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Lifestyle (social sciences)

Lifestyle is the interests, opinions, behaviours, and behavioural orientations of an individual, group, or culture. The term was introduced by Austrian psychologist Alfred Adler in his 1929 book, The Case of Miss R., with the meaning of "a person's basic character as established early in childhood". The broader sense of lifestyle as a "way or style of living" has been documented since 1961. Lifestyle is a combination of determining intangible or tangible factors. Tangible factors relate specifically to demographic variables, i.e. an individual's demographic profile, whereas intangible factors concern the psychological aspects of an individual such as personal values, preferences, and outlooks.

A rural environment has different lifestyles compared to an urban metropolis. Location is important even within an urban scope. The nature of the neighborhood in which a person resides affects the set of lifestyles available to that person due to differences between various neighborhoods' degrees of affluence and proximity to natural and cultural environments. For example, in areas near the sea, a surf culture or lifestyle can often be present.

Individual identity
A lifestyle typically reflects an individual's attitudes, way of life, values, or world view. Therefore, a lifestyle is a means of forging a sense of self and to create cultural symbols that resonate with personal identity. Not all aspects of a lifestyle are voluntary. Surrounding social and technical systems can constrain the lifestyle choices available to the individual and the symbols they are able to project to others and themself.

The lines between personal identity and the everyday doings that signal a particular lifestyle become blurred in modern society. For example, "green lifestyle" means holding beliefs and engaging in activities that consume fewer resources and produce less harmful waste (i.e. a smaller ecological footprint), and deriving a sense of self from holding these beliefs and engaging in these activities. Some commentators argue that, in modernity, the cornerstone of lifestyle construction is consumption behavior, which offers the possibility to create and further individualize the self with different products or services that signal different ways of life.

Lifestyle may include views on politics, religion, health, intimacy, and more. All of these aspects play a role in shaping someone's lifestyle. In the magazine and television industries, "lifestyle" is used to describe a category of publications or programs.

History of lifestyles studies
Three main phases can be identified in the history of lifestyles studies:

Lifestyles and social position
Earlier studies on lifestyles focus on the analysis of social structure and of the individuals' relative positions inside it. Thorstein Veblen, with his 'emulation' concept, opens this perspective by asserting that people adopt specific 'schemes of life', and in particular specific patterns of 'conspicuous consumption', depending on a desire for distinction from social strata they identify as inferior and a desire for emulation of the ones identified as superior. Max Weber intends lifestyles as distinctive elements of status groups strictly connected with a dialectic of recognition of prestige: the lifestyle is the most visible manifestation of social differentiation, even within the same social class, and in particular it shows the prestige which the individuals believe they enjoy or to which they aspire. Georg Simmel carries out formal analysis of lifestyles, at the heart of which can be found processes of individualisation, identification, differentiation, and recognition, understood both as generating processes of, and effects generated by, lifestyles, operating "vertically" as well as "horizontally". Finally, Pierre Bourdieu renews this approach within a more complex model in which lifestyles, made up mainly of social practices and closely tied to individual tastes, represent the basic point of intersection between the structure of the field and processes connected with the habitus.

Lifestyles as styles of thought
The approach interpreting lifestyles as principally styles of thought has its roots in the soil of psychological analysis. Initially, starting with Alfred Adler, a lifestyle was understood as a style of personality, in the sense that the framework of guiding values and principles which individuals develop in the first years of life end up defining a system of judgement which informs their actions throughout their lives. Later, particularly in Milton Rokeach's work, Arnold Mitchell's VALS research and Lynn R. Kahle's LOV research, lifestyles' analysis developed as profiles of values, reaching the hypothesis that it is possible to identify various models of scales of values organized hierarchically, to which different population sectors correspond. Then with Daniel Yankelovich and William Wells we move on to the so-called AIO approach in which attitudes, interests and opinions are considered as fundamental lifestyles' components, being analysed from both synchronic and diachronic points of view and interpreted on the basis of socio-cultural trends in a given social context (as, for instance, in Bernard Cathelat's work). Finally, a further development leads to the so-called profiles-and-trends approach, at the core of which is an analysis of the relations between mental and behavioural variables, bearing in mind that socio-cultural trends influence both the diffusion of various lifestyles within a population and the emerging of different modalities of interaction between thought and action.

Lifestyles as styles of action
Analysis of lifestyles as action profiles is characterized by the fact that it no longer considers the action level as a simple derivative of lifestyles, or at least as their collateral component, but rather as a constitutive element. In the beginning, this perspective focussed mainly on consumer behaviour, seeing products acquired as objects expressing on the material plane individuals' self-image and how they view their position in society. Subsequently, the perspective broadened to focus more generally on the level of daily life, concentrating – as in authors such as Joffre Dumazedier and Anthony Giddens – on the use of time, especially loisirs, and trying to study the interaction between the active dimension of choice and the dimension of routine and structuration which characterize that level of action. Finally, some authors, for instance Richard Jenkins and A. J. Veal, suggested an approach to lifestyles in which it is not everyday actions which make up the plane of analysis but those which the actors who adopt them consider particularly meaningful and distinctive.

Health
A healthy or unhealthy lifestyle will most likely be transmitted across generations. According to the study done by Case et al. (2002), when a 0-3-year-old child has a mother who practices a healthy lifestyle, this child will be 27% more likely to become healthy and adopt the same lifestyle. For instance, high income parents are more likely to eat more fruit and vegetables, have time to exercise, and provide the best living condition to their children. On the other hand, low-income parents are more likely to participate in unhealthy activities such as smoking to help them release poverty-related stress and depression. Parents are the first teacher for every child. Everything that parents do will be very likely transferred to their children through the learning process.

Adults may be drawn together by mutual interest that results in a lifestyle. For example, William Dufty described how pursuing a sugar-free diet led to such associations:

Class
Lifestyle research can contribute to the question of the relevance of the class concept.

Media culture
The term lifestyle was introduced in the 1950s as a derivative of that of style in art:

Theodor W. Adorno noted that there is a "culture industry" in which the mass media is involved, but that the term "mass culture" is inappropriate:

The media culture of advanced capitalism typically creates new "life-styles" to drive the consumption of new commodities:

title: Lifestyle (social sciences)


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E-card

E-card is an electronic postcard or greeting card, with the primary difference being that it is created using digital media instead of paper or other traditional materials. E-cards are available in many different mediums, usually on various Internet sites. They can be sent to a recipient virtually, usually via e-mail or an instant messaging service.

Since e-cards are digital "content", they are highly editable, allowing them to be extensively personalized by the sender. They are also capable of presenting animated GIFs or videos.

Technological evolution
Since its conception in 1994 by Judith Donath, the technology behind the E-card has changed significantly. One technical aspect that remained mostly constant until 2019 was the delivery mechanism: the e-mail received by the recipient contains not the E-card itself, but an individually coded link back to the publisher's website that displays the sender's card.

History
The greeting card metaphor was employed early in the life of the World Wide Web. The first postcard site, The Electric Postcard was created in late 1994 by Judith Donath at the MIT Media Lab. It started slowly: 10-20 cards a day were sent in the first weeks, 1000-2000 a day over the first summer, and then it gained momentum rapidly. During the 1995-96 Christmas season, there were days when over 19,000 cards were sent; by late spring of 1996 over 1.7 million cards had been sent in total. The source code for this service was made publicly available, with the stipulation that users share improvements with each other. The Electric Postcard won numerous awards, including a 1995 GNN Best of the Net award.

By mid-1996, a number of sites had developed E-cards. By mid-October 1996, directly emailable greeting cards and postcards ("Email Express") were developed and introduced by Awesome Cards, based on new capabilities introduced in the Netscape 3.0 browser. This is the first time the E-card itself could be emailed directly by the card sender to the recipient rather than having an announcement sent with a link to the card's location at the E-card site.

Between Sep 1996 and Thanksgiving 1997, a paper greeting card company named Blue Mountain developed E-cards on its website. Blue Mountain grew quickly by allowing visitors to create greetings for others to use. Blue Mountain further expanded when Microsoft promoted its service on its free Hotmail service. This affiliation ceased and Blue Mountain sued Microsoft in Nov 1998 for putting email card announcements from it and other E-card companies in the junk folder of its Hotmail users.

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

title: E-card


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Friedrich Schlegel

Karl Wilhelm Friedrich (after 1814: von) Schlegel (, ; 10 March 1772 – 12 January 1829) was a German poet, literary critic, philosopher, philologist, and Indologist. With his older brother, August Wilhelm Schlegel, he was one of the main figures of Jena Romanticism.

Born into a fervently Protestant family, Schlegel rejected religion as a young man in favor of atheism and individualism. He entered university to study law but instead focused on classical literature. He began a career as a writer and lecturer, and founded journals such as Athenaeum. In 1808, Schlegel returned to Christianity as a married man with both him and his wife being baptized into the Catholic Church. This conversion ultimately led to his estrangement from family and old friends. He moved to Austria in 1809, where he became a diplomat and journalist in service of Klemens von Metternich, the Foreign Minister of the Austrian Empire. Schlegel died in 1829, at the age of 56.

Schlegel was a promoter of the Romantic movement and inspired Samuel Taylor Coleridge, Adam Mickiewicz and Kazimierz Brodziński. The first to notice what became known as Grimm's law, Schlegel was a pioneer in Indo-European studies, comparative linguistics, and morphological typology, publishing in 1819 the first theory linking the Indo-Iranian and German languages under the Aryan group. Some of his works were set to music by Schubert, Mendelssohn and Schumann.

Life and work
[[File:Domenico Quaglio Marktkirche Hannover.jpg|thumb|Hanover's Market Church

Oil painting after Domenico Quaglio (1832)]]

Karl Friedrich von Schlegel was born on 10 March 1772 at Hanover, where his father, Johann Adolf Schlegel, was the pastor at the Lutheran Market Church. For two years he studied law at Göttingen and Leipzig, and he met with Friedrich Schiller. In 1793 he devoted himself entirely to literary work. In 1796 he moved to Jena, where his brother August Wilhelm lived, and here he collaborated with Novalis, Ludwig Tieck, Fichte, and Caroline Schelling, who married August Wilhelm. In 1797 he quarreled with Schiller, who did not like his polemic work.

Schlegel published Die Griechen und Römer (The Greeks and Romans), which was followed by Geschichte der Poesie der Griechen und Römer (History of the Poesy of the Greeks and Romans) (1798). Then he turned to Dante, Goethe, and Shakespeare. In Jena he and his brother founded the journal Athenaeum, contributing fragments, aphorisms, and essays in which the principles of the Romantic school are most definitely stated. They are now generally recognized as the deepest and most significant expressions of the subjective idealism of the early Romanticists.

