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Doug (TV series)

Doug is an animated sitcom created by Jim Jinkins and produced by Jumbo Pictures, airing from August 11, 1991 to June 26, 1999 on Nickelodeon and ABC. The show focuses on the early adolescent life and zany hijinks of its title character, Douglas "Doug" Funnie, who experiences common predicaments while attending school in his new hometown of Bluffington. Doug narrates each story in his journal, and the show incorporates many imagination sequences. The series addresses numerous topics, including trying to fit in, platonic and romantic relationships, self-esteem, bullying, and rumors. Many episodes center on Doug's attempts to impress his classmate and crush, Patti Mayonnaise.

Jinkins developed Doug from drawings in his sketchbook that he created over the course of the 1980s. Doug, a mostly autobiographical creation, was largely inspired by Jinkins's childhood growing up in Virginia, with most characters in the series being based on real individuals. He first pitched Doug as a children's book to uninterested publishers before Nickelodeon purchased the show. Following this, the series underwent further development, in which Jinkins meticulously detailed every aspect of the show's setting. Jinkins was insistent that the series would have a purpose and instructed writers to annotate each script with a moral. The show's unusual soundtrack consists largely of scat singing and mouth noises.

The series premiered on the cable network Nickelodeon, as the first of the original three Nicktoons alongside two other original animated series, Rugrats (which premiered directly after Doug) and The Ren & Stimpy Show (which premiered directly after Rugrats). The original run consisted of 52 episodes over four seasons that were broadcast from 1991 to 1994, being co-produced by Games Animation with Ellipse Programmé by the second season. Nickelodeon opted against renewing the show for a fifth season, so in 1996, Disney would acquire Jumbo Pictures and greenlit a 26-episode fifth season and was renewed for two additional seasons. Jinkins made several creative changes during this time. The show moved to ABC's Saturday morning lineup, co-produced by Walt Disney Television Animation. In 1998, the series also aired on television syndication. It became a top-rated show, inspiring various books, merchandise, a live musical stage show, and a theatrical feature, Doug's 1st Movie, released as the series' conclusion in 1999. The series has seen multiple home video releases during its run; the initial four seasons of Doug are available on Paramount+, while the latter three, along with the film, are available on Disney+, although not in every region.

Premise
The series revolves around Douglas "Doug" Funnie, an 11 (later 12)-year-old boy who wants to be another face in the crowd, but by possessing a vivid imagination and a strong sense of right and wrong, he is more likely to stand out. He keeps a journal, which he treats as an autobiography, as he records numerous experiences over the series, which range from learning to dance to getting a bad haircut. Doug Funnie and his family (which consists of his parents Theda and Phil, sister Judy, and dog Porkchop) move from the town of Bloatsburg to Bluffington after his dad receives a job promotion. Bluffington is in the United States but not in any specific U.S. state. However, Bluffington is loosely based on the city of Richmond, Virginia, where creator Jim Jinkins was born and raised.

Characters
Beyond the title character, Doug features a large ensemble cast of characters. Many of the series' ancillary characters, among them Ms. Wingo and Mr. Spitz, are based on authority figures from Jinkins' childhood.

