text:
Talk:Indigenous peoples

Extended-confirmed-protected edit request on 23 April 2024
Please change "encomieda" to "encomienda" in the sentence "The Spanish enslaved some of the native population and forced others to work on farms and gold mines in a system of labor called ecomienda." Second paragraph in #History; Americas. Pissypamper (talk) 00:56, 23 April 2024 (UTC)
 * ✅ Cullen328 (talk) 01:06, 23 April 2024 (UTC)

Indigenous people
indigenous people were here for 65,000 years 125.253.17.31 (talk) 05:43, 20 May 2024 (UTC)
 * Depends on where "here" is but yes this is true if you're in Australia. See Aboriginal Australians. -- Euryalus (talk) 05:45, 20 May 2024 (UTC)

South Asia
For better visibility, I will continue here with the part of our discussion in Talk:List_of_Indigenous_peoples that directly relates to the contested edits.

To make it short: none of the sources supports the blanket statement that "Dravidian people" (I assume that you mean "Dravidian-speaking peoples") are Indigenous peoples of South Asia. Please only make use of sources that explicitly use the phrase "indigenous people(s)", and ideally sources that cover Indigenous peoples as main topic, such as the ILO report The rights of indigenous peoples in Asia. Needless to say, it does not list the Tamils, Telugu, Kanndigas and Malayalis, or makes any mention of linguistic families at all, but talks at length about "Scheduled tribes" and "Adivasi" (regardless of linguistic affiliation) in the context of Indigenous peoples of India.
 * Masica (1991) and Avari (2007) only talk about the Dravidian language family being indigenous to South Asia, in contrast to Indo-Aryan that entered the region four millenia ago.
 * Sil's chapter in Kopstein & Lichbach (2005) likewise talks about "the dark-skinned Dravidians" as native (NB: not "indigenous") to the Indian subcontinent at the time when Indo-Aryan speakers arrived. Ironically, the only mention of the word "indigenous" (but not "indigenous people(s)") on the same page is in connection with Hindi, being described as "the main indigenous official language".