After a controversy, Friedrich decided to move to Berlin. There he lived with Friedrich Schleiermacher and met Henriette Herz, Rahel Varnhagen, and his future wife, Dorothea Veit, a daughter of Moses Mendelssohn. In 1799 he published Part I of Lucinde, A Novel, which was seen as an account of his affair with Dorothea, causing a scandal in German literary circles. The novel, to which no further parts were ever added, attempted to apply the Romantic demand for complete individual freedom to practical ethics. Lucinde, which extolled the union of sensual and spiritual love as an allegory of the divine cosmic Eros, contributed to the failure of his academic career in Jena where he completed his studies in 1801 and lectured as a Privatdozent on transcendental philosophy. In September 1800, he met four times with Goethe, who would later stage his tragedy Alarcos (1802) in Weimar, albeit with a notable lack of success.

In June 1802 he arrived in Paris, where he lived in the house formerly owned by Baron d'Holbach and joined a circle including Heinrich Christoph Kolbe. He lectured on philosophy in private courses for Sulpiz Boisserée, and under the tutelage of Antoine-Léonard de Chézy and linguist Alexander Hamilton he continued to study Sanskrit and the Persian language. He edited the journal Europa (1803), where he published essays about Gothic architecture and the Old Masters. In April 1804 he married Dorothea Veit in the Swedish embassy in Paris, after she had undergone the requisite conversion from Judaism to Protestantism. In 1806 he and his wife went to visit Aubergenville, where his brother lived with Madame de Staël.

In 1808, he published Über die Sprache und Weisheit der Indier (On the Language and Wisdom of India). Here he advanced his ideas about religion and argued that a people originating from India were the founders of the first European civilizations. Schlegel compared Sanskrit with Latin, Greek, Persian, and German, noting many similarities in vocabulary and grammar. The assertion of the common features of these languages is now generally accepted, albeit with significant revisions. There is less agreement about the geographic region where these precursors settled, although the Out-of-India model has generally become discredited.

In 1808, he and his wife joined the Catholic Church in the Cologne Cathedral. From this time on, he became more and more opposed to the principles of political and religious liberalism. He went to Vienna and in 1809 was appointed imperial court secretary at the military headquarters, editing the army newspaper and issuing fiery proclamations against Napoleon. He accompanied archduke Charles, Duke of Teschen to war and was stationed in Pest during the War of the Fifth Coalition. Here he studied the Hungarian language. Meanwhile, he had published his collected Geschichte (Histories) (1809) and two series of lectures, Über die neuere Geschichte (On Recent History) (1811) and Geschichte der alten und neuen Literatur (On Old and New Literature) (1815). In 1814 he was knighted in the Supreme Order of Christ.

"In collaboration with Josef von Pilat, editor of the Österreichischer Beobachter, and with the help of Adam Müller and Friedrich Schlegel, Metternich and Gentz projected a vision of Austria as the spiritual leader of a new Germany, drawing her strength and inspiration from a romanticised view of a medieval Catholic past."

Following the Congress of Vienna (1815), he was councilor of legation in the Austrian embassy at the Frankfurt Diet, but in 1818 he returned to Vienna. In 1819 he and Clemens Brentano made a trip to Rome, in the company of Metternich and Gentz. There he met with his wife and her sons. In 1820 he started a conservative Catholic magazine, Concordia (1820–1823), but was criticized by Metternich and by his brother August Wilhelm, then professor of Indology in Bonn and busy publishing the Bhagavad Gita. Schlegel began the issue of his Sämtliche Werke (Collected Works). He also delivered lectures, which were republished in his Philosophie des Lebens (Philosophy of Life) (1828) and in his Philosophie der Geschichte (Philosophy of History) (1829). He died on 12 January 1829 at Dresden, while preparing a series of lectures.

Dorothea Schlegel
Friedrich Schlegel's wife, Dorothea von Schlegel, authored an unfinished romance, Florentin (1802), a Sammlung romantischer Dichtungen des Mittelalters (Collection of Romantic Poems of the Middle Ages) (2 vols., 1804), a version of Lother und Maller (1805), and a translation of Madame de Staël's Corinne (1807–1808) — all of which were issued under her husband's name. By her first marriage she had two sons, Johannes and Philipp Veit, who became eminent Catholic painters. She was the eldest daughter of Moses Mendelssohn which made the prodigious composers Felix and Fanny her niece and nephew.

Selected works

 * Vom ästhetischen Werte der griechischen Komödie (1794)
 * Über die Diotima (1795)
 * Versuch über den Begriff des Republikanismus (1796)
 * Georg Forster (1797)
 * Über das Studium der griechischen Poesie (1797)
 * Über Lessing (1797)
 * Kritische Fragmente („Lyceums“-Fragmente) (1797)
 * Fragmente („Athenaeums“-Fragmente) (1797–1798)
 * Lucinde (1799)
 * Über die Philosophie. An Dorothea (1799)
 * Gespräch über die Poesie (1800)
 * Über die Unverständlichkeit (1800)
 * Ideen (1800)
 * Charakteristiken und Kritiken (1801)
 * Transcendentalphilosophie (1801)
 * Alarkos (1802)
 * Reise nach Frankreich (1803)
 * Geschichte der europäischen Literatur (1803/1804)
 * Grundzüge der gotischen Baukunst (1804/1805)
 * Über die Sprache und Weisheit der Indier (1808)
 * Deutsches Museum (as ed.), 4 Vols. Vienna (1812–1813)
 * Geschichte der alten und neueren Literatur (lectures) (1815)

Letters

 * Ludwig Tieck und die Brüder Schlegel. Briefe ed. by Edgar Lohner (München 1972)

Friedrich Schlegel's Sämtliche Werke appeared in 10 vols. (1822–1825); a second edition (1846) in 55 vols. His Prosaische Jugendschriften (1794–1802) have been edited by J. Minor (1882, 2nd ed. 1906); there are also reprints of Lucinde, and F. Schleiermacher's Vertraute Briefe über Lucinde, 1800 (1907). See R. Haym, Die romantische Schule (1870); I. Rouge, F. Schlegel et la genie du romantisme allemand (1904); by the same, Erläuterungen zu F. Schlegels „Lucinde“ (1905); M. Joachimi, Die Weltanschauung der Romantik (1905); W. Glawe, Die Religion F. Schlegels (1906); E. Kircher, Philosophie der Romantik (1906); M. Frank ''"Unendliche Annäherung". Die Anfänge der philosophischen Frühromantik (1997); Andrew Bowie, From Romanticism to Critical Theory: The Philosophy of German Literary Theory'' (1997).

title: Friedrich Schlegel


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Meaning of Life (disambiguation)

The meaning of life pertains to the significance of living or existence in general.

Meaning of Life or The Meaning of Life may also refer to:

Film and television

 * Monty Python's The Meaning of Life, a 1983 film
 * Monty Python's The Meaning of Life (album) (1983)
 * Monty Python's The Meaning of Life (book) (1983)
 * Monty Python's The Meaning of Life (video game) (1997)
 * The Meaning of Life (2005 film), an animated short film by Don Hertzfeldt
 * The Meaning of Life (TV series), an Irish TV series presented by Gay Byrne

Literature

 * The Meaning of Life and Other Essays, a 1990 book by Alfred Ayer
 * Meanings of Life, a 1991 book by Roy Baumeister
 * The Meaning of Life, a 2007 book by Terry Eagleton
 * The Meaning of Life, a 2001 book by Bradley Trevor Greive
 * The Meaning of Life: Buddhist Perspectives on Cause and Effect, a book by Tenzin Gyatso, 14th Dalai Lama
 * The Meaning of Life: As Shown in the Process of Evolution, a 1928 book by C. E. M. Joad
 * Meaning in Life, a three-volume book by Irving Singer
 * Man's Search for Meaning, a 1946 book by Viktor Frankl

Music

 * Meaning of Life (album), a 2017 album by Kelly Clarkson
 * The Meaning of Life, an album by Tankard (1990), or its title track

Songs

 * "Meaning of Life" (Kelly Clarkson song)
 * "The Meaning of Life" (The Offspring song) (1997)
 * "Meaning of Life", a 2000 song by Disturbed from The Sickness

title: Meaning of Life (disambiguation)


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USS Washington (BB-47)

USS Washington (BB-47), a Colorado-class battleship, was the second ship of the United States Navy named in honor of the 42nd state. Her keel was laid down on 30 June 1919, at Camden, New Jersey, by the New York Shipbuilding Corporation. She was launched on 1 September 1921, sponsored by Miss Jean Summers, the daughter of Congressman John W. Summers of Washington.

On 8 February 1922, two days after the signing of the Washington Naval Treaty for the Limitation of Naval Armaments, all construction work ceased on the 75.9%-completed superdreadnought. She was sunk as a gunnery target on 26 November 1924, by the battleships USS New York (BB-34) and USS Texas (BB-35).

Design

In 1916, design work was completed on the next class of battleships to be built for the United States Navy beginning in 1917. These ships were nearly direct copies of the preceding Tennessee-class battleship, with the exception of the main battery, which increased from twelve 14 in guns to eight 16 in guns. The Colorado class proved to be the last class of battleships completed of the standard type.

Washington was 624 ft long overall and she had a beam of 97 ft and a draft of 30 ft. She displaced 32693 LT as designed and up to 33590 LT at full load. The ship was powered by four General Electric turbo-electric drives with steam provided by eight oil-fired Babcock & Wilcox boilers. The ship's propulsion system was rated at 28900 shp for a top speed of 21 kn. She had a normal cruising range of 8000 nmi at 10 kn, but additional fuel space could be used in wartime to increase her range to 21100 nmi at that speed. Her crew numbered 64 officers and 1,241 enlisted men.

She was armed with a main battery of eight 16 in /45 caliber Mark 1 guns in four twin-gun turrets on the centerline, two forward and two aft in superfiring pairs. The secondary battery consisted of sixteen 5 in/51 caliber guns, mounted individually in casemates clustered in the superstructure amidships. She carried an anti-aircraft battery of eight 3 in/50 caliber guns in individual high-angle mounts. As was customary for capital ships of the period, she had a 21 in torpedo tube mounted in her hull below the waterline on each broadside. Washington's main armored belt was 8 – thick, while the main armored deck was up to 3.5 in thick. The main battery gun turrets had 18 in thick faces on 13 in barbettes. Her conning tower had 16 in thick sides.

