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Khutbah

Khutbah (خطبة, khuṭbah;, khotbeh; hutbe) serves as the primary formal occasion for public preaching in the Islamic tradition.

Such sermons occur regularly, as prescribed by the teachings of all legal schools. The Islamic tradition can be formally observed at the Dhuhr (noon) congregation prayer on Friday. In addition, similar sermons are called for on the two festival days and after Solar and Lunar Eclipse prayer.

Origins and definition
Religious narration (including sermons) may be pronounced in a variety of settings and at various times. The khutbah, however, refers to khutbah al-jum'a, usually meaning the address delivered in the mosque at weekly (usually Friday) and annual rituals. Other religious oratory and occasions of preaching are described as dars (a lesson) or waz (an admonition), and their formats differ accordingly.

The khutbah originates from the practice of the Islamic prophet, Muhammad, who used to deliver words of exhortation, instruction, or command at gatherings for worship in the mosque, which consisted of the courtyard of his house in Medina.

After the conquest of Mecca, Muhammad presented himself as a khatib to the city in AD 630. The first four caliphs, and the Ummayads caliphs and provincial governors all delivered sermons. There were not necessarily exhortatory, but addressed practical questions of government and sometimes even included direct orders. Under the Abbasids, the caliph himself no longer preached but assigned the task to the religious judges. The Abbasids insisted they were clearing Islam of the secularism of the Umayyads, and this probably helped in strengthening the religious aspect of the sermon.

Delivery
At the beginning of the service the adhan is given, during which the khatib (the individual who delivers the khutbah) remains sitting. The iqama is given when the khatib descends. The sermon is delivered in two parts. Both parts are delivered while khatib is standing and punctuated by a pause in between them when the khatib sits down. During the sermon itself, it is obligatory to pronounce the following:
 * the hamdala, or an expression to praise God and show gratitude towards him; saying al-hamdu li'llāh "Praise belongs to Allāh" at the beginning of the sermon is usually sufficient,
 * the salawaat, or invocations of peace and blessings on Muhammad,
 * recitation of a part of the Qur'an in the first part of the sermon or, according to some doctrines, in both,
 * admonitions to piety in both parts of the sermon,
 * and dua (prayer) on behalf of the faithful.

The khatib must be in a state of ritual purity; his dress must be in accord with the prescriptions. It is commendable for the khatib to be on a pulpit or an elevated place; to salute the congregation when directing himself towards them; to sit down until the adhan is pronounced by the muezzin; and to direct himself straightway to his audience. Finally the khatib should make the sermon short.

Historically, sermons were delivered in classical Arabic. This linguistic requirement required substantial training on the part of the khatib and this contributed to the growth of a literary genre consisting of model sermons, such as those by the renowned Ibn Nubata (d. 984). The Sahabah, even after migrating to foreign lands, always kept the khutbah in classical Arabic but would instead conduct a longer lecture before the khutbah in the local language. According to the four accepted Sunni schools of jurisprudence, it is a requirement for the khutbah to be delivered completely in classical Arabic. In the modern era however, preaching in vernacular languages, while often retaining certain Arabic expressions, has become common in contemporary and non-traditional circles.

Friday
One of the conditions for the validity of the Friday service is that it must be preceded by two sermons. The sermons are delivered when the number of auditors required for a valid j̲umu‘a are present.

Traditionally, as instructed in classical Islamic legal treatises, Friday congregational prayers in which sermons were delivered were restricted to urban centers and normally to one major mosque in each city. Such a mosque is referred to as a masjid jami‘, that is, a "Friday Mosque" (or a "cathedral mosque"). These mosques were distinguished by their central location, large dimensions, monumental architecture, symbolic furnishings indicative of its exalted stature, and, the most demonstrative of all, the minbar (ritual pulpit).

In contemporary times, Friday congregational prayers with sermons are common in mosques of all sizes and conditions, and not just restricted to a few central locations. Sermons are also dispensed through newspapers and broadcast on radio and television.

Special occasions
Sermons on special occasions generally contain features that are relevant to the celebrations (e.g. Eid) or the natural phenomena for which they are delivered (e.g. Kusuf and Khusuf). For instance, on Eid al-Fitr, the preacher has a duty to instruct the faithful congregation concerning the zakat, or almsgiving. On Eid al-Adha the preacher includes remarks specifying the rules for the sacrifice.

There is a slight difference in the sermon delivered on Eid ul-Fitr. The sermon's first part must open with nine takbirs, the second part with seven. The sermon may also be pronounced while sitting. Regarding the sermons delivered during an eclipse or excessive drought, classical texts advise that such sermons must admonish the audience and ask God's forgiveness. Usually the verse 9 of Sūra At-Tahrim (Quran 66:09) is also recited and a special prayer called "Muḥammad's du'a"ʾ is said.

Sovereign's name
In the pre-modern Middle East, the mention of a ruler's name in the sermon was one of the two prerogatives of sovereignty (the other being the right to mint coins). Mentioning meant accepting the sovereignty and suzerainty of a ruler, and it was considered the principal criterion of sovereignty for an Islamic ruler. Omitting the name of a ruler from the sermon was like publicly declaring independence. This prerogative of sovereignty was introduced by Islam. It was not present in the pre-Islamic era. In addition, the sermon, a major vehicle of communication, also announced the deposition of a ruler, the accession of a ruler, nomination of an heir, and the beginning and end of a war.

The sovereign's name was also declared in khutbas during the Mughal rule; Babur was styled 'Zahir-ud-Din Bábar Muhammad' during Friday khutbas. Sher Khan, an adversary of the Mughal emperor Humayun, was content if Bengal was given to him in return of the emperor retaining his right to mint coins and proclaim the khutba in the emperor's name, and thereby becoming the "emperor's vassal".

Some Muslim monarchies practise this in their state-regulated sermons, including Brunei and Malaysia.

Khutbah and the Ministries of Islamic Affairs in modern states
In a number of countries like Turkey, Saudi Arabia, and Egypt, there is a central religious authority supervised by the government which issues a weekly sermon to be read in all mosques under its jurisdiction. In Turkey the sermons are prepared by the Diyanet, in Saudi Arabia by the Ministry for Islamic Affairs. In Egypt a similar unified sermon was instituted in 2016.

Related concept
Abu-al-Faraj ibn Al-Jawzi writes in his Ru'ūs al-Qawārīr of a similar concept also called khutbah. Also referred to by the same name as the sermon, this concept was different. Its primary purpose was not to admonish, instruct or reprove, but rather to exalt and praise God. It invited others to worship and celebrate God's greatness. Ibn al-Jawzi employed a variety of metaphors and alluded to nature frequently.

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title: Khutbah


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Thomas Wolfe

Thomas Clayton Wolfe (October 3, 1900 – September 15, 1938) was an American writer. The Encyclopedia of Twentieth-Century Fiction states that "Wolfe was a major American novelist of the first half of the twentieth century, whose longterm reputation rests largely on the impact of his first novel, Look Homeward, Angel (1929), and on the short fiction that appeared during the last years of his life." Along with William Faulkner, he is considered one of the two most important authors of the Southern Renaissance within the American literary canon. He remains an important writer in modern American literature, as one of the first masters of autobiographical fiction, and is considered among North Carolina's most famous writers.

Wolfe wrote four lengthy novels as well as many short stories, dramatic works, and novellas. He is known for mixing highly original, poetic, rhapsodic, and impressionistic prose with autobiographical writing. His books, written and published from the 1920s to the 1940s, vividly reflect on American culture and the mores of that period, filtered through Wolfe's sensitive, sophisticated, and hyper-analytical perspective.

After Wolfe's death, contemporary author Faulkner said that Wolfe might have been the greatest talent of their generation for aiming higher than any other writer. Faulkner's endorsement, however, failed to win over mid to late 20th century literary critics and for a time Wolfe's place in the literary canon was questioned. However, 21st century academics have largely rejected this negative assessment, and both a greater appreciation of his experimentation with literary forms and a renewed interest in Wolfe's works, in particular his short fiction, has secured Wolfe's place in the literary canon with a more positive and balanced assessment. Wolfe's influence extends to the writings of Beat Generation writer Jack Kerouac, and of authors Ray Bradbury and Philip Roth, among others.

Early life
Wolfe was born in Asheville, North Carolina, the youngest of eight children of William Oliver Wolfe (1851–1922) and Julia Elizabeth Westall (1860–1945). Six of the children lived to adulthood. His father, of Pennsylvania Dutch descent, was a successful stone carver and ran a gravestone business.

W. O. Wolfe's business used an angel in the window to attract customers. Thomas Wolfe "described the angel in great detail" in a short story and in Look Homeward, Angel. The angel was sold and, while there was controversy over which one was the actual angel, the location of the "Thomas Wolfe angel" was determined in 1949 to be Oakdale Cemetery in Hendersonville, North Carolina.

Wolfe's mother took in boarders and was active in acquiring real estate. In 1904, she opened a boarding house in St. Louis, Missouri, for the World's Fair. While the family was in St. Louis, Wolfe's 12-year-old brother, Grover, died of typhoid fever.

In 1906, Julia Wolfe bought a boarding house named "Old Kentucky Home" at nearby 48 Spruce Street in Asheville, taking up residence there with her youngest son while the rest of the family remained at the Woodfin Street residence. Wolfe lived in the boarding house on Spruce Street until he went to college in 1916. It is now the Thomas Wolfe Memorial. Wolfe was closest to his brother Ben, whose early death at age 26 is chronicled in Look Homeward, Angel. Julia Wolfe bought and sold many properties, eventually becoming a successful real estate speculator.

Wolfe began to study at the University of North Carolina at Chapel Hill (UNC) when he was 15 years old. A member of the Dialectic Society and Pi Kappa Phi fraternity, he predicted that his portrait would one day hang in New West near that of celebrated North Carolina governor Zebulon Vance, which it does today. Aspiring to be a playwright, in 1919 Wolfe enrolled in a playwriting course. His one-act play, The Return of Buck Gavin, was performed by the newly formed Carolina Playmakers, then composed of classmates in Frederick Koch's playwriting class, with Wolfe acting the title role. He edited UNC's student newspaper The Daily Tar Heel and won the Worth Prize for Philosophy for an essay titled "The Crisis in Industry". Another of his plays, The Third Night, was performed by the Playmakers in December 1919. Wolfe was inducted into the Golden Fleece honor society.