(@PadFoot2008: Another thing, the Web Archive links are both dead, so I assume that you have copied them from other articles, but without further scrutiny. Had you actually read the texts by Avari and Sil before making the edit?) Austronesier (talk) 19:38, 10 June 2024 (UTC)
 * Thanks for opening this discussion here. I was holding off on opening my own until I could track down a copy of the Sil source to confirm what it contained.
 * I agree with Austronesier's evaluation of the provided sources, or rather, the two for which I could gain access. There is a very large difference between a language family and a specific culture (even accepting, as we usually do on WP, for sake of discussion that specific cultures can be bounded and thus considered as a unified totality). Neither the Masica nor Avari sources characterize "Dravidian" as "the Dravidian people" (singular), nor do they support the assertion that any such singular culture is the "largest indigenous population in continental Indian subcontinent". Given the lack of support in these two, I'm certain there would at least need to be more sources provided here to demonstrate what the edit asserts.
 * --Pinchme123 (talk) 20:57, 10 June 2024 (UTC)
 * @Pinchme123, here are some more sources:
 * PadFoot2008 12:03, 15 June 2024 (UTC)
 * Each one of these sources has the same issues as outlined before.–Austronesier (talk) 14:57, 15 June 2024 (UTC)
 * The first source clearly mentions that the Dravidian languages are spoken by indigenous populations. Please tell what exactly is your issue with the source. PadFoot2008  15:29, 15 June 2024 (UTC)
 * That Schmidt citation does seem to address the criticisms that have been raised. Note that the contested addition to the article specifies plural, "Dravidian peoples," so it is not suggesting there was one Dravidian people. There were (and are) many indigenous people in the subcontinent who speak Dravidian languages. It would make the edit longer, but maybe it could list several of them, rather than putting them together as "Dravidian peoples" ? --John_Abbe (talk) 17:53, 15 June 2024 (UTC)
 * (ec)I am glad you've brought sources for discussion, but I do not agree that these support the statement "[t]he largest indigenous population in continental Indian subcontinent are the Dravidian peoples", for a number of reasons. First is one of phrasing: a group of peoples is not one population that can be labeled "the largest". But more importantly, none of these quotations support the statement of them being largest. The first source is about a "second major" linguistic group and clearly describes multiple populations. The source describes the linguistic group as being labeled "Dravidian" but does not claim this somehow unifies the populations themselves into an identifiable group. The second source does not make any claims about the size of "the Dravidians" relative to other indigenous groups, and this source is only an evaluation of past circumstances and not today. The third source is 122 years old (published 1902), refers to Dravidians as a "race", and qualifies its more-specific locative statement about them being indigenous to the south with "perhaps". The fourth and fifth sources do identify "the Dravidians" as a single indigenous population and locate them to south India, but again neither source supports the claim that they're "the largest indigenous population".
 * I would have reverted your edits had Austronesier not already done so because I have these objections. Perhaps others disagree with me (us?), but this is why the Discuss part of WP:BRD is important: there's no consensus built when no discussion has taken place.
 * --Pinchme123 (talk) 15:08, 15 June 2024 (UTC)
 * @Pinchme123, Then the part "the largest indigenous group" can be removed. I'm not saying that it is very important to state that. PadFoot2008  15:27, 15 June 2024 (UTC)
 * Just self-revert. This is very bad style. As for the first source, it doesn't discuss "indigenous peoples". WP:CONTEXTMATTERS. It talks about a linguistic family. Get a copy of that book. The term "indigenous" is used in the very same work a dozen of times not only in relation to Dravidian speakers. From chapters 12 onwards, "indigenous" refers to native South Asian against Muslim Persian and Afghans, e.g. Harsha Vardhana is referred to as "the last indigenous empire-builder in northern India". Starting from chapter 24, South Asians of all faiths are called "indigenous" against European colonialists. Why cherry-pick a demographic event that occurred four thousand years ago?
 * As for the remaining sources, they don't talk about indigenous peoples of today, but about which people were indigenous when Indo-Aryan speakers arrived. None of the present Dravidian-speaking ethnicities existed in their present form at that time (except maybe in some ultra-ethnonationalistic fringe POVs). –Austronesier (talk) 17:11, 15 June 2024 (UTC)
 * , I still object to the inclusion of this information, and as of this comment appears to as well, so I have reverted your reinstatement. Please do not again add this information before consensus has been found here.
 * The problems with each source, both from before and with those you have now provided here, have been spelled out. Only the fourth and fifth sources potentially support including this information in the article, but I'm still not convinced they're even quality sources, given that so many others do not refer to the Dravidians as some single indigenous population.
 * --Pinchme123 (talk) 17:12, 15 June 2024 (UTC)
 * @Pinchme123, I think we can try following @John Abbe's idea and mention the Dravidian groups that are (and are not) indigenous perhaps? I agree that Dravidians do not form a single indigenous population, and include many populations of Indo-European origin who are Dravidian-speaking but do not have indigenous Dravidian-ancestry, hence, we can specifically mention that they are not indigenous. PadFoot2008  19:27, 15 June 2024 (UTC)
 * @Austronesier, "None of the present Dravidian-speaking ethnicities existed in their present form at that time", what (or where) is the proof for this claim of yours? That in itself is an incredibly POV-ish view in your part. There exist many tribal Dravidian-speaking ethnicities which have no Steppes ancestry at all, so how in the world does your claim make any sense? PadFoot2008  19:22, 15 June 2024 (UTC)
 * Let me answer your above comment here, since I have already gone into some detail regarding the citation from An atlas and survey of South Asian history Karl J. Schmidt, which I refer to in my last comment as "the first source". The full quote goes as follows: The second major South Asian linguistic group comprises the Dravidian languages. Dravidian languages, as spoken by indigenous populations, are confined to South Asia and seem to have no links to any outside language families. Linguistic historians have been unable to determine whether ancient Dravidian speakers were indigenous to  South Asia or,  like  the Aryans, came from outside the subcontinent, but apparently at a much earlier date. Throughout the book, Schmidt follows this pattern in using the term "indigenous" in a relative manner in contrast to ousiders/intruders in the respective period, as I have outlined above. When talking about the colonial period (which is obviously less remote than the period of Indo-Aryan migration), he refers to all native inhabitants of South Asia as indigenous, regardless of whether they're tribal groups or urban literate elites, Dravidian, Munda or Indo-Aryan speakers, Hindus or Muslims etc. FWIW, he doesn't use the term "indigenous" in the present-day context, but this is exactly what we require here: sources that talk about contemporary indigenous peoples.
 * You appear to be stuck in the thought that "Dravidians" are a biologically defined block of people and that indigeneity itself is biologically determined. They are not. Dravidians are multiple distinct ethnic groups that are solely linked by the common genealogical affiliation of the languages they speak, and a statistically greater amount of Ancient South Indian ancestry when compared with Indo-Aryan speakers (but keep in mind that this correlation has a large bandwidith: individual Indo-Aryan speaking tribal groups may have more ASI ancestry than the sanskritized major Dravidian-speaking groups). So again: none of the present Dravidian-speaking ethnicities (I am not talking about genes, but ethnic groups!) existed in their present form at that time. I am aware of South Indian primordialist ideologies, but do you in all earnest believe that there were Tamils, Telugus, Tuluvas, Kanndigas in the 2 millenium BCE (e.g. check when the linguistic split between Kannada and Tamil is generally assumued to have occurred)? I'm not talking about their ancestors, but individual ancient ethnic groups that were exactly aligned by the same divisions as individual present-day ethnic groups? –Austronesier (talk) 19:41, 15 June 2024 (UTC)
 * @Austronesier, you completely misunderstood me. I never said that all Dravidian-speakers are a genetically united group. That would be a stupid statement to make. There are multiple Dravidian-speaking ethnic groups which have no actual Dravidian-ancestry. If we were to exclude peoples of Indo-European origin who simply adopted Dravidian languages, then, most Dravidian-speaking peoples (in plural), are genetically indigenous. And additionally I think you have another confusion here. The Ancient South Indian genetic component is not equal to Dravidian peoples. The Dravidian peoples, prior to the Indo-Aryan migrations, were composed of an Ancient South Indian component (predominantly) and a Neolithic Iranian component as well, and most of them still are. And lastly, I think you are confusing "people" with "language groups" here. Tamil, Kannadiga, etc. are linguistic groups. But the people here are, in fact, indigenous, of course excluding those who do not have indigenous Dravidian ancestry but only speak those languages. This is not about linguistic groups but about the people and their ancestry. A change to my original proposal I would suggest is too mention that not all, but most Dravidian-speaking peoples are indigenous. PadFoot2008  20:03, 15 June 2024 (UTC)
 * "most Dravidian-speaking peoples are indigenous"
 * Something like this seems a good direction to go. John_Abbe (talk) 22:01, 15 June 2024 (UTC)
 * Let me answer your above comment here, since I have already gone into some detail regarding the citation from An atlas and survey of South Asian history Karl J. Schmidt, which I refer to in my last comment as "the first source". The full quote goes as follows: The second major South Asian linguistic group comprises the Dravidian languages. Dravidian languages, as spoken by indigenous populations, are confined to South Asia and seem to have no links to any outside language families. Linguistic historians have been unable to determine whether ancient Dravidian speakers were indigenous to  South Asia or,  like  the Aryans, came from outside the subcontinent, but apparently at a much earlier date. Throughout the book, Schmidt follows this pattern in using the term "indigenous" in a relative manner in contrast to ousiders/intruders in the respective period, as I have outlined above. When talking about the colonial period (which is obviously less remote than the period of Indo-Aryan migration), he refers to all native inhabitants of South Asia as indigenous, regardless of whether they're tribal groups or urban literate elites, Dravidian, Munda or Indo-Aryan speakers, Hindus or Muslims etc. FWIW, he doesn't use the term "indigenous" in the present-day context, but this is exactly what we require here: sources that talk about contemporary indigenous peoples.
 * You appear to be stuck in the thought that "Dravidians" are a biologically defined block of people and that indigeneity itself is biologically determined. They are not. Dravidians are multiple distinct ethnic groups that are solely linked by the common genealogical affiliation of the languages they speak, and a statistically greater amount of Ancient South Indian ancestry when compared with Indo-Aryan speakers (but keep in mind that this correlation has a large bandwidith: individual Indo-Aryan speaking tribal groups may have more ASI ancestry than the sanskritized major Dravidian-speaking groups). So again: none of the present Dravidian-speaking ethnicities (I am not talking about genes, but ethnic groups!) existed in their present form at that time. I am aware of South Indian primordialist ideologies, but do you in all earnest believe that there were Tamils, Telugus, Tuluvas, Kanndigas in the 2 millenium BCE (e.g. check when the linguistic split between Kannada and Tamil is generally assumued to have occurred)? I'm not talking about their ancestors, but individual ancient ethnic groups that were exactly aligned by the same divisions as individual present-day ethnic groups? –Austronesier (talk) 19:41, 15 June 2024 (UTC)
 * @Austronesier, you completely misunderstood me. I never said that all Dravidian-speakers are a genetically united group. That would be a stupid statement to make. There are multiple Dravidian-speaking ethnic groups which have no actual Dravidian-ancestry. If we were to exclude peoples of Indo-European origin who simply adopted Dravidian languages, then, most Dravidian-speaking peoples (in plural), are genetically indigenous. And additionally I think you have another confusion here. The Ancient South Indian genetic component is not equal to Dravidian peoples. The Dravidian peoples, prior to the Indo-Aryan migrations, were composed of an Ancient South Indian component (predominantly) and a Neolithic Iranian component as well, and most of them still are. And lastly, I think you are confusing "people" with "language groups" here. Tamil, Kannadiga, etc. are linguistic groups. But the people here are, in fact, indigenous, of course excluding those who do not have indigenous Dravidian ancestry but only speak those languages. This is not about linguistic groups but about the people and their ancestry. A change to my original proposal I would suggest is too mention that not all, but most Dravidian-speaking peoples are indigenous. PadFoot2008  20:03, 15 June 2024 (UTC)
 * "most Dravidian-speaking peoples are indigenous"
 * Something like this seems a good direction to go. John_Abbe (talk) 22:01, 15 June 2024 (UTC)

Now we're getting somewhere. It's not that I've "completely misunderstood" you. Your text goes The largest indigenous population in continental Indian subcontinent are the Dravidian peoples. (07 June 2024) and Numerous indigenous groups are present in South Asia. These include the Dravidian peoples. (15 June 2024) "The Dravidian peoples" are the Dravidian-speaking peoples in toto. If this hasn't been your intent, all the better.

