper-tramp, tramp, tramp, tramp....'".

Speech
The Zanni is loud and his voice is coarse due to making a living outdoors trying to be heard in a market or busy street. Zanni is also known to be vocal with sounds including farting, burping, and snoring.

The following sample dialogue shows how the Zanni uses his speech in commedia:

 * Pantalone: Zanni, I want you to earn yourself a sovereign.
 * Zanni: A gold coin?
 * Pantalone: A gold castle.
 * Zanni: Ah, right (He lies down and falls asleep).
 * Pantalone: Zanni, wake up you animal and come here.
 * Zanni (rising): At your service, boss, as always.
 * Pantalone: Dear Zanni, take the sonnet.
 * Zanni: Give me the sovereign first.
 * Pantalone: I will give it to you.
 * Zanni: Where is it, then?
 * Pantalone: It's there.
 * Zanni: Show it to me.
 * Pantalone: There it is.
 * (Zanni tries to snatch the coin but Pantalone grabs it back at the last moment)
 * Zanni: Darn!
 * Pantalone: It's yours.
 * Zanni: How can it be mine since you’ve got it?
 * Pantalone: Trust me, my dear Zanni; take the sonnet and I will give it to you.

Lazzi
A lazzo is a joke or gag in mime or in words.

The following lazzi examples are short comic routines by the character type Zanni. In "Lazzi of the Cat" the Zanni mimics the actions of a cat, demonstrating how the cat hunts for wild birds or how the cat cleans himself by scratching his ears with his feet and cleaning his body with his mouth.

Sexual / Scatological Lazzi: in "Lazzi of Burying the Urine", the Zanni is told that burying his urine and the urine produced by his wife will give him a son. Zanni gets a urinal that produces both and before he spills it into the soil, he treats it as a special fluid.

Stupidity/ Inappropriate Behavior: in "Lazzi of Counting Money", the Zanni divides Pantalone's money between Pantalone and himself in the following way: "One for Pantalone, two for me (gives one coin to Pantalone and two to himself); two for Pantalone, three for me (gives one coin to Pantalone and three to himself), etc."

Another popular lazzi was Zanni walking behind his master mounted on a mule and goading it to go faster by blowing air from a pair of bellows onto the animal's anus.

Props
A Zanni is known to take and briefly keep items that belong to someone else. Some items that the Zanni would keep would be bags, letters, valuables, or food.

Relationship with the audience
Zanni's relationship to the audience is that he is the most sympathetic character and treats the audience collectively so he is able to address the audience directly. Zanni contributes to the plot by being the "principal contributor to any confusion".

title: Zanni


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George Shipway

George Shipway (25 May 1908–1982) was a British author best known for his historical novels, but he also tried his hand at political satire in his book The Chilian Club.

Military career
George Frederick Morgan Shipway was born on 25 May 1908 at Allahabad in India and was educated at Clifton. He then attended the Royal Military College, Sandhurst and was commissioned on to the Unattached List for the Indian Army on 30 August 1928. He arrived in India on 5 October 1928 and was attached to a British regiment: the 2nd Battalion The Prince of Wales's Volunteers (South Lancashire), for one year from 14 October 1928. This was a standard practice, intended to enable junior officers on the Unattached List to gain practical military experience in an Indian environment before joining their regiments.

After his year Shipway was posted to the 13th Duke of Connaught's Own Lancers on 20 November 1929. Shipway was later to wryly claim that his motive in joining an Indian cavalry regiment was to give him the opportunity to play polo on a regular basis.

He spent two years (1936–1938) as Adjutant of the Mekran Levy Corps. After attending the Quetta Staff college in 1940–41 he became a General Staff Officer, 3rd grade at General Headquarters, India. He remained on the staff until 1944 when he was posted to serve with the Hyderabad Lancers, an Indian State Forces unit.

Shipway retired as a Major and honorary Lieutenant-Colonel on 9 January 1948, following Indian independence. After retiring he became a teacher at Cheam School in Berkshire for 19 years before becoming a novelist at the age of 60.

Novels
Shipway's cavalry background served him well when he took up writing; his descriptions of cavalry battles are full of minute detail and his works generally were meticulously researched. His first novel Imperial Governor (1968) made use of both his military and teaching knowledge to analyse the character of the Roman general Suetonius Paulinus, who suppressed Boudicca's rebellion of AD 60. Other novels dealt with pre-classical Greek, medieval and Indian historical themes.

In his 1969 novel Knight in Anarchy Shipway describes the life of Humphrey de Visdelou as he follows Geoffrey de Mandeville to his doom. In the book Shipway indicates that he lives on the estates that de Visdelou once owned. The Vis de Lou family certainly held lands in Berkshire post-Conquest.

Shipway died in 1982.

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

title: George Shipway


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Talk:Harlequin

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): WillFri.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 23:05, 16 January 2022 (UTC)

Other meanings
Great work clarifying the sources and information. I wonder if you could add under The Name all of the different spellings and uses of the name and where it is derived from. I noticed some on there, but I know there are a few more you can mention! — Preceding unsigned comment added by Lestone1 (talk • contribs) 22:17, 4 December 2016 (UTC)

Paul, was this you?

-Ben 15:43, 25 February 2002 User:Benwbrum

The Harlequin link needs to be a disambiguation page between various uses, such as: 14:50, 5 March 2004 User:Bovlb
 * Arlecchino
 * The US romance publisher
 * [] - The international software company

page move

 * As a consequence Harlequin → Harlequin (disambiguation)); This is English Wikipedia and as per MoS the common English name should be used. The Harlequin character deserves primary topic disambiguation as it is the original from which all of the subsequent items on the disambiguation pages are derived. Jooler 01:49, 11 December 2005 (UTC)
 * I agree. Smerdis of Tlön 05:15, 11 December 2005 (UTC)
 * Agree with proposed move. Most of the things at Harlequin (disambiguation) are named after the character. Grinner 10:30, 12 December 2005 (UTC)

Result
Moved. WhiteNight T 23:28, 28 December 2005 (UTC)

question?
I can understand why the Italian and French words for harlequin are listed (as the English word comes from the Italian through the French) but why the German and Portuguese words? —The preceding unsigned comment was added by 68.175.83.141 (talk) 03:20, 11 December 2006 (UTC).

Sorry, not too good at posting on Wikipedia and actually just have a question which is kind of related to this - in Dr. W. Wagner's "Asgard & The Gods" he mentions that the Norse goddess, Hel, was reputed as appearing thus: "One side of her face was of corpse-like pallor, and the other was as dark as the grave" (p. 53) Also, he cites that part of the "Raging Host" (associated with concept of the "Wild Hunt") was called, in France, "Mesnie Hellequin" for hunters from hell(p. 78). Anyway, not sure how well Dr. Wagner's study has stood the test of time (he wrote this late 19th century) and whether his scholarship has been refuted or not, but wanted to know if this should be mentioned somewhere if it's true.69.140.36.222AJ

Harley Quinn appears twice
"In today's culture, harlequins are seen quite often, especially in the New Orleans Mardi Gras celebrations. Harlequins frequently appear in pop culture, such as Harley Quinn from the Batman series and Harle from Square Enix's game Chrono Cross." "In the comic book version representing Batman and the Justice League (either together or seperately), a female assistant wearing a jester costume is sometimes given to the Joker. She is known as Harley Quinn."

I think this needs to be fixed, but I am not sure which one to delete/edit. —Preceding unsigned comment added by RoyalFool (talk • contribs) 23:31, 24 February 2008 (UTC)

The recent revamp
Okay, I think this page maybe needs to be completely rewritten. The current version of the page is nothing but a list of pop culture references and has completely deleted all references to the characters origin and function in the commedia dell'arte, which I would daresay are kind of important, especially since all the other major commedia characters have their own pages describing their uses, histories and characterizations. —Preceding unsigned comment added by 76.18.93.72 (talk) 01:59, 26 March 2008 (UTC)
 * The information that you want is in page Commedia dell'arte, which I have now linked to. Anthony Appleyard (talk) 05:58, 26 March 2008 (UTC)
 * That's not quite what my objection was. All the other Commedia charcaters have their own pages (Brighella, Capitano, etc.) Harlequin needs, and used to have, his right here. It's really bizarre and irritating that all the info went away for no apparent reason. This information that replaced it isn't exactly superior.
 * Also, that Duchartre citation at the bottom needs to go, in the present state.--76.18.93.72 (talk) 08:12, 4 April 2008 (UTC)
 * I'd have to agree that the current page, as is, is little more than a list of sightings. Information on the character itself should also be included here. ~ Brother William (talk) 05:25, 19 April 2008 (UTC)

 * The current format is clear. Changing it into essay format would merely make it harder to look for any one piece of information. Anthony Appleyard (talk) 05:36, 19 April 2008 (UTC)
 * There remains a great deal of overlap between the main article, which doesn't actually tell me very much, and the disambiguation page. As you don't seem to like my efforts, perhaps somebody else would like to have a go at sorting it out.Hethurs (talk) 21:54, 27 May 2008 (UTC)

I came here looking for information about Harlequin. What is the main traits of this character that pops up everywhere, where does he come from (cinema? folklore? books? theater?) and WHY O WHY does he have those weird clothes? . . This page gave me the answer that he is from "the Italian Commedia dell'Arte" and nothing else was answered here. . . (Yes a clicktrough to the Commedia dell'Arte page gives me some more info but that info should be on THIS page instead!. This page totally needs a revamp with more info.83.249.226.186 (talk) 17:01, 18 August 2008 (UTC)

Someone decided it was a good idea to destroy previous work on the article, leaving only references to modern culture (a collection of trivia). I found the last version before the vandalism, which is |here. Using this version, I will restore the deleted content. Maybe some of that content is wrong, but the deletion was certainly vandalism. Therefore I am reverting it.--FocalPoint (talk) 18:50, 20 March 2009 (UTC)

Origin?

