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ASIMO

ASIMO (Advanced Step in Innovative Mobility) is a humanoid robot created by Honda in 2000. It is displayed in the Miraikan museum in Tokyo, Japan. On 8 July 2018, Honda posted the last update of Asimo on their official page stating that it would be ceasing all development and production of Asimo robots in order to focus on more practical applications using the technology developed through Asimo's lifespan. It made its last active appearance in March 2022, over 20 years after its first, as Honda announced that they are retiring the robot to concentrate on remote-controlled, avatar-style, robotic technology.

There are four published models of the Asimo. A few years after the release in 2002 there were 20 units of the first Asimo model produced. As of February 2009, there were over 100 ASIMO units in existence.

Development

Honda began developing humanoid robots in the 1980s, including several prototypes that preceded ASIMO. It was the company's goal to create a walking robot. E0 was the first bipedal (two-legged) model produced as part of the Honda E series, which was an early experimental line of self-regulating, humanoid walking robot with wireless movements created between 1986 and 1993. This was followed by the Honda P series of robots produced from 1993 through 1997. The research made on the E- and P-series led to the creation of ASIMO. Development began at Honda's Wako Fundamental Technical Research Center in Japan in 1999 and ASIMO was unveiled in October 2000. ASIMO is an acronym which stands for Advanced Step in Innovative Mobility. The Japanese word Asi also stands for 'leg' and Mo for 'mobility'. ASIMO is pronounced as '' and means 'also legs'.

In 2018, Honda ceased the commercial development of ASIMO, although it will continue to be developed as a research platform and make public appearances.

Form
ASIMO stands 130 cm tall and weighs 54 kg. Research conducted by Honda found that the ideal height for a mobility assistant robot was between 120 cm and the height of an average adult, which is conducive to operating door knobs and light switches. ASIMO is powered by a rechargeable 51.8 V lithium-ion battery with an operating time of one hour. Switching from a nickel metal hydride in 2004 increased the amount of time ASIMO can operate before recharging. ASIMO has a three-dimensional computer processor that was created by Honda and consists of a three stacked die, a processor, a signal converter and memory. The computer that controls ASIMO's movement is housed in the robot's waist area and can be controlled by a PC, wireless controller, or voice commands.

Abilities
ASIMO has the ability to recognize moving objects, postures, gestures, its surrounding environment, sounds and faces, which enables it to interact with humans. The robot can detect the movements of multiple objects by using visual information captured by two camera "eyes" in its head and also determine distance and direction. This feature allows ASIMO to follow or face a person when approached. The robot interprets voice commands and human gestures, enabling it to recognize when a handshake is offered or when a person waves or points, and then respond accordingly. ASIMO's ability to distinguish between voices and other sounds allows it to identify its companions. ASIMO is able to respond to its name and recognizes sounds associated with a falling object or collision. This allows the robot to face a person when spoken to or look towards a sound. ASIMO responds to questions by nodding or providing a verbal answer in different languages and can recognize approximately 10 different faces and address them by name.

There are sensors that assist in autonomous navigation. The two cameras inside the head are used as a visual sensor to detect obstacles. The lower portion of the torso has ground sensor which comprises one laser sensor and one infrared sensor. The laser sensor is used to detect ground surface. The infrared sensor with automatic shutter adjustment based on brightness is used to detect pairs of floor markings to confirm the navigable paths of the planned map. The pre-loaded map and the detection of floor markings help the robot to precisely identify its present location and continuously adjust its position. There are front and rear ultrasonic sensors to sense the obstacles. The front sensor is located at the lower portion of the torso together with the ground sensor. The rear sensor is located at the bottom of the backpack.

Impact and technologies
Honda's work with ASIMO led to further research on walking assist devices that resulted in innovations such as the Stride Management Assist and the Bodyweight Support Assist.

In honor of ASIMO's 10th anniversary in November 2010, Honda developed an application for the iPhone and Android smartphones called "Run with ASIMO." Users learn about the development of ASIMO by virtually walking the robot through the steps of a race and then sharing their lap times on Twitter and Facebook.

Public appearances

Since ASIMO was introduced in 2000, the robot has traveled around the world and performed in front of international audiences. ASIMO made its first public appearance in the U.S. in 2002 when it rang the bell to open trade sessions for the New York Stock Exchange. From January 2003 to March 2005, the robot toured the U.S. and Canada, demonstrating its abilities for more than 130,000 people. From 2003 to 2004, ASIMO was part of the North American educational tour, where it visited top science and technology museums and academic institutions throughout North America. The goal of the tour was to encourage students to study science through a live show that highlighted ASIMO's abilities. Additionally, the robot visited top engineering and computer science colleges and universities across the US as part of the ASIMO Technology Circuit Tour in an effort to encourage students to consider scientific careers. In 2004, ASIMO was inducted into the Carnegie Mellon Robot Hall of Fame. In March 2005, the robot walked the red carpet at the world premiere of the animated film, Robots. In June 2005, ASIMO became a feature in a show called "Say 'Hello' to Honda's ASIMO" at Disneyland's Innoventions attraction, which was a part of the Tomorrowland area of the park. This was the only permanent installation of ASIMO in North America until Innoventions was closed in April 2015.

The robot first visited the United Kingdom in January 2003 for private demonstrations at the Science Museum in London. ASIMO continued on a world tour, making stops in countries such as Spain, the United Arab Emirates, Russia, South Africa and Australia. In October 2008, ASIMO greeted Prince Charles during a visit to the Miraikan Museum in Tokyo, where it performed a seven-minute step and dance routine.

In a demonstration at Honda's Tokyo headquarters in 2007, the company demonstrated new intelligence technologies that enabled multiple ASIMO robots to work together. The demonstration showed the robot's ability to identify and avoid oncoming people, work with another ASIMO, recognize when to recharge its battery and perform new tasks, such as carrying a tray and pushing a cart.

In 2008, ASIMO conducted the Detroit Symphony Orchestra in a performance of "The Impossible Dream" to bring attention to its partnership with the Orchestra and support the performing arts in Detroit. A 49-foot replica of ASIMO made with natural materials, such as lettuce seed, rice and carnations led the 120th Rose Parade in celebration of Honda's 50th year of operation in the US. Later that year, the robot made an appearance in Italy at the Genoa Science Festival.

In January 2010, Honda debuted its "Living With Robots" documentary at the Sundance Film Festival in Park City, Utah. The film focuses on the experience of human interaction with robots like ASIMO. ASIMO attended the Ars Electronica festival in Linz, Austria in September 2010, which allowed Honda to study the results of human and robot interaction and use the results to guide development of future versions of the robot. In April 2011, ASIMO was demonstrated at the FIRST Championship in St. Louis, Missouri, US to encourage students to pursue studies in math, science and engineering, and in November 2011 ASIMO was one of the star attractions at the first Abu Dhabi Science Festival.

ASIMO visited the Ontario Science Center in Toronto in May 2011 and demonstrated its abilities to Canadian students. The robot later traveled to Ottawa for the unveiling of an exhibit at the Canadian Museum of Civilization 19 May through 22 May 2011.

ASIMO appeared as a guest on the British quiz show QI on 2 December 2011. After serving water to host Stephen Fry and dancing with comedian Jo Brand, ASIMO won with 32 points.

ASIMO was also the inspiration behind 2012's film Robot & Frank, where a robot assists an aging man to commit his last job as a 'cat burglar'. The robot in the film, portrayed by an actor in costume, has the appearance of an ASIMO robot.

In April 2014, the robot was introduced to President Obama at the Miraikan science museum in Tokyo.

On 24 March 2017, Honda revealed ASIMO in Disneyland's Autopia attraction.

Failures
On multiple occasions, audience members at public showcasings of ASIMO have filmed the robot acting incorrectly and falling down stairs. These videos have been uploaded on YouTube, and some have become viral for their comedic nature.

title: ASIMO


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Brooklyn Park

Brooklyn Park may refer to:

 * Brooklyn Park, Minnesota, United States
 * Brooklyn Park, Maryland, United States
 * Brooklyn Park (Portland, Oregon), United States
 * Brooklyn Park, South Australia

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

title: Brooklyn Park


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Talk:Box Hill, Victoria

Untitled
I fail to see the purpose of a disambiguation link on Box Hill, Victoria, when Box Hill is already a disambiguation page, not a redirect. Anthony DiPierro 00:29, 3 Mar 2004 (UTC)

It's usual practice, for two reasons.
 * 1) The user may easily have arrived at this page from a link like Box Hill, which just looks like a link to Box Hill, and s/he was actually expecting to be taken to a different Box Hill.
 * 2) The other places that have the same name (or, in general, the other entries with the same name) are part of the legitimate content of an entry. In the case of place names, they may well reflect early settlement/emigration patterns or other sociological associations, but even if they do not, they are likely to be of interest.

seglea 04:15, 3 Mar 2004 (UTC)

I've never seen it before, so I'm not sure how "usual" it is. I also don't see any mention of it on Disambiguation. If it's part of the legitimate content of the entry, put it in the entry itself, not at the top. Anthony DiPierro 04:25, 3 Mar 2004 (UTC)

Plaza or Centro?
I see there is mention of "Whitehorse Centro" but most locals (including myself) still refer to it by its original name, Whitehorse Plaza. Is it worth making reference to this name? (In fact some locals erroneously called it "Box Hill Plaza"...) --Bricks J. Winzer 07:35, 14 March 2006 (UTC)

 * Agree. I still think of the northern shopping centre as Whithorse Plaza, but then I moved out of the area in the early 1990s. 49.176.116.133 (talk) 03:19, 18 April 2022 (UTC)

Adjacency table
I noticed someone has removed the suburb adjacencey table, so I've taken the liberty to put it back in. If anyone has any objections, have a look at the WikiProject Melbourne page on suburbs.