 * Doug Funnie (voiced by Billy West from seasons 1–4, Tom McHugh seasons 5–7): Doug is depicted as a shy, insecure, self-conscious, and gullible 11 (later 12)-year-old boy who more often than not tries to deal with his fear of failure. He has talents for writing, drawing, making music (he plays a banjo), and caring for animals (he owns a dog named Porkchop). While Doug just wants to fit in with his peers, he has a vivid imagination and an unparalleled sense of morality that both make him stand out amongst them. Doug narrates every episode and writes his experiences in his journal. He has an alter ego, Quailman, who was inspired by Jinkins's and Roberts's childhood home movies in which they posed as superheroes. Billy West, the original voice behind Doug, was assigned by executive Vanessa Coffey, to Jinkins's initial reluctance, but Jinkins would eventually come to view it as the best possible voice for the character. West, in recording lines for Doug, noted that "There's a lot of me in there, because I'm going through my own experiences in there, because I have a conscience."
 * Porkchop (voiced by Fred Newman): Doug's anthropomorphic pet dog who is one of Doug's sidekicks and accompanies him nearly everywhere he goes. He sometimes assists Doug in making decisions and acts as his conscience. Porkchop is very talented in many things such as acting. He lives in an igloo-shaped doghouse in the Nickelodeon series, and a tipi in the Disney series. During a Christmas special, it is shown that Doug got Porkchop as a Christmas gift and that Porkchop once saved Beebe Bluff's life when she was about to fall through some thin ice. Porkchop, along with Doug, originally first appeared in ID spots for the USA Network children's block, USA Cartoon Express.
 * Mosquito "Skeeter" Valentine (voiced by Fred Newman): Skeeter is Doug's blue-skinned best friend. He occasionally makes honking noises. Skeeter and his family have lived in Bluffington for some time, so he helps Doug acclimate to Bluffington.  For example, Skeeter helps Doug order food at the popular Bluffington restaurant Honker Burger in the series premiere (resulting in their friendship). The character was based on Jinkins' high school best friend, Tommy Roberts.
 * Patti Mayonnaise (voiced by Constance Shulman): Patti is an intelligent, lovely, talented, and athletic girl who is Doug's female best friend and love interest. She is kind and helpful, but she does have weaknesses, such as a tendency to be competitive, being gullible, and to anger easily if pushed too far. Jinkins based the character on his adolescent crush from junior high and high school, and culled her name from two girls from his childhood, Pam Mayo and a girl named Patty.
 * Roger M. Klotz (voiced by Billy West in the Nickelodeon series, Chris Phillips in the Disney series): Roger is Doug's green-skinned nemesis, and a school bully. He is not much of a bully, however, as he usually makes fun of everyone and plays practical jokes. He is older than others in his class, as it took him three years to graduate from sixth grade. Roger has a crush on Doug's sister Judy and in certain episodes tries to woo her. Roger and his divorced mother lived in a trailer park in the Nickelodeon series; in the Disney series, Roger's family becomes wealthy from a real-estate deal struck between the owner of the trailer park and the Bluff family. Roger was inspired from a bully who lived in the same neighborhood as Jinkins. He adopted the bully's neighbors' last name, Klotz, for the character.
 * Beebe Bluff (voiced by Alice Playten): The heiress to the Bluff family fortune. Beebe is the daughter of Bill Bluff, the richest man in the town and a friend of Mayor White. The Bluff family is the namesake of the town of Bluffington, and in the second series, the school is even named after Beebe. Despite a certain air of superiority over her peers, Beebe maintains friendships with Patti Mayonnaise and most of her other contemporaries. Doug had his first kiss with her in the episode "Doug's Secret Admirer", although it was out of gratitude rather than love, since she already has a crush on Skeeter. Beebe was Alice Playten's final animated role before her death in 2011.
 * Judith "Judy" Anastasia Funnie (voiced by Becca Lish): Judy Funnie is Doug's older sister. Judy is very intelligent and especially dramatic. Unsurprisingly, she attends the Moody School, a school for artistically talented teenagers. Judy often gives or directs performances at Bluffington Elementary, which Doug initially dreads out of fear that Judy will embarrass him (as she has done in the past). Judy is usually seen wearing only purple and black, and rarely takes off her beret or her sunglasses. She has a very strong beatnik personality. Her actress, Becca Lish, also voices Doug's mother, Theda Funnie, his friend Connie Benge, bass player Wendy Nespah of Doug's favorite band The Beets, the hairdresser Fluke and many other characters.
 * Chalky Studebaker (voiced by Doug Pries): Chalky is considerably the most athletic of Doug's main circle of friends, and he is an excellent student. He wants to follow the footsteps of his older brother, Cliff.
 * Connie Benge (voiced by Becca Lish): A naive schoolgirl who is best friends with Patti and Beebe, and also one of Doug's friends. She had a small crush on Doug in the Nickelodeon series. Although she was rather heavy-set in the first series, she lost weight between the two series and received a new wardrobe and hairstyle after going to a beauty camp for the summer, making her look quite different in either show. In certain episodes of the first series, the color schemes for Connie's hair and skin are switched, giving her lime green hair and violet skin instead of indigo hair and pale green skin.
 * Al and Moo Sleech (voiced by Eddie Korbich): Nerdy twin brothers and two of Doug's best friends. Doug looks to them for technical help whenever he needs it. They tend to speak to each other using their own "twin language" using numbers for various words and phrases. In the Disney series, they skip all of the middle school grades and enter high school, but they maintain their relationships with Doug and others. They are each shown to have a crush on Judy. The two try to hide the fact that their father is not as intelligent as they are and is a hardworking doughnut baker.
 * Mr. Bud Dink (voiced by Fred Newman): A slightly odd, purple-skinned, dimwitted, retiree who lives next door to the Funnies with his wife and foil, Tippy (voiced by Doris Belack). Doug frequently approaches Mr. Dink for advice, but sometimes it is useless. He and his wife's last name comes from an acronym: Dual Income, No Kids, which supports Mr. Dink's spending on various things he claims as "very expensive". In later Nickelodeon episodes, Mrs. Dink becomes mayor of Bluffington, a role she continues in the Disney version.

Development
Doug was created by animator Jim Jinkins. He was born in Richmond, Virginia in 1953, and grew up fascinated by drawing. He went on to animation and filmmaking at Ohio State University, and upon graduation, got a job working at PBS in their children's programming unit. Jinkins first sketched the character of Doug while doodling without thought, not aiming to create a character based on himself. In the 1980s, he began working on an autobiographical character named "Brian", which he later changed to "Doug", as it was a very general, common name. He began to view the character as his "alter-ego", drawing him in variously cynical and silly scenarios in his sketchbook.

In 1984, Jinkins's career took a turn for the worse, as well as his personal life: he had a rough breakup and suffered injuries in a biking accident. During this time, he gained a new outlook on life. Desiring to "create a place where there was no overdue rent and no delinquent phone bills," he began doodling and formed the basis for Bluffington, the central location in Doug. The character's early designs were solidified alongside friend David Campbell at a small Mexican restaurant in New York. He later credited the character's odd coloring choices from being in a "margarita stupor". Campbell suggested he make Doug into a children's book, titled Doug Got a New Pair of Shoes, which was rejected by all of the city's publishing houses. Simon & Schuster was interested, but management changed before it purchased the pitch. The character made its first animated appearance in a 1988 Florida Grapefruit Growers commercial, and it was also used for a 1989 promotional bumper for the USA Network.

Meanwhile, cable network Nickelodeon, aiming to expand its content and find creative auteurs, began a search for animators to develop their first original animated series. This was very unusual for the time period, which often consisted of pre-licensed characters, such as Teenage Mutant Ninja Turtles and Where's Waldo?. Jinkins had actually worked at the network before it was renamed Nickelodeon; he was employed in the late 1970s, on their first show Pinwheel. Jinkins set up a meeting with executive Vanessa Coffey to show her the book prototype. Coffey ran out of the room ("which is, you know, disturbing," Jinkins would recall), but only to inform her boss that "This [Jinkins] guy is the real deal, and we're taking him to pilot." Employing voice artists and writers from New York, Jinkins created a pilot for Doug, titled Doug Can't Dance. It was one of three six-minute pilots chosen out of eight to premiere as Nickelodeon's debut animated series, or Nicktoons. It also tested the highest out of eight that were shown to test audiences, scoring the highest of eight points. The long contract development took nearly a year to complete. Jinkins made sure that his contract allowed him to take the series to another network if Nickelodeon did not complete the show's order.