 * Re the etymology theory "From the term Hellequin, which is said to originate as middle age French for "the devil's horseman""; this theory may have been around for a long time, but is it genuine, or is it a false etymology invented in former centuries by Church priests trying to show that "the theater (and all other secular entertainment) is sinful and comes from the Devil"? Anthony Appleyard (talk) 06:10, 26 March 2008 (UTC)

 * Re As a flemish carnival character, could not be its ethymology from dutch "Harl-eken" - Karl akin - perhaps the man who first dressed this patchwork costume for carnival? Something like "mann-eken" - man akin, children - See http://en.wikipedia.org/wiki/Manneken_Pis User:Iñigo G Blanch —Preceding unsigned comment added by 84.77.239.109 (talk) 17:41, 1 July 2009 (UTC)

all this throwing around of unreferenced "hypotheses" needs to stop. The only verifiable pedigree of the name is Old French Hellequin, leader of the medieval French version of the Wild Hunt. The etymology of Hellequin (variants Helething, Herlequin) itself is another question. I have seen both "hari+thing" (!, so in Schmitt 1999, p. 100) and OHG (H)ellechin(n)o "little devil". More references on this are needed.

I also have serious doubts that English Herla derives from the Old English period. It is infinitely more likely that Herla king is just the 11th or 12th century Anglo-Norman corruption of OF Hellequin. --dab (𒁳) 17:50, 28 July 2009 (UTC)
 * From What I've been seeing on the page and the research I've done so far I'm going to omitt the mention of "Alicchino" and Dante's Inferno since there is no relaible source that explicitly makes a connection.--WillFri (talk) 22:17, 20 November 2016 (UTC)--I've gone back and checked out several more sources that I'm citing on the page and there does seem to be some more evidence for Dante's devil's to possibly have some influence if not some surface level similiarties to the Harlequin. I'll just be expanding on the subject a bit. WillFri (talk) 20:47, 9 December 2016 (UTC)

Merger proposal
I propose that Hellequin be merged into Harlequin. I think that the content in the Hellequin article can easily be explained in the context of Harlequin, and the Harlequin article is of a reasonable size in which the merging of Hellequin will not cause any problems as far as article size or undue weight is concerned. It should also be an chance to add references about Hellequin Bikepunk2 (talk) 14:24, 16 June 2011 (UTC)

I encourage you to just do it, at least in obvious cases like this one. Merging substubs into their main articles is standard maintenance work, not something that should be "proposed" or "discussed", simply because there is no conceivable reason to object: whoever is opposed to such mergers places the burden on themselves to expand the stub so it can stand on its own. --dab (𒁳) 08:04, 17 June 2011 (UTC)
 * Ok, I'll try to get find out some references and merge it in the coming days if no one disagree untill then. Bikepunk2 (talk) 19:02, 17 June 2011 (UTC)
 * I've just performed the merging. Bikepunk2 (talk) 13:56, 6 July 2011 (UTC)

Writing
This does not read well. Many errors, generally consistent with the bad habits of Eastern European non-native English speakers, e.g., omitted indefinite articles abound.

The entry really just needs a rewrite, with special attention paid to its focus and the relevance of its parts. e.g. in "Others attribute the name to Dante's Inferno, XXI, XXII and XXIII; one of the devils in Hell having the name Alichino," is it really necessary to cite each chapter in which the character Alichino appears? Does anyone actually attribute the name 'harlequin' this way, "see Dante, chapter XXI & XXII & &XXIII"? I have to believe they don't. They attribute it to Dante simply, or else they cite its first appearance in Dante, and leave it go.

Examples of the idiocy:

Idries Shah has claimed that Harlequin be of Sufi origins

Shah argues that the Arabic name aghlaq - which was given to such sufi masters - with plural form "aghlaqueen" pronounced with the guttural gh- as the Spanish jota, would have given the word Harlequin. — Preceding unsigned comment added by 68.78.131.123 (talk) 10:30, 15 October 2012 (UTC)

Connection with Francis of Assisi?
As far as I can tell this article should have nothing to do with Francis of Assisi, so why is there a picture of his jacket? Just something I noticed. I'd remove it if I could remember my login credentials and I'm not a big fan of anonymous removal of content.--66.252.70.130 (talk) 13:50, 3 September 2013 (UTC)

Looks like some editor is trying to link Harlequin with Sufism. They are using obscure references such as St Francis' clothes. Likely no point fighting this one.... 50.80.153.173 (talk) 02:04, 18 December 2013 (UTC)

 * the "Sufi" aghlaq connection is absolute bogus. Apparently suggested by one guy, a Sufi expert, back in 1999. Of course a Sufi expert is going to see Sufis everywhere, even in areas where he has not even the remotest  clue.
 * as it turns out, the hellequin "Wild Hunt" etymology is universally accepted and completely plausible. There is simply no reason to preset it as anything less than expert consensus. Assorted fringe proposals with no merit can be argued over within WP:DUE, but they certainly have to be presented for what they are. Seeing that this was aggressively pushed with no rhyme or reason, I am tempted to argue that it should be taken out completely. --dab (𒁳) 21:06, 18 December 2013 (UTC)

 * turns out that derivation from  herlequin, hellequin, the leader of the Wild Hunt in France since at least the 12th century, is completely undisputed. The chequered costume came 400 years after the name. Shah clearly has no idea what he is talking about, and didn't even bother to review the evidence, he is just throwing around Sufi terms that sound vaguely like other terms and calls that a "hypothesis". This probably isn't worth even mentioning (WP:UNDUE), or if it is mentioned, it will have to be exposed as the nonsense it is.
 * yes, the etymology of herlequin is in turn open to debate. But this is not now about the name of a sympathetic stage character in a chequered costume, it is about the name of a demon or devil leading a troop of nocturnal spirits. If anyone wants to argue for a Sufi connection with that, I'm all ears. Back in the real world, the name is cognate with Herle king and/or Erlkönig and either meant "king of the elves" or "king of the host".

 * regarding "aghlaq", this is completely contrived. I am happy to take Shah's word for it that "The name given the silent teacher who performed strange movements, incidentally, was aghlaq (plural aghlaqin)". However, note the complete lack of occurrence of such a term in any popular account of Sufism. Arabic aghlaq (from a root غلق "shut, barred") rather means "wooden shutter" or similar, i.e. some part of a door. Shah himself states that this supposed term for a "silent teacher" was a kind of pun on a term for "great door". This is interesting, and it would be nice to see some sort of reference for it, in the context of Sufism. The only source that comes up in google is Shah's own claim, and he conveniently fails to give any pointer to further references, or even bothers to indicate the actual spelling of the word in close transliteration (might it be اغلق? I take it that aghlaq al-bab, min fadlik simply means "sorry, we are closed". No sufis under this search term. Perhaps اغلاق? See for yourself.). How an extremely obscure title of a Sufi master would have ended up (in its plural) on the Italian stage is anyone's guess. Perhaps we can make an argument that the Harlequin was used to turn away people when the theater was closed, so he came to be known by the Arabic for "sorry, we are closed" for some reason? This isn't scholarship, it is just idle brain-storming on similar-sounding words in print. --dab (𒁳) 10:21, 19 December 2013 (UTC)

Origin of the character (brief version)
It becomes even more simple if one simply consults literature by actual historians, esp. on history of comedy. It turns out it is known that the name Arlequin was picked by the actor Tristano Martinelli of Bergamo for his zanno character. He went on to become extremely successful in Paris, and a favourite of the French king, giving immortality to the character he created. He took the name explictly from the "popular French devil" because a resemblance to his own character. By the time of Martinelli's death in 1630, the Arlequin character had become stock and continued to be interpreted by other actors.

Any further discussion of the name Arlequin does not concern the Harlequin character but will be a question of the history of the "devil" character in medieval French passion plays. --dab (𒁳) 11:21, 19 December 2013 (UTC)

Harlequins in Modern Film
I reckon adding a section for this topic would be appropriate, but wanted to see what we think. The section could explain how the traditional Harlequin role is still scripted into modern film (in at least those mainstream and western-made), and how the character/plot features are preserved. This could be kept general, feature a few famous examples in-paragraph (i.e. Joker from DC/'the Dark Knight' film, R2-D2 from the 'Star Wars' series, etc.), or even contain a list of Harlequin-role characters (this option would leave the See Also section for only traditional characters, if decided better that way). I think using brief examples in-sentence would be good, e.g.: "...core character features such as the ability to understand their existing in a film/"break the fourth wall", integral importance in the direction of the plot (themes similar to traditional Harlequin wand-action), and a constant voice of humour within the script. For an example, R2-D2 in the Star Wars film series is a key character in the entire plot, seemingly knowing all acts necessary to progress involved scenes - but also constantly acts and speaks comically, is extremely agile/acrobatic, and even alludes to events yet to happen to show his knowledge of the film series' own continuity." This example may be long, but is only an example for us to think about here. Let me know what we think. VeraxVoice (talk) 14:45, 14 October 2021 (UTC)

title: Talk:Harlequin


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Brighella

Brighella (Bergamasque dialect: Brighèla) is a comic, masked character from the Italian theatre style commedia dell'arte. His early costume consisted of loosely fitting, white smock and pants with green trim and was often equipped with a batocio (also batacchio or battacio, depending on region) or slapstick, or else with a wooden sword. Later he took to wearing a sort of livery with a matching cape. He wore a greenish half-mask (traditionally olive-green) displaying a look of preternatural lust and greed. It is distinguished by a hook nose and thick lips, along with a thick twirled mustache to give him an offensive characteristic. He evolved out of the general Zanni, as evidenced by his costume, and came into his own around the start of the 16th century.

