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User talk:BobbyChew

Hello...I'm currently doing my final year in TESL course.Now,i'm doing my thesis which called "The Effectiveness of Using Communicative Language Games" to a group of students in local(Malaysia) high school. I believes that by using language games to teach english language could motivate the students to keen on learning the language.Besides,learning a language should be in a fun a relaxing way.Nowadays,most of the ELT teachers around the world still using direct method and very serious way of teaching where all the students sit quietly and just listen to their teacher in front of the class (teacher-centre).Do you think that learning a language could be as easy as ABC,if we imply language games in ELT?Please kindly email me your responses to me.Thank you.(bobbypenpal@yahoo.com)

Greetings! I hope you like the place and decide to stay. If you have questions or doubts of any sort, do not hesitate to post them on the Village Pump, somebody will respond ASAP. Other helpful pages include: Have fun! --Jiang 21:31 22 Jul 2003 (UTC)
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title: User talk:BobbyChew


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Susan Whelan

Susan Elizabeth Whelan, (born May 5, 1963, in Windsor, Ontario) is a former Canadian Member of Parliament with the Liberal Party of Canada. Whelan, a lawyer, first won a seat in the House of Commons of Canada in the 1993 election representing Essex—Windsor. In 1997 and 2000 she was elected to represent Essex. In 2002, Whelan was appointed by Prime Minister Jean Chrétien as Minister for International Cooperation as a cabinet minister.

Whelan was defeated by Conservative Jeff Watson at the 2004 election, and unsuccessfully tried to win back her old seat in 2006 and the 2008.

Susan Whelan is the daughter of former Liberal Federal Minister of Agriculture, the Honourable Eugene Whelan. Susan and her father hold the distinction of being the first father-daughter cabinet appointees.

Whelan shares her father's passionate interest in Canadian agriculture, having made Agriculture and Rural Development one of the key elements of policy during her tenure as Minister.

She has also instructed part-time at the University of Windsor, appropriately situated in the political science department.

She previously represented the Ambassador Bridge Company on the Green Corridor Project.

In June 2009, Whelan was named Chief Executive Officer for the Ontario division of the Canadian Cancer Society. In August the same year, she was diagnosed with breast cancer. She resigned from the Canadian Cancer Society in order to focus on her recovery.

Whelan authors a blog entitled Susan's Fight Back, to share her experience, strength, and hope with others.

Whelan waspreviously the Executive Director of rare Charitable Research Reserve in Cambridge, Ontario and maintains a law practice in Windsor, Ontario.

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

title: Susan Whelan


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User talk:SuperSkannie

Greetings! I hope you like the place and decide to stay. If you have questions or doubts of any sort, do not hesitate to post them on the Village Pump, somebody will respond ASAP. Other helpful pages include: Have fun! --Jiang 21:33 22 Jul 2003 (UTC)
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 * Manual of style
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title: User talk:SuperSkannie


text:
User talk:Reynwah

Greetings! I hope you like the place and decide to stay. If you have questions or doubts of any sort, do not hesitate to post them on the Village Pump, somebody will respond ASAP. Other helpful pages include: Have fun! --Jiang 21:34 22 Jul 2003 (UTC)
 * Welcome, newcomers
 * How does one edit a page
 * Manual of style
 * Naming conventions

Move your comments about the Patriot Act to Patriot Act; they are currently at George W. Bush. If you don't move them, you risk having someone delete them. Because of the computerized nature of this project, we are able to write things very concisely and link interested parties to more detailed text. The page is already getting too long, we try not to exceed 32k per page for technical reasons. Pizza Puzzle

Uh if you're worried about what your children can see on Wikipedia, there's a lot of stuff you're not going to like. :-) The asshole thing on George W. Bush is a relatively minor thing compared to some of what's out there. In general, Wikipedia strives for accuracy. The current policy is at Profanity. Of course, policy can be changed, and you're welcome to argue against it... Evercat

Children should arguabale stay away from the pictures of dead bodies, explicit discussions of non-traditional sexual practices, detailed discussions of modern torture methods, and the like. There are users who desire a non-profane version of the wiki - join the Mailing lists and discuss that there. Pizza Puzzle

Please familiarize yourself with NPOV. "Sadistic tyrants" is not neutral, because there are people who would disagree with that attribution. Whether the links should be there at all is also questionable -- how much does Uday Hussein have in common with Idi Amin? Why choose these and not other dictators? --Eloquence 15:48 24 Jul 2003 (UTC)

I included what I did about the Patriot Act because I thought the summary of the Patriot Act was biased an inaccurate. I will move my text, but I hope that somebody doesn't put a small definition about the Patriot Act that reads: "The Patriot Act gives the US government to search anyone's house without a warrant, and spy on all Americans, and etc." To those people who oppose the Patriot Act, hyperbole will not convince supports of the Patriot Act to change their minds. Rather, it will convince them that they are right since their opponents can't oppose the Act without lying about it.

Ok, I'll back off on "sadistic tyrants." even though I think that whether or not you think the U.S. is an imperialist rouge nation, it is objective fact that Saddam, Uday, Adolf, Pol Pot, and Joseph Stalin were all "sadistic", by any rational definition, and "tyrants", by any rational definition.

What does Uday have to do with Stalin? Well, they're both sadistic tyrants.

Still, it's not worth it.

I have moved the Patriot Act stuff to USA PATRIOT Act - the gwbush page should have no more than a short paragraph about it. Pizza Puzzle

We are following a policy of no opinion -- the argument that somebody is evil, or sadistic, or tyrannical is an opinion; no matter what. We are trying to write articles that a neo-Nazi (or Jihad Fanatic, or whatever) would not consider to be "biased propaganda". Pizza Puzzle

Yes, rebuttals are good. Pizza Puzzle

well, just don't think its perfect. everything here is far from perfect. but yes, i think its an ok article. Pizza Puzzle

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title: User talk:Reynwah


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Common Open Policy Service

The Common Open Policy Service (COPS) Protocol is part of the internet protocol suite as defined by the. COPS specifies a simple client/server model for supporting policy control over quality of service (QoS) signaling protocols (e.g. RSVP). Policies are stored on servers, and acted upon by Policy Decision Points (PDP), and are enforced on clients, also known as Policy Enforcement Points (PEP). There are two models of COPS: The Outsourcing Model and the Provisioning Model, considered from the view of the client or PEP.

The Outsourcing Model is the simplest COPS implementation. In this model, all policies are stored at the PDP. Whenever the PEP needs to make a decision, it sends all relevant information to the PDP. The PDP analyzes the information, makes the decision, and relays it to the PEP. The PEP then simply enforces the decision.

In the Provisioning Model, see COPS Usage for Policy Provisioning (COPS-PR), the PEP reports its decision-making capabilities to the PDP. The PDP then downloads relevant policies on to the PEP. The PEP can then make its own decisions based on these policies. The Provisioning Model uses the Policy Information Base as a repository of the policies.

title: Common Open Policy Service


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The First Blast of the Trumpet Against the Monstruous Regiment of Women

The First Blast of the Trumpet Against the Monstruous Regiment of Women is a polemical work by the Scottish reformer John Knox, published in 1558. It attacks female monarchs, arguing that rule by women is contrary to the Bible.

Title
The title employs certain words in spellings and senses that are now archaic. "Monstruous" (from Latin mōnstruōsus) means "unnatural"; "regiment" (Late Latin regimentum or regimen) means "rule" or "government". The title is frequently found with the spelling slightly modernised, e.g. "monstrous regiment" or "monstrous regimen". It is clear however that the use of "regimen[t]" meant "rule" and should not be confused with "regiment" as in a section of an armed force.

The title appears in all capitals, except for the last four words; in accordance with 16th-century orthographical norms, capitalized "trumpet" and "monstruous" are written TRVMPET and MONSTRVOVS.

Historical context
John Knox was a Scottish Protestant preacher and notary born in 1514 who was involved in some of the most contentious religious and political debates of the day. His preaching built Knox a congregation of followers who stayed loyal to him even after he had to flee England to the continent. Knox believed that he was an authority on religious doctrine and frequently described himself as "watchman", drawing similarities between his life and that of Jeremiah, Ezekiel, Jehu and Daniel. He saw his duty as to "blow his master's trumpet". But his views were not popular with Mary Tudor, the new Catholic monarch, so in 1554 Knox fled to mainland Europe.

At the time, both Scotland and England were governed by female leaders. While in Europe, Knox discussed this question of gynarchy with John Calvin and Heinrich Bullinger. Knox believed that gynarchy was contrary to the natural order of things, although Calvin and Bullinger believed it was acceptable for women to be rulers when the situation demanded.

While in Europe, Knox was summoned back to Scotland to a hearing to be tried for heresy. However Mary, Queen of Scots cancelled the hearing and in 1557, he was invited back to Scotland to resume his preaching. Upon his arrival at Dieppe he learned that the invitation had been cancelled. While waiting in Dieppe, the frustrated Knox anonymously wrote The First Blast of the Trumpet Against the Monstruous Regiment of Women. Unlike his other publications, Knox published the final version of The First Blast without consulting his exiled congregation and in 1558 he published it with the help of Jean Crespin.

Content
The bulk of The First Blast contained Knox's counterarguments to Calvin's viewpoints on gynarchy that they had discussed previously. While discussing gynarchy in general, Knox's target was mainly Queen Mary I.

Knox, a staunch Protestant Reformer, opposed the Catholic queens on religious grounds, and used them as examples to argue against female rule over men generally. Building on his premise that, according to Knox's understanding of the Bible, "God, by the order of his creation, has [deprived] woman of authority and dominion" and from history that "man has seen, proved, and pronounced just causes why it should be", he argued the following with regard to the specific role of women bearing authority:

"For who can denie but it repugneth to nature, that the blind shal be appointed to leade and conduct such as do see? That the weake, the sicke, and impotent persones shall norishe and kepe the hole and strong, and finallie, that the foolishe, madde and phrenetike shal gouerne the discrete, and giue counsel to such as be sober of mind? And such be al women, compared vnto man in bearing of authoritie. For their sight in ciuile regiment, is but blindnes: their strength, weaknes: their counsel, foolishenes: and judgement, phrenesie, if it be rightlie considered."

Knox had three primary sections in The First Blast. First, that gynarchy was repugnant to Nature'; second, 'a contumlie to God'; and finally, 'the subversion of good order.

Knox believed that when a female ruled in society, it went against the natural order of things. He further went on to say that it was a virtue from God for women to serve men. Knox thought that civil obedience was a prerequisite for heaven and Mary was not in line with the civil obedience. Although there were exceptions to this order, Knox believed that God was the only one who could make those exceptions.

