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Peaches (musician)

Merrill Nisker (born 11 November 1966), better known by her stage name Peaches, is a Canadian electroclash musician and producer.

Born in Ontario, Peaches began her musical career in the 1990s as part of a folk trio, Mermaid Cafe. In 1995, she established a rock band, the Shit. That year she also released her first solo album, Fancypants Hoodlum. After moving to Berlin, Germany, she was signed to the Kitty-Yo label and released her second album, The Teaches of Peaches (2000). Touring as the opening act for bands like Marilyn Manson and Queens of the Stone Age, she subsequently released her third album, Fatherfucker (2003).

Peaches' songs have been featured in films such as Mean Girls, Waiting..., Jackass Number Two, My Little Eye, Drive Angry, and Lost in Translation. Her music has also been featured on television shows such as Orphan Black, Lost Girl, The L Word, South Park, Skam, The Handmaid's Tale, 30 Rock, True Blood, Fresh Meat, Full Frontal with Samantha Bee, The Boys, Sex Education, and Letterkenny, and has been used for the promotion of Dirt. Peaches has performed guest vocals on several songs, including "Oh My God" from Pink's album Try This, "We Don't Play Guitars" from Chicks on Speed's album 99 Cents, "My Girls" from Christina Aguilera's 2010 album Bionic (produced by — and co-written with — Le Tigre), and "Scare Me" from Major Lazer's 2013 album Free the Universe (also featuring Timberlee).

Early life
Merrill Nisker was born in 1966 in Toronto, Ontario. Her family was culturally Jewish, though not religious. Her maternal grandparents immigrated to Canada from Ustrzyki Dolne in Poland; her paternal grandparents were from Galicia in what is now Ukraine.

In an interview in URB magazine, she recounted how growing up she experienced antisemitism; on her walks home from school, students from a nearby Catholic school would throw stones at her and call her a "dirty Jew".

As a teenager, Nisker appeared in two plays alongside future Barenaked Ladies singer Steven Page, including a musical, My Brother's Keeper. She shared this story with Damian Abraham on his Turned Out a Punk podcast.

Peaches is bisexual.

1990–1999: Mermaid Cafe, Fancypants Hoodlum, The Shit
During the early 1990s, Nisker was part of folk trio Mermaid Cafe. The name was taken from the Joni Mitchell song "Carey". She later released her first solo album, Fancypants Hoodlum, under the name Merrill Nisker in 1995, and subsequently developed the style and persona known as Peaches. In 1995, Peaches was in The Shit - a noisy four-piece combo with Chilly Gonzales (a.k.a. Jason Beck), bassist Sticky Henderson (later of Weeping Tile and Music Maul), and Dominique Salole (a.k.a. Mocky). Their absurd, highly sexual rock music was a harbinger for what Nisker would become, as it was during this time that she adopted the Peaches name. The Peaches moniker was taken from the Nina Simone song "Four Women" where Simone screams at the end, "My name is Peaches!" In Toronto, before rising to fame, she lived above the sex shop Come as You Are with fellow recording artist Feist. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two toured together in England from 2000 to 2001, staying with Justine Frischmann of Elastica and M.I.A. M.I.A. went on to video-document Peaches' 2000 US tour and made clothes for the musician, while Peaches inspired M.I.A. to use the Roland MC-505 in her own compositions.

2000–2002: The Teaches of Peaches
After creating a six-track EP, Lovertits, Peaches moved to Berlin, Germany. While visiting her old friend Jason Beck, who was enjoying modest European success as Chilly Gonzales in his new home base of Berlin, Peaches landed a one-night gig. On the merits of that show alone, Berlin's Kitty-Yo label signed her on the spot. The label offered her the chance to record a new album, The Teaches of Peaches, back home in Toronto, and the already-completed Lovertits EP was released in the summer of 2000. The full-length album The Teaches of Peaches, was released that fall. The album contains her signature song "Fuck the Pain Away".

Peaches appeared on the British TV show Top of the Pops, but her performance was deemed too racy to be aired.

Nisker signed a European contract with Sony following the release of The Teaches of Peaches. She later made a big-budget video for the song "Set It Off", in which she sat in a locker room as her pubic and armpit hair grew to Rapunzel length. Sony subsequently dropped her. "Now they want their money back," Peaches said.

In 2001, Nisker's 34AA bust was one of the first female busts cast by famous 1960s groupie Cynthia Plaster Caster, who was better known for making molds of male rockers' genitalia.

In 2002, Peaches appeared in "Hideous Man", a short film directed by John Malkovich. The short was created as a showcase for clothing designed by Bella Freud, and featured the poetry of Gary Sinise.

2003–2005: Fatherfucker
In 2003, Peaches released her second album Fatherfucker on XL/Kitty-Yo after years of touring and opening for artists like Marilyn Manson and Queens of the Stone Age. She once again wrote and programmed all of the album's music herself. The single "Kick It", which features Iggy Pop, was described by Peaches to Rolling Stone as "more about rock 'n' roll than sex."

For her album Fatherfucker, Peaches was nominated in the "Outstanding Music Artist" category for the 15th GLAAD Media Awards along with Rufus Wainwright, Meshell Ndegeocello, Junior Senior, and Bitch and Animal, but lost to Wainwright.

2006–2008: Impeach My Bush

Peaches was nominated for her album Impeach My Bush in the category "Outstanding Music Artist" at the 18th GLAAD Media Awards along with the Ditty Bops, Owen Pallett, Pet Shop Boys, and the Scissor Sisters, but lost to the Scissor Sisters.

Peaches' song "Boys Wanna Be Her" is featured in an online teaser for the live-action feature film Bad Kids Go to Hell (2012), based on the best-selling graphic novel of the same name. It also serves as the theme music for the late-night television series Full Frontal with Samantha Bee. It was also featured in an episode of Orphan Black.

2009–2012: I Feel Cream and other work
Peaches' fourth album I Feel Cream, was released on 4 May 2009, in Europe, and 5 May in North America. The first single from the album is a double A-side of "Talk to Me" and "More". Peaches enlisted some of her contemporaries to co-produce a number of tracks including Simian Mobile Disco, Soulwax, Digitalism and Shapemod. Long time friend and collaborator Chilly Gonzales co-wrote some of the songs on I Feel Cream and Shunda K (the voice of Yo Majesty) featured on the track "Billionaire".

Peaches has been noted for her stage costumes and flamboyant sense of style. Her looks are often both nostalgic and futuristic; aggressive and glamorous; and push the limits of gender identity. Peaches and her band Sweet Machine wear costumes from a variety of designers but most notably she works closely with stylist/designer Vaughan Alexander, celebrity hairstylist Charlie Le Mindu, and young American fashion designer, John Renaud.

In 2010, Peaches and backing band Sweet Machine once again toured Australia performing at the sold out Big Day Out (BDO) festivals and at a series of sideshows. Peaches was supported on this tour by Shunda K who performed her collaboration "Billionaire" at BDO festivals and at the sideshows, and was also the opening act at the sideshows along with Evil Beaver in Melbourne.

On 14 March 2010, Peaches won the 'Electronic Artist of the Year' award at the 10th Annual Independent Music Awards held in Toronto, Canada. In March 2010, the copyright owners of the musical Jesus Christ Superstar denied Peaches permission to perform her one-woman version that she was planning to stage in Berlin. After receiving the attention of several media outlets, Peaches successfully negotiated with those rights-holders, and the musical was performed on 25–27 March at Berlin's HAU1. Gonzales accompanied Peaches on piano. Travis Jeppesen stated in his review for Artforum, "Not only did Peaches set it off, she managed to surprise us all by showing off an expansive vocal range, a musician's natural sensitivity to the dynamics of Andrew Lloyd Webber's score, and an emotive prowess that is rarely if ever displayed in her own, less holy, music."

Peaches appeared in a film called Ivory Tower, which also includes spots from Feist, Chilly Gonzales, Tiga and Gonzales' mother. Peaches stars as Marsha, a performance artist engaged to a man named Thaddeus (Tiga). Things get complicated when her ex, Hershall (Gonzales) comes back into her life. The film is set in Toronto and was shot over 13 days in late winter and early spring 2010. It was co-written by Gonzales and Céline Sciamma (who directed/wrote Water Lilies and Portrait of a Lady on Fire) was directed by Adam Traynor and produced by Nicolas Kazarnia. Ivory Tower was given a limited theatrical release in August 2010.

In May 2010, Christina Aguilera announced that Peaches was among the collaborators on her fourth studio album Bionic. Peaches is featured on a track called "My Girls". The song was co-written and produced by Le Tigre.

On 30 August 2010, Peaches released a new single titled "Jonny". The single is part of a tribute series to Alan Vega from the band Suicide. Other musicians who have released tribute singles as part of the series include The Horrors, Primal Scream, Klaxons and Bruce Springsteen.

Peaches also appears as a guest musician on R.E.M.'s 2011 release Collapse into Now, contributing vocals to the song "Alligator_Aviator_Autopilot_Antimatter".

2012: New music and Peaches Does Herself
It was announced in 2012 that a semi-biographical musical/concert film would be premièred at the Toronto Film Festival, utilising 22 songs from Peaches' back catalog and backed by her band the Sweet Machine.

Peaches Does Herself premiered at the Toronto International Film Festival on 13 September 2012.

On 2 October 2012, Peaches released her new single "Burst!" as a digital single backed with several remixes.

2015–2021: What Else Is in the Teaches of Peaches and Rub
Photographer Holger Talinski collaborated with Peaches on a book of photographs, What Else Is in the Teaches of Peaches, released on 2 June 2015. The book, published by Akashic Books, also includes text written by Peaches, R.E.M. lead singer Michael Stipe, artist and singer Yoko Ono and actor Elliot Page.

Peaches' sixth studio album, Rub, was released 25 September 2015. It was produced by Vice Cooler with Peaches in her Los Angeles garage. In June 2015 it was announced to contain guest vocal appearances by Kim Gordon, Feist, and Simonne Jones.

An unused track from the Rub sessions titled "Bodyline" was released by Adult Swim on 20 July 2015. The Vice Cooler-produced track features Nick Zinner on guitar and was described as "a heavy, chugging guitar line over which Peaches half raps, half sings a high-octane space jam." In May 2016, Peaches appeared in a fourth-season episode of the Canadian TV series Orphan Black as herself, performing "Bodyline" in a club. She performed "Boys Wanna Be Her" at the Not the White House Correspondents' Dinner on 29 April 2017. In February 2019, Peaches made her debut with the Staatstheater Stuttgart, co-directing and performing as Anna I in Kurt Weill's/Bertolt Brecht's Die sieben Todsünden.

2022: Upcoming seventh studio album
In 2022, Peaches went on tour to mark the 20th anniversary of The Teaches of Peaches. She is currently working on her seventh studio album. Peaches' song "Boys Wanna Be Her" is featured in the 2022 film The 355 starring Jessica Chastain and Diane Kruger.