History
With fiscal year 1917 appropriations, bids on the four Colorados were opened on 18 October 1916; though Maryland's keel was laid on 24 April 1917. The other three battleships, including Washington, were not laid down until 1919–1920. With the cancellation of the first South Dakota-class battleship (1920), the Colorados were the last U.S. battleships to enter service for nearly two decades. They were also the final U.S. battleships to use twin gun turrets—the North Carolina-class battleship and second South Dakota-class battleship (1939)es used nine 16-inch/45 caliber Mark 6 guns and the Iowa-class battleships used nine 16-inch/50 caliber Mark 7 guns in three triple turrets. Washington was laid down on 30 June 1919.

On 8 February 1922, two days after the signing of the Washington Naval Treaty for the Limitation of all Naval Armaments, all construction work was stopped on the 75.9-percent-completed superdreadnought. By that time, she had her underwater armored protection in place.

The ship was towed out in November 1924, to be used as a gunnery target. On the first day of testing, the ship was hit by two 400 lb torpedoes and three 1 t near-miss bombs causing minor damage and a list of three degrees. She then had 400 pounds of TNT detonated on board, but remained afloat. Two days later, the ship was hit by fourteen 14 in shells dropped from 4000 ft, but only one penetrated. The ship was finally sunk by Texas and New York with fourteen more 14-inch shells. After the test, it was decided that the existing deck armor on battleships was inadequate, and that future battleships should be fitted with triple bottoms, which was underwater armor with three layers.

title: USS Washington (BB-47)


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Who Am I? (1998 film)

Who Am I? (, also known as Jackie Chan's Who Am I?) is a 1998 Hong Kong action comedy film directed by Benny Chan and Jackie Chan, who also starred in the lead role. The film was released in Hong Kong on 17 January 1998. It is also Chan's second film to be scripted and shot in English, the first one being Mr. Nice Guy.

Plot
Somewhere in the jungles of South Africa on Thanksgiving 1996, a multinational military unit named Special Force Unit ambushes a convoy and kidnaps several scientists working on a highly-volatile compound extracted from a recently discovered meteorite. Among the operatives is a Hong Kong national identified as "Jackie Chan". The CIA assigns Agent Morgan to investigate the incident, unaware that he and newly retired General Sherman orchestrated the abduction for their personal profit. At the same time, the CIA assigns another operative in South Africa for a more covert operation.

Jackie wakes up in a tribal village somewhere in the African veldt, still recovering from injuries sustained in an accident he cannot remember. When asked for his name by the natives, he does not remember who he is and repeatedly asks himself, "Who Am I?". He is referred to as "Who Am I?" by the natives, as they think it is his name. The tribesmen show him the remains of a crashed helicopter and graves of those who perished aboard. "Who Am I?" spends weeks recuperating from his wounds and learning about the tribe's culture. After spotting rally cars from several miles away, "Who Am I?" bids the village farewell and ventures on a journey back to civilization. He befriends Japanese rally co-driver Yuki after saving her brother from a snake bite and offering to help them finish the race. When they reach Johannesburg, "Who Am I?" meets Christine Stark, a journalist sent to interview him about his rally adventure.

Morgan hears of "Who Am I?" and sends a hitman team to kill him. Morgan also pretends to be his ally, telling him to contact him if he is in danger. After escaping from the hitmen, Christine cracks a secret code written on a matchbook found on one of the dead operatives, which leads them to Rotterdam, in the Netherlands. "Who Am I?" and Christine bid Yuki farewell and head for Rotterdam to find more answers to his identity. In Rotterdam, "Who Am I?" discovers that Christine is actually an undercover CIA agent who tapped his calls. Not knowing whom to trust, he battles Sherman's hitmen and sneaks into the Willemswerf skyscraper alone, where he discovers the masterminds behind the kidnapping of the scientists.

It is revealed that Morgan and General Sherman are about to sell the extraterrestrial compound to an influential arms dealer named Armano. While waiting for the online wire transfer to finish, the three men leave the conference room for a coffee break – giving "Who Am I?" time to sneak in and steal the disc containing the compound information. He also cancels the transaction and transfers the money to Save the Children instead, which infuriates Armano. Sherman and Armano send several men after "Who Am I?" to get the disc back. While in the process of escaping, "Who Am I?" defeats several hitmen and is found by Morgan. Once he discovers Morgan's betrayal, "Who Am I?" tries to kill Morgan, but is interrupted by Morgan's hitmen, who also try to take back the disc. "Who Am I?" fights them off and recovers the disk, but Morgan flees. "Who Am I?" regroups with Christine, who calls for the execution of a "Plan B". Several CIA agents join the pursuit of Morgan, cornering him on the Erasmus Bridge in cooperation with the Royal Netherlands Marine Corps. Christine takes Morgan into custody and asks "Who Am I?" if he has the disc. He throws the disc off the bridge and tells Christine that he will return to Africa.

Cast

 * Jackie Chan as Jackie Chan / Who Am I?
 * Michelle Ferre as Christine Stark
 * Mirai Yamamoto as Yuki Ohsato
 * Ed Nelson as General Sherman
 * Ron Smerczak as CIA Agent Morgan
 * David Vlok as Morgan's head assassin
 * Mike Ian Lambert as Peter (Morgan's hitman)
 * Ron Smoorenburg as Morgan's taekwondo hitman
 * Kwan Yung as Morgan's Cai Li Fo hitman
 * Yanick Mbali as Baba
 * Washington Sixolo as village chief
 * Tom Pompert as CIA chairman
 * Glory Simon as CIA secretary
 * Chip Bray as Armano
 * Frank Opperman as Internal security

Jackie Chan Stunt Team

 * Andy Cheng
 * Rocky Lai
 * Nicky Li
 * Chan Man Ching
 * Sam Wong
 * Kwan Yung
 * Bradley James Allan
 * Paul Andreovski

Production notes
Who Am I? was shot on locations in Namibia, South Africa, and Netherlands between February and March 1997. The film features several landmarks such as Sun City in South Africa, Erasmus Bridge in Rotterdam, the Beurstraverse (which was portrayed by the film makers as being in Johannesburg), the Cube houses and the Willemswerf building (which served as the headquarters of the villains and from the side of which, "Who Am I?" escaped by sliding to the ground). Dutch city Dordrecht was also used as a location on the Voorstraat, de Vleeshouwersstraat as well as the fountains by Hans Petri in front of the former Refaja hospital.

The film also features an elaborate chase scene involving the Mitsubishi Lancer Evolution IV GSR and a pack of chasing BMW 3 series (E36), in which Jackie, Yuki, and Christine (in the Evolution) attempt to escape from their captors. Several memorable stunts in the Evolution IV were featured, including a spin parking manoeuvre, market chase, and flipping the car onto its side and roof. In the making-of documentary, the team outlined the numerous Lancer Evolutions that were used for the entire sequence due to the harsh physical challenges presented by the stunts. The use of the Evolution IV was consistent with the then-ongoing presence and sponsorship of Mitsubishi in Jackie Chan's films of that era.

Box office
In Hong Kong, Who Am I? grossed HK$38,852,845 during its theatrical run. In China, it grossed CN¥80 million at the box office. In Taiwan, it sold 155,211 tickets and grossed. In South Korea, film sold 193,293 tickets in Seoul City and 579,879 tickets nationwide, grossing US$2.2 million. In Europe, the film sold 157,427 tickets in Germany, and 73,101 tickets in other European countries.

Reception
On Rotten Tomatoes, the film has an approval rating of 67% based on 9 reviews, with an average rating of 6.2/10.

United States
The U.S. DVD release is cut by 9 minutes with the following changes and omissions:
 * Unlike the original HK version of the film, the scene where Jackie Chan and his unit are double-crossed in the helicopter is shown immediately after the helicopters take off. This takes away the "big reveal" effect of what actually happened with Jackie and his men.
 * "Who Am I?"'s interaction with the African tribe has been reduced dramatically. Cuts include a scene in which he asks the tribal boy, Baba, how many days it takes to walk to civilization; a scene where he and Baba run away from a lioness after he picks up a lion cub; a scene showing the tribe's farewell ceremony for "Who Am I?"'s journey; and a scene in which he performs an interpretation of the tribal dance.
 * The rally race scene has been shortened.
 * A scene where "Who Am I?" recovers feeling in his mouth (as he chewed herbal leaves into an anesthetic to cure Yuki's brother's snake bite) and explains his situation to Yuki has been cut.
 * All but two instant replay shots (where Yuki, "Who Am I?" and Christine drive through a fruit stand, and where "Who Am I?" narrowly misses falling furniture in Rotterdam) have been deleted.

Unlike other domestic releases of Jackie Chan's films, this version of Who Am I? retains the film's original musical score. Also, the U.S. release is the only cut which contains Jackie Chan's original spoken English during his time with the African tribe. The uncut HK releases have dubbed it in Cantonese.

Hong Kong
The Hong Kong Universe Laser DVD (now out of print) contains the film as it was originally intended. The "double-cross" scene is not shown until during the interrogation scene as a "revelation flashback." It is meant to be a mystery as to what happened until the viewer sees these flashbacks. It also contains "Who Am I?"'s full interaction with the African tribe. However, his English dialogue during this interaction is dubbed into Cantonese during this part. There are English subtitles provided for the whole film. The presentation is not anamorphic, however.

Japan
Warner Bros. Japan has released two DVD editions of the film: the single-disc DVD contains the original Hong Kong cut of the film with an anamorphic presentation, but with no English subtitles, and it retains the Cantonese dub of Chan during the African tribe scenes. The two-disc anamorphic edition contains both versions of the film, with English subtitles for the U.S. cut.

title: Who Am I? (1998 film)


text:
Spelling

Spelling is a set of conventions for written language regarding how graphemes should correspond to the sounds of spoken language. Spelling is one of the elements of orthography, and highly standardized spelling is a prescriptive element.

Spellings originated as transcriptions of the sounds of speech according to the alphabetic principle. Fully phonemic orthography is usually only approximated, due to factors including changes in pronunciation over time, and the borrowing of vocabulary from other languages without adapting its spelling. Homophones may be spelled differently on purpose in order to disambiguate words that would otherwise have identical spellings.

Standards and conventions
Standardization of spelling is connected with the development of writing and the establishment of modern standard dialects. Languages with established orthography are those languages that enjoy an official status and a degree of institutional support in a country. Therefore, normative spelling is a relatively recent development linked to the compiling of dictionaries (in many languages, special spelling dictionaries, also called orthographic dictionaries, are compiled, showing prescribed spelling of words but not their meanings), the founding of national academies and other institutions of language maintenance, including widespread education and literacy, and often does not apply to minority and regional languages.

In countries or regions where there is an authoritative language academy, such as France, the Netherlands, and the German-speaking areas, reforms have occasionally been introduced (not always successfully) so that spelling better matches the changing pronunciation.

Examples are:
 * German orthography reform of 1996
 * Portuguese spelling reform
 * French rectifications orthographiques of 1990.