Bus services?
Although it is possible to get to La Trobe university from the Box Hill bus interchange, there is no direct route and the shortest, most direct route takes more than an hour. I feel the article should be edited to reflect this. Missjaye 11:50, 2 December 2007 (UTC)

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

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

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 07:01, 1 January 2008 (UTC)

So what about Box Hill Athletics club, its produced many champions. —Preceding unsigned comment added by 58.175.227.93 (talk) 08:09, 20 May 2008 (UTC)

Asian populations
There is no real mention of the large Asian populations of Box Hill. This suburb is locally renowned throughout Melbourne as being a very Asian suburb, and has many shops and stores boasting this culture. The suburb even holds its very own Chinese New Year festival that attracts visitors from all over Melbourne, probably more popular than the one in the city itself. There should be at least some mention of this.   Chicken-7    talk 12:29, 6 March 2010 (UTC)
 * You're right. This article ought to have a demographics section. JKDw (talk) 05:03, 2 January 2015 (UTC)
 * I made a start based on statistics from the 2011 census. The lead already briefly mentions diversity of cuisine, but more qualitative information, such as the Chinese new year, would be ideal. JKDw (talk) 05:59, 2 January 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 1 one external link on Box Hill, Victoria. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20050209094838/http://www.boxhill.co.jp:80/ to http://www.boxhill.co.jp

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Surrey Dive
The article mentions the lake behind Aqualink, but the history of this could be expanded by someone with a firmer grasp of it. While it likely started as quarry for the still-standing brickworks, the name Surrey Dive stems from when the lake was used as a swimming spot, probably sometime after WW2. Walking through the area, I found no references to swimming apart from a sign stating the name, just references to the model boating club and prohibitions on feeding the ducks. 49.176.116.133 (talk) 03:31, 18 April 2022 (UTC)

title: Talk:Box Hill, Victoria


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Talk:Vermont towns

Why was this turned into a redirect to List of towns in Vermont? I intended the page to have more than simply a list of towns. I was following the example of U.S. States -redjar 03/02/2004

 * Then it might have been courtesy to mention as such in this talk page when the article was created. The move was made because it was simply a list of towns in line with common naming conventions.  If, after you have added further info, it would still be appropriate to move the page back (it can still be called a 'list' even if it has other info on it) let me know and I will make the swap. -- Graham  :) 18:16, 3 Mar 2004 (UTC)

title: Talk:Vermont towns


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Antonina Miliukova

Antonina Ivanovna Miliukova (Антонина Ивановна Милюкова; 5 July 1848 – 1 March 1917) was the wife of Russian composer Pyotr Ilyich Tchaikovsky from 1877 until his death in 1893. After marriage she was known as Antonina Tchaikovskaya.

Early years
Little is known of Antonina before she met Tchaikovsky. Her family resided in the Moscow area. They belonged to the local gentry but lived in poverty. The family was also a highly fractious one. Tchaikovsky tells us as much in a letter he wrote his sister Alexandra Davydova during his honeymoon:

"After three days with them in the country, I begin to see that everything I can't stand in my wife derives from her belonging to a completely weird family, where the mother was always arguing with the father—and now, after his death, does not hesitate to malign his memory in every way possible. It's a family in which the mother hates (!!!) some of her own children, in which the sisters are constantly squabbling, in which the only son has completely fallen out with his mother and all his sisters, etc., etc."

Antonina first met Tchaikovsky in 1865 at the Moscow home of a common friend, Anastasia Khvostova, a well-known singer. His close friend Alexei Apukhtin was staying with her, and Anastasia's brother Nikolai had been a classmate of Tchaikovsky's brother Modest at the School of Jurisprudence. Antonina was 16 at the time; Tchaikovsky was 25. Although he did not recall this meeting, she immediately became infatuated with him.

She reportedly gave up work as a professional seamstress to study music at the Moscow Music Conservatory. Tchaikovsky was one of her professors. Eventually she had to abandon her studies at that institution, probably as a result of financial troubles. She wrote to Tchaikovsky on at least two occasions in 1877, two years after she had left school. At that time she was 28, far past the age at which women of that time generally married.

Marriage to Tchaikovsky
By June 1877, Tchaikovsky proposed marriage, in order (according to one theory) to please his family and put to rest any social rumors regarding his sexual orientation. He described Miliukova as "a woman with whom I am not the least in love."

They were married at the Church of Saint George in Moscow on 18 July 1877 (6 July, old style) and held their wedding dinner at the Hermitage Restaurant.

Separation
The marriage was disastrous for Tchaikovsky. A permanent separation followed after only six weeks, for which Modest blamed Antonina's character. In his biography on Tchaikovsky, Modest describes her as a "crazed half-wit." According to Anthony Holden, "In truth, Antonina was as much the right woman for Tchaikovsky as any other. It was marriage which was the wrong institution."

For Antonina the marriage was a period of great happiness. She wrote, "I would look at him surreptitiously, so he didn't notice, and admire him enormously, especially during morning tea. So handsome, with kindly eyes which melted my heart, he breathed such freshness into my life! I would just sit there looking at him, and think 'Thank God he belongs to me and no-one else! Now he is my husband, no one can take him away from me ...'"

Antonina reacted negatively to her separation from Tchaikovsky, which his brother Anatoly confirmed to her would be permanent. Nikolai Rubinstein, an acquaintance of Antonina, accompanied Anatoly to discuss the situation. At Tchaikovsky's apartment, Antonina invited both men in for tea. Rubinstein explained her husband's condition, and the report from a psychologist who had examined him. He did so with a bluntness and "cruel precision of expression," Anatoly later recalled to Nikolay Kashkin, that "made me go hot and cold." Antonina responded that she would agree to whatever her "darling Peti" wanted. She then began pouring tea. This reaction surprised both men.

Rubinstein left soon after:

"'Anatonina Ivanova saw Rubinstein to the door, and returned with a broad smile on her face, saying, 'Well, who'd have thought I would entertain the famous Rubinstein to tea at my home today!''"

She then recalled to Anatoly a number of her prior romantic relationships. After that she asked what Anatoly would like for dinner. Anatoly followed Rubinstein out the door as soon as he could. He headed back to St. Petersburg and made arrangements to take his brother on a prolonged tour of Western Europe.

Kashkin, in his retelling of the incident, characterized Antonina's behavior as indicative of mental imbalance. Modest treated it similarly in his biography.

Antonina believed she was the victim of a family conspiracy to end the marriage. She wrote, "We were separated by constant whispering to Pyotr Ilyich that family life would kill his talent. At first, he paid no attention to this talk, but then he began somewhat to listen to it more and more attentively.... To lose his talent was for him the most dreadful thing of all. He began to believe their slanders and became dull and gloomy."

She also believed that Tchaikovsky's collapse, which immediately preceded their separation, was caused by stress from his obligations to her and his music. She accompanied him to the railway station on the last day of their union. "'One day, he told me he needed to go away on business for three days. I accompanied him to the mail train; his eyes were wandering, he was nervous, but I was so far in my thoughts from any trouble already hanging over my head. Before the first bell he had a spasm in his throat and went alone with jerky irregular steps to the station to drink some water. Then we entered the car, he looked at me plaintively, without lowering his eyes […] He never came back to me.'"

Divorce attempts
On 5 October 1877, Tchaikovsky wired his brother Anatoly, telling him to wire a summons to St. Petersburg in conductor Eduard Nápravník's name. Anatoly settled his brother in St. Petersburg. He then traveled to Moscow, accompanied by Nikolai Rubinstein, to ask Antonina to consent to a divorce. Although she did not consent, Tchaikovsky and Antonina never lived together again. After finding Tchaikovsky verging on a nervous breakdown, Anatoly summoned a mental specialist. The specialist told Tchaikovsky not to cohabit or see his wife again.

Due to laws regarding divorce in Imperial Russia, the two remained legally married until Tchaikovsky's death. This did not prevent further attempts at divorce in 1878 and 1879. The only legal ground for divorce was adultery, which Antonina refused to admit. A 10,000 ruble incentive from von Meck to accept the divorce was also rejected. This sum would have been payable through his publisher, P. Jurgenson, once a divorce had been finalized.

Antonina may have helped fuel Tchaikovsky's fear of public exposure by her unpredictable behavior. During her stay at Kamenka immediately following their separation, she wrote him letters that unsettled him. In July 1880, she accused him of spreading rumors about her in Moscow. She responded, "Why didn't you start with yourself, telling […] about your own terrible vice?"

In March 1881, Antonina gave birth to a child out of wedlock. Although Tchaikovsky now had legal grounds for divorce, he did not act. He might have thought that legal action would drag up matters he hoped were forgotten or at least buried. He continued to send her a regular allowance, which may have helped buy her silence. Divorce would have meant Tchaikovsky's freedom from any further financial responsibility for her. Eventually, she had three children. She surrendered all of them to foundling hospitals.

Tchaikovsky's views on his wife
Tchaikovsky himself insisted to his patroness, Nadezhda von Meck, "My wife, whatever she may be, is not to be blamed for my having driven the situation to the point where marriage became necessary. The blame for everything lies on my lack of character, my weakness, impracticality, childishness!" He considered his falling in with her, at a time when he had decided to be married simply for the sake of being married, as something to simply attribute to Fate. Nevertheless, he personally showed nothing but disregard for her after their separation, often referring to her as "the reptile". For the rest of his life, any news concerning her drove him to hysterics. A single letter from her could upset him for several days.

He continued to disparage her to von Meck. "'You will ask, of course: but how did we spend the time when she and I were alone together? She is very talkative, but all her talk comes down to the following two subjects. Hourly she would repeat to me innumerable stories about innumerable who had felt tender feelings toward her. For the most part, these were generals, nephews of prominent bankers, well-known artists, even members of the imperial family.'"

"Next," he continued to von Meck, "'she would no less frequently, and with a sort of inexplicable passion, describe to me the vices, the cruel and base actions and detestable behavior of all her relatives, with every of whom, it turned out, she is in enmity. Her mother would especially catch her in this.... The third topic of her tireless chatter was her stories of life at boarding school. There was no end to them.'" He also added, "Desiring to know what maternal instincts she had, I asked her once whether she liked children. I received in reply: 'Yes, when they are clever.'"

Things changed when Tchaikovsky returned to Moscow from Kamenka. Antonina demanded that he fulfill his marital duties in the bedroom. Tchaikovsky considered this change an act of betrayal. It sent him into despair and severely wounded his pride.

Later years
In later years, the couple met briefly a couple of times, much to Tchaikovsky's displeasure. Though she outlived Tchaikovsky by 24 years, she spent the last 20 of them in an insane asylum. She died on 1 March 1917 in Moscow at age 68.

Her memoirs
After his death she wrote or dictated her reminiscence about their marriage. While they were printed in 1894 and reprinted in 1913, they were never widely known. According to Tchaikovsky scholar Alexander Poznansky, she comes across in them as naive, superficial and not very intelligent. He also said that her memoirs revealed a woman devoted to the memory of her husband, an appreciation of his greatness, and the vague feeling of an enormous misunderstanding having taken place between them. Poznansky added that "nothing in the reminiscences gives any grounds for suspecting them for being a forgery. On the contrary, the genuineness of the intonation, the idiosyncratic style, and the wealth of detail all attest its authenticity."