The 2022 tour was profiled in the documentary film Teaches of Peaches, which premiered at the 74th Berlin International Film Festival.

Art
Peaches opened her first institutional solo art exhibition "Whose Jizz Is This?" at the on 10 August 2019 (through 20 October 2019). Taking a bold and unexpected approach to the topics of sex, feminism, queerness, gender, and new millennium politics, Peaches calls her WJIT presentation "a deconstructed musical in 14 scenes". At the heart of this presentation are the "Fleshies", who have renamed themselves as such to rewrite their narrative, break away from humans and human interactions, do away with words like "sex toys" and "masturbators" in a quest to find sexual equality amongst themselves.

Themes
Gender identity is one theme of Peaches' music, often playing with traditional notions of gender roles representation. Her lyrics and live shows consciously blur the distinction between male and female; for example, she appears on the cover of her album Fatherfucker with a full beard. When asked if she had chosen the title for shock value, she commented:

"Motherfucker's so over. You call everybody a motherfucker – you call your mother a motherfucker. It's a pretty extreme and intense word. Instead of shying away from that, I thought I'd bring the fact that we're using the word motherfucker in a really mainstream way to the fore."

She disputes accusations of "penis envy", preferring the term "hermaphrodite envy", since "there is so much male and female in us all."

Age has been another theme of Peaches' music in recent years. The lyrics from several songs from her 2009 album I Feel Cream tackle the issue of age, including "Trick or Treat" ("you lick my crow's feet"), "Show Stopper" ("Never mind my age, it's like we're breaking out of a cage") and "Mommy Complex". Peaches has criticized ageism directed against her, telling the New York Daily News that "I'm going to make aging cool."

Inspiration
Peaches lists John Waters, Cindy Sherman, Paul McCarthy and the films Tron, Grease, Liquid Sky and Phantom of the Paradise as inspiration for the visuals in her live shows.

Albums

 * Fancypants Hoodlum (1995)
 * The Teaches of Peaches (2000)
 * Fatherfucker (2003)
 * Impeach My Bush (2006)
 * I Feel Cream (2009)
 * Rub (2015)

Film
Queens - Disney+ 2024

title: Peaches (musician)


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Cajal Institute

The Cajal Institute (IC) is a research center in neurobiology which belongs to the Spanish National Research Council (CSIC). The IC originates from the Laboratorio de Investigaciones Biológicas, founded in 1900 by order of King Alfonso XIII on the occasion of the Moscow Prize to Santiago Ramón y Cajal (1852–1934). Following Cajal's award of the Nobel Prize in Physiology and Medicine in 1906 and the 1907 creation of the Junta de Ampliación de Estudios, Cajal was appointed President of the Junta. A royal decree by king Alfonso XIII established the construction of a new building and the appointment of Cajal as its first director in 1920.

History
The building, finally inaugurated in 1932, was located in the hill of San Blas and changed its name to Cajal Institute to honour the memory of its founder. Since the beginning, its activity has focused on the structure and function of the nervous system. It is the oldest neurobiology research center in Spain. Along its more than 100 years of existence, renowned scientists and professionals have spread worldwide and contributed to the advancement of neurobiology.

The Cajal Institute is a benchmark for Spanish neuroscience. It is a multidisciplinary research center in which neuroscientists specializing in the embryonic and adult nervous systems come together from multiple points of view, including cellular and molecular neurobiology, neuropharmacology, electrophysiology, systems neurobiology, and neuropathology. During its recent history, the Cajal Institute has nurtured neuroscientists at the Institute of Neurosciences in Alicante, the National Center for Tetraplegics in Toledo, and different Spanish universities.

Headquarters
In 1957 it moved to a new building on Velázquez street, sharing the space with other Institutes (Biological Research Center). Finally, in 1989 a new building was built on Doctor Arce Avenue, which is where it is currently located.

Organization
Cajal Institute has three research departments:

 * Molecular, Cellular and Developmental Neurobiology
 * Functional and Systems Neurobiology
 * Translational Neuroscience

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

title: Cajal Institute


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User talk:Mferre

Hello, Mferre. Welcome to Wikipedia.

A few tips for you to start going. (I'll send more if I see that I can help you :-)

 * Check out Welcome, newcomers + the links in there.
 * Sign your stuff on talk pages with ~ It will convert to your username + the time.
 * If puzzled, put a question on Village pump, or feel free to ask me on my talk page if it's a very general question.
 * Have fun.

-- Cimon Avaro on a pogo-stick 11:39 2 Jul 2003 (UTC)

Image Tagging Image:Cajal.gif
Thanks for uploading Image:Cajal.gif. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.  howch e  ng   {chat} 16:21, 30 June 2006 (UTC)

title: User talk:Mferre


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User:David Thrale/sandbox

Food
I saw your note about Food and cooking hygiene which said .. ''A short but important article. People die because these rules aren't followed. Perhaps move to Wikipedia:How to (food prep) Denni''

Nutrition
The Nutrition article needs NPOV'ing & some copyediting!

The Marquee
Do an article

Glenn Jones
While he's never been as commanding an R&B/urban vocalist as he was in his gospel days, Glenn Jones has nevertheless managed a successful switch from spiritual to secular material. Norman Connors helped Jones make the move in 1980, featuring him on a song for his LP Take It to the Limit. Jones later toured with Connors, and also sang on Mr. C. He signed with RCA in 1983, and issued a mini-album, which garnered a Top 30 R&B single in "I Am Somebody." The next LP, Finesse, was produced by Leon Sylvers and gave Jones his first genuine smash, the number three R&B hit "Show Me." Jones' duet with Dionne Warwick was the theme song for the 1984 television series Finder of Lost Loves. He also sang "Talk Me into It," which was featured in the film Youngblood. Jones left RCA for Jive in 1987, and enjoyed another big hit with "We've Only Just Begun (The Romance Is Not Over)," which reached number two R&B in 1987. He recorded for Jive until 1992, moving to Atlantic Records for Here I Go Again; Here I Am followed two years later, with It's Time appearing in 1998.

I am somebody

Toxic waste
Improve article on Toxic waste.

Management
Communications management

title: User:David Thrale/sandbox


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Patriotic People's Movement

Patriotic People's Movement (Isänmaallinen kansanliike, IKL, Fosterländska folkrörelsen) was a Finnish nationalist and anti-communist political party. IKL was the successor of the previously banned Lapua Movement. It existed from 1932 to 1944 and had an ideology similar to its predecessor, except that IKL participated in elections with limited success.

Formation
The IKL was founded at a conference on 5 June 1932 as a continuation of the Lapua Movement. The three major founding members were Herman Gummerus, Vilho Annala and Erkki Räikkönen. Lapua leader Vihtori Kosola was imprisoned for his part in the Mäntsälä rebellion at the time of formation but the leadership was officially kept in reserve for him and other leading rebels, notably Annala and Bruno Salmiala, were involved in the formation of IKL.

Structure

Ideologically, IKL was ardently nationalist and anti-Communist, and endorsed an aggressive foreign policy against the Soviet Union and hostility towards the Swedish language. The creation of a Greater Finland was an important goal for the party. Many of its leaders were priests or participants of the mainly Ostrobothnian Pietist movement called Herännäisyys. Its manifested purpose was to be the Christian-moral conscience of the parliament. A more hard-line tendency was also active, centered on Bruno Salmiala.

The IKL uniform was a black shirt with blue tie, inspired by the Italian fascists, and also by the Herännäisyys movement, which had a tradition for black clothing. Members greeted each other with a Roman salute.

The IKL had its own youth organization, called Sinimustat (Blue-and-blacks), members of which were trained in combat. It was led by Elias Simojoki, a charismatic priest. Sinimustat were banned in 1936 (although they were immediately reformed as Mustapaidat ("Blackshirts")).

The party received its main support from wealthy farmers, the educated middle-class, civil servants, the Lutheran clergy and university students. Geographically, IKL obtained its largest share of votes in Southern Ostrobothnian municipalities such as Kuortane, Lapua and Ilmajoki.

Relationship to mainstream politics

IKL participated in parliamentary elections. In 1933 its election list was pooled with the National Coalition Party (Kokoomus), and got 14 seats out of 200. Kokoomus collapsed from 42 to 18 seats. After the collapse, Juho Kusti Paasikivi was elected chairman of Kokoomus. He converted his party to the voice of big business and as such had no interest in the direct action tactics of IKL, and thus weeded out the most outspoken IKL sympathizers from the party.

IKL came under increasing scrutiny from government and was subject to two laws designed to arrest its progress. In 1934 a law passed allowing the suppression of propaganda which brought government or constitution into contempt and this was used against the movement, whilst the following year a law banning political uniforms and private uniformed organisations came in, seriously affecting the Sinimustat in particular.

IKL kept its 14 seats in the elections of 1936 but was weakened by the overwhelming victory for the coming social democrat-agrarian coalition, under Prime Minister Aimo Kaarlo Cajander that would replace in the spring of 1937 the centrist minority government of Kyösti Kallio, which had, in turn, replaced the narrow right-wing minority government of Toivo Mikael Kivimäki. The strong new government soon moved against the IKL, with Urho Kekkonen, then Minister of the Interior, bringing legal proceedings against the movement late in 1938. However, the courts did not find sufficient grounds for banning IKL. Despite this the prosperity experienced under Cajander's government hit the IKL and in the 1939 elections they managed only eight seats. Kekkonen was one of two leading government opponents of the IKL who would later go on to serve as presidents of Finland, the other being Juho Kusti Paasikivi.

According to docent André Swanström, IKL was by far the most popular party among Finnish Waffen SS recruits.

Final years

The Winter War, and particularly the Moscow Peace, were seen by IKL and its sympathizers as the ultimate proof of the parliamentary government's failed foreign policy. During the year after the Winter War, Finland's foreign policy was drastically changed, by and large to correspond with that of IKL, and Annala was even included in the Cabinet in January 1941, when all but one parties of the parliament were represented. The price of this recognition was however an end to IKL attacks on the system and as such an effective end to the very reason it had support. After the initial enthusiasm of the Continuation War in 1941 waned during the first winter, IKL wasn't included in Edwin Linkomies' cabinet in spring 1943.

In the aftermath of the Continuation War, IKL was banned, on the insistence of the Soviet Union, four days after the armistice between Finland and the Soviet Union was signed 19 September 1944.

The IKL initials returned to the far-right political scene in 1993 with the foundation of the Isänmaallinen Kansallis-Liitto by Matti Järviharju. The new movement died out by 1998.