He is loosely categorized as one of the Zanni or servant characters though he often was portrayed as a member of the middle class such as a tavern owner: his character could be adapted to whatever the needs to the scenario might be, just as Brighella himself is adaptable to any circumstance. He is essentially Arlecchino's smarter and much more vindictive older brother. They both share the same traditional birthplace: Bergamo, a city in Northern Italy. As in a stereotype of those who have risen from poverty, he is often most cruel to those beneath him on the social ladder; he even goes so far as to kill on occasion. In later versions of his character these violent and malicious traits were lessened substantially. Pierre Louis Duchartre, in his The Italian Comedy, theorizes that in France, the gentrified Brighella eventually culminated in the character of Figaro, known from the plays and operas.

Brighella is a masterful liar, and can make up a spur-of-the moment lie for any situation. He is an inveterate schemer, and he is good at what he does. If his plans failed, it was almost always out of luck on behalf of the other characters. When he is a servant, he will either serve his master devotedly or look for every opportunity to ruin and take advantage of him as he happens to see fit—whatever will gain the greatest advantage for himself and himself alone. He is fond of money, but spends it rapidly, and tends to be especially fond of the drink. In fact, he has few good qualities save for his ability to entertain the audience.

His walk is distinguishable from the traditional Zanni movement by the torso bending from side to side while the head stays vertical. The knees stay open and the elbows bend down with each movement of the leg.

His character is usually from uptown Milano or Bergamo, and in the original Italian would often speak with the local accent. He could be very witty and fond of wordplay. He is also an accomplished singer, dancer and musician, and sometimes would play the guitar on stage.

His name comes from an Italian word which can mean "bother" or "contention" in Italian; Florio's 1611 Italian-English Dictionary defines briga as meaning "a brable, a braule, a contention". Brighella in English would be therefore something like "Fighty" or "Brawly". The other Italian word attaccabrighe ("hellraiser") utilizes the same element.

Famous Brighellas
17th Century:
 * Domenico Boroncini

18th Century:
 * Giuseppe Antonio Angeleri
 * Tommaso Fortunati
 * Pietro Gandini
 * Carlo Campi
 * Atanasio Zanoni

Variants
A list of variations of the character, according to Duchartre, are:

 * Beltrame: from the 17th century, a "wilfully blind husband and rascal as crafty as Brighella". He was Milanese and spoke the local dialect. As part of his costume he apparently wore a distinctive large tunic.
 * Scapin, or Scapino: a much more nervous and cowardly version of Brighella.
 * Truccagnino: see Fenocchio.
 * Mezzetino: a gentler version of Brighella, fond of the ladies even if they were not fond of him.
 * Fenocchio: more prone to playing pranks than committing serious intrigues, he otherwise shared Brighella's fondness for malice.
 * Flautino: a musical Brighella, often singing a cappella. The Comédie-Italienne actor Giovanni Gherardi, who performed this role, was able to perform the part of an entire orchestra with his voice alone.
 * Sbrigani: sometimes the exact opposite of Brighella, otherwise an identical character; like twins. Frequently appeared alongside Brighella onstage.
 * Franca Trippa, Francatrippa or Francatrippe: created in the late 16th century, spoke a mixture of Bolognese and Tuscan dialects. An upper-class Brighella. Could be capable of gymnastic or other physical feats.
 * Turlupin or Tirelupin: a French Brighella created by Henri Legrand. The name means, according to Duchartre, "unlucky". However, the Oxford English Dictionary mentions an etymology relating to a cult that modelled themselves on the Cynics and lived off of lupins that they gathered (tiraient). The character was reputedly fond of vulgar wordplay.
 * Gandolin: a French Brighella, very fond of wordplay and puns. Sometimes wears a fur-lined plumed hat.
 * Fritellino or Fristelin: see Francatrippa.
 * Sgnarelle: a chronic drunk.
 * Bagatino
 * Gradelino
 * Pasquariel
 * Buffet
 * Gian Fritello
 * Narcisino
 * Grattelard
 * Mascarille
 * La Montagne
 * Frontin
 * Labranche
 * Figaro: as created by Beaumarchais. See Le Barbier de Séville.

title: Brighella


text:
Columbina

Columbina (Italian: Colombina, meaning "little dove"; French and English: Colombine) is a stock character in the commedia dell'arte. She is Harlequin's mistress, a comic servant playing the tricky slave type, and wife of Pierrot. Rudlin and Crick use the Italian spelling Colombina in Commedia dell'Arte: A Handbook for Troupes.

History
The role of the female servant was originally that of an entr'acte dancer. Women were not allowed to be part of the story that was being played out on stage, but they were allowed to have a dance in-between the action. Eventually these women became the buxom and gossipy servants of characters that were already allowed on stage, and then, later, the counterparts to the Zanni characters. Columbine was very down to earth and could always see the situation for what it actually was. She was also sometimes portrayed as a prostitute. She was very infrequently without something to say to or about someone.

She is dressed in a very short ragged and patched dress, appropriate to a master of the arts. These characters were usually played unmasked, but with bonnets and metal chokers. She was also known to wear heavy makeup around her eyes and carry a tambourine, which she could use to fend off the amorous advances of Pantalone. Columbina was sometimes chased after by Arlecchino (also known as Harlequin) or was close friends with him. There is record of Columbine using numerous disguises to trick or seduce Harlequin. Where most other characters are content with one disguise, Gheraldi's Colombine has several different disguises to confuse Harlequin and to keep the audience on their toes.

She was often the only functional intellect on the stage. Columbine aided her mistress, the innamorata, to gain the affections of her one true love. She is sometimes the lover of Harlequin, but not always. They sometimes engage in sexual activity, but not always. She may be a flirtatious and impudent character, indeed a soubrette.

In the verismo opera Pagliacci by Ruggero Leoncavallo, the head of the troupe's wife, Nedda, playing as Colombine, cheats on her husband, Canio, playing as Pierrot, both onstage with Harlequin and offstage with Silvio.

Although Colombine is one name associated with the female servant prostitute character archetype, other names under which the same character is played in commedia dell'arte performances include Franceschina, Smeraldina, Oliva, Nespola, Spinetta Ricciolina, and Corallina Diamantina. Colombina became the most common name used to describe the sobretta character, especially as Colombine in France and in England.

One of the actresses who made this character famous was Silvia Roncagli, the first woman recorded doing a seretta role named Francheschina in about 1570. One of the first women to play the role named Colombina was Italian actress Isabella Franchini Biancolelli. Her granddaughter, Caterina Biancolelli, was one of the most famous serettas whose name was Colombina. She played the part about 1683.

There is record of the French playwright Molière having attended many performances of the comédie italienne, or commedia dell'arte. He is even referenced in a performance by Angelo Costantini of his show Une Vie de Scaramouche, which refers to the writer and poet. This might suggest that the servant character in many of Molière's plays, such as Dorine in his play Tartuffe, might be based on this particular character archetype from the commedia dell'arte.

title: Columbina


text:
User:Pbjoiner

Paul B. Joiner of San Antonio, Texas.

title: User:Pbjoiner


text:
User talk:Pbjoiner

Hey, Paul! -Ben

Hi Paul: I see you're working on some Commedia articles, and I wonder if you know anything about Mattacino? I know him only through Mattachine Society. I tried Googling information but didn't dig up anything except something about him being in the Carnival of Venice. Do you know anything?

Thanks, David Merrill

Nope.

Mattachino sounds vaguely Commedia-esque but he's not mentioned in any of the books I've read on the subject. He might be a post-Commedia development like Smirildina who I am told was invented by Goldoni.

pbj

title: User talk:Pbjoiner


text:
Rapier

A rapier or espada ropera (dress sword) is a type of sword originally used in Renaissance Spain. The name designates a sword with a straight, slender and sharply pointed two-edged long blade wielded in one hand. It was widely popular in Western Europe throughout the 16th and 17th centuries as a symbol of nobility or gentleman status.

It is called espada ropera because it was carried as an accessory to clothing, generally used for fashion and as a weapon for dueling, self-defense and as a military side arm. Its name is of Spanish origin and appears recorded for the first time in the Coplas de la panadera, by Juan de Mena, written approximately between 1445 and 1450:

"Say, baker. A Wednesday that left Prince Enrique to look for some good bite for his espada ropera, he left without another wait from Olmedo such a great company, that with very beautiful skill to the Port was withdrawn."

Fencing spread throughout Western Europe and important sources for rapier fencing arose in Spain, known under the term of destreza ("dexterity"), in the Italian city-states and France. The French small sword or court sword of the 18th century was a direct continuation of this tradition of fencing.

Rapier fencing forms part of Historical European Martial Arts.

Terminology
The origin of the rapier is Spanish. Its name is a "derisive" description of the Spanish term ropera. The Spanish term refers to a sword used with clothes (espada ropera, dress sword), due to it being used as an accessory for clothing, usually for fashion and as a self-defense weapon. The English term "rapier" comes from the French rapière and appears both in English and German, near-simultaneously, in the mid-16th century, for a light, long, pointed two-edged sword. It is a loan from Middle French espee rapiere, first recorded in 1474, a nickname meaning grater.

The 16th-century German rappier described what was considered a foreign weapon, imported from Spain, Italy, and France. Du Cange in his Middle Latin dictionary cites a form Rapperia from a Latin text of 1511. He envisages a derivation. Adelung in his 1798 dictionary records a double meaning for the German verb rappieren: to fence with rapiers on one hand, and to rasp, grate (specifically of tobacco leaves) on the other.