In another unusual move, Nickelodeon allowed their purchased pilots to be animated at independent studios. Jinkins and Campbell founded Jumbo Pictures in July 1990 to produce Doug. He would later recall the oddity of the deal, remarking, "that was a moment in time where we were able to be an independent production company and deliver those shows." Coffey was the main executive in charge of the series' production, and Jinkins would later give her credit in bringing the show to air. Following the success of its first season, Nickelodeon renewed the series for its second and third season in November 1991.

Writing and design
Jinkins characterized the series as not entirely autobiographical, but emotionally accurate to his childhood experiences. The show was designed and based on his experiences growing up in Virginia, designing it as such to give the viewers "a roller coaster of emotions." Each character in the series was based on people from Jinkins' life, with some exaggerations. Prior to the show's premiere, Jinkins sent messages to each subject of inspiration, notifying them of their inclusion. Jinkins' religious upbringing also made its way into the series, albeit without direct reference. For example, if an episode is set on Sunday, Doug's family is dressed in their church clothes. Jinkins felt it was important to not insert overly religious themes into the series, but he viewed it essential that each episode contain a moral. The series was also inspired by Peanuts.

The show's design was labor-intensive, intended to convey a certain logic to the show's universe. In the show's pitch bible, which Jinkins described as "huge", contain floor plans for each main character's homes, as well as maps of each street. In addition, Jinkins and the series' developers paid particular attention to more hidden elements within the series, such as the founding fathers of the show's central town. In writing the series, the production schedule was built around spending several weeks writing the series' scripts. Jinkins asked each writer to place a central theme at the top of each script — what issue Doug is dealing with, and what he learns. Jinkins often told staff that he wanted the show to remain relevant "in 30 years," aiming for a timeless effect. While developing the series, Jinkins wanted to change its name from Doug to The Funnies, but the network encouraged him to stick with the original name. There was a "cross-pollination" among the network's writing staff. This involved story editors being assigned to the show, among them Mitchell Kriegman of Clarissa Explains It All and Will McRobb of The Adventures of Pete & Pete. "There was definitely camaraderie and a quirkiness about who they were hiring," Jinkins later said. "Sometimes it didn't work quite so well, but working with McRobb was awesome!"

In translating the show into animation, the characters' designs were solidified. "Jim Jinkins is an illustrator and not an animator, so his initial drawings were a little bit more of a wiggly line," said Yvette Kaplan. The designs were inspired by Jinkins' period working for R. O. Blechman at the Ink Tank, incorporating Blechman's nervous line quality.

Music
Jinkins was also very involved in the show's music. One of the show's most notable elements is its unique soundtrack, which consists of various mouth sounds by voice actor Fred Newman. "Fred showed me how you could take out a guitar and use a tuna can filled with water that you'd thump with your finger," said Jinkins. The concept of making music out of anything, or making something good out of nothing, is explored in "Doug's Garage Band" (episode 38, part 2), which ends in Doug performing the song "Bangin’ on a Trashcan".

In the series, Doug's favorite rock group is The Beets, a play on the Beatles—the band's members also visually resemble caricatures of Ringo Starr (of the Beatles) and Robert Plant (of Led Zeppelin), and their penchant for endless reunion tours owes to the Who. Jinkins viewed the series' music as an accent to the storytelling.

Creating the music for the series was a deliberate attempt to deviate from the standard for animated cartoons, which traditionally followed the works of Carl Stalling. The most complicated piece of music created for the series was for the opening sequence, which was recorded preceding animation, rather than the typical method of composing it afterward. The series' theme song is largely composed of simple sounds, mostly "doo-doo" and "na-na", performed in a scat singing style with increasing intensity, and culminating in a crescendo of several harmonies. Newman's scat singing also plays over transitions in the series. The show also incorporated many homemade sound effects.

In the closing credits for the first season of Nickelodeon's Doug, two different pieces of music would play: the first piece would be taken from the second story in the episode, and during the last third, Porkchop would don headphones and listen to music from the first story, immediately drowning out the original background music angering Doug, sweats from his reaction, and runs off to the left with Doug following him. Subsequent seasons, however, use a single piece of music for their closing credits (despite using the same animation). Starting with the Disney series, the credits have used Doug chasing Porkchop to the left and right only for Porkchop to chase Doug to the left while the credits play.

Disney acquisition
The original deal required Jumbo to produce 65 episodes of Doug, which Nickelodeon would air in blocks of 13 per season. After four seasons and 52 episodes of Doug, Nickelodeon declined to order the additional 13, citing the show's expensive budget during a budget freeze. The network had a two-year window in which it could reverse the decision. The duo received strong interest from several networks, among them ABC. Each time they received interest, they would notify Nickelodeon in order to speed up ordering the series' fifth season. In February 1996, The Walt Disney Company, having closed on its purchase of ABC earlier in the year, purchased Doug in a multimillion-dollar deal with Jinkins and Campbell. The deal involved buying Jumbo Pictures and "signing them to five-year contracts, with stock options, to be Disney executives." The company also purchased the Doug trademark and its rights to all future merchandising. Nickelodeon was allowed to retain the rights to the episodes produced from 1991 to 1994.

