text:
Talk:Ancient Rome

WP:ERA to CE/BCE
AD/BC is best used on many articles that might have a christian or biblical connotation, tens, if not hundreds of thousands of other articles use the CE/BCE dating system to indicate Common Era and Before Common Era instead of Anno Domini (In the Year of Our Lord) and Before Christ. Given that the Romans themselves used neither system, but did in fact oppress and condemn Christianity until Constantine at the end, I think your general reader would benefit from the use of the CE/BCE system instead. I am familiar with WP:RETAIN as well as WP:ERA though, so I intend to gain consensus before making this change across this article. TY. — Moops  ⋠ T ⋡ 18:47, 19 October 2022 (UTC)
 * Just for the record, strong oppose. Johnbod (talk) 14:56, 13 February 2023 (UTC)

 * I'll add my oppose here, for the record. As I've stated elsewhere, the Christian religion arose out of the instincts of the ancient Roman world, and toward the end of it, was adopted by it. So, AD/BC is appropriate. Another point to consider is the accuracy of the Babylonian–Egyptian solar calendar with regard to starting at the same time each year, especially with the improvements under Caesar. Alternative calendars are often not quite so accurate. I don't really understand the need to relabel when you are retaining the arbitrary nature of the calendar with regard to its denoting a certain epoch. Dhtwiki (talk) 06:36, 14 February 2023 (UTC)

 * Oppose suggestion by confirmed sockpuppet account. The use of BCE vs. BC should have nothing to do with whether the subject of an article had an affinity or lack thereof for Christianity. That's tantamount to saying we'd best not use "Thursday" on articles that don't accept Thor as a real deity.—  Crumpled Fire  • contribs • 00:35, 2 April 2023 (UTC)

 * Ditto with the opposition, pending some evidence that a revival of Roman paganism makes the use potentially offensive with regard to this specific article, as opposed to atheists and scholars who'd prefer to end use of the BC/AD nomenclature entirely. — Llywelyn II   13:09, 31 December 2023 (UTC)

Nomenclature
Hi @Furius. I see you reverted my edit.

Biz (talk) 16:28, 26 August 2023 (UTC)
 * 1) Do you think it is inappropriate to have a section under historiography about how the term "Ancient Rome" is defined and/or developed
 * 2) If the term "Ancient Rome' is not a proper noun, then what is it?
 * 3) Why do you think writing about Mary Beard, considered by many to be the leading classicist in Britain with a recent Roman history that is well regarded, is giving undue influence? Who else should be mentioned to make this balanced? I'd appreciate this discussion sticks within the bounds of WP:HISTRW.

 * 1. I'm not really convinced that this long article has space for such a discussion, nor that it should be the first thing discussed in the section on "historiography", before even Polybius is mentioned. It seems to be redefining what the section is about.
 * 2. "Ancient Rome" is a noun phrase but I'd probably just refer to it as a "term".
 * 3. I think the prominence of Mary Beard as an individual needs to be separated from the prominence of this particular idea, which has very litte wider purchase and clashes with the scope of the concept as presented in the lead. As written the section gives the impression that there are only two things one needs to know about the term: it was invented in the Renaissance and in 2015 Mary Beard defined it as ending in 212. These two facts are nowhere near being on the same level of importance.
 * 4. If the article is to have a point about the appearance of a concept of "ancient" Rome in the Renaissance, one would probably expect it in the legacy section. Furius (talk) 18:24, 26 August 2023 (UTC)
 * This is the the very essence of historiography. The first sentence of the article does it. What is wrong with a section that is a paragraph long at the end of the article that can look at the latest scholarship and not what is referenced to Britannica?
 * Sure, "term".
 * I asked what recent scholarship you can point to -- meaning, other than Gibbon from 250 years ago -- that discusses this issue and merits inclusion? As for SPQR, it was on the New York Times best seller list so it stands out on its own right as a notable piece of literature from a scholar. SPQR discussed 212, not the renaissance so let's separate those issues
 * I've spent hours looking for a source that can explain the origin of this term but to no avail. I emailed a well-regarded historian and he said it most likely came from the renaissance when Latin texts were being rediscovered and had to be distinguished from the old. Given Rome's history from when the western empire fell until the renaissance, it's very logical this would be a time when the distinction was made in the same way ancient Greek was being distinguished from medieval Greek and how Byzantine came about. Regardless, it's not necessary to include this but ok it can go in the legacy section if it needs to.
 * Biz (talk) 00:18, 27 August 2023 (UTC)

