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List of poetry awards

Major international awards

 * Golden Wreath of Struga Poetry Evenings
 * Bridges of Struga (for a debuting author at Struga Poetry Evenings)
 * Griffin Poetry Prize (The international prize)
 * International Hippocrates Prize for Poetry and Medicine (Open First Prize=£5000)
 * Montreal International Poetry Prize ($20,000 prize for one poem)
 * National Poetry Competition (International, First Prize=£5000)
 * Nobel Prize in Literature (Not exclusively for poetry)
 * Poetic Republic Poetry Prize (Anonymous peer review poetry competition)
 * Poetry London Prize (First Prize=£5000)
 * Rhysling Award (For science-fiction poetry)
 * Pushcart Prize ("Best of the Small Presses")
 * Charles Causley Trust International Poetry Competition (First Prize=£2000)
 * Derek Walcott Prize for Poetry
 * The Poetry.com Contest (First Prize=$1000)
 * Cilento Poetry Prize (Not exclusively for poetry)

Asia

 * SAARC Literary Award

Africa

 * Brunel University African Poetry Prize

Australia

 * Anne Elder Award
 * Bruce Dawe National Poetry Prize
 * Christopher Brennan Award
 * C. J. Dennis Prize for Poetry
 * Grace Leven Prize for Poetry
 * Harri Jones Memorial Prize for Poetry
 * Judith Wright Prize
 * Judith Wright Calanthe Award
 * Kenneth Slessor Prize for Poetry
 * Mary Gilmore Prize
 * The Roland Robinson Literary Award
 * Thomas Shapcott Poetry Prize
 * The Val Vallis Award
 * The W. B. Yeats Poetry Prize for Australia

Austria

 * Feldkircher Lyrikpreis

Canada

 * Aqua Books Lansdowne Prize for Poetry
 * Archibald Lampman Award
 * Atlantic Poetry Prize
 * Dorothy Livesay Poetry Prize
 * Gerald Lampert Award – for the best volume of poetry by a new author
 * Griffin Poetry Prize – generous award for one Canadian and one foreign poet
 * Pat Lowther Award – for the best volume of poetry written by a woman
 * Prix Alain-Grandbois

Governor General's Awards
English language:
 * Governor General's Award for English language poetry
 * Governor General's Award for English language poetry or drama

French language:
 * Governor General's Award for French language poetry
 * Governor General's Award for French language poetry or drama

Chile

 * Premio Nacional de Literatura de Chile

Croatia

 * Tin Ujević Award for contributions to Croatian poetry

Germany

 * Wilhelm Busch Prize for satirical and humorous poetry

Greater Middle East

 * Foundation of Abdulaziz Saud Al-Babtain's Prize for Poetic Creativity

India

 * Saraswati Samman
 * Sahitya Akademi Award given by Sahitya Akademi, India's National Academy of Letters
 * Jnanpith Award
 * Ananda Purashkar
 * Kalidas Samman
 * Pampa Award
 * Rabindra Puraskar
 * Karnataka Sahitya Akademi Award for Poetry
 * Jibanananda Das Award
 * All India Poetry Prize

Ireland

 * Irish Times Poetry Now Award
 * Patrick Kavanagh Poetry Award

Italy

 * Bancarella Prize
 * Mondello Prize
 * Premio Camaiore
 * Premio Campiello
 * Premio Hemingway
 * Premio Viareggio
 * Strega Prize
 * Cilento Poetry Prize

Korea

 * Kim Su-yông Contemporary Poetry Award

Malaysia

 * Hadiah Sastera Perdana Malaysia
 * Hadiah Sastera Kumpulan Utusan
 * Hadiah Sastera Majlis Sastera Asia Tenggara (Hadiah MASTERA)

Netherlands

 * Awater Poëzieprijs
 * C. Buddingh'-prijs
 * J.C. Bloem-poëzieprijs
 * Jan Campert Prize
 * Jo Peters Poëzieprijs
 * VSB Poetry Prize

New Zealand

 * Montana New Zealand Book Award for Poetry
 * Arts Foundation of New Zealand Icon, Laureate and New Generation Awards
 * New Zealand Poet Laureate

Slovenia

 * Jenko Award
 * KONS International Literary Award
 * Veronika Award
 * Vilenica Prize

Spanish (language)

 * Premio Adonais
 * Premio Cervantes

United Kingdom

 * Alice Hunt Bartlett Prize
 * Brunel University African Poetry Prize
 * Chancellor's Gold Medal
 * Christopher Tower Poetry Prizes
 * Cholmondeley Award
 * Costa Poetry Award, formerly the Whitbread Poetry award
 * Edwin Morgan Poetry Award
 * E. H. P. Barnard Poetry Prize
 * Eric Gregory Award
 * Forward Prize
 * Gaisford Prize
 * Geoffrey Dearmer Award
 * Geoffrey Faber Memorial Prize
 * Hippocrates Prize for Poetry and Medicine (Open and NHS-related awards)
 * Manchester Poetry Prize
 * Michael Marks Poetry Awards
 * National Poetry Competition
 * Newdigate Prize
 * Oxford Poetry
 * Poetry Book Awards
 * Popescu Prize
 * Porson Prize
 * Queen's Gold Medal for Poetry
 * Sarah Maguire Prize
 * T. S. Eliot Prize
 * Welsh Poetry Competition

United States

 * Agha Shahid Ali Poetry Prize – awarded annually in memory of this celebrated poet, sponsored by the University of Utah Department of English and the University of Utah Press
 * Agnes Lynch Starrett Poetry Prize – for a first book of poetry
 * Aiken Taylor Award for Modern American Poetry – annual prize, administered by the Sewanee Review and the University of the South, awarded to a writer who has had a substantial and distinguished career
 * Alice James Award
 * Amy Lowell Poetry Travelling Scholarship – given annually to a U.S.-born poet to spend one year outside North America in a country the recipient feels will most advance his or her work
 * Autumn House Press – poetry and fiction awards for full-length book manuscripts
 * Backwaters Press – annual prize awarded to book length manuscript selected by guest judge
 * Bernard F. Connors Prize for Poetry – awarded by the editors of Paris Review for the best poem published in the magazine over the course of the year
 * The Best American Poetry series – maximum of 75 poems published each year in the anthology series
 * The Best New Poets series – maximum of 50 poems published each year in the anthology series
 * Bobbitt National Prize for Poetry – offered by the Library of Congress for the best book of poetry published by a living U.S. author during the preceding two years
 * Bollingen Prize – offered by Yale University every two years to one or more living U.S. poets for the best collection published in that period, or for lifetime achievement in poetry
 * Borestone Mountain Poetry Awards – former series of annual anthologies (1948–1977) of poems selected as the best from each year's English-language magazines
 * Brittingham Prize in Poetry
 * Chelsea Award for Poetry – given by Chelsea magazine
 * Cider Press Review Book Award – given by the Cider Press Review
 * Crab Orchard Series in Poetry Open Competition Awards offers $3,500 for the first prize and $2,000 for the second prize
 * Donald Justice Poetry Prize – sponsored by the Iris N. Spencer Poetry Awards at the West Chester University Poetry Center
 * Dwarf Stars Award – annual award presented by the Science Fiction Poetry Association to the author of the best horror, fantasy, or science fiction poem of ten lines or fewer published in the previous year.
 * Donna J. Stone National Literary Awards – sponsored by the Matthew J. Pascal Foundation and American Mothers, Inc.
 * Felix Pollak Prize in Poetry
 * Glascock Prize
 * Howard Nemerov Sonnet Award
 * Iowa Poetry Prize – sponsored by University of Iowa Press
 * Isabella Gardner Poetry Award – sponsored by BOA Editions
 * Jackson Poetry Prize - Honors an American poet of exceptional talent, sponsored by Poets & Writers; in 2022, carried an award of $80,000
 * Julie Suk Award – awarded for Best Poetry Book by a Literary Press, sponsored by Jacar Press
 * Kate Tufts Discovery Award – $10,000 awarded to a first time poet
 * Kingsley Tufts Poetry Award – $100,000 award for poet in mid career
 * Lambda Literary Award - for works which celebrate or explore LGBT themes
 * Lannan Literary Award for Poetry – comes with $150,000
 * Letter Review Prize for Poetry - $1000 USD + Publication First Prize. All entries considered for publication.
 * Los Angeles Times Book Prize in Poetry
 * Maurice English Poetry Award – awarded for a volume of poetry published when a poet is more than 50 years old
 * National Book Award for Poetry
 * National Book Critics Circle Award – given annually in poetry and in five other categories to promote the finest books and reviews published in English
 * National Poetry Series – offered by the National Poetry Series through five participating publishers for a collection of poetry
 * The New Criterion Poetry Prize – given by The New Criterion magazine
 * O. B. Hardison Jr. Poetry Prize – awarded by the Folger Shakespeare Library to a U.S. poet who has published at least one book within the last five years, has made important contributions as a teacher, and is committed to furthering the understanding of poetry
 * PEN Award for Poetry in Translation – honoring a poetry translation published in the preceding year
 * PEN/Voelcker Award for Poetry – given biennially to an American poet whose distinguished and growing body of work to date represents a notable and accomplished presence in American literature
 * Poet Laureate Consultant in Poetry to the Library of Congress
 * Poets' Prize – awarded annually for the best book of verse published by an American in the previous calendar year
 * Pulitzer Prize for Poetry
 * Rattle Poetry Prize – $5000 prize for one poem given every year by Rattle
 * Rhysling Award – two given out each year (one for a long poem, the other for a short poem), by the Science Fiction Poetry Association for the best science fiction, fantasy, or horror poems
 * Richard Wilbur Award
 * Ruth Lilly Poetry Prize – offered by the Poetry Foundation for a U.S. poet "whose accomplishments warrant extraordinary recognition"
 * T. S. Eliot Prize for Poetry – publication prize awarded annually by Truman State University for the best unpublished collection in English. A distinct prize with the same name is awarded in the United Kingdom
 * Willis Barnstone Translation Prize – annual prize for an outstanding translation of a poem from any language into English
 * Witter Bynner Fellowships – administered by the Library of Congress, the fellowships are sponsored by the Witter Bynner Foundation for Poetry, an organization that provides grant support for poetry programs through nonprofit organizations. Fellows are chosen by the Poet Laureate, and are expected to participate in a poetry reading at the Library of Congress in October and to organize a poetry reading in their respective cities
 * Witter Bynner Poetry Prize – established by the American Academy of Arts and Letters in 1980 to support the work of a young poet
 * Yale Series of Younger Poets – offered by Yale University Press to a poet under the age of forty for a first volume of poetry