Due to the length of time between the series' run on Nickelodeon and its beginning on ABC, there were several creative changes. Production of the series relocated from New York City to Los Angeles. This meant the voice actors recorded their lines remotely instead of together in the studio. Billy West was replaced by Tom McHugh as the voice of Doug, while the role of Roger was taken over by Chris Phillips. Disney could not afford West, as his fame had grown from voicing characters in Ren & Stimpy and other animated properties. Jinkins argues that he worked hard to keep West on the series, claiming that the deal the company offered him was breaking their budget. In 2013, despite not returning to the Disney version, West mentioned that he would be open to returning as the role/character.

Several original staff members of Doug have openly regarded the Disney run as inferior to the Nickelodeon run. Jinkins was less hands-on regarding the production of the show's Disney episodes due to other responsibilities. "I mostly agree with Doug fans who think the original 104 eleven-minute Doug stories made for Nick were the best", Jinkins later said. David Campbell felt the Nickelodeon episodes were "quirkier" and better, while Constance Shulman, Patti Mayonnaise's voice actress, felt voice recording sessions were not the same in the show's newer incarnation: "I missed all the gang crammed in the studio, waiting for their turn for the big group scene. Someone just dimmed the magic a bit."

Another factor in Doug going to Disney might have been Nickelodeon's high expectations for the series not being met, something that has been acknowledged by Jinkins as well as Ren & Stimpy creator John Kricfalusi. Among Nickelodeon's three original Nicktoons, executives were banking on Doug to be the network's breakout hit. While Doug proved to be popular, it was by far Nickelodeon's least popular original Nicktoon, as Ren & Stimpy would (alongside The Simpsons and Beavis and Butt-Head) help revive the adult animation genre that had been largely dormant since The Flintstones ended in 1966. Meanwhile, Nickelodeon's other original Nicktoon, Rugrats, would instead be the network's breakout hit and would remain in production until 2004, long after the other two series ended production.

Since the acquisition, Disney has owned the rights to produce any future material in the Doug franchise. In 2016, Jinkins stated that Disney had "no interest" in revamping the show.

Doug and Porkchop appear on a billboard in the Chip 'n Dale: Rescue Rangers movie, released on Disney+ in May 2022.

In 2023, Jinkins revealed concept art he had drawn for a potential revival titled Doug Kids that would focus on the children of Doug and his friends. While no movement has been made, he has stated that he hopes to pitch it to Disney in the future.

Themes
The series covers aspects of desiring to be different while coming of age. According to Jinkins, honesty is the series' main theme:

"We put ourselves through enormous pain to avoid pain and I had this notion of: 'What if we didn't do that? What if we just told the truth?' he said. 'But that's complicated. In the adult world, the notion of truth and not-truth is complicated, but I didn't want to debate it. I didn't want to show all of the ambiguity of the adult world to kids. I wanted to show kids a world where everyone took honesty seriously.'"

For example, the episode "Doug's in the Money" finds the titular character coming across an envelope of cash and returning it to its elderly owner. It created a heated debate among the series' writers regarding honesty. In the episode, Doug is rewarded with a stick of gum. "It comes down to how we think about who is involved in a story. In that case, I wanted Doug to do something that hurt where there was no tangible reward," said Jinkins.

The series also made frequent use of cutaways, frequently showing Doug daydreaming certain scenarios. The use of cutaways declined during the Disney run, but was never eliminated. The technique would become much more frequently used on Family Guy, which debuted five months before the series concluded.

After the series' completion, much of the online debate ensued over the race of Doug's best friend, Skeeter, who some viewers felt exhibited traits stereotypical of African Americans, and who subsequently drew conclusions that the character was intended to be African American. Jinkins did not envision this discourse on the series' colors. When creating the show, he came across his 200 design markers and employed an array of bright, wild colors for the characters. Jinkins later told The Huffington Post in 2014 that the series' colors "came to symbolize the irrelevance of race."

Home media
Sony Wonder released a series of Doug videos between 1993 and 1996. Walt Disney Home Video released four videos of the Disney episodes in 1997; each collection featured two episodes.

Nickelodeon and Amazon.com teamed up to release Doug and other Nick shows on manufacture-on-demand DVD-R discs available exclusively through Amazon.com's CreateSpace arm. Seasons 3 and 4 of Doug were released on DVD on December 8, 2009, and December 22, 2009, respectively.

Season 4 was supposed to be released as a complete season, but Nickelodeon was unable to secure two episodes from the season and opted to rename the DVD release Doug: The Best of Season 4. Doug: The Complete Nickelodeon Series was released on June 26, 2014.

Streaming
Currently, all of the original run episodes, including the two that are missing from the season 4 DVD, are available from video on demand services such as iTunes Store, PlayStation Network, Amazon Prime Video and Paramount+, while the Disney run episodes and Doug's First Movie are on Disney+.

Broadcast
Reruns of the Nickelodeon series aired on Noggin until 2002, Nicktoons until 2007, and on TeenNick's NickRewind block from 2011 to 2021. Reruns also air on Pluto TV's "90s Kids" channel as of October 2023.

The Disney series aired reruns on UPN’s Disney's One Too until 2000, Disney Channel until 2002, and on Toon Disney until 2004.

Reception
The series premiered alongside Rugrats and The Ren & Stimpy Show on August 11, 1991, being scheduled first among the three series. The show was not as immediately popular as its counterparts, and Jinkins lamented to Coffey this fact. "Ren and Stimpy is getting so much attention because of [the show's creator] John Kricfalusi. I feel like the squeaky wheel gets the grease". Nickelodeon was largely attempting to push the limits of children's programming, while Doug was a much gentler, quiet show. While the original Nickelodeon series received mostly positive reviews, the Disney series received a more mixed reception, and became notable for negative reception from fans.

Ratings
The new Nicktoons block on Nickelodeon raised the network's ratings instantly. Doug constantly achieved over 2.0 in the network's most desirable demographics.