The terms used by the Spanish, Italian and French masters during the heyday of this weapon were simply the equivalent of "sword", i.e. espada, spada and épée (espée). When it was necessary to specify the type of sword the Spanish used espada ropera. The name was registered for the first time in las Coplas de la panadera, by Juan de Mena, written between 1445 and 1450 approximately.

Clements (1997) categorizes thrusting swords with poor cutting abilities as rapiers, and swords with both good thrusting and cutting abilities as cut-and-thrust swords.

The term "rapier" is also applied by archaeologists to an unrelated type of Bronze Age sword.

Description

The word "rapier" generally refers to a relatively long-bladed sword characterized by a protective hilt which is constructed to provide protection for the hand wielding the sword. Some historical rapier samples also feature a broad blade mounted on a typical rapier hilt. The term rapier can be confusing because this hybrid weapon can be categorized as a type of broadsword. While the rapier blade might be broad enough to cut to some degree (but nowhere near that of the wider swords in use around the Middle Ages such as the longsword), it is designed to perform quick and nimble thrusting attacks. The blade might be sharpened along its entire length or sharpened only from the center to the tip (as described by Capoferro). Pallavicini, a rapier master in 1670, strongly advocated using a weapon with two cutting edges. A typical example would weigh 1 kg and have a relatively long and slender blade of 2.5 cm or less in width, 104 cm or more in length and ending in a sharply pointed tip. The blade length of quite a few historical examples, particularly the Italian rapiers in the early 17th century, is well over 115 cm and can even reach 130 cm.

The term rapier generally refers to a thrusting sword with a blade longer and thinner than that of the so-called side-sword but much heavier than the small sword, a lighter weapon that would follow in the 18th century and later, but the exact form of the blade and hilt often depends on who is writing and when. It can refer to earlier spada da lato and the similar espada ropera, through the high rapier period of the 17th century through the small sword and duelling swords; thus context is important in understanding what is meant by the word. (The term side-sword, used among some modern historical martial arts reconstructionists, is a translation from the Italian spada da lato—a term coined long after the fact by Italian museum curators—and does not refer to the slender, long rapier, but only to the early 16th-century Italian sword with a broader and shorter blade that is considered both its ancestor and contemporary.)

Hilt
Rapiers often have complex, sweeping hilts designed to protect the hand wielding the sword. Rings extend forward from the crosspiece. In some later samples, rings are covered with metal plates, eventually evolving into the cup hilts of many later rapiers. There were hardly any samples that featured plates covering the rings prior to the 1600s. Many hilts include a knuckle bow extending down from the crosspiece protecting the grip, which was usually wood wrapped with cord, leather or wire. A large pommel (often decorated) secures the hilt to the weapon and provides some weight to balance the long blade.

Blade
Various rapier masters divided the blade into two, three, four, five or even nine parts. The forte, strong, is that part of the blade closest to the hilt; in cases where a master divides the blade into an even number of parts, this is the first half of the blade. The debole, weak, is the part of the blade which includes the point and is the second half of the blade when the sword is divided into an even number of parts. However, some rapier masters divided the blade into three parts (or even a multiple of three), in which case the central third of the blade, between the forte and the debole, was often called the medio, mezzo or the terzo. Others used four divisions (Fabris) or even 12 (Thibault).

The ricasso is the rear portion of the blade, usually unsharpened. It extends forward from the crosspiece or quillion and then gradually integrates into the thinner and sharper portion of the blade.

Overall length
There was historical disagreement over how long the ideal rapier should be, with some masters, such as Thibault, denigrating those who recommended longer blades; Thibault's own recommended length was such that the cross of the sword be level with the navel (belly button) when standing naturally with the point resting on the ground. A small number of rapiers with extending blades were made, of which four survive in modern collections. The purpose of the ability is unclear, with suggestions including trying to gain the advantage of surprise in a duel or an attempt to get around laws limiting weapon length.

Off-hand weapons
Rapiers are single-handed weapons and they were often employed with off-hand bucklers, daggers, cloaks and even second swords to assist with defense. A buckler is a small round shield that was used with other blades as well, such as the arming sword. In Capo Ferro's Gran Simulacro, the treatise depicts how to use the weapon with the rotella, which is a significantly bigger shield compared with the buckler. Nevertheless, using rapier with its parrying dagger is the most common practice, and it has been arguably considered as the most suited and effective accompanying weapon for the rapier.

Even though the slender blade of rapier enables the user to launch quick attack at a fairly long and advantaged distance between the user and the opponent and the protective hilt can deflect the opponent's blade when he or she uses rapier as well, the thrust-oriented weapon is weakened by its bated cutting power and relatively low maneuverability at a closer distance, where the opponent has safely passed the reach of the rapier's deadly point. Because of such insufficient cutting power and maneuverability at this situation when the opponent passes the deadly point, this scenario leaves opening for the opponent to attack the user.

Therefore, some close-range protection for the user needs to be ensured if the user intends to use the rapier in an optimal way, especially when the opponent uses some slash-oriented sword like a sabre or a broadsword. A parrying dagger not only enables the users to defend in this scenario in which the rapier is not very good at protecting the user, but also enables them to attack in such close distance.

History
The espada ropera of the 16th century was a cut-and-thrust civilian weapon for self-defense and the duel, while earlier weapons were equally at home on the battlefield. Throughout the 16th century, a variety of new, single-handed civilian weapons were being developed. In 1570, the Italian master Rocco Bonetti first settled in England advocating the use of the rapier for thrusting as opposed to cutting or slashing when engaged in a duel. Nevertheless, the English word "rapier" generally refers to a primarily thrusting weapon, developed by the year 1600 as a result of the geometrical theories of such masters as Camillo Agrippa, Ridolfo Capo Ferro, and Vincentio Saviolo.

The rapier became extremely fashionable throughout Europe with the wealthier classes, but was not without its detractors. Some people, such as George Silver, disapproved of its technical potential and the dueling use to which it was put.

Allowing for fast reactions, and with a long reach, the rapier was well suited to civilian combat in the 16th and 17th centuries. As military-style cutting and thrusting swords continued to evolve to meet needs on the battlefield, the rapier continued to evolve to meet the needs of civilian combat and decorum, eventually becoming lighter, shorter and less cumbersome to wear. This is when the rapier began to give way to the colichemarde, which was itself later superseded by the small sword which was later superseded by the épée. Noticeably, there were some "war rapiers" that feature a relatively wide blade mounted on a typical rapier hilt during this era. These hybrid swords were used in the military, even on the battlefield. The sword carried by King Gustavus Adolphus in the Thirty Years' War is a typical example of the "war rapier".

By the year 1715, the rapier had been largely replaced by the lighter small sword throughout most of Europe, although the former continued to be used, as evidenced by the treatises of Donald McBane (1728), P. J. F. Girard (1736) and Domenico Angelo (1787). The rapier is still used today by officers of the Swiss Guard of the pope.

Italy

 * Achille Marozzo, Opera Nova Chiamata Duello, O Vero Fiore dell'Armi de Singulari Abattimenti Offensivi, & Diffensivi – 1536
 * Angelo Viggiani dal Montone, Trattato dello Schermo – 1575
 * Anonimo Bolognese, L'Arte della Spada (M-345/M-346 Manuscripts) – (early or mid 16th century) date it to "about 1550"
 * Antonio Manciolino, Opera Nova per Imparare a Combattere, & Schermire d'ogni sorte Armi – 1531
 * Bondi di Mazo, La Spada Maestra – 1696
 * Camillo Agrippa, Trattato di Scientia d'Arme con un Dialogo di Filosofia – 1553
 * Francesco Alfieri, La Scherma di Francesco Alfieri – 1640
 * Francesco Antonio Marcelli, Regole della Scherma – 1686
 * Giacomo di Grassi, Ragion di Adoprar Sicuramente l'Arme si da Offesa, come da Difesa – 1570
 * Giovanni dall'Agocchie, Dell'Arte di Scrimia – 1572
 * Giuseppe Morsicato Pallavicini, La Scherma Illustrata – 1670
 * Marco Docciolini, Trattato in Materia di Scherma – 1601
 * Nicoletto Giganti, Scola overo Teatro – 1606
 * Ridolfo Capo Ferro, Gran Simulacro dell'Arte e dell'Uso della Scherma – 1610
 * Salvator Fabris, De lo Schermo ovvero Scienza d'Armi – 1606

Spain

 * Girard Thibault, Academie de l'Espee, ou se demonstrant par Reigles mathematiques, sur le fondement Cercle Mysterieux (1630)
 * Jerónimo Sánchez de Carranza, De la Filosofía de las Armas (1569)
 * Luis Pacheco de Narváez, Libro de las Grandezas de la Espada (1599)

France

 * André Desbordes, Discours de la théorie et de la pratique de l'excellence des armes (1610)
 * Charles Besnard, Le maistre d'arme liberal (1653)
 * François Dancie, Discours des armes et methode pour bien tirer de l'espée et poignard (c. 1610) and L'Espee de combat (1623)

England

 * Joseph Swetnam, The Schoole of the Noble and Worthy Science of Defence (1617)
 * The Pallas Armata (1639)
 * Vincentio Saviolo, His Practise 1595

Germany

 * Jakob Sutor, Künstliches Fechtbuch (1612)
 * Joachim Meyer, Thorough Descriptions of the free Knightly and Noble Art of Fencing (1570)
 * Johannes Georgius Bruchius (1671)
 * Paulus Hector Mair, Opus Amplissimum de Arte Athletica (1542)

The classical fencing tradition
Classical fencing schools claim to have inherited aspects of rapier forms in their systems. In 1885, fencing scholar Egerton Castle wrote "there is little doubt that the French system of fencing can be traced, at its origin, to the ancient Italian swordsmanship; the modern Italian school being of course derived in an uninterrupted manner from the same source." Castle went on to note that "the Italians have preserved the rapier form, with cup, pas d'ane, and quillons, but with a slender quadrangular blade."