Film

 * The Music Lovers (1970, UK)
 * Glenda Jackson portrays Antonina.
 * Tchaikovsky's Wife (2022, Russia)
 * Alyona Mikhaylova portrays Antonina.

Television

 * BBC Tchaikovsky Experience (2007, UK)
 * Alice Glover portrays Antonina.

title: Antonina Miliukova


text:
Louis-Charles Mahé de La Bourdonnais

Louis-Charles Mahé de La Bourdonnais (1795 – December 1840) was a French chess master, possibly the strongest player in the early 19th century.

Early life
La Bourdonnais was born on the island of Réunion in the Indian Ocean in 1795. He was the grandson of Bertrand-François Mahé de La Bourdonnais. He learned chess in 1814 and began to take the game seriously in 1818, regularly playing at the Café de la Régence. He took lessons from Jacques François Mouret, his first teacher, and within two years he became one of the best players of the Café.

Chess career
La Bourdonnais was forced to earn his living as a professional chess player after squandering his fortune on ill-advised land deals. He played in an era before a World Chess Championship was established, but was considered to be perhaps the strongest player in the world from 1821 — when he became able to beat his chess teacher Alexandre Deschapelles — until his death in 1840. The most famous match series in that time was the series against Alexander McDonnell in 1834. These matches of 85 games were analyzed by Kasparov in his book My Great Predecessors.

Death
He died penniless in London on 13 December 1840, having been forced to sell all his possessions, including his clothes, to satisfy his creditors. George Walker arranged his burial a stone's throw from his old rival Alexander McDonnell at Kensal Green Cemetery.

Notable games

 * Alexander McDonnell vs. Louis-Charles Mahé de La Bourdonnais, 16, London 1834, Sicilian Defense: Old Sicilian. Open (B32), 0–1 A game demonstrating the strength of pawns. Its end position is one of the most surprising in the history of chess.
 * Louis-Charles Mahé de La Bourdonnais vs. Alexander McDonnell, 3, London 1834, Queen's Gambit Accepted: Old Variation (D20), 1–0 La Bourdonnais punishes McDonnell's premature attack.

title: Louis-Charles Mahé de La Bourdonnais


text:
List of hospitals in Texas

This is a List of hospitals in Texas (U.S. state), sorted alphabetically.

title: List of hospitals in Texas


text:
Canadian Pacific Selkirk locomotive

The Selkirk locomotives were 36 steam locomotives of the 2-10-4 wheel arrangement built for Canadian Pacific Railway by Montreal Locomotive Works, Montreal in Quebec, Canada.

History
The first of these large engines, which had a 2-10-4 wheel arrangement, was built in July 1929. Altogether, twenty were constructed before the end of this year bearing numbers 5900 to 5919. The Canadian Pacific Railway's classification was T1a. These locomotives weighed 375 ST fully loaded. They were the largest and most powerful locomotives in the British Empire. While most other 2-10-4s were named after the state of Texas, these locomotives were named after the Selkirk range of mountains that they crossed, the (railway) summit of which was located just inside the western portal of the Connaught Tunnel beneath Rogers Pass.

Montreal Locomotive Works built another ten of these successful Selkirk locomotives during November and December 1938. The Canadian Pacific Railway assigned them T1b class. They were numbered from 5920 to 5929. Modifications led the T1b to be ten tons or tonnes lighter while increasing steam pressure from 275 to 285 psi. A further six Selkirks, classed T1c, were built by the Montreal Locomotive Works shop in 1949. They were the last standard gauge steam locomotives built in Canada for a Canadian railway. They were much the same as the T1b except for a few refinements, including two cross-compound air compressors to speed recharging of the air brake system.

Some small streamlining touches were not retained. The streamlined casing around the smokebox stack was now absent as was the teardrop shape of the classification lights. Also, the inside of the cabs were no longer lined/insulated in the same manner as the previous classes (previous classes had provided better cold-weather cab insulation and were more popular with engine crews). They were all equipped with boosters (some shortly after being built) and all Selkirks (5900 through 5935) were built as oil burners. The tenders held 12000 impgal of water and 4100 impgal of fuel oil. They had to be equipped with two pairs of six-wheel trucks because the total tender weight was 148 ST.

The first Selkirks, which come from the T1a class, had a heavier-looking, non-streamlined appearance which better exemplified the heavy steam-power look. Their original, as-delivered rear sand-domes were removed early in their service life. All of the later T1b and T1c-class locomotives were semi-streamlined and were painted with CPR Tuscan red panels along the sides of their running boards, beneath the cab windows and on the sides of the tenders with gold leaf (originally) border trim (which was later changed to a type of yellow similar to "duluxe gold"). Some of the original T1a-class Selkirks also received this paint scheme (but with narrower panels along the sides of the running boards that widened in the middle to carry the locomotive's road number).

All 36 Selkirk locomotives (5900 through 5935) were initially assigned to handle both freight as well as passenger trains between the major division points of Calgary and Revelstoke, a distance of 262 mi. They were also used for 23 mi in pusher service from Revelstoke west (uphill) to the wye at Taft, assisting the road engines of both freight as well as passenger trains up the steep grade to this location. The Laggan Subdivision covered the eastern portion of their assigned territory 137 mi and included the Field Hill and the Spiral Tunnels while the western portion of their primary, assigned territory consisted of the Mountain Subdivision which covered the remaining 126 mi and included Rogers Pass, the Connaught Tunnel and Stoney Creek Bridge. The grades encountered had a maximum of 2.2% (1 in 45), with curves of 12° or 480 ft radius. Rated at 78000 lbf tractive effort, on the lesser grades they could haul 1050 ST unassisted and without the booster cut-in. The booster engine added an additional 12000 lbf of tractive effort up to a maximum speed of 20 mph. Due to their extreme weight, they could not proceed west of Taft to Vancouver.

When diesels began operation between Calgary and Revelstoke in the early 1950s, the Selkirks were reassigned to work the Brooks and Maple Creek subdivisions between Calgary and Swift Current, Saskatchewan. They were also used to haul freight trains north of their new Alyth terminal (in Calgary) as far as Edmonton. At least some of the reassigned Selkirks received an "all black" (non-passenger) paint scheme without CPR Tuscan red panels and without grey or "blued" metal boiler-jackets; however, they still retained the yellow panel trim around the previous CPR Tuscan red (now black) panels (on those locomotives formerly painted with "outlined" panels). The last Selkirks (5930 through 5935) were taken out of service in 1959.

Preservation
All but two Selkirk locomotives class were scrapped, and both surviving classes are from the T1c class. None of the earlier T1a class or T1b class locomotives was preserved. The 5935 is preserved in the Canadian Railway Museum, in Saint-Constant, Quebec. The 5931 (which was repainted and intentionally renumbered incorrectly as 5934 upon initial public display near downtown Calgary) is displayed at Heritage Park in Calgary, Alberta.

title: Canadian Pacific Selkirk locomotive


text:
User:SteffenB~enwiki

Hi Wikipedians,

This is a rough translation of my German userpage. As I'm no native speaker, please feel free to correct any of my contributions to conform to proper English! :-)

Main fields of Interest
My profession and passion is physics (particularly solid state physics, x-ray, and neutron scattering)

My sport is cycling

My balance is dancing.

Current issue
Discussion about the conventional English term for magnetic ordering in the solid state: magnetic ordering vs. magnetic order.
 * Optimisation of the semantic disposition of the template for chemical elements. See also the respective discussions, particularly in the English version.
 * english
 * german

de:Benutzer:SteffenB sl:Uporabnik:SteffenB zh:User:SteffenB

title: User:SteffenB~enwiki


text:
Chromaticism

Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes.

Chromaticism is in contrast or addition to tonality or diatonicism and modality (the major and minor, or "white key", scales). Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".

Development of chromaticism

Chromaticism began to develop in the late Renaissance period, notably in the 1550s, often as part of musica reservata, in the music of Cipriano de Rore, in Orlando Lasso's Prophetiae Sibyllarum, and in the theoretical work of Nicola Vicentino.

The following timeline is abbreviated from its presentation by Benward & Saker:
 * Baroque Period (1600—1750) "The system of major and minor scales developed during the early part of the baroque period. This coincided with the emergence of key consciousness in music."
 * Classical Period (1750—1825) "The major and minor keys were the basis of music in the classical period. Chromaticism was decorative for the most part and shifts from one key to another...were used to create formal divisions."
 * Romantic Period (1825—1900) "Chromaticism increased to the point that the major—minor key system began to be threatened. By the end of the period, keys often shifted so rapidly in the course of a composition that tonality itself began to break down."
 * Post-Romantic and Impressionistic Period (1875—1920) "With the breakdown of the major—minor key system, impressionist composers began to experiment with other scales....particularly...pentatonic, modal, and whole-tone scales."
 * Contemporary Period (1920—present) "The chromatic scale has predominated in much of the music of our period."
 * Jazz and Popular Music (1900—present) "Popular music has remained the last bastion of the major-minor key system... The blues scale ["a chromatic variant of the major scale"] is often found in jazz and popular music with blues influence."

As tonality began to expand during the last half of the nineteenth century, with new combinations of chords, keys and harmonies being tried, the chromatic scale and chromaticism became more widely used, especially in the works of Richard Wagner, such as the opera "Tristan und Isolde". Increased chromaticism is often cited as one of the main causes or signs of the "breakdown" of tonality, in the form of increased importance or use of:
 * mode mixture
 * leading tones
 * tonicization of each chromatic step and other secondary key areas
 * modulatory space
 * hierarchical organizations of the chromatic set such as George Perle's
 * the use of non-tonal chords as tonic "keys"/"scales"/"areas" such as the Tristan chord.

As tonal harmony continued to widen and even break down, the chromatic scale became the basis of modern music written using the twelve-tone technique, a tone row being a specific ordering or series of the chromatic scale, and later serialism. Though these styles/methods continue to (re)incorporate tonality or tonal elements, often the trends that led to these methods were abandoned, such as modulation.

Types of chromaticism

David Cope describes three forms of chromaticism: modulation, borrowed chords from secondary keys, and chromatic chords such as augmented sixth chords.

"The chromatic expansion of tonality which characterizes much of nineteenth century music is illustrated in miniature by the substitution of a chromatic harmony for an expected diatonic harmony. This technique resembles the deceptive cadence, which involves the substitution of another diatonic chord for the expected diatonic goal harmony. ... In the major mode a substitute chromatic consonance often proves to be a triad which has been taken from the parallel minor mode. This process ['assimilation']...is called mixture of mode or simply mixture... Four consonant triads from the minor mode may replace their counterparts in the major mode. These we call chromatic triads by mixture."