When the show moved to ABC in 1997, Doug became the most popular program on ABC's Saturday morning lineup, attracting the highest ratings of any cartoon on the network. Its high-rated second season on the network contributed to its position as the number one network in Saturday morning ratings.

The Disney episodes later reran in broadcast syndication and on the Disney's One Too block on UPN.

Awards and nominations
Doug received numerous domestic and international awards and nominations. It won two Parents' Choice Awards, two Nickelodeon Kids' Choice Awards, and was nominated for three CableACE Awards and four Daytime Emmy Awards. It was also nominated for the Prix Jeunesse International Award.

Stage show
On March 15, 1999, Disney premiered a new musical stage show, Doug Live!, at Disney's Hollywood Studios (at the time known as Disney-MGM Studios) at the Walt Disney World Resort. The show ran until May 12, 2001.

Film
A theatrical feature-length film, Doug's 1st Movie, was released on March 26, 1999, before production on the television show ceased. During this time, meet-and-greet costumed versions of Doug and Patti were seen in Walt Disney World.

Video game
A video game for Game Boy Color was released in 2000, titled Doug's Big Game.

Comics
While Doug had never received his own self-titled print media outside of books that retold events of the TV series' episodes, comics that entailed original stories were published in the magazine Disney Adventures, from Volume 7 #5 in February 1997, to Volume 12 #1 in February 2002. To date, the one-page comic "Neckerchief Grief" is the last official material that features Doug in any major capacity.

title: Doug (TV series)


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Republic of Central Lithuania

The Republic of Central Lithuania (Republika Litwy Środkowej, Vidurio Lietuvos Respublika), commonly known as the Central Lithuania, and the Middle Lithuania (Litwa Środkowa, Vidurinė Lietuva, Сярэдняя Літва), was an unrecognized short-lived puppet state of Poland, that existed from 1920 to 1922. It was founded on 12 October 1920, after successful Żeligowski's Mutiny, during which the volunteer 1st Lithuanian–Belarusian Division under command of general Lucjan Żeligowski seized the Vilnius Region that Lithuania made claims to. It was incorporated into Poland on 18 April 1922.

The region centered around Vilnius, the historical capital of Lithuania, had majority-Polish population with Lithuanian population of only 2–3%. Despite this, the Lithuanian authorities decided that the region should belong to the newly-established Lithuanian state and attempted to implement this idea using military force, ignoring the Foch Line and taking advantage of the fact that Poland was absorbed in the Polish–Soviet War. Lithuanians believed that for this reason Poland was temporarily unable to protect Polish population in disputed areas, but despite this, Lithuania failed to maintain control over the region. This and Lithuanian support for the Soviets in the war against Poland, led to the Polish–Lithuanian War, of which the Żeligowski Mutiny is also considered a part, and consequently to the establishment of the Republic of Central Lithuania.

The republic had features of a state administration, but actually was an imitation of a sovereign state which repressed Lithuanian organizations, education, censored and suspended Lithuanian publications. After a variety of delays, a disputed election took place on 8 January 1922, and the territory was annexed by Poland. Several years later the Polish leader Józef Piłsudski confirmed that he personally ordered Żeligowski to stage a mutiny.

The Polish–Lithuanian border in the interwar period, was recognized by the Conference of Ambassadors of the Entente and the League of Nations. It was not recognized by Kaunas-based Republic of Lithuania until the Polish ultimatum of 1938. In 1931 an international court in The Hague stated that the Polish seizure of the region had been a violation of international law, but there were no political repercussions.

History
Following the partitions of Poland, most of the lands that formerly constituted the Grand Duchy of Lithuania were annexed by the Russian Empire. The Imperial government increasingly pursued a policy of Russification of the newly acquired lands, which escalated after the failed January Uprising of 1864. The discrimination against local inhabitants included restrictions and outright bans on the usage of the Polish, Lithuanian (see Lithuanian press ban), Belarusian, and Ukrainian (see Valuyev circular) languages. These measures, however, had limited effects on the Polonisation effort undertaken by the Polish patriotic leadership of the Vilnius educational district. A similar effort was pursued during the 19th century Lithuanian National Revival, which sought to distance itself from both Polish and Russian influences.

The ethnic composition of the area has long been disputed, since censuses from that time and place are often considered unreliable. According to the first census of the Russian Empire in 1897, known to have been intentionally falsified, the population of the Vilna Governorate was distributed as follows: Belarusians at 56.1% (including Roman Catholics), Lithuanians at 17.6%, Jews at 12.7%, Poles at 8.2%, Russians at 4.9%, Germans at 0.2%, Ukrainians at 0.1%, Tatars at 0.1%, and 'Others' at 0.1% as well.

The German censuses of 1915, 1916 and 1917 of the Vilnius Region (published in 1919) however, reported strikingly different numbers. In 1917 in the Vilnius city Poles were at 53.65%, Jews at 41.45%, Lithuanians at 2.1%, Belarusians at 0.44%, Russians at 1.59%, Germans at 0,63% and 'Other' at 0.14%. According to the 1916 census, Poles constituted 89.8% of the inhabitants of Vilnius county (excluding the city) and Lithuanians only 4.3%.

Censuses had encountered difficulties in the attempt to categorise their subjects. Ethnographers in the 1890s were often confronted with those who described themselves as both Lithuanians and Poles. According to a German census analyst, "Objectively determining conditions of nationality comes up against the greatest difficulties."

Aftermath of World War I
In the aftermath of the First World War, both Poland and Lithuania regained independence. The conflict between them soon arose as both Lithuania and Poland claimed Vilnius (known in Polish as Wilno) region.