Awards given by the Academy of American Poets

 * Wallace Stevens Award – $100,000 to recognize outstanding and proven mastery in the art of poetry
 * Fellowship of the Academy of American Poets – $25,000 for distinguished poetic achievement
 * Lenore Marshall Poetry Prize – $25,000 for the best book of poetry published in the United States in the previous year
 * James Laughlin Award – $5,000 to recognize and support a poet's second book
 * Walt Whitman Award – first-book publication, $5,000, and a one-month residency at the Vermont Studio Center for an American who has not yet published a book of poetry
 * Raiziss/de Palchi Translation Awards – $10,000 book prize and $25,000 fellowship, awarded in alternating years to recognize outstanding translations into English of modern Italian poetry
 * Harold Morton Landon Translation Award – $1,000 for a published translation of poetry from any language into English

Awards given by the Poetry Society of America

 * Alice Fay Di Castagnola Award
 * Anna Rabinowitz Prize
 * Cecil Hemley Memorial Award
 * Frost Medal
 * Four Quartets Prize
 * George Bogin Memorial Award
 * Lucille Medwick Memorial Award
 * Lyric Poetry Award
 * Norma Farber First Book Award
 * Robert H. Winner Memorial Award
 * Shelley Memorial Award – since 1929, offered by the society to a poet living in the United States who is chosen on the basis of "genius and need"
 * Student Poetry Award
 * William Carlos Williams Award – offered by the society for the best book of poetry published by a small, non-profit, or university press
 * Writer Magazine/Emily Dickinson Award

Awards given by the American Academy of Arts and Letters

 * American Academy of Arts and Letters Gold Medals for Poetry – given every six years to honor the distinguished career of a poet; considered the highest honor of the American Academy of Arts and Letters
 * Arthur Rense Prize – in 1998, the $20,000 award was established to honor "an exceptional poet" once every third year
 * Michael Braude Award for Light Verse – $5,000 biennial award is given "for light verse written in English regardless of the country of origin of the writer"
 * Witter Bynner Poetry Prize – awarded by the American Academy of Arts and Letters from 1980 to 1993

title: List of poetry awards


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Eurovision Young Dancers

Eurovision Young Dancers, often shortened to EYD, or Young Dancers, was a biennial dance competition, organised by the European Broadcasting Union (EBU) and is broadcast on television throughout Europe. Thirty-seven countries have taken part since the inauguration of the contest in ; including (a non-EBU member) and  (a North American country).

Performers between the ages of 16 and 21, from member countries of the European Broadcasting Union, compete as solo of couples to dance routines of their choice. Professional jury members each representing the elements of ballet, contemporary, and modern dancing, score each of the performances. The two participants which receive the most overall points advance to a televised 'dance-off' final, where the winner is decided by the jury.

is the most successful country in the Young Dancers competition, having won five times, , , , and respectively but has never hosted. On 16 December 2017, the fifteenth and most recent edition took place in Prague, Czech Republic and was won by Paulina Bidzińska of Poland, with Patricija Crnkovič of Slovenia placing second (runner-up).

History
Young Dancers takes place every two-years, in parallel to its counterpart, Eurovision Young Musicians (another EBU biennial youth competition). The inaugural Eurovision Young Dancers contest, then known as Eurovision Competition for Young Dancers, took place in Reggio Emilia, Italy, on 16 June 1985. Eleven countries who are members of the European Broadcasting Union (EBU) competed in the début contest. won the first edition in 1985, represented by Arantxa Argüelles. , represented by Arne Fagerholt, and, represented by Mia Stagh and Göran Svalberg, came second and third respectively.

A total of thirty-seven countries have competed at least once since 1985. is the only non-European country to have taken part in the contest (as well as the only country in North America to have ever participated in a Eurovision event), although their broadcaster, Canadian Broadcasting Corporation (CBC), is an associate member of the EBU. Eurovision Young Dancers is also the only Eurovision event to feature a country whose broadcaster is neither a full nor associate member of the EBU, as Kosovo made their sole appearance in 2011 (although they have broadcast other Eurovision events for many years). Bulgaria's debut and only appearance in 1991 also marked the first participation of a former Warsaw Pact country in a Eurovision event, as well as the longest gap between a country's debut at another Eurovision event prior to appearing at the Eurovision Song Contest (with fourteen years separating their Young Dancers debut and their Song Contest debut).

In the entire history of the event, only three contests (2007, 2009 and 2019) have never occurred. The 2007 Eurovision Young Dancers competition was cancelled to allow the Prix de Lausanne, a similar event organised by Swiss broadcaster SRG SSR idée suisse to take place at the same venue. The decision to cancel the contest was mutually agreed between the host broadcaster and the EBU. The following contest was due to be held on 19 June 2009 at the Dance House in Oslo, however was eventually cancelled due to a lack of interest from broadcasters. The contest would eventually be held again in 2011 when the format was revived as a prime time show.

On 23 January 2017, the EBU announced that Maltese broadcaster Public Broadcasting Services (PBS), who agreed to host the event in July 2015, had been forced to cancel their staging of the competition. The EBU also stated it was looking for another host broadcaster but should one not be found in time the competition would not take place this year and is expected to return in 2019. On 18 May 2017, Czech broadcaster Česká televize (ČT) confirmed that they would host the contest for a second time.

On 20 December 2018, the contest was cancelled due to the absence of a broadcaster willing to host the competition. As of that time, and  were the only eligible countries to have confirmed their intention to participate in the contest. In October 2020, the EBU ruled out bringing the contest back until further notice.

Format
The format has been roughly the same since the 1985 inauguration of the competition. All competing dancers are to be non-professional and between the ages of 16–21. Participants may consist of solo or couples, with each performing a dance routine of their choice, which they have prepared in advance of the competition. All of the acts then take part in a choreographed group dance during 'Young Dancers Week'.

From 1989 to 2003, a semi-final round took place a few days before the Contest, and the jury decided as well which countries qualified for the televised final. In the 2003 contest, the professional jury voted electronically, immediately following each act, awarding points for technique and artistry. For the 2005 contest, the traditional format was changed. A week of dance master classes replaced the semi-final round. Florence Clerc, Irek Mukhamedow, Christopher Bruce and Piotr Nardelli were the dance teachers selected to work with the participants and tasked to select the 10 finalists out of the 13 participating countries.

In 1989 and 2003, the contest awarded two sets of first prize, one for classical and one for contemporary dance. An additional "Youth Jury" prize was awarded in 2003 chosen by a panel of dance enthusiasts in the audience.

The format is revamped in 2011 to include a 'final duel' round and the semi-finals are removed due to the low number of participating countries. Jury members of a professional aspect and representing the elements of ballet, contemporary, and modern dancing styles, score each of the competing individual and group dance routines. Once all the jury votes have been counted, the two participants which received the highest total of points progress to a final round. The final round consists of a 90-second 'dual', were each of the finalists perform a 45-second random dance-off routine. The overall winner upon completion of the final dances is chosen by the professional jury members.

Participation
Eligible participants include primarily active members (as opposed to associate members) of the EBU. Active members are those who are located in states that fall within the European Broadcasting Area, or are member states of the Council of Europe.

The European Broadcasting Area is defined by the International Telecommunication Union:

 * The "European Broadcasting Area" is bounded on the west by the western boundary of Region 1, on the east by the meridian 40° East of Greenwich and on the south by the parallel 30° North so as to include the northern part of Saudi Arabia and that part of those countries bordering the Mediterranean within these limits. In addition, Armenia, Azerbaijan, Georgia and those parts of the territories of Iraq, Jordan, Syrian Arab Republic, Turkey and Ukraine lying outside the above limits are included in the European Broadcasting Area.

The western boundary of Region 1 is defined by a line running from the North Pole along meridian 10° West of Greenwich to its intersection with parallel 72° North; thence by great circle arc to the intersection of meridian 50° West and parallel 40° North; thence by great circle arc to the intersection of meridian 20° West and parallel 10° South; thence along meridian 20° West to the South Pole.

Active members include broadcasting organisations whose transmissions are made available to at least 98% of households in their own country which are equipped to receive such transmissions. If an EBU active member wishes to participate, they must fulfil conditions as laid down by the rules of the contest (of which a separate copy is drafted annually).

Eligibility to participate is not determined by geographic inclusion within the continent of Europe, despite the "Euro" in "Eurovision" – nor does it have any relation to the European Union. , a partially recognised state in Southeastern Europe, is the only country in Europe who does not yet have EBU members, but has participated once in. Several countries geographically outside the boundaries of Europe have competed: and, in Western Asia (both are members of the Council of Europe with Cyprus as a member state of the European Union). Each made their début at Young Dancers in and  respectively. In addition, several transcontinental countries with only part of their territory in Europe have competed:, since ;  in the North America continent, despite only being an associate member of the EBU, have competed twice, in  and.

Thirty-six countries have participated at least once. These are listed here alongside the year in which they made their début:

Hosting
Most of the expenses of the contest are covered by commercial sponsors and contributions from the other participating nations. The contest is considered to be a unique opportunity for promoting the host country as a tourist destination. The table below shows a list of cities and venues that have hosted Eurovision Young Dancers, one or more times. Future venues are shown in italics. With three contests, Poland is the country having hosted the most editions.

[[File:Eurovision Young Dancers all cities.svg|upright=1.35|thumb|Host cities of the Eurovision Young Dancers

Winners
Sixteen performances have won the Eurovision Young Dancers competition. There have been fourteen editions, with each having a winner, second, and third places for all dance styles combined, with exception to the which awarded first place for contemporary and classical dance categories; and the  which gave first place prizes for ballet, modern dance, and a 'Youth Jury Choice' categories. From onwards, there have only been prizes awarded to the winner and runner-up. Below is a breakdown of those winners, by individual event and number of wins per country.

Winners by country
The table below shows the top-three placings from each contest, along with the years that a country won the contest.

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

title: Eurovision Young Dancers


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Meritt Records (1925)

Meritt Records was an American jazz and blues record company and label that existed from 1925 to 1929. It was founded in Kansas City by Winston Holmes, the owner of a music store. Records were made in his studio and sold only in his store.

Holmes produced about 20 double-sided acoustically recorded phonograph records in the mid and late 1920s. Most of the sides are of locally based jazz and blues performers, plus some gospel music and sermons.