Wolfe graduated from UNC with a bachelor of arts in June 1920, and in September, entered Harvard University, where he studied playwriting under George Pierce Baker. Two versions of his play The Mountains were performed by Baker's 47 Workshop in 1921. While taking Baker's 47 Workshop course he befriended the playwright Kenneth Raisbeck who was Baker's graduate assistant. Wolfe later based the character of Francis Starwick in his semi-autobiographical novel Of Time and the River (1935) on Raisbeck.

In 1922, Wolfe received his master's degree from Harvard. His father died in Asheville in June of that year. Wolfe studied another year with Baker, and the 47 Workshop produced his 10-scene play Welcome to Our City in May 1923.

Wolfe visited New York City again in November 1923 and solicited funds for UNC, while trying to sell his plays to Broadway. In February 1924, he began teaching English as an instructor at New York University (NYU), a position he occupied periodically for almost seven years.

Career
Wolfe was unable to sell any of his plays after three years because of their great length. The Theatre Guild came close to producing Welcome to Our City before ultimately rejecting it, and Wolfe found his writing style more suited to fiction than the stage. He sailed to Europe in October 1924 to continue writing. From England he traveled to France, Italy and Switzerland.

On his return voyage in 1925, he met Aline Bernstein (1880–1955), a scene designer for the Theatre Guild. Twenty years his senior, she was married to a successful stockbroker with whom she had two children. In October 1925, she and Wolfe became lovers and remained so for five years. Their affair was turbulent and sometimes combative, but she exerted a powerful influence, encouraging and funding his writing.

Wolfe returned to Europe in the summer of 1926 and began writing the first version of an autobiographical novel titled O Lost. The narrative, which evolved into Look Homeward, Angel, fictionalized his early experiences in Asheville, and chronicled family, friends, and the boarders at his mother's establishment on Spruce Street. In the book, he renamed the town Altamont and called the boarding house "Dixieland". His family's surname became Gant, and Wolfe called himself Eugene, his father Oliver, and his mother Eliza. The original manuscript of O Lost was over 1,100 pages (333,000 words) long, and considerably more experimental in style than the final version of Look Homeward, Angel. It was submitted to Scribner's, where the editing was done by Maxwell Perkins, the most prominent book editor of the time, who also worked with F. Scott Fitzgerald and Ernest Hemingway. He cut the book to focus more on the character of Eugene, a stand-in for Wolfe. Wolfe initially expressed gratitude to Perkins for his disciplined editing, but he had misgivings later. It has been said that Wolfe found a father figure in Perkins, and that Perkins, who had five daughters, found a sort of foster son in Wolfe.

The novel, which had been dedicated to Bernstein, was published 11 days before the stock market crash of 1929. Soon afterward, Wolfe returned to Europe and ended his affair with Bernstein. The novel caused a stir in Asheville, with its over 200 thinly disguised local characters. Wolfe chose to stay away from Asheville for eight years because of the uproar; he traveled to Europe for a year on a Guggenheim Fellowship. Look Homeward, Angel was a bestseller in the United Kingdom and Germany. Some members of Wolfe's family were upset with their portrayal in the book, but his sister Mabel wrote to him that she was sure he had the best of intentions.

After four more years writing in Brooklyn, the second novel Wolfe submitted to Scribner's was The October Fair, a multi-volume epic roughly the length of Marcel Proust's In Search of Lost Time. After considering the commercial possibilities of publishing the book in full, Perkins opted to cut it significantly and create a single volume. Titled Of Time and the River, it was more commercially successful than Look Homeward, Angel. In an ironic twist, the citizens of Asheville were more upset this time because they had not been included. The character of Esther Jack was based on Bernstein. In 1934, Maxim Lieber served as his literary agent.

Wolfe was persuaded by Edward Aswell to leave Scribner's and sign with Harper & Brothers. By some accounts, Perkins' severe editing of Wolfe's work is what prompted him to leave. Others describe his growing resentment that some people attributed his success to Perkins' work as editor. In 1936, Bernard DeVoto, reviewing The Story of a Novel for Saturday Review, wrote that Look Homeward, Angel was "hacked and shaped and compressed into something resembling a novel by Mr. Perkins and the assembly-line at Scribners".

Wolfe spent much time in Europe and was especially popular and at ease in Germany, where he made many friends. However, in 1936 he witnessed incidents of discrimination against Jews, which upset him and changed his mind about the political developments in the country. He returned to America and published a story based on his observations ("I Have a Thing to Tell You") in The New Republic. Following its publication, Wolfe's books were banned by the German government, and he was prohibited from traveling there.

In 1937, "Chickamauga", his short story set during the American Civil War battle of the same name, was published. Wolfe returned to Asheville in early 1937 for the first time since publication of his first book.

Death
In 1938, after submitting over one million words of manuscript to his new editor, Edward Aswell, Wolfe left New York for a tour of the Western United States. On the way, he stopped at Purdue University and gave a lecture, "Writing and Living", and then spent two weeks traveling through 11 national parks in the West, the only part of the country he had never visited. Wolfe wrote to Aswell that while he had focused on his family in his previous writing, he would now take a more global perspective. In July, he became ill with pneumonia while visiting Seattle, spending three weeks in the hospital there. His sister Mabel closed her boarding house in Washington, D.C. and went to Seattle to care for him. Complications arose, and Wolfe was eventually diagnosed with miliary tuberculosis.

On September 6, he was sent to Baltimore's Johns Hopkins Hospital for treatment by Walter Dandy, the most famous neurosurgeon in the country, but an operation revealed that the disease had overrun the entire right side of his brain. Without regaining consciousness, he died 18 days before his 38th birthday.

On his deathbed and shortly before lapsing into a coma, Wolfe wrote a letter to Perkins. He acknowledged that Perkins had helped to realize his work and had made his labors possible. In closing he wrote:

"I shall always think of you and feel about you the way it was that Fourth of July day three years ago when you met me at the boat, and we went out on the cafe on the river and had a drink and later went on top of the tall building, and all the strangeness and the glory and the power of life and of the city was below."

Wolfe was buried in Riverside Cemetery in Asheville, North Carolina, beside his parents and siblings.

After Wolfe's death, The New York Times wrote: "His was one of the most confident young voices in contemporary American literature, a vibrant, full-toned voice which it is hard to believe could be so suddenly stilled. The stamp of genius was upon him, though it was an undisciplined and unpredictable genius ... There was within him an unspent energy, an untiring force, an unappeasable hunger for life and for expression which might have carried him to the heights and might equally have torn him down." Time wrote: "The death last week of Thomas Clayton Wolfe shocked critics with the realization that, of all American novelists of his generation, he was the one from whom most had been expected."

Posthumous works
Wolfe saw fewer than half of his work published in his lifetime, there being much unpublished material remaining after his death. He was the first American writer to leave two complete, unpublished novels in the hands of his publisher at death. Two Wolfe novels, The Web and the Rock and You Can't Go Home Again, were edited posthumously by Edward Aswell of Harper & Brothers. The novels were "two of the longest one-volume novels ever written" (nearly 700 pages each). In these novels, Wolfe changed the name of his autobiographical character from Eugene Gant to George Webber.

O Lost, the original "author's cut" of Look Homeward, Angel, was reconstructed by F. Scott Fitzgerald scholar Matthew Bruccoli and published in 2000 on the centennial of Wolfe's birth. Bruccoli said that while Perkins was a talented editor, Look Homeward, Angel is inferior to the complete work of O Lost and that the publication of the complete novel "marks nothing less than the restoration of a masterpiece to the literary canon".

Critical reception
Upon publication of Look Homeward, Angel, most reviewers responded favorably, including John Chamberlain, Carl Van Doren, and Stringfellow Barr. Margaret Wallace wrote in The New York Times Book Review that Wolfe had produced "as interesting and powerful a book as has ever been made out of the drab circumstances of provincial American life". An anonymous review published in Scribner's magazine compared Wolfe to Walt Whitman, and many other reviewers and scholars have found similarities in their works since.

When published in the UK in July 1930, the book received similar reviews. Richard Aldington wrote that the novel was "the product of an immense exuberance, organic in its form, kinetic, and drenched with the love of life...I rejoice over Mr. Wolfe". Both in his 1930 Nobel Prize for Literature acceptance speech and original press conference announcement, Sinclair Lewis, the first American to win the Nobel Prize for literature, said of Wolfe, "He may have a chance to be the greatest American writer...In fact I don't see why he should not be one of the greatest world writers."

Upon publication of his second novel, Of Time and the River, most reviewers and the public remained supportive, though some critics found shortcomings while still hailing it for moments or aspects of greatness. The book was well received by the public and became his only American bestseller. The publication was viewed as "the literary event of 1935"; by comparison, the earlier attention given to Look Homeward, Angel was modest. Both The New York Times and New York Herald Tribune published enthusiastic front-page reviews. Clifton Fadiman wrote in The New Yorker that while he was not sure what he thought of the book, "for decades we have not had eloquence like his in American writing". Malcolm Cowley of The New Republic thought the book would be twice as good if half as long, but stated Wolfe was "the only contemporary writer who can be mentioned in the same breath as Dickens and Dostoevsky". Robert Penn Warren thought Wolfe produced some brilliant fragments from which "several fine novels might be written". He went on to say: "And meanwhile it may be well to recollect that Shakespeare merely wrote Hamlet; he was not Hamlet." Warren also praised Wolfe in the same review, though, as did John Donald Wade in a separate review.

Though he was acclaimed during his lifetime as one of the most important American writers, comparable to F. Scott Fitzgerald, Ernest Hemingway, or William Faulkner, Wolfe's reputation as a writer was heavily criticized after his death. He was ridiculed by such prominent critics as Harold Bloom and James Wood. At one time he was left out of college courses and anthologies devoted to great writers. Faulkner and W.J. Cash listed Wolfe as the ablest writer of their generation, although Faulkner later qualified his praise. Despite his early admiration of Wolfe's work, Faulkner later decided that his novels were "like an elephant trying to do the hoochie-coochie". Ernest Hemingway's verdict was that Wolfe was "the over-bloated Li'l Abner of literature".