There have occasionally been English-language spelling reform proposals, at least since the 16th century, but they have made little impact apart from a few spellings preferred by Noah Webster having contributed to American and British English spelling differences.

Learning
Learning proper spelling by rote is a traditional element of elementary education, and divergence from standard spelling is often perceived as an indicator of low intelligence, illiteracy, or lower class standing.

Spelling tests are commonly used to assess a student's mastery of the words in the spelling lessons the student has received so far. They can also be an effective practice method. Spelling bees are competitions to determine the best speller of a group. Prominent spelling bees are sometimes even televised, such as the National Spelling Bee in the United States.

Alteration
Divergent spelling is a popular advertising technique, used to attract attention or to render a trademark "suggestive" rather than "merely descriptive", or to evade copyright restrictions. The pastry chains Dunkin' Donuts and Krispy Kreme, for example, employ non-standard spellings.

Misspellings

While some words admit multiple spellings, some spellings are not considered standard. These are commonly called "misspellings". A misspelled word can be a series of letters that represents no correctly spelled word of the same language at all (such as "leik" for "like") or a correct spelling of another word (such as writing "here" when one means "hear", or "no" when one means "know"). Misspellings of the latter type are called "atomic typos", and they can easily make their way into printed material because they are not caught by simple computer spell checkers. Deliberate misspellings that emphasize the pronunciation of a regional dialect are part of eye dialect (such as writing "'Murica'" instead of "America", or "helluva" instead of "hell of a").

Misspellings may be due to accidental typing errors (e.g. the transposition error teh for the), lack of knowledge of the normative spelling, or lack of concern over spelling rules at all. Whether or not a word is misspelled may depend on context and the orthographic conventions adopted, as is the case with American/British English distinctions. Misspelling can also be a matter of opinion when variant spellings are accepted by some and not by others. For example, "miniscule" (for "minuscule") is a misspelling to many, and yet it is listed as an acceptable variant in some dictionaries.

A well-known internet scam involves the registration of domain names that are deliberate misspellings of well-known corporate names to mislead or defraud. The practice is commonly known as "typosquatting".

Notable English misspellings in history

 * Arab, Alabama – This town in north Alabama was named Arad, after its founder, Arad Thompson, but the name was misspelled on a US Post Office map as "Arab", and the misspelled name stuck.
 * Google – accidental misspelling of googol. According to Google's vice president, as quoted on a BBC The Money Programme documentary, January 2006, the founders – noted for their poor spelling – registered Google as a trademark and web address before someone pointed out that it was not correct.
 * Grampian Mountains, Scotland: the name arose from a medieval manuscript copyist's error in copying Mons Graupius in Tacitus' Agricola.
 * Ovaltine, a popular bedtime drink in the UK and Australia, came about because someone misspelled the original name Ovomaltine on the trademark documentation.
 * Referer – common misspelling of the word referrer. It is so common that it made it into the official specification of HTTP – the communication protocol of the World Wide Web – and has, therefore, become the standard industry spelling when discussing HTTP referers.
 * Sequim, Washington – "In 1879 the first post office was built and named 'Seguin' for the surrounding area. [...] In 1907, due to a Postal Official's error in reading an official report, the post office was titled 'Seguim' for approximately a month. With the next report, the Official read the letter 'g' as a 'q', and the post office here became known as 'Sequim.' The name change did not worry the residents enough to protest. It has been known as Sequim ever since."
 * According to some, the name of Quartzsite, a mining town in Arizona, was spelled wrongly. It should be Quartzite, after the mineral quartzite.
 * Zenith – Arabic zamt was misread; in Latin letters, at the time, the letter i was never dotted, so "m" looked like "ni".

English
English orthography has a broad degree of standardization. However, there are several ways to spell almost every sound, and most letters have several variants of pronunciation depending on their position in the word and context. Therefore, some spelling mistakes are common even among native speakers. This is mainly due to large number of words that were borrowed from other languages with no successful attempts of complete spelling reform. Most spelling rules usually do not reflect phonetic changes that have taken place since the end of the 15th century (for example, the Great Vowel Shift).

Other languages
Portuguese spelling is not strictly phonematic. It is associated with an extension of the Portuguese language and the emergence of numerous regional and dialect variants. In 2009 the global reform of the Portuguese language was initiated to eliminate 98% of inconsistencies in spelling between various countries. the orthography of the Icelandic language is based on etymological principle (as English is); thus the Icelanders themselves experience difficulties in writing. The modern Icelandic alphabet is based on the standard introduced by the Danish philologist Rasmus Rask. The fundamental principles of the Spanish orthography are phonological and etymological, that is why there are several letters with identical phonemes. Beginning from the 17th century, various options for orthographic reforms were suggested that would create a one-to-one correspondence between grapheme and phoneme, but all of them were rejected. Most modern proposals to reform spelling are limited to the removal of homophone letters that are preserved for etymological reasons.

In many languages, types of mis-spelling arise from features of those languages which are not present in English: for example,

 * In German, the rules for initial capitalisation, the use of ß, and the splitting of words at line breaks,
 * In Japanese, the choice between kanji, hiragana and katakana, and the choice of katakana for the many words borrowed from English and other foreign languages,
 * In Welsh (and other Celtic languages), errors in the application of the mutation system for initial consonants (camdreigladau).

English spelling

 * American and British English spelling differences
 * English orthography
 * English terms with diacritical marks
 * English spelling reform
 * Pronunciation respelling for English
 * Commonly misspelled English words
 * Frequently misused words

Other languages

 * French orthography
 * German orthography
 * Greek orthography
 * Hangul orthography
 * Italian orthography
 * Latin spelling and pronunciation
 * Russian orthography
 * Spanish orthography
 * Spanish orthography

title: Spelling


text:
Symphony No. 4 (Mahler)

The Symphony No. 4 in G major by Gustav Mahler was composed from 1899 to 1900, though it incorporates a song originally written in 1892. That song, "Das himmlische Leben" ("The Heavenly Life"), presents a child's vision of heaven and is sung by a soprano in the symphony's Finale. Both smaller in orchestration and shorter in length than Mahler's earlier symphonies, the Fourth Symphony was initially planned to be in six movements, alternating between three instrumental and three vocal movements. The symphony's final form—begun in July 1899 at Bad Aussee and completed in August 1900 at Maiernigg—retains only one vocal movement (the Finale) and is in four movements: Bedächtig, nicht eilen (sonata form); In gemächlicher Bewegung, ohne Hast (scherzo and trio); Ruhevoll, poco adagio (double theme and variations); and Sehr behaglich (strophic variations).

The premiere was performed in Munich on 25 November 1901 by the composer and the Kaim Orchestra, but it was met with negative audience and critical reception over the work's confusing intentions and perceived inferiority to the more well-received Second Symphony. The premiere was followed by a German tour, a 1901 Berlin premiere, and a 1902 Vienna premiere, which were met with near-unanimous condemnation of the symphony. Mahler conducted further performances of the symphony, sometimes to warm receptions, and the work received its American and British premieres in 1904 and 1905. The symphony's first edition was published in 1902, but Mahler made several more revisions up until 1911. After Mahler's death, the symphony continued to receive performances under conductors such as Willem Mengelberg and Bruno Walter, and its first recording is a 1930 Japanese rendition conducted by Hidemaro Konoye that is also the first electrical recording of any Mahler symphony. The musicologist Donald Mitchell believes the Fourth and its accessibility were largely responsible for the post-war rise in Mahler's popularity.

The symphony uses cyclic form throughout its structure, such as in the anticipations of the Finale's main theme in the previous three movements. The first movement has been characterized as neoclassical in style, save for its complex development section. The second movement consists of scherzos depicting Death at his fiddle, which are contrasted with Ländler-like trios. The third movement's two themes are varied alternately before reaching a triple forte coda, and the Finale comprises verses from "Das himmlische Leben" sung in strophes that are separated by refrains of the first movement's opening. Certain themes and motifs in the Fourth Symphony are also found in Mahler's Second, Third, and Fifth Symphonies.

Composition
Gustav Mahler's Fourth Symphony is the last of the composer's three Wunderhorn symphonies (the others being his Second and Third Symphonies). These works incorporated themes originating in Mahler's Des Knaben Wunderhorn (The Boy's Magic Horn), a song cycle setting poems from the folk poetry collection of the same name. The core of the Fourth Symphony is an earlier song, "Das himmlische Leben" ("The Heavenly Life"), set to text from Des Knaben Wunderhorn but not included in Mahler's song cycle. Mahler considered the song both the inspiration and goal of the Fourth Symphony, calling it the "tapering spire of the edifice." Fragments of it are heard in the first three movements before it is sung in its entirety by a solo soprano in the fourth movement.

Mahler completed "Das himmlische Leben" in 1892, as part of a collection of five Humoresken (Humoresques) for voice and orchestra. He adapted the text of "Das himmlische Leben" from the original Bavarian folk song "Der Himmel hängt voll Geigen" ("Heaven is Hung with Violins" or "The World through Rose-colored Glasses") in Des Knaben Wunderhorn. The poem describes scenes and characters from a child's vision of heaven. In 1895, Mahler considered using the song as the sixth and final movement of his Third Symphony. While remnants of "Das himmlische Leben" can be found in the Third Symphony's first, fourth, and fifth movements—including a quotation of the song in the fifth movement's "Es sungen drei Engel" ("Three Angels were Singing")—Mahler eventually decided to withdraw the song from the work. He instead opted to use the song as the finale of a new symphony, his Fourth. Consequently, there are particularly strong thematic and programmatic connections between the Third and the Fourth through "Das himmlische Leben", though the composer also realized that the Fourth was closely related to his First and Second Symphonies. In conversation with Natalie Bauer-Lechner in the summer of 1900, Mahler described the Fourth Symphony as the conclusion to the "perfectly self-contained tetralogy" of his first four symphonies: she later expanded on this to suggest that the First depicts heroic suffering and triumph; the Second explores death and resurrection; the Third contemplates existence and God; and the Fourth, as an extension of the Third's ideas, explores life in heaven.

According to Paul Bekker's 1921 synopsis of the symphony, Mahler made an early program sketch titled Sinfonie Nr. 4 (Humoreske) that has the following six-movement form: 1. Die Welt als ewige Jetztzeit (The World as Eternal Now) – G major

2. Das irdische Leben (The Earthly Life) – E-flat minor

3. Caritas – Adagio in B major

4. Morgenglocken (Morning Bells) – F major

5. Die Welt ohne Schwere (The World Without Gravity) – Scherzo in D major

6. Das himmlische Leben (The Heavenly Life) – G major The sketch indicates that Mahler originally planned for the Fourth Symphony to have three purely symphonic movements (first, third, and fifth) and three orchestra songs: "Das irdische Leben" (composed c. 1893 as a Des Knaben Wunderhorn song), "Morgenglocken" (completed in 1895 as the Third Symphony's "Es sungen drei Engel"), and "Das himmlische Leben". However, the symphony would be modified until only the program sketch's first and last movements would be realized as their respective movements in the symphony's final form, resulting in a Fourth Symphony of normal symphonic length (around 45 minutes) as opposed to the composer's significantly longer earlier symphonies.