1926

 * 2201: "City of the Dead" / "Cabbage Head Blues"

Lena Kimbrough / Sylvester (her brother) & Lena Kimbrough

 * 2203: "I've Even Heard of Thee" / "The Downfall of Nebuchadnezzer"

Rev. J.C. Burnett

 * 2204: "The Well of Salvation"

Rev. H.C. Gatewood

1927

 * 2206: "Down Home Syncopated Blues" / "Meritt Stomp"

George E. Lee And His Novelty Singing Orchestra (George E. Lee, ts, v, dir: Sam Utterbach, t / Thurston Maupins, tb / Clarence Taylor, ss, as / Jesse Stone, p, a / George Rousseau, bj / Clint Weaver, bb / Abe Price, d / Julia Lee, v.)

Unknown

 * M-300-13: "The Blue Danube Waltz"

Johann Strauss

title: Meritt Records (1925)


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Talk:Meritt Records (1925)

Untitled
Does anyone know who manufactured the pressings for Merrit? Somehow I doubt they had their own pressing plant, but I really don't know. Wondering simply, -- Infrogmation 21:27, 6 Aug 2003 (UTC)

Meritt, not Merrit
The label's name actually was "Meritt", not "Merrit" - unusual as it may seem! see label picture at http://www.wirz.de/music/beaman/grafik/m2201a4.jpg

title: Talk:Meritt Records (1925)


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User:Manika

I was introduced to Wikipedia last month (July'03) and find myself spending way too much time here already! Just editing spellings, commas, etc. right now. I've added some info to pages on Usability testing, Paper prototypes, talk aloud protocol, and Tourism in India.

title: User:Manika


text:
User:YeshivaResearch2

Welcome! My Email address is: YeshivaResearch@hotmail.com I will try to respond within 24 hours to all messages.

title: User:YeshivaResearch2


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Cinelerra

Cinelerra is a video editing and track-based digital compositing program (an NLE, Non-Linear Editor) designed for Linux. It is free software distributed under the open source GNU General Public License. In addition to editing, it supports advanced composition operations such as keying and mattes, including a title generator, many effects to edit video and audio, keyframe automation, and many other professional functions depending on the variant. It processes audio in 64 floating-point form. Video is processed in RGBA or YUVA color spaces, in 16-bit integer or floating-point form. It is resolution and image refresh rate independent. The GG variant supports up to 8K video, and can also create DVDs and Blu-rays.

History
In 1996 Adam Williams of Heroine Virtual, lead developer of Cinelerra, released a Unix audio editor called Broadcast 1.0 which could handle 2G audio files. In 1997 Broadcast 2.0 was released, still audio only but unlimited tracks. 1999 saw Broadcast2000, which included video. See the History of Cinelerra versions section for more detail.

Because of UI limitations, Williams rewrote significant parts and released that as Cinelerra on August 12, 2002, while Broadcast2000 was withdrawn by Heroine Virtual in September 2001. Cinelerra became the first 64-bit media production application when it was rewritten to work with the AMD Opteron processor in June 2003 and was presented at SIGGRAPH 2004 in San Diego. Since then, many versions have been released.

The original version is still being produced by Adam Williams. There have been several spin-offs made by the open source community, Cinelerra-GG and Cinelerra-CVE (a fork of Cinelerra-CV) are presently under active development. For a complete overview of versions, see the Variants section below. Even though the different variants look the same, there are considerable functional differences between them.

An overview of the different variants that released more than one version:

Interface
Cinelerra's interface is similar to that of other Non-linear editing systems, such as Adobe Premiere Pro, Final Cut Pro, and Avid Media Composer. However, because it includes a compositing engine, it may also be likened to compositing software such as Adobe After Effects, Smoke on Linux or Shake. The user is by default presented with four windows (clockwise from lower left in picture at top right):
 * 1) The timeline, which gives the user a time-based view of all video and audio tracks in the project, as well as keyframe data for e.g. camera movement, effects, or opacity.
 * 2) The viewer, which gives the user a method of "scrubbing" (manually moving the playhead forwards or backwards to locate a specific cue or word) through footage.
 * 3) The compositor, which presents the user with a view of the final project as it would look when rendered. The compositor is interactive in that it allows the user to adjust the positions of video objects; it also updates in response to user input.
 * 4) The resource window, which presents the user with a view of all audio and video resources in the project, as well as available audio and video effects and transitions.

Cinelerra uses its own widget toolkit Guicast (the Cinelerra GUI library), not conforming to the human interface guidelines of major Linux desktops such as GNOME and KDE. This has the advantage that it looks and works the same no matter which distribution or desktop is used, and removes being dependent on a changing version of the desktop (for instance GNOME 2 / GNOME 3). Guicast was written by Adam Williams. The repository of Guicast is available on GitHub

"The journey began in 1997 with a 1st toolkit for Broadcast 1.0 called BCBase. The mane alternatives at the time were Xaw, TK, Motif, XView. They were really bad. GTK & Qt were just getting started. Qt was still royalty based. It was renamed Guicast to be more general purpose but it remained tied to video editing. 25 years later, the alternatives are still really bad ...".

Usage and awards
Cinelerra has gained ground among some Linux enthusiasts looking for a native video editing system. Professional use was mostly promoted by Linux Media Arts, which sold an integrated hardware and software package for video production that includes Cinelerra. However, the company does not seem to be active in the Cinelerra field anymore.

At the National Association of Broadcasters' 2004 Electronic Media Show, Cinelerra received Bob Turner's "Making the Cut" award, given to "the best and most exciting post-production products seen at the convention".

In December 2018 Libre Graphics World included Cinelerra in its comparison of the sustainability of video editors for Linux.

Cinelerra.org
The cinelerra.org website was originally registered by a member of Cinelerra-CV Community Richard Baverstock on Jan 10 2004. Around January 2014 the Cinelerra-CV Community overlooked the renewal of cinelerra.org. The domain was then taken over by a different project managed by Michael Collins, one of the founders of Cinelerra. The project was following commercial interests, aiming at offering professional support to its users. It was organized to merge all existing Cinelerra projects while also providing additional fixes and enhancements.

Since early 2015, Cinelerra.org has an open Git repository on Google Code for analysis and for input; however, that platform is read-only since 2015-08-24. At the present time, this repository does not contain source code. The project released a studio centric version 5.0 of Cinelerra. The goal of Cinelerra.org was to develop a more professional value to the product as of 2016.

In January 2016, the main developer of the project William Morrow working behind cinelerra.org ("Good Guy") left cinelerra.org, continuing to work on Cinelerra 5.0, then on Cinelerra-GG 5.1 with help from the Cinelerra-CV Community.

At the present time, Cinelerra.org supports Cinelerra-HV work. Its website links in the download section to both the HV and GG versions.

Cinelerra-HV
Heroine Virtual (HV), the producer of the original Cinelerra, generates a new release of Cinelerra annually, available as source code and a binary for Ubuntu in the HV-repo on SourceForge and as source code in the HV-repo on GitHub. A new rolling repository for Cinelerra-HV was published on Feb. 2024 in the HV-repo on GitHub. This repo contains the binaries (continuous builds) for Ubuntu. These continuous builds contain the latest features and bug fixes for testing purposes. After each update to the source code repository on GH, Adam Wiiliams builds/provides a binary file for testing (in the binary repo on GH).

HV has used SourceForge since the beginning (first source 2001-09-09), but does not react to bugs, patches and feature requests on that platform. The source on SourceForge is only made available as complete download for each release. Intermediate access to source files on SF is not possible. Any bugs and usability issues found and resolved by the community that are submitted to Heroine Virtual often result in no immediate response, and it is not until a new release that there is any indication that Heroine Virtual has incorporated these changes.

Intermediate access to source files as well as an immediate response is possible in the HV-repo on GitHub. The developer responds to bug reports, requests for fixes or additional features through this platform. Use GitHub Issues to track ideas, feedback, bugs, or usability issues.

To distinguish between the different variants of the software, the releases made by Heroine Virtual are also called Cinelerra-HV.

Cinelerra-CV / Cinelerra-CVE
Because of both the latency in development and the distribution-specific nature of the original Cinelerra from Heroine Virtual, a group of software developers created their own version of Cinelerra referred to as Cinelerra-CV (where CV stands for community version).

Cinelerra-CV allows the community to contribute to an open repository where changes to the code are accessible to everyone. Mailing list exist where more experienced users and developers can provide support to less experienced users, and developers can hold technical discussions. Cinelerra-CV is also packaged for a wider range of distributions. It also has a different compilation system: system libraries are used extensively, and the autoconf/automake tools are used to configure the compilation system.

Although Cinelerra-CV may technically be called a fork, the relationship between Heroine Virtual and Cinelerra-CV is rather friendly. Heroine Virtual at times contributes to discussions on the mailing lists, and incorporates many of the changes made in the repository.

Heroine Virtual posted the following message on their website describing the relationship: What you'll find here is the heroinewarrior version of Cinelerra. This is the version that supports what we need to do at Heroine Virtual Ltd. and is the same tree that was started in 1997. As time passes and new students come and go from the Linux scene, new forks of Cinelerra emerge that are more suited to the community but not what Heroine Virtual Ltd. needs. Today you'll probably find the cinelerra-cv.org fork more useful.

They allow certain parts of our fork into their fork while contributing anything they want while we allow certain parts of their fork into our fork while contributing anything we want".

Up until Cinelerra 2.1 the versioning of Cinelerra-CV followed that of Heroine Virtual. After Heroine Virtual released a new version, Cinelerra-CV merged relevant code from the new HV variant and into their variant. CV was appended to the end of the version number to indicate the community version (For example, after the 2.1 merger the CV version was labeled 2.1CV).

Starting with release 2.2, Cinelerra-CV uses its own versioning scheme, but still merges code from Cinelerra-HV. Following the 26th June 2019, the official web pages were taken offline and the URL redirects to the website for Cinelerra-GG.

The new official site of Cinelerra-CV was published on July 1 2020. The source code of Cinelerra-CV is available from the new official repo on GitHub. The new official Cinelerra-CV Mailing List is available here. The Cinelerra-CV Mailing list from 2001 is archived. The complete collection of old (previous) Cinelerra-CV Mailing List archives is referenced/linked from this page of the new official Cinelerra-CV site.