 * I have SPQR beside me. Where on the pages you cited, 7 (Maps) and 527-533 (Epilogue: The First Roman Millennium) does Beard use the term "Ancient Rome", or define it? I can't find it. I can't find any statement in it that the term "was likely first used during the renaissance" either. NebY (talk) 18:32, 26 August 2023 (UTC)
 * She only talks about 212, not the renaissance, that's the sentence that was cited.
 * Hmm. Correct, page 7 was meant to be 17 but the other is correct. Did you read it? Let's be clear, this is not a dictionary definition. The book title is "SPQR: a history of Ancient Rome". The start of the prologue is "Ancient Rome was important". If you read the prologue and epilogue, it's clear she regards Ancient Rome as ending in 212. If you want video's of her, you understand why as well: she is a romanticist of the Romans, so she only want to talk about the good stuff: the progress, growth, the acquisition of Europe.
 * Below are excerpts, it's very clear and obvious and nothing I'm reading between the lines to interpret that she believe Ancient Rome concludes in 212.
 * P17: "There are many way that histories of Rome might construct a fitting conclusion...Mine ends with a culminating moment in 212 CE, when the emperor Caracalla took the step to making every single free inhabitant of the Roman Empire a full Roman citizen, eroding the differences between the conqueror and the conquered and completing a process of expanding the rights and privileges of Roman citizenship that has started almost a thousand years earlier"
 * P527: "But the underlying pattern is clear. Caracalla in 212 CE completed a process that in Roman myth Romulus had started a thousand years earlier--that is, according to the conventional date, in 753 BCE. Rome's founding father had been able to establish his new city only by offering citizenship to all corners, by turning foreigners into Romans".
 * p529: "Whatever lay behind it, this decree changed the Roman world forever, and that is why my story of Rome closes here, at the end of the first Roman millennium. The big question that had guided politics and debate for centuries, about the boundary between the Romans and those they ruled, had been answered. After a thousand years, Rome's 'citizenship project' had been completed and a new era had begun"
 * P533: "But, more than anything, this careful refabrication points to the historical distance between the first millennium of ancient Rome, which is the subject of my SPQR, and Rome's second millennium which is a story for another time, another book--and another writer". Biz (talk) 23:55, 26 August 2023 (UTC)
 * Your suggested text concerns the origin and meaning of the term "Ancient Rome". In the passages you quote, what is "very clear" is that Beard talks about where she chooses to end her book ("my story", "mine ends", "my SPQR"), not the origin and meaning of the term "Ancient Rome". On the one occasion in the epilogue that she uses the term (page 534 in my edition), she writes "the first millennium of ancient Rome", indicating ancient Rome continued beyond that point. She does not explicitly state ancient Rome ended in 212 and No original research says, do not combine different parts of one source to reach or imply a conclusion not explicitly stated by the source. NebY (talk) 11:54, 27 August 2023 (UTC)
 * That’s correct. It’s her opinion of what she believes it should be as that’s all it can be. History is dangerous when people don’t mark it as so.
 * No, it’s not the origin of the term and the original first uncited sentence with which I’ve said we can drop is just to introduce a discussion of the “term”. Don’t conflate.
 * Mary Beard explicitly several times in different ways states that the first thousand years was ancient Rome and the next thousand was Rome.
 * That in both of these millennia of Rome were different from each other. She repeatedly makes her argument that citizenship — which first was for men of Rome, then was the issue of brutal battles to extend it to other men — was now bequeathed to all men of the empire. Which changes the character of what was ancient Rome.
 * But also, the adoption of foreigners as citizens was the original goal when Romulus started it, it was used as a political tool for empire and that now that it was adopted across the Mediterranean the process was complete.
 * She explicitly says the first history of Rome which we call ancient Rome concludes in 212 and that after that it’s Rome the concept, but not ancient Rome. Biz (talk) 15:44, 27 August 2023 (UTC)
 * WP:SYNTH's not explicitly stated by the source must be read literally, not "literally". You write "Mary Beard explicitly several times in different ways states that the first thousand years was ancient Rome and the next thousand was Rome." With "in different ways" you seem for a moment to recognise that she does not say so explicitly. She doesn't state "that the first thousand years was ancient Rome and the next thousand was Rome" when she writes "the first millennium of ancient Rome", and she does not say "the first history of Rome which we call ancient Rome concludes in 212 and that after that it’s Rome the concept, but not ancient Rome." (She does say "The citizenship decree was only one element in a wide range of transformations, disruptions, crises and invasions that changed the Roman world beyond recognition in the third century CE.")
 * All we have here is that Beard chose to end her book at 212 and justifies that by saying the Roman world underwent significant changes starting then, or in 192 with the collapse of the Augustan template. This does not amount to a generally accepted redefinition of the term "Ancient Rome"; it doesn't even amount to an explicit redefinition by Beard, who is perfectly capable of doing so explicitly if that was her intention. It's not worth inflating Beard's choice of an endpoint for her book (a book which she had to end somewhere, an endpoint which allows her to use "millennium") into its own section on Wikipedia as if it has transformed nomenclature. NebY (talk) 17:16, 27 August 2023 (UTC)
 * We have a difference of opinion because you are challenging me to find a passage where Mary Beard in SPQR says "Ancient Rome as a period concludes in 212" and saying anything else is WP:SYNTH. WP:Synth also explains with analogy that "A and B, therefore, C" is acceptable only if a reliable source has published the same argument concerning the topic of the article.
 * What I am saying is she is consistent in her argument through the entire book and she uses terminology separately that distinguishes, which mean this is not WP:SYNTH. What makes this discussion not productive is refusing to acknowledge what she is saying in obvious language her core argument.
 * Let me try this again.
 * If you refer to P529-530: "Rome in its second millennium was effectively a new state masquerading under an old name". Do you agree with my interpretation that, a change in substance but using the same name of Rome, she is explicitly acknowledging that what she is calling the first millennium of Rome is not the same as the second millennium? Biz (talk) 18:19, 27 August 2023 (UTC)
 * She's not saying that Rome was Ancient Rome for the first thousand years but not in the next year, or in the next century. I completely agree that this discussion is not productive; the proposition is flawed in terms of what Beard says, in terms of WP:SYNTH and in terms of WP:DUE. This isn't going to improve the encyclopedia. NebY (talk) 18:38, 27 August 2023 (UTC)
 * I asked a specific question -- there was no mention of Ancient Rome deliberately -- and you refused to answer it. What you just showed, is that you are just trying to win an argument rather then find where consensus is. The unfortunate thing is by not recognising this female historian's work it means this encyclopedia is all the worse because of it. Biz (talk) 19:12, 27 August 2023 (UTC)
 * I hoped to answer whatever it was you were trying to ask (I don't know if you intended a Socratic question that would lead to a clear outcome in your favour, but it didn't come out as a clear and coherent question). Now I need to make something else clear: I do not fail to recognise Beard's work, and most definitely do not in any way disregard her because she is female. She is very, very good and we should pay attention to what she does say and what she thinks matters, which does not include affirming that ancient Rome ended in 212. NebY (talk) 19:42, 27 August 2023 (UTC)
 * Well I'm glad you've said that because I think her work deserves more recognition.
 * There is only one way, IMHO, to resolve this disagreement in an objective way that other people can weigh in.
 * It's to agree or disagree on her argument that is stated across the book which I'm saying is (1) The first 1000 years is different to the second 1000 of Rome (2) 212 is the date she chooses to mark the different millennia and (3) she regards the first 1000 years as "ancient Rome". (I believe we do not have a disagreement on whether she is notable and the book is credible per WP:HISTRS.)
 * I was hoping that we can at least agree on the fact she makes these claims on all three of these components multiple times (but not in sequence in one place as you state). Once we've done that, then it's a matter of specific opinion of whether it's WP:SYNTH if these three claims she makes are part of her core argument or not. It also means separating discussion on WP:DUE, and how it's presented once we can resolve this as it seems to be confusing the core issue. Biz (talk) 20:13, 27 August 2023 (UTC)
 * Since the intense Renaissance interest in "ancient Rome" was led by Italians mostly from Florence, but also other north Italian cities (in fact anywhere but Rome), I doubt you'll find many references in their writings to the term. They tended to have inflated ideas of the importance of their own cities in ancient times, and perhaps thought they were reviving "ancient Florence" or even ancient Italy. Johnbod (talk) 03:32, 27 August 2023 (UTC)
 * Good point. Maybe this is a term that came out of the Anglo-sphere -- the English and especially the American -- interest in the classics. Biz (talk) 04:56, 27 August 2023 (UTC)
 * If there aren't reliable sources on where the term comes from (an unpublished email from an academic isn't one), then a discussion of this cannot appear in the article.
 * So then, with that eliminated, we would have a sub-section that would exist solely to push Mary Beard's position in SPQR (which is very carefully marked out as contestable and personal "Mine ends"; "that is why my story of Rome closes here"). This book review lists some recent discussions of scope and periodisation in its first paragraph.
 * If I understand you right, you want this to be the kernel for a section on "how historians have periodised ancient Rome." It makes little sense to me for such a section to precede the discussion of who the historians are who wrote about ancient Rome. Nor does it really make sense to me that the section "historiography" would consist of a sub-section on "who the historians are/were" and another on "what they said about periodisation". Furius (talk) 10:19, 27 August 2023 (UTC)
 * Thank you for providing a source. I wish more people could do in their discussions.
 * Based on this review, it’s clear this author is using the late antiquity view of Roman history. Which is to mean a continuity of the state until
 * the 8th century and that these “barbarians” are “alternative Romans”. No where in this review is a distinction made for what is “ancient rome”. That said, I do agree how we treats the end of the Republic as one section — that’s my preferred interpretation of what is the end of ancient Rome but I disgress.
 * It seems you have form issues of how I am presenting a valid historian’s interpretation of Roman history with 212 culminating as the apex of ancient Rome before it enters a new millennium as a remaining state of Rome. If you can put the way I’ve presented it aside, are you also saying you disagree with my assessment? Biz (talk) 15:57, 27 August 2023 (UTC)
 * This distinction between "ancient Rome" and a later "Rome" at 212 is not supported by any source at all, not even Beard ("first millennium of ancient Rome" indicates that there is a further millennium of ancient Rome); I'm totally in agreement with the points made by @NebY on this. You've given no reason why we should be prioritising Beard's view over Fischer's or Sommer's or Giardina's, or Le Bohec et al.'s. I still do not see how the nuances of periodisation should have priority in a section on historiography over an actual explanation of who the historians were and what they did. Furius (talk) 17:59, 27 August 2023 (UTC)
 * Do you agree, that somewhere in the article, it merits to have a discussion about all the historians who have an opinion on periodisation? This can appear anywhere and does not need to be prioritised over who the historians are and what they did. Biz (talk) 18:22, 27 August 2023 (UTC)
 * I don't really see how there's space for such a discussion in this very long article. There are almost as many different periodisation schemes as there are books on Rome, because - as Beard's book shows - defining the limits of Ancient Rome is one of the main ways of staking a claim to what "Ancient Rome was about." There isn't space for a survey what every major scholar has thought on that question, either.
 * Most of this article is WP:SUMMARYSTYLE of things discussed elsewhere on wiki. Could there be an article on Scholarly periodisations of ancient Rome (vel sim.), which this article might then include a link to? Maybe? An additional issue would be defining what count as primary and secondary sources in this context. Beard is in some sense a primary source for her own opinion; so one would want scholarly sources discussing different scholarly approaches to periodisation (i.e. review articles).
 * What I can see space for is (1) a short sentence or clause noting that AD 212 was a significant turning point at the point where the Constitutio Antoniniana is mentioned in the history section (with a citation to Beard); mention of Beard's opinion in a legacy section of the article on Constitutio Antoniniana. Furius (talk) 22:31, 28 August 2023 (UTC)
 * I like your suggestions.
 * I'm reading Kaldellis 's The New Roman Empire right now (out in Kindle now, hard cover in November) and its a big deal what he has done. His introduction is a direct challenge to the entire discipline that I find it hard for anyone to oppose. The whole historiography of the Roman Empire is being re-evaluated: Beard and Kaldellis being prime examples. So long as "Ancient Rome" incorporates the Roman Empire, it's going to get pulled into this academic debate.
 * FWIW, Kaldellis also identifies 212 as a turning point., discussing the impact in the provinces and identity.
 * I'll have a think about both the sentence and the new article, which should be broader and on all Roman history. Should I propose it here or do you want to edit police me (again) but only if I over-step? Biz (talk) 22:49, 28 August 2023 (UTC)
 * I think it's probably best to present proposed changes on the talk page first.
 * (As for Kaldellis, the key to incorporating these sorts of challenges to the discipline into WP is to see how other scholarly sources respond to them; i.e. book reviews and review articles). Furius (talk) 22:57, 28 August 2023 (UTC)
 * For the new article, maybe we just add a section here: Roman historiography?
 * For the sentence to this article:
 * Historian Mary Beard distinguishes the history of ancient Rome up until 212 to be different to the era that follows, "effectively a new state masquerading under an old name". (P529-30 SPQR). This could be it's own paragraph right after the text that says the following: In 212, he issued the Edict of Caracalla, giving full Roman citizenship to all free men living in the Empire, with the exception of the dediticii, people who had become subject to Rome through surrender in war, and freed slaves Biz (talk) 23:11, 28 August 2023 (UTC)
 * I think Roman historiography (as in historiography produced by Romans) and (?) Modern historiography of Ancient Rome are big enough and distinct enough as topics to both merit their own articles. Although of course they overlap in topic of interest, Tacitus and Mary Beard are doing fundamentally different things (except when she tweets about Trump and Brexit, I guess).
 * For the sentence, I'd say "Mary Beard points to the edict as a fundamental turning point, after which the empire was "effectively a new state masquerading under an old name."" Furius (talk) 19:28, 29 August 2023 (UTC)
 * Ok with that rewrite.
 * You can't discuss ancient Rome without discussing the Roman empire. And you can't discuss the Roman empire without discussing the Byzantine empire. The incoming monsoon of debate will be on the Roman and Byzantine empires. So may I propose
 * historiography of Rome (ie, indicating the state). This can incorporate all periodisation debates from the formation of the Kingdom to the conquest of Constantinople? Biz (talk) 19:35, 29 August 2023 (UTC)
 * Down the road I'm sure there will be long, long debates about whether it should be Historiography of Rome or Historiography about Rome, but for my part; I think "Rome" is good; I think that also leaves space for the article to eventually discuss things like social history, feminist histories of Rome, etc. (which moderns consider important, but which got much less interest was very interested in before the 20th century). Furius (talk) 19:52, 29 August 2023 (UTC)
 * Great points.
 * My future self just panicked. But we can blame these people for confirming the direction Historiography of Rome and Its Empire. Feel free to create it and I'll jump in, or if not, I'll dip into some Gibbon and get it started later. Biz (talk) 20:02, 29 August 2023 (UTC)