Knox appealed to the common belief that women were supposed to come after men because Eve came after (and from) Adam. Furthermore, God's anger against Eve for taking the forbidden fruit had continued and all women were therefore punished by being subjected to men.

In his analysis of the Creation, Knox furthered his argument by stating that women were created in the image of God "only with respect to creatures, not with respect to man". Knox believed that men were a superior reflection of God and women were an inferior reflection.

The First Blast contained four main counterarguments to John Calvin's arguments. First, Knox argued that while God had given authority to biblical female leaders, Deborah and Huldah, God had not given that authority to any female in the 16th century. Elaborating, Knox stated that the only similarity Queen Mary had with Deborah and Huldah was their gender. This was not sufficient to Knox. Furthermore, Deborah and Huldah did not claim the right to pass on their authority, but the queens did.

One of Calvin's arguments was that gynarchy was acceptable since Moses had sanctioned the daughters of Zelophehad to receive an inheritance. Knox refuted this second point in The First Blast by pointing out that receiving an inheritance was not equivalent to gaining a civil office. The daughters were also required to marry within their tribe while Mary I had married Philip II of Spain.

Calvin had told Knox that Mary I's rule was sanctioned because parliament and the general public had agreed to it. Knox countered this in The First Blast by stating that it did not matter if man agreed to the rule if God did not agree to it as well.

The fourth point that Knox disagreed with Calvin on was accepting of gynarchy because it was a national custom. Knox conversely believed that Biblical authority and God's will made Calvin's argument invalid.

The First Blast concluded by using a biblical metaphor to call the nobility to action and remove the queen from the throne. In the Bible, Jehoiada, representing Knox, had instructed the rulers of the people to depose Athaliah, who represented Mary I. The Jews then executed the high priest of Baal, who represented Stephen Gardiner. It was clear that Knox was calling for the removal of Queen Mary I. He may have even been demanding that she be executed.

While many Christians in the 16th century believed it was their Christian duty to always follow their monarch, Knox believed it was worse for a Christian to follow a ruler that was evil. He claimed that, if needed, a rebellion should take place to dethrone her. Many people in Scotland agreed with Knox that it was not natural for women to rule but they did not agree with his belief that the queens should be replaced. Because of Knox's bold call to action, his contemporaries began to consider Knox as a revolutionary.

Aftereffects
Soon after publishing The First Blast, Knox continued to write fervently. Prior to August 1558, he wrote three items which supplemented The First Blast. He wrote to Mary of Guise to compel her to support Protestantism and to convince her to let him regain his right to preach. He wrote to the nobility to convince them of their duty to rise up against the queen. And he wrote to the people of Scotland to convince them of the need for reform.

Knox intended to write a Second Blast and a Third Blast, but after seeing how people responded to the First, neither ever became reality.

His polemic against female rulers had negative consequences for him when Elizabeth I succeeded her half-sister Mary I as Queen of England; Elizabeth was a supporter of the Protestant cause, but took offence at Knox's words about female sovereigns. Her opposition to him personally became an obstacle to Knox's direct involvement with the Protestant cause in England after 1559. She blamed him and the city of Geneva for permitting The First Blast to be published. Members of the Genevan congregation were searched, persecuted, and exiled. In 1558, the queen prohibited "importing of heretical and seditious books" into England. After Knox revealed himself as the author of The First Blast, through a letter to the queen, he was refused entrance to England. Despite Knox's efforts to keep the blame for The First Blast on himself, his followers and other Protestants were punished.

In a letter to Anna Locke on 6 April 1569, John Knox said, "To me it is written that my First Blast hath blown from me all my friends in England." Knox ended his letter, though, by saying that he stood by what he had said. Through it all, Knox continued to see himself as a prophet and believe that he needed to still declare God's words.

When Mary of Guise died in 1560, Knox wrote that Mary's unpleasant death and the deaths of her sons and husband were a divine judgement that would have been prevented if she had listened to the words in The First Blast.

Knox's contemporaries
Knox was not the only person to write against gynarchy. Two other main publications were also written, one by Christopher Goodman and the other by Anthony Gilby. Unlike Knox whose argument hinged on the premise of gender, Gilby and Goodman's arguments were rooted in Mary I being a Catholic. Others individuals including Jean Bodin, George Buchanan, Francois Hotman, and Montaigne also agreed with Knox, but their works were less known.

Goodman relied on some of Knox's ideas in his publication "How Superior Powers Oght to be Obeyd". He agreed that female rule was against God's will and natural law. After the publication of Goodman's and Knox works, their friendship increased. But, while Goodman eventually rescinded his words about women rulers, Knox never did.

On the other hand, many of Knox's contemporaries disagreed with his stance. In response to The First Blast, John Aylmer, an exiled English Protestant, wrote then published "An Harborowe for Faithful and Trewe Subjectes Agaynst the Late Blowne Blaste, Concerninge the Government of Wemen" on 26 April 1559. While Knox believed that the Bible held absolute authority on everything, including politics, Alymer disagreed. He believed that the narratives in the Bible were not always God's way of explaining right and wrong but were sometimes historical expositions only. Aylmer also argued that what Knox called "monstrous" was actually just "uncommon". This was portrayed by pointing out that although it was uncommon for a woman to give birth to twins, it was not monstrous.

Matthew Parker, John Foxe, Laurence Humphrey, Edmund Spenser, and John Lesley also opposed Knox's views in The First Blast and John Calvin and Theodore Beza banned it from being sold.

Later Academic Assessment
Despite his polemic against gynarchy in The First Blast, modern scholars of Knox have defended him against accusations of misogyny.

As Richard Lee Greaves, a professor of History at Florida State University, said, "John Knox has gained a certain degree of notoriety in the popular mind as an antifeminist because of his attack on female sovereigns in The First Blast of the Trumpet against the Monstrous Regiment of Women (1558). Yet his attack was by no means original, for similar views were propounded in the sixteenth century by diverse writers."

Susan M. Felch, director of Calvin Center for Christian Scholarship and a Professor of English, believed that Knox was not misogynistic but just passionate about maintaining the natural order of things. Felch further stated that while Knox was writing The First Blast he was writing letters to women which were "remarkably free of gendered rhetoric". Knox addressed his female friends as partners in the fight against sin. Accompanied with expressions of non-romantic love, Knox gave spiritual advice to them but also believed that women could make their own spiritual decisions and encouraged them to do so. Felch believed that Knox did not think of Mary I as a lesser being, but believed that her decision to take the throne was sinful.

Richard G. Kyle also agreed that Knox could not have been misogynistic because, besides The First Blast, Knox's writing did not deride or ridicule women.

A. Daniel Frankforter, a history professor at PennState, pointed to times when Knox complimented women as evidence for Knox's non-misogynistic beliefs. He cited, for example, the time when Knox told his mother-in-law that she was a mirror to his soul. Frankforter also believed that while Knox's rhetoric appears "virulent" and "misogynistic", it was likely no worse than everyone else in his time.

Rosalind Marshall, a historian and Fellow of the Royal Society of Literature, believed that the tone in The First Blast was defensive not aggressive. She further claimed that The First Blast was not meant as an accusation against all women but just the female monarchs. Additionally, Marshall believed that Knox was in a "religious fervour" when he wrote The First Blast and would not have normally written such cruel things when he held women in such high esteem.

Jane E. Dawson, a professor of Reformation History at the University of Edinburgh, pointed out that Knox did not always have antagonism toward Mary Queen of Scots since they previously worked well together. She also agreed that the high majority of Knox's writings were uplifting instead of condemning. She contests that Knox lashed out at Mary I because he felt isolated and persecuted.

Legacy
Around the 20th century, the work's title became a popular ironic cliché in feminist literature and art. Examples include the novels Regiment of Women (1917), A Monstrous Regiment of Women (1995), and Monstrous Regiment (2003), as well as the feminist British theatre troupe, the Monstrous Regiment Theatre Company.


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Talk:Yogh

Neutrality
THIS ARTICLE IS CLEARLY BIASED. HOW COULD SUCH A BIASED ARTICLE SLIP THROUGH THE FILTERS OF THE MODERATORS HERE? MY GOD AM I OFFENDED! 204.108.148.12 14:04, 28 November 2005 (UTC)

 * Um. If you're serious, you might want to be more specific. —Muke Tever talk (la.wiktionary) 19:08, 28 November 2005 (UTC)

 * Judging by this IP address' past edits, I think it's fairly safe to assume that this is the complete opposite of seriousness. POV warning removed. Also, Muke, loving your Frath wiki. Matsu 03:35, 29 November 2005 (UTC)

Yogh Page on French Wikipedia
Has anybody else looked at this? It's freaking amazing! I don't speak French or else I would heavily consider adapting the entire thing to the current English entry. Seriously, it was a Featured Article in the French Wikipedia. --anon
 * I agree. With apologies to current editors of this article, who have certainly put a lot of work into it, the French version is much better in every respect. Unless there are strong objections, I plan to replace the current article with a translation.05:17, 11 March 2009 (UTC)

"boxes"
When I first read the caption next to the Yogh graphic it was confusing. When it said the lowercase was "right" I thought it meant literally to the right of the text, meaning the uppercase was to the left and the lowercase was on the right. For example:
 * 3 (uppercase) blah blah explanation blah blah 3 (lowerrcase)

No big deal. Maybe this?
 * Capital yogh (the upper '3'), lowercase yogh (the lower '3').

I don't like the boxes, if I were browsing here and was told to go download something and come back later I wouldn't be too impressed. I'd replace the boxes with ' 3 ' and a brief explain why it isn't the true letter Yogh (especially the lowercase Yogh.)--Dhughes 21:34, 1 Apr 2004 (UTC)

 * Boxes... argh. I wish some browsers would adopt a better display for chars they can't render. I'll replace them with 3's as that is what is usually done for Yoghs. Apologies for editing your comment but the white lines are annoying! — Jor (Talk) 21:37, 1 Apr 2004 (UTC)

 * I'd much rather the correct Unicode letter be used, especially since there's already a picture so the font-impaired can see what it's supposed to look like. Lots of people don't have fonts for Chinese, but that doesn't mean we have to go around replacing 十 with + because they look kinda the same. DopefishJustin 05:16, Apr 21, 2004 (UTC)

On my browser (IE6) all I see is a box. I can see thorn and edh, but yogh doesn't work for me.