Cinelerra-CVE is a Cinelerra-CV fork created for experimenting with Cinelerra's code. The fork was created by the main Cinelerra-CV developer (2012-2018) Einar Rünkaru in June 2008 and published in the middle of March 2010. The main difference between Cinelerra-CVE and (Cinelerra-HV, Cinelerra-CV, Cinelerra-GG) is attempt to use (in Cinelerra-CVE) seconds as timebase instead of framerate and samplerate. An implementation of PTS based timing enables to edit media with variable framerate and get rid of assumption that audio and video start simultaneously... Big plan is to get Cinelerra-CVE to the level where a user can mix (in Cinelerra) media from different origins, with different frame rates, resolutions, sample rates, color spaces and get the result he/she needs. If the result is not satisfying, the user will have the tools to tweak the project until the result is perfect. The repository of Cinelerra-CVE is available on GitHub and shows frequent updates. To know more about Cinelerra-CVE, visit this page on the new official Cinelerra-CV site.

Lumiera
In April 2008, the Cinelerra community engaged into a rework and rewrite of the Community Version. Initially called Cinelerra3, it was soon separated into an independent project. The name Lumiera was chosen by the community through a collaborative selection and vote.

The project maintained active development ever since, yet there is no usable application as of October 2023, since the core team decided to build the engine and infrastructure bottom-up, while the UI is developed to match the capabilities of the core.

Lumiera is not a fork of Cinelerra. Not a single line of Cinelerra code is now used in Lumiera. Lumiera is built from scratch, starting with the engine core, yet pursuing a similar vision and expanding on some of the ideas and approaches found in Cinelerra. The project grew out of an effort to amend long standing problems present in the Cinelerra-CV code base at that time. The actual technology however is built ground-up, using contemporary methods.

The project remains in a pre-alpha status of development with a yearly development news update Lumiera news.

Lumiera's native interface will be written in GTK+, although other interfaces will be possible, since the user interface is loaded as a plug-in.

The goal of the Lumiera project is to build a free open-source nonlinear video editing and compositing application (NLE).

Cinelerra-GG Infinity
Cinelerra-GG, a separate variant of Cinelerra by William Morrow and Phyllis Smith, started with merged code from Cinelerra-HV and Cinelerra-CV but quickly grew. It was first developed within Cinelerra.org (Cinelerra 4.6-mod, Cinelerra 5.0), then within the site of Cinelerra-cv.org (Cinelerra 5.0, Cinelerra 5.1, Cinelerra GG 5.1), and since December 2018 with its own website cinelerra-gg.org as Cinelerra-GG Infinity. William died on 11/2020 during a bicycle ride, but Phyllis continues to work on Cinelerra-GG. A new developer is now making frequent updates.

An important issue is that Cinelerra-GG reduces reliance on system libraries by including them where practical, like ffmpeg and OpenEXR. This makes it more predictable on different platforms, and also allows it to pick up new versions before the platform does.

Cinelerra-GG is determined to get as close as possible to what can be expected from professional level video editing software (NLE) for the Linux platform.

Its software features include support for recent versions of ffmpeg, extensive color correction tools, Ultra HD up to 8K, more than 400 video- and audio effects, two interfaces for audio plug-ins (LADSPA, and LV2 such as Calf Studio Gear), multiple denoisers and motion stabilizers, multi-camera editing, proxies, smart folders media filtering, 8, 10 and 12 bit color spaces, advanced trim, live preview of resources, shared tracks, group edits, horizontal and/or vertical timeline split, rendering pre-configuration options, and the ability to save workspace layouts. It supports over 400 video/picture formats for decoding, and over 140 for encoding, including Apple ProRes, AV1, and WEBP. It has a ¨Sketcher" plug-in for free-hand drawing, supports creating HD Blu-ray, and DVDs, and some OpenCV plugins like FindObj. It allows nested clips, and clip sharing between projects ("file-by-reference").

Its hardware support is for jog-wheels ShuttlePRO V.2 and ShuttleXpress from Contour Design, multiple monitors, HiDPI, and hardware-supported decoding/encoding via VAAPI/VDPAU/CUDA.

Like the other Cinelerra variants Cinelerra-GG uses its own GUI. It has eleven GUI themes to cater to user preferences.

The GG variant is under active development, with regular stable releases. It is supplied as a 64 or 32 bit AppImage for Linux. The source code is available as (manual) monthly download or from its git.

Before 2021, it was supplied as a multi user program pre-packaged for eight different Linux distributions (Ubuntu, Debian, Arch, OpenSuse, Slackware, Fedora, Centos, Mint), and FreeBSD. When the applicable repository was added to a distribution's update manager, the monthly updates would appear automatically. In addition, there were single-user builds for the eight Linux distributions plus Gentoo, as tar files. All those builds are available in 64-bit, for Debian 9, Slackware and Ubuntu 14 there are also 32-bit single user builds. As a proof-of-concept, with the 2020-01 release was a Windows version with limited functionality; for details see the manual's chapter 1.

In addition to the GG variant's monthly releases, it is also available in two Linux variants dedicated to multimedia: AVLinux, and Bodhi Linux Media. It is also included in DeLinuxCo, and in lightweight Elive, of which the 32 bit version is usable on older computers.

Cinelerra-GG communicates with it users and developers through three platforms: its forum (user oriented), a bug tracker (feature requests, bugs, roadmap), and a mailing list (developers discussions). Each monthly release has a significant number of changes resulting from discussions and exchanges of information on these platforms.

Cinelerra-GG has an extensive, actively maintained manual in both PDF and HTML form, which is also accessible from within the Cinelerra-GG program. The manual is helpful for both beginners (e.g. Quickstart section) and professionals. There is also a YouTube channel with tutorials.

The differences between the GG and other Cinelerra variants can be found in.

History of Cinelerra versions
Events from the original creator Heroine Virtual have been indicated with Broadcast/Broadcast2000 and HV, those of the "community version" with CV, and those of the GG Infinity variant with GG.

title: Cinelerra


text:
User talk:Marshallharsh/Official Apology

This is the Official Apology of User:Marshallharsh.

I, Marshallharsh, also Pseudonym "Gar", hereby affirm of my actions regarding Jarkis and related articles. The great trouble it has caused has brought me to a position of official Apologies.

I also hereby state that I dislike Charles Taylor to a point where it fueled my state of vandalism here on Wikipedia.

I hereby condemn my own actions in the past several days and also affirm that it will never be done again.

User:Marshallharsh, 6th of August, 2003.


text:
Talk:SkyTrain

disambig
It needs to be figured out whether this page needs disambiguating or not. Personally I'm fine with leaving all the info on one page (it's certainly not too unwieldy yet), but there seems to have been at least one attempt (on the Freddie Laker page) to anticipate disambiguation, so I'm a bit reluctant to just redirect that here. Any suggestions? Vremya 21:58, 6 Aug 2003 (UTC)

 * I think it now starts to need disambiguation. As long as it only contained the two local train systems which even have some connections with each other it was OK, but with an airline and the name of an aircraft it gets too much. And I plan to elaborate more about the Bangkok Skytrain myself in the near future, so it will soon grow too far to fit into one article. -- andy 11:53, 8 Aug 2003 (UTC)

title: Talk:SkyTrain


text:
Talk:Time Enough for Love

Inaccuracies
I removed the paragraph about the ending for two reasons. First I never saw it that way, he doesn't seem to die at the end of the book, so why write that he does? It might be a personal interpretation, maybe. Then, anyway, there are other novels featuring Lazarus Long, set after this one, so there's no need to read To Sail Beyond the Sunset to know that he's still alive. (Besides... I gotta know for sure, I'm him! ;-) ) Lazarus Long 21:59, 6 Aug 2003 (UTC)

You are correct, of course. Lazarus Long does not die at the end of Time Enough For Love, or anywhere else for that matter. This means that there are at least three potential inaccuracies (two for sure, one is possibly true) on the back of the book. First, it states:

Lazarus Long 1916--4272

Inaccuracy #1: He was born in 1912, not 1916. He went back in time to 1916, so it is perhaps easy to understand why some stupid and overzealous editor would list a wrong date.

Inaccuracy #2: He did not die in the year 4272; this year is merely the date when the book begins. In fact, he goes back in time to the year 1916 from the year 4291, so obviously he lives beyond 4272. In a sense the book loops from 1916 to 4291, but 1916 and 4272 are emphatically not Lazarus Long's birth and death years, as is misleadingly implied by placing them directly under Lazarus Long's name on the back of the book.

[Potential] Inaccuracy #3: It states that Lazarus was "so in love with Time that he became his own ancestor." But as anyone who has read all of the works which contain the character of Lazarus Long knows, he never becomes his own ancestor in any of them. This does not mean that Heinlein did not intend this to be the explanation of why Lazarus managed to live so long, but the presence of two demonstrably false pieces of information on the back of the book leads me to believe that there could easily be a third. --Uroshnor 16:44, 3 Apr 2005 (UTC)

I agree completly with all 3. He did NOT become his ancestor. When he went back to Maureen the only times they had sex was when she was already pregnant. And I haven't read anything that showed him going back and getting Maureen's Mom pregnant (a preposterous idea since she said that sex was something to be put up with in order to have children). --Shonsu 18:13, 1 May 2006 (UTC)

Western Science Fiction
I have added The Tale of the Adopted Daughter chapter to the Western Science Fiction category. This may be set on a distant planet with some peripheral reference to spaceships and genetically-modified talking mules, but it is a classic frontier/western story, right down to the covered wagons, log cabins and squaredancing. --Surgeonsmate 18:58, 29 January 2006 (UTC)

The evolution of Heinlein's view of homosexuality
Didn't want to just go on and edit it as I've never done that so far. I wanted to point out the part that says it shows an evolution of his view of homosexuality through his writings. In Stranger In A Strange Land, there is a scene in which a male is invited to a menage a trois with another male and a female. The invited male recoils in disgust/fear/whatever you like, but no one else sees anything really wrong with participating in it. Not sure how this is interpreted or if its of any note, but this section of the article lists The Moon Is a Harsh Mistress (1966) as the beginning of the evolution depicting a negative light on homosexuality. Stranger In A Strange Land was published five years earlier, in 1961. Any feedback?Kristiki 06:03, 6 October 2006 (UTC)

I suggest you do not presume that behavior of a character he wrote about in a book dictates his opinion at the time about such acts in general. Read his discussion of homosexuality in "the number of the beast". Do recall that he wrote for a living and had to self-censor, especially in the early years to not damage his ability to make a living. Montestruc (talk) 04:47, 19 October 2015 (UTC)

Outer Worlds vs Earth
I hardly see how this is relevant to the book really. The only "theme" is the evolution of the rest of the galaxy by removing the best from Earth. The Robot novels were set in the solar system, with a system of government, where Earth and the colonies each had a seat in the government (I don't remember exactly, whatever). The book is as much a Outer Worlds vs Earth novel as it is Tertius vs Secundus. The smart people just give up and leave the stupid behind. So in other worlds, I don't see the connection at all between Heinlein and Asimov, Outer Worlds vs Earth, and Europe vs America. Mobkey 13:50, 21 December 2006 (UTC)

 * It is more my opinion that the theme should be (as is present in many of Heinlein's books) that freedom is to be found, fairly exclusively, on the frontier. Secundus was founded as a way of getting away from an overcrowded, overbureaucratic Earth. Tertius was founded when Secundus went the same way.  Lazarus moves away from his bank and home when the town restricts freedom, threatening to nationalize his bank.  I think Earth v. The Galaxy is not the theme.  I suspect a rewrite is in order.--Wehwalt 15:05, 21 December 2006 (UTC)

Weasel Words, Original Research, and Opinion
The Plot Summary section regarding the Adopted Daughter story needs to be reworked.