title: Rapier


text:
User:Cnoocy

Cnoocy is Marc Moskowitz, a Latin poet.

title: User:Cnoocy


text:
User:Brovnik

Contact me at richard-wiki at nuttall.uk.net.

title: User:Brovnik


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Mine

Mine, mines, miners or mining may refer to:

Extraction or digging

 * Miner, a person engaged in mining or digging
 * Mining, extraction of mineral resources from the ground through a mine

Grammar

 * Mine, a first-person English possessive pronoun

Military

 * Mining (military), digging under a fortified military position to penetrate its defenses
 * Mine warfare
 * Anti-tank mine, a land mine made for use against armored vehicles
 * Antipersonnel mine, a land mine targeting people walking around, either with explosives or poison gas
 * Bangalore mine, colloquial name for the Bangalore torpedo, a man-portable explosive device for clearing a path through wire obstacles and land mines
 * Cluster bomb, an aerial bomb which releases many small submunitions, which often act as mines
 * Land mine, explosive mines placed under or on the ground
 * Naval mine, or sea mine, a mine at sea, either floating or on the sea bed, often dropped via parachute from aircraft, or otherwise lain by surface ships or submarines
 * Parachute mine, an air-dropped "sea mine" falling gently under a parachute, used as a high-capacity cheaply-cased large bomb against ground targets

Places

 * The Mine, Queensland, a locality in the Rockhampton Region, Australia
 * Mine, Saga, a Japanese town
 * Mine, Yamaguchi, a Japanese city
 * Mine District, Yamaguchi, a former district in the area of the city

Given name

 * Mine Ercan (born 1978), Turkish women's wheelchair basketball player
 * Mine Guri, Albanian communist politician
 * Miné Okubo (1912–2001), American artist and writer

Nickname

 * Mine Boy, nickname of Alex Levinsky (1910–1990), NHL hockey player

Surname

 * Kazuki Mine (born 1993), Japanese football player
 * George Ralph Mines (1886–1914), English cardiac electrophysiologist

Films

 * Mine (1985 film), a Turkish film
 * Mine (2009 film), an American documentary film
 * Mine (2016 film), an Italian-American film
 * Abandoned Mine or The Mine, a 2013 horror film
 * The Mine (1978 film), Turkish film

Literature

 * Mine (novel), a 1990 novel by Robert R. McCammon
 * The Mine (novel), 2012 novel by Arnab Ray

Albums

 * Mine (Kim Jaejoong EP), 2013
 * Mine (Dolly Parton album), 1973
 * Mine (Phoebe Ryan EP), 2015
 * Mine (Li Yuchun album), 2007
 * Mines (album), a 2010 album by indie rock band Menomena
 * Mine!, a 1994 album released by musical duo Trout Fishing in America

Songs

 * "Mine" (The 1975 song), 2018
 * "Mine" (Bazzi song), 2017
 * "Mine" (Beyoncé song), 2013
 * "Mine" (Kelly Clarkson song), 2023
 * "Mine" (Alice Glass song), 2018
 * "Mine" (Taylor Swift song), 2010
 * "Mine", a song from the 1933 Broadway musical Let 'Em Eat Cake
 * "Mine", a song by Bebe Rexha from the album Expectations
 * "Mine", a song by Dolly Parton from In the Good Old Days (When Times Were Bad)
 * "Mine", a song by Everything but the Girl from Everything but the Girl
 * "Mine", a song by Ghinzu from Blow
 * "Mine", a song by Jason Webley from Only Just Beginning
 * "Mine", a song by Krezip from Days Like This
 * "Mine", a song by Mustasch from Mustasch
 * "Mine", a song by Savage Garden from Savage Garden
 * "Mine", a song by Sepultura from Roots
 * "Mine", a song by Taproot from Welcome
 * "Mine", a song by Christina Perri from lovestrong
 * "Mine", a song by Disturbed from The Lost Children
 * "Mine", a song by M.I from the album The Chairman
 * "#Mine", a song by Lil' Kim from Lil Kim Season
 * "Mine, Mine, Mine", a song from the soundtrack for the 1995 Disney film Pocahontas

Television

 * Mine (2021 TV series), a South Korean television series

Organizations and enterprises

 * MINE, a design office in San Francisco, US, of which Christopher Simmons is principal creative director
 * Colorado School of Mines or "Mines", a university in Golden, Colorado, US
 * Mine's, a Japanese auto tuning company
 * South Dakota School of Mines and Technology, a university in Rapid City, South Dakota, US

Science and technology

 * MINE (chemotherapy), a chemotherapy regimen
 * Mine or star mine, a type of fireworks
 * MinE, a bacterial protein
 * Data mining, the computational process of discovering patterns in large data sets
 * Leaf mine, a space in a leaf
 * Mina (unit), or mine, an ancient Greek unit of mass

title: Mine


text:
Wikipedia:MediaWiki FAQ

''This page is very ancient, amusing only for nostalgic purposes. If you want current information, see MediaWiki.''

-

This page aims to discuss the newest script and the changes in behaviour it causes compared to older versions of the software.

See also MediaWiki -- New features

What happened to sub-pages and why?
Subpage functionality has been removed. The "/" is now a normal character and can still be used in page titles, although this is discouraged in favor of a "Name (category)" style. The reasons for this change are outlined in Subpages.

The namespaces now have the closest subpage-like functionality.

What is a namespace?
A namespace is a set of pages which have a similar function within Wikipedia. This is useful to avoid mixups of user names and wikipedia articles, and for other organizational purposes. The namespace is part of the article title, divided from the actual name by a ":".

For instance, we can have an article Vulture and another page User:Vulture. The first lives in the "blank" namespace and is an encyclopedia article, the second in the user namespace and describes a Wikipedian.

The namespace of an article is indicated by prepending it to the title, separated with a colon. An exception is the main, "blank" namespace for regular encyclopedia articles: it is used by default if no other namespace is explicitly given.

New namespaces cannot be created by Wikipedians. If you would like a new namespace, please post on Sourceforge: MediaWiki Feature requests, Wikipedia-L or Wikitech-L, or do some hacking and propose a patch.

Currently, these namespaces exist:
 * The "blank" or invisible namespace, like in Main Page. Used for normal encyclopedia articles.
 * The user: namespace. For user pages: Wikipedians describing themselves and their contributions etc.
 * The wikipedia: namespace. For pages that concern Wikipedia internals, like this very page.
 * The image: namespace. For pages that describe images loaded into Wikipedia.
 * The talk: namespace. This replaces the "/Talk" subpages. There are actually several different namespaces: "talk:" for discussion about articles in the blank namespace, "user_talk:" for discussion of user pages, "wikipedia_talk:" for discussion of pages in the wikipedia: namespace, and "image_talk:" for discussion of image pages.
 * The MediaWiki: namespace, used for MediaWiki custom messages. For instance, if you create the page "MediaWiki:Foobar", then inserting " " will cause the contents of "MediaWiki:Foobar" to be displayed in its place.  This is useful for boilerplate text.
 * The special: namespace. These pages don't really exist, they are generated on-the-fly by the software each time they are viewed.

Pages in all these namespaces can be created and edited by all users, except for the special: and log: ones. You can link to all namespaces, like special:Recentchanges will link to special:Recentchanges.

What changes have been made to the use of certain punctuation marks in titles?
Many punctuation marks and special characters can now be part of the title. Details are still subject to change.

For the moment, it should be safe to use the following characters: '''-,. ' / ! & : ;. It is also possible to use the underscore (_'''); however, those are converted to spaces.

You cannot currently use the following: " # $ * + < > = ? @ [ ] \ ^ ` { } | ~

The colon (:) is a special case; it is used to indicate namespaces for special pages (see above) and should only ever be used in the name of a regular title where strictly necessary for correctness (as in 2001: A Space Odyssey). Ordinary articles can never start with any of the reserved namespace prefixes followed by a colon: please note that using colons unnecessarily in article titles will complicate the management of namespaces later on.

Where subpages once existed, how did the conversion affect them?
The titles didn't change. On subpages that didn't link back to their "parent" topic, such a link was added. Any "/Subpage" links were converted into "Parent/Subpage", with the exception of "/Talk" subpages, which have been converted to the corresponding "talk:" namespace and every link to /Talk has been converted to a link to the corresponding page in the talk: (or user_talk: etc.) namespace.

These automatically generated links to the talk page are redundant now and can be deleted since the talk links are always shown in the lower right.

How do I redirect? (If it's the same as before, it doesn't seem to work with articles entitled with people's names)
No change here, unexpected behaviour is due to bugs and will be fixed.

What motivated the switch?
The old software (UseModWiki) was never planned to handle the amount of pages that we currently have. Also, there was no focused effort to implement new functions in that software, or it was just next to impossible to do.