 * I'm on Netscape 7 and I see a question mark or a 3 where the yogh apparently should be. Adam Bishop 21:55 22 Jul 2003 (UTC)

 * Font issue, it does not matter what browser you use. Darkelf 00:12, Dec 28, 2003 (UTC)

Replace 3s with Yoghs
It is ok to replace the 3's with ȝ's? Or does this make it hard for too many people to read? --Spikey 00:07, 28 Dec 2003 (UTC)

 * Should be okay. People just have to get Unicode fonts: Arial Unicode MS, Code2000, Junicode and Titus Cyberbit Basic all have a yoch. Arial Unicode MS comes with Office, Code2000 is shareware, but the last two are freeware fonts. — Darkelf 00:12, Dec 28, 2003 (UTC)
 * actualy most of them don't :-( Jordi·✆ 01:02, 30 Mar 2005 (UTC)

 * Links: Code2000: license info and download link, Junicode: license info and download link, Titus Cyberbit Basic: license info download link — Darkelf 00:18, Dec 28, 2003 (UTC)

I am on Mozilla Firefox and I see all the yoghs just fine. --142.166.96.192 17:28, 21 Jul 2004 (UTC)

They don't presently show up in Internet Explorer, which generally treats odd characters like an idiot. I'm changing all the yoghs to show up in Arial Unicode MS—most people have that on their machine already, so they'll be able to see the yoghs even in IE. —Simetrical (talk) 23:18, 27 Mar 2005 (UTC)

Wait, take that back. I'm not changing it over. I didn't realize we were using Template:Unicode. However, the fact remains that the characters don't show up in IE. I'll comment over at the template page. —Simetrical (talk) 23:22, 27 Mar 2005 (UTC)

 * I was the one who added here. Yogh works for me now in MSIE. I'll test if there's an easy solution, doubt it however. Jordi·✆ 01:01, 28 Mar 2005 (UTC)

Removed from article
Removed:
 * ghost is Dutch — from the standpoint of English, the Dutch confuse the letters g and h, so here's a spelling pronounceable in both.

Ghost is not Dutch, nor does it resembled normal Dutch spelling. Gh is not a combination which occurs naturally in Dutch. The Dutch equivalent of Ghost is geest, which is pronounced close to *ghayst. Jordi·✆ 09:38, 21 Feb 2005 (UTC)

Scots names
Can someone give me the Yogh-spellings of the Scots names listed? I am very interested in how a name which doesn't carry a 'Z' sound at all can be spelt that way. Was it really just ignorance based on the glyph's form, as in þe→ye? Jordi·✆ 12:40, 16 Mar 2005 (UTC)

 * As far as I can tell, it was base on the glyph form as some forms of the z had a tail which made it identical to the Yogh. This form has carried over to the cursive handwriting form of the z that we use today.

 * Yeh, that's right. If you read the s as yoghs, that is the original spelling.  Exactly like "ye" in "ye olde alehouse".  Maybe that comparison would be useful in the article?  --Doric Loon 20:23, 19 April 2006 (UTC)

Yogh font problem
Despite adding Template:Unicode to this character, Yogh will still not display for most people using Internet Explorer. The problem is that there are just two large Unicode fonts which are likely present on most Windows machines: Lucida Sans Unicode, and Arial Unicode MS (for people who have MS Office). Neither font contains the character, nor do other relatively common (but still obscure) fonts listed by the template, such as Bitstream Cyberbit or its derivant Titus. Going over a relatively clean WindowsXP system (no user fonts installed), I can't find any font which contains yogh. This means that even in better browsers, such as Opera or Firefox, there will be no yoghs displayed. Other than asking people to install a real Unicode font, there does not seem to be a real solution (replacing yoghs with 3s or images is out of the question as far as I'm concerned). Jordi·✆ 01:15, 28 Mar 2005 (UTC)

The yoghs display fine in Firefox, at least for me. I have no idea why—could I have an unusual font installed? I don't have Code2000/Code2001, I know that. —Simetrical (talk) 00:45, 30 Mar 2005 (UTC)

 * Having large fonts helps, as does using any browser except MSIE. MSIE is fundamentally broken, and cannot change fonts if it encounters characters from certain Unicode ranges unless specifically told to. The Unicode template does just that: it adds a font declaration in such a way that only MSIE applies it (Firefox, Opera, Safari just do what they always do).
 * You must have some other font which includes a yogh: Firefox is not broken, so it will use a yogh if it knows about a font which contains it. Jordi·✆ 00:58, 30 Mar 2005 (UTC)

 * I don't have any fonts on the lists below, but yoghs still show up in Firefox. Are you sure it doesn't have any inbuilt character support? —Simetrical (talk) 04:10, 1 Apr 2005 (UTC)

 * 100% sure (Firefox is not a font!). I am certain there must be other fonts which contain yoghs, but I don't have any others (at least, character map can't find yoghs in other fonts). Jordi·✆ 08:54, 1 Apr 2005 (UTC)

Fonts containing yoghs
These fonts I know contain yoghs:
 * Chrysanthi Unicode
 * Code2000
 * Doulos SIL
 * Everson Mono Unicode
 * Gentium
 * GentiumAlt
 * Junicode
 * TITUS Cyberbit Basic (new version)

These fonts do NOT contain a Yogh:
 * Arial Unicode MS
 * Bitstream Cyberbit

Jordi·✆ 01:17, 30 Mar 2005 (UTC)

 * Lucida Grande has it. Evertype 09:17, 2005 Mar 30 (UTC)

 * Bitstream Vera doesn't have yogh either. --KelisFan2K5 22:08, 7 Apr 2005 (UTC)

Three more fonts that contain the yogh:

 * Cardo
 * Thryomanes
 * Free Mono

For the moment, I'm lackng a sans-serif font with yogh. --chryss 02:52, 12 January 2006 (UTC)

Trouble adding Yogh in other wikipedia articles.
The yogh, Ȝ, appears fine on the Yogh article page and when I paste it into my Windows XP notepad. However when I was sourcing The Barnhart Concise Dictionary of Etymology for a Proto-Germanic constructed form of 'God' which used a yogh, and added it under the 'etymology' heading in the wikipedia article 'God', it simply appears as this block. It shouldn't have to do with the font, as it appears fine in this article (& in notepad), but not in the java page editing area for wikipedia. Any help? Nagelfar 11:59, 2 November 2005 (UTC)

 * It is actually the font. Try using instead, which shows up as Ȝ in contrast to Ȝ. It mightn't show up all nifty-like in the edit box, but when you view it, it will. It's got to do with how Internet Explorer on Windows handles fonts; the Unicode template sets some specific fonts when using IE, but is specially designed so that other browsers ignore it. Another option that'll make it work for you is to use Mozilla Firefox or some related browser, but for the benefit of IE-users, you'll still need the template. —Felix the Cassowary ( ɑe hɪː jɐ ) 13:36, 2 November 2005 (UTC)
 * My thanks Cassowary, it appears you're correct as I cannot change the font here in IE. But the was indeed the command I sought and explains why it appears. My thanks again. Nagelfar 16:13, 4 November 2005 (UTC)

Middle English "Ȝogh"
The page says that the ME spelling of the letter was "ȝogh". I am not an expert, but given the information contained in the rest of the article, and my limited external knowledge, I would have expected "ȝoȝ". Can anyone comment on this?

Rdr0 22:11, 3 December 2005 (UTC)

 * I put the spelling 'ȝogh' in. It was a surprise to me as well; when I didn't know how it was spelled, I thought it to be yoȝ.  Ȝogh, however, is the prior spelling given in the Oxford English Dictionary. (I'm sure of the spelling, but I'm not entirely sure of the reference—it has been several years since I've had access to look it up.  If someone can verify it that'd be great.)  —Muke Tever talk (la.wiktionary) 20:59, 8 December 2005 (UTC)

> Very funny, I thought th same thing myself, but only momentarily. Actually, I'm curious as to how it's pronounced, maybe I skimmed over any given pronunciation, but I thought it's either homonymous w/ "yoe" or "rogue." That is, is it 3og3 or 3o3? Essentially, I wonder if the is "g" is distinctly pronounced.

>>I don't know for sure, but given what I know about the history of the English language, I would have assumed that the "gh" was pronounced as a voiceless velar fricative, as in the German "Ach-laut." 71.214.134.239 03:30, 7 February 2006 (UTC)

 * Whee, the online OED has been giving out free access occasionally. Okay, the word is given as pronounced  in British English, so yes, g or ach-laut.  The spelling of this word doesn't seem to have been set: the earliest quotation they have, c1300, has yoȝ, and later: a1400 yogh (variant readings: ȝogh, iogh, ȝok), 1410-20 ȝogh (variant readings: ȝoch, ȝoche, ȝoghe, ȝouh, yowh, yough, ȝouȝ, ȝowȝe, ȝow, ȝoux, youx), 14xx yogh.  It's also Latinized as iugum in 1440 which the OED takes as translating an underlying 'ȝok' (iugum = yoke).  —Muke Tever talk (la.wiktionary) 18:01, 7 February 2006 (UTC)

Bring back the Yough
Why not? After all, the Scots use the letter z in place of letters that would otherwise be used by other English speakers. I'm sure otherwise will argue the reverse, make Scots adopt a universal spelling; if for no other reason, because it makes things easier for the rest of us. I contend, however, that there is something to say for posterity, but more importantly I think the fulcrum point of the arguments rests on the fact that English is already a very difficult language to read and write. There is also a direct correlation between pronunciation and spelling. I think ressurecting Eth and Thorn would prove confusing; however, I see potential for 3/Yough as a clarifier. Furthermore, I think it would be an easy letter to adopt. With the percentage of native speakers going to school - not only at a very early age, but also going on to further education - and the widespread use of computers, I can forsee instant exposure and means for usage. Finally, with the staggering number of non-native speakers (globally) now learning English - which has no shortage of confounding spellings and, in turn, pronunciations - the letter 3/Yogh would ease their already burdensome task.

As postscript, I feel that other changes would be excessive. Changes such as reverting to the orginal pronunciations of vowels (ei: adopting Continental vowel pronunciation, thus pronouncing most words as they did in Chaucer's time)or changing they way we spell words so that they become phonetically appropriate (ex: night becomes nite). The former would certainly help Europeans, and those who speak some European langauge other than English as a first language, but it would be appreciated even more by the number of Latin American immigrants coming to America as un-skilled laborers looking for jobs; the latter would help any young student struggling with his first book or her first writing assignment - not to mention their teachers. Still, I feel that such changes would be too drastic and if they were once feasible they are no longer. I also understand that there could be difficulties in waking 3/Yough from its dormancy, I just can't forsee those difficulties out numbering or out weighing the attributes.