Legacy subsection
This section is incredibly poorly written and sweeping. To address just one point brought up, taking this paragraph at face value, European literature is inherited from the Romans. This is blatantly false, there are many historical influences on current European literature other than Roman literature. Not to mention innumerable developments after the Roman era including such ubiquitous things as the novel.

The article on legacy of the Roman Empire linked to in this subsection does not make any such generalisations and is actually very specific on the ways in which the Roman Empire influenced later European civilisation! Someone needs to fix this section up. 2001:8003:2422:B800:51E3:27FD:5CD2:4BB5 (talk) 00:26, 24 November 2023 (UTC)

 * I suppose your issue is with this sentence:
 * The customs, religion, law, technology, architecture, political system, military, literature, languages, alphabet, government and many factors and aspects of western civilisation are all inherited from Roman advancements.
 * I agree; it is too sewwping. I think the issue is not with the list of domains, but with the phrase
 * are all inherited from Roman advancements.
 * I think
 * all have roots in the Roman civilization.
 * or
 * all have strong influences from advancements made in the Roman Empire.
 * would be better, but perhaps someone here can come up with a better wording? Nø (talk) 13:40, 24 November 2023 (UTC)
 * It's far too sweeping; western civilisation has inherited a great deal from the vast part of Europe that was outside the Roman empire, such as the extended family of languages, customs, legal systems and more that includes English and German, while describing Christianity and Judaism, Greek and Hellenistic architecture, drama, epic and the novel - to mention just a few - as Roman advancements is gross appropriation. The list's wrong, introducing it with "The" is wrong, "all" is wrong.... No reference is provided for the sentence. The preceding sentence is sourced to 1906 and 1900, when such generalisations were more fashionable, but why do we even feel the need to make such a massive and contentious claim now? NebY (talk) 14:13, 24 November 2023 (UTC)
 * I would reverse the order of the sentence to say something like "Ancient Rome influenced the customs, religion, law, technology, architecture, political system, military, literature, languages, alphabet, government and many factors and aspects of western civilisation long after its fall." T8612  (talk) 14:58, 24 November 2023 (UTC)

The Rome of "Romulus"
I understand different editors might have different preferences about phrasing, notability, and specific images but the article very much needs some image showing how marshy the original area was. Even if the specific image to the right needs to be removed for whatever reason, kindly substitute some other better image that captures the same major points about the former rivers and lakes long since entirely vanished from the area. Ditto, Roma Quadrata and Murus Romuli might need expansion and improvement but the topics should be linked from this article in some fashion even if we don't go into details here about the various confusions, scholarly arguments, source contradictions, etc. — Llywelyn II   13:13, 31 December 2023 (UTC)

The rise of Rome
Could you give me some information about the rise of Rome? 70.78.144.142 (talk) 00:43, 8 March 2024 (UTC)

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

title: Talk:Ancient Rome


text:
Annemasse

Annemasse (Arpitan: Anemâsse) is a commune in the Haute-Savoie department in the Auvergne-Rhône-Alpes region in Eastern France. Even though it covers a relatively small territory (4.98 km2 or 1.92 sq mi), it is Haute-Savoie's second most populous commune after the prefecture Annecy, with 36,250 residents as of 2018.

Annemasse is part of the Grand Genève (Greater Geneva), a transborder agglomeration between France and Switzerland, which encompasses the developed areas on the southwestern shore of Lake Geneva. It lies near the Swiss border, approximately 8 km (5 mi) east of Geneva. Its railway station is served by TGV, RegioExpress, Léman Express and TER Auvergne-Rhône-Alpes trains.

Etymology
The origin of the name Annemasse is uncertain. It could come from an Allobroges tribe; it could be derived from the Gallic name Adnamatius; it could be a reference to the Roman city of Annamatia in Pannonia (current-day Hungary). In ancient Roman times, Annemasse, a vicus, was known as Namascae.

Geography
Annemasse is part of the metropolitan area of Geneva. It is located 2 km (1.2 mi) southeast of the Swiss border and 45 km (27.9 mi) north of Annecy, the prefecture of Haute-Savoie. The city is surrounded by the Voirons (alt. 1,450 m) to the east and the Salève (alt. 1,300 m) and the Arve River to the west.

Climate
The climate is temperate with influences from the Bornes Massif and Lake Geneva. The coldest months are January and February; the hottest are July and August. There is an annual average of 80 days with below zero temperatures. The minimum average is -1 °C and the maximum average is 26 °C. The annual rainfall is 975.7 mm with 118 rainy days a year.

Politics
The urban area of Annemasse, the agglomeration community of Annemasse – Les Voirons, which consists of twelve communes, is the second largest agglomeration in the Haute-Savoie department in terms of population, after the Grand Annecy (Greater Annecy).

Robert Borrel of the Socialist Party (PS) held the mayorship in Annemasse from 1977 to 2008. Fellow party member Christian Dupessay was elected to succeed him following his retirement in 2008. Dupessay was reelected in 2014 and 2020.

Economy
The main activity is commerce: due to the current foreign exchange situation, many Swiss residents come to Annemasse to purchase food and other commodities. A large proportion of the population work in Geneva, where the salaries are higher than in France.

Annemasse has 1,898 company locations on its territory, a large share of it being shops and services. The three main companies operating in Annemasse are Parker Hannifin (turnover: €134 million), Siegwerk (€107 million) and Géant Casino Annemasse (€17 million, enlarged in 2003).

Transport
Annemasse is an important crossroad. It is the last exit of the French motorway A40 before the border and is thus well connected with the other cities of the region. It is also connected to Annecy via motorway A41.

Local transport is done with 6 bus lines by the TP2A company (Transports publics de l'Agglomération d'Annemasse). A tram is connected to the Swiss border.

Annemasse has had a railway station since 1880. It is the second most important station of the department with 2,000 passengers a day. To encourage mobility, the CEVA project has extended the existing rail connection between Annemasse and Gare de Cornavin through Genève Eaux-Vives.

Annemasse also has a small airport for small tourist and business planes.