During Mahler's 1899 summer vacation in Bad Aussee, the Fourth Symphony, in Bauer-Lechner's words, "fell into his lap just in the nick of time" in late July. The vacation served as Mahler's only chance during the entire year when he was free to compose, but his productivity heretofore was hindered by poor weather and listening to what he called "ghastly health-resort music". As the vacation neared its end, Mahler worked on the symphony for ten days, during which he drafted "about half" of the three instrumental movements and sketched the variations of the Adagio third movement, according to Bauer-Lechner. Mahler finished the Fourth during his summer vacation in Maiernigg the next year; following another bout of unproductivity that summer, Mahler eventually found his working rhythm and completed the symphony's Partiturentwurf (first full orchestral score) on 5 August 1900. The symphony's completion suddenly left Mahler feeling "empty and depressed because life has lost all meaning", and Bauer-Lechner reports that he was "deeply upset to have lost such an important part of his life" composing the work.

Later that year during the Christmas holidays, Mahler revised the Scherzo second movement, finalizing its orchestration on 5 January 1901. Though Mahler published his programs for the First and Second symphonies, he refrained from publishing a program for the Fourth. In the words of the musicologist James L. Zychowicz, Mahler intended for "the music to exist on its own." Mahler was also opposed to giving any titles for the symphony's movements, despite having "devised some marvelous ones", because he did not want critics and audiences to "misunderstand and distort them in the worst possible way."

Premiere
During the first half of 1901, Richard Strauss considered conducting the first complete performance of Mahler's Third Symphony. However, Strauss, unsure whether he had enough time to prepare the Third's premiere, wrote to Mahler on 3 July asking whether he could conduct the Fourth's premiere instead. Mahler in his response revealed that he had already promised the premiere to Munich, "where the Kaim Orchestra and the Odeon are having such a tug-of-war over it that I'm finding it hard to try to choose between them". The Vienna Philharmonic had also asked Mahler several times whether they could perform the symphony's premiere, but Mahler by then had promised the premiere to Felix Weingartner, head of the Kaim Orchestra. Not long after the exchanges with the Philharmonic, the composer asked for Weingartner's permission sometime in August or September 1901 to conduct the premiere himself, citing his anxiety over the symphony and its performance.

Eventually, it was planned for Mahler to conduct the Kaim Orchestra in Munich for the world premiere, after which Weingartner and the Kaim Orchestra would perform the work on tour in various German cities and Mahler himself would conduct another performance in Berlin. To review the symphony's orchestration before its publication, Mahler arranged a reading rehearsal with the Vienna Philharmonic on 12 October that doubled as a rehearsal of the Vienna premiere scheduled for January next year. Mahler was not satisfied with the results, making corrections to the score and fully rehearsing the work four times before the symphony's premiere. Though the Munich premiere was originally planned for 18 November, Mahler requested in late October that Weingartner postpone the performance to 25 November, citing "insurmountable difficulties". He also opposed including a vocal work before the symphony in the premiere's program, as he wanted the Finale's soprano "to come as a complete surprise". Henry-Louis de La Grange writes: "the Fourth Symphony had cost Mahler more toil and anguish than the monumental symphonies that had preceded it, and, notwithstanding he was apprehensive of the reactions of its first audience, he secretly hoped that its modest dimensions and the clarity of its style would finally win him the approval of both the public and the musicians."

The world premiere of the symphony was performed on 25 November 1901 in Munich at the Kaim-Saal, with Mahler conducting the Kaim Orchestra and Margarete Michalek as soprano. Bauer-Lechner writes that the first movement was met with both applause and boos since a number in the audience were "unable to follow the complexity of events in the development". The Scherzo proved more confusing to the audience and received further vocal derision. Michalek's performance in the Finale "saved the day"; her youth and charm was said to have "poured oil on the troubled waters". Despite this, the premiere left many in its audience incensed, as the Munich press was quick to report. The Allgemeine Zeitung, though praising the first movement, described the symphony as "not readily accessible and, in any case, impossible to judge after only one hearing". It also criticized the work's "pretensions" and unjustified use of "the grotesquely comic" before accusing it of "[trespassing] against the Holy Spirit of music". The Münchener Zeitung and the Bayerischer Kurier both expressed disappointment when comparing Mahler's Fourth to what they considered his superior Second Symphony; the former assessed the Fourth to be a "succession of disjointed and heterogeneous atmospheres and expressions mixed with instrumental quirks and affectations" while the latter said the work was full of "incredible cacophony". Likewise, Die Musik claimed that "the bad seeds" in parts of the Second grew into "immense spiky thistles" in the Fourth. The symphony did find some praise in the Kleine Journal—which lauded the Finale as "quite simply a work of genius" despite calling the whole work "transparent, sensitive, almost hysterical"—and the Münchener Post, which hailed the symphony to be a "great step forward on the road to artistic clarity".

Subsequent performances and reception
Weingartner and the Kaim Orchestra's tour of the symphony, with Michalek as soloist, performed in Nuremberg (26 November 1901), Darmstadt (27 November), Frankfurt (28 November), Karlsruhe (29 November), and Stuttgart (30 November). Most of the cities gave unanimously negative receptions towards the Fourth, with Stuttgart being the sole exception. A false report of a successful Munich premiere prompted some applause after the Nuremberg performance, but the city's General-Anzeiger gave a harsh review of Mahler's "Vaudeville-Symphony", praising only its orchestration. In Frankfurt, the audience's "angry and violent" hissing was likened to "the sound of an autumn wind blowing through the dead leaves and dried twigs of a forest" by the Musikalisches Wochenblatt. In Karlsruhe, the concert began with a near-empty audience, and Weingartner chose only to conduct the symphony's Finale. The Stuttgart press was mixed: the Schwäbischer Merkur praised Mahler as a rising star and considered the work a "wreath of good-humored melodies and folk dances"; on the other hand, the Neues Taggblatt condemned the symphony for its "vulgar passages". The tour's failure discouraged Mahler and traumatized Weingartner; the latter never conducted a piece by Mahler again.

The Berlin premiere was performed on 16 December 1901 at the Berlin Opera, with Mahler conducting the Berliner Tonkünstler Orchestra and Thila Plaichinger as soprano. The work's reception was hostile; La Grange writes that "the Berlin press took a malicious delight in tearing the new work to shreds", with negative reviews in the Berliner Börsen-Zeitung, Berliner Tageblatt, and Vossische Zeitung. Mahler also conducted for the Vienna premiere on 12 January 1902 at the Großer Musikvereinsaal, which was performed by the Vienna Philharmonic and Michalek. Once again, the reception was a near-unanimous condemnation of the symphony, including criticism from reviewers Max Kalbeck, Theodor Helm, Richard Heuberger, and Max Graf.

Mahler conducted a 23 January 1903 performance at the Kurhaus, Wiesbaden, where he was surprised by the friendly reception. That year later saw a performance in Düsseldorf. On 23 March 1904, the composer conducted the Fourth at the Staatstheater Mainz, which received warm applause but reviews criticizing the work's "naïveté". This was followed by a number of international performances. In 1904, Mahler traveled to Amsterdam to conduct a double performance of the symphony on 23 October at the Royal Concertgebouw with the Concertgebouw Orchestra and the soloist Alida Lütkemann. The American premiere on 6 November 1904 in New York City saw Walter Damrosch conduct the New York Symphony Society and the soprano Etta de Montjau. The British premiere on 25 October 1905 was a Prom concert given by Henry Wood, who conducted the New Queen's Hall Orchestra and his wife, Olga Wood, as soprano. Mahler conducted another performance on 18 January 1907, this time in Frankfurt's Saalbau. Mahler's last performances of the symphony were with the New York Philharmonic and the soprano Bella Alten in Carnegie Hall on 17 and 20 January 1911.

In the Amsterdam Mahler Festival of May 1920, the Concertgebouw Orchestra under Willem Mengelberg's direction performed nine concerts during which Mahler's complete opus was played for the first time. Mahler's protégé Bruno Walter conducted the symphony in Moscow in 1923, but he had to convince the concert's Russian organizers not to alter the religious references in "Das himmlische Leben". During the 1940s, the Fourth received performances from the London Philharmonic Orchestra conducted by Anatole Fistoulari and the BBC Symphony Orchestra conducted by Adrian Boult, contributing to what Donald Mitchell calls "the Mahler 'boom' in England".

Despite Mahler's contemporaries' negative criticism, Mitchell believes that the Fourth "above all [was] the agent of changed attitudes to Mahler in the years after the Second World War" because its relatively modest resources and length, its approachability, and its appeal eventually won "admiring audiences". In 1973, Kurt Blaukopf stated that of Mahler's symphonies, the Fourth "became popular most quickly". In 2005, Zychowicz wrote that the Fourth, in which the composer was "uncannily concise", remains one of Mahler's most accessible compositions.

Instrumentation
The symphony is scored for a smaller orchestra compared to Mahler's other symphonies, and there are no parts for trombone or tuba. Paul Stefan notes the "fairly numerous" woodwinds and strings, while Michael Steinberg calls the percussion section "lavish". The instrumentation is as follows:

 * Woodwinds

 * 4 flutes (3rd and 4th doubling piccolos)
 * 3 oboes (3rd doubling cor anglais)
 * 3 bassoons (3rd doubling contrabassoon)
 * 3 bassoons (3rd doubling contrabassoon)

 * Brass
 * 4 horns
 * 3 trumpets

 * Percussion
 * 4 timpani
 * bass drum
 * cymbals
 * triangle
 * sleigh bells
 * tam-tam
 * glockenspiel

 * Voices
 * soprano solo (used only in fourth movement)

 * Strings
 * harp
 * 1st violins
 * 2nd violins
 * violas
 * cellos
 * double basses

Structure
Although Mahler described the symphony's key as G major, the work employs a progressive tonal scheme of B minor/G major to E major, as classified in The New Grove Dictionary of Music and Musicians. The symphony is in four movements: 1. Bedächtig, nicht eilen (deliberate, unhurried) – Sonata form in G major

2. In gemächlicher Bewegung, ohne Hast (in measured tempo, unhurried) – Scherzo in C minor with two trios in F major

3. Ruhevoll, poco adagio (calm, somewhat slowly) – double theme and variations in G Major (first theme) and E minor (second theme)

4. Sehr behaglich (at ease) – Strophic variations beginning in G major and ending in E major Mahler attempted to unify the four movements through cyclic form, linking movements by reusing themes such as that of the bells from the first movement's opening and "Das himmlische Leben" from the last movement.