The total chromatic is the collection of all twelve equally tempered pitch classes of the chromatic scale.

List of chromatic chords:
 * Dominant seventh chords of subsidiary keys, used to create modulations to those keys (V7–I cadences)
 * Augmented sixth chords
 * Neapolitan sixth chords as chromatic subdominants
 * Diminished seventh chords as chromatic vii7
 * Altered chords
 * Expanded chords
 * Shir-Cliff, Jay, and Rauscher (1965)

Other types of chromaticity:
 * Pitch axis theory
 * Parallel scales
 * Nonchord tone
 * The minor mode in major keys (mode mixture)
 * Shir-Cliff, Jay, and Rauscher (1965)

Chromatic note

"Notes which do not belong to the key [those, 'that lie within the major 2nds,' of the diatonic scale] are called chromatic notes."

A chromatic note is one which does not belong to the scale of the key prevailing at the time. Similarly, a chromatic chord is one which includes one or more such notes. A chromatic and a diatonic note, or two chromatic notes, create chromatic intervals.

"When one note of an interval is chromatic or when both notes are chromatic, the entire interval is called chromatic. Chromatic intervals arise by raising or lowering one or both notes of a diatonic interval, so that the interval is made larger or smaller by the interval of half step ['altered diatonic intervals']."

A chromatic scale is one which proceeds entirely by semitones, so dividing the octave into twelve equal steps of one semitone each.

Linear chromaticism is used in jazz: "All improvised lines ... will include non-harmonic, chromatic notes." Similar to in the bebop scale this may be the result of metric issues, or simply the desire to use a portion of the chromatic scale

Chromatic chord
"By chromatic linear chord is meant simply a chord entirely of linear origin which contains one or more chromatic notes. A great many of these chords are to be found in the literature." "[During the Romantic period] There was more prominent use of chromatic harmony, which employs chords containing tones not found in the prevailing major or minor scale. ... Chromatic chords add color and motion to romantic music. Dissonant, or unstable, chords were also more freely than during the classical era. By deliberately delaying the resolution of dissonance to a consonant, or stable, chord, romantic composers created feelings of yearning, tension, and mystery."

A chromatic chord is a musical chord that includes at least one note not belonging in the diatonic scale associated with the prevailing key, the use of such chords is the use of chromatic harmony. In other words, at least one note of the chord is chromatically altered. Any chord that is not chromatic is a diatonic chord.

For example, in the key of C major, the following chords (all diatonic) are naturally built on each degree of the scale:
 * I = C major triad [contains pitch classes C E G]
 * ii = D minor triad [contains D F A]
 * iii = E minor triad [contains E G B]
 * IV = F major triad [contains F A C]
 * V = G major triad [contains G B D]
 * vi = A minor triad [contains A C E]
 * vii = B diminished triad [contains B D F]

However, a number of other chords may also be built on the degrees of the scale, and some of these are chromatic. Examples:
 * ♭II in first inversion is called the Neapolitan sixth chord. For example, in C Major: F–A♭–D♭. The Neapolitan Sixth chord resolves to the V.
 * The ♯iv diminished chord is the sharpened subdominant with diminished seventh chord. For example: F♯–A–C–E♭. The ♯IV diminished chord resolves to the V. The ♯IV can also be understood as the tonicization of V where it functions as vii7 of the V chord, written vii7/V.
 * ♭VI: The augmented sixth chord, A♭–C(–C, D, or E♭)–F♯, resolves to the V.
 * Consonant chromatic triads, modulation to these triads would be chromatic modulation:
 * ♭III, ♭VI, ♭II, ♯iv, vii, and ♭VII in major
 * ♮iii, ♮vi, ♭II, ♯iv, ii, and ♮vii in minor.

Chromatic line
In music theory, passus duriusculus is a Latin term which refers to chromatic line, often a bassline, whether descending or ascending.

A line cliché is any chromatic line that moves against a stationary chord. There are many different types of line clichés—most often in the root, fifth or seventh—but there are two named line clichés. The major line cliché moves from the fifth of the chord to the sixth, then back to the fifth. Assuming the starting chord is the tonic, the simplest form of the major line cliché forms a I–I+–vi–I+ progression. The minor line cliché moves down from the root to the major seventh, to the minor seventh, and can continue until the fifth.

From the late 16th century onward, chromaticism has come to symbolize intense emotional expression in music. Pierre Boulez (1986, p. 254) speaks of a long established "dualism" in Western European harmonic language: "the diatonic on the one hand and the chromatic on the other as in the time of Monteverdi and Gesualdo whose madrigals provide many examples and employ virtually the same symbolism. The chromatic symbolizing darkness doubt and grief and the diatonic light, affirmation and joy—this imagery has hardly changed for three centuries." When an interviewer asked Igor Stravinsky (1959, p. 243) if he really believed in an innate connection between "pathos" and chromaticism, the composer replied: "Of course not; the association is entirely due to convention." Nevertheless, the convention is a powerful one and the emotional associations evoked by chromaticism have endured and indeed strengthened over the years. To quote Cooke (1959, p. 54) "Ever since about 1850—since doubts have been cast, in intellectual circles, on the possibility, or even the desirability, of basing one's life on the concept of personal happiness—chromaticism has brought more and more painful tensions into our art-music, and finally eroded the major system and with it the whole system of tonality."

Examples of descending chromatic melodic lines that would seem to convey highly charged feeling can be found in: 1. The death-wish of a spurned lover expressed in the madrigal "Moro lasso al mio duolo", by Carlo Gesualdo (1566–1613): Gesualdo moro lasso piano reduction intro.png or ]]

2. The ground bass that underpins Dido's grief-laden Lament from Purcell's opera Dido and Aeneas (1689): Dido's lament opening.png or ]]

3. The lover’s frustration expressed in ‘Morgengruss’ from Schubert’s song cycle Die schöne Müllerin. The progression is similar to Gesualdo’s (above) with the bass line and voice moving in parallel thirds: Schuberrt Morgengruss.wavSchuberrt Morgengruss.png

4. The seductive melody of the aria "L'amour est un oiseau rebelle" from Bizet's opera Carmen (1875): Carmen Aria 'L'amour est un oiseau rebelle'.png or (This phrase is quoted by Dizzy Gillespie in the jazz example given above.)]]

5. The rich harmonization of a descending chromatic scale in the 'Sleep Motif' from Wagner's opera Die Walküre, act 3 (1870). speaks of this music's "slow chromatic drift and its modulations as elusive as the soft drift into sleep itself, when the sharp edges of consciousness begin to blur and fade". Wagner Sleep music from Walkure.png or ]]

Quotes
Some individual views on chromaticism include:

"Not only at the beginning of a composition but also in the midst of it, each scale-step [degree] manifests an irresistible urge to attain the value of the tonic for itself as that of the strongest scale-step. If the composer yields to this urge of the scale-step within the diatonic system of which this scale-step forms part, I call this process tonicalization and the phenomenon itself chromatic."

"Chromaticism is almost by definition an alteration of, an interpolation in or deviation from this basic diatonic organization."

"Throughout the nineteenth century, composers felt free to alter any or all chord members of a given tertian structure [chord built from thirds] according to their compositional needs and dictates. Pronounced or continuous chordal alteration [and 'extension'] resulted in chromaticism. Chromaticism, together with frequent modulations and an abundance of non-harmonicism [non-chord tones], initially effected an expansion of the tertian system; the overuse of the procedures late in the century forewarned the decline and near collapse [atonality] of the system [tonality]."

"Chromaticism is the name given to the use of tones outside the major or minor scales. Chromatic tones began to appear in music long before the common-practice period, and by the beginning of that period were an important part of its melodic and harmonic resources. Chromatic tones arise in music partly from inflection [alteration] of scale degrees in the major and minor modes, partly from secondary dominant harmony, from a special vocabulary of altered chords, and from certain nonharmonic tones... Notes outside the scale do not necessarily affect the tonality...tonality is established by the progression of roots and the tonal functions of the chords, even though the details of the music may contain all the tones of the chromatic scale."

"Sometimes...a melody based on a regular diatonic scale (major or minor) is laced with many accidentals, and although all 12 tones of the chromatic scale may appear, the tonal characteristics of the diatonic scale are maintained. ... Chromaticism [is t]he introduction of some pitches of the chromatic scale into music that is basically diatonic in orientation, or music that is based on the chromatic scale instead of the diatonic scales."

Connotations
Chromaticism is often associated with dissonance.

In the 16th century the repeated melodic semitone became associated with weeping, see: passus duriusculus, lament bass, and pianto.

Susan McClary (1991) argues that chromaticism in operatic and sonata form narratives can be chosen to be understood through a Marxist narrative as the "Other", racial, sexual, class or otherwise, to diatonicism's "male" self, whether through modulation, as to the secondary key area, or other means. For instance, Catherine Clément calls the chromaticism in Wagner's Isolde "feminine stink". However, McClary also contradicts herself saying that the same techniques used in opera to represent madness in women were historically highly prized in avant-garde instrumental music, "In the nineteenth-century symphony, Salome's chromatic daring is what distinguishes truly serious composition of the vanguard from mere cliché-ridden hack work." (p. 101)

title: Chromaticism


text:
Talk:Eliezer Ben-Yehuda

Untitled
Not only does this article not have the form of a standard Wikipedia article, but it's decidedly POV, making sweeping and probably false statements such as the introductory one. It also needs to be paragraphed.

If the contributor is watching, we appreciate the contribution, which contains a lot of useful information, but would appreciate it if you could help clean it up.

Derrick Coetzee 00:43, 3 Mar 2004 (UTC)
 * It is unbelievable, but the introductory one is completely true. It is amazing what this man did to Ivrit. I am immensely surprised there was no this article until now. Shame on you, Jews. I know only two languages literally restored from ashes: Hebrew and Czech. Mikkalai 05:55, 3 Mar 2004 (UTC)

Contradictions in online sources
Hi everyone. I started writing a biography on Eliezer Ben-Yehuda in French (see Éliézer Ben Yéhouda) and I have found multiple contradictions in the sources I have found in English and French. Unfortunately, I do not read Hebrew, Yiddish, Russian nor German, nor any other language (shame on me!). I should really get at least one book on him, ideally in French, but those I found online were really expensive! Anyway, I am hoping someone can help me clarify things up. Here are the main problems :

 * Perelman or Perlman? Why the various spellings of his family name? What is his native language anyway? Yiddish?
 * Where on earth is Luzhky, Eliezer Ben-Yehuda's birthplace? Is it in Lituania or in Belarus? (Google Earth was of no help on this.)
 * When was the Committee of the Hebrew Language founded? 1889, 1891, 1904? Did he found it on his own initiative? Who were the other founders?
 * When did he publish the first volume of The Complete Dictionary of Ancient and Modern Hebrew?
 * How many volumes did he write himself before he passed away? Is it 5?