But at the risk of becoming repetitive: it is not a useful approach to dissect and interpret a single cherry-picked sentence from a source that employs a context-dependent use of the term "indigenous" that can result in different scopes of applicability in different historical periods. Schmidt's usage makes perfect sense for the purpose of his topic (= South Asian history), but is of little value for this article, especially when multiple sources are at hand that explicitly discuss the topic of Indigenous peoples in Asia. I've already presented one above, here is another (NGO-based) valuable open-access book: The Concept of Indigenous Peoples in Asia: A Resource Book, chapter "The Concept of Indigenous Peoples in India" (p. 223). The author describes at length the issues that come with the literal application of the word "indigenous" in the Indian context and the inadquacy of linguistic affiliation as a marker of indigeneity. He also explains why "indigenous peoples" are not simply peoples who are/were indigenous:

For a handy definition, this is from a chapter by Mitra & Gupta in Land and Cultural Survival: The Communal Land Rights of Indigenous Peoples in Asia (J. Perera, ed,. 2009, ADB):

But they add in a note:

Last but not least, here's a source from an academic publisher that is entirely devoted to the core issue here: Indigeneity in India (Karlson & Subba, eds., 2006, Routledge). I won't quote from it, but I strongly suggest to make use of it and thus finally build the South Asia section on adequate sources that are directly tied to the topic of this article. –Austronesier (talk) 08:59, 16 June 2024 (UTC)

 * @Austronesier, @Pinchme123 and @John Abbe, then I would suggest is to simply mention "most Dravidian peoples" as indigenous without going into much detail, while perhaps also mentioning that their inclusion is contested due to most not being marginalised. Also as a side note: I think we are putting too much emphasis on "marginalisation" here. The two are related but not synonymous, and you don't need to be necessarily marginalised to be indigenous. PadFoot2008  11:36, 16 June 2024 (UTC)
 * Based on what source do want to include such a text? And please note that this article is about "indigenous peoples", not simply peoples that are somehow considered to have been indigenous somewhere at some time. It is reliable sources about the topic of indigenous peoples that define what "indigenous peoples" refers to, not the dictionary definition of the word "indigenous". While "you don't need to be necessarily marginalised to be indigenous", marginalization is an essential component in the description of "indigenous peoples" in the relevant literature. And virtually every source that talks about the indigenous peoples of India takes the adivasi-categorization as a starting point, rather than linguistic affiliation or biological ancestry. So this is what we will have to reflect when expanding the section about South Asia. –Austronesier (talk) 16:26, 16 June 2024 (UTC)

Page move discussion of interest
Given how often the subject of capitalization of "Indigenous" has been discussed here, I thought I would notify those here about the page move discussion at Talk:Genocide of Indigenous peoples. --Pinchme123 (talk) 02:57, 11 June 2024 (UTC)

title: Talk:Indigenous peoples


text:
Victor McLaglen

Victor Andrew de Bier Everleigh McLaglen (10 December 1886 – 7 November 1959) was a British-American actor and boxer. His film career spanned from the early 1920s through the 1950s, initially as a leading man, though he was better known for his character acting. He was a well-known member of John Ford’s Stock Company, appearing in 12 of the director’s films, seven of which co-starred John Wayne.

For his performance as a treacherous Irish Republican in the 1935 film The Informer, he won the Academy Award for Best Actor, and was nominated for Best Supporting Actor for his role in The Quiet Man, both directed by Ford. In 1960, he was given a star on the Hollywood Walk of Fame.

Early life and education
McLaglen claimed to have been born in Tunbridge Wells, Kent, although his birth certificate records 505 Commercial Road, Stepney in the East End of London as his true birthplace. His father, Andrew Charles Albert Mclaglen, was a missionary in the Free Protestant Church in South Africa, and was later a bishop of the Free Protestant Episcopal Church of England.

The McLaglen family is ultimately of Scottish origin, descended from a MacLachlan who settled in South Africa in the 19th century. The name was rendered into McLaglen from Dutch pronunciation. A.C.A. McLaglen was christened Andries Carel Albertus McLaglen in Cape Town on 4 April 1851.

One of ten siblings, Victor had eight brothers and a sister. Four of his brothers also became actors: Arthur, an actor and sculptor, and Clifford, Cyril, and Kenneth.

Other siblings included Frederick, Lewis, and a sister, Lily. Another brother, Sydney Temple Leopold McLaglen, who appeared in one film, gained notoriety prior to World War I as a showman and self-proclaimed world jujutsu champion, who authored a book on the subject.

Victor moved with his family to South Africa for a time, where his father was Bishop of Claremont.

Army service and boxing career
McLaglen left home at 14 to join the British Army with the intention of fighting in the Second Boer War, but much to his chagrin, he was stationed at Windsor Castle in the Life Guards and was later forced to leave the army when his true age was discovered.

Four years later, he moved to Winnipeg, Manitoba, Canada, where he became a local celebrity, earning a living as a wrestler and heavyweight boxer, with several notable wins in the ring. He also briefly served as a constable in the Winnipeg Police Force in 1907.

One of his most famous fights was against heavyweight champion Jack Johnson in a six-round exhibition bout at the Vancouver Athletic Club on 10 March 1909. This was Johnson's first bout since winning the heavyweight title from Tommy Burns. Between bouts, McLaglen toured with a circus, which offered $25 to anyone who could go three rounds with him.

He returned to Britain in 1913, and during the First World War was commissioned as a Second lieutenant in the 10th Battalion, Middlesex Regiment, on 19 June 1915. He landed at Basra on 10 August 1916 and served as an Assistant Provost Marshal in Mesopotamia, ending the war as a Temporary Captain. (He may also have seen some service with the Royal Irish Fusiliers.)  He continued boxing, and was named heavyweight champion of the British Army in 1918.

After the war, he continued boxing, including a defeat at the hands of British champion Frank Goddard. His final fight was a loss by knockout to Arthur Townley in October 1920. He finished his professional career with a record of 16 wins, eight losses, and a draw.

Britain
McLaglen was visiting a sporting club when spotted by a film producer who was looking for a boxer to play the lead in a film, The Call of the Road (1920). Although McLaglen had never acted before, he auditioned and got the part.

He was in the adventure films: Corinthian Jack (1921) and The Prey of the Dragon (1921). He followed it with The Sport of Kings (1921). Donald Crisp cast him in The Glorious Adventure (1922) and he was in A Romance of Old Baghdad (1922), Little Brother of God (1922), A Sailor Tramp (1922), The Crimson Circle (1922), The Romany (1922), and Heartstrings (1922).

McLaglen played leads in M'Lord of the White Road (1923), In the Blood (1923), The Boatswain's Mate (1923), Women and Diamonds (1924), and The Gay Corinthian (1924). He was in The Passionate Adventure (1924), co-written by Alfred Hitchcock, and The Beloved Brute (1924), The Hunted Woman (1925), and Percy (1925).

Hollywood
McLaglen's career took a surprise turn in 1925 when he moved to Hollywood. He became a popular character actor, with a particular knack for playing drunks. He also usually played Irishmen, leading many film fans to mistakenly assume he was Irish rather than English. McLaglen played one of the titular characters of The Unholy Three (1925) in Lon Chaney Sr.'s original silent version of the macabre crime drama.

McLaglen had a support part in Winds of Chance (1925), directed by Frank Lloyd, then made The Fighting Heart (1925) at Fox, directed by John Ford. Ford would have a major impact on McLaglen's career. McLaglen was in The Isle of Retribution (1925), Men of Steel (1926), and Beau Geste (1926), playing Hank in the last.

What Price Glory? and stardom
McLaglen was the top-billed leading man in director Raoul Walsh's First World War classic What Price Glory? (1926) with Edmund Lowe and Dolores del Río. The film was a huge success, making over $2 million, and Fox signed McLaglen to a long-term contract.

Fox put McLaglen in The Loves of Carmen (1927) with del Río, directed by Walsh. He was top-billed in Mother Machree (1928), directed by Ford. He was top-billed in A Girl in Every Port (1928), co-starring Robert Armstrong and Louise Brooks. He starred in Hangman's House (1928) for Ford, a romantic drama set in Ireland, and The River Pirate (1928), and Captain Lash (1929). McLaglen then made two films for Ford: Strong Boy (1929) and The Black Watch (1929).

Talking movies
McLaglen was one of many Fox stars who had cameos in the musical Happy Days (1929). He was reunited with Edmund Lowe and Raoul Walsh in a sequel to What Price Glory?, The Cock-Eyed World (1929), which was another huge success at the box office.

McLaglen made a musical with Walsh, Hot for Paris (1930), then made On the Level (1930). A Devil with Women (1931) was a buddy comedy with Humphrey Bogart in which Bogart played McLaglen's sidekick. He was borrowed by Paramount for Dishonored (1931), starring Marlene Dietrich and directed by Joseph von Sternberg. He was in Not Exactly Gentlemen (1931) and had a cameo in the short film The Stolen Jools (1931). McLaglen, Lowe, and Walsh reunited for a second sequel to What Price Glory?, Women of All Nations (1931). He was in Annabelle's Affairs (1931), Wicked (1931), The Gay Caballero (1932), and Devil's Lottery (1932). McLaglen and Lowe went to Paramount for Guilty as Hell (1932).