Education

 * Kindergartens
 * Bois-Livron, Marianne-Cohn, Jean-Mermoz, La Fontaine, Les Hutins, Saint-Exupéry, Académie Montessuit

 * Primary schools
 * Public schools: Bois-Livron, Marianne-Cohn, Jean-Mermoz, La Fontaine, Les Hutins, Saint-Exupéry, Académie Montessuit
 * Privates schools: Chamarette, Saint-François

 * Secondary schools
 * Michel-Servet, Académie Montessuit, Jacques-Prévert

 * High secondary schools
 * General education: Les Glières (Formation tertiaire BTS intégré)
 * General and technical education: Jean-Monnet
 * Professional education: Le Salève

 * Other school
 * The Beaux Arts School

Religion
Annemasse has several religious places. There are two Roman Catholic churches (Saint-André and Saint-Joseph), one synagogue, two Muslim religious organisations, as well as several Protestant churches.

Servetus Monument

In 1903, 350 years after the dissident Michael Servetus was executed in Geneva at the instigation of John Calvin, a committee was formed to erect a monument in Servetus' honour - led by a French Senator, Auguste Dide, an author of a book on heretics and revolutionaries. The committee commissioned a local Geneva sculptor, Clothilde Roch, to do a statue showing a suffering Servetus. The work was three years in the making and was finished in 1907. However, supporters of Calvin were still strong in Geneva, and the statue was rejected.

The committee then offered the statue to the neighboring Annemasse, which in 1908 placed it in front of the city hall, with the following inscriptions: "“The arrest of Servetus in Geneva, where he did neither publish nor dogmatize, hence he was not subject to its laws, has to be considered as a barbaric act and an insult to the Right of Nations.” Voltaire" "I beg you, shorten please these deliberations. It is clear that Calvin for his pleasure wishes to make me rot in this prison. The lice eat me alive. My clothes are torn and I have nothing for a change, nor shirt, only a worn out vest.” Servetus, 1553

In 1942, the pro-Nazi Vichy Government took down the statue, as it was a celebration of freedom of conscience, and melted it. In 1960, having found the original molds, Annemasse had it recast and returned the statue to its previous place.

Twin towns – sister cities
Annemasse is twinned with:
 * 🇩🇪 Gaggenau, Germany
 * 🇵🇱 Sieradz, Poland

Friendship pacts
Annemasse has friendly relations with:
 * 🇨🇦 Boisbriand, Canada
 * 🇮🇹 Torricella Peligna, Italy

title: Annemasse


text:
Talk:System of a Down

Semi-protected edit request on 30 March 2024
This article says that System of a Down is a Heavy Metal band but they are a Nu Metal/Alternative Metal band BQWR (talk) 15:49, 30 March 2024 (UTC)
 * - It says they are by nu metal and alternative metal in the infobox and musical style section. The lead genre is supposed to be broad. That's why we call them a heavy metal band in the lead sentence. Bowling is life (talk) 17:15, 30 March 2024 (UTC)

SOAD played Ozzfest 97 on the main stage.
They were on the main stage along with Coal Chamber. They were very reminiscent of Rage. 167.224.147.166 (talk) 03:43, 19 May 2024 (UTC)

Incorrect Genres
System of a Down isn't Hard Rock as it is not a form of loud, aggressive rock music, but purely metal. It's not progressive metal either, they don't have any track that is composed in a "progressive" way. Nu Metal and Alt Metal are more relevant and enough to describe them Thomsah (talk) 08:42, 30 May 2024 (UTC)

Semi-protected edit request on 13 June 2024
The line "Like Mezmerize, it debuted at No. 1 in the U.S., making System of a Down, along with The Beatles and rappers 2Pac and DMX, the only artists ever to have two studio albums debut at No. 1 in the same year." Should be updated to include Taylor Swift as she joined this list in 2020.

https://en.wikipedia.org/wiki/Taylor_Swift_albums_discography

Maybe something like "Like Mezmerize, it debuted at No. 1 in the U.S., making System of a Down, along with The Beatles, rappers 2Pac and DMX, and Taylor Swift, the only artists ever to have two studio albums debut at No. 1 in the same year.

But instead of having this line be a history of all artists that have ever had two number one albums in the same year, it would probably be best to time bound it.

"Like Mezmerize, it debuted at No. 1 in the U.S. With this release, System of a Down joined The Beatles and rappers 2Pac and DMX as the fourth artist ever to have two studio albums debut at No. 1 in the same year." Csarkrasc (talk) 18:38, 13 June 2024 (UTC)

 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate. Confusing request. ABG (Talk/Report any mistakes here) 00:39, 21 June 2024 (UTC)
 * @AlphaBetaGamma What's unclear about this request? -- ferret (talk) 00:46, 21 June 2024 (UTC)
 * ✅ with the second option to future proof. -- ferret (talk) 00:48, 21 June 2024 (UTC)

title: Talk:System of a Down


text:
Peshitta

The Peshitta ( or ܦܫܝܼܛܬܵܐ pšīṭta) is the standard version of the Bible for churches in the Syriac tradition, including the Maronite Church, the Chaldean Catholic Church, the Syriac Catholic Church, the Syriac Orthodox Church, the Malankara Orthodox Syrian Church, the Malabar Independent Syrian Church (Thozhiyoor Church), the Syro-Malankara Catholic Church, the Assyrian Church of the East and the Syro-Malabar Church.

The consensus within biblical scholarship, although not universal, is that the Old Testament of the Peshitta was translated into Syriac from Biblical Hebrew, probably in the 2nd century CE, and that the New Testament of the Peshitta was translated from Koine Greek, probably in the early 5th century. This New Testament, originally excluding certain disputed books (2 Peter, 2 John, 3 John, Jude, Revelation), had become a standard by the early 5th century. The five excluded books were added in the Harklean Version (616 CE) of Thomas of Harqel. The New Testament of the Peshitta often reflects the Byzantine text-type, although with some variations.

Etymology
Peshitta is derived from the Syriac mappaqtâ pšîṭtâ (ܡܦܩܬܐ ܦܫܝܛܬܐ), literally meaning "simple version". However, it is also possible to translate pšîṭtâ as "common" (that is, for all people), or "straight", as well as the usual translation as "simple". Syriac is a dialect, or group of dialects, of Eastern Aramaic, originating around Edessa. It is written in the Syriac alphabet and is transliterated into the Latin script in a number of ways, generating different spellings of the name: Peshitta, Peshittâ, Pshitta, Pšittâ, Pshitto, Fshitto. All of these are acceptable, but Peshitta is the most conventional spelling in English.

Brief history
The Peshitta had from the 5th century onward a wide circulation in the Asia, and was accepted and honored by the whole diversity of sects of Syriac Christianity. It had a great missionary influence: the Armenian and Georgian versions, as well as the Arabic and the Persian, owe not a little to the Syriac. The Nestorian tablet of Chang'an shows the presence of the Syriac scriptures in China in the 8th century.

The Peshitta was first brought to Europe by Moses of Mardin, a noted Syrian ecclesiastic who unsuccessfully sought a patron for the work of printing it in Rome and Venice. However, he was successful in finding such a patron in the Imperial Chancellor of the Holy Roman Empire at Vienna in 1555—Albert Widmanstadt. He undertook the printing of the New Testament, and the emperor bore the cost of the special types which had to be cast for its issue in Syriac. Immanuel Tremellius, the converted Jew whose scholarship was so valuable to the English reformers and divines, made use of it, and in 1569 issued a Syriac New Testament in Hebrew script. In 1645, the editio princeps of the Old Testament was published by Gabriel Sionita for the Paris Polyglot, and in 1657 the whole Peshitta was included in Walton's London Polyglot. An edition of the Peshitta was that of John Leusden and Karl Schaaf, and it is still quoted under the symbol "Syrschaaf", or "SyrSch".

New Testament
In a detailed examination of Matthew 1–14, Gwilliam found that the Peshitta agrees with the Textus Receptus only 108 times and with the Codex Vaticanus 65 times. Meanwhile, in 137 instances it differs from both, usually with the support of the Old Syriac and the Old Latin, and in 31 instances it stands alone.

A statement by Eusebius that Hegesippus "made some quotations from the Gospel according to the Hebrews and from the Syriac Gospel," means we should have a reference to a Syriac New Testament as early as 160–180 CE, the time of that Hebrew Christian writer. The translation of the New Testament has been admired by Syriac scholars, who have deemed it "careful, faithful, and literal" with it sometimes being referred to as the "Queen of the versions".