Why are we using PHP instead of Perl?
It's largely a religious question, though there's no denying that Perl has many more features than PHP and it's probably faster too, when properly configured. I'm personally sad to see Perl wikipedia being replaced by PHP code: perl is wider known, more stable between versions, its development community is much larger, and I know it ;) Having said that, there's still need for better wiki to be written for wikipedia which would support namespaces together with many other features, and it's probably time to move to MySQL rather than flat-files underlying storage system, too. Magnus has volunteered his time and code and no Perl enthusiast did the same - that, I suspect, is the reason. --AV

It seems that from all the volunteers for writing articles, none of them did volunteer to write a single line of code for the PHP wiki. So far, Clifford Adams was most helpful by giving me a short Perl script for the conversion, which I was able to translate into PHP. Anyway, I am sure Perl has more features, but I doubt that for an application like wikipedia, it has real advantages; on the contrary, as PHP was designed especially for WWW interfaces, it is probably more suited for this purpose. And, the PHP program doesn't read like a segmentation fault ;) --Magnus Manske

Why are we using MySQL as a database, not PostgreSQL?
I'll stick to the MySQL version for now, since I have barely the time to maintain that one alone right now. Once it is up, and has no real bugs anymore, I could try PostgreSQL at a test site and convert it if it is really faster. --Magnus Manske

If the app. relies much on any complex joins, than PostgreSQL will probably be able to outperform MySQL. If it's mostly simple selects from a single table, than probably not. But as the number of users increases, PostgreSQL handles locking issues much better through its Multi-Version Concurrency Control, which is essentially better than row-level locking. So if you get the chance and time permits, I think it would be worthwhile to give PostgreSQL a try. --Wesley

It's not always just about "which is better." There are those of us who are already running web app servers with PostgreSQL and don't want to (or can't) maintain another RDBMS just to make one app happy. Anyway, PostgreSQL support is supposed to be almost fully working now. I'm about to find out... -- cwilkins@boinklabs.com

How do I create a special page (new system features?) that will show up on the sidebar?
Not at all ;)

Pages in the special: namespace, as well as the sidebar, are generated by the program that runs wikipedia. To add new special pages or expand the sidebar, one will have to change the program. If you would like a new special page, please post on Feature requests, Wikipedia-L or Wikitech-L, or do some hacking and propose a patch.

What other functionality has changed?

 * CamelCase linking has been turned off
 * The diff functionality on revision history pages is different

How do I upgrade from previous version that also uses PHP?
Just using the old database does not work because of lots of new fields in tables.

How do I install the code under Windows?
Thus far, the PHP script and MediaWiki have been designed to run under Linux. To install MediaWiki it would help if you're comfortable with Apache, PHP, and MySQL. The help section on Meta has information on obtaining, installing, and configuring MediaWiki and associated software for multiple platforms.

All-In-One packages provide you with nearly-instant installation under windows, as does the Open Source Uniserver project, for instance. Security is nevertheless to be looked carefully at if you choose such a pre-configured solution. -- Berteh

See also PHP script new features.

Return to the Wikipedia FAQ, Wikipedia software.

title: Wikipedia:MediaWiki FAQ


text:
Great Barrier Island

Great Barrier Island (Aotea) lies in the outer Hauraki Gulf, New Zealand, 100 km north-east of central Auckland. With an area of 285 km2 it is the sixth-largest island of New Zealand and fourth-largest in the main chain. Its highest point, Mount Hobson, is 627 m above sea level. The local authority is the Auckland Council.

The island was initially exploited for its minerals and kauri trees and saw only limited agriculture. In 2013, it was inhabited by 939 people, mostly living from farming and tourism and all living off-the-grid. The majority of the island (around 60% of the total area) is administered as a nature reserve by the Department of Conservation. The island atmosphere is sometimes described as being "life in New Zealand many decades back".

Etymology
The Māori name of the island is Aotea. It received its English name from Captain Cook because it acts as a barrier between the Pacific Ocean and the Hauraki Gulf. Entrance to the Hauraki Gulf is via two channels, one on each side of the island. Colville Channel separates the southernmost point, Cape Barrier, from Cape Colville at the northern tip of the Coromandel Peninsula to the south, Cradock Channel from the smaller Little Barrier Island to the west. The island protects the Hauraki Gulf from the ocean surface waves and the currents of the South Pacific Gyre. It is not a sandbar barrier, often defined as the correct use of the term. The island's English name stems from its location on the outskirts of the Hauraki Gulf.

Geography
With an area of 285 km2, Great Barrier Island is the sixth-largest island in New Zealand after the South Island, the North Island, Stewart Island/Rakiura, Chatham Island, and Auckland Island. The highest point, Mount Hobson or Hirakimatā, is 627 m above sea level.

Great Barrier is surrounded by several smaller islands, including Kaikoura Island, Rakitu Island, Aiguilles Island and Dragon Island. A number of islands are located in Great Barrier bays, including Motukahu Island, Nelson Island, Kaikoura Island, Broken Islands, Motutaiko Island, Rangiahua Island, Little Mahuki Island, Mahuki Island and Junction Islands.

With a maximum length (north-south) of some 43 km, it and the Coromandel Peninsula (directly to its south) protect the Gulf from the storms of the Pacific Ocean to the east. Consequently, the island boasts highly contrasting coastal environments. The eastern coast comprises long, sandy beaches, windswept sand-dunes, and at times heavy surf. The western coast, sheltered and calm, is home to hundreds of tiny, secluded bays which offer some of the best diving and boating in the country. The inland holds several large and biologically diverse wetlands, along with rugged hill country (bush or heath in the more exposed heights), as well as old-growth and regenerating kauri forests.

Surrounding islands
Surrounding islands and islets:

Geology and natural history
Much of Great Barrier Island is formed from remnants of volcanoes associated with the Coromandel Volcanic Zone. The North Great Barrier Volcano, which was centred to the north of the modern island from Whangapoua Bay northwards, formed through events between 18 and 17 million years ago; some of the earliest vulcanism which occurred in the zone. The Great Barrier Volcano formed to the west of the modern island between 15 and 12 million years ago. Much of the modern island is this volcano's eroded eastern flanks. The third volcano, Mount Hobson, is the caldera of a complex rhyolite dome volcano, which was active between 12 and 8 million years ago.

Great Barrier Island has been linked to the North Island for most of the last 18 million years, by a land bridge to the south along the Colville Channel. Approximately 17,000 years ago during the Last Glacial Maximum, the Hauraki Gulf was a low lying coastal plain as sea levels were over 100 metres lower than present day levels. During this period, Great Barrier Island was bordered by the two major river systems that flowed on the plain. Over the past two million years, Great Barrier has periodically been an island and a peninsula.

History and culture

Great Barrier Island (Aotea) is the ancestral land of Ngāti Rehua Ngātiwai ki Aotea who are the tangata whenua (people of the land) and mana whenua (territorial land rights holders) of Aotea. Ngāti Rehua have occupied Aotea since the 17th century after conquering Aotea from people of Ngāti Manaia and Kawerau descent. In the mid-19th century during the early Colonial era of New Zealand, extensive private and crown land purchases meant only two areas of the Hauraki Gulf remained in Māori ownership: Te Huruhi (Surfdale) on Waiheke Island (2100 acres) on Waiheke and a 3,510 acre parcel of land at Katherine Bay on Great Barrier Island.

Mining
Early European interest followed discovery of copper in the remote north, where New Zealand's earliest mines were established at Miners Head in 1842. Traces of these mines remain, largely accessible only by boat. Later, gold and silver were found in the Okupu / Whangaparapara area in the 1890s, and the remains of a stamping battery on the Whangaparapara Road are a remainder of this time. The sound of the battery working was reputedly audible from the Coromandel Peninsula, 20 km away.

In early 2010, a government proposal to remove 705 ha of land on the Te Ahumatā Plateau (called "White Cliffs" by the locals) from Schedule 4 of the Crown Minerals Act, which gives protection from the mining of public land, was widely criticised. Concerns were that mining for the suspected $4.3 billion in mineral worth in the area would damage both the conservation land as well as the island's tourism economy. Locals were split on the project, some hoping for new jobs. If restarted, mining at White Cliffs would occur in the same area it originally proliferated on Great Barrier. The area's regenerating bushland still holds numerous semi-collapsed or open mining shafts where silver and gold had been mined.

Kauri logging
The kauri logging industry was profitable in early European days and up to the mid-20th century. Forests were well inland, with no easy way to get the logs to the sea or to sawmills. Kauri logs were dragged to a convenient stream bed with steep sides and a driving dam was constructed of wood, with a lifting gate near the bottom large enough for the logs to pass through. When the dam had filled, which might take up to a year, the gate was opened and the logs above the dam were pushed out through the hole and swept down to the sea. The logging industry cut down large amounts of old growth, and most of the current growth is younger native forest (around 150,000 kauri seedlings were planted by the New Zealand Forest Service in the 1970s and 1980s) as well as some remaining kauri in the far north of the island. Much of the island is covered with regenerating bush dominated by kanuka and kauri.

Other industries
Great Barrier Island was the site of New Zealand's last whaling station, at Whangaparapara, which opened in 1956, over a century after the whaling industry peaked in New Zealand, and closed due to depletion of whaling stocks and increasing protection of whales by 1962.

Another small-scale industry was kauri gum digging, while dairy farming and sheep farming have tended to play a small role compared to the usual New Zealand practice. A fishing industry collapsed when international fish prices dropped. Islanders are generally occupied in tourism, farming or service-related industries when not working off-island.

Shipwrecks
The remote north was the site of the sinking of the SS Wairarapa around midnight of 29 October 1894. This was one of New Zealand's worst shipwrecks, with about 140 lives lost, some of them buried in two beach grave sites in the far north. As a result, a Great Barrier Island pigeon post service was set up, the first message being flown on 14 May 1897. Special postage stamps were issued from October 1898 until 1908, when a new communications cable was laid to the mainland, which made the pigeon post redundant. Another major wreck lies in the far southeast, the SS Wiltshire.

Nature reserves
Over time, more and more of the island came under the stewardship of the Department of Conservation (DOC) or its predecessors. Partly this was land that had belonged to the Crown since the 1800s, while other parts were sold or donated like the more than 10% of the island (located in the northern bush area, with some of the largest remaining kauri forests) that was gifted to the Crown by farmer Max Burrill in 1984. DOC has created a large number of walking tracks through the island, some of which are also open for mountain biking. The Aotea Conservation Park has the only multi-day wilderness walk in the Auckland region, boasting two DOC huts and numerous campsites. The Park spreads over more than 12,000 hectares and offers multiple walking tracks for novice and experienced walkers.