Thou3ts...

 * Yeah, I've always thouȝht that using yoȝh would be excellent to replace the silent G's in English, such as in reiȝn, thouȝht, riȝht, aliȝn, and so forth. The best way to revive, is throuȝh usage. So let's get to it. —Ƿōdenhelm (talk) 13:18, 11 November 2008 (UTC)

 * As long as we can start using voiceless 'th' with thorn-runes and voiced with 'eth' characters again. Then a separate character for long and short Oes & Aes. ;-p 70.59.142.186 (talk) 04:41, 5 November 2009 (UTC)

 * We (English speakers) never had that distinction between Þ and Ð. They were interchangeable. Hurlebatte (talk) 03:46, 31 January 2020 (UTC)

Comment removed
I removed the following line from the top of the page:
 * ''The word yogh has sometimes been used as a colloquial backformed verb meaning "for milk to become yoghurt".

for two reasons: (1) the claim is unsourced, (2) sourced or not it's a neologism and a dicdef. Angr/ talk 10:59, 17 February 2006 (UTC)

Use of <font> elements
The HTML <font> element has been deprecated for a very long time (at least since HTML 4.01 in 1997). Modern HTML should always use CSS instead. Is there any reason to use it instead of Unicode? Hairy Dude 22:43, 15 March 2006 (UTC)

 * I insterted the tags because the unicode template wasn't working to display the characters. The only font I know of that displays the yogh is Microsoft Sans Serif.--Primetime 06:28, 16 March 2006 (UTC)

 * Explicitly specifing a font would be an unreasonable compromise, as only Windows+IE suffers from Unicode problems, and this overrides the font on all other broser/OS combinations. It is strange that Arial Unicode and Lucidia Sans Unicode do not include that character, while Microsoft Sans Serif does. To have this character displayed corretly I suggest you install the (free) Gentium font. I will see if Microsoft Sans Serif can be given a giher priority than Arial Unicode or maybe fork unicode to a separate template for Middle English. —Ruud 18:42, 2 May 2006 (UTC)
 * I don't know about your browser, but it displays OK in both Opera as well as IE on my computer with the font tags. My view is that we should make it visible to the most readers possible. So, it has nothing to do with me seeing it but allowing the majority of other people to see it. Your suggestion to install a font is of no use to them. We shouldn't make it invisible to IE + Windows users in order to make it visible to Macintosh or Linux users.--Primetime 19:23, 2 May 2006 (UTC)
 * Your reasoning is flawed, as this means we should images for every non-ASCII character (with a proper alt-tag of course). My point is that this particular solution is not acceptable (deprecated, not portable and creates and much problems as it solves, as I doubt the number of Win2K/WinXP+IE users that are viewing this articles is that much larger than the Win9x/MacOS/Linux/Firefox users. —Ruud 20:47, 2 May 2006 (UTC)
 * Microsoft Internet Explorer had an 89% market share of the web browser market in 2004. So, no we shouldn't make it invisible for 90% of our readers. As for other technical issues, can you be more specific? As for a precedent, the only time I've ever had to use the tag is here.--Primetime 00:49, 3 May 2006 (UTC)
 * Looks good.--Primetime 03:15, 3 May 2006 (UTC)

Unicode value
I added the Unicode values, which were not to be found anywhere on the page despite the comment is present "In Unicode 1.0 the character yogh was mistakenly unified with the quite different character Ezh (Ʒ ʒ), and yogh itself was not added to Unicode until version 3.0." At first I put them into that sentence, but then decided they belonged up in the top section -- certainly they have at least as good a right to be there as the Microsoft Office input method!

ISTM that any article about a character should include its Unicode codepoint(s) as a matter of course

Thnidu 01:47, 16 April 2007 (UTC)

in Old English
''In the Old English period, the ȝ glyph was simply the way Latin g was written in the Uncial script introduced at the Christianization of England by the Irish missionaries. It only came to be used as a letter distinct from g in the Middle English period.''

This is not quite right. ȝ per se was not used at all in the OE period; the Uncial letter was strictly an Insular G: ᵹ. Yes, yogh developed from insular G (as did regular G), but they are not the same character. Widsith (talk) 09:44, 5 August 2008 (UTC)
 * Not the same character, but yogh was indeed used as a sound in speech. Both yogh and gee were represented with a singular glyph: G. Is there actually a G in "align"? Go ahead and speak the word. —Ƿōdenhelm (talk) 13:20, 11 November 2008 (UTC)
 * "Yogh" is not a sound. It's the name of a character, one which wasn't used in OE.  The sound of yogh was used in Old English; it is also used in modern English, but that is not the point and it's not what the article says.  Widsith (talk) 21:53, 17 November 2008 (UTC)
 * Widsith is, of course, entirely correct here. -- Evertype·✆ 01:14, 18 November 2008 (UTC)

In Egyptology
There is no proper reference given for the French Egyptologists specifying Yogh for the Alef. -- Evertype·✆ 09:46, 22 December 2008 (UTC)

Runic origins
It seesm the article gives the Runic Gifu as a possible origin, but I'm wondering if it would be more logical that ᛃ (or jera) be it's origin, both through the sound of the rune, and its shape. ~Alosel~ | (Talk) 20:15, 17 June 2009 (UTC)

 * Yough comes from the insular G, not a rune (though I've heard it speculated that Yough's name comes from ᛇ). Also, ᛃ no longer had that shape when Yough was invented. Hurlebatte (talk) 03:49, 31 January 2020 (UTC)

List is a joke
That's by far not all of the words that contain a yogh?! For a starter, check this out! More Yogh words than you can ever imagine. -andy 77.7.97.125 (talk) 20:51, 18 December 2010 (UTC)

American pronuciation?
Why is an American pronunciation listed for a letter that is from Middle English and was defunct in English before America was even colonised? There cannot be an American pronunciation of a letter that isn't American.--Jcvamp (talk) 22:09, 16 December 2012 (UTC)

Yogh, three, and ayin
An IP editor made a changing
 * Yogh is shaped similarly to the Arabic numeral three (3)

to
 * Yogh is shaped similarly to the Arabic letter Ayin (ع), an unvoiced pharyngeal fricative

I have reverted that edit. The original sentence really was meant to refer to the digit 3 in the system of Hindu-Arabic numerals (often called just "Arabic numerals")—
 * 0 1 2 3 4 5 6 7 8 9.

— not to the Arabic letter ayin, which coincidentally looks like a mirror-image "3" or yogh. I have added this fact about ayin in a separate sentence. --Thnidu (talk) 03:55, 12 January 2016 (UTC)

"God spede ye plouȝ" transcription
An IP editor changed the last word of the caption of the graphic at the top of the History section from "inolk" to "inow", matching the caption that is part of the graphic in the source, even though the scribe's black-letter text is a lot closer to "inolk" than to "inow". The earlier (print) transcriber (presumably Shaw, see details on graphic) took other liberties in presenting the text as "God Spede ye Plough and send us Korne enow": most notably "gh" for "ȝ", but also "and" for an and symbol closer to an ampersand or plus sign, capital letters other than on "God", and "e" for "i" in the last word. Presumably this was in the interest of making the words clearer to his readers than the much older spelling would have done. I have restored the "lk". -- Thnidu (talk) 16:53, 20 April 2016 (UTC)

External links modified
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 * Added archive http://web.archive.org/web/20120404033426/http://www.dsl.ac.uk/getent4.php?plen=3250&startset=48908654&query=Z&fhit=z&dregion=form&dtext=snd to http://www.dsl.ac.uk/getent4.php?plen=3250&startset=48908654&query=Z&fhit=z&dregion=form&dtext=snd#fhit

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 * Checked, okay, changed parameter. --Thnidu (talk) 00:30, 21 July 2016 (UTC)

Parameter names
Several Citation references used "title" for the name of the work and "contribution" for the name of the page referenced. I have corrected these. See Template:Citation. --Thnidu (talk) 03:25, 13 September 2018 (UTC)

Layamon
I can't really see the case for inclusion of the surname Layamon in the list of Scots word that use  instead of ⟨ȝ⟩. Firstly, it doesn't contain a  nor does the name appear to be Scottish. 130.209.97.39 (talk) 11:22, 29 April 2019 (UTC)

"YoȜ" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect YoȜ. Please participate in the redirect discussion if you wish to do so. 1234qwer1234qwer4 (talk) 21:30, 15 March 2020 (UTC)

Ambiguous sentence
Yogh was generally used for rather than y. That’s more than a bit ambiguous. What exactly is meant here? ⌘ 17:50, 25 June 2021 (UTC)

shouldn't the name of the letter be pronounced /jɒf/?
word final /x/ changed to /f/ so the name of the letter should end in a /f/ since its spelled  right? also the letter was used in england so a british english pronounciation would make more sense right? Norþhymbrisc (talk) 20:04, 24 November 2023 (UTC)

title: Talk:Yogh


text:
Strata (novel)

Strata is a 1981 science fiction comedy novel by Terry Pratchett. It is one of Pratchett's first novels and one of the few purely science fiction novels he wrote, along with The Dark Side of the Sun.

Although it takes place in a different fictional universe and is more science fiction than fantasy, it could be said to be a kind of precursor to the Discworld novels, as it also features a flat Earth similar to the Discworld. It has been called a "preconsideration" of Discworld, though the plot and characters are modelled on (or parodies of) the novel Ringworld by Larry Niven.

Plot summary
Kin Arad is a human planetary engineer working for "the Company", a human organisation that manufactures habitable planets using techniques and equipment salvaged from an extinct alien race, the "Spindle Kings", who excelled at terraforming.

The express purpose of the Company's planet-manufacturing business is to create dispersed branches of humanity, diverse enough to ensure the whole species' survival for eternity. The Earth's population in the past has been decimated due to the lethal "Mindquakes", epidemic mass deaths caused by too much homogeneity among the populace.

All planets built by the Company are carefully crafted with artificial strata containing synthetic fossils, indistinguishable from the real thing. On occasion, however, mischievous Company employees attempt to place anomalous objects in the strata as practical jokes, like running shoes and other out-of-place artifacts, hoping to raise confusion among future archaeologists when the planets' beginnings have been long forgotten. However the Company forbids this, and secretly monitors the generated strata in order to detect embedded jokes, fearing such actions may cause the collapse of entire civilizations when the artifacts are eventually unearthed.

Kin and two aliens are recruited by the mysterious Jago Jalo to join an expedition. One alien is a paranoid, four-armed, frog-like, muscular "kung" named Marco. The other alien is a bear-like "shand", historian and linguist nicknamed Silver. Jago Jalo is a human who returned from a relativistic journey he embarked on more than a thousand years ago, where he made a stunning discovery: A flat Earth.