Twenty-first century scholars have largely rejected the overly negative criticism of Wolfe from the mid to late 20th century. This re-assessment of Wolfe began in the 1980s with writers like Leslie Fields whose entry on Wolfe in the Dictionary of Literary Biography (1981) was one of the earlier publications to provide a more thorough and positive assessment of Wolfe's short stories. From this point on, positive re-assessment began to grow and current assessment of Wolfe tends to be more balanced, with a greater appreciation of his experimentation with literary forms. The Complete Short Stories Of Thomas Wolfe was published in 1989, and his short stories were later published in several anthologies, including American Classics (1989, Marshall Cavendish), The American Short Story: A Treasury of the Memorable and Familiar, by the Great American Writers from Washington Irving to Saul Bellow (1994, State Street Press), Short Stories from the Old North State (2012, University of North Carolina Press), and Writing Appalachia: An Anthology (2020, University Press of Kentucky) among others. Wolfe is now read more widely in high school and college literature courses then previously. Today, William Faulkner and Wolfe are considered the two most important authors of the Southern Renaissance within the American literary canon.

Legacy
Southerner and Harvard historian David Herbert Donald's biography of Wolfe, Look Homeward, won the Pulitzer Prize for Biography in 1988.

Wolfe inspired the works of many other authors, including Betty Smith with A Tree Grows in Brooklyn, Robert Morgan, author of Gap Creek, and Prince of Tides author Pat Conroy, who has said "My writing career began the instant I finished Look Homeward, Angel." Jack Kerouac idolized Wolfe. Ray Bradbury was influenced by Wolfe, and included him as a character in his books. Earl Hamner, Jr., who created the popular television series The Waltons, idolized Wolfe in his youth.

Hunter S. Thompson credits Wolfe for his famous phrase "Fear and Loathing" (on page 62 of The Web and the Rock).

Archives
Two universities hold the primary archival collections of Thomas Wolfe materials in the United States: the Thomas Clayton Wolfe Papers at Harvard University's Houghton Library, which includes all of Wolfe's manuscripts, and the Thomas Wolfe Collections in the North Carolina Collection at the University of North Carolina at Chapel Hill. Each October, at the time of Wolfe's birthday, UNC-Chapel Hill presents the annual Thomas Wolfe Prize and Lecture to a contemporary writer, with past recipients including Roy Blount, Jr., Robert Morgan, and Pat Conroy.

Tributes
Return of an Angel, a play by Sandra Mason, explores the reactions of Wolfe's family and the citizens of his hometown of Asheville to the publication of Look Homeward, Angel. The play was staged several times near the Thomas Wolfe Memorial, in the month of October, to commemorate his birthday. Pack Memorial Library in Asheville hosts the Thomas Wolfe Collection which "honors Asheville's favorite son". The Western North Carolina Historical Association has presented the Thomas Wolfe Memorial Literary Award yearly since 1955 for a literary achievement of the previous year. The Thomas Wolfe Society celebrates Wolfe's writings and publishes an annual review about Wolfe's work. The United States Postal Service honored Wolfe with a postage stamp on the occasion of what would have been Wolfe's 100th birthday in 2000.

Historic landmarks
The "Old Kentucky Home" was donated by Wolfe's family as the Thomas Wolfe Memorial and has been open to visitors since the 1950s, owned by the state of North Carolina since 1976 and designated as a National Historic Landmark. Wolfe called it "Dixieland" in Look Homeward, Angel. In 1998, 200 of the house's 800 original artifacts and the house's dining room were destroyed by a fire set by an arsonist during the Bele Chere street festival. The perpetrator remains unknown. After a $2.4 million restoration, the house was re-opened in 2003.

A cabin built by Wolfe's friend Max Whitson in 1924 near Azalea Road was designated as a historic landmark by the Asheville City Council in 1982. Thomas Wolfe Cabin, as it is called, was where Wolfe spent the summer of 1937 in his last visit to the city. In a letter to F. Scott Fitzgerald, Wolfe wrote "I am going into the woods. I am going to try to do the best, the most important piece of work I have ever done", referring to October Fair, which became The Web and the Rock and You Can't Go Home Again. He also wrote "The Party at Jack's" while at the cabin in the Oteen community. The city bought the property, including a larger house, from John Moyer in 2001, and did some work fixing up the cabin. Restoring the cabin would cost $300,000 but as of 2021 there is no funding. Plans for the site would cost at least $3.5 million, and as much as $6.7 million.

The Thomas Wolfe Society
The Thomas Wolfe Society, established in the late 1970s, issues an annual publication of Wolfe-related materials, and its journal, The Thomas Wolfe Review features scholarly articles, belles lettres, and reviews. The Society also awards prizes for literary scholarship on Wolfe.

Adaptations
In 1958, Ketti Frings adapted Look Homeward, Angel into a play of the same name. It ran on Broadway for 564 performances at the Ethel Barrymore Theatre, received six Tony Award nominations, and won the 1958 Pulitzer Prize for Drama. Frings was named "Woman of the Year" by The Los Angeles Times in the same year. In 1972, it was presented as a television drama, as was Of Time and the River in a one-hour version.

Wolfe's play Welcome to Our City was performed twice at Harvard during his graduate school years, in Zurich in Switzerland during the 1950s, and by the Mint Theater in New York City in 2000 in celebration of Wolfe's 100th birthday.[51]

The title character of Herman Wouk's 1962 bestselling novel Youngblood Hawke, and its subsequent film adaptation, was loosely based on Wolfe.

Wolfe's relationship with his editor Maxwell Perkins was the basis of a movie titled Genius in 2016 in which Jude Law and Colin Firth played the roles of Wolfe and Perkins respectively. Nicole Kidman played Aline Bernstein.

Novels

 * Look Homeward, Angel (1929)
 * Of Time and the River (1935)

Posthumous Works:
 * The Web and the Rock (1939; published posthumously)
 * You Can't Go Home Again (1940; published posthumously)
 * The Hills Beyond (1941; published posthumously)
 * The Hound of Darkness (1986; published posthumously)
 * The Good Child's River (1991; published posthumously)
 * The Starwick Episodes (1994; deleted sections from Of Time and the River; published posthumously)
 * O Lost: A Story of the Buried Life (2000)

Novellas

 * A Portrait of Bascom Hawke (1932)
 * The Web of Earth (1932)
 * No Door (1933; published in two installments in Scribner's Magazine in 1933 and 1934 as the short stories, "No Door" and "The House of the Far and Lost"; later become part of his full-length Of Time and the River)
 * Boom Town (1934)
 * From Death to Morning (1935; collection including No Door and The Web of Earth
 * "I Have a Thing to Tell You" (1937)
 * The Lost Boy (1937, written as a novella, published in abridged form as a short story in Redbook, published as originally written in 1992)
 * The Party at Jack's (1939; published posthumously)
 * Short Novels of Thomas Wolfe (1961; published posthumously; collects A Portrait of Bascom Hawke, The Web of Earth, No Door, "I Have a Thing to Tell You", and The Party at Jack's)

Plays

 * Mannerhouse: A Play in a Prologue and Four Acts (1948; published posthumously)
 * The Mountains: A Play in One Act; The Mountains: A Drama in Three Acts and a Prologue (1970; published posthumously)
 * Welcome to Our City: A Play in Ten Scenes (Performed in 1923; published posthumously in 1983)

Stories

 * "The Train and the City" (1934)
 * "Chickamauga" (short story) (1937)
 * "The Child by Tiger" (short story; in the September 11, 1937 Saturday Evening Post)
 * The Collected Stories of Thomas Wolfe (1987; Francis E. Skipp, ed.)

Nonfiction

 * The Story of a Novel (1936)
 * A Western Journal: A Daily Log of the Great Parks Trip, June 20–July 2, 1938 (1951; published posthumously)
 * The Letters of Thomas Wolfe (1956; published posthumously)
 * Beyond Love and Loyalty: The Letters of Thomas Wolfe and Elizabeth Nowell (1983; published posthumously)
 * My Other Loneliness: Letters of Thomas Wolfe and Aline Bernstein (1983; Richard Kennedy, ed.)
 * To Loot My Life Clean: The Thomas Wolfe–Maxwell Perkins Correspondence (2000; Matthew J. Bruccoli & Park Bucker, ed.)
 * "God's Lonely Man" (undated essay)

Poetry

 * A Stone, a Leaf, a Door (1945; a collection of Wolfe's prose which was selected and respaced as a series of poems)

Look Homeward, Angel and Of Time and the River were published in Armed Services Editions during World War II.

title: Thomas Wolfe


text:
Uyghuristan

Uyghuristan (also spelled Uyghurstan, Uighuristan or Uighurstan), meaning "land of the Uyghurs", may refer to:

 * East Turkestan, especially as a proposed independent Uyghur homeland in the Tarim Basin of China
 * Xinjiang, an autonomous region of the People's Republic of China
 * Qocho, a medieval Uyghur kingdom
 * Turpan, city in Xinjiang
 * Turpan Khanate, eastern part of Moghulistan

title: Uyghuristan


text:
Shina

Shina may refer to:

 * Kohistani Shina language, an Indo-Aryan language spoken in Khyber-Pakhtunkhwa, Pakistan
 * Shina language, an Indo-Aryan language spoken in Gilgit-Baltistan, Pakistan
 * Shina people, an ethnic group in Gilgit Baltistan, Pakistan

People named Shina

 * Shina Matsudo (born 1973), Japanese freestyle swimmer
 * Shina Peters (born 1958), Nigerian Jùjú musician
 * Shina Pellar (born 1976), Nigerian entrepreneur
 * Shina Rambo (born 1960s), Nigerian bandit
 * Takeshi Shina (born 1966), Japanese politician
 * Yakir Shina (born 1985), Israeli footballer

Others

 * Shina (word), a largely archaic Japanese term for China
 * Shina (Bloody Roar), Shina Gado, a character from the Bloody Roar video game series
 * Shina, Kabul, Afghanistan
 * S'hina, or Cholent, traditional Jewish stew
 * Shina wood, a kind of plywood commonly used in printing

title: Shina


text:
Jacques Cujas

Jacques Cujas (or Cujacius) (Toulouse, 1522 – Bourges, 4 October 1590) was a French legal expert. He was prominent among the legal humanists or mos gallicus school, which sought to abandon the work of the medieval Commentators and concentrate on ascertaining the correct text and social context of the original works of Roman law.