Deryck Cooke estimates the symphony's duration to be 50 minutes, a moderate length for a symphony that Mahler considered to be "of normal dimensions". La Grange gives the following movement durations based on Mahler's 1904 Amsterdam performance, which took a longer 57 minutes: 1. Bedächtig, nicht eilen – 20 minutes

2. In gemächlicher Bewegung, ohne Hast – 8 minutes

3. Ruhevoll, poco adagio – 19 minutes

4. Sehr behaglich – 91⁄2 to 10 minutes

I. Bedächtig, nicht eilen
Cooke characterizes the first movement as a "pastoral 'walk through the countryside' movement", and it is one of Mahler's shortest first movements. The introduction in B minor is played by flutes and sleigh bells:

The first theme in G major is then heard, marked Recht gemächlich (very leisurely):

Constantin Floros calls the first theme "remarkably short", and Theodor Adorno notices a Schubert-like sound in it. La Grange compares the first theme to a similar passage in the first movement exposition of Schubert's Piano Sonata in E-flat major, D. 568. The second theme is in D major, marked Breit gesungen (broadly sung):

Floros identifies a similarity between this theme and a theme from the first movement of Beethoven's Piano Sonata No. 13. The exposition closes with a coda marked Wieder sehr ruhig (very calm again). Mitchell finds that the themes, textures, and rhythms of the exposition suggest Neoclassicism, but Mahler's style changes in the ensuing development section when "a radically different sound-world manifests itself".

Floros comments on the development's "extraordinary complexity" in his analysis; he divides the development into eight parts, some of which explore distant minor keys and distort the main theme from the Finale. The development climaxes in its eighth part on a dissonant fortissimo followed by a trumpet fanfare that Mahler named "Der kleine Appel" ("The little summons" or "The little call to order"); he later used this trumpet call as the opening theme to the Fifth Symphony. The recapitulation section reaches what Stefan describes as "an almost Mozartian jubilation" towards its end, and the movement concludes with a calm and slow coda.

II. In gemächlicher Bewegung, ohne Hast
The second movement has a five-part structure, beginning with a scherzo part in C minor that alternates with a trio part in F major. The scherzo's prelude presents a horn call, followed by what Stefan terms a "ghostly theme" in a solo scordatura violin that begins the scherzo's first section in C minor.

A brighter middle section in C major is then heard, before a reprisal of the C minor section. The scherzo closes with a horn postlude. The two trios between the movement's three scherzos have the character of a Ländler and are in a "lazily cheerful" style that contrasts with the scherzo's grotesqueness. La Grange describes the second movement as Mahler's "only true ländler movement" since the First Symphony's Scherzo. Floros finds that certain melodies in the trio anticipate themes from the Finale.

The scherzo was originally named "Freund Hein spielt auf" ("Friend Hein Strikes Up", or "Death takes the fiddle" as paraphrased by Cooke). Freund Hein is a personification of Death in German folklore, and his fiddling is represented in the music by the harsh sound of the scordatura violin. The printed program for the 1904 Amsterdam performance even included the title "Todtentanz" ("Dance of Death") for the movement, though this was never published in the symphony's first edition. According to Mahler's widow, Alma, the composer took inspiration for this movement from the 1872 painting Self-Portrait with Death Playing the Fiddle by the Swiss artist Arnold Böcklin. Blaukopf writes that the violin passages betray "Mahler's penchant for the ludicrous and the eerie". Despite this, he notes that Freund Hein "is not frightening in effect" but is instead "uncanny". Stefan characterizes Mahler's depiction of Death as "very good-natured".

III. Ruhevoll, poco adagio
The third movement is an adagio set of double theme and variations. La Grange however believes that this "variations on two themes" interpretation of the movement is inaccurate because the second theme is "not genuinely 'varied', but only amplified when restated". Mahler called the movement his "first real variations", and he composed it under the inspiration of "a vision of a tombstone on which was carved an image of the departed, with folded arms, in eternal sleep". The musicologist Philip Barford deems the music to be "of profound, meditative beauty".

Floros divides the movement into five main parts (A – B – A$1$ – B$1$ – A$2$) followed by a coda. The first theme in G major is played in the beginning of part A by the cellos:

Cooke calls the opening "a transfigured cradle song". Floros views part A's structure as bar form (two Stollen—the first theme followed by its variation—and an Abgesang) with an Appendix. Part A closes with a bass motif, which both Bekker and Floros find "bell-like"; to the latter, the motif is reminiscent of the bell motif from Wagner's Parsifal. La Grange writes that the ostinato bass motif is "always present in some form or other" and gives the movement "a strong passacaglia feeling". Part B, marked Viel langsamer (much slower), is in three sections and also resembles the bar form structure. In the first section, the oboe introduces the lamenting E minor second theme, which is varied in the second section that climaxes in a fortissimo. Part B's final section, an Abgesang, is described by Floros as "symbolic of deepest mourning".

Part A$1$ is a variation of part A marked Anmutig bewegt (graceful and lively), and Floros describes part B$1$ as "a very free" and far more intense variation of part B. La Grange identifies part A$2$ as the "first variation proper" of part A; the first theme undergoes four variations of increasing tempo, reaching Allegro molto before a sudden return to Andante. Part A$2$ concludes with a variation of part A's Abgesang that fades away into the coda.

Floros refers to the coda's introduction as "the most splendid passage ... of the entire Symphony". A triple forte E major chord is played by the winds and strings, and the bass motif is reprised by the timpani and double basses. The horns and trumpets then play the main theme of the Finale before the volume rapidly decreases. As the music slows down and dies away, the movement's final passage includes what Zychowicz calls the Ewigkeit (eternity) motif, which Mahler first used in the Finale of his Second Symphony.

IV. Sehr behaglich
La Grange analyzes the fourth movement as a strophic durchkomponiert in three main sections separated by orchestral refrains and ending with a coda. An orchestral prelude in G major begins the Finale:

The soprano then sings the first verse or strophe of "Das himmlische Leben", beginning with the movement's main theme over "Wir genießen die himmlischen Freuden" (We revel in heavenly pleasures):

The verse is sung "with childishly gay expression" over text describing the joys of heaven. It closes with a suddenly slower choralelike figure over "Sankt Peter im Himmel sieht zu" (Saint Peter in Heaven looks on), leading into a lively orchestral interlude that reprises the bell opening from the first movement. A contrasting verse (second strophe) depicts a heavenly feast and is sung in E minor; this verse closes with another choralelike figure before the bell refrain returns for the interlude. The third strophe (comprising the third and fourth verses of the text) is in G major again and is sung over a variation of the first strophe's theme and form. After the bell refrain is played once more, the coda's pastoral introduction in E major is heard. This orchestral passage is marked Sehr zart und geheimnisvoll bis zum Schluß (very gentle and mysterious until the end), and the final strophe that follows is sung in E major over a variation of the main theme. This strophe corresponds to the text's final verse with images of "most gentle restfulness", and Mitchell calls it "an extraordinary experience without parallel elsewhere in Mahler". The coda ends on an orchestral postlude in pianissimo that gradually fades away. Adorno finds that there is an ambiguity as to whether the music and its heavenly vision has "fallen asleep for ever", and David Schiff interprets the Finale's depiction of Heaven as "untouchable, outside experience". Both agree that the Finale's promises of joy are present yet unattainable.

Revisions and publication
Following the 1901 world premiere, Mahler revised the symphony a number of times, including changes in instrumentation, dynamics, and articulation for Julius Buths (c. 1903); revisions for a 3 November 1905 performance in Graz; changes made in the summer of 1910; and Mahler's last autographed revisions in 1911, made after his final performances of the symphony in New York.

The symphony's first edition was published in 1902 by Ludwig Doblinger of Vienna as a quarto score. The symphony was later taken up by the Vienna publisher Universal Edition, which reprinted the score in octavo format (c. 1905). Universal Edition published a subsequent edition in 1906, incorporating Mahler's early revisions, and reprinted this edition in 1910 and 1925. However, Universal Edition failed to carry out any of Mahler's further changes since the 1906 edition. Publishing rights of some of the symphony's editions were later transferred to Boosey & Hawkes, but their 1943 edition also failed to include the final revisions. Universal Edition eventually published a new edition in 1963, which saw Erwin Ratz incorporate Mahler's yet unincluded revisions. These changes were met with criticism from Hans Redlich, who wrote in 1966: "Only the musical texts of the Symphony published between 1902 and 1910 carry full authenticity for posterity."

Josef Venantius von Wöss arranged the symphony for four-hands piano, a version which was on sale at the time of the symphony's first publishing. Erwin Stein's 1921 and Klaus Simon's 2007 arrangements both call for a reduced orchestration, though the former is scored for a smaller ensemble than the latter since Stein omits the bassoon and horn parts.

Recordings
The Fourth Symphony was first commercially recorded on 28 and 29 May 1930, with Hidemaro Konoye conducting the New Symphony Orchestra of Tokyo and the soprano Sakaye Kitasaya. The recording was released under Japanese Parlophone and is the first electrical recording of any Mahler symphony. Since then, the symphony has been recorded by ensembles in Europe, the United States, and Japan, including multiple recordings each from the New York Philharmonic, the Vienna Philharmonic, and the Concertgebouw Orchestra. In his 2020 Gramophone review of Fourth Symphony recordings, David Gutman selects Iván Fischer (2008), Willem Mengelberg (1939), Lorin Maazel (1983), and Claudio Abbado's (2009) interpretations of the symphony for his choice recordings, while also sampling recordings conducted by Simon Rattle (1997), Leonard Bernstein (1960), Otto Klemperer (1961), and Michael Tilson Thomas (2003).

title: Symphony No. 4 (Mahler)


text:
George Buchanan (disambiguation)

George Buchanan (1506–1582) was a Scottish humanist.