Notable IKL supporters

 * Arne Somersalo, Commander of the Finnish Airforce 1920–26, IKL MP
 * Paavo Susitaival, Lt. Col., IKL MP
 * Paavo Talvela, General
 * Rolf Nevanlinna, Mathematician, Professor, Rector of the University of Helsinki
 * Vilho Lampi, painter
 * Elias Simojoki, clergyman, IKL MP.
 * Hilja Riipinen, the only women MP.

title: Patriotic People's Movement


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Gilbert schema for Ulysses

This schema for the novel Ulysses was produced by its author, James Joyce, in November 1921 in order to help his friend, Valery Larbaud, prepare a public lecture on the novel, which Joyce was still writing at the time. The lecture took place on 7 December 1921 at the Maison des Amis des Livres bookshop and lending library, owned and run by Adrienne Monnier. The schema was shown to intimates of Joyce during the 1920s and was eventually published by Stuart Gilbert in 1930 in his book, James Joyce’s “Ulysses”: A Study. Gilbert’s typed copy of the schema is housed in the Harley K. Croessmann Collection of James Joyce at Southern Illinois University Carbondale.

title: Gilbert schema for Ulysses


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Henry Handel Richardson

Ethel Florence Lindesay Richardson (3 January 1870 – 20 March 1946), known by her pen name Henry Handel Richardson, was an Australian author.

Life
Born in East Melbourne, Victoria, Australia, into a prosperous family that later fell on hard times, Ethel Florence (who preferred to answer to Et, Ettie or Etta) was the elder daughter of Walter Lindesay Richardson MD (c. 1826–1879) and his wife Mary (née Bailey).

The family lived in various towns across Victoria during Richardson's childhood and youth. These included Chiltern, Queenscliff, Koroit and Maldon, where Richardson's mother was postmistress (her father having died when she was nine of syphilis). The Richardsons' home in Chiltern, "Lake View", is now owned by the National Trust and open to visitors.

Richardson left Maldon to become a boarder at Presbyterian Ladies' College (PLC) in Melbourne in 1883 and attended from the ages of 13 to 17. This experience was the basis for The Getting of Wisdom, a coming-of-age novel admired by H. G. Wells. At PLC she started to develop her ability to credibly mix fact with fiction, a skill she used to advantage in her novels.

Richardson excelled in the arts and music during her time at PLC, and her mother took the family to Europe in 1888, to enable Richardson to continue her musical studies at the Leipzig Conservatorium. Richardson set her first novel, Maurice Guest, in Leipzig.

In 1894 in Munich Richardson married the Scot John George Robertson, whom she had met in Leipzig where he was studying German literature and who later briefly taught at the University of Strasburg, where his wife became ladies' tennis champion. In 1903, the couple moved to London, where Robertson had been appointed to the first chair of German at University College, London. Richardson returned to Australia in 1912, in order to research family history for The Fortunes of Richard Mahony, but after her return to England, she remained there for the rest of her life. She and her sister Lillian were ardent supporters of the suffragette movement, Lillian even being imprisoned for destroying public property. She was involved in psychic research, and after her husband's death, she claimed she maintained daily contact with him via seances.

Florence Emily Green paid for part of the education of Richardson. In her coming of age novel The Getting of Wisdom, Florence and her brother were depicted as Miss Isabella and the Rev Mr Shepherd. Her accurate description of Florence is said to be "malicious". Her younger brother was educated at Trinity College, Melbourne. Richardson experienced lesbian desire throughout her life. At the Presbyterian Ladies' College, she fell in love with an older schoolgirl; the feelings of adolescent females awakening to their sexuality were reflected in The Getting of Wisdom. After her mother's death, she fell passionately in love with the Italian actress Eleonora Duse, but had to be content to love her from a distance. Her friend Olga Roncoroni, who had lived in the Robertson household for many years, filled the gap left by the death of her husband. After her own death, many of her private papers were destroyed, in accordance with her instructions.

The Fortunes of Richard Mahony is Richardson's famous trilogy about the slow decline, owing to character flaws and an unnamed brain disease, of a successful Australian physician and businessman and the emotional/financial effect on his family. It was highly praised by Sinclair Lewis, among others, and was inspired by Richardson's own family experiences. The central characters were based loosely on her own parents. Richardson also produced a single volume of short stories and an autobiography that greatly illuminates the settings of her novels, although her Australian Dictionary of Biography entry doubts that it is reliable.

Manning Clark noted Richardson's excitement at Don Bradman's cricketing prowess in 1930: "She talked with pride about the achievements of Bradman ... and was so excited by the performance of the boy from Bowral she scarcely talked on anything else when Vance Palmer called on her."

Richardson was godmother to Humphrey, son of the singer Sophie Wyss. His godfather was Benjamin Britten.

Richardson died of cancer on 20 March 1946 in Hastings, East Sussex, England. Her cremated remains were scattered by her wish with her husband's at sea.

Iris Murdoch is her second cousin twice removed.

Family
Lillian Richardson, Ethel's younger sister, married A. S. Neill after divorcing her first husband, and helped found and run Summerhill School.

Honours
The Canberra suburb of Richardson was gazetted in 1975 and is named after Henry Handel Richardson. In the same year, she was honoured on a postage stamp bearing her portrait issued by Australia Post.

One of the houses at Abbotsleigh School for Girls in Wahroonga, Sydney is named after Richardson.

Richardson Hall, one of the residential halls at Monash University's Clayton campus, is named after Richardson.

Novels

 * Maurice Guest (1908)
 * The Getting of Wisdom (1910)
 * Australia Felix (1917)
 * The Way Home (1925)
 * Ultima Thule (1929) (Awarded the Australian Literature Society Gold Medal for 1929.)
 * The Fortunes of Richard Mahony (1930)
 * Comprising the novels: Australia Felix, The Way Home and Ultima Thule
 * The Young Cosima (1939)

Short story collections

 * Two Studies (1931) (Mary Christina, Life and Death of Peterle Luthe).
 * The End of a Childhood and other short stories (1934). 15 short stories, comprising also the stories in "Two Studies".
 * The Adventures of Cuffy Mahony (1979)
 * The End of a Childhood: The Complete Stories of Henry Handel Richardson (1992), edited by Carol

Memoir

 * Myself When Young (1948)

Translations

 * (As Robertson, Ethel F. L.) Siren Voices (1896). From the Norwegian Niels Lyhne by Jens Peter Jacobsen.
 * (Not Credited) Siren Voices (1896). From the Norwegian Niels Lyhne by Jens Peter Jacobsen.

Film
The Getting of Wisdom was filmed in 1977, directed by Bruce Beresford, from a screenplay by Eleanor Witcombe, starring Susannah Fowle as "Laura Rambotham" with supporting roles by Julia Blake, Terence Donovan and Kerry Armstrong. The screenplay adheres closely to the novel.

Maurice Guest was adapted, very loosely, for the screen in Rhapsody (1954) starring Elizabeth Taylor, with the setting in Switzerland rather than Germany. It ended with "James Guest" (John Ericson) happily married, rather than committing suicide.

title: Henry Handel Richardson


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Ilha de Itamaracá

Ilha de Itamaracá is a tropical island and municipality in Pernambuco, Brazil on the Atlantic Ocean. Itamaracá means "stone shaker" in Tupi, from the words itá ("stone") and mbara'ká ("shaker"). It is separated from the mainland by the Canal de Santa Cruz, a salt water channel both mouths of which are on the Atlantic Ocean, and is connected to the mainland by a long road bridge.

Itamaracá has a total area of 66.68 km2 and had an estimated population of 26,672 inhabitants in 2020 according to IBGE. This is up from 16,000 in 2007, and reflects the increasing popularity of the island as a residential (rather than touristic) destination. It is located in the metropolitan area of Recife, the capital city of Pernambuco state, about an hour from Recife International Airport. The main activities of the population are fishing and, increasingly, tourism. Recife is located about 38 km to the south whereas Olinda, another important town of Pernambuco and also UNESCO World Heritage, is 30 km to the south. It was awarded city status on 1 January 1959.

About two thirds of the island is covered in protected natural rain forest ('Mata Atlantica'), with most human occupation and development occupying a narrow strip along the ocean front white sandy beaches, that stretch for around 12 km (7.5 miles) along the eastern coast. These beaches are protected by a reef 3 km (2 miles) off the coast, that encircles the island on the ocean side, making the island waters shallow, safe, and warm. Year round temperatures typically vary in a narrow range of 26-31C (79-88F), with the rainy season (occasional heavy rains, not monsoon) in May to July. Building regulations since 1995 have limited the number of floors in buildings to 2, resulting in a complete absence of high-rise apartment complexes, and no industry is allowed on the island.

Geography

 * State - Pernambuco
 * Region - RMR (Recife)
 * Boundaries - Goiana (N), Igarassu (S), Itapissuma (W), Atlantic Ocean (E)
 * Area - 66.68 km2
 * Elevation - 30 m
 * Hydrography - Small coast rivers, most only running in the winter, lakes
 * Vegetation - Atlantic forest, numerous fruit trees (incl mango, avocado, coconut, cashew, and many others), mangrove
 * Climate - Hot tropical and dry
 * Annual average temperature - 29C (84F)
 * Main roads - BR 101 (mainland), PE 35 and PE 01
 * Distance to Recife - 38 km

History
In the early 1500s before Portuguese colonization, when under Dutch control, the island was the site of a trading post for furs and other native goods, and transhipment depot for Brazilwood. In 1516, was founded the first sugar cane mill in Portuguese America - the oldest still-inhabited, Portuguese settlement in America. The island at that time was occupied by various loosely related tribes of Tupi-Guarani native South American peoples. Later, the island became part of the Captaincy of Itamaracá (most of which today is occupied by the state of Paraiba) which took its name from the island, established by King John III of Portugal in 1534. The chief economic activity in the following century and a half was sugar cane processing, in engenhos (sugar mills), and coconut production. While Itamaracá was administratively separate, it operated as a political and economic subdivision of Pernambuco. With the rise of the gold economy in the late 17th century, Itamaracá became economically isolated.

Itamaracá is reputed for having one of the first, if not the first, Jewish community in the Americas. In the Yosef Goldman Collection, there is a book titled Sefer Shefa Tal, a kabbalistic volume that was printed in Hanau, Germany, in 1612. It contains a handwritten statement of ownership by Rabbi Jacob Lagarto of a congregation in Tamarica, Brazil. Rabbi Lagarto came to Brazil as a young man and was the author of a volume of aphorisms (copies of which, evidently, no longer exist). The book is the only known physical link to this Jewish community, since there are no other known artifacts from it.

Tourist attractions

 * Beaches and water sports
 * Forte Orange, first built by the Dutch in 1631 and rebuilt by the Portuguese in 1654
 * Vila Velha, seat of the former Itamaracá Hereditary Captaincy (Church of Our Lady of the Conception, colonial houses)
 * São João and Amparo "engenhos" (historic sugar mill and plantation complexes)
 * Ibama's centre of sea mammals (Trichechus manatus)
 * Nossa Senhora da Conceição: Second oldest church in Brazil

People
The Ciranda singer/songwriter Lia de Itamaraca comes from here.

Economy
The main economic activities in Itamaraca are based in tourism, fishing and local commerce.