Biography
He was born at Toulouse, where his father, surnamed Cujaus, was a fuller. Having taught himself Latin and Greek, he studied law under Arnaud du Ferrièr, then professor at Toulouse, and rapidly gained a great reputation as a lecturer on Justinian. In 1554 he was appointed professor of law at Cahors, and about a year after Michel de l'Hôpital called him to Bourges. François Douaren (Franciscus Duarenus), who also held a professorship at Bourges, stirred up the students against the new professor, and Cujas was glad to accept an invitation he had received to the University of Valence.

Recalled to Bourges at the death of Duaren in 1559, he remained there until 1567, when he returned to Valence. There he gained a European reputation, and collected students from all parts of the continent, among whom were Joseph Scaliger and Jacques Auguste de Thou. In 1573 King Charles IX of France appointed Cujas counsellor to the parlement of Grenoble, and in the following year a pension was bestowed on him by Henry III. Margaret of Savoy persuaded him to move to Turin; but after a few months (1575) he returned to his old place at Bourges. The religious wars drove him out. He was called by the king to Paris, and permission was granted him by the parlement to lecture on civil law in the university there. A year later, he finally took up residence at Bourges, where he remained until his death in 1590, in spite of a handsome offer made him by pope Gregory XIII in 1584 to attract him to Bologna.

Works
The life of Cujas was altogether that of a scholar and teacher. In the religious wars which filled all the thoughts of his contemporaries he steadfastly refused to take any part. Nihil hoc ad edictum praetoris, "this has nothing to do with the edict of the praetor," was his usual answer to those who spoke to him on the subject. His claim as a jurisconsult consisted in the fact that he turned from whom he considered the "ignorant" commentators on Roman law to the Roman law itself. He consulted a very large number of manuscripts, of which he had collected more than 500 in his own library; but he left orders in his will that his library should be divided among a number of purchasers, and so his collection was scattered and in great part lost.

His emendations, of which a large number were published under the title of Observationes et emendationes, were not confined to lawbooks, but extended to many of the Latin and Greek classical authors. In jurisprudence his study was far from being devoted solely to Justinian; he recovered part of the Theodosian Code, with explanations and he procured the manuscript of the Basilika.

He also composed a commentary on the Consuetudines Feudorum, and on some books of the Decretals. In the Paratitla, or summaries which he made of the Digest, and particularly of the Code of Justinian, he condensed into short axioms the elementary principles of law, and gave definitions remarkable for their clarity and precision.

In his lifetime Cujas published an edition of his works (Neville, 1577). It is incomplete. The edition of Colombet (1634) is also incomplete. Charles Annibal Fabrot, however, collected the complete works of Cujas in the edition which he published at Paris (1658), Naples and Venice.

Personality
His lessons, which he never dictated, were continuous discourses, for which he made no other preparation than that of profound meditation on the subjects to be discussed. He was impatient of interruptions and upon the least noise he would instantly quit the chair and retire. He was strongly attached to his pupils, and Joseph Justus Scaliger affirms that he lost more than 4000 livres by lending money to the more needy of them.

title: Jacques Cujas


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Charles Annibal Fabrot

Charles Annibal Fabrot (15 September 1580 – 16 January 1659) was a French jurisconsult.

Biography
He was born in Aix-en-Provence. At an early age he made great progress in the ancient languages and in the civil and the Canon law, and in 1602 he received the degree of doctor of law, and was made avocat to the parlement of Aix. In 1609 he obtained a professorship in the university of his native town. He is best known by his translation of the Basilika, which may be said to have formed the code of the Eastern empire till its destruction.

This work was published at Paris in 1647 in 7 volumes folio, and obtained for its author a considerable pension from the chancellor, Pierre Seguier, to whom it was dedicated. Fabrot rendered great service to the science of jurisprudence by his edition of Cujas, which comprised several treatises of that great jurist previously unpublished. He also edited the works of several Byzantine historians, and was besides the author of various antiquarian and legal treatises. He died in Paris on 16 January 1659.

Trivia

 * There is a street in the centre of Aix-en-Provence named after him.

title: Charles Annibal Fabrot


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Our Man in Havana

Our Man in Havana (1958) is a novel set in Cuba by the British author Graham Greene. Greene uses the novel to mock intelligence services, especially the British MI6, and their willingness to believe reports from their local informants. The book predates the Cuban Missile Crisis, but certain aspects of the plot, notably the role of missile installations, appear to anticipate the events of 1962.

The novel was adapted into a film of the same name in 1959, directed by Carol Reed and starring Alec Guinness. In 1963, it was adapted into an opera by Malcolm Williamson to a libretto by Sidney Gilliat, who had worked on the film. In 2007, it was adapted into a play by Clive Francis, which has toured the UK several times and been performed in various parts of the world.

Background
Greene joined MI6 in August 1941. In London, Greene had been appointed to the subsection dealing with counter-espionage in the Iberian Peninsula, where he had learnt about German agents in Portugal relaying fictitious reports to their superiors, which garnered them expenses and bonuses to add to their basic salary.

One of the agents was "Garbo", a Spanish double agent in Lisbon, who gave his German handlers disinformation, by pretending to control a ring of agents all over England. In fact, he invented armed forces movements and operations from maps, guides and standard military references. Garbo was the main inspiration for Wormold, the protagonist of Our Man in Havana.

Remembering the German agents in Portugal, Greene wrote the first version of the story in 1946, as an outline for a film script, with the story set in Estonia in 1938. The film was never made, and Greene soon realised that Havana, which he had visited several times in the early 1950s, would be a much better setting, with the absurdities of the Cold War being more appropriate for a comedy.

Plot
The novel, a black comedy, is set in Havana during the Fulgencio Batista regime. James Wormold, a vacuum cleaner retailer, is approached by Hawthorne, who tries to recruit him for the Secret Intelligence Service (MI6). Wormold's wife had left him and now, he lives with his beautiful 17-year-old daughter, Milly, who is devoutly Catholic, but also materialistic and manipulative. Since Wormold does not make enough money to pay for Milly's extravagances, he accepts the offer of a side job in espionage. Because he has no information to send to London, Wormold fabricates his reports using information found in newspapers and invents a fictitious network of agents. Some of the names in his network are those of real people (most of whom he has never met), but some are made up. Wormold tells only his friend and World War I veteran, Dr. Hasselbacher, about his spy work, hiding the truth from Milly.

At one point, he decides to make his reports "exciting" by sending to London sketches of what he describes as a secret military installation in the mountains, actually vacuum cleaner parts scaled to a large size. In London, nobody except Hawthorne, the only one to know that Wormold sells vacuum cleaners, doubts this report. However, Hawthorne keeps quiet for fear of losing his job. In the light of the new developments, London sends Wormold a secretary, Beatrice Severn, and a radio assistant codenamed "C" with much spy paraphernalia.

On arriving, Beatrice tells Wormold she has orders to take over his contacts. Her first request is to contact the pilot Raúl. Under pressure, Wormold develops an elaborate plan for his fictitious agent "Raúl". However, to his surprise, a real person with the same name is killed in an apparent car accident. From then on, Wormold's manufactured universe overlaps with reality, with threats made to his "contacts". Together, Beatrice, who still believes the contacts to be real, and Wormold try to save the real people who share names with his fictional agents.

Meanwhile, London passes on the information that an unspecified enemy, implied to be a Soviet contact, intends to poison Wormold at a trade association luncheon, where he is the speaker. It would seem that his information has worried local operatives who now seek to remove him. London is pleased by this, as that validates his work. Wormold goes to the function and sees Dr. Hasselbacher, who loudly warns him of the threat. Wormold continues to dinner where he manages to refuse the meal that is offered and eats another one. Across the table sits a fellow vacuum cleaner salesman he had met earlier, Carter, who offers him whisky. Suspicious, Wormold knocks over the glass, which is then drunk by the headwaiter's dachshund, which soon dies. In retaliation for the failure, Carter kills Dr. Hasselbacher at the club bar.

Captain Segura, a military strongman in love with Milly and intending to marry her, has a list of all of the spies in Havana, which Wormold would like to send to London to partially redeem his employment. He tells Segura that he is going to his house to discuss Segura's plans about Milly. Once there, Wormold proposes they play a game of draughts using miniature bottles of Scotch and bourbon as the game pieces, where each piece taken has to be drunk at once. Eventually, Segura, who is a much better player, ends up drunk and falls asleep. Wormold takes his gun and photographs the list using a microdot camera. To avenge the murder of Dr. Hasselbacher, Wormold convinces Carter to accompany him on a drive and, at a local brothel and after some hesitation, shoots him with Segura's pistol. He misses Carter and is about to leave. Carter shoots back, but Wormold shoots and kills him. Wormold sends the agent list as a microdot photograph on a postage stamp to London, but it proves blank when processed.

Wormold confesses everything to Beatrice, who surprisingly admires his doings. Captain Segura then gets Wormold deported from Cuba by reporting him to London. Wormold and Beatrice are summoned to headquarters, where Beatrice is posted to Jakarta and Wormold's situation is considered. To avoid embarrassment and silence him from speaking to the press, MI6 offers Wormold a teaching post at headquarters and recommends him for the Order of the British Empire. Afterwards, Beatrice comes to Wormold's hotel, and they decide to marry. Milly is surprisingly accepting of their decision, and she is to go to a Swiss finishing school, paid for by Wormold's scam earnings.

Cuba's attitude
The revolutionary government of Cuba allowed the film version of Our Man in Havana to be filmed in the Cuban capital, but Fidel Castro complained that the novel did not accurately portray the brutality of the Batista regime.

In his autobiography, Ways of Escape, Greene commented: "Alas, the book did me little good with the new rulers in Havana. In poking fun at the British Secret Service, I had minimized the terror of Batista's rule. I had not wanted too black a background for a light-hearted comedy, but those who suffered during the years of dictatorship could hardly be expected to appreciate that my real subject was the absurdity of the British agent and not the justice of a revolution."