Demographically, the main groups inhabiting Vilnius were Poles and Jews, with Lithuanians constituting a small fraction of the total population (2.0%–2.6%, according to the Russian census of 1897 and the German census of 1916). The Lithuanians nonetheless believed that their historical claim to Vilnius (former capital of the Grand Duchy of Lithuania) had precedence and refused to recognize any Polish claims to the city and the surrounding area.

While Poland under Józef Piłsudski attempted to create a Polish-led federation in the area that would include a number of ethnically non-Polish territories (Międzymorze), Lithuania strove to create a fully independent state that would include the Vilnius region. Two early 20th-century censuses indicated that Lithuanian speakers, whose language in the second half of the 19th century was suppressed by the Russian policies and had unfavourable conditions within the Catholic church, became a minority in the region. Based on this, Lithuanian authorities argued that the majority of inhabitants living there, even if they at the time did not speak Lithuanian, were thus Polonized (or Russified) Lithuanians.

Further complicating the situation, there were two Polish factions with quite different views on creation of the modern state in Poland. One party, led by Roman Dmowski, saw modern Poland as an ethnic state, another, led by Józef Piłsudski, wished to rebuild the Polish–Lithuanian Commonwealth. Both parties were determined to take the Poles of Vilnius into the new state. Piłsudski attempted to rebuild the Grand Duchy of Lithuania in a canton structure, as part of the Międzymorze federation:
 * Lithuania of Kaunas with Lithuanian language
 * Lithuania of Vilnius or Central Lithuania with Polish language
 * Lithuania of Minsk with Belarusian language

Eventually, Piłsudski's plan failed; it was opposed both by the Lithuanian government and by the Dmowski's faction in Poland. Stanisław Grabski, representative of Dmowski's faction, was in charge of the Treaty of Riga negotiations with the Soviet Union, in which they rejected the Soviet offer of territories needed for the Minsk canton (Dmowski preferred Poland that would be smaller, but with higher percentage of ethnic Poles). The inclusion of territories predominant with non-Poles would have weakened support for Dmowski.

Polish–Lithuanian War

At the end of World War I, the area of the former Grand Duchy of Lithuania was divided between the Second Polish Republic, the short-lived unrecognized Belarusian People's Republic, and the Republic of Lithuania. Following the start of the Polish–Soviet War, during the next two years, the control of Vilnius and its environs changed frequently. In 1919 the territory was briefly occupied by the Red Army, which defeated the local self-defense units, but shortly afterwards the Soviets were pushed back by the Polish Army. 1920 saw the Vilnius region occupied by the Red Army for the second time. However, when the Red Army was defeated in the Battle of Warsaw, the Soviets, knowing that they wouldn't be able to hold Vilnius, decided to hand it over to Lithuania. By making such a move, the Soviets hoped to intensify the Polish-Lithuanian dispute over the region.

The regular Polish–Lithuanian War broke out on 26 August 1920, when the Polish Army clashed with Lithuanian troops occupying Suwałki region during the Polish autumn offensive following the Battle of Warsaw. The League of Nations intervened and arranged negotiations in Suwałki. The League negotiated a cease-fire, signed on 7 October 7, placing the city of Vilnius in Lithuania. The Suwałki Agreement was to have taken effect at 12:00 on 10 October.

The Lithuanian authorities entered Vilnius in late August 1920. The Grinius cabinet rejected the proposal to hold a plebiscite to confirm the will of the region's inhabitants, knowing that a plebiscite would inevitably legitimize Polish claims to the region. His declaration was promptly accepted by the Seimas, for the percentage of Lithuanian population in Vilnius was very small. On 8 October, General Lucjan Żeligowski and the 1st Lithuanian-Belarusian Division numbering around 14,000 men, with local self-defense, launched the Żeligowski's Mutiny and engaged the Lithuanian 4th Infantry Regiment which promptly retreated. Upon the Polish advance, on October 8, the Lithuanian government left the city for Kaunas, and during withdrawal, meticulously destroyed telephone lines and rail between the two cities, which remained severed for a generation. Żeligowski entered Vilnius on 9 October, to enthusiastic cheers of the overwhelmingly Polish population of the city. The French and the British delegation decided to leave the matter in the hands of the League of Nations. On October 27, while the Żeligowski's campaign still continued outside Vilnius, the League called for a popular referendum in the disputed area, which was again rejected by the Lithuanian representation. Poland disclaimed all responsibility for the action, maintaining that Żeligowski had acted entirely on his own initiative. This version of the event was redefined in August 1923 when Piłsudski, speaking in public at a Vilnius theater, stated that the attack was undertaken by his direct order. Żeligowski, a native to Lithuania, proclaimed a new state, the Republic of Central Lithuania (Litwa Środkowa). According to historian Jerzy J. Lerski, it was a "puppet state" which the Lithuanian Republic refused to recognize.

The seat of Lithuanian government moved to Lithuania's second-largest city, Kaunas. Armed clashes between Kaunas and Central Lithuania continued for a few weeks, but neither side could gain a significant advantage. Due to the mediation efforts of the League of Nations, a new ceasefire was signed on November 21 and a truce six days later.

Founding of the Republic of Central Lithuania
On 12 October 1920, Żeligowski announced the creation of a provisional government. Soon the courts and the police were formed by his decree of 7 January 1921, and the civil rights of Central Lithuania were granted to all people who lived in the area on January 1, 1919, or for five years prior to August 1, 1914. The symbols of the state were a red flag with Polish White Eagle and Lithuanian Vytis. Its coat of arms was a mixture of Polish, Lithuanian and Vilnian symbols and resembled the Coat of arms of the Polish–Lithuanian Commonwealth.