Economic indicators
Economy by Sector 2006

Penal Facilities
Like many islands around the world, prisons were built there many years ago, (as many people could not swim at that time). Itamaracá island still has two prisons, which are nearing the end of a long term relocation program to a new facility being built near Itaquitinga on the mainland. The prisons are located on the leeward side of the island, away from the tourist areas, and have little impact other than the psychological awareness of their existence.

title: Ilha de Itamaracá


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Terminal velocity

Terminal velocity is the maximum speed attainable by an object as it falls through a fluid (air is the most common example). It is reached when the sum of the drag force (Fd) and the buoyancy is equal to the downward force of gravity (FG) acting on the object. Since the net force on the object is zero, the object has zero acceleration. For objects falling through air at normal pressure, the buoyant force is usually dismissed and not taken into account, as its effects are negligible.

As the speed of an object increases, so does the drag force acting on it, which also depends on the substance it is passing through (for example air or water). At some speed, the drag or force of resistance will equal the gravitational pull on the object. At this point the object stops accelerating and continues falling at a constant speed called the terminal velocity (also called settling velocity).

An object moving downward faster than the terminal velocity (for example because it was thrown downwards, it fell from a thinner part of the atmosphere, or it changed shape) will slow down until it reaches the terminal velocity. Drag depends on the projected area, here represented by the object's cross-section or silhouette in a horizontal plane.

An object with a large projected area relative to its mass, such as a parachute, has a lower terminal velocity than one with a small projected area relative to its mass, such as a dart. In general, for the same shape and material, the terminal velocity of an object increases with size. This is because the downward force (weight) is proportional to the cube of the linear dimension, but the air resistance is approximately proportional to the cross-section area which increases only as the square of the linear dimension.

For very small objects such as dust and mist, the terminal velocity is easily overcome by convection currents which can prevent them from reaching the ground at all, and hence they can stay suspended in the air for indefinite periods. Air pollution and fog are examples.

Examples

Based on air resistance, for example, the terminal speed of a skydiver in a belly-to-earth (i.e., face down) free fall position is about 55 m/s. This speed is the asymptotic limiting value of the speed, and the forces acting on the body balance each other more and more closely as the terminal speed is approached. In this example, a speed of 50% of terminal speed is reached after only about 3 seconds, while it takes 8 seconds to reach 90%, 15 seconds to reach 99% and so on.

Higher speeds can be attained if the skydiver pulls in their limbs (see also freeflying). In this case, the terminal speed increases to about 90 m/s, which is almost the terminal speed of the peregrine falcon diving down on its prey. The same terminal speed is reached for a typical .30-06 bullet dropping downwards—when it is returning to the ground having been fired upwards, or dropped from a tower—according to a 1920 U.S. Army Ordnance study.

Competition speed skydivers fly in a head-down position and can reach speeds of 150 m/s. The current record is held by Felix Baumgartner who jumped from an altitude of 127582 ft and reached 380 m/s, though he achieved this speed at high altitude where the density of the air is much lower than at the Earth's surface, producing a correspondingly lower drag force. The biologist J. B. S. Haldane wrote, "To the mouse and any smaller animal [gravity] presents practically no dangers. You can drop a mouse down a thousand-yard mine shaft; and, on arriving at the bottom, it gets a slight shock and walks away. A rat is killed, a man is broken, a horse splashes. For the resistance presented to movement by the air is proportional to the surface of the moving object. Divide an animal's length, breadth, and height each by ten; its weight is reduced to a thousandth, but its surface only to a hundredth. So the resistance to falling in the case of the small animal is relatively ten times greater than the driving force."

Physics
Using mathematical terms, terminal speed—without considering buoyancy effects—is given by $$V_t= \sqrt\frac{2 m g}{\rho A C_d} $$ where
 * $$V_t$$ represents terminal velocity,
 * $$m$$ is the mass of the falling object,
 * $$g$$ is the acceleration due to gravity,
 * $$C_d$$ is the drag coefficient,
 * $$\rho$$ is the density of the fluid through which the object is falling, and
 * $$A$$ is the projected area of the object.

In reality, an object approaches its terminal speed asymptotically.

Buoyancy effects, due to the upward force on the object by the surrounding fluid, can be taken into account using Archimedes' principle: the mass $$m$$ has to be reduced by the displaced fluid mass $$\rho V$$, with $$V$$ the volume of the object. So instead of $$m$$ use the reduced mass $$m_r = m-\rho V$$ in this and subsequent formulas.

The terminal speed of an object changes due to the properties of the fluid, the mass of the object and its projected cross-sectional surface area.

Air density increases with decreasing altitude, at about 1% per 80 m (see barometric formula). For objects falling through the atmosphere, for every 160 m of fall, the terminal speed decreases 1%. After reaching the local terminal velocity, while continuing the fall, speed decreases to change with the local terminal speed.

Using mathematical terms, defining down to be positive, the net force acting on an object falling near the surface of Earth is (according to the drag equation):

$$F_\text{net} = m a = m g - \frac{1}{2} \rho v^2 A C_d,$$

with v(t) the velocity of the object as a function of time t.

At equilibrium, the net force is zero (Fnet = 0) and the velocity becomes the terminal velocity $limt→∞ v(t) = V_{t}$:

$$m g - {1 \over 2} \rho V_t^2 A C_d = 0.$$

Solving for Vt yields:

The drag equation is—assuming ρ, g and Cd to be constants: $$ m a = m \frac{\mathrm{d}v}{\mathrm{d}t} = m g - \frac{1}{2} \rho v^2 A C_d.$$

Although this is a Riccati equation that can be solved by reduction to a second-order linear differential equation, it is easier to separate variables.

A more practical form of this equation can be obtained by making the substitution $α^{2} = ρAC_{d}⁄2mg$.

Dividing both sides by m gives $$\frac{\mathrm{d}v}{\mathrm{d}t} = g \left( 1 - \alpha^2 v^2 \right).$$

The equation can be re-arranged into $$\mathrm{d}t = \frac{\mathrm{d}v}{g ( 1 - \alpha^2 v^2)}.$$

Taking the integral of both sides yields $$\int_0^t {\mathrm{d}t'} = {1 \over g}\int_0^v \frac{\mathrm{d}v'}{1-\alpha^2 v^{\prime 2}}.$$

After integration, this becomes $$t - 0 = {1 \over g}\left[{\ln(1 + \alpha v') \over 2\alpha} - \frac{\ln(1 - \alpha v')}{2\alpha} + C \right]_{v'=0}^{v'=v} ={1 \over g} \left[{\ln \frac{1 + \alpha v'}{1 - \alpha v'} \over 2\alpha} + C \right]_{v'=0}^{v'=v}$$

or in a simpler form $$t = {1 \over 2\alpha g} \ln \frac{1 + \alpha v}{1 - \alpha v} = \frac{\mathrm{artanh}(\alpha v)}{\alpha g},$$ with artanh the inverse hyperbolic tangent function.

Alternatively, $$\frac{1}{\alpha}\tanh(\alpha g t) = v,$$ with tanh the hyperbolic tangent function. Assuming that g is positive (which it was defined to be), and substituting α back in, the speed v becomes $$v = \sqrt\frac{2mg}{\rho A C_d} \tanh \left(t \sqrt{\frac{g \rho A C_d }{2m}}\right).$$

Using the formula for terminal velocity $$V_t = \sqrt\frac{2mg}{\rho A C_d}$$ the equation can be rewritten as $$ v = V_t \tanh \left(t \frac{g}{V_t}\right).$$

As time tends to infinity (t → ∞), the hyperbolic tangent tends to 1, resulting in the terminal speed $$ V_t = \lim_{t \to \infty} v(t) = \sqrt\frac{2mg}{\rho A C_d}.$$

For very slow motion of the fluid, the inertia forces of the fluid are negligible (assumption of massless fluid) in comparison to other forces. Such flows are called creeping or Stokes flows and the condition to be satisfied for the flows to be creeping flows is the Reynolds number, $$Re \ll 1$$. The equation of motion for creeping flow (simplified Navier–Stokes equation) is given by:

$${\mathbf \nabla} p = \mu \nabla^2 {\mathbf v} $$

where:

 * $$\mathbf v$$ is the fluid velocity vector field,
 * $$p$$ is the fluid pressure field,
 * $$\mu$$ is the liquid/fluid viscosity.

The analytical solution for the creeping flow around a sphere was first given by Stokes in 1851. From Stokes' solution, the drag force acting on the sphere of diameter $$d$$ can be obtained as

where the Reynolds number, $$Re = \frac{\rho d}{\mu} V$$. The expression for the drag force given by equation ($$) is called Stokes' law.

When the value of $$C_d$$ is substituted in the equation ($$), we obtain the expression for terminal speed of a spherical object moving under creeping flow conditions:

$$V_t = \frac{g d^2}{18 \mu} \left(\rho_s - \rho \right),$$ where $$\rho_s$$ is the density of the object.

Applications
The creeping flow results can be applied in order to study the settling of sediments near the ocean bottom and the fall of moisture drops in the atmosphere. The principle is also applied in the falling sphere viscometer, an experimental device used to measure the viscosity of highly viscous fluids, for example oil, paraffin, tar etc.

Terminal velocity in the presence of buoyancy force

When the buoyancy effects are taken into account, an object falling through a fluid under its own weight can reach a terminal velocity (settling velocity) if the net force acting on the object becomes zero. When the terminal velocity is reached the weight of the object is exactly balanced by the upward buoyancy force and drag force. That is

where
 * $$W$$ is the weight of the object,
 * $$F_b$$ is the buoyancy force acting on the object, and
 * $$D$$ is the drag force acting on the object.

If the falling object is spherical in shape, the expression for the three forces are given below:

where
 * $$d$$ is the diameter of the spherical object,
 * $$g$$ is the gravitational acceleration,
 * $$\rho$$ is the density of the fluid,
 * $$\rho_s$$ is the density of the object,
 * $$A = \frac{1}{4} \pi d^2$$ is the projected area of the sphere,
 * $$C_d$$ is the drag coefficient, and
 * $$V$$ is the characteristic velocity (taken as terminal velocity, $$V_t $$).