Thank you! Merci! -- Mathieugp 00:46, 12 September 2006 (UTC)

 * The name: In yiddish it is written as Perlman (that would be the proper YIVO transliteration). However, the Yiddish r sound is quite unique and was often misheared/transscribed as re, thus Perelman became the usual accepted writing for this widespread Jewish surname.
 * From Russian wikipedia: When Ben-Yehuda was born Luzhki was in the Vilna Gubernia (i.e. Lithuanian Province) of the Russian Empire. Today it is located in Belarus.84.167.249.71 00:33, 27 April 2007 (UTC)

Wrong attribution of birth place
If he was born in Vilna, this is in Lithuania, not in northern Belarus as the text reads. Mountolive | Talk 07:26, 19 March 2007 (UTC)

 * Hello Mountolive. I am happy to speak to someone from Vilna. Do you think it is possible that there are two (or more) towns named Luzhky, one in Lithuania, one in Belarus? All sources I have read say that Eliezer Ben-Yehuda is from Luzhky in Lithuania except for this one:

 * * http://www.pravapis.org/art_benyehuda2.asp

 * This person, Uladzimir Katkouski, claims in the footnotes that:

 * "Here Jack Fellman wrote "Lithuanian village of Luzhky". This is such an unpleasant mistake! I guess that was a surprise to learn this "fact" for any reader who comes from Belarus. It is well-known that Luzhki (Л`ужкі) is a town in northern Belarus, not some obscure "Lithuanian village". So this should've been "Belarusian town of Luzhki".

 * The reason for this mistake is quite clear though. Belarus and Lithuania share common history, for centuries we lived together in a multiethnical and multiconfessional state, the Grand Duchy of Lithuania. Vilnia (Vilnius) was truly a Belarusian capital. Now, at the time of Ben-Yehuda's birth Vilnia region and the rest of Belarus was occupied by the Russian Empire and Ben-Yehuda's birth place, the town of Luzhki, according to the Russian administrative division, was a part of "Vilenskaja gubernia" (Vilnia region). It is well-known that Vilnia historically has been a Belarusian capital, but Joseph Stalin gave it to Lithuanians. Still, the town of Luzhki remained a part of Belarus, and never has been a part of modern Lithuanian state. So, whichever way you look at it, saying "Lithuanian village" is wrong.

 * Over all, this trend makes me very upset. Simon Peres was born and grew up in Belarus (village Vishnia and town of Valozhyn), Ariel Sharon's parents come from Belarus, Ben-Yehuda grew up in Belarus (in Luzhki and Polacak), Etgar Keret's parents come from Belarus (Baranavichy), the first prime minister of Israel comes from Belarus, Marc Chagall grew up and lived in eastern Belarus (Vitebsk), many-many other imminent Jews come from our lands, but somehow this is never acknoweledged by the American writers and researchers, who just say "comes from Russia", showing their "great knowledge" of Eastern European geography and "deep respect" for other cultures! Harvard education does not seem to be of any help either."

 * Since I am not qualified at all to settle this debate, being from Quebec where we know as much of Eastern Europe as in the rest of North America, I don't know what to do with this. This did not stop me from improving my draft bio of Eliezer Ben-Yehuda, but I would really prefer not to mislead my French readers on his birthplace... :-) -- Mathieugp 16:47, 19 March 2007 (UTC)

 * Well, sorry to disappoint you but I am not from anywhere near Lithuania ;)
 * I am in a similar case as yours: I just ended up in this article by chance and, being no expert, I didn't dare to edit, if I was I would for sure have changed it to Lithuania instead of Northern Belarus.
 * But this note you bring is actually confusing things more because it turns out to be that he wasn't from Vilna, but from Luzhki (so called northern Belarus town). Then, why on earth it reads that he was born in "Vilna (northern Belarus)": neither he was born in Vilna (apparently he was born in Luzhki) nor Vilna is in Belarus, so... ¿?
 * It is true that Vilna is very close to the northern Belarus border, so it may well be that, if he was born in Luzhki, that is a peripheral town from Vilna but within Belarus. Still, it is not correct to say that Vilna was a Belarusian city, because it was neither Belarussian nor Lithuanian, but Polish (yes, Eastern Europe was such a mess! :D)
 * I won't dare to do it myself, because I don't know where he was born, but I guess the safest bet is "Luzhki, nothern Belarus" but what is clear is that the present redaction "Vilna, northern Belarus" is very wrong... Mountolive | Talk 03:10, 20 March 2007 (UTC)

Oops...I think I understand now: Vilna is mentioned as Vilna Guberniya, not as the city itself. I have made a minor edit which, I think, clarifies the whole thing. Mountolive | Talk 23:12, 27 March 2007 (UTC)

Reads with an agenda
The article reads like a fairy tale with half Charedi zionist downplay and a Reform zionist suck up. None of which decribe Eliezer at all. 203.206.234.139 18:42, 8 July 2007 (UTC)

Quote
What is the purpose of this quote where it is. “ Before Ben‑Yehuda...Jews could speak Hebrew; after him, they did. ”

-Cecil Roth, Was Hebrew Ever A Dead Language?

AllenHansen (talk) 21:29, 15 March 2008 (UTC)

The quote doesn't actually appear in the article (which also isn't a book). It was falsely cited by historian Jack Fellman and then repeated all over the internet. I added a reference to Jack Fellman and reworded the sentence.

Birth date
Is the date 7 January 1858 a Julian or Gregorian date? -- JackofOz (talk) 09:16, 24 July 2008 (UTC)

Top importance?
While I agree that Ben Yehuda is very important for WP Israel, I don't think he qualifies as a core Israeli topic, and therefore shouldn't be top-priority on the project. If there are no objections, I will change to high priority. -- Ynhockey (Talk) 22:25, 27 October 2008 (UTC)

Cecil Roth quote
In the "Death and commemoration" section, there is this quote by Cecil Roth stating his opinion of the significance of Ben-Yehuda's legacy: "Before Ben‑Yehuda, Jews could speak Hebrew; after him, they did." This does not seem to be an accurate or reasonable assessment, and I wonder whether its inclusion in this article is really necessary or constructive: it is hardly objective or non-POV. It utterly fails to recognise that Hebrew was spoken only by a very small number of people and only used for religious purposes – little better than Latin today – and it has since become a national language spoken by millions for everyday conversation and is the official language of Israel. To deny that contribution seems to be to pursue some agenda. Does it belong in an encyclopaedia article? (If it does, which I doubt, then certainly the contrary view needs to be included as well.) Richard75 (talk) 14:16, 24 September 2019 (UTC)

 * I have reconsidered this as I think I misinterpreted what Roth meant. This article clarifies what Roth meant: before Ben Yehuda Jews could speak Hebrew, but mostly didn't; after him, they spoke it all the time — "could" compared with "did." I have clarified this in the article. Richard75 (talk) 18:11, 25 September 2019 (UTC)

title: Talk:Eliezer Ben-Yehuda


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User:Danno~enwiki

I'm a graduate student in Archaeology at the University of Michigan, Ann Arbor, as well as a research associate at the University of Pennsylvania Museum of Anthropology and Archaeology in Philadelphia.

things I've worked on here (long ago and far away):
 * Iguvine Tables (added Tablet VI in its entirety)
 * Italic languages
 * Oscan
 * Samnium
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title: User:Danno~enwiki


text:
Freddie Fu

Freddie H. Fu ((1950 – September 24, 2021) was a Hong Kongese-American doctor and academic. He was the David Silver Professor and chairman of the Department of Orthopaedic Surgery at the University of Pittsburgh School of Medicine. In 2010, he was appointed by the University of Pittsburgh as the eighth distinguished service professor. He died due to metastatic melanoma on 24 September 2021.

Career
Fu was born in Hong Kong, his ancestral hometown is Nanhai district, Foshan city, Guangdong province. He attended Dartmouth College, where he was a member of the Alpha Chi Alpha fraternity. Dr. Fu was president of the Pennsylvania Orthopaedic Society and, in 2008, assumed the presidency of the American Orthopaedic Society for Sports Medicine (AOSSM) and was the first foreign-born president in AOSSM's 40-year history. In 2009, he was named president of the International Society of Arthroscopy, Knee Surgery and Orthopaedic Sports Medicine. In 2011, he received the American Academy of Orthopaedic Surgeons' (AAOS) Diversity Award. In 2012, Fu received the Sports Leadership Award from Dapper Dan Charities, which was subsequently renamed the Freddie Fu Sports Leadership Award and will remain in perpetuity.

Pitt orthopaedic research
At the time of his death, his team had more than 100 studies completed or underway to evaluate the merits of the anatomic approach by viewing the knee as an organ. He also had ongoing collaborations with K. Christopher Beard, Ph.D., a vertebrate paleontologist, and other curators at the Carnegie Museum of Natural History and veterinarians at the Pittsburgh Zoo. Additionally, Fu worked closely with C. Owen Lovejoy, Ph.D., an anthropologist at Kent State University, who reconstructed the skeleton of “Lucy”, the nearly complete fossil of a human ancestor that walked upright more than three million years ago. Such collaborations allowed for detailed study of evolution and bony and soft tissue anatomy of the knee.

title: Freddie Fu


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User:Perl/Wyndham

Hello! Welcome to my "article". I don't know what to say, so feel free to add, edit, or delete anything you want to this page.

I have a wikibooks account with the name of Perl.

I am a sysop and bureaucrat for the Maori Wikipedia. My old contributions may be found at User:AlexPlank.

Maori | USS Enterprise (CVN-65) | Space Shuttle program | Necker cube | Penrose triangle | Jack Paar | Pascal's Wager | Absolute Infinite | Schrodinger's Cat | Gerolamo Cardano | Lagniappe | DVD

mi:User:Perl

''Disambiguation: This page is about User:Perl, a Wikipedian. There is also a programming language named Perl.''

To do

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 * John_Wyndham
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Favorite artists

 * Sophie Anderson
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To contact Perl
User:Perl/contact

title: User:Perl/Wyndham


text:
Canton (flag)

In vexillography, the canton is a rectangular emblem placed at the top left of a flag, usually occupying up to a quarter of a flag's area. The canton of a flag may be a flag in its own right. For instance, British ensigns have the Union Jack as their canton, as do their derivatives such as the national flags of Australia and New Zealand.