Greene returned to Havana between 1963 and 1966.

title: Our Man in Havana


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List of Atari 2600 games

The Atari 2600 is a home video game console released in September 1977. Sears licensed the console and many games from Atari, Inc., selling them under different names. Three cartridges were Sears exclusives.

The list contains  games, divided into three sections:

 * 1) Games published by Atari and Sears
 * 2) Games published by third parties
 * 3) Hobbyist-developed games after the system was discontinued.

The console was released with nine cartridges: Air-Sea Battle, Basic Math, Blackjack, Combat, Indy 500, Star Ship, Street Racer, Surround and Video Olympics.

The final licensed Atari 2600 games released in North America were Ikari Warriors, MotoRodeo, Sentinel, and Xenophobe in early 1991, and the final licensed games released in Europe were Klax and Acid Drop in 1990 and 1992 respectively.

Games published by Atari and Sears
All of the initial era of Atari 2600 games were developed and manufactured by Atari, Inc. These games were published by Atari, and many were also licensed to Sears, which released these games under its Tele-Games brand, often with different titles. Sears's Tele-Games brand was unrelated to the company Telegames, which also produced cartridges for the Atari 2600 (mostly re-issues of M Network games.)

Three games were also produced by Atari Inc. for Sears as exclusive releases under the Tele-Games brand: Steeplechase, Stellar Track, and Submarine Commander.

Games published by third parties
As the Atari 2600 console grew in popularity, in 1980 other game developers, such as Activision and Imagic, entered the market and published more than 380 of their own cartridges for the Atari 2600. Many of the most popular Atari 2600 games, such as Pitfall! and Demon Attack, are third-party games.

Homebrew games

The Atari 2600 has been a popular platform for homebrew projects, with games publicly released. Unlike later systems, the Atari 2600 does not require a modchip to run cartridges. Many games are clones of existing games written as programming challenges, often borrowing the name of the original.

In 2003, Activision selected several games for inclusion in the Game Boy Advance version of their Activision Anthology, as indicated below.

Additional titles (publisher unknown)
=== Included with Atari Flashback 9 / Flashback 9 Gold ===
 * 1) Adventure II
 * 2) Asteroids Deluxe
 * 3) Atari Climber
 * 4) Burnin’ Rubber
 * 5) Championship Soccer
 * 6) Chase It!
 * 7) Combat Two
 * 8) Decathlon
 * 9) Escape It!
 * 10) Fun with Numbers
 * 11) Miss It!
 * 12) RealSports Basketball
 * 13) Return to Haunted House
 * 14) Saboteur
 * 15) Shield Shifter
 * 16) Space Raid
 * 17) Strip Off
 * 18) Tempest
 * 19) Wizard

title: List of Atari 2600 games


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Arnaud du Ferrier

Arnaud Du Ferrier (c. 1508 – 1585) was a French lawyer and diplomat.

He was born at Toulouse and practised as a lawyer first at Bourges, afterwards at Toulouse. Councillor to the parlement of the latter town, and then to that of Rennes, he later became president of the parlement of Paris. He represented King Charles IX at the Council of Trent in 1562, but had to retire in consequence of the attitude he had adopted, and was sent as ambassador to Venice, where he remained till 1567, returning again in 1570.

On his return to France he came into touch with the Calvinists, to whose beliefs he was sympathetic, and consequently lost his place in the privy council and part of his fortune. As compensation, Henry of Navarre appointed him his chancellor.

title: Arnaud du Ferrier


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Castell

A castell (: literally, castle) is a human tower built traditionally at festivals in a part of Catalonia (Spain), now also found in the rest of Catalonia, in the Balearic islands and in the Valencian Community.

At these festivals, several colles castelleres (teams that build towers) attempt to build and then dismantle a tower's structure. On 16 November 2010, castells were declared by UNESCO to be amongst the Masterpieces of the Oral and Intangible Heritage of Humanity.

Origin
Although based on the earlier traditional Muixeranga of Algemesí in Valencia, the tradition of castells within Catalonia originated in the Ball dels Valencians (Valencian Dance) in the town of Valls, near the city of Tarragona, first documented in 1712. Over the course of the 18th century, they spread to other towns and cities in the area, including Vilafranca del Penedès and Tarragona, though it was not until the last 50 years that the practice of building castells began to spread to the rest of Catalonia. Interest in castells began to grow in the 1960s and 1970s. In the 1980s, the inclusion of women in the formerly male-only discipline ushered in the second època d'or (golden age) of castells; the presence of women is credited with allowing castells to be built lighter and stronger, enabling the construction of previously undreamed-of 9- and 10-story castells.

While in Catalonia, the Ball dels Valencians began to focus more on the acrobatic nature of building ever taller human towers, their more religious and allegorical predecessors retain their traditions: the Muixeranga, which is performed in the Valencian city of Algemesí, and in other places in the Valencian Land and Catalonia, where it is often called the moixiganga.

In 2015 the Coordinadora de Colles Castelleres de Catalunya hosted 99 groups, including Castellers de Vilafranca and Minyons de Terrassa, who were able to construct the tallest human tower to date, the "4 de 10" (10 levels of people with four in each level).

These icons of Catalan culture and sports were featured in the opening ceremony of the Barcelona 1992 Summer Olympics.

The Castell
In Catalan, the word castell literally translates into castle, while in English its meaning is specifically that of a human tower.

A castell is considered a success when assembly and disassembly can be done in complete succession. The assembly is complete once all castellers have climbed into their designated places, and the enxaneta climbs into place at the top and raises one open hand. The enxaneta then climbs down the other side of the castell, after which the remaining levels of castellers descend in highest to lowest order until all have reached safety.

Aside from the people who climb to form the upper parts of the tower, others are needed to form the pinya, or bottom base of the castell, to sustain its weight. Members of the pinya (most often men) also act as a 'safety net' if the tower structure collapses, cushioning the fall of people from the upper levels. It is not uncommon—when not in competitions—for other colles to assist in the pinya when a small colla is attempting a specially demanding structure in terms of people needed.

The castell is built in two phases. First, the pinya— the base of the tower — is formed. People forming higher levels of the tower move to a position from which they can easily get to their places in the tower. This is done slowly and carefully, and as subsequent base levels are completed the castellers in the pinya determine if their base is solid enough for construction to continue. Then, when the signal to proceed is given, bands begin to play the traditional Toc de Castells music as a hush comes over spectators of the event. The upper layers of the tower are built as quickly as possible in order to put minimal strain on the lower castellers, who bear most of the weight of the castell. The disassembly of the castell, done amidst the cheering of the crowd, is often the most treacherous stage of the event.

A castell can also be aixecat per sota ("raised from below"). In this technique, rather than the lower levels being built first with subsequent layers added on top, the top layers are formed on the ground and then hoisted into the air level by level, with each successive layer being formed underneath. This is regarded as taking a great deal of practice, skill, and strength.

Attire
Typically castellers wear white trousers, a black sash (faixa), a bandana (mocador), and a shirt in a color characteristic of a given colla, often bearing the team's emblem. For instance, Castellers de Barcelona team wear red shirts while Castellers de Vilafranca wear green shirts and are often called "els verds" referencing their uniform.

The sash (faixa) is the most important part of their outfit. It represents the tradition as a whole, and one only wears a faixa when being a casteller. The sash is also believed to support the lower back, and it is used by other castellers in the team as a foothold or handhold when climbing up the tower. This tasselled piece of cloth varies in length and width and depends on the casteller's position inside the tower and also on choice. The length of the sash ranges from 1.5 to 12m and usually is shorter for those higher up in the castell. Performing castellers usually go barefoot as to minimise injuries upon each other as they climb to their positions and also for sensitivity when balancing and to have better feel and hold each other.

Structure
The arrangement of castellers can be into a multi-tiered structure and the highest has a height spanning of nine or ten people from ground up. The motto of Castellers is "Força, equilibri, valor i seny" (Strength, balance, courage and common sense). This motto is taken from a verse of Els Xiquets de Valls by Josep Anselm Clavé, a Catalonian politician and composer.
 * Strength: Castellers at the base of the tower are usually stocky, while those further up, though generally lighter and agile, must still be fairly strong. The first castellers were peasants that were accustomed to holding great weights and were under much physical exertion.
 * Balance: Supporting those above themselves in the castell, whilst relying on those below for support, requires a strong sense of balance and trust.
 * Courage: The most important characteristic for castellers, especially for young children forming the highest levels of the castell.
 * Common sense: Rehearsing and performing requires a great deal of planning and reasoning. Any error can cause the structure to fail and break apart.

Safety
Accidents are rare during the construction of a castell; however, as in every other crowded cultural event, ambulances are stationed nearby in case a person needs immediate attention. Fatal accidents do occur; the most recent was on 15 September 2011 when a man broke his second cervical vertebrae after falling from a castell. On 23 July 2006, in Mataró, a young casteller fell off the formation of a castell and died. This led to the requirement of specially designed helmets for all children participating in castells. Prior to this, the last death of a participant was in 1983 in Torredembarra. There have only ever been four recorded mortalities from participating in castells. Since the introduction of the helmets, there have been no cases of traumatic brain injury among children participating in castells.

Castell nomenclature
Castells are primarily described by the number of people in each level of the tronc and the total number of levels and, where applicable, any special construction technique used. Levels are composed of between one and five individuals standing on the shoulders of the level below.

Common terms indicating the number of people for each level of a tower:

 * Pilar ("pillar"): one person per level
 * Torre ("tower"): two people per level
 * Tres : three people per level
 * Quatre : four people per level
 * Cinc : five people per level (and so on)

Castells with more than four people per level are composite structures. For example, the levels of a cinc are not pentagons; instead, the cinc amounts to a tres  and a torre fused together (3 + 2 = 5), each level forming a figure-eight shape if seen from above.

Numbers of levels most commonly built:

 * Sis : six levels high
 * Set : seven levels
 * Vuit : eight levels
 * Nou : nine levels
 * Deu : ten levels

For example, a tres de vuit (abbreviated 3d8) denotes a tower with three people per level and eight levels. (Only the first five levels will have three people per level. The pom de dalt, see below, is reckoned as making up the top three levels.)