In this story, Heinlein also seems to thumb his nose at contemporary writers, in the person of an incompetent, bankrupt, but self-important colonist who is forced to sell Lazarus the talking mule, but insists he used to be somebody, namely a teacher of Creative Writing. The obvious target would have been Kurt Vonnegut, whom many science fiction authors held in contempt, and who taught the class on several occasions.

"Seems to thumb his nose.."? Weasel words masking opinion.

More important is the phrase: "The obvious target.." If it's obvious, cite it with a Heinlein source, please! An interview, letter, or any recorded remark Heinlein made regarding Vonnegut would be appropriate. Without such a citation, then it's more opinion--and original research, besides--masquerading as relevant encylopedic fact.

Note: The citation currently in the article is not sufficient:

Vonnegut was also lampooned in "Inferno" by Larry Niven and Jerry Pournelle, where he is consigned to Hell in a tomb in a vast empty hall, with a neon sign flashing "So it goes" over and over

Interesting, but probative? And relevant? Not quite.

edit: Section deleted. Thanks Wehwalt.

Heinlein liked a lot of Vonnegut's works, and read them. I think he was not lampooning Vonnegut, but innumerable pompus jackasses with PhDs who infest college campuses. Montestruc (talk) 04:52, 19 October 2015 (UTC)

 * pompous. but you are not wrong
 * 2A01:CB0C:CD:D800:956C:1C35:22BF:46F1 (talk) 09:18, 24 May 2023 (UTC)

Oh By the way, read the Patterson biography of Heinlein, it goes into his reading of Vonnegut on detail. Montestruc (talk) 04:53, 19 October 2015 (UTC)

Going to volume 2 of the Patterson Biography of Heinlein, Heinlein had listed Vonnegut's Player Piano as one of six of his favorite science fiction works. Montestruc (talk) 05:02, 19 October 2015 (UTC)

Recent addition of Music as a theme
Just questioning the addition of "Music" as a Major Theme. Wouldn't this fit more appropriately under a section addressing the structure or style of the work? Music is not necessarily a theme of the story, but it is used to format the novel. Jim Dunning | talk  19:37, 31 October 2007 (UTC)

Tend to agree. Worth a sentence explaining the musical terms which head some of the sections, but it is no more important than noting the two long stories, the musings of Lazarus, etc.--Wehwalt 19:48, 31 October 2007 (UTC)

I'm perfectly happy to have the Music material I'd added reinstated in some new "section addressing the structure or style of the work" as described above, or to leave it out; your call, folks. How important the musical aspects are to the novel is an interesting topic. I have long thought that Heinlein's adoption of the Variations on a Theme label for a great many of the chapters is exactly what helped the book to become so wayward; these chapters would have been equally good or bad without such a label, and indeed he never says what the "Theme" is (it can't be "Love" because that's one of the variation chapter titles). However, the use of "Da Capo" for the Kansas City 1916 chapters should be noted in the TEFL entry, even if the other musical terms are not, because an unwritten story by that name had appeared in the Future History chart's first few versions, and this section can be presumed to descend from his idea of what that story would have consisted of. [PS: I'd read the first-edition paperback in 1974 when I was in college, liked it then, loathed it in retrospect (except for the Notebooks chapters), and finally was paid to read it again as copyeditor of Meisha Merlin's aborted version of the Virginia Edition (see the Heinlein Bibliography entry). Also I have two music degrees, hence my impulse to mention the musical aspects in the TEFL entry.] Gottacook (talk) 07:34, 20 November 2007 (UTC)

Lots of opinions in this article...
...and few references. For example, I utterly fail to see how homosexuality is considered "defective" in "Moon". I remember that it is mentioned: The society on the moon has far fewer women than men; and the protagonist mentions that one result is that men turn to other men. The protagonist's opinion, however, is that most men want a real female. I don't think anybody would want to argue with this?

So: Bottom line... this article needs a lot of work. -- Nils Jeppe (talk) 01:57, 18 November 2007 (UTC)

 * I think the point is, that it marks a midpoint in the evolution of Heinlein's expressed view of homosexuality. He still doesn't accept it, it is still second best, but necessary.  The people who prefer homosexuality make no appearance in the book.  The "defective" comes from Stranger, and is discussed ad nauseum in various articles.--Wehwalt (talk) 21:25, 18 November 2007 (UTC)

Uncited Themes and Connections material
Since the article has been flagged for possible original research for over a year for the Major Themes and Connections sections, and nothing's been done to improve the situation, I've relocated the material to this page for work. Jim Dunning | talk  15:47, 5 October 2008 (UTC)

Major themes
Time Enough for Love explores a number of themes, all of which appear to have been important to Heinlein, as each of them is featured in many of his other novels and short stories.

Love
One of the central themes of the book is the importance of love in human life. In discussing love, Lazarus and the other characters develop the distinction between Agape (spiritual love) and eros (sexual love). Later in the novel, Lazarus credits his friends and family with reminding him of the importance of love, thereby restoring his will to live.

Incest
Incest and discussion of incest recurs throughout the novel, especially in The Tale of the Adopted Daughter, The Tale of the Twins Who Weren't and the bridging material that ties the various tales together.

Each of the 'incestuous' relationships described is in some way different from traditional incest and explores a different philosophical point of view. The "twins who weren't", for example, share no common genetic material, and their offspring have no greater chance of genetic defects than the offspring of two strangers. The pair are siblings, but had been told by authorities that they were to be a breeding pair. In their minds, there is no sin. Lazarus Long wrestles with the implications, and eventually decides the two should remain together.

Similarly, in "The Tale of the Adopted Daughter", Lazarus raises a girl from infancy. While Dora ages normally, Lazarus benefits from his greatly extended lifespan, and so she quickly catches up to his apparent age. The couple then become pioneers in the frontier, where they begin a sexual relationship, marry, and build a family. Again, Heinlein frames the situation to avoid the traditional problems with incest: similar physical age, no genetic relationship, Dora's initiation of the relationship, and the lack of a social stigma.

In the bridging material, two twins are created from Lazarus's genetic material, identical except that they are female. The children continually tease Lazarus sexually, but he resists their advances until he is informed by a computer that he has no unhealthy recessives that can recombine. At that point he begins a sexual relationship with them.

Finally, as noted earlier, while traveling back to 1916 Lazarus meets and falls in love with his own mother, and feels free of any guilt at having sex with her. Again, numerous justifications are used for this: Lazarus's lack of genetic flaws, his mother's pregnancy, her open marriage with Lazarus's father, his knowledge as a time traveler that there would be no lasting damage to her from the experience, and the fact that she did not realize that they were even related.

Another point of view presented in this and other Future History stories is that the social stigma attached to incestuous relationships is no longer necessary when deleterious genes can not accumulate in offspring. One example is how the relationship between Lazarus and Maureen only moves beyond smoldering looks when Maureen admits she is already pregnant by her husband, and therefore can not conceive. Another example is how Lazarus is quite willing to have children with his descendants, as genetic screening and gene surgery in the far future utterly removes the possibility of bad outcomes from inbreeding. It is, however, interesting that this is notably different from Lazarus's reactions to consanguineous relationships in Methuselah's Children, the novel in which he first appears, although it is apparently already the attitude of most of the younger members of the Howard Families.

---In this regard Heinlein also presages the debate to come after the current "designer babies" one is finished Shannock9 (talk) 15:38, 30 January 2011 (UTC)

AIs as family members
IIRC this is Heinlein's first book where a self aware computer is accepted as a member of a human family ("Moon" has one - Mike - as a main character and friend). In later sections the AI is transferred into a human clone, and we are to infer becomes part of the mating group. This peg is used for (at least) three Heinlein recurring themes: What does it mean to be Human?, What is responsible parenting?, and the Incest theme noted above. [I know this is original research - but I'm only a fan, not a critic. Perhaps when this section is sorted out my little contribution can be considered.] Shannock9 (talk) 15:38, 30 January 2011 (UTC)

Pioneer life
Pioneer life is heavily represented throughout the novel, as noted in the plot summary above. Lazarus is of the opinion that "when a society has grown to the point where it requires people to carry identification, it is time to move out." Heinlein himself deeply resented having to carry or supply identification. On his tour of the world with Virginia, recounted in "Tramp Royale" he went so far as to walk out of hotels which required him present identification, or surrender his passport, and try to find a more liberal place to stay. Since he paid with either cash or traveler's checks, he saw no reason for hotels to impose any other requirement on him (in The Moon Is a Harsh Mistress, Heinlein describes the Earthside practice of requiring a traveler to show identification as "insolent").

Outer worlds vs. Earth
From several references in the book, it is clear that the Earth has deteriorated to an impoverished, diseased, overcrowded place which people in the outer worlds have no wish to even visit, and are grateful that their ancestors have abandoned it. Lazurus himself says a return to (his present-day) Earth would be "a time for tears."

Interestingly, this is very similar to the situation in the Robot Series and several other books of Isaac Asimov. However, in Asimov's books the situation is always viewed from the point of view of the Earth people, asserting themselves against the arrogance of the Outer Worlds, while Heinlein writes from the Outer Worlders' point of view. The difference might be attributed, at least in part, to Heinlein's being born to a family long established in the New World while Asimov was a member of an immigrant family to whom a miserable Eastern European society was still a fresh memory.

Failure of democracy
In the universe of this book, democracy and representative government are considered to be an experiment which was tried for a brief period in the distant past and proved to be unworkable due to the voting public's selfishness, stupidity, and short-sightedness.