Back at Fox he was in Rackety Rax (1932) then made a fourth What Price Glory? film with Lowe, Hot Pepper (1933). McLaglen starred in Laughing at Life (1933) and returned to Britain to make Dick Turpin (1933).

McLaglen starred opposite Boris Karloff's crazed religious fanatic in John Ford's The Lost Patrol (1934) at RKO, a picture about desperate soldiers gradually losing their minds fighting Arabs in the desert of what is now Iraq.

At Paramount, McLaglen and Lowe were in No More Women (1934) (a non-What Price Glory? film), then McLaglen made Wharf Angel (1934). He was one of many stars in Murder at the Vanities (1934). At Columbia, McLaglen starred in The Captain Hates the Sea (1934) with John Gilbert. Lowe and he reunited at Fox for Under Pressure (1935) (directed by Walsh) and The Great Hotel Murder (1935).

The Informer
Another highlight of his career was winning an Academy Award for Best Actor for his role in Ford's The Informer (1935), shot at RKO, based on a novel of the same name by Liam O'Flaherty. In 1945, McLaglen said that winning the Oscar had no economic benefit and that he didn't know where it was because his son had taken it to college for use as a paperweight.

Back at Fox – now 20th Century Fox – McLaglen made Professional Soldier (1935) with Freddie Bartholomew. At Paramount, he was teamed with Mae West in Klondike Annie (1936), then he went back to Fox for Under Two Flags (1936) with Rosalind Russell and Ronald Colman.

McLaglen starred in The Magnificent Brute (1936) for Universal, Sea Devils (1937) for RKO and Nancy Steele Is Missing! (1937) for Fox. He stayed at Fox to support Robert Taylor in This Is My Affair (1937), and notably, Shirley Temple in Wee Willie Winkie (1937) directed by John Ford at Fox. He had a cameo in Ali Baba Goes to Town (1937). Brian Donlevy and he made a comedy Battle of Broadway (1938) at Fox, then he went to Universal for The Devil's Party (1938).

Gunga Din
McLaglen returned to Britain for We're Going to Be Rich (1938) with Gracie Fields. Back in Hollywood, he did some films for RKO: Pacific Liner (1939) and Gunga Din (1939). The latter, with Cary Grant and Douglas Fairbanks Jr., was an adventure epic loosely based on Rudyard Kipling's poem that served as the template decades later for Indiana Jones and the Temple of Doom (1984).

He supported Nelson Eddy in Let Freedom Ring (1939) at MGM, and was in Ex-Champ (1939). He supported Brian Aherne in Captain Fury (1939), and starred in Full Confession (1939) for John Farrow at RKO, the latter film being somewhat a remake of The Informer.

At Universal, McLaglen teamed with Basil Rathbone in Rio (1939) and Jackie Cooper in The Big Guy (1939). He was top-billed in Edward Small's South Seas adventure, South of Pago Pago (1940). He remained top-billed for Diamond Frontier (1940) and Broadway Limited (1941).

McLaglen and Lowe reprised their roles from What Price Glory? in the radio program Captain Flagg and Sergeant Quirt, broadcast on the Blue Network (28 September 1941 – 25 January 1942, and on NBC 13 February 1942 – 3 April 1942).

McLaglen and Lowe then played basically the same roles, but under different names in Call Out the Marines (1942) at RKO. He starred in Powder Town (1942), and went to Fox to support Gene Tierney in China Girl (1942). He was one of many stars in Forever and a Day (1943), and had a support role in Tampico (1943) and Roger Touhy, Gangster (1944). McLaglen was a villain in Bob Hope's The Princess and the Pirate (1944), and he was in Rough, Tough and Ready.

Supporting actor
McLaglen began to be exclusively a supporting actor, with parts in Love, Honor and Goodbye (1945), Whistle Stop (1946) with George Raft and Ava Gardner, Calendar Girl (1947), The Michigan Kid (1947), and The Foxes of Harrow (1947).

McLaglen was back with John Ford for Fort Apache (1948) with John Wayne and Henry Fonda. It was very much a support part, as a cavalry sergeant, but so well received that McLaglen basically reprised it in the other two films in the Ford-Wayne "cavalry trilogy": She Wore a Yellow Ribbon (1949) and Rio Grande (1950) with Maureen O'Hara and Ben Johnson.

McLaglen was later nominated for another Oscar, this time for a Best Supporting Actor for his role opposite John Wayne in The Quiet Man (1952). He continued to be in demand as a support actor in action films: Fair Wind to Java (1953) with Fred MacMurray and Prince Valiant (1954) with James Mason and Robert Wagner. He went to Britain for Trouble in the Glen (1954), an unsuccessful attempt to do for Scotland what The Quiet Man did for Ireland. Back in Hollywood, he was in Many Rivers to Cross (1955) at MGM with Robert Taylor and Eleanor Parker.

Later career
McLaglen had a rare late career lead role in City of Shadows (1955) at Republic with Patricia Crowley, and he was second-billed in Bengazi (1955), but he went back to supports with Lady Godiva of Coventry (1955). He had a cameo in Around the World in 80 Days (1956) with David Niven and Cantinflas, then had another lead in The Abductors (1957), directed by his son, Andrew V. McLaglen.

Toward the end of his career, McLaglen made several guest appearances on television, particularly in Western series such as Have Gun, Will Travel and Rawhide. The episodes in which McLaglen guest-starred were both directed by his son, Andrew, who later became a film director frequently directing John Wayne.

He went to Italy for Gli Italiani sono matti, and had a good part in Sea Fury (1958) with Stanley Baker.

Activism
In 1933, he founded the California Light Horse Regiment, which included a "riding parade club, a polo-playing group and a precision motorcycle contingent". He described it in a press interview as promoting "Americanism". He said it was organized to fight communists and others "opposed to the American ideal", both inside and outside the country. McLaglen was attacked by some on the left as fascist, which he denied. He said he was a "patriot of the good old-fashioned American kind".

Personal life
In 1935, McLaglen spent a reported $40,000 (equal to $ today) to build his own stadium near Riverside Drive and Hyperion Avenue, near Griffith Park and the Atwater Village neighborhood of Los Angeles. The stadium was used for football and many other activities. The Los Angeles River flood of 1938 seriously damaged the stadium, and it fell into disuse thereafter. In 1941, he was selected as the grand marshal of the Clovis Rodeo parade in Clovis, California.

McLaglen was married three times. He first married Enid Lamont in 1919. The couple had two sons, Andrew, Walter, and one daughter, Sheila. Andrew McLaglen was a television and film director who worked on several film projects with John Wayne. Andrew's children, Mary and Josh McLaglen, are both film producers and directors. Sheila's daughter, Gwyneth Horder-Payton, is a television director. Enid Lamont McLaglen died in 1942 as a result of a horse-riding accident.

His second marriage was to Suzanne M. Brueggeman. That marriage lasted from 1943 until 1948. His third and final marriage was to divorcée Margaret McNichols Pumphrey, a Seattle socialite he married in 1948. They remained married until his death from congested heart failure in 1959.

He had by that time become a naturalized U.S. citizen. His cremated remains are interred at Forest Lawn Memorial Park, Glendale, in the Garden of Memory, Columbarium of Eternal Light.

On 8 February 1960, McLaglen received a star on the Hollywood Walk of Fame at 1735 Vine Street, for his contributions to the motion-picture industry.

McLaglen spoke five languages, including Arabic.

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

title: Victor McLaglen


text: Help talk:Contents

title: Help talk:Contents


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Vecchio

Vecchio (: vecchi; meaning 'old one' or simply 'old') is a category of aged, male characters from Italian commedia dell'arte theatre. The primary members of this group are, , and. and are the alter ego of each other:  being the decadent wealthy merchant, and  being the decadent erudite.