Critical edition of the New Testament
The standard United Bible Societies 1905 edition of the New Testament of the Peshitta was based on editions prepared by Syriacists Philip E. Pusey (d. 1880), George Gwilliam (d. 1914) and John Gwyn. These editions comprised Gwilliam & Pusey's 1901 critical edition of the gospels, Gwilliam's critical edition of Acts, Gwilliam & Pinkerton's critical edition of Paul's Epistles and John Gwynn's critical edition of the General Epistles and later Revelation. This critical Peshitta text is based on a collation of more than seventy Peshitta and a few other Aramaic manuscripts. All 27 books of the common Western Canon of the New Testament are included in this British & Foreign Bible Society's 1905 Peshitta edition, as is the adultery pericope (John 7:53–8:11). The 1979 Syriac Bible, United Bible Society, uses the same text for its New Testament. The Online Bible reproduces the 1905 Syriac Peshitta NT in Hebrew characters.

Translations

 * English
 * John Wesley Etheridge – A Literal Translation of the Four Gospels From the Peschito, or Ancient Syriac and The Apostolical Acts and Epistles From the Peschito, or Ancient Syriac: To Which Are Added, the Remaining Epistles and The Book of Revelation, After a Later Syriac Text (1849).
 * James Murdock – The New Testament, Or, The Book of the Holy Gospel of Our Lord and God, Jesus the Messiah (1851).
 * George M. Lamsa – The Holy Bible From the Ancient Eastern Text (1933) – Contains both the Old and New Testaments according to the Peshitta text. This translation is better known as the Lamsa Bible. He also wrote several other books on the Peshitta and Aramaic primacy such as Gospel Light, New Testament Origin, and Idioms of the Bible, along with a New Testament commentary. To this end, several well-known Evangelical Protestant preachers have used or endorsed the Lamsa Bible, such as Oral Roberts, Billy Graham, and William M. Branham.
 * Janet Magiera – Aramaic Peshitta New Testament Translation, Aramaic Peshitta New Testament Translation – Messianic Version, and Aramaic Peshitta New Testament Vertical Interlinear (in three volumes) (2006). Magiera is connected to George Lamsa.
 * The Way International – Aramaic-English Interlinear New Testament
 * William Norton – A Translation, in English Daily Used, of the Peshito-Syriac Text, and of the Received Greek Text, of Hebrews, James, 1 Peter, and 1 John: With An Introduction On the Peshito-Syriac Text, and the Received Greek Text of 1881 and A Translation in English Daily Used: of the Seventeen Letters Forming Part of the Peshito-Syriac Books. William Norton was a Peshitta primacist, as shown in the introduction to his translation of Hebrews, James, I Peter, and I John.
 * Gorgias Press – Antioch Bible, a Peshitta text and translation of the Old Testament, New Testament, and Apocrypha. 35 volumes.

 * Malayalam
 * Andumalil Mani Kathanar – Vishudha Grantham. New Testament translation in Malayalam.
 * Mathew Uppani C. M. I – Peshitta Bible. Translation (including Old and New Testaments) in Malayalam (1997).
 * Arch-corepiscopos Curien Kaniamparambil – Vishudhagrandham. Translation (including Old and New Testaments) in Malayalam.

Manuscripts
Although physical evidence has yet to be found, 18th-century Maronite Orientalist Giuseppe Assemani stated in his Bibliotheca Orientalis that a Syriac Gospel dated 78 CE was found in Mesopotamia.

The following manuscripts are in the British Archives:
 * British Library, Add. 14470 – complete text of 22 books of the New Testament, from the 5th/6th century
 * Rabbula Gospels – a 6th-century illuminated Syriac Gospel Book
 * Khaboris Codex – a 10th century complete Peshitta New Testament
 * Codex Phillipps 1388 – a Syriac manuscript on parchment containing text of the four Gospels dated Palaeographically to the 5th/6th centuries
 * British Library, Add. 12140 – a 6th century manuscript on parchment containing text from the four Gospels
 * British Library, Add. 14479 – a 534 CE manuscript containing the 14 Pauline Epistles with some lacunae, dated by a colophon
 * British Library, Add. 14455 – a 6th century heavily damaged manuscript containing parts of the four Gospels
 * British Library, Add. 14466 – a 10th/11th century manuscript containing fragments of the gospels of Mark and Luke
 * British Library, Add. 14467 – a 10th century manuscript containing fragments of Matthew and John in Syriac and Arabic
 * British Library, Add. 14669 – a 6th century manuscript containing fragments of Luke and Mark.

title: Peshitta


text:
Auch

Auch (Aush ) is a commune in southwestern France. Located in the region of Occitanie, it is the capital of the Gers department.

Localization

The commune of Auch is located in the arrondissement of Auch and in the Gers valley, roughly in the centre of the Gers département. Auch is 69 km west of Toulouse, the capital of the Occitanie region, and 74 kmfrom Montauban, 63 km from Agen, 92 km from Mont-de-Marsan, 86 km from Pau and 62 km from Tarbes, the capitals of the neighbouring départements. It is 162 km from Bordeaux, 390 km from Marseille and 409 km from Lyon, the capitals of the neighbouring regions, and 595 kmsouth-west of Paris.

The commune covers an area of 7,248 ha.

Surrounding communes
Auch borders thirteen other communes: Barran, Castillon-Massas, Castin, Duran, Lasséran, Leboulin, Montaut-les-Créneaux, Montégut, Ordan-Larroque, Pavie, Pessan, Preignan and Roquelaure.

Geology and relief
Auch has a minimum altitude of 115 m and a maximum of 281 m. Its average altitude is 198 m, while that of its town hall is 134 m The town and its surroundings have a hillside landscape.

The commune covers an area of 7,248 ha, making it the third largest in the département.

Centred on the middle Baïse valley, Armagnac is distributed along an east-west axis between Eauze and Auch. It includes Fezensac and Vic.

The commune is located in seismicity zone 1 (very low seismicity).

Hydrography

The Gers, a tributary of the Garonne, flows through the town and divides the city between the upper town, on the left bank, the site of the medieval city built on a hill where most of the ancient monuments are to be found, and the lower town, built on the plain on the right bank. The upper town is linked to the banks of the Gers by the medieval "pousterles", typical narrow streets with steep inclines, and by the monumental staircase inaugurated in 1863. The north of the town is also watered by the Arçon and Talouch rivers, tributaries of the Gers.

The lower town was devastated on several occasions (1897, 1952 for the most significant river overflow) before the course of the Gers was recalibrated following the 1977 floods in Gascony.

Transportation
Auch is well connected to nearby cities and towns such as Agen, Toulouse and Tarbes by Routes Nationales and by train to Toulouse.

History and population
Auch is a very ancient town, whose settlement was noted by the Romans during their conquest of the area in the 50s BC. At that time, it was settled by an Aquitanian tribe known to the Romans as the Ausci. Their name for the town was Climberrum or Elimberris. This has been tentatively etymologized from the Iberian iltir ("town, oppidum") and a cognate of the Basque berri ("new"), although another Iberian settlement in Granada recorded by the Romans as "Iliberi" probably had no contact with proto-Basque speaking peoples. The Romans renamed the town Augusta Auscorum or Ausciorum ("Augusta of the Ausci"). Augusta Auscorum was one of the twelve civitates of the province of Novempopulana (Gascony) and became the provincial capital after the 409 destruction of Eauze by the Vandals.

The common term Augusta was eventually dropped and the name evolved into the modern Gascon Aush and French Auch.

In 732, Abdul Rahman's army inflicted severe damage upon the town as they advanced towards Bordeaux, securing victory over Odo in the Battle of the River Garonne, and ultimately meeting defeat in the crucial Battle of Tours.

The town became the seat of a Catholic archdiocese which lasted until the French Revolution. Its archbishops claimed the title of Primate of Aquitaine, Novempopulana, and Navarre.

Sites of interest

 * Renaissance Cathédrale Sainte-Marie with its magnificent organ, carved stalls and rose stained-glass windows
 * La Tour d'Armagnac, a 14th-century prison, as well as a statue of d'Artagnan who was based on the real life person, Charles de Batz, Comte d'Artagnan born nearby in the château de Castelmore, and written about by Alexandre Dumas.
 * Musée des Amériques (Auch), formerly known as the Musée des Jacobins
 * Maison Henri IV (Auch)
 * Escalier monumental Built in the 19th century

Notable people
Auch was the birthplace of:
 * Jacques Fouroux (1947–2005), rugby union player
 * Louis Thomas Villaret de Joyeuse (1750–1812), admiral
 * Dominic Serres (1719–1793), painter
 * Reginald Garrigou-Lagrange (1877–1964), Dominican and prominent Neo-Thomist theologian
 * Nicolas Portal (1979–2020), Professional cyclist for AG2R Prévoyance and Director Sportif of World Tour cycling team Ineos (ne Sky)
 * Patrick Pilet (born 1981), racing driver
 * André Daguin (1935–2019), chef

title: Auch


text:
Wilhelm Marstrand

Nicolai Wilhelm Marstrand (24 December 1810 – 25 March 1873), painter and illustrator, was born in Copenhagen, Denmark, to Nicolai Jacob Marstrand, instrument maker and inventor, and Petra Othilia Smith. Marstrand is one of the most renowned artists belonging to the Golden Age of Danish Painting.