A group called "equalitarians" still exists in this universe, and Ira Weatheral, the Chairman Pro Tem of the Howard Families (and thus ruler of the planet Secondus where much of the interludes take place) notes in conversation with Lazarus that this group were infiltrated at intervals, rounded up, and sentenced to involuntary transportation. They were not to be confused with members of an obscure and harmless religious sect called "The Church of the Holy Democrat".

It has been long and inconclusively debated whether this reflected Heinlein's own considered opinion on the future of democracy or was just an attempt to startle his readers with a provocative idea. Heinlein frequently used his writing as a means to express provocative ideas about politics and society, including military hegemony (where only veterans have the franchise - see Starship Troopers, armed societies - see Beyond This Horizon, and the restriction of the franchise to literate and numerate persons only (see Expanded Universe).

One of the examples in the book occurs in "The Tale of the Adopted Daughter". Lazarus sets up a bank to help a pioneer town to grow, carefully controlling the money supply so that prices remain stable. A democratic government forms and nationalizes the bank. Having seized the bank from Lazarus, they attempt to make demands about changes to the economy. Lazarus, however, simply replies that these questions are their problem now, not his, and doesn't even fight the takeover. The politicians know nothing of economics. Their agent, sent to oversee the government's 'nationalization' of the bank, is astonished to find, for example, that Long routinely burns the cash paid to the bank (on mortgages, for instance) as the paper itself is worthless in Lazarus's hands, but is an obligation that he must pay if it gets out of them. When the government realizes that they are totally unprepared to take charge of the economy, they attempt to draft Lazarus into running the bank as a civil servant. Lazarus refuses and shortly thereafter, after faking his own death, leaves town.

The government of Secundus itself, set up by Lazarus, is a 'constitutional tyranny. One in which the government was forbidden to do most things ... and the people, bless their black flabby little hearts, were given no voice at all.'

On the other hand, Weatheral notes of Lazuras:

Despite the way he sneered at them, the old scoundrel was an equalitarian at heart. . . and expressed it by attempting to dominate anyone with whom he came into contact—but was contemptuous of anyone who knuckled under to his bullying. So the only answer was to hit back at him, try to maintain a balance of power— and hope that in time it would reach the stability of mutual respect. Time enough for Love.

This two passages taken together seem to indicate that Heinlein, while recognizing the appeal of the basic ideas of democracy, wishes to denounce the sorts of persons who are allowed to seize power such governments due to the inadequacies of the voters.

Nudism
As in many of his other works, Heinlein's characters in Time Enough for Love engage in a practical sort of nudism, wearing clothing for decoration, comfort, and concealment of personal weapons, but not for modesty, and frequently are nude in domestic situations, as reflected in the Carl Lundgren cover of the 1979 edition. It's worth noting that nudism is the correct term, since Heinlein uses the term 'naturist' to refer to the sort of person who would currently be considered a radical environmentalist.

Connections to Heinlein's other work
This book is an outgrowth of the earlier Methuselah's Children and is connected to The Number of the Beast, The Cat Who Walks Through Walls, and To Sail Beyond the Sunset, as well as several other Heinlein novels and stories in his Future History.

The book also marks the conclusion to the evolution of Heinlein's view of homosexuality. In The Moon Is a Harsh Mistress (published only seven years before), homosexuals were seen as defectives, and homosexual sex a poor substitute. A more accepting view was put forth in I Will Fear No Evil, and in this book, it is seen as fully acceptable and almost indistinguishable from the heterosexual variety. (Gender reassignment, however, is still seen -- by Lazarus, at least -- as making "fake females" out of "inadequate males".)

Finally, most of the events are told in first person from the point of view of the protagonist, Lazarus Long. Many are retold, also first person, from the point of view of his mother, Maureen Johnson Long, in To Sail Beyond the Sunset, the last novel Heinlein wrote and published before he died in 1988. (According to Maureen in that book, Lazarus' account in Time Enough For Love of their 1916-7 meeting is incomplete and inaccurate in many respects.) This approach to storytelling can also be seen in the first two books of Orson Scott Card's The Tales of Alvin Maker series.

The book references many of the previous works of Heinlein either directly or obliquely.
 * There is much discussion of the events and characters of Methuselah's Children.
 * Lazarus refers several times to Andrew Jackson Libby, the gifted mathematician of Methuselah's Children and Misfit.
 * Lazarus mentions a blind accordion player who shows up at the Martian bordello Lazarus manages. This is Rhysling of The Green Hills of Earth.
 * Multiple references are made to the song "The Green Hills of Earth", with Lazarus unaware that he had known its composer.
 * The starship Vanguard, the sister ship to the New Frontiers, is mentioned as having been found lost in space. This is the ship from Orphans of the Sky.
 * Multiple references are made to the Harriman Foundation, founded by D. D. Harriman of "Requiem" and The Man Who Sold the Moon.
 * Lazarus makes reference to an experiment where a male brain was transplanted into a female body, which occurred in I Will Fear No Evil.
 * Actually, the book should be described as a sequel to Methuselah's Children, where the character of Lazarus Long was introduced. —75.4.242.162 (talk) 17:50, 2 June 2011 (UTC)

The survivors from Orphans of the Sky
I've a definite memory that the survivors from the Vanguard are not just savages, but also cannibles who kill and eat some of the civilised humans who contact them. And are apparently then left alone. Yet this seems bizarre, particularly since only the Muties on the Vanguard were cannibles, and all of the male survivors are from the Crew.

Is my memory correct? I didn't keep the book. --GwydionM (talk) 10:56, 27 January 2013 (UTC)

 * what are cannibles? 2A01:CB0C:CD:D800:956C:1C35:22BF:46F1 (talk) 09:20, 24 May 2023 (UTC)

Eugenics
I am surprised that in all the discussion, no mention has been made of the obvious theme of Eugenics in Time Enough for Love. The entire Howard program was based on the idea of positive eugenics - inducement to breed selectively in a form of directed evolution. The theme is now unpopular and generally discredited, but without it, the book has no framework. Ptilinopus (talk) 00:13, 11 August 2015 (UTC)

title: Talk:Time Enough for Love


text:
Talk:1972 Summer Olympics

Older topics
I do not like this article. The first thing it mentions about the Games is this terrible terrorist massacre. Why? That is yellow press-style not that of an encyclopedia.

mac_c 22:09, 6 Aug 2003 (UTC)

 * Unfortunately, the massacre is probably what people remember most about the games. It should not be buried deep in the article. Funnyhat 21:32, 30 Apr 2005 (UTC)

In case someone has this on their watchlist, please see if you can answer my question at Reference desk. Thanks, Dori | Talk 17:31, Mar 28, 2004 (UTC)

We should find a better headline than "Highlights" for the section whose first entry is the terrorist incident. AxelBoldt 10:23, 10 Aug 2004 (UTC)
 * I've converted it to "Facts". Hopefully this will be better. --Jeroenvrp 01:47, 21 Jan 2005 (UTC)

I have added a little bit more information (second and third paragraph) on the Games in general and corrected the info on the Munich Massacre. As english is not my first language I hope someone will correct all mistakes I made. Thank you! Dani_skr 21:23, 26 Sep 2005 (GMT)

Could someone who knows their history better than I add either "West" or "East" before the first mention of "Germany"? Thanks.

 * It was West Germany. I've amended the article to reflect that. -- Jonel | Speak 03:53, 7 December 2005 (UTC)

Double Terrorist Coverage
In the opening paragraphs it describes the terrorist attack twice in quick succession. Which one should be deleted?

spielberg?
The fact that Steven Spielberg made a hollywood film about the massacre more than 30 years after it happened does not seem noteworthy enough to mention in the first section of the article. Why not talk about the massacre itself rather than a distorted, biased interpretation of it? Yes, and include as many as possible eyewitness accounts — Preceding unsigned comment added by 173.76.192.56 (talk) 15:06, 27 July 2012 (UTC)

Did China participate this year, or not?
Why is Republic of China colored grey on the map of participating nations? They are listed in the "Participating Nations" section of the article, but they are not green on the map, so one has to be incorrect. —The preceding unsigned comment was added by 74.129.71.19 (talk) 00:33, 9 January 2007 (UTC).

 * Republic of China (Taiwan) is colored green on the map. You sure you dont mean Mainland China --Astrokey 44 00:41, 9 January 2007 (UTC)

Prefontaine
Prefontaine was a long-distance runner, not middle distance. —The preceding unsigned comment was added by 68.192.52.62 (talk • contribs).

What's up with this?
"During the Munich attack, an interesting discovery was found. West Germany had played the games. East Germany however decided not to enter. They secretly were providing plans and weapons for Black September. Creepy isn't it?"

Needless to say, someone needs to take a look at this... Asm82 22:19, 15 April 2007 (UTC)

 * You were completely right to remove it. I've warned the person who added it (it was added about 2 hours before you saw and deleted it) about adding unsourced theories such as that; if there were any reliable sources indicating that East Germany was complicit in the attacks, I'm pretty sure there would already be some mention of such a major point. -- Jonel | Speak 03:19, 16 April 2007 (UTC)

Possibly inflammatory, libelous and un-encyclopedic
''However, after the vehement protests of FIBA secretary general R. William Jones of Great Britain, the referees added three seconds back to the clock due to error in re-starting the clock. Jones had no authority to intervene during a game, but his reputation was such that the officials dared not disobey him.''