Following the practice of British ensigns, a canton sometimes contains a symbol of national unity, such as the blue field and white stars of the flag of the United States of America. In these cases, the canton may be called simply the union.

The American flag's canton derives from Britain's use of the Union Jack in the flags of its possessions (including, historically, the Thirteen American Colonies). Subsequently, many New World nations (along with other later countries and regions, such as Liberia or Malaysia) that were inspired by the United States adopted flag elements that were inspired by the American flag. As a result, many extant uses of a prominent canton derive either from British territorial history, or American influence and inspiration.

States of Australia
All of the Australian states (though not territories) adopt the use of the UK's national flag in their cantons.

Counties of Liberia
Every county flag of Liberia contains the Liberian national flag in its canton.

France
Many French colonial flags contained the Flag of France in the canton.

title: Canton (flag)


text:
Okrug

An okrug is a type of administrative division in some Slavic-speaking states. The word okrug is a loanword in English, alternatively translated as area, district, or region.

Etymologically, okrug literally means 'circuit', derived from Proto-Slavic *okrǫgъ, in turn from *ob- "around" + *krǫgъ "circle". In meaning, the word is similar to the German term Bezirk or Kreis ('district') and the French word arrondissement; all of which refer to something "encircled" or "surrounded".

Bulgaria
In Bulgaria, s are the abolished primary unit of the administrative division and implied "districts" or "counties". They existed in the postwar Bulgaria between 1946 and 1987 and corresponded approximately to today's oblasts.

Poland
As historical administrative subdivisions of Poland, okręgi existed in the later part of the Congress Poland period, from 1842, when the name was applied to the former powiats (the name powiat being transferred to the former obwody). See: subdivisions of Congress Poland.

Okręgi were also created temporarily from 1945 to 1946, in the areas annexed to Poland from Germany as a result of the Soviet military advance. An okręg was then subdivided into obwody. These okręgi were later replaced by voivodeships, and the obwody by powiats.

Imperial Russia
Okrugs were one of the several types of administrative division for oblasts and selected governorates in Imperial Russia. Until the 1920s, okrugs were administrative districts in Cossack hosts such as the Don Cossacks.

Soviet Union
Inherited from Imperial Russia, in the 1920s, okrugs were administrative divisions of several other primary divisions such as oblasts, krais, and others. For some time in the 1920s they also served as the primary unit upon the abolishment of guberniyas and were divided into raions. On July 30, 1930, most of the okrugs were abolished. The remaining okrugs were phased out in the Russian SFSR during 1930–1946, although they were retained in Zakarpattia Oblast of the Ukrainian SSR in a status equivalent to that of a raion.

National okrugs were first created in the Mountain ASSR of the Russian SFSR in 1921 as units of the Soviet autonomy and additional national okrugs were created in the Russian SFSR for the peoples of the north and Caucasus region. In 1977, all national okrugs were renamed autonomous okrugs.

Russian Federation
In the present-day Russian Federation, the term okrug is either translated as district or rendered directly as okrug, and is used to describe the following types of divisions:
 * Federal Districts, such as the Siberian Federal District
 * Autonomous okrugs, such as Chukotka Autonomous Okrug

After the series of mergers in 2005–2008, several autonomous okrugs of Russia lost their federal subject status and are now considered to be administrative territories within the federal subjects they had been merged into:
 * Agin-Buryat Okrug, a territory with special status within Zabaykalsky Krai
 * Komi-Permyak Okrug, a territory with special status within Perm Krai
 * Koryak Okrug, a territory with special status within Kamchatka Krai
 * Ust-Orda Buryat Okrug, a territory with special status within Irkutsk Oblast

Okrug is also used to describe the administrative divisions of the two "federal cities" in Russia:
 * the administrative okrugs of Moscow are an upper-level administrative division
 * the municipal okrugs of St. Petersburg is a lower-level administrative division

In the federal city of Sevastopol, municipal okrugs are a type of municipal formation.

In Tver Oblast, the term okrug also denotes a type of an administrative division which is equal in status to that of the districts.

Furthermore, the designation okrug denotes several selsoviet-level administrative divisions:
 * okrugs, such as okrugs of Samara Oblast
 * rural okrugs, such as the rural okrugs of Belgorod Oblast
 * rural territorial okrugs, such as the rural territorial okrugs of Murmansk Oblast
 * stanitsa okrugs, such as the stanitsa okrugs of Krasnodar Krai

In some cities, the term okrug is used to refer to the administrative divisions of those cities. Administrative okrugs are such divisions in the cities of Murmansk, Omsk, and Tyumen; city okrugs are used in Krasnodar; municipal okrugs are the divisions of Nazran; okrugs exist in Belgorod, Kaluga, Kursk, and Novorossiysk; and territorial okrugs are the divisions of Arkhangelsk and Lipetsk.

The term okrug is also used to describe a type of a municipal formation, the municipal urban okrug—a municipal urban settlement not incorporated into a municipal district.

Serbia
The Republic of Serbia is divided into twenty-nine okrugs as well as the City of Belgrade. The term okrug in Serbia is often translated as either district or county.

title: Okrug


text:
Beaupre (surname)

Beaupre (originally Beaupré) is a surname found mostly in Canada, the United States and parts of England.

In England, Wales and France
Beaupré was a prominent family in Norfolk, who built Beaupré Hall, Outwell. Christian, daughter and coheir of Thomas de St Omer, married John, the great-great-grandson of one Synulph, who lived during the reign of King Henry II, and had issue: John dicte quoque Beaupré, who lived during the reign of King Edward II, and married Katherine, daughter of Osbert Mountfort. Their son Thomas Beaupré would be raised by his grandmother Christian (last St Omer in this line) after the death of both of his parents. Thomas was knighted by King Edward III, and married Joan Holbeache, and died during the reign of King Richard II.

Nicholas Beaupré married Margaret Fotheringhay, one of the three daughters and heiresses of Thomas Fotheringhay (son of Gerrard Fotheringhay) by his wife Elizabeth Doreward, sister and heiress of John Doreward and daughter of William Doreward of Bocking, Essex. One of Margaret's sisters was Christiana Fotheringhay, wife of John de Vere, 15th Earl of Oxford (1482–1540), KG, Lord Great Chamberlain. The other was Helen or Ellen Fotheringhay, who married Henry Thursby of Ashwicken and Burg's Hall in Hillington (1476–1506), the nephew of Thomas Thursby (d.1510), merchant, thrice Mayor of King's Lynn and the founder and benefactor of Thoresby College.

The son of Nicholas Beaupré and Margaret Fotheringhay, Edmund Beaupré, married Margaret, the daughter of Sir John Wiseman, servant to the 15th Earl of Oxford. His second wife, Katherine Wynter (widow of John Wynter of Great Yarmouth) was the daughter of Phillip Bedingfeld of Ditchingham Hall. After Edmund Beaupré's death in 1567 leaving no male heirs, the hall succeeded to Sir Robert Bell, by virtue of marriage to Edmund's daughter Dorothy in 1559; whereby his Beaupré line became extinct. In 1529, together with his cousin Thomas Thursby of Hillington, Norfolk, as heirs of John Doreward, of Great Yeldham, Essex, Edmund Beaupré released the manor of Coggeshall to Richard Sowthwell, esquire. This was the same manor that the same Richard Southwell would later give King Henry VIII as part of his fine for the murder of Sir William Pennington. In 1541 Edmund Beaupré got the wardship and marriage of his relative Edward Thursby of Doreward's Hall in Bocking, Essex. He married him to the sister of his second wife, Mary Bedingfeild.

Notable people

 * Arthur M. Beaupre (1853–1919), American diplomat
 * Benjamin Beaupré (1780–1842), Canadian businessman and politician
 * Don Beaupre (born 1961), Canadian ice hockey player
 * Édouard Beaupré (1881–1904), Canadian circus and freak show giant, wrestler and strongman
 * Gabriel Beaupré (born 1992), Canadian ice hockey player
 * Pascal Beaupré (born 1983), Canadian politician

title: Beaupre (surname)


text:
Talk:Adelphia Communications Corporation

Page looks HiJacked
An anonymous user logged only by IP, inserted that Adelphia & YouTube were business partners.

This made no sense to me, so I looked it up and could not no evidence what so ever supporting this and couldn't even find any record for the company name reported by said user.

Also, kinda odd this did not exist in the article before the user's edits. —Preceding unsigned comment added by RedPenguin2 (talk • contribs) 11:37, 25 December 2009 (UTC)

Anthony, go ahead and disambiguate if you have some detail. Greek meaning should be primary. --Rj 01:03, Mar 3, 2004 (UTC)

Disambiguation
Since 1) the dicdef would never be an article of its own, and the word can be satifactorily explained inline, 2) there only one other "Adelphia-thing", and 3) for better or worse, "Adelphia" by itself is now primarily associated with the company for the next half-century, I merged the splitout back and reduced disambig to the lightweight topline form. Stan 14:21, 25 Dec 2004 (UTC)

Turns out there's an ultra-obscure other meaning, so needed Adelphia (disambiguation) after all. Stan 14:27, 25 Dec 2004 (UTC)

Dissolution
Considering that Adelphia will basically cease to exist (pending FCC approval) in about 3 months or so, I thought it was important to elaborate on this. The article's overall structure needs to be redone, big time, but I'm too tired to attempt it myself this early morning... MPWard 05:18, 6 March 2006 (UTC)

Major Changes
I have changed a lot of the information within the article. Most of the information was out of date, such as a "proposed" aquisiton of Adelphia. I changed the article to reflect that the company no longer exists and that the aquisition has been completed. If you feel like anything needs to be changed or added, please do so. Ajwebb 01:28, 4 August 2006 (UTC)

I feel this article is very tainted with personal opinions regarding the culprits. The fact that they were found guilty is a shining example of corporate culpability, not federal impotance! There should, at least, be another view in addition to the one already present.

69.201.148.182 made massive changes to the Adelphia trial details
69.201.148.182 made massive changes to the Adelphia trial details, stuff that should have stayed IMO, including trial strategies. All this from an anonymous poster. Shows the weakness of Wikipedia. --Raylopez99 17:57, 1 November 2006 (UTC)

could someone provide a link, please?
Could somebody please link the Coudersport page to the Adelphia page? There is a link the other way around. Thank you. —Preceding unsigned comment added by 67.58.168.190 (talk) 17:34, 7 August 2008 (UTC)

Defunct Status
I am changing the 'defunct' status. The company is still operational, but in bankruptcy proceedings. They are not offering cable service in the US, but still have cable operations in Brazil.