Early development and academy training
Marstrand studied at Copenhagen's Metropolitan School (Metropolitanskolen), but had little interest in books, and left around 16 years of age. Christoffer Wilhelm Eckersberg, painter and professor at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in Copenhagen, was a close friend of Wilhelm's father, and it was to all appearance Eckersberg who recommended an artistic career for young Wilhelm. Wilhelm had already shown artistic talent, tackling difficult subjects such as group scenes with many figures and complicated composition.

At 16 years of age Marstrand thus began his studies at the Academy under Eckersberg, attending the school from 1826 to 1833. Although his interests had a firm hold in genre themes – depiction of the daily life he observed around him in Copenhagen's streets, especially middle-class society – he would soon reach for the pinnacle of academic acceptability: the history painting.

History painting displayed what was grand – classical themes from mythology and history, rather than daily life. The traditions, and the taste of traditional art critics, strongly favored it. It was therefore something to strive for, in spite of Marstrand's equal skill at depicting more modest themes, and of the enjoyment he had in portraying the crowds, the diversions of the city, and the humor and story behind the hustle and bustle. Marstrand's creative production would, through many paintings and illustrations made not only during the 1830s but throughout his life, never abandon this inclination toward displaying the simple life of his times.

At the same time Christian Waagepetersen, wine merchant to the Danish court and supporter of the arts, also became an important patron for Marstrand during this early period. His painting "A musical evening party" (Et musikalsk aftenselskab) (1834), depicts such an occasion at the home of Waagepetersen, and was an important transition painting for Marstrand.

Despite an unmistakably growing recognition, Marstrand never received the Academy's gold medal. This medal was coveted not only for its great prestige, but also because it came with a travel stipend for furthering the laureate's artistic training. Marstrand's attempts at winning the medal were unsuccessful both in 1833 with his neoclassical "Flight to Egypt" (Flugten til Ægypten) and in 1835 with "Odysseus and Nausikaa". This was a disappointment, as he had won both available silver medals in 1833.

Foreign travel
Gold medal or not however, the Academy did award Marstrand a travel stipend. In August 1836 he began the first of his many travels, going by way of Germany to Rome in Italy, stopping on the way at Berlin, Dresden, Nuremberg and Munich. In Italy, where he stayed for four years, he painted many idealized depictions of daily life, especially festivities. He returned to Italy several times, the last visit being in 1869, and when in Rome he spent summer months each year in the hill towns Olevano Romano, Civitella and Subiaco. He was enchanted with Italy and with the ways of life of the Italian people. He portrayed a colorful, joyous, and romantic view of them, infused with a newfound ideal of beauty.

He also painted a number of portraits during this first stay in Italy. Among these are portraits of other travelling Danish artists, such as Christen Købke and travelling partner Johan Adolph Kittendorff. He completed sketches for a large portrait of botanist and politician, J. F. Schouw, which would be later realized as a painting.

Career development
Marstrand returned to Denmark at the end of 1841, stopping in Munich and Paris on the way. In Denmark he strove to bring back that which he learned in Italy, and allow it to develop in his home culture.

He became a member of the art Academy on 19 June 1843, after submitting the painting "Erasmus Montanus" as his admissions piece. He became a professor at the Academy in 1848. He endeavored to let his students evolve according to their own skills and interests. Among these were the two most renowned Skagen painters Peder Severin Krøyer and Michael Ancher, as well as Carl Bloch and Kristian Zahrtmann.

Marstrand continued to travel regularly around Europe throughout his life, to (London, Vienna, Belgium, but especially to Italy and Rome), at times in the company of such fellow artists such as P. C. Skovgaard and Johan Adolph Kittendorff, or of art historian and critic Niels Lauritz Høyen.

Marstrand also continued to apply inspiration from Italy in his paintings. He now supplied it with themes from literature and the theatre, portraying scenes from Don Quixote by Cervantes, as well as from Erasmus Montanus, or other plays by Ludvig Holberg. Holberg's works would in fact provide Marstrand with an endless stream of inspiration. He also continued to paint genre paintings, and to make sketches, caricatures, and drawings, capturing the spirit of his time with gentle or more biting satire.

On 8 June 1850, Marstrand married Margrethe Christine Weidemann, with whom he was to have five children. His family became yet a new source for his art. There are similarities in his portraits with children to those made by Constantin Hansen, a contemporary, friend, and also student of Eckersberg.

Marstrand returned to portrait painting with even more seriousness in the late 1850s, depicting some of the key figures of the age, including Constantin Hansen (1852, 1862), Bernhard Severin Ingemann (1860), Grundtvig (1863), Høyen (1869), the architect Michael Gottlieb Bindesbøll, not forgetting his earlier portraiture of Købke in 1839.

During the 1850s and 1860s, and especially after the death of his wife in 1867, he finally turned to religious themes. He also gave renewed attention to mythology and history. He painted two remarkable great murals for King Christian IV's chapel in Roskilde Cathedral in 1864–1866, both of which have contributed to this popular monarch's enduring fame. He painted an important altarpiece at Faaborg Church. In 1871, not long before his death, he delivered several massive wall paintings commissioned for the University of Copenhagen's Celebration Hall. This historical, religious, and monumental development added yet an essential dimension to the already broad scope of Marstrand's work.

At the same time, during the last ten years of his life, part of his work became very intimate. A series of paintings made during the last 6 years of his life featured a naked woman, while others were deeply religious, more inwardly so than the monumental work.

Marstrand was named Director (Chancellor) of the art Academy during two periods: the first period from 1853–1857, the second from 1863 until his death. In 1867 he was awarded the rank of State Councillor (etatsråd).

In October 1871 Marstrand was struck with a brain hemorrhage and partially paralysed, losing much of his work capacity before his death in 1873.

Posthumous reception
To his contemporaries and a further few generations, Marstrand ranked among Denmark's great painters of all time, to some authorities perhaps as the very greatest. Certainly, he was vastly productive and mastered a remarkable variety of genres – his disinterest for landscape art being a notable exception. More relevant today is the rather striking number of his works which are now familiar signposts of Danish history and culture: scenes from drawing-rooms and streets of Copenhagen during his younger days; the festivity and public life captured in Rome; the many representative portraits of citizens and innovators; even the monumentalist commissions for university and monarchy. Still, as the 20th century progressed, his work had become less valued artistically and downright unfashionable; conversely, recent decades seem to have afforded new appreciation.

title: Wilhelm Marstrand


text:
Western Plateau

The Western Plateau is Australia's largest drainage division and is composed predominantly of the remains of the ancient rock shield of Gondwana. It covers two thirds of the continent; 2,700,000 km2 of arid land, including large parts of Western Australia, South Australia, and the Northern Territory. For comparison, it is roughly the same size as the whole of continental Europe from Poland west to Portugal.

Rain rarely falls in this region and aside from a handful of permanent waterholes, surface water is absent at all times except after heavy rain. Most of the territory is flat sandy or stony desert with a sparse covering of shrubs or tussock grasses. Average rainfall varies from one area to another and is quoted at 189 mm to 398 mm per year, but is highly unpredictable.

title: Western Plateau


text:
Edie Sedgwick

Edith Minturn Sedgwick Post (April 20, 1943 – November 16, 1971) was an American actress, model, and socialite, who was one of Andy Warhol's superstars, starring in several of his short films during the 1960s. Her prominence led to her being dubbed an "It Girl", while Vogue magazine named her a "Youthquaker".

Sedgwick broke with Warhol in 1966 and attempted to forge an independent acting career. However, her mental health deteriorated from drug abuse and she struggled to complete the semi-autobiographical film Ciao! Manhattan. Sedgwick abstained from drugs and alcohol after meeting her future husband, Michael Post, and completed filming ''Ciao! Manhattan'' in early 1971. Post and Sedgwick married in July 1971; she died four months later of an overdose at age 28.

Early life and education
Edie Sedgwick was born in Santa Barbara, California, the seventh of eight children of Alice Delano de Forest (1908–1988) and Francis Minturn Sedgwick (1904–1967), a rancher, sculptor and member of the historical Sedgwick family of Massachusetts. Sedgwick's mother was the daughter of Henry Wheeler de Forest, the president and chairman of the board of the Southern Pacific Railroad. She was named after her father's aunt, Edith Minturn Stokes, who was famously painted with her husband, Isaac Newton Phelps Stokes, by John Singer Sargent. She was of English and French Huguenot ancestry.