 * Jones stated in an interview a few years later that if he had not intervened, the Soviets would have had grounds for a protest, as the coach had legally and properly requested a time-out, which the officials failed to give him. I don't know what the FIBA rules were at the time (they have probably changed since then, and they have always been different from the NBA and NCAA rules to which most Americans are accustomed), but they may have given the secretary-general the authority to do just what he did. Since the secretary-general was essentially the person who wrote the rulebook, he would have known whether or not his actions were correct. In any case, the above statement should be sourced, re-worked to be less inflammatory, or simply deleted. 71.142.74.28 19:41, 11 October 2007 (UTC)

 * Jones had no authority to make a ruling, as referenced in this Sports Illustrated article: http://vault.sportsillustrated.cnn.com/vault/article/magazine/MAG1003894/ .  I've reworded the article to say "Although Jones had no authority during an Olympic game, he overruled the officials' decision." BBCOFFEECAT (talk) 01:09, 29 August 2008 (UTC)

LOL
The Only Reason Anyone Would Come To This Article Is For *"Munich Massacre"* SapientiaSativa 03:40, 20 October 2007 (UTC)

Participating countries
According to the IOC and to the info in the infobox 121 countries participated. The number of countries which is listed at the "Participating countries" sums up to 123. Any idea what the reason could be? Miho NL (talk) 21:55, 29 January 2008 (UTC)
 * Guinea was a mistake, and I removed that. Not sure about the other one yet...  The list of 122 is directly from the official report of the Games, and my guess is that one of the smaller nations sent one or two people that ended up not competing.  That situation has happened before.  It would likely be uncovered when we get around to adding the individual results to all the "Nation at the 1972 Summer Olympics" pages.  — Andrwsc (talk · contribs) 22:07, 29 January 2008 (UTC)
 * I checked with the data on . They list 121 countries and in our list there is Libya extra. Libya is not coloured on the map, but the source of this map is this same olympic museum. Maybe this helps you further? Miho NL (talk) 00:06, 30 January 2008 (UTC)
 * Yeah, that's it. Libya entered three cyclists (per official report here, page 554) but they were all no-shows for their respective events.  — Andrwsc (talk · contribs) 00:30, 30 January 2008 (UTC)
 * I'm planning to start the parade of nations page, so did Libya competed or just paraded and then withdraw from Munich? The German version stated that Libya entered 1 competitor and I thought I saw them in the parade of nations video from the links. Griff88 (talk) 04:48, 19 March 2013 (UTC)

Fair use rationale for Image:1972olympiadCOIN.jpg
Image:1972olympiadCOIN.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

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BetacommandBot (talk) 03:56, 12 February 2008 (UTC)

The Architect
We need to know the architect that involved in the studies of soap bubbles.
 * I agree. —Preceding unsigned comment added by 204.185.205.1 (talk) 18:00, 1 May 2008 (UTC)

The closing ceremonies of 1972 Summer Olympics
The closing ceremonies originally scheduled for Sunday September 10,1972 was celebrated to the next day Monday September 11,1972.This change obey to the declaration of mourning day and suspension for a day declared by Avery Brundage for the unsucceful attempt to rescue from Palestian terrorists of the 11 Israeli athletes which were remembered when inmediately the Olympic Flame extingished the local sounds in voice of the German actor Joachim Fusberger said in English,French and German the phrase: "In Memory of the Victims".

Before Avery Brundage entered the podium, were posted the flag of Greece, the Federal Republic of Germany and Canada and played the referendum. The last appearance of IOC President since 1952 followed at 30. September 1972 his duties to the Irish Lord Michael Killanin would pass. As last job, Avery Brundage said games the XX. Olympics over and called on the youth of the world to gather to the XXI in Montreal in four years. Olympic summer to celebrate. He established the following personal words in German to the public: '' I love Munich your warm and cheerful hospitality has moved us deeply. Together we have celebrated the days of radiant joy and we have endured serious hours deepest darkness together with you. The turning is time. We return to our home and call you all: Goodbye!'' Then followed minutenlanger applause of the audience. When decreased 85 old year American to the official gallery, "" thank you, Avery Brundage"." was on the scoreboard of the stadium in large characters. The stadium was in the dark only the Olympic fire burned yet. 20: 02 A.m., the flame under the sound of a trumpet and eight timpani died. Then viewers levied is to commemorate the victims of the attack. Spärlicher light, the Olympic flag was obtained and worn from the stadium. Then there was total darkness. A 130 meters high and 450 meters long Kunststoffschlauch filled with helium broadcast suddenly as huge Rainbow over the stadium and as shortly thereafter the lighting was back on, 40 Bavarian Trachtengruppen in the Interior of the stadium had established. Originally they had to dance, but they remained unmoved relate to serious mining. Fackelträger formed a highlight chain to the stadium round up Marathon software. See the sounds of big band of the Bundeswehr led by Günter Noris playing "" Munich fanfare March "the common march of the athletes, caregiver and Trachtengruppen from the Olympic followed." Each of approximately 62.000 spectator who filled the Olympic Stadium got a small light from the participants.

Source:http://de.wikipedia.org/wiki/Olympische_Sommerspiele_1972 —Preceding unsigned comment added by Nekko09 (talk • contribs) 03:37, 30 December 2009 (UTC)

Dead link
During several automated bot runs the following external link was found to be unavailable. Please check if the link is in fact down and fix or remove it in that case!

 * http://www.usabasketball.com/history/moly_1972.html
 * In Ed Ratleff on 2011-03-17 22:40:48, 404 Not Found
 * In 1972 Summer Olympics on 2011-05-25 04:14:37, 404 Not Found
 * In 1972 Summer Olympics on 2011-06-06 15:19:21, 404 Not Found

--JeffGBot (talk) 15:19, 6 June 2011 (UTC)

Highlights Section: US Basketball Team
Something I wanted to point for possible changing, as I didn't want to do it myself, unless there was sufficient justification.

In the "HIGHLIGHTS" section, there is a mentioning of the controversy which resulted in the United States Basketball Team losing the Gold Medal match to the USSR (aka Soviet Union). Then this mentioning says that "Ultimately the U.S team refused to accept their silver medal, which remains held in a vault in Lausanne, Switzerland."

I was just wondering if perhaps "medal" should be plural, because I see that in other team events, medals are awarded to each team member. If this was true for Basketball in 1972, then that vault in Lausanne may be holding more than one silver medal.

Thanx-A-Lot, Frank Fgf2007 (talk) 04:50, 27 January 2012 (UTC)

-- Yes, it should be, and is now. GormtheDBA (talk) 20:04, 12 April 2012 (UTC)

"The Happy Games"
A basic Google search provided some fairly valid sources for the claim of the motto, and from the pack this book might serve as the most reliable; however, I'm not particularly good with citing books as sources, and I'm ambivalent on using the URL. Is anyone willing to integrate the book itself as a source in the lead so we can remove the tag? KirkCliff2 (talk) 00:06, 15 January 2015 (UTC)

Non-free use of File:Waldi, Olympic logo 1972.png
The non-free use of this file in 1972 Summer Olympics is being discussed at. All interested editors are invited to participate. - Marchjuly (talk) 08:00, 15 June 2015 (UTC)

dumb people writing history
Do these people not realize that Munich and Munchen are two completely different cities? They have blatantly gotten them mixed up. The Olympics of 72 were in Munchen and NOT Munich. DUH! — Preceding unsigned comment added by 67.236.8.114 (talk) 20:55, 7 August 2016 (UTC)

External links modified
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Orphaned references in 1972 Summer Olympics
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of 1972 Summer Olympics's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "sr": From 1956 Winter Olympics:  From 1980 Summer Olympics: 1980 Moskva Summer Games. sports-reference.com From Vincent Matthews (athlete): Vincent Matthews. sports-reference From 1956 Summer Olympics: Pat McCormick. sports-reference.com From Olga Korbut: Olga Korbut. Sports Reference From John Carlos: John Carlos. sports-reference.com From Lasse Virén: Lasse Virén. sports-reference.com From 1972 Olympic Men's Basketball Final: Basketball at the 1972 Munchen Summer Games: Men's Basketball. sports-reference.com

From Wayne Collett: Wayne Collett. sports-reference.com

From John Smith (sprinter): John Smith. sports-reference.com

From Frank Shorter: Sports Reference, Olympic Sports, Frank Shorter. Retrieved March 5, 2010.

From Rick DeMont: Rick DeMont. Sports-Reference.com

From 1976 Winter Olympics:

From Dave Wottle: Dave Wottle. sports-reference.co

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 12:26, 12 March 2020 (UTC)

Why?
When I hover over the mascot section, rather than Waldi, Amik shows up? Please fix this. Masachiku (talk) 00:38, 31 March 2023 (UTC)

title: Talk:1972 Summer Olympics


text:
Marcel Reich-Ranicki

Marcel Reich-Ranicki (2 June 1920 – 18 September 2013) was a Polish-born German literary critic and member of the informal literary association Gruppe 47. He was regarded as one of the most influential contemporary literary critics in the field of German literature and has often been called Literaturpapst ("Pope of Literature") in Germany.

Early life
Marcel Reich was born on 2 June 1920 in Włocławek, Poland, to David Reich, a Polish Jewish merchant, and his wife, Helene (née Auerbach) Reich, who came from a German Jewish family. Reich and his family moved to Berlin in 1929. He attended a German school there but was later sent to Berlin to study.

Reich dedicated himself to the reading of German classics and practicing the theatre. The literary critic Volker Weidermann wrote that "he found his salvation in literature". As a Jew he was unable to enroll at university and was then expelled back to Poland in 1938. After being denied at university of Berlin, he was arrested and deported to Poland. In his 1999 autobiography, The Author of Himself, Ranicki affirmed, "I had a ticket for [a] première that evening – I wouldn't be needing it."

In November 1940, Reich and his parents found themselves in the Warsaw Ghetto, during which time he worked for the Judenrat as a chief translator, and contributed to the collaborative newspaper Gazeta Żydowska (The Jewish Newspaper) as a music critic. Reich's translation work meant that he was an eyewitness to meetings between the Jewish and Nazi authorities.

Ranicki survived to the Jewish deportation in the Warsaw Ghetto, where he married his wife Teofila, whereas his parents were murdered in the Treblinka extermination camp. In 1943 Reich and his wife managed to escape the Ghetto. His parents and brother were murdered in the Holocaust. His sister survived, having escaped to England shortly before the war.

In 1944 he joined the Polish People's Army, and became an officer in Urząd Bezpieczeństwa, Soviet-controlled Poland's secret police, known for using torture and human rights violations, where he worked in the censorship department. He joined the communist Polish Workers' Party after the war.

From 1948 to 1949 he was a Polish diplomat and intelligence worker (operating under the pseudonym "Ranicki") in London. The couple's only child, Andrew Ranicki, who became a notable topologist and mathematics professor, was born in London in 1948. Reich was recalled from London in 1949, sacked from the intelligence service, and expelled from the Party on charges of "ideological estrangement", for which he was also jailed for a short time. Subsequently, he developed a career as an editor, publisher of East German authors, and freelance writer for newspapers and radio with a focus on German literature.

Life in Germany
Frustrated by the curtailment of his liberty in the People's Republic of Poland he emigrated in 1958 with his wife and son to the Federal Republic of Germany, living in the city of Hamburg. Here he began writing for leading German periodicals, including Die Welt and the Frankfurter Allgemeine Zeitung. In Poland, he had published under the pseudonym "Ranicki" as his intelligence codename. On the advice of the arts editor of the Frankfurter Allgemeine he adopted the name Marcel Reich-Ranicki professionally. From 1963 to 1973, he was literary critic for the German weekly Die Zeit, published in Hamburg.