They are overwhelmingly the antagonists, opposing the love of the innamorati; the comic ending is produced when the Zanni manage to overcome them and unite the lovers.

Vecchio is the Italian word for 'old' (as used in, meaning 'old bridge').

title: Vecchio


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Pantalone

Pantalone, spelled Pantaloon in English, is one of the most important principal characters found in commedia dell'arte. With his exceptional greed and status at the top of the social order, Pantalone is "money" in the commedia world. His full name, including family name, is Pantalon de' Bisognosi, Italian for 'Pantalone of the Needy'.

Character
Pantalone originated as part of a master/servant duo and was the original Il Magnifico stock character. Carlo Goldoni, in his memoirs, named Pantalone as one of the four primary commedia dell'arte characters. Among other things, Pantalone is a character of Venetians; one theory is that his name derives from Saint Pantaleon (San Pantalone), a popular saint in Venice. Another theory is that his name derives from Venetian merchants who were called Piantaleoni. While the theories of the St. Pantaleone and the lion of St. Mark are common, they are both now considered unlikely origins, and the true origin is unknown. The name Pantaloon generally means 'old fool' or 'dotard'. The role of Pantalone is usually spoken entirely in the Venetian language. The character of Pantalone is entirely based on currency and ego, for he has the highest regard for his intelligence, "but at every step he becomes the butt for every conceivable kind of trick". With little else to occupy his thoughts after a life as a tradesman or merchant, Pantalone is the metaphorical representation of money in the commedia world. While the social standing of merchants may have changed through many centuries, the intent for Pantalone was to ensure that he had the status that allowed him to meddle in the affairs of others. Pantalone is usually the father to one of the innamorati (the lovers), another stock character found in commedia. He is driven to keep his child and their respective lover apart. Pantalone is presented either as a widower or bachelor, and despite his age, makes numerous passes at the women within the commedia world, "though he is always rejected". Pantalone never forgets a deal and his merit is based on actions, not words. He is also described as being petty, and he never forgets or forgives even the smallest things.

Pantalone is characterized as loving his money and having emotional extremes. With his sinister and often inhumane treatment towards his fellows, Pantalone is perceived to be a pivotal part of commedia. His importance is represented in almost every commedia production; often placing him at the beginning of the comedy. In a commedia drama, many Zanni or lazzi routines will begin by an action delivered by Pantalone himself. Pantalone is described as being too self-absorbed to notice and interact much with the audience, but he is so oblivious that it serves the same purpose.

Pantalone is also displayed either as a single man or a widower, and not withstanding his age, makes various "attempts" at the ladies inside the commedia world and is always rejected. Due to his portrayal as an older, single man, it might be claimed that Pantalone is a very one-sided representation of old age. However, he is actually a very rounded and multifaceted depiction of the suggestive natures of old age.

Pantalone's inappropriate enthusiasm for the young ladies inside the commedia world is abundantly borne out in the previously mentioned Capriccii. "Of all the twenty-seven pieces, ten allude to ladies in their titles alone, either just as a lady (donna), or as spouse (mogier), house cleaner and courtesan (Massara, Padrona) whores (puttane), sweetheart (morosa), and darling (innamorata)."

Sexual symbolism is very prominent as illustrated in Della bellezza, and crudeltà d'una donna, one elderly person communicates along these lines:

 * vorria d'amante libero
 * farme servo, e desidero
 * nel mar de l'appetito
 * tegnir el timon dritto
 * al vassello, e d'accorto
 * vorria ficcarme in porto

 * [I would like, as a free lover,
 * to help myself, and I desire
 * in the sea of appetite
 * to keep the ship's rudder
 * straight, and smartly,
 * would I like to thrust myself into port].

Stance

The traditional Pantalone stance is that of a hunch-backed old man. He walks with his hips forward, allowing him to make larger strides when he walks. The hunched shape restricts his legs, which are bent and turned out at the knees. The feet have the heels together with the toes facing apart. His hands and feet move quickly, though his body is stiff, and his head is constantly moving. When he walks, his feet should be picked up more than would occur naturally. Pantalone is slow moving, and he has bouts of agility when there is high emotion, but it is followed by asthmatic breathing and panting. Pantalone is often short and skinny. A lot of Pantalone's comedy stems from the fact that his excitable actions greatly contradict the senile position that the actor takes. He often falls backwards, generally to bad news related in some way or another to his financials. When this occurs, he is often amusingly "turtle-like" and is often stuck in that position until assisted. Pantalone can do all of the movements of the other characters, but they are greatly hindered because of his old age. None of Pantalone's physical actions should look easy, for his is truly "the oldest of the old". In the well-known "all the world's a stage" speech in Shakespeare's As You Like It (II, vii), Jacques describes the second-last stage of life as "the lean and slippered pantaloon".

Costume
Pantalone's costume was designed with the inappropriateness intended to comically entertain. The costume for Pantalone is characterized by the use of red for almost the entire costume. The characteristics of the costume also include a Greek style hat, a jacket, a pair of long trousers or breeches with stockings, a tight jacket, a woollen skullcap, a robe or cape, a prominent codpiece or strategically placed coin purse, a black and red robe and yellow Turkish slippers. During the sixteenth and seventeenth centuries, a sword or dagger and gold medallion often accompanied the purse. The Pantalone mask is a half-mask with accents on bony structure, big, bushy eyebrows, a long, hooked nose, a mustache, and a long, pointed or forked beard. He occasionally is noted as having horn spectacles. He occasionally carries a walking stick, but it is used more as an aggravating weapon than an actual walking tool. Because of his skinny legs, Pantalone is often portrayed wearing trousers rather than knee-breeches (which Jacques refers to as "his youthful hose, well sav'd, a world too wide/For his shrunk shank"). He therefore became the origin of the name of a type of trouser called "pantaloons", which was later shortened to "pants".

Related
Angela Carter's The Bloody Chamber (in the short story "Puss in Boots") gives another representation of Pantalone. The interpretation uses the spelling 'Pantaloon', but he follows a very similar description and ends up dead.

title: Pantalone


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David Foster Wallace

David Foster Wallace (February 21, 1962 – September 12, 2008) was an American novelist, short story writer, essayist, and university professor of English and creative writing. Wallace's 1996 novel Infinite Jest was cited by Time magazine as one of the 100 best English-language novels from 1923 to 2005. His posthumous novel, The Pale King (2011), was a finalist for the Pulitzer Prize for Fiction in 2012. The Los Angeles Times's David Ulin called Wallace "one of the most influential and innovative writers of the last twenty years".

Wallace grew up in Illinois and attended Amherst College. He taught English at Emerson College, Illinois State University, and Pomona College. After struggling with depression for many years, he died by suicide in 2008, at age 46.

Early life and education
David Foster Wallace was born in Ithaca, New York, to Sally Jean Wallace ( Foster) and James Donald Wallace. The family moved to Champaign-Urbana, Illinois, where he was raised along with his younger sister, Amy Wallace-Havens. His father was a philosophy professor at University of Illinois Urbana-Champaign. His mother was an English professor at Parkland College, a community college in Champaign, which recognized her work with a "Professor of the Year" award in 1996. From fourth grade, Wallace lived with his family in Urbana, where he attended Yankee Ridge Elementary School, Brookens Junior High School and Urbana High School.

As an adolescent, Wallace was a regionally ranked junior tennis player. He wrote about this period in the essay "Derivative Sport in Tornado Alley", originally published in Harper's Magazine as "Tennis, Trigonometry, Tornadoes". Although his parents were atheists, Wallace twice attempted to join the Catholic Church, but "flunk[ed] the period of inquiry". He later attended a Mennonite church.