Despite the family's wealth and high social status, Sedgwick's early life was troubled. Initially schooled at home and cared for by nannies, the Sedgwick children were rigidly controlled by their parents. Being raised on their father's California ranches, they were largely isolated from the outside world and were instilled with the idea that they were superior to most of their peers. It was within these familial and social conditions that Sedgwick by her early teens developed an eating disorder, settling into an early pattern of binging and purging. At age 13 (the year her grandfather Henry Dwight Sedgwick died), she began boarding at the Branson School near San Francisco. According to her older sister Alice "Saucie" Sedgwick, she was soon taken out of the school because of her eating disorder. Her father severely restricted her freedom when she returned home.

All the Sedgwick children had conflicted relationships with their father (whom they called "Fuzzy"). By most accounts, he was narcissistic, emotionally remote, controlling and frequently abusive. He also openly carried on extramarital affairs with other women. On one occasion, Edie walked in on her father while he was having sex with one of his mistresses. She reacted with great surprise, but he claimed that she had imagined it, slapped her and called a doctor to administer tranquilizers to her. As an adult, Sedgwick told people that he had attempted to molest her several times, beginning when she was aged 7.

In 1958, Sedgwick's parents enrolled her at St. Timothy's School in Maryland. She was eventually taken out of the school due to her continuing eating disorder, which had progressed to anorexia. In the autumn of 1962, at her father's insistence, Sedgwick was committed to the private Silver Hill Hospital in New Canaan, Connecticut. As the regime was very lax, she easily manipulated her situation at Silver Hill and her weight kept dropping. She was later sent to Bloomingdale, the behavioral health wing in the Westchester County division of New York Hospital, where her anorexia improved markedly. Around the time she left the hospital, she had a brief relationship with a Harvard student, became pregnant and procured an abortion, citing her present psychological issues.

In the autumn of 1963, Sedgwick moved to Cambridge, Massachusetts, and began studying sculpture with her cousin, artist Lily Saarinen. According to Saarinen, Sedgwick "was very insecure about men, though all the men loved her." During this period, she partied with members of an elite bohemian fringe of the Harvard social scene.

Sedgwick was deeply affected by the loss of her older brothers, Francis Jr. (known as "Minty") and Robert (known as "Bobby"), who died within eighteen months of each other. Francis, who had a particularly unhappy relationship with their father, suffered several mental breakdowns, eventually dying by suicide in 1964 while committed at Silver Hill Hospital. Robert, her second oldest brother, also suffered from mental health problems and died when his motorcycle crashed into the side of a New York City bus on New Year's Eve 1965.

1964–1966
On her twenty-first birthday in April 1964, Sedgwick received an $80,000 trust fund from her maternal grandmother. Soon after, she relocated to New York to pursue a career in modeling. In March 1965, Sedgwick met artist and avant-garde filmmaker Andy Warhol at a party at the apartment of producer Lester Persky and began frequently visiting Warhol's art studio, The Factory, in Midtown Manhattan. During one of her subsequent visits, Warhol was filming Vinyl (1965), his interpretation of Anthony Burgess' novel A Clockwork Orange. Despite Vinyl's all-male cast, Warhol put Sedgwick in the movie. Around this time, she also made a small cameo appearance in another Warhol film, Horse (1965). Sedgwick's appearances in both films were brief but generated enough interest that Warhol decided to cast her in the starring role of his next films.

The first of these films, Poor Little Rich Girl (1965), was originally conceived as part of a series of films featuring Sedgwick called The Poor Little Rich Girl Saga. The series was to include Poor Little Rich Girl, Restaurant, Face and Afternoon. Filming of Poor Little Rich Girl began in March 1965 in Sedgwick's apartment; it depicted her going about her daily routines. Her next film for Warhol was Kitchen, which was filmed in May 1965 but not released until 1966. Written by Factory scriptwriter Ronald Tavel, the film stars Sedgwick, Rene Ricard, Roger Trudeau, Donald Lyons and Elecktrah. After Kitchen, Chuck Wein replaced Tavel as a writer and assistant director for the filming of Beauty No. 2 (1965), which was filmed in June and premiered in July 1965. The film shows Sedgwick lounging on a bed in her underwear with Gino Piserchio and being taunted by Wein off-screen.

Sedgwick and Warhol continued making films together —Outer and Inner Space, Prison, Lupe and Chelsea Girls— throughout 1965. The edited footage of Sedgwick in Chelsea Girls would eventually become the film Afternoon. Their relationship deteriorated by late 1965, however, and Sedgwick demanded that Warhol stop showing her films. Lupe is often thought to be Sedgwick's last Warhol film, but she filmed The Andy Warhol Story with Rene Ricard in November 1966, almost a year after finishing Lupe. The Andy Warhol Story was an unreleased film that was only screened once at The Factory. Along with Sedgwick, the film featured Ricard satirically pretending to be Warhol.

Icon
Warhol's films were for the most part shown only in underground film theaters and in viewings held at The Factory, and were not commercially successful. Regardless, Sedgwick began receiving attention from the mainstream media, who reported on her appearances in the films and on her personal style. During this period, she developed a distinct look including black leotards, mini dresses, large chandelier earrings and heavy eye make-up. She popularized the mini-skirt by purchasing children's skirts and wearing them as her own. Sedgwick also cut her naturally brown hair short and dyed it with silver spray, thus matching her look with Warhol's, who was known for wearing silvery hair pieces.

Warhol dubbed Sedgwick his "Superstar", and they began appearing together at various public events. The previously niche phrase "Superstar" was popularized and became a mainstream term because of Sedgwick being dubbed one by Andy Warhol and the increased mainstream media attention the pair received. Sedgwick can be seen defining the term on the Merv Griffin Show, indicating that the word was not a staple in the general public's vocabulary before her appearance on the show.

In a memorable photoshoot for Vogue magazine in August 1965, Sedgwick was photographed by Enzo Sellerio, wearing only hosiery and a black ballet leotard, as she balanced on the back of a leather rhinoceros. Vogue dubbed her an "It Girl" and a "Youthquaker". In November 1965, Fred Eberstadt photographed her for Life magazine under the title "Girl in Black Tights". Her distinctive style, which featured black leotards and tights, miniskirts, chandelier earrings, and heavy eye makeup, made her a style icon of the 1960s.

1966–1967
Following her estrangement from Warhol's inner circle, Sedgwick began living at the Chelsea Hotel, where she became close to Bob Dylan. Dylan and his friends eventually convinced Sedgwick to sign up with Albert Grossman, Dylan's manager. According to Paul Morrissey, Sedgwick had developed a crush on Dylan that she thought he reciprocated. She was also under the impression that she and Dylan would star in a mainstream film together. Unbeknownst to Sedgwick, however, Dylan had secretly married his girlfriend Sara Lownds in November 1965. Morrissey claimed that Sedgwick was informed of the marriage by Warhol (who reportedly heard about it through his lawyer) in February 1966. Friends of Sedgwick's later said that she saw the supposed offer of doing a film with Dylan as a ticket to a mainstream film career. Morrissey claimed that Dylan likely never had plans to star in a film with Sedgwick and "hadn't been very truthful."

Since Sedgwick's death, Dylan has routinely denied that he ever had a romantic relationship with her but did acknowledge knowing her. In December 2006, several weeks before the release of the controversial film Factory Girl, the Weinstein Company and the film's producers interviewed Sedgwick's older brother, Jonathan, who claimed that Sedgwick told him she had aborted a baby she claimed was Dylan's shortly after she was injured in a motorcycle accident. As a result of the accident, doctors consigned her to a mental hospital, where she was treated for drug addiction. No records from a hospital or the Sedgwick family exist to support this story. Nonetheless, Jonathan claimed, "Staff found she was pregnant but, fearing the baby had been damaged by her drug use and anorexia, forced her to have the abortion."

In 1966, Sedgwick was named one of the "fashion revolutionaries" in New York by Women's Wear Daily, alongside Tiger Morse, Baby Jane Holzer, Pierre Cardin, Paco Rabanne, Rudi Gernreich, André Courrèges, Emanuel Ungaro, Yves Saint Laurent and Mary Quant. Throughout most of that year, Sedgwick was involved in an intense but troubled relationship with Dylan's friend Bob Neuwirth. During this time, she became increasingly dependent on barbiturates. In early 1967, unable to cope with Sedgwick's drug abuse and erratic behavior, Neuwirth broke off their relationship.