In 1973 he moved to Frankfurt, where, from 1973 to 1988, he was head of the literature staff at the daily Frankfurter Allgemeine Zeitung. Reich-Ranicki would go on to write and edit for the Frankfurter Allgemeine Zeitung for the rest of his life. In 1969 he taught at an American university. From 1971 to 1975 he held visiting professorships at Stockholm and Uppsala.

In 1974 he was awarded an honorary professorship at the University of Tübingen, Germany. In 1990 and 1991 he received the Heinrich-Hertz visiting professorship of the University of Karlsruhe, and in 1991 and 1992 he received the Heinrich-Heine visiting professorship at the University of Düsseldorf.

From 1988 to 2001, Reich-Ranicki hosted the literary talk show Literarisches Quartett on German public television. Through the show he became a household name in Germany; according to a survey 98% of Germans knew his name. In Summer 2000, fellow panelist Sigrid Löffler left the panel, complaining because Reich-Ranicki had put forward Haruki Murakami's erotic novel South of the Border, West of the Sun for discussion, which Löffler disliked. Reich-Ranicki answered that she had a problem with erotic literature in general. Although differences over the Murakami provided a catalyst for Löffler's widely publicised departure from the programme, it does appear that tensions between Löffler and Reich-Ranicki were more broadly based and longstanding, having indeed nourished the programme's dynamic over the years. In 2002 the show was followed by a similar but short-lived programme, Reich-Ranicki Solo, which consisted of him talking about old and new books in front of a studio audience. Jack Zipes wrote: "On his television show Reich-Ranicki often played the clown, a mixture of Milton Berle and Jack Benny, but you always had to take him seriously because his knowledge of German culture was so comprehensive."

In 1993, the weekly Der Spiegel gave him a dossier of about fifteen pages, under the title The Lord of Books, tracing his career, first to Die Zeit, then to the Frankfurter Allgemeine Zeitung. Many writers, and readers too, disagreed with some traits of his complex personality, while universally recognizing his culture and passion for German literature.

Having written about German literature for most of his life, he published books on American and Polish literature, after cutting down on his television appearances. Reich-Ranicki's wife and son encouraged him to write an autobiography "before it was too late". Published in 1999, The Author of Himself: The Life of Marcel Reich-Ranicki was a bestseller in Germany, cementing his status. Mainly dealing with life and survival during the war, the book was adapted for television and broadcast starring Matthias Schweighöfer as Reich-Ranicki in April 2009.

In February 2006 he received the honorary degree of Doctor Philosophiae Honoris Causa from Tel Aviv University, which later that year established an endowed chair for German literature named after him. In February 2007 the Humboldt University in Berlin awarded him an honorary degree. This is the same university that Reich-Ranicki applied to in 1938, when his application was turned down because of his Jewish ancestry.

In October 2008, he was awarded a lifetime achievement award during at the German Television Awards telecast for Literarisches Quartett. He made headlines with his acceptance speech, in which he spurned the prize and criticized the state of German television. He also declared he would have paid any monetary award back, had the prize been associated with a monetary.

In 2012, Reich-Ranicki made a speech at the Bundestag at the International Holocaust Remembrance Day. He continued to write a weekly column in the Frankfurter Allgemeine Zeitung until shortly before his death.

The autobiographic book "The Author of Himself", published in 1999, begins with Reich-Ranicki reporting a conversation of 1958 with Günter Grass asking him: "Are you German, or Polish, or what?". The answer was: "Half German...".

Death
Reich-Ranicki died on 18 September 2013 in Frankfurt, having previously been diagnosed with prostate cancer. German Chancellor Angela Merkel paid tribute: "We lose in him a peerless friend of literature, but also of freedom and democracy. I will miss this passionate and brilliant man." The Süddeutsche Zeitung described Reich-Ranicki as "the man who taught us how to read."

Marcel's son, Andrew Ranicki (1948–2018), was a professor of mathematics at the University of Edinburgh. Marcel's wife, Teofila Reich-Ranicki, predeceased her husband by two years, dying in 2011. According to The Economist, "He appreciated Jewish culture, especially its way with words, but found religion pointless and, after Warsaw, God inconceivable."

Relationships with authors
As a tough critic Reich-Ranicki had a difficult relationship with other authors. Following the publication of Too Far Afield by his fellow Gruppe 47 member Günter Grass, Reich-Ranicki appeared on the cover of the magazine Der Spiegel, tearing the novel apart. The magazine included his unfavorable review of the book. Reich-Ranicki praised Grass' next book, Crabwalk. Another frequent target of Reich-Ranicki was writer Martin Walser. In 2002, Walser published the crime novel Death of a Critic (Tod eines Kritikers) as a revenge against Reich-Ranicki. In the book a prominent, bigoted critic named André Ehrl-König – who shares many similarities with Reich-Ranicki – is murdered. The novel became a hot topic of debate in Germany.

Australian writer Clive James stated, "Every living German writer wants his praise, but it has always been hard to get: the reason, of course, why they would like to have it."

Works

 * Literarisches Leben in Deutschland 1963
 * Deutsche Literatur in Ost und West Piper 1963, DTV 1983 (revised)
 * Literarisches Leben in Deutschland. Kommentare u. Pamphlete. Munich: Piper 1965
 * Wer schreibt, provoziert 1966, 1992
 * Literatur der kleinen Schritte. Deutsche Schriftsteller heute. Piper 1967
 * Die Ungeliebten. Sieben Emigranten. 1968
 * ''In Sachen Böll. Ansichten und Einsichten. 1968, 1994
 * Über Ruhestörer. Juden in der deutschen Literatur. Piper 1973.
 * Nachprüfung, Aufsätze über deutsche Schriftsteller von gestern. Piper 1977, DTV 1980, 1990 (revised)
 * (Ed.) Frankfurter Anthologie. Volume 1–29, Frankfurt: Insel 1978–2006
 * Entgegnung, Zur deutschen Literatur der siebziger Jahre. Deutsche Verlags-Anstalt 1981
 * Nichts als Literatur. Aufsätze und Anmerkungen. Reclam 1986
 * Thomas Mann und die Seinen. Stuttgart: Deutsche Verlags-Anstalt 1987, ISBN 3-421-06364-8
 * (Ed.) Deutsche Erzählungen des 20. Jahrhunderts. (5 volumes) 1991
 * Der doppelte Boden. (Interviews with Peter von Matt) 1992
 * Lauter Verrisse. Munich: DTV 1993, ISBN 3-423-11578-5
 * Die Anwälte der Literatur. Deutsche Verlags-Anstalt 1994
 * Herz, Arzt und Literatur: Zwei Aufsätze. Ammann 1994
 * Romane von gestern, heute gelesen II. 1918 – 1933. Fischer 1996
 * Verweile doch – 111 Gedichte mit Interpretationen Insel 1999
 * Mein Leben. Deutsche Verlags-Anstalt 1999, ISBN 3-423-13056-3 – The Author of Himself: The Life of Marcel Reich-Ranicki
 * Der Fall Heine. DTV 2000, ISBN 3-423-12774-0
 * (with Sigrid Löffler and Hellmuth Karasek) ... und alle Fragen offen. Das Beste aus dem Literarischen Quartett. Heyne 2000. ISBN 3-453-16506-3.
 * (Ed.) Hundert Gedichte des Jahrhunderts. Insel 2001
 * (Ed.) Ein Jüngling liebt ein Mädchen. Deutsche Gedichte und ihre Interpretationen. Insel 2001
 * Ungeheuer oben. Über Bertolt Brecht. Aufbau 2001
 * Deutsche Literatur in West und Ost. DTV 2002
 * Sieben Wegbereiter. Schriftsteller des 20. Jahrhunderts. Munich: Deutsche Verlags-Anstalt 2002, ISBN 3-421-05514-9
 * Kritik als Beruf. Fischer 2002, ISBN 3-596-15577-0
 * Über Literaturkritik. Deutsche Verlags-Anstalt 2002
 * Erst leben, dann spielen. Über polnische Literatur. Wallstein 2002
 * Lauter schwierige Patienten. List 2003
 * Meine Bilder. Porträts und Aufsätze. Deutsche Verlags-Anstalt 2003, ISBN 3-421-05619-6
 * Meine Geschichten. Von Johann Wolfgang Goethe bis heute. Insel 2003
 * Unser Grass. Deutsche Verlags-Anstalt 2003, ISBN 3-421-05796-6
 * Vom Tag gefordert. Reden in deutschen Angelegenheiten. DTV 2003, ISBN 3-423-13145-4
 * Meine Geschichten. Von Johann Wolfgang von Goethe bis heute. Insel, 2003, ISBN 3-458-17166-5
 * (Ed.) Meine Gedichte. Seit Walther von der Vogelweide. Insel 2003
 * (Ed.) Hundert Gedichte des Jahrhunderts 2003
 * (Ed.) Der Kanon. Die deutsche Literatur Erzählungen. Insel 2002–2006
 * Sieben Wegbereiter: Schriftsteller des zwanzigsten Jahrhunderts. DTV 2004
 * Goethe noch einmal: Reden und Anmerkungen. DTV 2004
 * (Ed.) Meine Schulzeit im Dritten Reich. Erinnerungen deutscher Schriftsteller. DTV 2006
 * Marcel Reich-Ranicki im Gespräch mit Wolfgang Koeppen. Suhrkamp 2006
 * Der Mond über Soho: 66 Gedichte mit Interpretationen. (poems by Bertolt Brecht) Insel 2006
 * Über Amerikaner. Von Hemingway und Bellow bis Updike und Philip Roth. DTV 2006
 * Aus persönlicher Sicht. Gespräche 1999 bis 2006 Marcel Reich- Ranicki, Christiane Schmidt; DVA 2006
 * Marcel Reich-Ranicki antwortet auf 99 Fragen. Insel 2006, ISBN 3-458-34888-3
 * Herrlich wie am ersten Tag: 125 Gedichte und ihre Interpretationen Insel 2008
 * Die Literatur, eine Heimat: Reden über und von Marcel Reich-Ranicki DVA 2008
 * (Ed.) Mein Schiller Insel 2009
 * (Ed.) Mein Lessing Hoffmann und Campe 2009
 * Für alle Fragen offen: Antworten zur Weltliteratur 2009

title: Marcel Reich-Ranicki