Wallace attended Amherst College, his father's alma mater, where he majored in English and philosophy and graduated summa cum laude in 1985. Among other extracurricular activities, he participated in glee club; his sister recalls that he "had a lovely singing voice". In studying philosophy, Wallace pursued modal logic and mathematics, and presented in 1985 a senior thesis in philosophy and modal logic that was awarded the Gail Kennedy Memorial Prize and posthumously published as Fate, Time, and Language: An Essay on Free Will (2010).

Wallace adapted his honors thesis in English as the manuscript of his first novel, The Broom of the System (1987), and committed to being a writer. He told David Lipsky: "Writing The Broom of the System, I felt like I was using 97 percent of me, whereas philosophy was using 50 percent." Wallace completed a Master of Fine Arts degree in creative writing at the University of Arizona in 1987. He moved to Massachusetts to attend graduate school in philosophy at Harvard University, but soon left the program.

Later life
In 2002, Wallace met the painter Karen L. Green, whom he married on December 27, 2004. Wallace struggled with depression, alcoholism, drug addiction, and suicidal tendencies, and was repeatedly hospitalized for psychiatric care. In 1989, he spent four weeks at McLean Hospital—a psychiatric institute in Belmont, Massachusetts, affiliated with Harvard Medical School—where he completed a drug and alcohol detoxification program. He later said his time there changed his life.

Dogs were important to Wallace, and he spoke of opening a shelter for stray canines. According to his friend Jonathan Franzen, he "had a predilection for dogs who'd been abused, and [were] unlikely to find other owners who were going to be patient enough for them".

Abuse allegations
In the early 1990s, Wallace was in a relationship with writer Mary Karr. She later described Wallace as obsessive about her and said the relationship was volatile, with Wallace once throwing a coffee table at her as well as physically forcing her out of a car, leaving her to walk home. Years later, she claimed that Wallace's biographer D. T. Max underreported Wallace's abuse. Of Max's account of their relationship, she tweeted: "That's about 2% of what happened." She said that Wallace kicked her, climbed up the side of her house at night, and followed her five-year-old son home from school.

Career
The Broom of the System (1987) garnered national attention and critical praise. In The New York Times, Caryn James called it a "manic, human, flawed extravaganza ... emerging straight from the excessive tradition of Stanley Elkin's The Franchiser, Thomas Pynchon's V., [and] John Irving's World According to Garp".

In 1991, Wallace began teaching literature as an adjunct professor at Emerson College in Boston. The next year, at the suggestion of colleague and supporter Steven Moore, Wallace obtained a position in the English department at Illinois State University. He had begun work on his second novel, Infinite Jest, in 1991, and submitted a draft to his editor in December 1993. After the publication of excerpts throughout 1995, the book was published in 1996.

In 1997, Wallace received a MacArthur Fellowship. He also received the Aga Khan Prize for Fiction, awarded by editors of The Paris Review for one of the stories in Brief Interviews with Hideous Men, which had been published in the magazine.

In 2002, Wallace moved to Claremont, California, to become the first Roy E. Disney endowed Professor of Creative Writing and Professor of English at Pomona College. He taught one or two undergraduate courses per semester and focused on writing.

Wallace delivered the commencement address to the 2005 graduating class at Kenyon College. The speech was published as a book, This Is Water, in 2009. In May 2013, parts of the speech were used in a popular online video, also titled "This Is Water".

Bonnie Nadell was Wallace's literary agent during his entire career. Michael Pietsch was his editor on Infinite Jest.

Wallace died in 2008. In March 2009, Little, Brown and Company announced that it would publish the manuscript of an unfinished novel, The Pale King, that Wallace had been working on before his death. Pietsch pieced the novel together from pages and notes Wallace left behind. Several excerpts were published in The New Yorker and other magazines. The Pale King was published on April 15, 2011, and received generally positive reviews. Michiko Kakutani of The New York Times wrote that The Pale King "showcases [Wallace's] embrace of discontinuity; his fascination with both the meta and the microscopic, postmodern pyrotechnics and old-fashioned storytelling; and his ongoing interest in contemporary America's obsession with self-gratification and entertainment." The book was nominated for the Pulitzer Prize.

Throughout his career, Wallace published short fiction in periodicals such as The New Yorker, GQ, Harper's Magazine, Playboy, The Paris Review, Mid-American Review, Conjunctions, Esquire, Open City, Puerto del Sol, and Timothy McSweeney's Quarterly Concern.

Themes and styles
Wallace wanted to progress beyond the irony and metafiction associated with postmodernism and explore a post-postmodern or metamodern style. In the essay "E Unibus Pluram: Television and U.S. Fiction" (written 1990, published 1993), he proposed that television has an ironic influence on fiction, and urged literary authors to eschew TV's shallow rebelliousness: "I want to convince you that irony, poker-faced silence, and fear of ridicule are distinctive of those features of contemporary U.S. culture (of which cutting-edge fiction is a part) that enjoy any significant relation to the television whose weird, pretty hand has my generation by the throat. I'm going to argue that irony and ridicule are entertaining and effective, and that, at the same time, they are agents of a great despair and stasis in U.S. culture, and that, for aspiring fictionists, they pose terrifically vexing problems."

Wallace used many forms of irony, but tended to focus on individual persons' continued longing for earnest, unself-conscious experience and communication in a media-saturated society.

Wallace's fiction combines narrative modes and authorial voices that incorporate jargon and invented vocabulary, such as self-generated abbreviations and acronyms, long, multi-clause sentences, and an extensive use of explanatory endnotes and footnotes, as in Infinite Jest and the story "Octet" (collected in Brief Interviews with Hideous Men), and most of his non-fiction after 1996. In a 1997 interview on Charlie Rose, Wallace said that the notes were to disrupt the linear narrative, to reflect his perception of reality without jumbling the narrative structure, and that he could have jumbled the sentences "but then no one would read it".

D. T. Max has described Wallace's work as an "unusual mixture of the cerebral and the hot-blooded", often featuring multiple protagonists and spanning different locations in a single work. His writing comments on the fragmentation of thought, the relationship between happiness and boredom, and the psychological tension between the beauty and hideousness of the human body. According to Wallace, "fiction's about what it is to be a fucking human being", and he said he wanted to write "morally passionate, passionately moral fiction" that could help the reader "become less alone inside". In his Kenyon College commencement address, Wallace described the human condition as daily crises and chronic disillusionment and warned against succumbing to solipsism, invoking the existential values of compassion and mindfulness:

"The really important kind of freedom involves attention, and awareness, and discipline, and effort, and being able truly to care about other people and to sacrifice for them, over and over, in myriad petty little unsexy ways, every day. ... The only thing that's capital-T True is that you get to decide how you're going to try to see it. You get to consciously decide what has meaning and what doesn't. ... The trick is keeping the truth up-front in daily consciousness."

Nonfiction
Wallace covered Senator John McCain's 2000 presidential campaign and the September 11 attacks for Rolling Stone; cruise ships (in what became the title essay of his first nonfiction book), state fairs, and tornadoes for Harper's Magazine; the US Open tournament for Tennis magazine; Roger Federer for The New York Times; the director David Lynch and the pornography industry for Première magazine; the tennis player Michael Joyce for Esquire; the movie-special-effects industry for Waterstone's magazine; conservative talk radio host John Ziegler for The Atlantic; and a Maine lobster festival for Gourmet magazine. He also reviewed books in several genres for the Los Angeles Times, The Washington Post, The New York Times, and The Philadelphia Inquirer. In the November 2007 issue of The Atlantic, which commemorated the magazine's 150th anniversary, Wallace was among the authors, artists, politicians and others who wrote short pieces on "the future of the American idea".