I also changed "fate." The company was not acquired by Comcast and Time Warner. Adelphia and Time Warner did a stock swap, creating "Time Warner Cable" and making new stock. After the swap, Time Warner Cable sold parts of the old Adephia to Comcast as part of a prior agreement. Adelphia has been giving the TWC to claimants to companies that Adelphia owes money to. (Trentc (talk) 17:34, 25 February 2009 (UTC))

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Talk:Okrug

On creating the article
I was reluctant to add this word to wikipedia, which is pretty foreign for English. But google gives cca. 30,000 English hits, so may be you want to know the word after all. Mikkalai 01:07, 3 Mar 2004 (UTC)
 * Thank you for creating the article :-) Evv 18:14, 19 December 2006 (UTC)

Imperial Russia
(raw collection, for future google search)

ТАГАНРОГСКИЙ ОКРУГ - до 1920 г. административный район во Всевеликом Войске Донском; образован в 1887 г. путем объединения Таганрогского градоначальства с Миусским «сыскным начальством»; 13.500 кв. км, 500 тыс. жителей; угольные шахты, сталелитейная и железоделательная промышленность. Казачья станица Новониколаевская с населением в 30 тыс.; граница с Украиной по р. Кальмиус.

Территория Терских Казаков состояла из полковых отделов: Пятигорского, Моздокского, Сунженского и Кизлярского, а горная часть делилась на округа: Нальчикский, Владикавказский, Веденский, Грозненский, Назрановский и Хасав-Юртовский;

Усть-Медведицкого округа, Хоперского округа

Донецком округе САЛЬСКИЙ ОКРУГ

САМОЙЛОВИЧ Иван - гетман Войска Запорожского и обеих сторон Днепра. Учился в Киевской Могилянской коллегии, из которой в 1648 году ушел в армию Б. Хмельницкого; на пост гетмана избран в 1672 г., после ареста и ссылки в Сибирь гетмана Демьяна Многогрешного. Благодаря тому, что Турки в это время занимали часть Подолии, ему удалось добиться объединения всех казачьих земель Поднепровья и привлечь под власть Москвы полковые округа: Черкасский, Каневской, Белоцерковский, Корсунский, Брацлавский, Уманский, Могилевский (на Подолии), Кальницкий, Торговицкий и Паво-лочский. Земли Сичи и при нем оставались независимыми. —Preceding unsigned comment added by Mikkalai (talk • contribs) 00:17, 16 August 2006 (UTC)

On Serbian and Russian
I don't speak any Slavic language. The article currently states: "Serbian and Russian: о́круг". Is the accent correct for the Serbian word ? The wiktionary "округ" & Окрузи Србије articles don't use it. In the "Districts of Serbia" article, I changed Округ into округ and Окрузи into окрузи: should I have used о́круг and о́крузи instead ? A clarification for Russian usage would be welcomed too (no accent in wiktionary "округ" or Федеральные округа Российской Федерации). - Best regards, Evv 18:14, 19 December 2006 (UTC)
 * In Russian, accents are not used in normal writing, but are present in dictionaries and encyclopedias to indicate stress (in encyclopedias, only the title word is stressed). In Wikipedia, we normally show stress in Russian words when such word follows the English or transliterated version.  As for the wiktionary, I don't know what their policies on indicating stress are, sorry.—Ëzhiki (Igels Hérissonovich Ïzhakoff-Amursky) • (yo?); 18:25, 19 December 2006 (UTC)
 * Thank you, Ëzhiki :-) Evv 19:05, 19 December 2006 (UTC)

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Relevance
I would doubt the relevance – in an article about the word okrug as borrowed into English to refer to a type of territorial division found (now or previously) in various Slavic-language speaking countries – of the following sentence (especially when it appears under a main heading):
 * Okrug is used in Russian to refer to the Districts of Israel, known as mehozot in Hebrew and manatiq in Arabic.

The word is also used in Russian to refer to the subprefectures of Japan, (known as shichō in Japanese), to US counties, to the Bezirke of the former GDR, and no doubt also to various other sub-national entities in countries outside Russia. But, as I say, this is an article about what the English loanword okrug refers to, not to any other uses to which the original Russian word may be put by Russian speakers. I therefore propose to remove the sentence about Israel. -- Picapica (talk) 09:00, 30 July 2017 (UTC)
 * You are absolutely correct. The article covers the meanings of the English loanword, not the usages of the term in the source language(s). I've taken the Israel section out. Anyone who disagrees is welcome to comment here.—Ëzhiki (Igels Hérissonovich Ïzhakoff-Amursky) • (yo?); August 14, 2017 ; 13:53 (UTC)

Спасибо -- Picapica (talk) 16:09, 28 March 2019 (UTC)

The Meadow Mari Vareity
I noticed that it listed Meadow Mari version of okrug as йырвел, jyrvel. However, Meadow Mari is not a Slavic language, and I can not find similarities in the pronunciations of okrug and jyvel. Do these two words come from the same origin? If not, I don't think jyvel should be put in here. Takekawa (talk) 09:08, 3 September 2018 (UTC)

title: Talk:Okrug


text:
Samuel Reshevsky

Samuel Herman Reshevsky (born Szmul Rzeszewski; November 26, 1911 – April 4, 1992) was a Polish chess prodigy and later a leading American chess grandmaster. He was a contender for the World Chess Championship from the mid-1930s to the mid-1960s: he tied for third place in the 1948 World Chess Championship tournament, and tied for second in the 1953 Candidates tournament. He was an eight-time winner of the US Chess Championship, tying him with Bobby Fischer for the all-time record.

He was an accountant by profession and also a chess writer.

Early life, early chess exhibition and competition
Reshevsky was born at Ozorków near Łódź, Congress Poland, to a Jewish family. He learned to play chess at age four and was soon acclaimed as a child prodigy. At age eight, he was beating many accomplished players with ease and giving simultaneous exhibitions.

In November 1920, his parents moved to the United States to make a living by publicly exhibiting their child's talent. Reshevsky played thousands of games in exhibitions all over the US. He played in the 1922 New York Masters tournament; at that stage, he was likely the youngest player ever to have competed in a strong tournament.

For a period in his youth, Reshevsky did not attend school, for which his parents appeared in District Court in Manhattan, facing a charge of improper guardianship. However, Julius Rosenwald, wealthy co-owner of Sears, Roebuck and Company in Chicago, soon afterward became Reshevsky's benefactor, and he guaranteed Reshevsky's future on the condition that he would complete his education.

Reshevsky never became a truly professional chess player. He gave up most competitive chess for seven years, from 1924 to 1931, to complete his secondary education while successfully competing in occasional events during this period.

Reshevsky graduated from the University of Chicago in 1934 with a degree in accounting and supported himself and his family by working as an accountant. He moved to New York City and lived there or in its suburbs for the remainder of his life. He and his wife, Norma Mindick, had three children. As a religious Jew, Reshevsky would not play on the Sabbath nor on the major Jewish Festivals; his games were scheduled accordingly.

Death
Reshevsky died April 4, 1992, in Suffern, New York, of a heart attack.

American results
Reshevsky won the US Open Chess Championship in 1931 at Tulsa; this event was known as the Western Open at the time. He shared the 1934 US Open title with Reuben Fine at Chicago.

Reshevsky won the US Chess Championship in 1936, 1938, 1940, 1941, 1942, 1946, and 1969. He also tied for first in 1972 but lost the playoff in 1973 to Robert Byrne. He competed in a record 21 US Championships and achieved a plus score every time except for 1966–67, when he scored just 4½/11. He also holds US Championship records for most finishes in the top three places (15), most games played (269), and most games won (127).

International results
Reshevsky's international career began in 1935 with a trip to England, where he won at Great Yarmouth with 10/11. He then won first place at the Margate tournament, where he beat, among others, former world champion José Raúl Capablanca; the game followed the Exchange Variation of the Queen's Gambit Declined. The game score follows:

1.d4 Nf6 2.c4 e6 3.Nc3 d5 4.Bg5 Nbd7 5.cxd5 exd5 6.e3 Be7 7.Bd3 0-0 8.Qc2 c5 9.Nf3 c4 10.Bf5 Re8 11.0-0 g6 12.Bh3 Nf8 13.Bxc8 Rxc8 14.Bxf6 Bxf6 15.b3 Qa5 16.b4 Qd8 17.Qa4 a6 18.b5 Re6 19.Rab1 Rb8 20.Rb2 Be7 21.bxa6 Rxa6 22.Qc2 Ne6 23.Rfb1 Ra7 24.a4 Nc7 25.Ne5 Qe8 26.f4 f6 27.Ng4 Qd7 28.h3 Kg7 29.Nf2 Ba3 30.Ra2 Bd6 31.Nfd1 f5 32.Nb5 Ra5 33.Nxc7 Bxc7 34.Nc3 Qd6 35.Qf2 b6 36.Qf3 Rd8 37.Rab2 Qe7 38.Rb4 Rd7 39.Kh1 Bd8 40.g4 fxg4 41.hxg4 Qd6 42.Kg1 Bc7 43.Kf2 Rf7 44.g5 Bd8 45.Ke2 Bxg5 46.Rxb6 Qa3 47.Kd2 Be7 48.Rb7 Rxa4 49.Qxd5 Ra5 50.Qxc4 Rh5 51.Kd3 Qa8 52.Qe6 Qa3 53.Rd7 Rhf5 54.Rb3 Qa1 55.Rxe7 Qf1+ 56.Kd2
 * Reshevsky vs. Capablanca, 1935

A year later Reshevsky shared third place at the Nottingham 1936 chess tournament. In 1937 he shared first at Kemeri, Latvia, and in 1938 shared fourth in the famous AVRO tournament in the Netherlands, which featured arguably the eight strongest players in the world. Reshevsky won his third US Open title at Boston 1944.

Reshevsky was a serious contender for the World Championship from roughly 1935 to the mid 1960s. He was one of five chess grandmasters to compete in the World Championship match tournament in The Hague/Moscow 1948 and finished in joint third place with Paul Keres, behind Mikhail Botvinnik and Vasily Smyslov. This tournament was organized because World Champion Alexander Alekhine had died in 1946 while holding the title, which was an unprecedented situation.

In 1950, Reshevsky was awarded the title of International Grandmaster by FIDE, the World Chess Federation, on its inaugural list. Although eligible, he did not play in the Candidates Tournament in Budapest. It has generally been believed that he was barred from attending by the US State Department due to the Cold War. The only other eligible active player from a NATO country, Max Euwe of the Netherlands, also did not play. In 1991, however, Reshevsky said the decision not to go was his.