The island is free of some of the more troublesome introduced pests that plague the native ecosystems of other parts of New Zealand. While it does have wild cats, feral pigs, black rats (R. rattus), Polynesian rats (R. exulans), mice and rabbits, there are no possums, mustelids (weasels, stoats or ferrets), hedgehogs, brown rats (R. norvegicus), deer or (since 2006) feral goats, thus being a relative haven for native bird and plant populations. Rare animals found on the island include brown teal ducks, black petrel seabirds and kākā parrots.

Marae
Great Barrier Island has two marae affiliated with the local iwi of Ngāti Rehua and Ngātiwai: the Kawa Marae and its Rehua meeting house, and Motairehe Marae and its Whakaruruhau meeting house.

In October 2020, the Government committed $313,007 from the Provincial Growth Fund to upgrade Kawa Marae, creating 6 jobs.

Dark Sky Sanctuary
In 2017, Aotea / Great Barrier Island was accredited as a Dark Sky Sanctuary by the International Dark-Sky Association. This designation is given for sites in very remote locations to increase awareness of their dark sky characteristics and promote long term conservation. At the time, it was the third International Dark Sky Sanctuary to be designated, and the first island sanctuary.

Population
Barrier Islands statistical area, which includes Little Barrier Island and Mokohinau Islands although they have no permanent inhabitants, covers 320.41 km2 and had an estimated population of as of  with a population density of  people per km2.

Barrier Islands had a population of 930 at the 2018 New Zealand census, a decrease of 3 people (−0.3%) since the 2013 census, and an increase of 63 people (7.3%) since the 2006 census. There were 531 households, comprising 501 males and 429 females, giving a sex ratio of 1.17 males per female. The median age was 52.6 years (compared with 37.4 years nationally), with 138 people (14.8%) aged under 15 years, 90 (9.7%) aged 15 to 29, 477 (51.3%) aged 30 to 64, and 225 (24.2%) aged 65 or older.

Ethnicities were 91.3% European/Pākehā, 20.6% Māori, 2.6% Pacific peoples, 1.3% Asian, and 1.9% other ethnicities. Percentages may add up to more than 100% as people may identify with more than one ethnicity.

The percentage of people born overseas was 18.4, compared with 27.1% nationally.

Although some people chose not to answer the census's question about religious affiliation, 62.6% had no religion, 24.5% were Christian, 1.3% had Māori religious beliefs, 1.0% were Buddhist and 1.6% had other religions.

Of those at least 15 years old, 144 (18.2%) people had a bachelor's or higher degree, and 144 (18.2%) people had no formal qualifications. The median income was $21,300, compared with $31,800 nationally. 48 people (6.1%) earned over $70,000 compared to 17.2% nationally. The employment status of those at least 15 was that 279 (35.2%) people were employed full-time, 168 (21.2%) were part-time, and 57 (7.2%) were unemployed.

Settlements
The population lives mostly in coastal settlements. Tryphena, in Tryphena Harbour at the southern end, is the largest settlement. Other communities are Okupu and Whangaparapara in the south-west, Port Fitzroy and Ōkiwi in the north, and Claris and Medlands in the south-east. The population swells substantially from October to May. The island has become a favourite holiday destination in the darker months, due its superbly dark sky and the astrophotography and stargazing opportunities this offers. In 2017 the island was given Dark Sky Sanctuary status by the IDA. Its relative remoteness offers solitude, and the sustainable off-grid lifestyle of its inhabitants is something many visitors like to experience.

Without reticulated electricity, most houses use solar panels and a battery bank to generate and store power. Wind and water turbines and solar water heaters are also used. Diesel generators, which used to be the main power source, are now mostly used as back-up.

From the end of February 2007, the island was seen around the world as the setting for the BBC One reality show Castaway, which was filmed there for three months.

Transport
There are two airfields on the island, Great Barrier Aerodrome at Claris and Okiwi Airfield. Barrier Air operates services from Auckland Airport, North Shore Aerodrome, and Tauranga to Claris. Flight time is approximately 30 minutes from Auckland Airport. Sunair operates between Claris and Hamilton, Tauranga, Whangārei and Whitianga.

SeaLink operates a passenger, car and freight ferry. This ferry operates from Wynyard Wharf in Auckland City to Tryphena (several times weekly). Sailing time is approximately four and a half hours.

Other ways to access the island include by seaplane or water taxi.

Civic institutions
Institutions and services are primarily provided by the Auckland Council, the local authority. Services and infrastructure like roads and the wharves at Tryphena and Whangaparapara are subsidised, with the island receiving about $4 in services for every $1 in rates. The Port FitzRoy wharf is owned by the North Barrier Residents and Ratepayers Association.

There are three primary schools: Mulberry Grove School at Tryphena, Kaitoke School at Claris, and Okiwi School. There is no secondary school, but there is a learning hub to assist students who learn through the New Zealand Correspondence School. Many children leave the island when they reach secondary school age to attend boarding school on the mainland. Previously, the lack of secondary schooling was cited as one of the reasons for a slow exodus of long-term resident families.

As part of Auckland the rules governing daily activities and applicable standards for civic works and services exists, shared with some of the other inhabited islands of the Hauraki Gulf. Driving rules are the same as for the rest of NZ and registration and a Warrant of Fitness are required for all vehicles. For example, every transport service operated solely on the island, the Chatham Islands, or Stewart Island/Rakiura is exempt from section 70C of the Transport Act 1962, the requirements for drivers to maintain driving-hours logbooks. Drivers subject to section 70B must nevertheless keep records of their driving hours in some form.

Rules governing dog control are the same as for Auckland. Dogs must be kept on a lead in all public places.

Notable residents

 * Fanny Osborne (1852–1934), artist
 * Jamison Gibson-Park, rugby union player
 * Paul Silva (1897–1974), soldier, timber worker, axeman and bridge builder
 * Paul Silva (1897–1974), soldier, timber worker, axeman and bridge builder

title: Great Barrier Island


text:
List of islands of New Zealand

New Zealand consists of more than six hundred islands, mainly remnants of a larger land mass now beneath the sea. New Zealand is the sixth-largest island country, and the third-largest located entirely in the Southern Hemisphere. The following is a list of islands of New Zealand.

The two largest islands – where most of the population lives – have names in both English and in the Māori language. They are the North Island or Te Ika-a-Māui and the South Island or Te Waipounamu. Various Māori iwi sometimes use other names, with some preferring to call the South Island Te Waka o Aoraki. The two islands are separated by the Cook Strait. In general practice, the term mainland refers to the North Island and South Island. However, the South Island alone is sometimes called "the mainland" – especially by its residents, as a nickname – because it is the larger of the two main islands.

To the south of the South Island, Stewart Island / Rakiura is the largest of the smaller islands, and Waiheke Island in the urban Auckland Region has the largest population of the smaller islands.

Listed by size
The following table lists the largest islands of New Zealand by area. River delta islands such as Rakaia Island (25.7 km2), Fereday Island, Rangitata Island, and Inch Clutha (approximately 15 km2, 30 km2, and 35 km2 respectively) are omitted, as are temporary islands in braided river channels and tidal islands such as Rabbit Island, Nelson (17 km2). The country's largest island within a lake, Pomona Island, has an area of just 2.6 km2.

Listed by highest point
The following table lists the islands of New Zealand by their highest elevation. These islands are all in harbours or the open sea. The country's tallest island within a lake, Pomona Island, rises to 511 m above sea level, which is about 333 m above Lake Manapouri's normal lake level.

In harbours and the open sea

 * Aiguilles Island
 * Aldermen Islands
 * Allports Island
 * Amerikiwhati Island
 * Anatakupu Island
 * Anchor Island
 * Anchorage Island
 * Aorangaia Island
 * Araara Island
 * Arakaninihi Island
 * Arapaoa Island
 * Aroha Island
 * Aua / King Billy Island
 * Awarua Rock
 * Bauza Island
 * Beehive Island / Taungamaro Island
 * Bell Island
 * Bench Island
 * Best Island
 * Blumine Island / Ōruawairua
 * Boom Rock
 * Breaksea Island
 * The Brothers
 * Motuketekete Island
 * Browns Island (Motukorea)
 * Calliope Island, Whangārei Heads
 * Catherine Island, Charles Sound
 * Cavalli Islands
 * Chalky Island