Extensive diplomatic negotiations continued behind the scenes. Lithuania proposed creating a confederation of Baltic Western Lithuania (with Lithuanian as an official language) and Central Lithuania (with Polish as an official language). Poland added the condition that the new state must be also federated with Poland, pursuing Józef Piłsudski's goal of creating the Międzymorze Federation. Lithuanians rejected this condition. With nationalistic sentiments rising all over Europe, many Lithuanians were afraid that such a federation, resembling the Polish–Lithuanian Commonwealth from centuries ago, would be a threat to Lithuanian culture, as during the Commonwealth times many of the Lithuanian nobility was Polonized.

General elections in Central Lithuania were decreed to take place on 9 January, and the regulations governing this election were to be issued prior to 28 November 1920. However, due to the League of Nations mediation, and the Lithuanian boycott of the voting, the elections were postponed.

Mediation
Peace talks were held under the auspice of the League of Nations. The initial agreement was signed by both sides on 29 November 1920, and the talks started on 3 March 1921. The League of Nations considered the Polish proposal of a plebiscite on the future of Central Lithuania. As a compromise, the so-called "Hymans' plan" was proposed (named after Paul Hymans). The plan consisted of 15 points, among them were:
 * Both sides guarantee each other's independence.
 * Central Lithuania is incorporated into the Federation of Lithuania, composed of two cantons: Lithuanian-inhabited Samogitia and multi-ethnic (Belarusian, Tatar, Polish, Jewish and Lithuanian) Vilnius area. Both cantons will have separate governments, parliaments, official languages and a common federative capital in Vilnius.
 * Lithuanian and Polish governments will create interstate commissions on both foreign affairs, trade and industry measures and local policies.
 * Poland and Lithuania will sign a defensive alliance treaty.
 * Poland will gain usage of ports in Lithuania.

The talks came to a halt when Poland demanded that a delegation from Central Lithuania (boycotted by Lithuania) be invited to Brussels. On the other hand, Lithuanians demanded that the troops in Central Lithuania be relocated behind the line drawn by the 7 October 1920 cease-fire agreement, while Hymans' proposal left Vilnius in Polish hands, which was unacceptable to Lithuania.

A new plan was presented to the governments of Lithuania and Poland in September 1921. It was basically a modification of "Hymans' plan", with the difference that the Klaipėda Region (the area in East Prussia north of the Neman River) was to be incorporated into Lithuania. However, both Poland and Lithuania openly criticized this revised plan and finally this turn of talks came to a halt as well.

Resolution
After the talks in Brussels failed, the tensions in the area grew. The most important issue was the huge army Central Lithuania fielded (27,000). General Lucjan Żeligowski decided to pass the power to the civil authorities and confirmed the date of the elections (8 January 1922). There was a significant electioneering propaganda campaign as Poles tried to win the support of other ethnic groups present in the area. The Polish government was also accused of various strong-arm policies (like the closing of Lithuanian newspapers or election violations like not asking for a valid document from a voter). The elections were boycotted by Lithuanians, most of the Jews and some Belarusians. Poles were the only major ethnic group out of which the majority of people voted.

The elections were not recognized by Lithuania. Polish factions, which gained control over the parliament (Sejm) of the Republic (the Sejm of Central Lithuania), on February 20 passed the request of incorporation into Poland. The request was accepted by the Polish Sejm on 22 March 1922.

All of the Republic's territory was eventually incorporated into the newly formed Wilno Voivodeship. Lithuania declined to accept the Polish authority over the area. Instead, it continued to treat the so-called Vilnius Region as part of its own territory and the city itself as its constitutional capital, with Kaunas being only a temporary seat of government. The dispute over the Vilnius region resulted in much tensions in the Polish–Lithuanian relations in the interwar period.

Aftermath
Alfred Erich Senn noted that if Poland had not prevailed in the Polish–Soviet War, Lithuania would have been invaded by the Soviets, and would never have experienced two decades of independence. Despite the Soviet–Lithuanian Peace Treaty of 1920, Lithuania was very close to being invaded by the Soviets in summer 1920 and being forcibly incorporated into that state, and only the Polish victory derailed this plan.

After the Molotov–Ribbentrop Pact and the Soviet invasion of Poland in 1939, Vilnius and its surroundings of up to 30 kilometres were given to Lithuania in accordance with the Soviet–Lithuanian Mutual Assistance Treaty of 10 October 1939, and Vilnius again became the capital of Lithuania. However, in 1940, Lithuania was annexed by the Soviet Union, forcing the country to become the Lithuanian SSR. Since the restoration of Lithuanian independence in 1991, the city's status as Lithuania's capital has been internationally recognized.

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

title: Republic of Central Lithuania


text:
Talk:Gudea

Untitled
I started taking interest in this cute figure Gudea after I started attending a course in sculpture in London. I was attracted to his picture in one of the books which our instructor displayed on her desk. Since then I have been hooked and I bought a stone and started chisling away in an ambitious attempt to replicate one of the statues which depict him. I have a desire to read everything available about Gudea and Lagash. Maher Othman

If Statue E really is a standing sculpture, it's impossible that this is the "Architect with the Plan"-Statue, because Gudea is there sitting. Kenwilliams 12:45, 31 October 2005 (UTC)

New Material
I have added a significant amount to this article and will proceed to wikify it and make sure it is in keeping. I also plan to split off the article on statues, as I think it is better suited as a stand-alone article. If anyone has any objections or suggestions, please let me know (Help, of course, is always welcome). Thanks. Elijahmeeks 00:34, 2 March 2006 (UTC)

Dates
In the article you can read a lot of times exact dates (for the year). But this isn't possible exactly to say, because it's not possible with the actuel stand of the science to reconstruct the cronology so exact. So I also delete the Year-of-Death-Category. Kenwilliams 13:37, 24 April 2006 (UTC)