Very high towers and ones with a small number of people on each level normally need extra support from the base or bottom levels. These base levels are frequently indicated as part of the name of the tower. Three kinds of base levels are most commonly used:

 * Pinya ("pine cone/bulk"): the ground-level base, often composed of several hundred people. Most towers have this, so it is not mentioned in the name. Instead, when a tower is built without a pinya, it is described as net ("neat" or "simple"). There is furthermore an expression in Catalan called "fer pinya" which is taken from its usage in castells. Literally translating into "making a pinecone" in English, this phrase is not only meaningful for castellers but for the people of Catalonia as a whole. To be a part of a pinya you do not need to be an experienced casteller, anybody can be a part of the base. Thus, "fer pinya" represents the idea of coming together in solidarity to accomplish a goal or task.
 * Folre ("cover"/"lining"): a second-level base built on top of the pinya. Another layer of reinforcement above the pinya for the castell. It is always mentioned when used.
 * Manilles ("handles"/"handcuffs"): a third-level base built on top of the second-level folre. A manille is often use for particularly tall castells (nine or ten levels). It is always mentioned when used.
 * When tall castells are built, for extra challenge, without a folre and/or manilles that would usually be used due to their height, this is also mentioned, e.g. torre de 9 sense manilles (torre of 9 without manilles), which can also be called torre de 9 amb folre (torre of 9 with folre, i.e. with only a folre and no manilles)

The term amb l'agulla ("with the needle") refers to a high column of one person per level which is built inside the main tower. When the castell is being dismantled, the agulla must remain standing until the outside part of the castell is already down.

Terms denoting special construction techniques include:
 * aixecat per sota ("raised from below"), in which the castell is built not from the bottom up by climbing, but from the top down with each successive level being boosted onto the shoulders of castellers who join at ground level;
 * caminant ("walking"), in which a castell (usually a pilar), and its pinya if any, slowly walk as a unit across the ground. This is often done to enter the site at the beginning of an actuació.

Another aspect of castell nomenclature refers to how successfully the tower was completed. Four terms are used:
 * Descarregat : the tower is completed to the top—that is, to the point where the enxaneta raises his or her hand in the aleta gesture—and successfully dismantled
 * Carregat : the tower is completed to the top but falls during dismantling
 * Intent : the tower falls before it is completed to the top
 * Intent desmuntat : the tower is not completed to the top but is successfully dismantled (because the tower is observed to be unstable and likely to fall)

Examples

 * Pilar de sis: one person per level in a tower of six levels. If nothing else is mentioned, this means that the tower had the bottom base-level pinya (as always) and was successfully dismantled (descarregat).
 * Torre de nou : two people per level in a tower of nine stories.
 * Cinc de nou amb folre : five people at each level in a tower of nine levels, with a second-level folre built on top of the base-level pinya.
 * Quatre de nou amb agulla : four people at each level in a tower of nine levels, with an interior agulla.
 * Quatre de nou net :four people at each level in a tower of nine levels without folre ( a second-level base ) built on top of the pinya ( ground level base ).
 * Tres de deu amb folre i manilles : three people per level in a tower of ten levels, with a second-level folre and a third-level manilles.
 * Quatre de deu amb folre i manilles: four people per level, with additional support in the second and third levels. This difficult construction was achieved for the first time in November 2015, by the Minyons de Terrassa team.

Castellers and parts of a castell

 * cap de colla ("team leader"): The head of each team, who decides which castells the team is ready to attempt and directs the construction of the castells from the ground. The cap de colla is always accompanied by a number of assistants and advisers.
 * cap de pinya ("base leader") one of the team leaders's assistants, who takes particular responsibility for the allocation of places in the pinya, ensuring even force is applied to the base of the castell. The cap de pinya will direct members of the pinya to different positions, depending on the size of the castell.
 * tronc ("trunk"): The vertical part of the castell.
 * baix ("base"): the casteller standing on the ground at the bottom of one of the columns of castellers making up the tronc, and supporting the segon on his or her shoulders. Short, stocky, and strong.
 * segon ("second"): One of the castellers standing on the shoulders of the baixos, making up the second storey of the tronc. Likewise, the subsequent storeys of the trunk are called terços, quarts, quints, sisens, and setens ("thirds, fourths, fifths, sixths, sevenths"). As the pom de dalt makes up the top three storeys of the castell and there has never yet been a castell taller than ten storeys, there have never been any vuitens ("eighths").
 * agulla ("needle," not to be confused with the agulla mentioned above): A casteller who stands in front of and facing a baix, holding the lower legs of the segon and relaying information and instructions to the members of the pinya.
 * contrafort ("buttress"): stands behind the baix and holds embraces him/her for support.
 * crossa ("crutch"): fills in the space between baixos and supports their arms on his/her shoulders. Generally short and slender.
 * mans ("hands"): stands behind the contrafort and supports the buttocks of the segon.
 * vent ("wind"): stands between and just outside two baixos and supports the legs of the segons standing on both.
 * lateral: stands to one side of a baix and supports one leg of the segon from the side.
 * cordó ("cordon"): Each concentric layer of the pinya. The ones in direct contact with the tronc are the primer cordó, those behind them are the segon cordó, and so forth. Members of the outer cordons are designated by the person they are positioned behind and the number of their cordó. For example, the person behind the primeres mans is the segones mans; behind that person is the terceres mans, and so forth.
 * tap ("stopper"): inserted into the pinya to fill a gap and make the pinya more solid.
 * pom de dalt ("top group"): The top three levels of the castell: dosos, aixecador, and enxaneta.
 * canalla ("children"): Those who make up the top levels of the castell. They are usually children but can also be women.
 * dosos ("the twos"): A level consisting of two people, supporting and locked together by the aixecador and surmounted by the enxaneta. These castellers are generally children.
 * aixecador ("riser") or acotxador ("croucher"): The person who squats with one foot on each of the dosos, locking them together and so providing a stable platform for the enxaneta, who stands astride the aixecador. Almost always a child.
 * enxaneta ("rider") : The topmost casteller, a child. When the enxaneta raises his or her hand in a four-finger gesture called the aleta, this indicates that the construction of the castell is complete.

The Human Tower Museum of Catalonia in Valls
In Valls, the Món Casteller Human Tower Museum of Catalonia is being built. The project is designed as a place of reference for the human tower universe where experiences can be lived out.

Colles castelleres universitàries (teams of college castellers)

 * Arreplegats de la Zona Universitària (Barcelona)
 * Bergants del Campus de Terrassa (Terrassa)
 * Emboirats de la UVIC (Vic)
 * Engrescats de la URL (Barcelona)
 * Ganàpies de la UAB (Cerdanyola del Vallès)
 * Grillats del CBL (Castelldefels)
 * Llunàtics de la UPC de Vilanova
 * Marracos de la UdL (Lleida)
 * Passerells del Tecnocampus (Mataró)
 * Pataquers de la URV (Camp de Tarragona)
 * Penjats del Campus Manresa (Manresa)
 * Trempats de la UPF (Barcelona)
 * Xoriguers de la UdG (Girona)

Colles exteriors (outside the Catalan-speaking region)

 * Castellers de Sydney, (Sydney, Australia)
 * Castellers de Berlin, (Berlin, Germany)
 * Xiquets Copenhagen (Copenhagen, Denmark)
 * (Paris, France)
 * Castellers of London (London, England)
 * Colla Castellera d'Edinburgh, (Edinburgh, Scotland)
 * Xiquets de Hoorn (Hoorn, Netherlands)
 * Castellers d'Irlanda (Dublin, Ireland)
 * (Montréal, Québec, Canada)
 * Castellers de Lo Prado, (Santiago, Chile)
 * Koales de Melbourne, (Melbourne, Australia)
 * Castellers BXL Foyer, (Brussels, Belgium)
 * Xiquets de Hangzhou, (Hangzhou, China)

title: Castell


text:
Talk:Rin Tin Tin

Removed nonsensical claim concerning the first Oscar for Best Actor
The hoary old myth that Rin Tin Tin garnered the most votes for Best Actor in 1929 but the studios decided they needed a human winner while patently absurd is widespread on the net and elsewhere. Deleted the assertion, which has no contemporary evidence at all to back it up. aldiboronti (talk) 18:19, 6 September 2015 (UTC)

Copyvio
Looks like this was taken from a web page, not wikified in any way, probably copyright, includes ad copy. Ortolan88

 * Yup, it's a copyright violation alright... http://www.citipets.com/2_article8.cfm

https://en.wikipedia.org/w/index.php?title=Talk:Rin_Tin_Tin&action=edit#
 * Could some wikicop do the copyright violation honors to this article? Ortolan88

 * Anyone can add a copyright violation notice. I'd do it, but I can't access the aforementioned page.  WP:CP explains how to do it, for future reference. Stephen Compall 16:50, 13 May 2005 (UTC)

..it´s not an actor, it´s a character (consuming several dogs)

My edits to the page
Birth/death dates fmted per Manual of Style (dates and numbers); the birth & death places are usually included in text in the article. Also if the dog was "found", I question the actual birth date--hence added "c.". Added back the partial list of films because it's interesting & relevant; although maybe should be a separate section at end of article listing all of his films. Elf | Talk 21:02, 16 Aug 2004 (UTC)

Done, just 10 months after you asked for it ;) Proto 09:36, 9 Jun 2005 (UTC)

 * Cool, that's about my speed, too. :-) Elf | Talk 05:32, 10 Jun 2005 (UTC)

146.163.160.132
The bit about Rin Tin Tin III seemed to be nonsense, however creative. If this can be confirmed, feel free to add it back. Stephen Compall 16:48, 13 May 2005 (UTC)

Cartoon?
Wasn't there a Rin Tin Tin cartoon at one point? However, in the series I'm thinking of, the dog was very small, and went on adventures with a young boy.

 * Maybe you're thinking of the Belgian comic Tintin about a boy who went on adventures. He had a little white dog.