Substitution of equations ($$–$$) in equation ($$) and solving for terminal velocity, $$V_t$$ to yield the following expression

In equation ($$), it is assumed that the object is denser than the fluid. If not, the sign of the drag force should be made negative since the object will be moving upwards, against gravity. Examples are bubbles formed at the bottom of a champagne glass and helium balloons. The terminal velocity in such cases will have a negative value, corresponding to the rate of rising up.

title: Terminal velocity


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ROL

Rol may refer to:

 * Henri Rol-Tanguy, French resistant, "Rol" used to be his nickname during WW2
 * Rol, village in Jayal tehsil, Nagaur district, in Rajasthan India
 * Rolleston railway station
 * Rol Cortishane, fictional character
 * The Role, a 2013 Russian film by Konstantin Lopushansky

ROL, as an acronym, may refer to:

 * Ray of Light, album by Madonna
 * Romanian leu, Romanian currency
 * Revue de l'Orient Latin, collection of medieval documents
 * Raajjé Online, Maldivian Internet service provider
 * Rock of Love with Bret Michaels, an American reality television dating game show
 * ROtate bits Left, also known as left circular shift
 * Reorder level for replacing used or sold inventory
 * Republic of Lakotah, a proposed country and independence movement in the United States
 * Rivers of Life, a global organisation of evangelical churches
 * Rise of the Lycans the third installment of the Underworld film series
 * Republic of Loose, an Irish band
 * Risk of loss, a contracts term
 * Rank order list
 * Rule of law
 * Ring of Lightning, an IRC network famous for two members on it leaking the secure boot backdoor key
 * RISCOS Ltd, a computer software company

title: ROL


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Lei

Lei(s) or variation may refer to:

Arts and culture

 * Lei (garland), a Hawaiian flower necklace
 * Lei (TV channel), a defunct Italian satellite broadcast
 * Lei Wulong, a fictional character from the Tekken gaming franchise

Businesses and organisations

 * L.E.I., an American fashion brand for girls
 * LEI Wageningen UR, a Dutch research institute
 * Lashkar-e-Islam (LeI), a Pakistani jihadist group
 * Leiden University, public research university in the Netherlands

Economics and finance

 * Lei, plural of the currency Leu, referring to either:
 * Moldovan leu
 * Romanian leu
 * Legal Entity Identifier, a system to track all parties to a financial security transaction
 * Index of Leading Economic Indicators

People

 * Lei (surname)
 * A female given name
 * A male given name
 * Lei Learmont, American politician

Places

 * Almería Airport, Spain (IATA code: LEI)
 * Lei, Italy, a small town in Sardinia
 * Lago di Lei, an artificial lake on the Italian–Swiss border
 * Leicestershire, a county in central England (Chapman code: LEI)
 * Leicester railway station (GBR code: LEI)

Science and technology

 * Lotus Enterprise Integrator, a Lotus Domino software application
 * Low-energy ion scattering (LEIS), a technique used to characterize the chemical and structural makeup of materials

Other uses

 * Lei (vessel), a type of ancient Chinese earthenware wine jar
 * Lessico etimologico italiano, an etymological dictionary of Italian
 * Leis (mythology)

title: Lei


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User:Shelterit

My name is Alexander Johannesen. My homepages are at http://shelter.nu/, and my intentions for my adventures at Wikipedia is to add baroque and rennaisance music/composers/librettoists/whatever to it; it is my passion.

title: User:Shelterit


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Ismail Kadare

Ismail Kadare (28 January 1936 – 1 July 2024) was an Albanian novelist, poet, essayist, screenwriter, and playwright. He was a leading international literary figure and intellectual. He focused on poetry until the publication of his first novel, The General of the Dead Army, which made him famous internationally.

Kadare is regarded by some as one of the greatest writers and intellectuals of the 20th and 21st centuries, and as a universal voice against totalitarianism. Living in Albania during a time of strict censorship, he devised stratagems to outwit Communist censors who had banned three of his books, using devices such as parable, myth, fable, folk-tale, allegory, and legend, sprinkled with double-entendre, allusion, insinuation, satire, and coded messages. In 1990, to escape the Communist regime and its Sigurimi secret police, he defected to Paris. From the 1990s he was asked by both major political parties in Albania to become a consensual President of the country, but declined. In 1996, France made him a foreign associate of the Académie des Sciences Morales et Politiques, and in 2016, he was a Commandeur de la Légion d'Honneur recipient.

Kadare was nominated for the Nobel Prize in Literature 15 times. In 1992, he was awarded the Prix mondial Cino Del Duca; in 1998, the Herder Prize; in 2005, the inaugural Man Booker International Prize; in 2009, the Prince of Asturias Award of Arts; and in 2015, the Jerusalem Prize. He was awarded the Park Kyong-ni Prize in 2019, and the Neustadt International Prize for Literature in 2020. His nominating juror for the Neustadt Prize wrote: "Kadare is the successor of Franz Kafka. No one since Kafka has delved into the infernal mechanism of totalitarian power and its impact on the human soul in as much hypnotic depth as Kadare." His writing has also been compared to that of Nikolai Gogol, George Orwell, Gabriel García Márquez, Milan Kundera, and Balzac. His works have been published in 45 languages. The New York Times wrote that he was a national figure in Albania comparable in popularity perhaps to Mark Twain in the United States, and that "there is hardly an Albanian household without a Kadare book".

He was the husband of author Helena Kadare and the father of United Nations Ambassador and UN General Assembly Vice-president Besiana Kadare. In 2023 he was granted citizenship of Kosovo, by president Vjosa Osmani.

Early life and education
Ismail Kadare was born on 28 January 1936, in the Kingdom of Albania during the reign of King Zog I. He was born in Gjirokastër, an historic Ottoman Empire fortress mountain city of tall stone houses in southern Albania, a dozen miles from the border with Greece. He lived there on a crooked, narrow street known as Lunatics' Lane.

Ismail's parents were Halit Kadare, a post office employee, and Hatixhe Dobi, a homemaker, who had married in 1933 when she was 17. On his mother's side, his great-grandfather was a Bejtexhi of the Bektashi Order, known as Hoxhë Dobi. Though he was born into a Muslim family, he was an atheist.

Three years after Kadare was born, Italian Prime Minister Benito Mussolini's troops invaded Albania and ousted the king. Italian rule followed. He was nine years old when the Italian troops were withdrawn, and the communist-led People's Socialist Republic of Albania was established.

Kadare attended primary and secondary schools in Gjirokastër. He then studied Languages and Literature at the Faculty of History and Philology of the University of Tirana. In 1956, he received a teacher's diploma. He lived in Tirana until moving to France in 1990.

Early
At age 11, Kadare read William Shakespeare's play Macbeth. He recalled years later: "Because I did not yet understand that I could simply purchase it in a bookstore, I copied much of it by hand and took it home. My childhood imagination pushed me to feel like a co-author of the play."

He soon became entranced by literature. At age 12, Kadare wrote his first short stories, which were published in the Pionieri (Pioneer) journal in Tirana, a communist magazine for children. In 1954 he published his first collection of poems, Frymëzime djaloshare (Boyish inspirations). In 1957 he published a poetry collection entitled Ëndërrimet (Dreams).

At 17, Kadare won a poetry contest in Tirana, which allowed him to travel to Moscow to study at the Maxim Gorky Literature Institute. He studied literature during the Khrushchev era, doing post-graduate work from 1958 to 1960. His training had as its goal for him to become a communist writer and "engineer of human souls", to help construct a culture of the new Albania. In Moscow he met writers united under the banner of Socialist Realism—a style of art characterized by the idealized depiction of revolutionary communist values, such as the emancipation of the proletariat. Kadare also had the opportunity to read contemporary Western literature, including works by Jean Paul Sartre, Albert Camus, and Ernest Hemingway. He rejected the canons of Socialist Realism and committed himself internally to writing as opposed to dogmatism. He also cultivated contempt for the nomenklatura, an attitude which, he later wrote, was the product of his youthful arrogance rather than of considered political opposition. During his time in the Soviet Union, Kadare published a collection of poetry in Russian, and in 1959 also wrote his first novel, Qyteti pa reklama (The City Without Signs), a critique of socialist careerism in Albania.

Kadare returned home in October 1960 on Albanian orders, before Albania's breaking of political and economic ties with the USSR. He lived for the next 30 years in Tirana, in an apartment which now houses the Ismail Kadare House museum and archives. He worked as a journalist, became editor-in-chief of the literary periodical Les Lettres Albanaises (Albanian Letters; published simultaneously in Albanian and French), and then contributed to the literary review Drita for five years, while embarking on a literary career of his own.

At that time Kadare had a reputation for poetry. In 1961 he published a volume of poetry entitled Shekulli im (My Century). His work was particularly popular with Albanian youth. His future wife Helena, then a schoolgirl, wrote a fan letter to the young writer, which eventually led to their marriage in 1963.

Kadare wrote one of his earliest pieces in the 1960s, a poem entitled "The Princess Argjiro". Locally inspired, the poem transforms the centuries-old myth of the legendary 15th century Princess Argjiro, who was said to have jumped off Gjirokastër Castle along with her child to avoid being captured by the Ottomans. The poem was denounced and an official reader's report was commissioned, which maintained he had committed historical and ideological errors. Kadare was criticized implicitly for disregarding socialist literary principles.

In 1962, Kadare published an excerpt from his first novel as a short story under the title Coffeehouse Days in a communist youth magazine. It was banned immediately after publication, contributing to his reputation for "decadence".

In 1963, at 26 years of age, Kadare published his novel The General of the Dead Army, about an army general and a priest who, 20 years after World War II, are sent to Albania to locate the remains of fallen Italian soldiers and return them to Italy for burial. The novel faced criticism by Albanian literary critics for flouting socialist ideals and for its dark tone. The novel was thus in stark contrast to those of other Albanian writers of the time, who glorified the Communist revolution. The novel inspired three films: Luciano Tovoli's 1983 The General of the Dead Army (Il generale dell'armata morta) in Italian starring Marcello Mastroianni and Michel Piccoli, Bertrand Tavernier's 1989 Life and Nothing But (La Vie et rien d'autre) in French starring Philippe Noiret, and Dhimitër Anagnosti's 1989 The Return of the Dead Army (Kthimi i ushtrisë së vdekur) in Albanian starring Bujar Lako. Though it is his best-known novel, and Kadare viewed it as "good literature", he did not view it as his best work.

In 1964 he wrote Përse mendohen këto male (What are these mountains thinking about?). His next short novel, The Monster (Përbindëshi), published in the literary magazine Nëntori in 1965, was labelled "decadent" and banned upon publication; it was Kadare's second ban.

By the mid-1960s, the cultural censorship thaw of the early part of the decade was over, and conditions changed dramatically. In 1967, Albania launched its own Cultural Revolution. Kadare was exiled for two years along with other Albanian writers to Berat in the countryside, to learn about life alongside the peasants and workers. Two Albanian dramatists were at the time also sentenced to eight years in prison each. Albanian writers and artists encountered indifference from the world outside Albania, which did not speak in their support.

International breakthrough (1970–1980)
The General of the Dead Army was Kadare's first great success outside Albania. The French translation by Isuf Vrioni, published in 1970 in Paris by publisher Albin Michel, led to Kadare's international breakthrough. In the ironic novel, an Italian general and an Italian Army priest return to Albania 20 years after World War II, to find and bring back to Italy for final burial there the bodies of Italian soldiers killed in the war. The French publishing house published the novel without Kadare's knowledge or permission, as Albania at the time was not a signatory to the Universal Copyright Convention and there was no copyright protection on the text. Once the book appeared in France, it was translated into most European languages. By 1977 it had been translated into over 20 languages, with the Albanian communist press hailing it as "one of the most successful translations of the world of the 70s".