George Buchanan may also refer to:

 * Sir George Buchanan (soldier) (died 1651), Scottish soldier during the Wars of the Three Kingdoms
 * George Buchanan (surgeon) (1827–1905), Scottish surgeon
 * Sir George Buchanan (physician) (1831–1895), Chief Medical Officer (UK)
 * Sir George Buchanan (diplomat) (1854–1924), British diplomat
 * George Buchanan (engineer, born 1790) (1790–1852), Scottish civil engineer and land surveyor
 * Sir George Buchanan (engineer, born 1865) (1865–1940), British civil engineer
 * Sir George Seaton Buchanan (1869–1936), senior medical officer of the Ministry of Health (UK) and OIHP president
 * George Buchanan (politician) (1890–1955), Scottish politician
 * George Wesley Buchanan (1921–2019), American professor of theology
 * George A. Buchanan (1842–1864), recipient of the Medal of Honor for actions in the American Civil War
 * George Duncan Buchanan (c. 1935–2012), Anglican Bishop of Johannesburg

title: George Buchanan (disambiguation)


text:
Untouchables (album)

Untouchables is the fifth studio album by American nu metal band Korn. The album was officially released on June 11, 2002, and featured the Grammy-winning single "Here to Stay". Untouchables debuted at number two on the Billboard 200 with 495,991 copies sold during its first week, second only to Eminem's The Eminem Show. The album received positive reviews from music critics. It was certified platinum on July 11, 2002, and has sold at least 1.4 million copies in the United States.

Conception
Korn commenced writing Untouchables in early 2001. Tension between band members grew and, in an effort to lessen their tensions and distractions, they continued writing in Scottsdale, Arizona, in hope that the new landscape would inspire them in writing songs. They finished writing the album then went back to Los Angeles, California to begin recording. Hostility between band members was still there. During the tour, band members began to consider firing bassist Reginald "Fieldy" Arvizu due to his drug abuse problem, but decided against it.

Untouchables was recorded at Conway Studios, in Hollywood, California and The Village, in Los Angeles, California. The album was produced by Michael Beinhorn and recorded by Frank Filipetti. The album featured the same member line-up as their previous four studio albums. It is the first album recorded in 96 kHz digital sound. It was mixed by Andy Wallace and mastered by Howie Weinberg. On the album's release date, June 11, 2002, a single, "Here to Stay" was released by Sony Music Distribution. The album was re-released on November 12, 2002, as a last-ditch effort to rejuvenate album sales, which had fallen shortly after the album's first week on the Billboard 200. This limited edition features different artwork, and a bonus DVD, containing a live version of "Here to Stay", performance versions of the "Here to Stay" and "Thoughtless" music videos, and a live recording of "Got the Life".

The band has revealed that the total recording costs of Untouchables were estimated at $3,000,000 due to recording/living expenses and keeping their 15-person crew on retainer for the nearly two years it took to finish the album. As part of the total cost were included five houses rented for $10,000 apiece for four months, when they moved to Phoenix. When they came to Los Angeles, they rented five houses for $10,000 apiece for four more months; and a house rented for $8,000 a week, when they went to Canada. Jonathan Davis commented in an interview with Noisey:

"'We were coming off of Issues, and we wanted to make an amazing record. That's when we hooked up with Michael Beinhorn, and Beinhorn's whole vision was to make an amazing sounding rock record that could never be made again. [...] I wanted to shoot a documentary about that record. We spent so much money, the drums alone we spent a whole month just getting drum sounds. There were 50 mics just on the drumset that they picked out and tested. [...] Usually I do my vocals and it takes me a month or two weeks, but just vocals it took me five, almost six months. With Beinhorn, sometimes I'd walk in and sing and he'd just say, 'Go home, your voice ain't right.' [...] It was the peak and pinnacle of everything in Korn. I still can't believe how much work went in on it. It was a lot.'"

Reception
Untouchables sold over 495,000 copies in its first week, but did not surpass the sales from The Eminem Show by Eminem. The album debuted at number two on Billboard. Davis blamed Internet piracy for the drop in sales compared to previous albums, since the album had leaked onto file-sharing websites with a different track order and song titles more than two months prior to its official release date.

Untouchables received mostly positive reviews from music critics. At Metacritic, the album received a score of 80/100 based on 11 critics, indicating "generally favorable reviews". It remained their most critically acclaimed album for 17 years until the release of their 2019 album, The Nothing, which currently sits at an 83/100. In a 2021 retrospective review, Metal Hammer deemed Untouchables to be Korn's greatest album.

Track listing
All songs written by Korn.

Notes
 * "Here to Stay (T-Ray's Mix)" is a hidden track on the limited edition, beginning at 5:06 after "No One's There". On some standard edition pressings, it is its own separate hidden track, without the silence.
 * "Beat It Upright" was not included on the edited version of the album.

 * Bonus DVD
 * 1) "Here to Stay (Live at Hammerstein)"
 * 2) "Here to Stay (Performance Version)"
 * 3) "Thoughtless (Performance Version)"
 * 4) "Got the Life (Live at Hammerstein)"

Personnel

 * Korn
 * Jonathan Davis – vocals
 * Munky – rhythm and lead guitars
 * Head – lead and rhythm guitars
 * Fieldy – bass
 * David Silveria – drums

 * Production and other credits
 * Michael Beinhorn – producer
 * Andy Wallace – mixing
 * Howie Weinberg – mastering

title: Untouchables (album)


text:
Talk:1901 in music

[Untitled]
Jean Sibelius' Swan of Tuonela was listed under "Top Hits" here, but as far as I can make out, it was written in 1893, premiered in 1896, revised in 1897, and the revised version premiered in 1897. It was revised again in 1900, but I don't think it was a very drastic revision, and I think it's misleading to put it in here even if that version was premiered in 1901. I've also moved Rachmaninov's 2nd pf conc from "top hits" to "events", which seems more neutral and useful to me. --Camembert

title: Talk:1901 in music


text:
Upper Bavaria

Upper Bavaria (Oberbayern, ; Oberbayern) is one of the seven administrative regions of Bavaria, Germany.

Geography
Upper Bavaria is located in the southern portion of Bavaria, and is centered on the city of Munich, both state capital and seat of the district government. Because of this, it is by far the most populous administrative division in Bavaria. It is subdivided into four planning regions (Planungsverband): Ingolstadt, Munich, Bayerisches Oberland (Bavarian Highland), and Südostoberbayern (South East Upper Bavaria). The name 'Upper Bavaria' refers to the relative position on the Danube and its tributaries: downstream, Upper Bavaria is followed by Lower Bavaria, then Upper Austria, and subsequently Lower Austria. It consists of 20 districts and 500 municipalities (including three cities).

Landkreise (districts):

 * Altötting
 * Bad Tölz-Wolfratshausen
 * Berchtesgadener Land
 * Dachau
 * Ebersberg
 * Eichstätt
 * Erding
 * Freising
 * Fürstenfeldbruck
 * Garmisch-Partenkirchen
 * Landsberg
 * Miesbach
 * Mühldorf
 * Munich (München)
 * Neuburg-Schrobenhausen
 * Pfaffenhofen
 * Rosenheim
 * Starnberg
 * Traunstein
 * Weilheim-Schongau

Kreisfreie Städte (district-free cities):
 * Ingolstadt
 * Munich (München)
 * Rosenheim

Population
Historical Population of Upper Bavaria:

Economy
The Gross domestic product (GDP) of the region was 273.7 billion € in 2018, accounting for 8.2% of German economic output. GDP per capita adjusted for purchasing power was 53,900 € or 179% of the EU27 average in the same year. The GDP per employee was 134% of the EU average. This makes Upper Bavaria one of the richest regions in Europe.

History
The duchy of Upper Bavaria was created for the first time with the First Bavarian partition in 1255 under duke Louis II, but there was no exact correlation between this duchy and the current territory. After the reunification in 1340 Bavaria was divided again in 1349, and in 1392 the duchies Bavaria-Munich and Bavaria-Ingolstadt were created in Upper Bavaria. In 1505 Bavaria was permanently reunited. For administrative purposes, Bavaria was split into Rentämter (plural of Rentamt). Upper Bavaria consisted of the Rentamt Munich and Rentamt Burghausen.

After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative districts (Regierungsbezirke (singular Regierungsbezirk)), in Bavaria called (Kreise (singular Kreis)). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers. In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of districts was reduced to 8. One of these was the Isarkreis (Isar District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical names, and tribes. This also involved border changes or territorial swaps. Thus, the Isarkreis changed to Upper Bavaria.

Instead of a Rentamt-style mere administrational unit, the newly created districts became predecessors of modern regional self-government, building a political and administrational link in-between the Bavarian state as a whole and the local authorities.

Main sights

Featured former residence cities are the capital Munich, Ingolstadt and Neuburg an der Donau and the diocesan towns of Freising and Eichstätt. Interesting townscapes are found at Landsberg am Lech, Wasserburg am Inn and Burghausen and further south Bad Reichenhall and Berchtesgaden.

The highest mountain in Upper Bavaria, Zugspitze, offers an incomparable panoramic view of the Alps. Nestled in forested mountain ranges, the lakes Tegernsee, Schliersee, and Spitzingsee, are idyllically situated. The larger lakes, like Starnberger See, Ammersee (south-west of Munich), and Chiemsee further to the east, all situated in the pre-alpine uplands, offer regular Passenger services on steamers.

Sacred art treasures can be found in the monasteries Andechs, Schäftlarn, Fürstenfeld, Benediktbeuern, Polling and Ettal and in the Wieskirche. Among popular excursions in Upper Bavaria are the Koenigssee with the Sanctuary of St Bartholomew's and mount Watzmann, the royal castles of Ludwig II, Linderhof and Herrenchiemsee in Chiemsee, the Burghausen Castle and the castle Hohenaschau. The most important places of pilgrimage are Altoetting and Tuntenhausen.

title: Upper Bavaria


text:
Talk:Polyamory

New flag (November 2022)
Hello, Polyamproud recently conducted a vote (to which 30,000+ people took part) to select a new polyamory pride flag. It has been added to the page, but only with primary sources: I suggest that we wait a little until there are press articles about this new flag. Right now, I do not think this flag meets the notability criteria. Skimel (talk) 21:57, 23 November 2022 (UTC)
 * I agree. It doesn't seem to meet the notability criteria and might only get there due to controversy. Most of the discussions on the /r/polyamory subreddit point at a flawed voting process with few people voting and no "none of the above" option. (e.g., , ), it doesn't seem well accepted.
 * On the other hand I'm surprised not to see the pretty standard infinity heart symbol on this page. --Trougnouf (talk) 17:47, 24 November 2022 (UTC)
 * It needs secondary sources to be included and should otherwise be removed. Crossroads -talk- 21:39, 24 November 2022 (UTC)

 * Reddit is WP:USERGENERATED content & using it as a citation violates the Reliable sources guideline. I am going to remove the content based on that. Peaceray (talk) 23:53, 24 November 2022 (UTC)
 * ✅ Peaceray (talk) 23:59, 24 November 2022 (UTC)

I don't think Reddit was used in the article, but the only citations were from the group that released the flag which is clearly not any better. Thanks. --Trougnouf (talk) 00:07, 25 November 2022 (UTC)