When the team rendezvous with Jago Jalo on the kung homeworld, the violent Jalo unexpectedly has a heart attack and dies. Kin Arad is shocked by the large store of weapons on-board Jalo's spaceship, and has misgivings about the expedition; Silver and Marco, however, see the possibility of reaping great technological rewards and launch the vessel on autopilot.

When the expedition arrives at Jalo's pre-programmed coordinates, they find a flattened version of the medieval Eastern hemisphere of the Earth they had originally departed from, before their disturbing rendezvous with Jalo. Clearly artificial, the disc rotates around its hub, and is contained inside a gigantic hollow sphere with tiny artificial "stars" affixed to the interior, augmented with a small meandering artificial sun, moon, and fake planets revolving around it.

Their ship is hit by one of the "planets" wandering on the interior of the sphere, so Kin, Marco, and Silver are forced to abandon ship. They land on the flat planet with the help of their "lift-belt" equipped suits, while their ship crashes. A return from the flat world now seems impossible, but hoping for assistance from the disc's mysterious builders, Kin, Marco, and Silver set off towards a structure they had spotted at the disc's hub. It is the only thing on the flat "Earth" which does not match the geography of the spherical Earth they left.

En route, the team encounter the superstitious Medieval inhabitants of the disc, who believe the end of the world is near, due to increasingly chaotic climate (caused by the disc's machinery breaking down), the recent disappearance of one of their planets, and the general devastation caused by the ship's crash. The three travelers also discover a number of other differences.

What Kin Arad knows as "Reme" is called "Rome" on the disc, and there is a strange "Christos cult" that is completely unfamiliar to Kin. Also, Venus is conspicuously lacking its giant (lunar-sized) moon "Adonis", which dominates the sunset sky on the Earth Kin Arad came from, which was formative in leading humanity to an early heliocentric world view.

Since only the Eastern hemisphere of Earth is represented, the continent of America is completely missing, so Kin, Marco, and Silver rescue a party of Vikings in the process of searching for Vinland, when their ship is about to sail over the edge of the world.

The flat world is apparently an extremely old and sophisticated automated system. In addition, there are real magical creatures and objects on the disc – Demons, and magic purses, and flying carpets – all of which, the travelers deduce, are themselves highly advanced, sophisticated technological constructs, just like the disc.

The travelers eventually reach the structure at the hub and make contact with the disc’s automated control-systems. They are told that (aside from the recent damage) the sheer build-up of entropy in the old machinery has exceeded the capacity of its advanced robotic maintenance. Catastrophic failure threatens the disc’s further existence. The machines offer to exchange their advanced technology for the construction of a real (spherical) planet as a refuge for the disc "Earth" inhabitants. Kin, the planetary engineer, agrees. She is excited about the massive task at hand; just like the parallel character Louis Wu in Ringworld, Kin is over two hundred years old, and in danger of becoming tired of life.

The implication of the denouement is that the conventional planet Kin Arad will build is in fact the readers' own "Earth". By the end of the story, Kin comes to the further suspicion that the builders of the flat world constructed the whole universe. The evidence of previous races would then be hoaxes, and the flat world itself would be a prank by the universe’s construction crew – analogous to the artificial strata Kin and the Company manufacture, and the occasional prankster employees inserting hoaxes in the artificial strata.

Interpretation
The history of the protagonists' home-planet "Earth" in Strata unfolded very differently from the readers' Earth:
 * North America is named Valhalla, and was colonised in the first millennium A.D. by Vikings, led by Leif Ericson;
 * the Roman Empire is known as Reme instead, after the other twin in the story of Romulus and Remus;
 * the planet Venus is orbited by a moon like Earth's Luna
 * none of the Abrahamic religions ever developed in its history (a mixture of Buddhism and folk religion seems to have predominated, punctuated by an assortment of flash-in-the-pan religious cults)
 * humans are much more developed in the field of space travel and have met several other intelligent species, such as the tall, frog-like kungs, and the bear-like shandi

The book implies that the reason for the historical discrepancies is that the readers' "Earth" is actually the replacement world created by Kin Arad for the inhabitants of the malfunctioning disc "Earth", to which the protagonists of the book travel early in the story. While the history and features of the flat "Earth" in Strata clearly is not the one we are familiar with, the history of the flat Earth is consistent with our own, up to the point where the expedition arrives.

Humanity appears to be merely the latest of a long series of intelligent species who have evolved, altered the universe to better suit themselves, and then died out before the next species arose and started the cycle all over again. Before humans, there were the Great Spindle Kings, a race of acutely claustrophobic telepaths, who could live only a few hundred per planet and therefore built entire worlds from scratch to accommodate their population. Before them were the Wheelers, who were themselves preceded by increasingly alien races extending all the way back to the Big Bang.

All of what is known about the intelligent species who have lived before humans is revealed to be incorrect near the end of the book, when the Disc's computer system (built by the universe's actual creators) reveals to Kin that the entire universe is only 70,000 years old and that evidence and remains of long dead civilizations were fabricated by the universe's creators to make the universe appear older than it is (much like the Company-fabricated prehistoric fossils on their created worlds to make them appear older than they really were). Finally, the fact that the computer systems on the disc "Earth" need humans, implies that the universe was itself created by humans as a place for themselves to live.

Translations

 * Страта (Bulgarian)
 * Strata (Czech)
 * Delven (Dutch) (published together with The Dark Side of the Sun in one volume in 1982: republished separately as Strata in 1994)
 * Strate-à-gemmes (French)
 * Strata (German)
 * Dysk (Polish) (first edition was entitled "Warstwy Wszechświata", Polish for "Layers of the Universe"; "Strata" means "loss" in Polish)
 * Страта (Russian)

title: Strata (novel)


text:
The Dark Side of the Sun

The Dark Side of the Sun is a science fiction novel by Terry Pratchett, first published in 1976.

It is similar to the work of Isaac Asimov. According to Don D'Ammassa, both this and Pratchett's 1981 sci-fi novel Strata spoof parts of Larry Niven's Ringworld. The holiday of Hogswatch, which appears in the Discworld books, is celebrated by the characters in The Dark Side of the Sun.

Overview
The story is set in a portion of the galaxy populated by fifty-two different sentient species. All of these species, humanity among them, have evolved in the last five million years, and all of them have evolved in a spherical volume of space less than two hundred light-years across centred on Wolf 429. The rest of the galaxy is sterile as far as anybody can tell.

Scattered irregularly across this "life-bubble" are ancient artefacts of a mysterious race called the Jokers, who apparently became extinct long before any of the current races arose. These artefacts are usually astounding feats of engineering (such as a pair of stars shaped into rings and joined like links in a chain), but leave no hints about the Jokers' physical form or day-to-day life. The only piece of translatable Joker text is a poem, which cryptically states that they have gone to their new home, which "lies at the dark side of the sun".

Plot
Dominickdaniel "Dom" Sabalos IV is the son of a prodigy of probability math, a science able to predict anything apart from anything to do with the Jokers, and the first person to have had his life fully quantified using p-math. His father, before being mysteriously assassinated, predicted that Dom too would be killed, on the day of his investiture as chairman of his home planet of Widdershins.

However, not having been told of his father's prediction, and against incalculably distant odds, Dom survives the assassination attempt. When the recording of his father's prediction is played back, a time delay added specifically for this unlikely eventuality plays a little more of the recording, in which his father makes a further prediction: that Dom will discover the Jokers' homeworld.

Dom sets out, with Hrsh-Hgn (his tutor, a swamp-dwelling phnobe), Isaac (his robot, equipped with Man-Friday subcircuitry) and Ig (his pet swamp ig) in tow, on a picaresque adventure to find the Jokers' world. He visits many corners of the "life-bubble", encountering Joker artifacts, his god-father, who is a sentient planet, and the sexless, octopoid Creapii, among many other weird and diverse aliens and planets. At the same time he finds himself surviving – at increasingly improbable odds – numerous assassination attempts by a mysterious conspiracy which has long worked to prevent anybody from locating the Jokers, assassinating anybody deemed by p-math having a chance of doing so.

Characters

 * Dom Sabalos - chairman of the Board of Directors of Widdershins.
 * Joan Sabalos - Dom's grandmother.
 * Vian Sabalos - Dom's mother, widow of
 * John Sabalos, Dom's father.
 * Hrsh-Hgn - Dom's tutor; a Phnobe.
 * Isaac - robot with a Class 5 brain.
 * Ways - the lucky assassin robot.
 * Ig - Dom's "pet" ig.

Setting
The book is set in the far future. No current date is given, although the dating system is "A.S." (After Sadhim).

Widdershins is a planet orbiting the star CY Acquirii (a parody of CY Aquarii) settled by a joint party of phnobes and earth-humans. The planet is mostly water and marsh. Their wealth derives from both the chance discovery of pilac, a safe death-immunity drug and googoo, a fungal copier and regenerator of human tissue. The vegetation is blue.

Races
52 different sentient species (including earth-humanity) exist in the novel.

Chief among them are:
 * Earth-humans – Natives of Old Earth who have settled such diverse worlds as Third Eye and Eggplant.
 * Subraces:
 * Widdershine – left-handed, night-black skin, hairless, UV-tolerant eyes, skin-cancer resistant
 * Terra Novae – stocky, two hearts
 * Pineals – Phobish
 * Whole Erse – warriors
 * Eggplant – vegetarian carnivores
 * Third Eye – telepathic
 * Class Five Robots – the most sentient and intelligent kind
 * Phnobes – Natives of Phnobis. Three sexes.
 * Creapii – Natives from Creap, first planet of 70 Ophiuchis A. Oldest race (after Jokers). Octopodial. Non-gendered. Extremophiles. Names are chemical and degrees (e.g. CR ee gE + 698°).
 * Sub-species:
 * Low-degree (silicon-oxygen)
 * Middle-degree (silicon-carbon, 500 °C)
 * High-degree (aluminum-silicon polymer)
 * Others (silicon-boron, etc.)
 * Drosks – Natives of Quaducquakucckuaquekekecqac. Cuboid, omni-carnivores.
 * Sundogs – Natives from Eggplant, since relocated to Band. Space dwellers, lay eggs (in orbit of Band) every ten years.