 * Though I agree with you in principle, this is a problem of history in general, isn't it? I used exact dates that I drew from respectable sources.  Traditionally, historical information includes the best date, to be replaced when a better date is acknowledged.  I don't know if this is the best system, but it is the way that this works in academia... Elijahmeeks 19:19, 25 April 2006 (UTC)

 * On review, I noticed this was a category deletion. I think deaths of 2124BC is a pretty lame category, and senseless to boot, so my thanks for they tidying up.  My response above was motivated by a conversation I had regarding the exact dates of Assurbanipal and how could we know and how does Wikipedia know, and so I thought this was in the same vein.  Elijahmeeks 19:26, 25 April 2006 (UTC)

 * Main problem is, that nobody knows correct dates before the third Millenium B.C. - then there are sometimes dates we can verify the years as correct. But for the sumerian time it's never possible. Sad, but true. Kenwilliams 14:14, 1 May 2006 (UTC)

Orphan paragraph
On September 22, 2007, I removed the following paragraph from the end of the article because it is unclear just which period of time it is talking about.

 * The resurgence of the importance of gods in the script of Lagaš may be more a result of the cultural character of Southern Mesopotamia reasserting itself than it is a response to the chaotic nature of a post-Akkadian world. Sargon wasn’t much of a stabilizing influence to the South so much as he was a new target for their previously local martial aggression. Instead of warring with each other constantly, Lagaš, Ur, Elam and their counterparts rebel sporadically from Akkad, the conflicts more costly and therefore less constant. As such, when they finally throw off the yoke of imperial control, they return to the old tradition of local conflict, Lagaš conquering neighboring city-states, including its old enemy Elam, and using the spoils to fund the creation of monuments to the gods.

This paragraph doesn't seem to appropriately follow the death of Gudea (2124 BCE), where it is placed, but rather the earlier death of Sargon (2279 BCE). Thus it seems to be sort of a confusing flashback of uncertain relevance to the article. Indeed, it seems like it would be more appropriate for inclusion in some other article.

I invite its author, or anyone else, to repost it where it should best go, adding appropriate clarifications as to dates under discussion and relevance. Fredwords 22:04, 22 September 2007 (UTC)

Ur-Ningirsu
Ur-Ningirsu is stated in this article as the successor and son of Gudea, as well as a ruler whose reign pre-dates that of Gudea. My understanding is that Ur-Ningirsu is Gudea's son. If there was another ruler by the same name, then that needs to be clarified. 128.42.158.152 (talk) 20:01, 6 January 2009 (UTC)

 * I looked at the article, later it does specify the predecessor as Ur-Ningursu I, and the successor / son as Ur-Ningirsu II. Til Eulenspiegel (talk) 21:24, 6 January 2009 (UTC)
 * Would it be possible to give sources for that? As far as I was aware, Gudea succeeded Ur-Bau, since he was his son-in-law (or at the very least married into the family). I think perhaps there has been some confusion by the person writing the entry, which then later got corrected in an attempt to make sense of it. The line of succession is Ur-Bau - Gudea - Ur-Ningirsu. So if there are no sources for the claim of another Ur-Ningirsu, then this needs to be changed in the text!Srenette (talk) 16:42, 21 February 2011 (UTC)srenette

was he a kurd?
just thought his name sounded like gutii or kurdia 213.106.124.3 (talk) 22:44, 20 February 2011 (UTC)

 * Not that we know of... or at least, not that I've ever read. Til Eulenspiegel (talk) 04:08, 21 February 2011 (UTC)

Gudea is a very Sumerian name .. it is GU DE.A, which means something in the sense of "being called upon" [by the gods to rule over Lagash]. Literally, GU DE means "to pour a voice", which is a Sumerian way to express notion related to speaking, calling, ... So no he definitely was NOT a Kurd, nor Gutian. I know you can find some weird theories online about Kurds, but the Kurdish people did not even exist 4000 years ago. Kurdish is closely related to Persian, and therefore an Indo-European language which only came into the region late in the second millennium BC. As much as I appreciate and value Kurdish culture (which I really do!), unfortunately some of them are being very active in constructing nationalists dogma's and attempting to put a claim on all heritage and history of the Middle East, just like many other groups and individuals in the region.Srenette (talk) 16:38, 21 February 2011 (UTC)srenette

Gudea Statue is in the Metropolitan museum not Louvre
Hi, According to my documents, the statue of Gudea is exhibited at The Metropolitan of New York and not the Paris Louvre. please see: The Metropolitan Museum of Art Guide. p. 27, ancient near eastern art. 2011. Distributed by Yale University Press, New Haven and London.

I did not edit the photo because it is possible that there are two statues. The author of the article may check, although I doubt.

Abdelouadoud El Omrani — Preceding unsigned comment added by 37.208.136.31 (talk) 07:12, 13 September 2013 (UTC)

the "Religion" section seems to have a problem with POV
Could someone reword this? — Preceding unsigned comment added by Jahelistbro (talk • contribs) 23:30, 22 April 2016 (UTC)

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Claiming divinity confusion
In the "Later Influence" section it is claimed Gudea "was one of the first rulers to claim divinity for himself, or have it claimed for him after his death." However, in the "Inscriptions" section it emphasizes that he specifically didn't claim to be a god and gave himself a weaker title than would be expected. Other articles such as Akkadian Empire claim that the earlier Akkadian beliefs generally considered kings to be gods even when alive, making him fairly far from one of the first Mesopotamian rulers to be considered gods even only allowing posthumous claims. Can more clarifications/sources be provided? Deep Gabriel (talk) 15:33, 27 October 2022 (UTC)

title: Talk:Gudea