After the success of the novel in the West in 1970, the older generation of Albanian writers and dogmatic literary critics became extremely embittered against the "darling of the West": "This novel was published by the bourgeoisie and this cannot be accepted", said a report by the Albanian secret police. Kadare's enemies in the secret police and the old guard of the Albanian Politburo referred to him as an agent of the West, which was one of the most dangerous accusations that could be made in Albania. He continued to publish in his home country and became widely promoted there, with frequent references in the Albanian press to new releases and translations of his work, being hailed as a "hero of the new Albanian literature". Kadare's work was described as "treat[ing] many problems preoccupying" Albanian society, and as "mak[ing] use of the revolution as the organizing element of his writing". He was also lauded as having a "revolutionary drive" which "keeps pace with life and fights against old ideas".

In 1971 Kadare published the novel Chronicle in Stone, in which the narrator is a young Albanian boy whose old stone city hometown is caught up in World War II, and successively occupied by Greek, Italian, and German forces. The novel has been described as magic realism. John Updike wrote in The New Yorker, that it was "a thoroughly enchanting novel — sophisticated and accomplished in its poetic prose and narrative deftness, yet drawing resonance from its roots in one of Europe's most primitive societies". The book was heavily publicized in the Albanian press, both domestically and in magazines aimed at promoting Albanian socialism and culture to an international audience, such as New Albania.

Throughout the 1970s, Kadare began to work more with myths, legends, and the distant past, often drawing allusions between the Ottoman Empire and present-day Albania. At this time, he also worked as an editor and contributor to New Albania, an arts and culture magazine which sought to promote Albanian socialism to a worldwide audience.

In 1970, Kadare published Kështjella (The Castle or The Siege) which was celebrated in both Albania and Western Europe, seeing a translation into French in 1972. It detailed the war between Albanians and Ottomans during the time of Skanderbeg.

In 1978 he published the novel The Three-Arched Bridge, a political parable set in 1377 in the Balkans, narrated by an Albanian monk. The New York Times called it "an utterly captivating yarn: strange, vivid, ominous, macabre and wise".

After Kadare offended the authorities with a political poem entitled "The Red Pasha" in 1975 that poked fun at the Albanian Communist bureaucracy, he was denounced, narrowly avoiding being shot, and was ultimately sent to do manual labour in a remote village deep in the central Albania countryside for a short time. After his return to Tirana, Kadare increasingly began to publish short novellas.

In 1980 Kadare published the novel Broken April, about the centuries-old tradition of hospitality, blood feuds, and revenge killing in the highlands of north Albania in the 1930s. The New York Times, reviewing it, wrote: "Broken April is written with masterly simplicity in a bardic style, as if the author is saying: Sit quietly and let me recite a terrible story about a blood feud and the inevitability of death by gunfire in my country. You know it must happen because that is the way life is lived in these mountains. Insults must be avenged; family honor must be upheld." The novel was adapted into the 2001 Brazilian film Behind the Sun (Abril Despedaçado) by filmmaker Walter Salles, set in 1910 Brazil and starring Rodrigo Santoro, which was nominated for a BAFTA Award for Best Film Not in the English Language and a Golden Globe Award for Best Foreign Language Film.

Controversy and tension in Albania (1981–1990)
In 1981, Kadare published The Palace of Dreams, an anti-totalitarian fantasy novel. In the novel, an authoritarian dystopia (the imaginary U.O.S.; the United Ottoman States) through an enormous bureaucratic entity (the Palace of Dreams) collects every dream in the empire, sorts it, files it, analyses it, and reports the most dangerous ones to the Sultan. Kadare first published an excerpt of the novel as a short story, alongside some of his other new works, in his 1980 collection of four novellas, Gjakftohtësia (Cold-bloodedness). The following year, under the same title, Kadare published the completed novel in the second edition of Emblema e dikurshme (Signs of the Past); despite its political themes, it was not censored by the Albanian authorities.

After publishing The Palace of Dreams, readers began to draw comparisons between its critique of totalitarianism and the current government of Albania. At a meeting of the Albanian Writers Union, Kadare was accused by the president of the Union of deliberately evading politics by cloaking much of his fiction in history and folklore, and The Palace of Dreams was expressly condemned in the presence of several members of the Albanian Politburo. Kadare was accused of attacking the government in a covert manner, and the novel was viewed by the authorities as an anticommunist work and a mockery of the political system. As a result, the work was banned—but not before 20,000 copies had been sold. The authorities were initially reluctant to imprison or purge Kadare, as he had become an internationally recognized literary figure and it would have caused an international backlash – which, given the country's rapid economic decline, the government wanted to avoid at all costs. Western press reacted to the condemnation of The Palace of Dreams, and Western protests mounted in his defence. Of all his books, he was most proud of having written this one.

That same year Kadare finished his novel The Concert, a satirical account of the Sino-Albanian split, but it was criticized by the authorities and was not published until 1988.

Communist Albanian leader Enver Hoxha presided over a Stalinist regime of forced collectivization and suppression from the end of World War II until 1985. He initiated a process of eliminating Kadare, but backed off due to Western reaction. There was a nightly presence of authorities outside of Kadare's apartment. Albanian historian and scholar Anton Logoreci described Kadare during this time as "a rare sturdy flower growing, inexplicably, in a largely barren patch".

In January 1985, Kadare's novel A Moonlit Night was published, only to be banned by the authorities. On 9 April 1985, Hoxha fell into a coma; the next night he died, aged 76. On the evening of the ailing dictator's death, members of the Union of Writers, the Albanian Politburo, and the Central Committee of the Communist Party hastily organized a meeting in order to condemn Moonlit Night.

That same year Kadare wrote the novella Agamemnon's Daughter – a direct critique, set in the 1970s, of the oppressive regime in Albania. It was smuggled out of the country, with the help of Kadare's French editor Claude Durand, but was not published until 2003.

In 1990 Kadare requested a meeting with Albanian president Ramiz Alia, at which he urged him to end human rights abuses, implement democratic and economic reforms, and end the isolation of Albania. Kadare was disappointed with Alia's slow reaction.

Political asylum in France (1990–2024)
In October 1990, after he criticized the Albanian government, urged democratization of isolationist Albania – Europe's last Communist-ruled country, then with a population of 3.3 million – and faced the ire of its authorities and threats from the Sigurimi secret police, Kadare sought and received political asylum in France. He defected to Paris, where he thereafter primarily lived, except for a time in Tirana. He had decided to defect because he had become disillusioned with the government of Ramiz Alia, legal opposition was not allowed in Albania, and he had become convinced "that more than any action I could take in Albania, my defection would help the democratization of my country". The New York Times wrote that he was a national figure in Albania comparable in popularity perhaps to Mark Twain in the United States, and that "there is hardly an Albanian household without a Kadare book, and even foreign visitors are presented with volumes of his verse as souvenirs".

The official Albanian press agency reacted by issuing a statement on "this ugly act", saying Kadare had placed himself "in the services of the enemies of Albania". Some intellectuals, at great personal risk, publicly supported Kadare, whom the authorities had declared a traitor. Poet Dritero Agolli, who headed the Albanian Writers' Union, said: "I continue to have great respect for his work." Despite this, his books were not fully banned by the Communist authorities, and he remained a popular and celebrated author.

After receiving political asylum and settling in France, Kadare continued to write. His exile in Paris was fruitful and enabled him to succeed further, writing both in Albanian and in French.

His 1992 novel The Pyramid is a political allegory set in Egypt in the 26th century BC, focusing on intrigues behind the construction of the Great Pyramid of Cheops. In it, Kadare mocked any dictator's love for hierarchy and useless monuments. In some of Kadare's novels, comprising the so-called "Ottoman Cycle", the Ottoman Empire is used as the archetype of a totalitarian state. In 1993, the novel was awarded the Prix Méditerranée Étranger in France. In 1994 he began to work on the first bilingual volume of his work with the French publishing house Fayard. The same year, at the request of the French publisher Flammarion, he wrote the essay "La légende des légendes" ("The legend of legends"), which was immediately translated to French and published in 1995.

Kadare's 1996 novel Spiritus marked a narrative and compositional turning point in his literary career. In it, two ghosts return to a post-Communist world. Its influence is felt in all of his subsequent novels. It deals with a group of foreigners who are touring Eastern Europe after the fall of Communism and hear exciting rumours during their stay in Albania about the capture of the spirit from the dead. As it turns out, the spirit is in fact a listening device known to the notorious secret service as a "hornet".

Kadare's 2008 novel The Fall of the Stone City was awarded the Rexhai Surroi Prize in Kosovo, and was shortlisted for the Independent Foreign Fiction Prize in 2013. His semi-autobiographical novel The Doll was published in 2020. It focuses on his complex bonds with his mother and his country.

Beginning in the 1990s, Kadare was asked multiple times by both the country's major political parties to run for president of Albania, but he declined.

Later life and death
Kadare married Albanian author Helena Gushi and had two daughters. Besiana Kadare is the Albanian ambassador to the United Nations, its ambassador to Cuba and a vice president of the United Nations General Assembly for its 75th session.

Kadare returned to Albania in his later years. After suffering from ill health for several years, he died from a heart attack at a Tirana hospital, on July 1, 2024. Kadare was 88. He was granted a state funeral on July 3 at the National Theatre of Opera and Ballet in Tirana, but was buried in a private ceremony shortly afterwards. Two days of mourning were declared in Albania, while one day of mourning was declared in neighboring Kosovo.

Awards
In 1992, Kadare was awarded the Prix mondial Cino Del Duca international literary award in France. In 1996 he was made a lifetime member of the Academy of Moral and Political Sciences of France (Académie des Sciences Morales et Politiques), one of the five academies that make up the Institut de France learned society, in the chair vacated by the recently deceased philosopher Karl Popper. In 1998 he was awarded the international Herder Prize in Austria. In 2003 he received the Ovid Prize international award in Romania, and the Presidential Gold Medal of the League of Prizren from the President of Kosovo.

In 2005 Kadare received the inaugural Man Booker International Prize in the United Kingdom for the full body of his work. In his acceptance speech, he said: "We propped each other up as we tried to write literature as if that regime did not exist. Now and again we pulled it off. At other times we didn't."

In 2008 Kadare received the Flaiano Prize international award in Italy. In 2009, Kadare was awarded the Prince of Asturias Award for Literature in Spain, for his literary works.

In 2015, Kadare was awarded the bi-annual Jerusalem Prize in Israel. Speaking of the relationship between Albania and the Jews, he said: "I come from one of the few countries in the world which helped the Jews during World War II. I believe the number of Jews there grew from 200 at the start of the war to 2,000 by the end. The population always defended the Jews, whether during the kingdom, under Communism, or after it." He noted that during the Holocaust Albanians refused to hand Jews over to the Nazis, and many Albanians went to great lengths to protect Jewish refugees who had fled to Albania. He also noted that Albania and Israel share in common the experience of fighting for survival in a sometimes hostile neighbourhood.