 * Chetwode Islands
 * Coal Island
 * Codfish Island / Whenua Hou
 * Cooper Island
 * Dog Island
 * Cuvier Island
 * Dragon Island
 * Eleanor Island, Charles Sound
 * Elizabeth Island
 * Fanny Island, Charles Sound
 * Fergusson Island, Southland
 * Fisherman Island
 * Forsyth Island
 * Frenchman Island, Whangārei Heads
 * Goat Island / Rakiriri
 * Great Barrier Island/Aotea
 * Great Island
 * Green Island (Okaihe)
 * Green Island
 * Guano Island, Whangārei Heads
 * Hares Ears
 * Hen and Chicken Islands
 * High Island
 * Herald Island
 * Horomaka Island
 * Indian Island
 * Jacky Lee Island
 * Kaikōura Island
 * Kapiti Island
 * Kārewa / Gannet Island
 * Karewa Island
 * Kawau Island
 * Kopuahingahinga Island, Manukau Harbour
 * Lee Island
 * Lloyd Island
 * Long Island, Marlborough
 * Long Island (Southland)
 * Māhungarape / Round Island
 * Mahurangi Island
 * Mahurangi Island (Goat Island)
 * Mākaro / Ward Island
 * Mana Island
 * Matakana Island
 * Matapara / Pickersgill Island
 * Matiu / Somes Island
 * Maud Island/Te Hoiere
 * Mauitaha Island, Whangārei Heads
 * Mayor Island / Tūhua
 * Mercury Islands
 * Mokohinau Islands
 * Mokopuna Island
 * Mōtītī Island
 * Motuara Island
 * Motuareronui / Adele Island
 * Motuarohia Island
 * Motueka Island (Pigeon Island)
 * Motuhoa Island, Tauranga Harbour
 * Motuihe Island
 * Motukaroro Island
 * Motukōrure Island / Centre Island
 * Motukawao Islands
 * Motukiore Island, Parua Bay
 * Motukōkako Island / Piercy Island
 * Motu Matakohe / Limestone Island
 * Motunau Island
 * Motunau / Plate Island
 * Motuora
 * Motuoroi Island
 * Moturaka Island
 * Moturoa / Rabbit Island
 * Moturekareka Island
 * Moturiki Island
 * Motutapu Island
 * Moutohora Island/Whale Island
 * Native Island
 * Nee Island
 * Ngarango Otainui Island
 * Shelter Island
 * Ngā Motu / Sugar Loaf Islands
 * Ninepin Rock, Manukau Harbour
 * Noble Island
 * North Island
 * Okorotere Island
 * Opahekeheke Island
 * Open Bay Islands
 * Ōtamahua / Quail Island
 * Pakatoa Island
 * Pakihi Island
 * Pararekau Island, Manukau Harbour
 * Pearl Island
 * Pepin Island (a tied island connected to the mainland)
 * Ponui Island
 * Poor Knights Islands
 * Portland Island
 * Pourewa Island
 * Puketutu Island
 * Putauhinu Island
 * Quarantine Island / Kamau Taurua
 * Rabbit Island (Bluff)
 * Rabbit Island (Coromandel, North)
 * Rabbit Island (Coromandel, South)
 * Rabbit Island (Great Barrier Island)
 * Rabbit Island (Warkworth)
 * Rat Island (Whangārei)
 * Rakino Island
 * Rakitu Island
 * Rangitoto Island
 * Rangitoto Islands, Marlborough Sounds
 * Rangitoto ki te Tonga / D'Urville Island
 * Raratoka Island
 * Resolution Island
 * Ripapa Island
 * Rotoroa Island
 * Rurima Rocks, including Rurima Island
 * Ruapuke Island
 * Secretary Island
 * Shark Island, Manukau Harbour
 * Shoe Island / Motuhoa
 * Simmonds Islands
 * Slipper Island
 * South Island
 * Stephens Island / Takapourewa
 * Stephenson Island
 * Stewart Island / Rakiura
 * Taieri Island / Moturata
 * Takangaroa Island
 * Taputeranga Island
 * Tarahiki Island
 * Tarakanahi Island
 * Tata Islands
 * Taukihepa / Big South Cape Island
 * Te Hauturu-o-Toi / Little Barrier Island
 * Te Motu-o-Kura / Bare Island
 * Te Hāwere-a-Maki / Goat Island
 * Te Tio Island
 * Tikitiki Island, (The Ninepin), Bay of Islands
 * Tiritiri Matangi Island
 * Tītī / Muttonbird Islands
 * Tonga Island
 * Ulva Island
 * Urupukapuka Island
 * Waiheke Island
 * Waikaranga Island
 * Walker Island
 * Watchman Island
 * Whakaari / White Island
 * Whanganui Island
 * Whangaokeno / East Island
 * White Island (Otago)
 * Wiroa Island, Manukau Harbour

In rivers and lakes

 * Arran Island (in Lake Te Anau)
 * Belle Vue Island (in Lake Manapouri)
 * Birch Island (in the Clutha River)
 * Bird Island (in the Pōrangahau River)
 * Black Jacks Island (in Lake Benmore)
 * Buncrana Island (in Lake Manapouri)
 * Bute Island (in Lake Te Anau)
 * Channel Islands (in Lake Manapouri)
 * Cumbrae Island (in Lake Te Anau)
 * Dome Islands (in Lake Te Anau)
 * Doubtful Island (in Lake Te Anau)
 * Centre Island
 * Entrance Island (in Lake Te Anau)
 * Erin Island (in Lake Te Anau)
 * Fereday Island (in the Rakaia River delta)
 * Harwich Island (in Lake Wānaka)
 * Hidden Island (in Lake Wakatipu)
 * Holmwood Island, (in Lake Manapouri)
 * Inch Clutha (in the Clutha / Mata-Au delta)
 * Junction Island (in Lake Benmore)
 * Karihoa Island (in Waikato River)
 * Kaiwaka No.1 Island (in Waikato River delta)
 * Kaiwaka No.2 Island (in Waikato River delta)
 * Lee Island (in Lake Te Anau)
 * Mahara Island (in Lake Manapouri)
 * Manutahi Island (in Waikato River)
 * Mary Island (in Lake Hauroko)
 * Mokoia Island (in Lake Rotorua)
 * Motakorea Island (in Waikato River)
 * Motuariki Island (in Lake Tekapo)
 * Motukakako Island (in Waikato River delta)
 * Motutaiko Island (in Lake Taupō)
 * Moutoa Island (in the Whanganui River)
 * Mou Tapu (in Lake Wānaka)
 * Mou Waho (in Lake Wānaka)
 * Motutieke Island (in Waikato River delta)
 * Namuheiriro Island (in Waikato River)
 * Ngāhinapōuri Island (in Waikato River delta)
 * Opuawhanga Island (in Waikato River)
 * Pigeon Island/Wāwāhi Waka (in Lake Wakatipu)
 * Pig Island/Mātau (in Lake Wakatipu)
 * Pomona Island (in Lake Manapouri)
 * Puehunui Island (in Waikato River delta)
 * Rabbit Island (Canterbury) (in Rakaia River)
 * Rakaia Island (in the Rakaia River delta)
 * Rangitata Island (in the Rangitata River delta)
 * Rona Island (in Lake Manapouri)
 * Ruby Island (in Lake Wānaka)
 * Silver Island (in Lake Hāwea)
 * Stevensons Island/Te Peka Karara (in Lake Wānaka)
 * Tarahanga Island (in Waikato River)
 * Tawanui Island (in Waikato River delta)
 * Te Kopura Island (in Waikato River)
 * Te Toki Island (in Waikato River)
 * Te Weranga Okapu Island (in Waikato River delta)
 * Tree Island (in Lake Wakatipu)
 * Whatamakiri Island (in Waikato River delta)

Outlying
New Zealand administers the following islands outside the main archipelago. Only the Chatham Islands have a permanent population although others also did in the past. Others host visitors for science, conservation, meteorological observation and tourism. The New Zealand Subantarctic Islands are designated as a World Heritage Site.
 * Chatham Islands
 * Chatham Island
 * Forty-Fours
 * Little Mangere Island
 * Mangere Island
 * Pitt Island
 * The Sisters
 * Rabbit Island
 * Rangatira Island
 * Star Keys
 * Kermadec Islands
 * Cheeseman Island
 * Curtis Island
 * L'Esperance Rock
 * Macauley Island
 * Nugent Island
 * Raoul Island
 * Solander Islands
 * Solander Island
 * Little Solander Island
 * Pierced Rock
 * Manawatāwhi / Three Kings Islands
 * Manawatāwhi / Great Island
 * Oromaki / North East Island
 * Farmer Rocks
 * Moekawa / South West Island
 * Princes Islands
 * Ōhau / West Island
 * Antipodes Islands
 * Antipodes Island
 * Bollons Island
 * Auckland Islands
 * Adams Island
 * Auckland Island
 * Disappointment Island
 * Enderby Island
 * Ewing Island
 * Rose Island
 * Bounty Islands
 * Campbell Island group
 * Campbell Island
 * Dent Island
 * Folly Island (or Folly Islands)
 * Jacquemart Island
 * The Snares
 * Broughton Island
 * North East Island
 * Western Chain

Realm of New Zealand
The following islands are part of the Realm of New Zealand, but not of the country itself:
 * Cook Islands
 * Aitutaki
 * Atiu
 * Mangaia
 * Manihiki
 * Manuae
 * Mauke
 * Mitiaro
 * Nassau
 * Palmerston Island
 * Penrhyn Island/Tongareva
 * Pukapuka
 * Rakahanga
 * Rarotonga
 * Suwarrow
 * Takutea
 * Niue
 * Tokelau
 * Atafu
 * Nukunonu
 * Fakaofo

Territorial claims
New Zealand also claims the Ross Dependency in Antarctica, including:
 * the Balleny Islands
 * Buckle Island
 * Sabrina Island
 * Sturge Island
 * Young Island
 * Scott Island
 * Roosevelt Island
 * Coulman Island
 * the Ross Archipelago
 * Ross Island
 * Beaufort Island
 * White Island
 * Black Island
 * the Dellbridge Islands
 * Inaccessible Island
 * Tent Island
 * Big Razorback
 * Little Razorback

title: List of islands of New Zealand


text:
SDH

SDH may refer to:

Biology and medicine

 * Serine dehydratase
 * Sorbitol dehydrogenase
 * L-sorbose 1-dehydrogenase
 * Subdural haematoma
 * Succinate dehydrogenase

Organizations and places

 * St David's Hall
 * Social Democrats of Croatia
 * Society for Digital Humanities
 * Sydney Dental Hospital

Transportation

 * Sudbury Hill Harrow railway station, England, National Rail station code

Other

 * Shubnikov–de Haas effect
 * Social Determinants of Health
 * Southern Kurdish, by ISO 639-3 code
 * Subtitles for the deaf and hard-of-hearing
 * Synchronous digital hierarchy, in telecommunications

title: SDH