I very definitely recall a Rin Tin Tin comic book series back in the 1950s and early 1960s, mostly of RTT as the companion/possession of a park ranger in (IIRC) Alaska. As a matter of fact, I wish this article would provide adequate summaries of the plots of the radio series, movies, and TV series. Apparently the dog was first presented in the frozen north, evidently paired with an adult, but the TV series moved him to an wild west Army cavalry fort in the wilderness where he was paired with an orphan boy. What, definitively, was supposed to be the backstory to this dog? Sussmanbern (talk) 19:07, 18 May 2018 (UTC)

Bloodline
The Rin Tin Tin Kennels website claims that "Jr." and "II" were both sired by the original. And that "IV" was sired by "II". Until someone comes up with a source that says otherwise, I've taken out the claim that the subsequent dogs are not decended form the original.

They also say that the "Jr" that appeared on TV was not "Rin Tin Tin Jr." but another dog. The makes sense as RTT Jr would have been over twnety years old when the TV show was recorded. cdixon 76.183.29.230 23:02, 12 January 2007 (UTC)

Suggested image
There's an image of Rintintin's grave on Flickr at http://www.flickr.com/photos/26022927@N00/37160552/. If we can legally add this to the article I think it would add a nice touch. Off2Explore 22:54, 16 Apr 2007 (UTC)

Rantanplan
The dog Rantanplan in the Lucky Luke comic series is named after Rin Tin Tin.

Radio
Something is wrong with the final paragraph of the Radio section. There are run-on sentences, and the final information there, noting the performers Lee Aakers, James Brown, and Joe Sawyer, refers to the television series but is not clearly stated so. I am not sure how to correct this, but it is garbled as currently shown. StevenTiger (talk) 14:29, 22 August 2010 (UTC)

Definitive new books-- call for additions
At least two solid new books on Rin Tin Tin, one on his film career, one on his (and his pups') lives. The book by the respected journalist Susan Orlean just got a big review in the New York Times. The article should be updated from these solid new sources, and possibly cross listed with the Darryl F. Zanuck article, and Warner Brothers. Interesting new information on Zanuck that I hadn't seen elsewhere. Profhum (talk) 04:44, 22 October 2011 (UTC)

 * There's an extract from the Susan Orlean book here http://www.telegraph.co.uk/culture/books/9010387/Rin-Tin-Tin-the-dog-who-charmed-the-world.html that disagrees with the article as it presently stands. Most noticeable where he was buried.  MidlandLinda (talk) 16:42, 15 January 2012 (UTC)

 * I've been using the book to expand the article. It's quite good. Binksternet (talk) 06:03, 4 December 2012 (UTC)

Source of Rin Tin Tin name-- opportunity for a scholar
Susan Orlean, in her exhaustive and well researched book, says she failed to turn up a source for the name. Rin Tin Tin was found on the battlefield, though, and rin-tin-tin was the current French version of machine gun fire (cf. our rat-tat-tat.) If you pronounce it in French you'll see it's apt. Okay, that's Original Research, but are any of you reading this an authority who can find an article on it, probably in French? Best, Profhum (talk) 04:49, 22 October 2011 (UTC)
 * While I haven't seen the book, if it is exhaustive and well-researched, she presumably discusses the origins of the two good-luck charm dolls Rintintin and Nénette, from doll characterers designed by Francisque Poulbot at least by 1913 (no reason to suppose that he was influenced by machine gun sound in a war that hadn't begun). http://www.poupendol.com/poulbot-dolls.html
 * I have deleted the section I recently added referring to the US Navy's USS Rin Tin Tin as, on reflection, she could not be named after the dog but rather, along with USS Nenette, after the same dolls. It would be relevant if there were an article on the dolls. Davidships (talk) 19:50, 1 December 2011 (UTC)
 * Poulbot once said that Rintintin was the pet name he used to call his wife; she called him Nénette in the same fashion, as a term of endearment between lovers. That's why he named the pair of dolls Rintintin and Nénette in late 1913, with Rintintin being the girl doll contrary to the way everyone else in France called the dolls. I have no idea where Poulbot got the pet name Rintintin or why he would aim it at his wife. Binksternet (talk) 05:59, 4 December 2012 (UTC)

Key to New York
"In New York City, New York, Mayor Jimmy Walker gave Rin Tin Tin a key to the city". This is currently in the Death and posthumous recognition section, and is given the reference ''Orlean, Susan. "The Dog Star", The New Yorker, August 29, 2011.'' This positioning implies the award was posthumous.

Considering that Walker was only mayor for one further month after Rin Tin Tin's death, are we sure this isn't referring to an earlier event? Anyone got the book? Something I've found on google http://www.statesman.com/life/books/orlean-tells-all-about-rin-tin-tin-1903031.html?printArticle=y tells that his owner once received the key - are we sure some confusion hasn't occured? LukeSurlt c 22:53, 13 April 2012 (UTC)

Animals do not go in nationality categories
We have Category:Animal actors. I am pretty sure that is the only category this dog really should go in. However it is more clear to me that dogs do not go into nationality categories. Category:American actors is a sub-cat of Category:American people by occupation, so dogs do not go in it.John Pack Lambert (talk) 18:12, 21 October 2013 (UTC)

 * What you are describing is a problem caused within Wikipedia by Wikipedians who are interested in categorization. The problem is iatrogenic; caused by those who are supposed to be fixing it. Clearly actors can be animals. Clearly animals can have a nationality, and they can be described as having been active in the 20th century. So we can have an animal be a 20th century American actor, such as Strongheart and Rin Tin Tin, even though both of these dogs were born in Europe (one in Germany, and one in France). Both acting careers were from American residence and American activity. Binksternet (talk) 18:41, 21 October 2013 (UTC)

 * Keep in mind here folks that if we are going to be listing the dog's nationality, the original Rin Tin TIn was by birth French, not American. Mediatech492 (talk) 19:00, 21 October 2013 (UTC)

 * We have Category:Animal actors. That is meant to capture all animals that act. There is no need to subdive them into any more categories. To do so is to mix people and animals. Doing so was never the intention of the categories. I did not know it was so bad. We do not categorize actors by where they performed, but by nationality. These are nationality categories. Actors who were nationals of Mexico or Italy but only performed in US films are still in Mexican and Italian actors categories. So the dog is not an American, and does not belong in American categories.John Pack Lambert (talk) 19:05, 21 October 2013 (UTC)
 * The descriptor of animal actors is "Individual animals used in film and television (see also animals on television and the Patsy Award)." which clearly suggests it should be the only acting category these animals are in.John Pack Lambert (talk) 19:18, 21 October 2013 (UTC)
 * No other animals are in any sub-cat of the actors category besides Rin Tin Tin. There is clearly a decision to not put animals in the other categories, and there is absolutely no reason to put Rin Tin Tin in those categories.John Pack Lambert (talk) 19:27, 21 October 2013 (UTC)
 * There is long-standing practice to not mix up fictional with real characters in categorization, and in general to keep "people" categories populated only by people. In this case, the same should apply, and Rin tin tin should not be in any categories with "people" as the top-level parent. I think the animal actors are sufficiently small in number that categorization of them as animal actors is sufficiently defining. In the future, if there were hundreds or thousands of animal actors, one could imagine dividing that grouping by nationality (whatever that means) of the animal in question, or by type of animal, but for now with only 42 notable animal actors, we don't need more categories for them at this point. Yes, animals can be actors and can be active in the 20th century, but people categories should contain people only, that's just the way it's always been, and non-humans have always been hived off into other categories. The naked "actor" in english generally is taken to mean a human in this case, and animal actors almost always use the qualifier "animal" when describing them. I suggest we apply a dose of common sense here - when such categories were set up, or when users are browsing these categories, do they expect to see non-human actors? Would they expect to see fictional actors as well? I think the principle of least surprise suggests that no, Virginia, they aren't looking for or expecting dogs here.--Obi-Wan Kenobi (talk) 19:30, 21 October 2013 (UTC)
 * another example is Hatsune Miku who is a virtual algorithm but who also happens to be a singer. She is in the idols category, which is probably inappropriate, but she doesn't show up in any japenese singers cats ongside humans I don't think.--Obi-Wan Kenobi (talk) 22:25, 21 October 2013 (UTC)
 * Even though I've been contributing to Wikipedia for six years, I still cannot wrap my head around categories. I think they are an artificially hierarchical construct, with whimsical limits placed on them, when they could have been more free-form and organic from the start. That said, I will leave the categorization of this article in other hands. Clearly there are a great many proponents of the current system. I'm dismounting Rocinante and I'm chopping up my lance for firewood. Binksternet (talk) 15:14, 22 October 2013 (UTC)
 * Categories are not tags, for one, and yes they do impose artificial hierarchy - and if you follow a given category down to subs of subs of subs, you will often find things that would have no business in the parent, since parent/child relationships are often incorrectly used to indicate relations as opposed to proper sub-setting. There are also somewhat inconsistent rules around when they are used - for example, if someone is from X, then they can always be categorized as being such - even if people rarely talk about it - but OTOH if they were once a waiter, they cannot be categorized as such, since that is not DEFINING. Then the whole business of non-diffusing gendered/ethnic categories gets added in and the media dramaz around that, with 90% of people not understanding that doing non-diffusing cats correctly in an emergent (vs top-down designed) category tree is rife with challenges. Read the algorithm here, which gives correct results and is the clearest way I could find to explain it, and then ask yourself how many wikipedia editors are likely to follow that algorithm. The problem is, if you don't follow it, someone will write an article about how wikipedia is sexist/racist. If you want to discuss categorization further, please swing by my talk page, I find it a fascinating topic and I think I understand the current system -with its many flaws - pretty well - and I'm trying to push for a better system of category intersection which may interest you.--Obi-Wan Kenobi (talk) 16:14, 22 October 2013 (UTC)

Jump height dispute/clarification
I have not been able to find any sources describing exactly how a jump height of 11 feet 9 inches was achieved. This is likely either a boosted jump or complete fabrication, as the current world record dog jump height is 5 feet 8 inches. — Preceding unsigned comment added by 2604:5500:C370:FD00:7CF7:A88A:5DB5:653A (talk) 16:53, 14 November 2019 (UTC)
 * Guinness Records confirms a dog named Feather made a vertical jump of 191.7 cm (75.5 in). Mediatech492 (talk) 17:42, 14 November 2019 (UTC)

Bad sentence
The introductory section contains this sentence:

"Duncan groomed Rin Tin Tin IV for the 1950s television series The Adventures of Rin Tin Tin, but the dog performed poorly in a screen test and was replaced in the TV show by trainer Frank Barnes's dogs, primarily one named Flame Jr., called JR, with the public led to believe otherwise."