The rest:
 * Spooners – small, icy worlds
 * Tarquins – protostar dwellers
 * The Pod – Space roaming hydrogen eaters
 * Sidewinders
 * The Two Evolutions of Seard
 * Jokers – Natives of Jokers World. Elder race.
 * The First Sirian Bank – intelligent world, legally Human
 * Chatogaster – living water

title: The Dark Side of the Sun


text:
Ikebana

arranging flowers or making flowers alive is the Japanese art of flower arrangement. It is also known as way of flowers. The origin of ikebana can be traced back to the ancient Japanese custom of erecting evergreen trees and decorating them with flowers as yorishiro to invite the gods.

Later, flower arrangements were instead used to adorn the (alcove) of a traditional Japanese home.

is counted as one of the three classical Japanese arts of refinement, along with for incense appreciation and  for tea and the tea ceremony.

Etymology
The term comes from the combination of the Japanese to arrange (flowers), have life, be living and flower (花). Possible translations include giving life to flowers and arranging flowers.

History

The pastime of viewing plants and appreciating flowers throughout the four seasons was established in Japan early on through the aristocracy. poetry anthologies such as the and  from the Heian period (794–1185) included many poems on the topic of flowers. With the introduction of Buddhism, offering flowers at Buddhist altars became common. Although the lotus is widely used in India where Buddhism originated, in Japan other native flowers for each season were selected for this purpose.

For a long time the art of flower arranging had no meaning, and functioned as merely the placing in vases the flowers to be used as temple offerings and before ancestral shrines, without system or meaningful structure. The first flower arrangements were composed using a system were known as, meaning central flower arrangement. A huge branch of pine or cryptomeria stood in the middle, with three or five seasonable flowers placed around it. These branches and stems were put in vases in upright positions without attempting artificial curves. Generally symmetrical in form, these arrangements appeared in religious pictures in the 14thcentury, as the first attempt to represent natural scenery. The large tree in the centre represented distant scenery, plum or cherry blossoms middle distance, and little flowering plants the foreground. The lines of these arrangements were known as centre and sub-centre.

Later on, among other types of Buddhist offering, placing became popular in the Kamakura (1185–1333) and Nanboku-chō periods (1336–1392). Various Buddhist scriptures have been named after flowers such as the (Flower Garland Sutra) and  (Lotus Sutra). The (Scroll of Frolicking Animals and Humans) depicts lotus being offered by a monkey in front of a frog mimicking the Buddha.

With the development of the architectural style starting in the Muromachi period (1336–1573),  (scroll pictures) and containers could be suitable displayed as art objects in the, a precursor to the  alcove, and the , two-levelled shelves. Also displayed in these spaces were flower arrangements in vases that influenced the interior decorations, which became simpler and more exquisite over time. This style of decoration was called zashiki kazari (座敷飾). The set of three ceremonial objects at the Buddhist altar called consisted of candles lit in holders, a censer, and flowers in a vase. The flowers in the vase were arranged in the earliest style called or standing flowers (立花), and were composed of  and. Recent historical research now indicates that the practice of derived from a combination of belief systems, including Buddhist, and the Shinto  belief is most likely the origin of the Japanese practice of modern. Together, they form the basis for the original, purely Japanese derivation of the practice of.

The art of flower arranging developed with many schools only coming into existence at the end of the 15thcentury following a period of the civil war. The eighth, Ashikaga Yoshimasa (1436–1490), was a patron of the arts and the greatest promoter of – tea ceremony – and , flower arrangement. Yoshimasa would later abdicate his position to devote his time to the arts, and developed concepts that would then go on to contribute to the formulation of rules in ; one of the most important being that flowers offered on all ceremonial occasions, and placed as offerings before the gods, should not be offered loosely, but should represent time and thought.

Yoshimasa's contemporaries also contributed heavily to the development of flower arranging; the celebrated painter Sōami, a friend of Yoshimasa, conceived of the idea of representing the three elements of heaven, humans, and earth, from which grew the principles of arrangements used today in some ikebana schools. It was at Yoshimasa's Silver Pavilion in Kyoto that received its greatest development, alongside the art of tea ceremony and, the incense ceremony.

Artists of the Kanō school, such as Sesshū Tōyō (1420–1506), Sesson, Kanō Masanobu, Kanō Motonobu (1476–1559), and Shugetsu of the 16thcentury, were lovers of nature, and advanced a step further in this period beyond a form of temple and room decoration, with greater consideration given to the natural beauty of a floral arrangement. At this time, was known as.

During the same time period, another form of flower arranging known as was developed;  and  are the two branches into which  has been divided. Popularity of the two styles vacillated between these two for centuries. In the beginning, was stiff, formal, and more decorative style, while  was simpler and more natural.

Although began to come into favour in the Higashiyama period,  was still preferred, and  did not truly gain popularity until the Momoyama period, about a hundred years after Ashikaga Yoshimasa. It was at this period that tea ceremony reached its highest development and strongly influenced, as a practitioner of tea was most probably also a follower of.

As a dependent of, branched off, gaining its independence and its own popularity in the 16thcentury for its freedom of line and natural beauty. Both styles, despite having originated in the Higashiyama period, reflect the time periods in which they gained popularity, with displaying the tastes of the Higashiyama period, and  the tastes of the Momoyama period. lost some of its popularity during the Momoyama period, but in the first part of the Edo period (1603–1668) was revived, and became more popular than ever before. In the Higashiyama period, had been used only as room decorations on ceremonial occasions, but now was followed as a fine art and looked upon as an accomplishment and pastime of the upper classes. reached its greatest popularity during the Genroku era.

has always been considered a dignified accomplishment. All of Japan's most celebrated generals notably practised flower arranging, finding that it calmed their minds and made their decisions on the field of action clearer; notable military practitioners include Toyotomi Hideyoshi, one of Japan's most famous generals.

Many works of various schools on were published in the centuries from the Ken'ei (1206–1207) to the Genroku (1668–1704) eras, all founded on Sōami's idea of the three elements. A number of texts documenting also existed, though few contained directly instructional content; however, these books were fully illustrated, thus documenting the gradual progress of the art.

During the early Edo period (17th century), publications in Japan developed rapidly. Books about were published in succession. During this time, the Sendenshō (仙伝抄) was published, the oldest published manual. The Kawari Kaden Hisho (替花伝秘書) was published in Kanbun 1 (1661). This was carefully written and instructive text, with rules and principles detailed in full, and was the second publication of  texts in the Edo period after the. Although the text is similar to the contents of commentaries of the Muromachi period, the illustrations showed how to enjoy, which had spread from monks to warriors and further on to townspeople. The Kokon Rikka-shu (古今立花集) was the oldest published work on in Kanbun 12 (1672). The Kokon Rikka-taizen (古今立花大全), published in Tenna 3 (1683), was the most famous manual. The Rikka Imayō Sugata (立華時勢粧) came out Jōkyō 5 (1688).

In the Ken'ei era, was simple and natural, with no extreme curves in the arrangement, but in the Genroku era, the lines became complicated and the forms pattern-like, following general trends of high artistic development and expression within that period; during the Genroku period, all the fine arts were highly developed, above all pattern-printing for fabrics and decoration. In the latter part of the 17thcentury, Korin, the famous lacquer artist known for his exquisite designs, strongly influenced. In this period, the combination of a pattern or design with lines that followed the natural growth of the plant produced the most pleasing and graceful results.

It was in the latter part of the 17thcentury that was most practised and reached its highest degree of perfection as an art. Still, there were occasional departures into unnatural curves and artificial presentation styles that caused a shift, and the more naturalistic style of was again revived. Until then, only one branch of had been taught at a time, following the taste of the day, but now rival teachers in both  and  existed.

reached its greatest popularity in the Genroku era. From this time on took the name of. In the Tenmei era (1781–1789),, or , advanced rapidly in favour and developed great beauty of line. The exponents of the art not only studied nature freely, but combined this knowledge with that of, developing the results of even further.

After the Tenmei era, a formal form of arrangement developed. This form has a fixed rule or model known as "heaven, human, and earth". Is it known as Seika (生花).In the Mishō-ryū school, the form is called Kakubana (格花).

The most popular schools of today, including Ikenobō, Enshū-ryū, and Mishō-ryū, amongst others, adhere to some principles, but there are in Tokyo and Kyoto many masters of who teach the simpler forms of Ko-ryū, and Ko-Shin-ryū of the Genroku and Tenmei eras.

The oldest international organisation, Ikebana International, was founded in 1956; Princess Takamado is the honorary president.

Practitioners
Followers and practitioners of, also referred to as , are known as kadōka (華道家). A teacher is called sensei (先生).

Noted Japanese practitioners include Junichi Kakizaki, Mokichi Okada, and Yuki Tsuji. At a March 2015 TEDx in Shimizu, Shizuoka, Tsuji elaborated on the relationship of to beauty.

After the 2011 earthquake and tsunami devastated Japan, noted practitioner Toshiro Kawase began posting images of his arrangements online every day in a project called "One Day, One Flower."

Another practitioner is the Hollywood actress Marcia Gay Harden, who started when she was living in Japan as a child, and has published a book on with her own works. Her mother, Beverly Harden, was a practitioner of the Sōgetsu school. She later became also president of the Ikebana International Washington, DC chapter.

Schools
Mary Averill (1913) gives an overview of the numerous schools of. A school is normally headed by an, oftentimes passed down within a family from one generation to the next. The oldest of these schools, Ikenobō goes back to the 8th century (Heian period). This school marks its beginnings from the construction of the Rokkaku-dō in Kyoto, the second oldest Buddhist temple in Japan, built in 587 by Prince Shōtoku, who had camped near a pond in what is now central Kyoto, and enshrined a small statue of her.

During the 13thcentury, Ono-no-Imoko, an official state emissary, brought the practice of placing Buddhist flowers on an altar from China. He became a priest at the temple and spent the rest of his days practising flower arranging. The original priests of the temple lived by the side of the pond, for which the Japanese word is ike (池), and the word bō (坊), meaning priest, connected by the possessive particle no (の), gives the word priest of the lake (池坊). The name 'Ikenobō', granted by the emperor, became attached to the priests there who specialised in altar arrangements.