The following Candidates in Zurich 1953 tournament was probably Reshevsky's best chance to qualify for a World Championship match, but he finished in joint second place with David Bronstein and Keres, two points behind Smyslov. Bronstein, in his last book, Secret Notes, published in 2007 just after his death the previous year, confirmed long-standing rumours by writing that the nine Soviet grandmasters (out of a field of 15 players) at Zurich were under orders from both their chess leadership and the KGB not to let Reshevsky win the tournament under any circumstances, with Smyslov being the preferred victor. Bronstein claims that when Reshevsky maintained his strong contention late into the two-month event, the Soviets prearranged several results in games amongst themselves to successfully prevent Reshevsky's overall victory while also ensuring that Reshevsky faced the maximum test in his own games against the Soviet players. Bronstein had earlier (1995) written that he was ordered by the Soviet delegation leader to win as Black against Reshevsky in the second cycle at Zurich and managed to do so after a very hard struggle. Several other writers, including GM Alexei Suetin (who was the second of Tigran Petrosian at Zurich 1953), also confirmed the Soviet collusion in Zurich.

Reshevsky qualified for one more Candidates in 1967 but lost the subsequent quarterfinal match to Viktor Korchnoi the following year.

Olympiad results
Reshevsky competed eight times for the US at the Chess Olympiads, six times on, over a 37-year span, helping the US team to win the gold in 1937 and bronze in 1974, and winning an individual bronze medal for his performance on board one in 1950. His complete results were (+39−12=49) in 100 games, for 63.5 percent. He played at Stockholm 1937, Dubrovnik 1950, Helsinki 1952, Munich 1958, Tel Aviv 1964, Lugano 1968, Siegen 1970, and Nice 1974.

Match player
In 1952, New York hosted the first eight games of an informal match for "The Championship of the Free World" between Reshevsky and Polish-Argentine grandmaster Miguel Najdorf. An additional five games were played in Mexico City and five more in San Salvador. Reshevsky won the match, 11–7. The following year a rematch took place in Buenos Aires. Reshevsky again won, 9½–8½.

In his long career, Reshevsky proved a formidable match player. In 1941, he defeated I. A. Horowitz in a US Championship playoff match by (+3−0=13). In 1942, he defeated Isaac Kashdan by (+6−2=3). In 1952, he defeated Svetozar Gligorić by (+2−1=7). In 1956, he defeated William Lombardy by (+1−0=5). In 1957, he defeated Arthur Bisguier by (+4−2=4). In 1957, he defeated Donald Byrne by (+7−3=0). In 1960, he defeated Pal Benko by (+3−2=5).

Reshevsky lost his first match in 1964, but it was a four-game playoff match following the Amsterdam 1964 Interzonal, where he had tied for 8th–9th with the Hungarian Champion Lajos Portisch. The final spot for advancement to the Candidates Match was at stake and there was little time between the end of the Interzonal and the start of the match. Reshevsky's earlier matches had always had a lead time of several months, which allowed him to prepare his openings, but he proved to be at a distinct disadvantage in this area against Portisch, who was a full-time chess professional and always excellent in his opening preparation. Reshevsky was quickly outplayed on the White side of the Queen's Gambit Accepted in the first game and eventually fell on time in a lost position. In the second game, he played sharply with Black, but Portisch was able to exchange the queens and a pair of rooks, thus draining much of the tension in the position. A draw by threefold repetition of position soon ensued. In his last game with White, Reshevsky had to go for broke. An Open Sicilian arose, but Portisch seized the initiative on the queenside; having gained a clear advantage, he was able to translate it into a crushing kingside attack, thus winning the match and the final Candidates spot. Amsterdam 1964 was the first meeting between these two chess greats, and Portisch was to prove a difficult opponent for Reshevsky, whose lifetime score against him was (+0−4=9).

Reshevsky played on top board for the US in the 1955 team match against the USSR, held in Moscow, and defeated World Champion Mikhail Botvinnik over four games, winning one and drawing three.

Rivalry with Bobby Fischer
Once Bobby Fischer made his debut at age 14 in the US Championship with the 1957–58 event, he dominated completely, winning on each of his eight attempts, leaving Reshevsky, the seven-time former champion, back in the chasing pack. There was little love lost between the two players, separated by a generation in age. Ahead of the Buenos Aires 1960 tournament, Reshevsky reportedly said, "I would settle for 19th place – if Fischer placed 20th." Reshevsky in fact won the Buenos Aires 1960 tournament, with Fischer well back; this was the only time Reshevsky finished ahead of Fischer in an international tournament.

In 1961 Reshevsky began a 16-game match with the then-current US Champion Fischer; it was jointly staged in New York and Los Angeles. Despite Fischer's recent meteoric rise, consensus opinion favored Reshevsky. After eleven games and a tie score (two wins apiece with seven draws), the match ended due to a scheduling dispute between Fischer and match organizer Jacqueline Piatigorsky, with Reshevsky receiving the winner's share of the prize fund.

In the 1967 Sousse Interzonal, Fischer turned up 53 minutes late (only seven minutes short of an automatic time forfeiture) for his game with Reshevsky, and made his opening move without a word of apology. Reshevsky, who had been convinced that Fischer had withdrawn from the tournament, lost the game badly and complained furiously to the organizers. Despite losing that game, Reshevsky advanced to the next stage. Reshevsky also refused to play for the US team in the Chess Olympiads of 1960, 1962 and 1966 because Fischer, as US champion, was chosen ahead of him for the top board. He did, however, finally consent to play on a lower board in 1970, the only time the two men appeared in the same team.

Although Reshevsky and Fischer had one of the fiercest rivalries in chess history, Fischer greatly respected the older champion, stating in the late 1960s that he thought Reshevsky was the strongest player in the world in the mid-1950s. This was around the time when Reshevsky defeated World Champion Mikhail Botvinnik in their four-game mini-match, which was the top board of the US vs. USSR team match held in Moscow.

During his long chess career, Reshevsky played eleven of the first twelve world champions, from Emanuel Lasker to Anatoly Karpov, the only player to do so (he met Garry Kasparov but never played him). He defeated seven world champions: Lasker, José Raúl Capablanca, Alexander Alekhine, Max Euwe, Mikhail Botvinnik, Vasily Smyslov, and Bobby Fischer.

Important tournament titles
Aside from US Championships, Reshevsky's important tournament titles included: Syracuse 1934, Hastings 1937–38, Leningrad/Moscow 1939, Hollywood 1945 (Pan American Championship), New York 1951 (Maurice Wertheim Memorial), Havana 1952, New York 1956 (Lessing Rosenwald Trophy), Dallas 1957, Haifa/Tel Aviv 1958, Buenos Aires 1960, Netanya 1969, Reykjavík Open 1984, at age 72.

Reshevsky competed seriously at least semi-regularly, virtually until his death in New York City in 1992. He defeated old rival Vasily Smyslov in a tournament game in 1991.

Style
Reshevsky was a tough and forceful player who was superb at positional play but could also play brilliant tactical chess when warranted. He often used huge amounts of time in the opening, which sometimes forced him to play the rest of the game in a very short amount of time. That sometimes unsettled Reshevsky's opponents, but at other times resulted in blunders on his part. Reshevsky's inadequate study of the opening and his related tendency to fall into time pressure may have been the reasons that, despite his great talent, he never became world champion; he himself acknowledged this in his book on chess upsets. This shortcoming was similarly noted by GM Larry Evans in commentary contained in Fischer's book My 60 Memorable Games.

Reshevsky specialized in closed openings with the white pieces, usually opening with 1.d4, and was a virtuoso with the Exchange Variation of the Queen's Gambit Declined. He rarely opened with 1.e4 against strong opposition. With the black pieces, he employed a broad and varied repertoire during his long career.

Contemporary American GM Arnold Denker complimented Reshevsky's extraordinary tenacity and fighting spirit and noted that Reshevsky developed a vital advantage in his great head-to-head battles with his main American rival, GM Reuben Fine, particularly in US Championships from the mid 1930s through the early 1940s. Trouble in games against Reshevsky was the main reason Fine was never able to win the US Championship.

Writings
Reshevsky's books include Reshevsky on Chess (1948), How Chess Games Are Won (1962), Great Chess Upsets (1976), and The Art of Positional Play (1978), as well as an account of the 1972 World Championship match between his great rival Bobby Fischer and Boris Spassky. He also wrote articles on chess for American Chess Bulletin, Chess Life and Chess Review magazines, and for The New York Times.

Quotes

 * "By playing slowly during the early phases of a game I am able to grasp the basic requirements of each position. Then, despite being in time pressure, I have no difficulty in finding the best continuation. Incidentally, it is an odd fact that more often than not it is my opponent who gets the jitters when I am compelled to make these hurried moves."
 * His self-description, "My style is somewhere between that of Tal and Petrosian", is sometimes circulated as an ironic comment (given that these two players are considered to represent opposite extremes of style) but makes more sense in its full context; from his book Great Chess Upsets : "I am essentially a positional player, although I can conduct an assault with precision and vigor, when the opportunity arises. My style lies between that of Tal and Petrosian. It is neither over-aggressive nor too passive. My strength consists of a fighting spirit, a great desire to win, and a stubborn defense whenever in trouble. I rarely become discouraged in an inferior situation, and I fear no one."

Notable games
Chessgames.com 10 game list.
 * Reshevsky vs. Capablanca, 1935
 * Lasker vs. Reshevsky, 1936
 * Reshevsky vs. G Treysman, 1938 1–0
 * Reshevsky vs. F Vasconcellos, 1944 1–0
 * Botvinnik vs. Reshevsky, 1948 0–1
 * Reshevsky vs. Najdorf, 1952 1–0
 * Reshevsky vs. Petrosian, 1953
 * Szabo vs. Reshevsky, 1953 ½–½
 * Reshevsky vs. Geller, 1953 ½–½
 * Larry Evans vs. Reshevsky, 1963 ½–½
 * Reshevsky vs. Fischer, 1961. 11-game match.

Books by Reshevsky

 * Learn Chess Fast!, ISBN 4-87187-865-1
 * The Art of Positional Play in Chess, ISBN 4-87187-459-1
 * Great Chess Upsets, ISBN 4-87187-510-5
 * First Piatigorsky Cup International Grandmaster Chess Tournament, ISBN 4-87187-843-0
 * Reshevsky on Chess: The U.S. Champion Tells How He Wins, ISBN 978-4871875356
 * How Chess Games Are Won
 * Reshevsky's Best Games of Chess
 * Reshevsky on the Fischer-Spassky Games

title: Samuel Reshevsky