This is a poorly written sentence.

It is unclear what the phrase "with the public led to believe otherwise" refers to, since the sentence has stated numerous things.

I hope someone knowledgeable on the subject can write this clearly. 2601:200:C000:1A0:CF1:8191:EC52:4A97 (talk) 17:24, 24 October 2022 (UTC)

title: Talk:Rin Tin Tin


text:
Pierre Séguier

Pierre Séguier (28 May 1588 – 28 January 1672) was a French statesman, chancellor of France from 1635.

Early years
Séguier was born in Paris to a prominent legal family originating in Quercy. His grandfather, Pierre Séguier (1504–1580), was président à mortier in the parliament of Paris from 1554 to 1576, and the chancellor's father, Jean Séguier, a seigneur d'Autry, was civil lieutenant of Paris at the time of his death in 1596.

Pierre was brought up by his uncle, Antoine Séguier, president and mortier in the parlement, and became master of requests in 1620. From 1621 to 1624 he was intendant of Guyenne, where he became closely allied with the duc d'Épernon. In 1624 he succeeded to his uncle's charge in the parlement, which he filled for nine years.

Career
In this capacity he showed great independence with regard to the royal authority; but when in 1633 he became keeper of the seals under Richelieu, he proceeded to bully and humiliate the parlement in his turn. He became allied with the cardinal's family by the marriage of his daughter Marie with Richelieu's nephew, Pierre César du Cambout, marquis de Coislin, and in December 1635 he became chancellor of France. In 1637 Séguier was sent to examine the papers of the queen, Anne of Austria, at Val-de-Grâce. According to Anquetil, the chancellor saved her by warning her of the projected inquisition.

In 1639 Seguier was sent to punish the Normans for the insurrection of the Nu-Pieds, the military chief of the expedition, Gassion, being placed under his orders. He put down pillage with a strong hand, and was sufficiently disinterested to refuse a gift of confiscated Norman lands. He was the submissive tool of Richelieu in the prosecutions of Cinq-Mars and François Auguste de Thou in 1642. His authority survived the changes following on the successive deaths of Richelieu and Louis XIII, and he was the faithful servant of Anne of Austria and of Mazarin. His resolute attitude towards the parlement of Paris made the chancellor one of the chief objects of the hatred of the Frondeurs.

On 25 August 1648, Séguier was sent to the parlement to regulate its proceedings. On the way he was assailed by rioters on the Pont-Neuf, and sought refuge in the house of Louis Charles d'Albert, duc de Luynes. In the course of the concessions made to the Fronde in 1650, Séguier was dismissed from his office of keeper of the seals.

He spent part of his retirement at Rosny, with his second daughter Charlotte and her husband, the duke of Sully. He was recalled in April 1651, but six months later, on the king's attaining his majority, Séguier was again disgraced, and the seals were given to President Mathieu Molé, who held them with a short interval till his death in 1656, when they were returned to Séguier. Séguier lived for some time in extreme retirement in Paris, devoting himself to the affairs of the academy.

When Paris was occupied by the princes in 1652, he was for a short time a member of their council, but he joined the king at Pontoise in August, and became president of the royal council. After Mazarin's death in 1661 Séguier retained but a shadow of his former authority. He showed a great violence in his conduct of the case against Fouquet, voting for the death of the prisoner.

In 1666 Séguier was placed at the head of a commission called to simplify the police organization, especially that of Paris; and the consequent ordinances of 1667 and 1670 for the better administration of justice were drawn up by him.

Séguier died at Saint-Germain-en-Laye in 1672.

Culture

Séguier was a man of great learning, and throughout his life a patron of literature. In December 1642 he succeeded Richelieu as official "protector" of the Académie française, which from that time until his death held its sessions in his house.

His library was one of the most valuable of his time, only second, perhaps, to the royal collection. It contained no less than 4000 manuscripts in various languages, the most important section of them being the Greek manuscripts. A catalogue was drawn up in Latin and in French (1685–1686) by the duc de Coislin. The chancellor's great-grandson, Henri Charles du Cambout de Coislin, bishop of Metz, commissioned Bernard de Montfaucon, a Benedictine of the Congregation of St Maur, to prepare a catalogue of the Greek manuscripts. with commentaries. This work was published in folio 1715, as Bibliotheca Coisliniana, olim Segueriana.... The greater part of the printed books were destroyed by fire, in the abbey of St Germain-des-Prés, in 1794.

Séguier is a minor character in The Three Musketeers.

title: Pierre Séguier


text:
List of Japanese writers

This is an alphabetical list of writers who are Japanese, or are famous for having written in the Japanese language.

Writers are listed by the native order of Japanese names, family name followed by given name to ensure consistency although some writers are known by their western-ordered name.

List of Japanese writers by family name: A - B - C - D - E - F - G - H - I - J - K - M - N - O - R - S - T - U - W - Y - Z

title: List of Japanese writers


text:
Hank Ballard

Hank Ballard (born John Henry Kendricks; November 18, 1927 – March 2, 2003) was an American singer and songwriter, the lead vocalist of the Midnighters and one of the first rock and roll artists to emerge in the early 1950s. He played an integral part in the development of the genre, releasing the hit singles "Work with Me, Annie" and answer songs "Annie Had a Baby" and "Annie's Aunt Fannie" with his Midnighters. He later wrote and originally recorded (in 1959) "The Twist" which was notably covered a year later by Chubby Checker, this second version spreading the popularity of the dance. He was inducted into the Rock and Roll Hall of Fame in 1990.

Early years
Born John Henry Kendricks in Detroit, Michigan, he and his brother, Dove Ballard, grew up and attended school in Bessemer, Alabama, after the death of their father. He lived with his paternal aunt and her husband, and began singing in church. His major vocal inspiration during his formative years was the "Singing Cowboy", Gene Autry, and in particular, his signature song, "Back in the Saddle Again". Ballard returned to Detroit in his teens and later worked on the assembly line for Ford.

Hank Ballard and the Midnighters
In 1953, Ballard joined doo-wop group the Royals, which had previously been discovered by Johnny Otis and signed to Federal Records (a division of King Records), in Cincinnati. Ballard joined Henry Booth, Charles Sutton, Sonny Woods and Alonzo Tucker in the group, replacing previous singer Lawson Smith.

The Royals released "Get It" (1953), an R&B song with possibly sexually oriented lyrics, which some radio stations refused to play, although it still made it to number 6 on the US Billboard R&B chart.

The group then changed its name to the Midnighters to avoid confusion with the "5" Royales. In 1954, Ballard wrote a song called "Work with Me, Annie" that was drawn from "Get It". It became the Midnighters' first major R&B hit, spending seven weeks at number 1 on the R&B chart and also selling well in mainstream markets, along with the answer songs "Annie Had a Baby" and "Annie's Aunt Fannie"; all were banned by the FCC from radio air play. Their third major hit was "Sexy Ways", a song that cemented the band's reputation as one of the most risqué groups of the time.

They had four other R&B chart hits in 1954–55, but no others until 1959, by which time the group was billed as "Hank Ballard and The Midnighters" with their label changed from Federal to King, the parent label. Between 1959 and 1961 they had several more both on the R&B and Pop charts, starting with "Teardrops on Your Letter", a number 4 R&B hit in 1959, that had as its B-side the Ballard-written song "The Twist". A few months later, Chubby Checker's cover version of the song went to number 1 on the Hot 100 chart. It would return to the top of the charts again in 1962 – the only song in the rock and roll era to reach number 1 in two different non-consecutive years.

Ballard and the Midnighters had several other hit singles in the early 1960s, including the Grammy-nominated "Finger Poppin' Time" (1960) and "Let's Go, Let's Go, Let's Go" (1960) which hit number 7 and number 6, respectively, on the Billboard pop chart. They did not reach the charts again after 1962 and dissolved in 1965.

Later career
After the Midnighters disbanded, Ballard launched a solo career. His 1968 single, "How You Gonna Get Respect (When You Haven't Cut Your Process Yet)", was his biggest post-Midnighters hit, peaking at number 15 on the R&B chart. James Brown produced Ballard's 1969 album You Can't Keep a Good Man Down. A 1972 single, "From the Love Side", credited to Hank Ballard and the Midnight Lighters, went to number 43 on the R&B chart. Ballard also appeared on Brown's 1972 album Get on the Good Foot, on two tracks, "Recitation By Hank Ballard", that features Ballard describing Brown and the album, and “Funky Side of Town”, in duet, with James Brown.

One-off sides, "Sunday Morning, Coming Down", and "I'm a Junkie for My Baby's Love", followed in the 1970s. He had some more upbeat releases in the mid-1970s, including "Hey There Sexy Lady" and "Let’s Go Streaking", as well as a beat ballad, "Love On Love". In 1979, he had moderate success with the disco number, "Freak Your Boom-Boom".

During the 1960s, Ballard's cousin, Florence Ballard, was a member of the Detroit girl group the Supremes. In the mid-1980s, Ballard re-formed The Midnighters and the group performed until 2002.

Death
On March 2, 2003, he died at age 75 of throat cancer in his Los Angeles home. He was buried at Greenwood Cemetery in Atlanta, Georgia.

Legacy
In 1990, Ballard was inducted into the Rock and Roll Hall of Fame; the other Midnighters were inducted in 2012.

In 2010, Hank Ballard & The Midnighters were voted into the Michigan Rock and Roll Legends Hall of Fame.

Ballard was the great uncle of NFL player Christian Ballard. He was a cousin of original Supremes member Florence Ballard.

Solo albums

 * A Star in Your Eyes (King Records, 1964)
 * You Can't Keep a Good Man Down (King Records, 1968)
 * Hanging with Hank (Stang Records, 1976)

Singles

 * Note: Credited as Hank Ballard and the Midnighters unless stated otherwise.

title: Hank Ballard