Ikenobō is the only school that does not have the ending in its name, as it is considered the original school. The first systematised classical styles, including, started in the middle of the 15thcentury. The first students and teachers were Ikenobō Buddhist priests and members of the Buddhist community. As time passed, other schools emerged, styles changed, and became a custom among the whole of Japanese society.
 * Ikenobō (池坊) is a development of and considered the oldest school
 * Shōgetsudo Ko-ryū – originated by the monk Myōe (1171–1231)
 * Ko-ryū (古流) – originated by Ōun Hoshi or Matsune Ishiro (1333–1402)
 * Higashiyama Jishō-in-ryū (東山銀閣院流) – originated by Ashikaga Yoshimasa (1436–1490), who was also called Higashiyama-dono or Jishō-in. Branches of this school are:
 * Senzan-ryū
 * Higashiyama-Ko-Sei-ryū
 * Higashiyama-ryū (東山流)
 * Sōami-ryū (相阿弥流)
 * Senke-Ko-ryū – originated by the famous tea master Sen no Rikyū in 1520
 * Bisho-ryū – originated by Goto Daigakunokami or Bishokui Dokaku in 1545
 * Enshū-ryū (遠州流) – originated by Lord Kobori Enshū (1579–1647). The branches of this school are numerous:
 * Nihonbashi Enshū-ryū
 * Shin Enshū-ryū
 * Ango Enshū-ryū
 * Miyako Enshū-ryū
 * Seifu Enshū-ryū
 * Asakusa Enshū-ryū, as well as many others.
 * Ko-Shin-ryū – originated by Shin-tetsu-sai, who was the teacher of Tokugawa Hidetada (1579–1632)
 * Sekishu-ryū – originated by Katagiri Iwaminokami Sadamasa (1604–1673)
 * Jikei-ryū – originated by Shōuken Jikei in the year 1699
 * Senkei-ryū – founded around 1669 by Senkei Tomiharunoki
 * Tōgen-Ryu – commenced by Togensai Masayasu about 1716
 * Sōgensai
 * Murakumo-ryū
 * Tōko-ryū
 * Shikishima-ryū
 * Dōnin-ryū
 * Gengi-ryū – commenced by Chiba Ryōboku in the year 1772
 * Mishō-ryū (未生流) – founded by Ippo Mishōsai (1761–1824) in Osaka
 * Yōshin Go-ryū – developed during the Edo period
 * Sei-ryū – commenced by Dōseiken Ittoku in 1818
 * Shōko-ryū – commenced by Hakusuisai in the year 1896
 * Ohara-ryū (小原流) – founded in 1895 by Ohara Unshin
 * Sōgetsu-ryū (草月流) – founded in 1927 by Teshigahara Sofu
 * Saga Go-ryū (嵯峨御流) – founded in the 1930s with roots dating back to Emperor Saga, who reigned from 809 to 823 CE
 * Ichiyō (一葉) – founded in 1937

Other schools include Banmi Shōfū-ryū (晩美生風流), founded in 1962 by Bessie "Yoneko Banmi" Fooks, and Kaden-ryū (華伝流), founded by Kikuto Sakagawa in 1987 based on the Ikenobō school.

Theory
Since flower arrangement arrived in Japan from China together with Buddhism, it was naturally imbued with Buddhist philosophy. The Buddhist desire to preserve life lies at the root of much of practice, and has created most of the rules of flower arrangement, controlling also the shapes of the flower vases, formed as to help to prolong the life of the flowers. Consideration of the vase as being something more than a mere holder of the flowers is also an important consideration. The surface of the water is always exposed, alongside the surface of the earth from which the grouping of flowers springs. This aids in creating the effect of representing a complete plant growing as nearly as possible in its natural conditions.

More than simply putting flowers in a container, is a disciplined art form in which nature and humanity are brought together. Contrary to the idea of a particoloured or multicoloured arrangement of blossoms, often emphasises other areas of the plant, such as its stems and leaves, and puts emphasis on shape, line, and form. Though is an expression of creativity, certain rules govern its form, such as the idea of good and evil fortune in the selection of material and form of the arrangement.

The concept of hanakotoba (花言葉) is the Japanese form of the language of flowers, wherein plants are given specific coded meanings, varying based on the colour of the flowers, the presence of thorns within the height of tall plants, the combination of flowers used in garlands and the different types of flowers themselves, amongst other factors. For instance, the colours of some flowers are considered unlucky. Red flowers, which are used at funerals, are undesirable for their morbid connotations, but also because red is supposed to suggest the red flames of a fire. An odd number of flowers is lucky, while even numbers are unlucky and therefore undesirable, and never used in flower arrangements. With odd numbers, symmetry and equal balance is avoided, a feature actually seldom found in nature, and which from the Japanese standpoint is never attractive in art of any description. These create a specific impression of nature, and convey the artist's intention behind each arrangement is shown through a piece's colour combinations, natural shapes, graceful lines, and the implied emotional meaning of the arrangement without the use of words. All flower arrangements given as gifts are given with the flowers in bud, so that the person to whom they are sent may have the pleasure of seeing them open, in contrast to the Western idea of flower arrangements, where the flowers are already in bloom before being given.

There is no occasion which cannot be suggested by the manner in which the flowers are arranged. For instance, leaving home can be announced by an unusual arrangement of flowers; auspicious materials, such as willow branches, are used to indicate hopes for a long and happy life, and are particularly used for arrangements used to mark a parting, with the length of the branch signifying a safe return from a long journey, particularly if a branch is made to form a complete circle. For a house-warming, white flowers are used, as they suggest water to quench a fire; traditional Japanese homes, being made almost exclusively of wood, were particularly susceptible to fire, with everything but the roof being flammable. To celebrate an inheritance, all kinds of evergreen plants or chrysanthemums may be used, or any flowers which are long-lived, to convey the idea that the wealth or possessions may remain forever. There are also appropriate arrangements for sad occasions. A flower arrangement made to mark a death is typically constructed of white flowers, with some dead leaves and branches, arranged to express peace.

Another common but not exclusive aspect present in is the employment of minimalism. Some arrangements may consist of only a minimal number of blooms interspersed among stalks and leaves. The structure of some Japanese flower arrangements is based on a scalene triangle delineated by three main points, usually twigs, considered in some schools to symbolise heaven, human, and earth, or sun, moon, and earth. Use of these terms is limited to certain schools and is not customary in more traditional schools. A notable exception is the traditional form, which follows other precepts. The container can be a key element of the composition, and various styles of pottery may be used in their construction. In some schools, the container is only regarded as a vessel to hold water, and should be subordinate to the arrangement.

The seasons are also expressed in flower arrangements, with flowers grouped differently according to the time of the year. For example, in March, when high winds prevail, the unusual curves of the branches convey the impression of strong winds. In summer, low, broad flower receptacles are used, where the visually predominant water produces a cooler and more refreshing arrangement than those of upright vases.

The spiritual aspect of is considered very important to its practitioners. Some practitioners feel silence is needed while constructing a flower arrangement, while others feel this is not necessary, though both sides commonly agree that flower arranging is a time to appreciate aspects of nature commonly overlooked in daily life. It is believed that practice of flower arranging leads a person to become more patient and tolerant of differences in nature and in life, providing relaxation in mind, body, and soul, and allowing a person to identify with beauty in all art forms.

Plants play an important role in the Japanese Shinto religion. are objects that divine spirits are summoned to. Evergreen plants such as are a traditional decoration of the New Year placed in pairs in front of homes to welcome ancestral spirits or  of the harvest.

Styles

in the beginning was very simple, constructed from only a very few stems of flowers and evergreen branches. This first form of was called kuge (供華). Patterns and styles evolved, and by the late 15thcentury arrangements were common enough to be appreciated by ordinary people and not only by the imperial family and its retainers, styles of having changed during that time, transforming the practice into an art form with fixed instructions. Books were written about the art, being the oldest of these, covering the years 1443 to 1536. became a major part of traditional festivals, and exhibitions were occasionally held.

The first styles were characterised by a tall, upright central stem accompanied by two shorter stems. During the Momoyama period, 1560–1600, a number of splendid castles were constructed, with noblemen and royal retainers making large, decorative floral arrangements that were considered appropriate decoration for castles. Many beautiful arrangements were used as decoration for castles during the Momoyama period, and were also used for celebratory reasons.
 * The standing flowers (立花); style was developed as a Buddhist expression of the beauty of landscapes in nature. Key to this style are nine branches that represent elements of nature. One of arrangement styles is called sand arrangement (砂の物).

When the tea ceremony emerged, another style was introduced for tea ceremony rooms called. This style is the opposite of the Momoyama style and emphasises rustic simplicity. is not considered a style of but is separate. The simplicity of in turn helped create the  or thrown-in style.
 * thrown-in flowers (投入花) is a non-structured design which led to the development of the or  style. It is characterised by a tight bundle of stems that form a triangular three-branched asymmetrical arrangement that was considered classic. It is also known by the short form.
 * pure flowers (生花) style consists of only three main parts, known in some schools as (heaven),  (earth), and  (human). It is a simple style that is designed to show the beauty and uniqueness of the plant itself. Formalisation of the  style for use in the Japanese alcove resulted in the formal  style.
 * In piled-up flowers (盛花), flowers are arranged in a shallow vase or, compote vessel, or basket, and secured on a or pointed needle holders, also known as metal frogs.
 * In the free flowers (自由花) style, creative design of flower arranging is emphasised, with any material permissible for use, including non-flower materials. In the 20th century, with the advent of modernism, the three schools of partially gave way to what is commonly known in Japan as "Free Style".
 * Kyoto Ikebana artist Hayato Nishiyama says he enjoys designs with just a single flower, "to help people concentrate, to help them focus on seeing the beauty of an individual."

Vessels
The receptacles used in flower arranging come in a large variety. They are traditionally considered not only beautiful in form, material, and design but are made to suit the use to which they will be put, so that a flower can always be placed in an appropriate receptacle, and probably in one especially designed for that particular sort of flower.

The thing the Japanese most seek in a vase's shape is what will best prolong the life of flowers. For this reason, vases are wide open at the mouth, for, unlike in Western flower arranging, they do not depend upon the vase itself to hold flowers in position, believing that the oxygen entering through the neck opening is as necessary to the plant as the oxygen it receives directly from the water; thus, the water remains sweet much longer than in small-necked vases.

There are many ideas connected with these receptacles. For instance, hanging vases came into use through the idea that flowers presented by an esteemed friend should not be placed where they could be looked down upon, so they were raised and hung. In hanging bamboo vases, the large, round surface on top is supposed to represent the moon, and the hole for the nail a star. The cut, or opening, below the top is called, the wind drawing through a place.

Besides offering variety in the form of receptacles, the low, flat vases, more used in summer than winter, make it possible to arrange plants of bulbous and water growth in natural positions.

As for the colour of the vases, the soft pastel shades are common, and bronze vases are especially popular. To the Japanese, the colour bronze seems most like mother earth, and therefore best suited to enhance the beauty of flowers.