In 2016, Kadare became the first Albanian Commandeur de la Légion d'Honneur recipient, with the award being given to him by French president François Hollande. That year he was also awarded the Albanian National Flag Decoration, Albania's highest decoration, by President Bujar Nishani. He won the 2018 International Nonino Prize in Italy.

Kadare won the 2019 Park Kyong-ni Prize, an international award based in South Korea, for his literary works during his career.

In 2023, Kadare won the America Award in Literature for a lifetime contribution to international writing. That year he was also named Grand Officer (Grand officier) of the Legion of Honour by a special decree of French president Emmanuel Macron, and thus was ranked among the 250 world-renowned personalities honoured by France. The Legion of Honour is the highest state title awarded by France.

Kadare was nominated for the 2020 Neustadt International Prize for Literature (described as the "American Nobel") in the United States by Bulgarian writer Kapka Kassobova. He was selected as the 2020 laureate by the Prize's jury. He won the 2020 Neustadt International Prize for Literature. In his acceptance speech, he observed: "There is no room for literature in the Marxist vision of the future world." His nominating juror wrote: "Kadare is the successor of Franz Kafka. No one since Kafka has delved into the infernal mechanism of totalitarian power and its impact on the human soul in as much hypnotic depth as Kadare."

Kadare won the 2020 Prozart Award, given by the PRO-ZA Balkan International Literature Festival, for his contributions to the development of literature in the Balkans.

Kadare received the President of the Republic of Albania "Honor of the Nation" Decoration, and the French state order "Cross of the Legion of Honor". He was also a member of the Academy of Albania, the Berlin Academy of Arts, and the Mallarmé Academy, and was awarded honorary doctorates in 1992 from the University of Grenoble III in France, in 2003 from the University of Pristina in Kosovo, and in 2009 from the University of Palermo in Italy.

Kadare was nominated for the Nobel Prize in Literature 15 times. He stated that the press spoke about him being a potential Nobel Prize winner so much, that "many people think that I've already won it".

In 2023 Kadare was granted citizenship of Kosovo.

Legacy
Kadare was considered to be one of the greatest writers in the world. The London newspaper The Independent said of Kadare: "He has been compared to Gogol, Kafka and Orwell. But Kadare's is an original voice, universal but deeply rooted in his own soil." The New York Times said his fiction has been compared with that of Gabriel García Márquez, as well as Milan Kundera, and The Christian Science Monitor wrote he has also been compared with Dostoevsky and Isak Dinesen. Translator and biographer David Bellos wrote: "In some ways, he's like Balzac." Critic Richard Eder called him "a supreme fictional interpreter of the psychology and physiognomy of oppression".

Kadare's literary works were conceived in the bedrock of tiny Albanian literature, almost unknown before in Europe or the rest of the world. With Kadare it became known, read, and appreciated. For the first time in its history, through Kadare, Albanian literature has been integrated into wider European and world literature.

Kadare's oeuvre is a literature of resistance. He managed to write normal literature in an abnormal country – a Communist dictatorship. He had to struggle to get his literary works published, going against state policy. At times even putting his life at risk. Dissent was not allowed in Albania. Kadare noted: "That was not possible. You risked being shot. Not condemned, but shot for a word against the regime. A single word."

Under Hoxha, at least 100,000 people were imprisoned for political reasons or for a word they said or wrote; 5,000, including many writers, were executed.

Kadare devised numerous subtle stratagems to outwit Communist censors. He used old devices such as parable, myth, fable, folk-tale, allegory, and legend, and sprinkled them with double-entendre, allusion, insinuation, satire, and coded messages.

His oeuvre in general has been in theoretical and practical opposition to the mandatory Socialist Realism required by the State. Kadare challenged Socialist Realism for three decades and opposed it with his subjective realism, avoiding state censorship by using allegorical, symbolic, historical and mythological means.

The conditions in which Kadare lived and published his works were not comparable to other European Communist countries where at least some level of public dissent was tolerated. Rather, the situation in Albania was comparable to North Korea or to the Soviet Union in the 1930s under Stalin. Despite this, Kadare used any opportunity to attack the regime in his works, by means of political allegories, which were picked up by educated Albanian readers. Henri Amouroux, a member of the Académie des Sciences Morales et Politiques of France, pointed out that Soviet dissidents including Solzhenitsyn published their works during the era of de-Stalinization, whereas Kadare lived and published his works in a country which remained Stalinist until 1990.

Works
Kadare's works have been published in 45 languages. By 2020 most of his approximately 80 novels, plays, screenplays, poetry, essays, and story collections had been translated into different languages.

Among Kadare's best-known books are The General of the Dead Army (1963), The Siege (1970), The Ghost Rider (1980), Broken April (1980; blood feuds in the highlands of north Albania), The Palace of Dreams (1981), The Pyramid (1992), and The Successor (2003; regarding the mysterious death of Hoxha's handpicked successor, Mehmet Shehu).

Some Kadare books were translated into English by David Bellos, from French translations rather than the Albanian originals.

English translations
The following Kadare novels have been translated into English:

 * The General of the Dead Army (Gjenerali i ushtrisë së vdekur), ISBN 9780099518266
 * The Siege (Kështjella), ISBN 978-1-84767-185-1
 * Chronicle in Stone (Kronikë në gur), ISBN 978-0-941533-00-3
 * Broken April (Prilli i thyer), ISBN 978-0-941533-57-7
 * The Three-Arched Bridge (Ura me tri harqe), ISBN 978-1-55970-368-0
 * The Palace of Dreams (Pallati i ëndrrave), ISBN 978-0-688-11183-0
 * The Concert (Koncert në fund të dimrit), ISBN 978-0-688-09762-2
 * The File on H (Dosja H: roman), ISBN 978-1-55970-401-4
 * The Pyramid (Piramida), ISBN 978-1-55970-314-7
 * Elegy for Kosovo (Tri këngë zie për Kosovën), ISBN 978-1-55970-528-8
 * Spring Flowers, Spring Frost (Lulet e ftohta të marsit), ISBN 978-1-55970-635-3
 * The Successor (Pasardhësi), ISBN 978-1-55970-773-2
 * Agamemnon's Daughter (Vajza e Agamemnonit), ISBN 978-1-55970-788-6
 * The Blinding Order (Qorrfermani), ISBN 978-1611451085
 * The Fall of the Stone City (Darka e Gabuar), ISBN 978-0-8021-2068-7
 * The Accident (Aksidenti), ISBN 978-0-8021-2995-6
 * The Ghost Rider (Kush e solli Doruntinën?), ISBN 978-1-84767-341-1
 * Twilight of the Eastern Gods (Muzgu i perëndive të stepës), ISBN 978-0-8021-2311-4
 * A Girl in Exile (E penguara), ISBN 978-1-61902-916-3
 * The Traitor's Niche (Kamarja e turpit), ISBN 978-1-64009-044-6
 * Essays on World Literature: Aeschylus • Dante • Shakespeare (Tri sprova mbi letërsinë botërore), ISBN 9781632061751
 * Stormy Weather on Mount Olympus (Stinë e mërzitshme në Olimp)
 * The Doll: A Portrait of My Mother (Kukulla), ISBN 978-1-64009-422-2
 * A Dictator Calls (Kur sunduesit grinden), ISBN 978-1-64009-608-0

Albanian
Kadare's complete works (other than essays, poetry, and short stories) were published by Fayard, simultaneously in French and Albanian, between 1993 and 2004. His original Albanian-language works have been published exclusively by Onufri Publishing House since 1996, as single works or entire sets. Published in 2009, the set of complete works constituted 20 volumes.

The dates of publication given here are those of the first publication in Albanian, unless stated otherwise. {|style="width: 100%; align:top"
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Novels and novellas

 * Gjenerali i ushtrisë së vdekur (The General of the Dead Army) (1963)
 * Përbindëshi (The Monster) (1965)
 * Dasma (The Wedding) (1968)
 * Kështjella (The Siege) (1970)
 * Kronikë në gur (Chronicle in Stone) (1971)
 * Dimri i vetmisë së madhe (The Winter of Great Solitude) (1973) ISBN 978-99956-87-85-4
 * Nëntori i një kryeqyteti (November of a Capital) (1975)
 * Muzgu i perëndive të stepës (Twilight of the Eastern Gods) (1976)
 * Komisioni i festës (The Feast Commission) (1978) ISBN 9789989572296
 * Ura me tri harqe (The Three-Arched Bridge) (1978)
 * Kamarja e turpit (The Traitor's Niche) (1978) ISBN 9781784873202
 * Prilli i thyer (Broken April) (1980)
 * Kush e solli Doruntinën? (The Ghost Rider) (1980)
 * Pallati i ëndrrave (The Palace of Dreams) (1981)
 * Nata me hënë (A Moonlit Night) (1985)
 * Viti i mbrapshtë (The Dark Year) (1984)
 * Krushqit janë të ngrirë (The Wedding Procession Turned to Ice) (1983)
 * Koncert në fund të dimrit (The Concert) (1988)
 * Dosja H. (The File on H.) (1989)
 * Qorrfermani (The Blinding Order) (1991) ISBN 978-1611451085
 * Piramida (The Pyramid) (1992)
 * Hija (The Shadow) (1994)
 * Shkaba (The Eagle) (1995)
 * Spiritus (1996)
 * Qyteti pa reklama (The City with no Signs) (1998, written in 1959)
 * Lulet e ftohta të marsit (Spring Flowers, Spring Frost) (2000)
 * Breznitë e Hankonatëve (2000) ISBN 978-9928-164-16-2
 * Vajza e Agamemnonit (Agamemnon's Daughter) (2003)
 * Pasardhësi (The Successor) (2003)
 * Jeta, loja dhe vdekja Lul Mazrekut (Life, Game and Death of Lul Mazrek) (2003)
 * Çështje të marrëzisë (A Question of Lunacy) (2005)
 * Darka e Gabuar (The Fall of the Stone City) (2008)
 * E penguara: Rekuiem për Linda B. (A Girl in Exile) (2009)
 * Aksident (The Accident) (2004)
 * Mjegullat e Tiranës (Tirana's Mists) (2014, originally written in 1957–58) ISBN 978-9928-186-04-1
 * Kukulla (The Doll) (2015)

Plays

 * Stinë e mërzitshme në Olimp (Stormy Weather on Mount Olympus) (1998)

Screenplays

 * Sorkadhet e trembura (Frightened Gazelles) (2009)
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Poetry

 * Frymëzime djaloshare (1954)
 * Ëndërrimet (1957)
 * Princesha Argjiro (1957)
 * Koha (1976)
 * Ca pika shiu ranë mbi qelq (2004)
 * Pa formë është qielli (2005) ISBN 9789992745151
 * Vepra poetike në një vëllim (2018) ISBN 978-9928-226-94-5