These and other essays appear in three collections, A Supposedly Fun Thing I'll Never Do Again, Consider the Lobster and the posthumous Both Flesh and Not, the last of which contains some of Wallace's earliest work, including his first published essay, "Fictional Futures and the Conspicuously Young". Wallace's tennis writing was compiled into a volume titled String Theory: David Foster Wallace on Tennis, published in 2016. Some writers have found parts of Wallace's nonfiction implausible. Jonathan Franzen has said that he believes Wallace made up dialogue and incidents: "those things didn't actually happen". Of the essays "Shipping Out" and "Ticket to the Fair", John Cook has remarked that in Wallace's nonfiction: "Wallace encounters pitch-perfect characters who speak comedically crystalline lines and place him in hilariously absurd situations...I used both stories [when teaching journalism] as examples of the inescapable temptation to shave, embellish, and invent narratives."

Death
Wallace's father said that David had suffered from major depressive disorder for more than 20 years and that antidepressant medication had allowed him to be productive. Wallace suffered what was believed to be a severe interaction of the medication with the food he had eaten one day at a restaurant, and in June 2007, on his doctor's advice, he stopped taking phenelzine, his primary antidepressant drug. His depression recurred, and he tried other treatments, including electroconvulsive therapy. Eventually he went back on phenelzine but found it ineffective. On September 12, 2008, at age 46, Wallace wrote a private two-page suicide note to his wife, arranged part of the manuscript for The Pale King, and hanged himself on the back porch of his house in Claremont, California.

Memorial gatherings were held at Pomona College, Amherst College, the University of Arizona, Illinois State University, and on October 23, 2008, at New York University (NYU). The eulogists at NYU included his sister, Amy Wallace-Havens; his literary agent, Bonnie Nadell; Gerry Howard, editor of his first two books; Colin Harrison, an editor at Harper's Magazine; Michael Pietsch, editor of Infinite Jest and later works; Deborah Treisman, fiction editor at The New Yorker magazine; and the writers Don DeLillo, Zadie Smith, George Saunders, Mark Costello, Donald Antrim, and Jonathan Franzen.

Legacy
In March 2010, it was announced that Wallace's personal papers and archives—drafts of books, stories, essays, poems, letters, and research, including the handwritten notes for Infinite Jest—had been purchased by the University of Texas at Austin. They are held at that university's Harry Ransom Center.

Since 2011, Loyola University New Orleans has offered English seminar courses on Wallace. Similar courses have also been taught at Harvard University. The first David Foster Wallace Conference was hosted by the Illinois State University Department of English in May 2014; the second was held in May 2015.

In January 2017, the International David Foster Wallace Society and the Journal of David Foster Wallace Studies were launched.

Among the writers who have cited Wallace as an influence are Dave Eggers, Jonathan Franzen, Rivka Galchen, Matthew Gallaway, David Gordon, John Green, Porochista Khakpour, George Saunders, Michael Schur, Zadie Smith, Darin Strauss, Deb Olin Unferth, Elizabeth Wurtzel, and Charles Yu.

Film and television
A feature-length film adaptation of  Brief Interviews with Hideous Men, directed by John Krasinski with an ensemble cast, was released in 2009 and premiered at the Sundance Film Festival.

The 19th episode of the 23rd season of The Simpsons, "A Totally Fun Thing That Bart Will Never Do Again" (2012), is loosely based on Wallace's essay "Shipping Out" from his 1997 collection, A Supposedly Fun Thing I'll Never Do Again. The Simpson family takes a cruise, and Wallace appears in the background of a scene, wearing a tuxedo T-shirt while eating in the ship's dining room.

The 2015 film The End of the Tour is based on conversations David Lipsky had with Wallace, transcribed in Although of Course You End Up Becoming Yourself (2010). Jason Segel played Wallace, and Jesse Eisenberg Lipsky. The film won an Audience Award for Best Narrative Feature at the Sarasota Film Festival, and Segel was nominated for the Independent Spirit Award for Best Male Lead.

"Partridge", a Season 5 episode of NBC's Parks and Recreation, repeatedly references Infinite Jest, of which the show's co-creator, Michael Schur, is a noted fan. Schur also directed the music video for The Decemberists' "Calamity Song", which depicts the Eschaton game from Infinite Jest.

Stage and music adaptations
Twelve of the interviews from Brief Interviews with Hideous Men were adapted as a stage play in 2000 by Dylan McCullough. This was the first theatrical adaptation of Wallace's work. The play, Hideous Men, was also directed by McCullough, and premiered at the New York International Fringe Festival in August 2000.

Brief Interviews was also adapted by director Marc Caellas as a play, Brief Interviews with Hideous Writers, which premiered at Fundación Tomás Eloy Martinez in Buenos Aires on November 4, 2011. In 2012 it was adapted as a play by artist Andy Holden for a two-night run at the ICA in London.

The short story "Tri-Stan: I Sold Sissee Nar to Ecko", from Brief Interviews with Hideous Men, was adapted by composer Eric Moe into a 50-minute operatic piece, to be performed with accompanying video projections. The piece was described as having "subversively inscribed classical music into pop culture".

Infinite Jest was performed once as a stage play by Germany's experimental theater Hebbel am Ufer. The play was staged in various locations throughout Berlin, and the action took place over a 24-hour period.

"Good Old Neon", from Oblivion: Stories, was adapted and performed by Ian Forester at the 2011 Hollywood Fringe Festival, produced by the Los Angeles independent theater company Needtheater.

The song "Surrounded by Heads and Bodies", from the album A Brief Inquiry into Online Relationships by The 1975, borrows its title from the opening line of Infinite Jest. Matty Healy, The 1975's lead singer, said in an interview with Pitchfork that he was inspired by the novel after reading it during a stint in rehabilitation: "I was reading [Infinite Jest] when I was in rehab. There was no one there. It was me and my nurses, who'd come in and check on me, and then Angela [the protagonist of the song], miles away. I was surrounded by no one, and the book was just open on the front page, as most copies of Infinite Jest are ... nobody reads [Infinite Jest] all the way! Everyone our age has got a battered, quarter-read copy of Infinite Jest."

Novels

 * The Broom of the System (1987). ISBN 9781101153536
 * Infinite Jest (1996). ISBN 9780316920049
 * The Pale King (2011, posthumous). ISBN 9780316175296

Short story collections

 * Girl with Curious Hair (1989). ISBN 9780393313963
 * Brief Interviews with Hideous Men (1999). ISBN 9780316086899
 * Oblivion: Stories (2004). ISBN 9780759511569

Nonfiction collections

 * A Supposedly Fun Thing I'll Never Do Again (1997). ISBN 9780316090520
 * Consider the Lobster (2005). ISBN 9780349119519
 * Both Flesh and Not (2012, posthumous). ISBN 9780316214698

Other books

 * Everything and More: A Compact History of Infinity (2003).
 * Fate, Time, and Language: An Essay on Free Will (2010). Columbia University Press [reprint of 1985 thesis]. ISBN 978-0231151573. An essay collection.
 * The David Foster Wallace Reader (2014, posthumous). ISBN 9780316182393 A collection of excerpts.
 * Something to Do with Paying Attention (2022, posthumous). ISBN 9781946022271 A novella excerpted from The Pale King.

Awards and honors

 * Pulitzer Prize nomination for The Pale King, 2012. No prize was awarded for the fiction category that year
 * Inclusion of "Good Old Neon" in The O. Henry Prize Stories 2002
 * John D. and Catherine T. MacArthur Foundation Fellowship, 1997–2002
 * Lannan Foundation Residency Fellow, July–August 2000
 * Named to Usage Panel, The American Heritage Dictionary of the English Language 4th Ed. et seq., 1999
 * Inclusion of "The Depressed Person" in Prize Stories 1999: The O. Henry Awards
 * Illinois State University, Outstanding University Researcher, 1998 and 1999
 * Aga Khan Prize for Fiction for the story "Brief Interviews with Hideous Men #6", 1997
 * Time magazine's Best Books of the Year (Fiction), 1996
 * Salon Book Award (Fiction), 1996
 * Lannan Literary Award (Fiction), 1996
 * Inclusion of "Here and There" in Prize Stories 1989: The O. Henry Awards
 * Whiting Award, 1987

Biographical

 * David Foster Wallace Archive, The University of Texas at Austin
 * Whiting Foundation Profile

Portals

 * David Foster Wallace AUDIO PROJECT
 * International David Foster Wallace Society

title: David Foster Wallace


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Garonne

The Garonne (, also , ; Occitan, Catalan, Basque, and Garona, ; Garumna or Garunna) is a river that flows in southwest France and northern Spain. It flows from the central Spanish Pyrenees to the Gironde estuary at the French port of Bordeaux – a length of 529 km, of which 47 km is in Spain (Val d'Aran); the total length extends to 602 km if one includes the Gironde estuary between the river and the sea. Its basin area is 56000 km2, which increases to 84811 km2 if the Dordogne River, which flows from the east and joins the Garonne at Bec d'Ambès to form the Gironde estuary, is included.