 * That may be true, but sources citing user generated content are basically recursively reflexively citing unreliable sources. At any rate, it is foolish & absurd to think that Reddit can decide what a flag is for the entire polyamorous community. Peaceray (talk) 00:20, 25 November 2022 (UTC)
 * Along with the uw-nor1 template, I have used this language to warn users who try to post the image of the Reddit flag:
 * Peaceray (talk) 17:18, 25 November 2022 (UTC)
 * While I think it is too soon for the new flag to be opted as the official one, the 30K+ votes were not by Reddit users but by an audience of mostly Instagram users and about 10K users that only signed up for the vote via email and not through Instagram.
 * The negative comments on Reddit are also predominantly made by users who haven't followed to process and make claims that are disproven on their Instagram page and website. Honema (talk) 17:43, 25 November 2022 (UTC)
 * I will note that 30K+ is a small proportion of the estimated polyamorous community just for the US.  Whatever forum in which the vote took place is perhaps inconsequential until we see an acceptance of this, or any flag, as representing the polyamorous community that is verified by reliable sources. Peaceray (talk) 18:00, 25 November 2022 (UTC)
 * Also: WP:INSTAGRAM Peaceray (talk) 18:07, 25 November 2022 (UTC)
 * yes, agreed Honema (talk) 14:29, 26 November 2022 (UTC)

I agree with you all that the opinion of Reddit users is irrelevant, just clarifying my point that most Reddit users seem to be against the flag. --Trougnouf (talk) 17:33, 25 November 2022 (UTC)

 * In the meanwhile, I have contacted the designer of the flag, Red Howell, who confirmed to me that it was released under a CC0 license. Skimel (talk) 19:35, 26 November 2022 (UTC)

Is there any evidence of the flag actually in use in daily life? At events, parades, community meetings, shops, on books, in print, on flyers, or in any sense an organic, grassroots use of this symbol in real life? And how many polyamorous people would recognise what it was without being told?

It's just another proposed flag at this stage. It's misleading content for an encyclopedia article, because it misrepresents a casual reader into believing this is a recognised symbol in use. Wikipedia should not be used a as vehicle for advancing the goal of making this the flag by circular logic (it's the one which wikipedia says is official...therefore more people see it and use it...and so, in turn, it becomes official). We should postpone inclusion until there is evidence of it in common use, or whether it goes the way of all the other proposed poly flags.

If people do want to include it, maybe a section on polyamory symbol & flag controversy, which puts it into context as one of many proposals 2A02:C7F:8B91:8200:91CA:D1E7:F42F:69A8 (talk) 16:30, 6 July 2023 (UTC)

True Definition in way of non-sexually and non-romantic
Polyamory is an approach to relationships that emphasizes the possibility of having multiple meaningful connections with others without strictly focusing on sexual or romantic ties. It is a philosophy or lifestyle that recognizes and encourages the potential for emotional intimacy, love, and commitment in various forms, beyond the traditional monogamous framework. Polyamory can involve deep friendships, platonic partnerships, or chosen family relationships where individuals prioritize building connections based on emotional compatibility, mutual support, and shared values. The key aspect of polyamory is the acknowledgment and acceptance of multiple simultaneous relationships, which can be diverse in nature and dynamics, while respecting the consent and autonomy of all parties involved. 2600:8801:2205:7100:1C90:315:F758:CFFE (talk) 02:14, 5 June 2023 (UTC)

 * In the context of choosing to be monogamous with a polyamorous mindset, it means that an individual recognizes and understands the principles and values of polyamory but consciously decides to commit to a monogamous relationship. They may still embrace the idea of multiple meaningful connections and value the principles of open communication, honesty, and consent that are often associated with polyamory. However, they have personally chosen to prioritize and focus on a single romantic and/or sexual partnership at a given time, while maintaining respect for the concept of ethical non-monogamy.

 * In this context, choosing to be monogamous with a polyamorous mindset often involves open and honest communication with one's partner about desires, boundaries, and expectations regarding the possibility of other connections or attractions. It may also involve ongoing self-reflection and self-awareness to ensure that the decision to be monogamous aligns with one's own needs, values, and relationship goals. By consciously embracing a polyamorous mindset within a monogamous relationship, individuals can navigate their desires and emotions with greater understanding and ensure that their choices are rooted in consent, integrity, and the principles of ethical non-monogamy. — Preceding unsigned comment added by AlgorithmicMirrorOfRemeberance91 (talk • contribs) 02:27 5 June 2023 (UTC)

LGBT
@darknessgoth777 would you mind explaining why a navbox which has this page as one of the listed entries should not be on this page so we can achieve a consensus on what to do? And can you do this here, rather than just immediately trying to reinsert your change? thanks in advance. --Licks-rocks (talk) 09:38, 22 August 2023 (UTC)

 * Hi. This is not meant to be offensive at all. Polyamory is not considered a sexuality it's considered type of relationship. Therefore it's not a sexual identity nor is it apart of the LGBT community. LGBT is defined as the community for anyone who is not straight, not cisgender, not allosexual (asexual), and/or not alloromantic (aromantic). DarknessGoth777 (talk) 16:21, 22 August 2023 (UTC)
 * That doesn't mean it doesn't fall under the LGBTQ umbrella. Not everyone who is poly is queer, but polyamory draws in queer people and is seen as "non-monogamous approach to love and dating" and has appeared at pride parades. So it makes sense to include that navbox. Removing it would be doing a disservice to anyone who reads the polyamory page. Historyday01 (talk) 17:28, 22 August 2023 (UTC)
 * Polyamory has been mistaken as a LGBT identity because it has a flag to represent it similar to how BDSM practices also have flags to represent them. But both are generally not considered part of the community due to the definition of LGBT. DarknessGoth777 (talk) 16:23, 22 August 2023 (UTC)
 * According to who? Who is saying polyamory isn't "generally not considered part of the community"? Historyday01 (talk) 17:23, 22 August 2023 (UTC)
 * Therefore the flag meant to represent polyamory is not a pride flag because a pride flag is a flag that represents a gender, sexuality, or romantic orientation that is inherently part of the LGBT community. DarknessGoth777 (talk) 16:31, 22 August 2023 (UTC)
 * See, the main problem with that is that it's explicitly a pride flag. It has been designed and is being used as such. It's explicitly mentioned in the source we cite for the flag. So that, to begin with, is just not true. Polyamory has been part of pride rallies since forever, and as for your other edit, it "not being a sexual identity" depends on whom you ask, see for example this article on the subject. --Licks-rocks (talk) 17:11, 22 August 2023 (UTC)
 * Exactly and it makes sense it has been part of pride rallies. Historyday01 (talk) 17:13, 22 August 2023 (UTC)
 * Agreed. I STRONGLY oppose removing the Gender and sexual identities navbox from the bottom of the page. darknessgoth777 appears to have a fundamental misunderstanding of the LGBTQ community, which is unfortunate considering previous editing on LGBTQ topics by that user. Historyday01 (talk) 17:23, 22 August 2023 (UTC)

May 2024 Slate article
I thought this was pertinent, plus it has links to many other sources. I do not have the time to incorporate it into this article at present, but I thought maybe some of you other editors might like do that. Peaceray (talk) 20:53, 7 May 2024 (UTC)

May 2024 study on compersion
Today I came across a study on compersion:

That study is behind a paywall, but there is a freely accessible article about it:

I am at a film festival, so I am a bit busy this month & hoping someone else can attend to this. Peaceray (talk) 22:16, 17 May 2024 (UTC)

 * The full text is available through https://wikipedialibrary.wmflabs.org for those who have access. Search for Feeling Good About Your Partners' Relationships: Compersion in Consensually Non-Monogamous Relationships & select the PDF Full Text link. Peaceray (talk) 22:24, 17 May 2024 (UTC)

title: Talk:Polyamory


text:
Niourk

Niourk (published 1957) is a science fiction novel by the French writer Stefan Wul. It first appeared as one of the Fleuve Noir Anticipation collection published in France since 1951 which reflected the authors' attitudes towards the supposed post war rise of a "technocracy" in the country.

Plot
The name of the novel, "Niourk", comes from the pronunciation of the name of New York City, and the book presents a future in which Earth is deserted and only small bands of hunter-gatherer tribes exist on a paleolithic level.

"The Black Child" lives with his tribe on the dry bottom of the Caribbean Sea, where Cuba and Haiti are mountain ranges. Considered a mutant because of his skin colour, he is sentenced to death by the tribal shaman, and will be executed when the shaman has returned from his pilgrimage to the city of the gods. When the shaman does not come back, the child defies a taboo and follows the shaman's route into the ruins of an abandoned city. There, he finds pre-apocalyptic human artefacts, and picks up a laser rifle. The Black Child finds the frozen dead body of the shaman and, according to tribal custom, eats the shaman's brain and adds one of the shaman's vertebrae to the necklace of similar vertebrae that is the symbol of his power. By doing this, the Black Child becomes the tribal shaman. The child is attacked by a bear and defends himself with the laser weapon, but then, instead of killing it, tames the beast, which becomes his companion.

In the meantime, driven from their usual hunting grounds by a wildfire which has driven off all game, the tribe moves towards another hunting area, where they are attacked by intelligent, tentacled monsters mutated from octopuses by nuclear waste on the bottom of the now nearly dry Atlantic Ocean. The tribesmen kill one of the monsters and eat it, which makes them stronger, faster, and more intelligent. However, they also become heavily irradiated.

The Black Child returns to the tribe and saves them with the laser rifle from a larger monster attack. He then eats one of the monster's brains and begins to experience an exponential transformation of his intellect and abilities, but is also heavily irradiated.

As they travel, the tribe meet a human (whom they take to be a mad god) from a space-bound branch of mankind shipwrecked on earth. He directs them to New York before wandering off. On the trip there, all the tribesmen die from acute radiation sickness. New York is a futuristic city full of functional autonomous machinery. There, the Black Child meets two other humans from the shipwrecked crew. They heal the child, and in the process he develops tremendous intelligence, teaches himself to read, learns most of the human history, and develops superhuman powers. He is increasingly able to manipulate matter and space, which enables him to fly, go through walls, manipulate objects psycho-kinetically, and be in many places simultaneously. He creates a space ship and sends his three human companions home to Venus. Then he recreates them, plus all the members of his tribe, and relocates the Earth to the centre of the galaxy. The final sentences of the book also reveal that he has created a copy of himself to accompany the real humans home to Venus.

Adaptations
A graphic novel adaptation by Olivier Vatine was published by Ankama Editions in 2012, and was translated into English by Dark Horse Comics in 2018.

title: Niourk