Essays

 * Autobiografia e popullit në vargje (The People's Autobiography in Verse) (1971)
 * Eskili, ky humbës i madh (Aeschylus, The Lost) (1985)
 * Ftesë në studio (Invitation to the Writer's Studio) (1990)
 * Nga një dhjetor në tjetrin (Albanian Spring) (1991)
 * Legjenda e legjendave (1996)
 * Kushëriri i engjëjve (The Angels' Cousin) (1997) ISBN 978-9928-164-13-1
 * Kombi shqiptar në prag të mijëvjeçarit të tretë (The Albanian Nation on the Threshold of the Third Millennium) (1998)
 * Unaza në kthetra (The Ring on the Claw) (2001) ISBN 9789992745304
 * Poshtërimi në Ballkan (Abasement in the Balkans) (2004)
 * Identiteti evropian i shqiptarëve (The European Identity of Albanians) (2006)
 * Dantja i pashmangshëm (Dante, The Inevitable) (2006)
 * Hamlet, le prince impossible (Hamlet, The Impossible Prince) (2007)
 * Don Kishoti në Ballkan (Don Quixote in the Balkans) (2009)
 * Mosmarrëveshja, mbi raportet e Shqipërisë me vetveten (2010) ISBN 978-9928-164-24-7
 * Mbi krimin në Ballkan; Letërkëmbim i zymtë (On Crime in the Balkans)(2011)
 * Çlirimi i Serbisë prej Kosovës (Serbia's Liberation from Kosovo) (2012) ISBN 978-99956-87-92-2
 * Mëngjeset në Kafe Rostand (Mornings in Cafe Rostand) (2014) ISBN 9789928186256
 * Arti si mëkat (Art as a Sin) (2015) ISBN 978-9928-186-63-8
 * Uragani i ndërprerë: Ardhja e Migjenit në letërsinë shqipe (The Interrupted Hurricane: The Advent of Migjeni in Albanian Literature) (2015) ISBN 978-9928-186-58-4
 * Tri sprova mbi letërsinë botërore (Essays on World Literature) (2017) ISBN 978-9928-226-88-4
 * Kur sunduesit grinden (When Rulers Quarrel) (2018) ISBN 978-9928-261-44-1

Story collections

 * Emblema e dikurshme (1977)
 * Ëndërr mashtruese (1991)
 * Tri këngë zie për Kosovën (1998)
 * Vjedhja e gjumit mbretëror (1999) ISBN 9789928164148
 * Përballë pasqyrës së një gruaje (2001)
 * Bisedë për brilantet në pasditen e dhjetorit (2013) ISBN 9789928164407
 * Koha e dashurisë (Rrëfim Trikohësh) (2015) ISBN 978-9928-186-87-4
 * Proza e shkurtër, në një vëllim (2018) ISBN 978-9928-261-05-2

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title: Ismail Kadare


text:
User talk:Pizza Puzzle/Archive 4

Hey Pizza, it's Kevin.

I'm sorry about being somewhat hostile before. Often times I put a lot of effort forth to try to make something "beautiful", and often times it gets disrespected, or at least I feel it does, though I'm sure often times the intention wasn't there. It happens too often. I'm just trying to protect it. In a way, I guess, it becomes like property. They say that property is 90% of law. I don't mean to attack anyone who's just trying to learn and contribute. Perhaps part of it is that our stupid President seems to be shitting his stupid ass left and right on all the progress that many great spirits have worked at for most of their lives. I want tomorrow to be beautiful and when I see stuff like that I take it personally. Perhaps that was a little pent up frustration getting out. I'm sorry you had to be the victim.

I agree with much of what you just wrote on your user page. I'm on your side; I hate all the "pure mathematicians". I think they're dogmatists and they belong in the crusades. I think that the main purpose of this encylopedia should be education. I don't see any real purpose to some super-fancy technical masterpiece. It won't come to life, it won't do anything except be esoteric and supersillious. (And my enemies can't argue my incompetence because I happen to have spatial reasoning skills that were officially measured in the 99.9th percentile. And I happen to be very well-read.)

So yeah, keep on 'rockin in the free world. Just be a little more respectful and self-restrained.

BTW, I removed the note on ex in "inverse..." because the exponential and logarithmic functions are defined over all complex numbers. (See Euler's formula) I also wrote to hawthorne about the technical stuff he put in being unneccessary and distracting. (in the talk page of the page)

Peace.

-User:Kevin_baas 2003.06.24

(copy from Village Pump)
 * Agree, completely agree. The problem is that mathematicians are trained to do things rigorously, and they have to do it that way in order to protect the "correctness" of mathematics.  Some may become intolerant to "misconceptions" from non-mathematicians, but I believe most of them are still friendly.  Professional mathematicians (not just wikipedian mathematicians) need intakes from non-mathematians (like you, PP) to improve their way of introducing mathematics to general publics. -- Wshun

 * Well, Im obviously not getting along with the mathematicians here; but, I think the "professional" mathematicians are so intent on outdoing each other with their rigorous mathematics that they fail to understand that the non-mathematician is the one who most needs this site, and nearly ALL of the math pages (even on some of the most "simple" and elementary of topics) are nigh-impossible for anyone without the proper training to understand.

I agree that in the Math sections, Wikipedia contains mostly formal definitions, some identities and basic examples. I'm currently studying undergraduate Math and I find it relatively hard to comperhend and learn new things about Mathematics from this site (in contrast to other subjects like, say, history), but still it gives some good interesting overview descriptions on some pages. However, I think that's the nature of mathematics, which is rigorously built definitions over definitions, to be written this way.

There's a wiki textbook project that is currently in planning. I think math tutorials, as you suggest, are more suitable there, such tutorials would be written with the non-methamatician in mind. -- Rotem Dan 12:29 25 Jun 2003 (UTC)

Planetesimal deletions

Hi, This is one of the blocks of text I deleted:
 * Planetesimals are relatively large asteroids (with diameters of ~10km);

Asteroids are a type of planetesimal, which still orbits around the sun. Saying that planetesimals are large asteroids is like saying dogs are large chihuahuas.

The other major chunk I removed:
 * It is estimated that a typical early solar nebula may have billions of such objects.

I can't explain why I don't like this, but it's one of these things where an external source would be nice. An external source for your Terran System addition would be nice as well.

I changed Terran to Sol simply because I've never heard of Terran being used to describe our solar system. Sol makes more sense anyway since our planetary system revolves around the sun, not earth.

Tell me if you feel I haven't explained enough. I didn't do the edit straight away because it seemed you were really quite annoyed with other edits elsewhere.

Erzengel 23:07 26 Jun 2003 (UTC)

Regarding whether planetesimals are asteroids or vice versa, I've found a link. It doesn't provide much detail but I think it's good enough:

http://ssd.jpl.nasa.gov/glossary.html#asteroid

 * I have texts which state that planetesimals are asteroids, you apparently have texts which state that asteroids are planetesimals. I strongly suspect that its better to refer to planetesimals as large asteroids since it doesnt seem too correct to refer to a small space rock (your typical asteroid) as a "tiny planetesimal". If you can provide a source for your view, we could rewrite the article to state that X states this, but Y states that.
 * It would seem that you are implying that there is a type of planetesimal which is not an asteroid, clarification on that would be useful. In any case, the author I have been reading was quite clear that he considered space rocks to be asteroids which eventually "grew" into planetesimals and then protoplanets and then planets.

The most general definition of planetesimals I've heard is that they are any solid body which formed from accretion in solar nebulae, with sizes that can range from a few to hundreds of kilometres. By that definition, comets and asteroids are both count as leftover planetesimals; comets don't count as asteroids because they're not rocky or metallic.

I think the major problem we have is semantics. I've heard Pluto being referred to as a planetesimal. -- Erzengel 11:25 27 Jun 2003 (UTC)

Thank you for the information on uploading photos. However, User:Jtdirl says you are a banned user, a banned unbanned user, a user who was banned then unbanned and banned so therefore you must proceed immediately to Bans and blocks. Make sure you take your photo with you (certify copyright when you smile and hold up the sign) and give your work address, telephone number. Please also ensure you check this Bans and blocks page every few minutes because these rules can change in the blink of an eye and you are required to obey all rules anybody who is a Administrators wishes to think up. Too, if User:Jtdirl wishes to call you any of the following, it is okay and accepted policy of Mr. Jimbo Wales the ultimate authority at this site.

 * A prize asshole of the highest order
 * horse manure
 * crackpots
 * fuckwit
 * monumental asshole

amongst other good language. Too, be very careful with spelling because User:Jtdirl will be forced to fix your mistakes and he will say: "moved to correct spelling after some idiot screwed it up." And, if you are harassed or discriminated against you may complain if you like but either nothing will be done of, if Mr. Wales decides, you will be banned. Good luck, glad to have you aboard our friendly community. ChuckM

 * The above text is from a multiple hard-banned user and should be considered in light of that user's continued agenda of vandalism, harassment, and maliciousness. See User:ChuckM/ban for more details. --Dante Alighieri 02:53 29 Jun 2003 (UTC)

The banned user makes an excellent point that User:Jtdirl is allowed to get away with extremely rude behaviour. Pizza Puzzle

Thanks for the support Pizza Puzzle, but I don't think many people are in favour of using F alone. Most people around here seem to understand that America is alone in the world in clinging to an obsolete set of units. BTW, have you given up on the "secondary bigtop" idea? -- Tim Starling 03:18 27 Jun 2003 (UTC)

You're right of course - I should have credited the view. It's better now, I hope (thanks for pointing it out). --Camembert

List of Chess tactics? Evercat 02:45 29 Jun 2003 (UTC)

 * Well, can you at least distinguish between tactics that occur in real play and concepts only found in problems? Evercat 02:48 29 Jun 2003 (UTC)

I doubt they would, to be honest - chess problems have a whole different terminology to chess as a game (that's why I made chess problem terminology rather than just sticking all that stuff into chess terminology - they're different worlds), and most of that terminology just doesn't get used in chess games, even though it might conveivably have an application there (I've certainly never seen references to Novotnys or Grimshaws or Plachuttas or whatever in game annotations). To be honest, I suspect that quite a lot of grandmasters wouldn't know what a Novotny is (there's no reason why they should know--it's just a name, and the thing itself almost never happens in a game). --Camembert

Hi, I would have done something to the New Imperialism article if I actually knew anything about the subject. -- Erzengel 11:55 30 Jun 2003 (UTC)

It's a long time since I played on Yahoo - all that Java makes my computer ill. The only place I play (badly) online now is FICS ( http://www.freechess.org ) if that's any use to you. --Camembert

I'm camembert on FICS too (and embarassed of my rating there...). --Camembert

We'll have to play each other one day so we can be embarrassed in unison. --Camembert

title: User talk:Pizza Puzzle/Archive 4