Bamboo, in its simplicity of line and neutral colour, makes a charming vase, but one of solid bamboo is not practical in some countries outside of Japan, where the dryness of the weather causes it to split. Baskets made from bamboo reeds, with their soft brown shades, provide a pleasing contrast to the varied tints of the flowers, and are practical in any climate.

Not to be overlooked is the tiny hanging vase found in the simple peasant home – some curious root picked up at no cost and fashioned into a shape suitable to hold a single flower or vine. Such vases can be made with little effort by anyone and can find place nearly anywhere.

In popular culture

 * is taught in schools. It has also featured in manga, anime and been shown on television.
 * In Magic-kyun! Renaissance, the main character Aigasaki Kohana practices, just like her mother before her.
 * The manga Zig Zag focuses on a boy named Takaaki Asakura (nicknamed "Taiyou" (the sun)) and his affection for flowers.
 * In Girls und Panzer one of the main protagonists Isuzu Hana's central theme and hobby is . She combines her passion for it with tanks. A limited special edition vase in the shape of a tank was made by a Kasama ware kiln that was seen in the anime.
 * In 1957 the film director and grand master of the Sōgetsu-ryū school of Ikebana Hiroshi Teshigahara made the movie titled, which describes his school.
 * Flower and Sword, released in 2017, tells the story of the development of during the Sengoku period in the 16thcentury. Directed by Tetsuo Shinohara, it was based on a novel by Tadashi Onitsuka. Masters and their assistants of the Ikenobō school were involved in creating the various, , and  arrangements for the movie.

title: Ikebana


text:
User:Tkorrovi

My signature to the appeal to the Secretary General and to the Heads of State and of Government of the member countries of the United Nations for an interim United Nations administration in Chechnya.

Name: Tarvo Korrovits

Email: tkorrovi@mail.com

Well, I like Beethoven's 7. symphony, especially the 2. movement. Beethoven said that many like the 5. symphony, just because everyone can understand it, but 7. symphony is the best what he did. I liked though the 7. symphony before I knew Beethoven said that. Yes, there is something about the universe. But unfortunately, there are no free versions of the bh 7. symphony, so what we should be satisfied with, when we want a free music, is the Wikipedia sound list Sound/list. There, the Mozart 40. symphony is quite well recorded, I guess everyone likes it, especially the 1. movement. I also listen sometimes the 5. movement of the Brahms hungarian dance, especially when I feel good. Yes, Vivaldi seasons are all well played, also the Bach piano concert. The bh 5. symphony is unfortunately not so well performed, seems that they even make mistakes, but not so very bad either. The same about Mendelssohn violin concert, the violin doesn't sound very good, but course it's only my opinion, it's good otherwise.

Then, if you really have nothing to read, there is the Gutenberg project, with more than 10,000 public domain books. I read there things randomly, such as dubliners by james joyce. Oh yes, I like knut hamsun. And finally, there is SourceForge for open source programs, this is the first place I look when I need some program. I have both windows 2000 and debian sarge linux in my computer, I mostly use windows, but from that only the os itself is commercial (oh, sure I bought an official copy), all the rest is open source, in a way very similar to linux, with things like MinGW compiler, unix utilities, vim, openoffice, mplayer (a command line media player which I use instead of windows media player).

I did some programming stuff, such as conio files for dev-c++ distribution, not so complicated, but I did things which nobody else did before, whatever the reason. Well, I like c, wrote a c89 description at (the best site I think when one wants to learn c, not c++).

What else remarkable there is. Well, if you search SourceForge for consciousness, you find two projects, mine and a basket observer of the Global Consciousness Project of the Princeton university. This last is especially interesting, this basket observer is at and at  there is a knob, which is green most of the times, but it went red for several hours before and during the major events like death of the princess Diana, and 9/11. Well, it was also red several hours two days ago (08/03/05), but seemingly though nothing of so great magnitude happened. Oh yes and the site of John Walker, the founder of Autodesk and author of AutoCad, who was one of the initiators of the Global Consciousness Project.

title: User:Tkorrovi


text:
Talk:The First Blast of the Trumpet Against the Monstruous Regiment of Women

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 7 January 2020 and 14 April 2020. Further details are available on the course page. Student editor(s): Cdev007.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 11:02, 17 January 2022 (UTC)

Misnamed?
Frankly, I think this may be misnamed--a link about the work by Knox ought to be the title, perhaps with redirects from "monstrous regiment of women" and "monstrous regiment". The first sentence is simply ugly--I don't know how to write it more elegantly. Any thoughts about any of this? Jwrosenzweig 22:08 22 Jul 2003 (UTC)

 * I'm not sure that I've ever heard this phrase used, plucked out of the title as it is here. I suppose that it is, by someone: but surely only as a reference to the book and its theme.  Anyway, I don't know about that.  I tried my hand at rewriting some parts, primarily for smoothing out the phrases and punching up the prose.  Revert what you don't like. Mkmcconn 18:28, 31 Jul 2003 (UTC)

 * Thanks, Mk, I think we're slowly streamlining it in the right direction--I definitely appreciate your contributions, and won't revert them. :) I worry a little that you may be a smidge over the top in the addition about "most misogynist invective in history", but then it's been a long time since I read anything at all by Knox, and something tells me you've probably actually stated the case fairly well.  Thanks for letting me know your reasoning, Jwrosenzweig 15:46, 1 Aug 2003 (UTC)

 * Among my heroes, Knox ranks near the top; but this book makes me laugh at all heroes and at the people who have them. Here's one of my favorite passages (preserving the olde spelling for heightened comic effect):

''For who can denie but it is repugneth to nature, that the blind shall be appointed to leade and conduct such as do see? That the weake, the sicke and impotent persons shall norishe and kepe the hole and strong? And finallie, that the foolishe, madde and phrenetike shal governe the discrete and give counsel to such as be sober of mind. And such be al women, compared unto man in bearing of authoritie. For their sight in civile regiment is but blindness; their strength, weaknes; their counsel, foolishnes; and judgment, phrensie, if it be rightlie considered."''
 * Mkmcconn 16:11, 1 Aug 2003 (UTC)

 * You have to marvel at the Calvinist gift for creating a memorable title, don't you? The First Blast of the Trumpet. . . and Cotton Mather's Wonders of the Invisible World are two of my favourite book titles in English, ever.  I do think that it probably ought to be moved to a page given the full title as a name, though, with both Monstrous Regiment and Monstrous Regiment of Women redirecting thereunto.  -- IHCOYC 19:38, 14 Aug 2003 (UTC)

Shouldn't that be 'regimen'?
I'm sure it's regimen. It used to confuse me when I was at uni. I've been looking through my notes to try to find the facsimile copy they handed out for our lectures. No luck yet.
 * I'm thinking your recollection is mistaken. I could find more authoritative evidence, I'm sure, but a quick google search showed 14,600 hits for "The First Blast of the Trumpet Against the Monstrous Regiment" and only 106 hits for "The First Blast of the Trumpet Against the Monstrous Regimen".  Jwrosenzweig 04:56, 14 February 2006 (UTC)
 * Uh, take a look at the image of the title page, it uses Regimen... Modest Genius talk 10:22, 26 May 2007 (UTC)
 * Given that the image you refer to is of a reprinted edition from 1766, centuries after the initial publication, and taking that fact in the context of the Google info above and the fact that the e-texts we link to use "regiment", I'm inclined to think that this is a printer's error on the particular edition we have an image of. If we can determine that it's not a printer's error, but a variant spelling used in at least a few significant editions, perhaps some note should be made.  Jwrosenzweig 06:45, 16 September 2007 (UTC)  —Preceding unsigned comment added by 71.112.34.128 (talk)

I was taught many years ago that it was "regimen". Since you (Jwrosenzweig) say "I could find more authoritative evidence, I'm sure", we'd all be very grateful if you could do so. Thanks. SamuelTheGhost (talk) 21:46, 1 June 2008 (UTC)
 * I offer the cautious transcribers of Project Gutenberg, as evidence of "regiment": http://www.gutenberg.org/dirs/etext06/8trmp10h.htm - It's not like we haven't dropped another letter since these reprints. (We'd call it the "regime of women" today.) -Yamara ✉  00:41, 2 June 2008 (UTC)
 * Thanks for that. It does seem to be the case that Knox wrote "regiment". The Shorter Oxford English Dictionary gives both "regimen" and "regiment" as words which existed in Knox's time, with different but overlapping meanings. ("Régime" came in from French later.) It looks as though editors in e.g. 1766 used the "regimen" spelling because they thought it was clearer, and in fact I agree with them. I don't think there's any question of a misprint. But as far as the article is concerned, it must be right to go mainly with Knox's spelling, but there ought to be some note about the other, if only to stop the title-page image from looking stupid. SamuelTheGhost (talk) 09:00, 2 June 2008 (UTC)

It would be more consistent if an image were uploaded with the "regiment" title to replace the "regimen" picture currently showing. —Preceding unsigned comment added by 72.222.240.210 (talk) 08:59, 29 March 2010 (UTC)

The National Library of Scotland has on its website a digital image of the title page of the first edition. This was published anonymously in 1558 (M D LVIII), and does contain the word regiment rather than regimen http://digital.nls.uk/scotlandspages/timeline/1558.html. I'm not techno savvy enough to be able to make changes to this page, but perhaps one of you others could manage it. A second point about this article is that Mary, Queen of Scots, was a child in 1558, and Knox was really more concerned with the rule of her mother, Mary of Guise, who was regent of Scotland at the time. Thirdly, I'm not convinced that Knox was not against the authority of women in all walks of life; the extract on the page rather confirms this, as does the very first paragraph of the work itself. Lalar99 (talk) 18:16, 16 September 2010 (UTC)

 * The above is correct. It's unfortunate that, given the correction, the page has been allowed to stay in its incorrect state for so long. RandomCritic (talk) 02:21, 21 August 2011 (UTC)

JStor and other sources quoted
I didn't have time to add to this article, but used it for another, and the results might be useful for this one, if anyone is interested in applying the research. I used the citations in this article. To find some of my research, including quotations, see reference notes (which include quotations) in a past revision of Matriarchy. Also, John Knox expressed "opposition to female rule" and an "initial outburst against female rule". Nick Levinson (talk) 15:42, 8 August 2012 (UTC)

Second Blast
Is this statement accurate: "Knox intended to write a Second Blast and a Third Blast, but after seeing how people responded to the First, neither ever became reality."

I ask, having noticed that the title page picture here says "To which is added, The Contents of the Second Blast". TurnipWatch (talk) 17:35, 20 April 2023 (UTC)


text: User talk:68.162.218.43

title: User talk:68.162.218.43