Umayyad and Aquitanian forces fought the Battle of the River Garonne in 732 beside the river near present-day Bordeaux.

Etymology
The name derives from Garumna, a Latinized version of the Aquitanian name meaning "stony river" ("kar" relating to "stone" and "-ona" relating to "river").

Course
The Garonne follows the Aran Valley northwards into France, flowing via Toulouse and Agen towards Bordeaux, where it meets the Gironde estuary. The Gironde flows into the Atlantic Ocean (Bay of Biscay). Along its course, the Garonne is joined by three other major rivers: the Ariège, the Tarn, and the Lot. Just after Bordeaux, the Garonne meets the Dordogne at the Bec d'Ambès, forming the Gironde estuary, which after approximately 100 km empties into the Atlantic Ocean. Other tributaries include the Save and the Gers.

The Garonne is one of the few rivers in the world that exhibit a tidal bore. Surfers and jet skiers could ride the tidal bore at least as far as the village of Cambes, 120 km from the Atlantic, and even further upstream to Cadillac, although the tidal bore appears and disappears in response to changes in the channel bathymetry. In 2010 and 2012, some detailed field studies were conducted in the Garonne's Arcins channel between Arcins Island and the right bank close to Lastrene township. A striking feature of the field data sets was the large and rapid fluctuations in turbulent velocities and turbulent stresses during the tidal bore and flood flow.

European sea sturgeon conservation
The European sea sturgeon (Acipenser sturio), also known as the Atlantic sturgeon or common sturgeon, is now a Critically Endangered species (IUCN) status. This species of sturgeon can reach a length of 6 m, weigh up to 400 kg and reach an age of 100 years. Previously found on most coasts of Europe, it has now become so rare that it breeds only in the Garonne river basin in France. Conservation projects are under way to save this fish from extinction via species reintroduction from aquaculture, with the first releases having been made in 1995.

Towns along the river

 * Aran Valley (Spain): Vielha, Bossòst
 * Haute-Garonne (31): Saint-Gaudens, Muret, Toulouse
 * Tarn-et-Garonne (82): Castelsarrasin
 * Lot-et-Garonne (47): Agen, Marmande, Aiguillon
 * Gironde (33): Langon, Bordeaux

Main tributaries
Following the flow of the river, from source to mouth:

 * Pique
 * Ourse
 * Neste
 * Salat
 * Volp
 * Arize
 * Louge
 * Ariège
 * Touch
 * Hers-Mort
 * Save
 * Gimone
 * Tarn
 * Arrats
 * Barguelonne
 * Auroue
 * Séoune
 * Gers
 * Baïse
 * Lot
 * Avance
 * Dropt
 * Ciron
 * Gat mort
 * Devèze
 * Jalle de Blanquefort

Navigation
The Garonne plays an important role in inland shipping. The river not only allows seagoing vessels to reach the port of Bordeaux but also forms part of the Canal des Deux Mers, linking the Mediterranean Sea and the Atlantic Ocean. From the ocean, ships pass through the Gironde estuary up to the mouth of the Garonne (to the right of the Dordogne when sailing upstream). Ships continue on the tidal river Garonne up to the Pont de Pierre (stone bridge) in Bordeaux. Inland vessels continue upstream to Castets-en-Dorthe, where the Canal de Garonne joins the river. Prior to the building of the Canal lateral à la Garonne, between 1838 and 1856, shallow-draught boats used the Garonne itself as far as Toulouse. However, navigation on the upper river was very uncertain, and this stretch of the river is no longer considered navigable. Instead the lateral canal takes boats through 53 locks to the town of Toulouse, where the canal meets the Canal du Midi.

Hydrography
The upstream part of the river, upstream from Toulouse depends primarily on snow and snow melt. The lower/downstream part is rain fed as well as its main tributaries.

The Garonne also feeds several channels/canals:

 * The Saint-Martory canal – Saint-Martory water intake takes 10 m3/s from the river;
 * The canal latéral à la Garonne – with the water intake in Toulouse by the Brienne canal.

SANDRE assigns to the Garonne a hydrographic identity number 0 --- 00000 and the generic code O --- 000014,15.

Floods
A flood of the Garonne in 1930 broke the dike in Thivras (Marmande).

In Toulouse, the Garonne has been the cause of many floods, especially since its left bank is inhabited.

The earliest records of floods are from around 1177. It is also recorded to have flooded in 1220, 1258, 1430, 1523, 1536 and in 1589, 1608, 1658, 1673, 1675, 1709, 1712, 1727, 1750, 1772, 1788, 1804 and 1810. In 1772, the Garonne reached 8 meters 50. In the recent centuries, in 1827, 1835, 1855 and 1856/7.

In Toulouse, in 1827, the water level of the Garonne rose four meters above the ordinary level and filled the arches of the Pont de Pierre and Pont Neuf.

In 1835, the Garonne rose to five meters above normal and 35 meters above the low water level and flowed through the four arcs of the Pont de Pierre.

Flood of the Garonne in 1835: 7,50 m at Toulouse Pont-Neuf

Flood of the Garonne in 1855: 7.25 m at Toulouse Pont-Neuf

Flood of the Garonne in 1875: 9,70 m to Toulouse Pont-Neuf (or 8m32 according to vigicrue).

Flood of the Garonne in 1879: 4,87 m at Toulouse Pont-Neuf

Flood of the Garonne in 1890: 3.30 m at Toulouse Pont-Neuf

Flood of the Garonne in 1900: 4,00 m in Toulouse Pont-Neuf

Flood of the Garonne in 1905: 4.24 m at Toulouse Pont-Neuf

Crete of 1927 in Aquitaine, particularly imposing after the confluence of the Garonne with the Lot (of which it remained raw reference), insignificant upstream18.

Flood of the Garonne in 1952: 4,57 m at Toulouse Pont-Neuf

Flood of the Garonne in 1977: 4,31 m in Toulouse Pont-Neuf

Flood of the Garonne in 2000: 4.38 m at Toulouse Pont-Neuf

Flood of the Garonne in 2004: 3,52 m at Toulouse Pont-Neuf

In 1777, the Garonne suffered an extraordinary flood to the point that the priest of Bourdelles took the trouble to retranscribe the event, at the end of the acts of the year, in the parish register of baptisms, marriages and deaths.

Future Water Resource Management
The "Garonne 2050" project, initiated by the Adour-Garonne water agency in 2010, aims to address the future challenges facing the Garonne River basin regarding its water resources. With an anticipated surge of an additional 1 million inhabitants by 2050, the basin confronts a demographic challenge. The study aims to inform stakeholders and devise an adaptation strategy within the local master plan of water management and development (SDAGE), considering the impact of the predicted demographic shifts. Central to the "Garonne 2050" study is its examination of the Garonne River basin's agricultural sector. Detailed insights into changes in irrigated agricultural areas, crop rotation, and farm numbers are essential for informing effective water management strategies. Notably, the allocation of water volume to agriculture highlights a delicate balance between sustaining local economic activities and the necessity for agricultural adaptation amid decreasing water availability.

title: Garonne