1967–1971
After breaking with Warhol, Sedgwick attempted to forge a legitimate acting career. She auditioned for Norman Mailer when the stage adaptation of his novel The Deer Park was being produced. But Mailer "turned her down....—She was very good in a sort of tortured and wholly sensitive way—...She used so much of herself with every line that we knew she'd be immolated after three performances."

In March 1967, Sedgwick began what may have seemed propitious but in fact began her torturous and final decline: the shooting of Ciao! Manhattan, a semi-autobiographical underground film co-directed by John Palmer and David Weisman. During this, Sedgwick accidentally set her room on fire in the Chelsea Hotel and was briefly hospitalized with burns. Due to her rapidly deteriorating health from drug use, the film was suspended. After further hospitalizations for drug abuse and mental issues in 1968 and 1969, Sedgwick returned to her family's ranch in California to recuperate. In August 1969, she was hospitalized again in the psychiatric ward of the Santa Barbara Cottage Hospital after being arrested for drug offenses by local police. While in the hospital, Sedgwick met another patient, Michael Post, whom she would marry in July 1971.

Sedgwick was hospitalized again in the summer of 1970 but was let out under the supervision of a psychiatrist, two nurses and the live-in care of filmmaker John Palmer and his wife Janet. Determined to finish ''Ciao! Manhattan'' and have her story told, Sedgwick reconnected with the film crew and began shooting in Arcadia and Santa Barbara in late 1970. She also recorded audio tapes reflecting on her life story, accounts Weisman and Palmer incorporated into the film's dramatic arc. Filming completed in early 1971, and the film was released in February 1972.

Marriage and death
Sedgwick married Post on July 24, 1971 during a period where she had achieved sobriety. However, in October 1971, Sedgwick relapsed after taking prescription pain medication given to her for a physical illness, which in turn led to abusing barbiturates and alcohol.

On the night of November 15, 1971, Sedgwick went to a fashion show at the Santa Barbara Museum that included a segment filmed for the television show An American Family. After the show, she attended a party where she drank alcohol. She then phoned her husband to pick her up. On the way home, Sedgwick expressed thoughts of uncertainty about their marriage. Before they both fell asleep, Post gave Sedgwick medication that had been prescribed for her. According to Post, Sedgwick started to fall asleep very quickly and her breathing was "bad – it sounded like there was a big hole in her lungs" but he attributed it to her heavy smoking habit and went to sleep.

When Post awoke the following morning at 7:30 a.m., he found Sedgwick dead. The coroner ruled her death as "undetermined/ accident/suicide". Her death certificate states the immediate cause was "probable acute barbiturate intoxication" due to ethanol intoxication. Sedgwick's alcohol level was registered at 0.17% and her barbiturate level was 0.48 mg%. She was only 28.

Sedgwick was not buried in her family's Sedgwick Pie cemetery plot but in the small Oak Hill Cemetery in Ballard, California. Her epitaph reads "Edith Sedgwick Post – Wife of Michael Brett Post 1943–1971".

The Doors (1991)
Actress and model Jennifer Rubin played Sedgwick in the 1991 film The Doors, directed by Oliver Stone.

Factory Girl (2006)
Sienna Miller played Sedgwick in George Hickenlooper's film Factory Girl, a fictionalized account of Sedgwick's life, released in December 2006. The film portrays Warhol, played by Guy Pearce, as a cynic who leads Sedgwick into a downward spiral of drug addiction and psychiatric problems. Hayden Christensen plays "Billy Quinn", an apparent conglomeration of various characters but a look-alike of Bob Dylan. (As of late 2006, Dylan was apparently threatening to pursue a defamation lawsuit, claiming the film implicates him as having driven Sedgwick to her death.) Michael Post, Sedgwick's widower, appears as a taxi driver in one of the last scenes of the film.

Edie: Girl on Fire (2010)
Directed by Melissa Painter and David Weisman, the 2010 short film Edie: Girl on Fire, accompanied the book release of the same title, with an archived audio interview of Sedgwick on CD.

Too Late (2021)
The 2021 animated short film Too Late, by Polish artist Kinga Syrek, was a tribute to Edie Sedgwick's life story and was released for the 50th anniversary of her death.

Planned
In the 1980s, Warren Beatty bought the rights to Sedgwick's life story and was planning to make a movie, initially with Molly Ringwald then with Jennifer Jason Leigh starring as Sedgwick. Al Pacino was tapped to play Andy Warhol. It was also reported that a film titled The War at Home was to be loosely based on her life during The Factory years, with Linda Fiorentino slated to portray her. It was to be based on John Byrum's fictionalized account of a working-class man who becomes enamored of her. Neither was ever produced.

In the 2000s, director Mike Nichols and actress Natalie Portman considered doing a film about Sedgwick and Andy Warhol but decided to film an adaptation of Patrick Marber's play Closer instead, which was released in 2004.

Inspired roles
In the 2002 film Igby Goes Down, Amanda Peet's character, Rachel, is described as an "Edie Sedgwick wanna-be" and dresses in Sedgwick-inspired attire throughout the film.

In the 2007 film I'm Not There, Michelle Williams's character Coco Rivington is modeled on Sedgwick.

Andy & Edie (2004)
A 2004 off-Broadway play entitled Andy & Edie was written and produced by Peter Braunstein. It ran for 10 days. Misha Moore, who portrayed Sedgwick, claimed to be the late model's niece. At the request of the Sedgwick family, The New York Times published a notice of correction.

Music
Sedgwick inspired a number of songs—during her life by artists Bob Dylan and the Velvet Underground, and posthumously.

1960s

 * Bob Dylan's "Just Like a Woman", "Leopard-Skin Pill-Box Hat" and "Fourth Time Around" from his 1966 album Blonde on Blonde are reportedly about Sedgwick, as was his 1965 No. 2 single "Like a Rolling Stone".
 * The Velvet Underground's "Femme Fatale" from their 1967 album The Velvet Underground & Nico was written about Sedgwick.

1980s

 * Sedgwick appears on the cover of Dramarama's 1985 debut album Cinéma Vérité. The music video for the album's first single "Anything, Anything (I'll Give You)" features clips of her in Ciao! Manhattan.
 * In 1985, Dream Academy released a 7" single "The Love Parade" in the US with the b-side "Girl In A Million (For Edie Sedgwick)" on Reprise Records.
 * The lyrics of the 1986 Primal Scream song "Velocity Girl" were inspired by Sedgwick.
 * The second track from the Edie Brickell & New Bohemians' 1988 album Shooting Rubberbands at the Stars is titled "Little Miss S." and is about Sedgwick.
 * Edie Sedgwick is a Gothic Rock song by the band James Ray And The Performance. It is the fifth track on their 1989 album A New Kind Of Assassin. It was produced through Merciful Release, the label created by Andrew Eldritch, frontman for the band, The Sisters of Mercy.
 * "Edie (Ciao Baby)" is a hard rock song by English band The Cult. It appeared on their fourth studio album Sonic Temple in 1989. The cover of the single features a photograph from Ciao! Manhattan.

1990s

 * The band Deadbolt released the Sedgwick-inspired song "Edie" on its 1992 debut EP, Creepy World.

2010s

 * The 7th song on Tal Cohen-Shalev's 2009 Heartaches and Ashes is dedicated to Sedgwick and called "Factory Girl (Song for Edie Sedgwick)".
 * Alizée's 2010 album Une Enfant Du Siècle was inspired by and depicts Sedgwick's life, her 2007 song "Fifty-Sixty" also is inspired from Sedgwick's relationship with Warhol.
 * On the 2010 album 13 Most Beautiful: Songs for Andy Warhol's Screen Tests by Dean & Britta, the fifth track, "It Don't Rain in Beverly Hills", was written to accompany Warhol's screen test for Sedgwick.
 * The Pretty Reckless’ song "Factory Girl" on their 2010 debut album Light Me Up is based on Edie Sedgwick and her life in the factory. In 2009 lead singer Taylor Momsen said “Edie Sedgwick had a cool style; she pushed the envelope for the time.“
 * Lady Gaga's "Applause" and "Marry the Night" music videos include references to Edie Sedgwick and the film Ciao! Manhattan.
 * Rapper G-Eazy's 2014 song "Downtown Love" is based on Sedgwick's life story.
 * Beach House's 2018 album, 7, was inspired by Sedgwick's life and icon status, in particular its penultimate track "Girl of the Year."

Other

 * The Escape Artist is a 1994 novel by a Madrid-based writer, Jonathan Holland. The villain of the novel is a character called Marc, about whom it is said: "He'd spent most of his teens working with Andy Warhol and Paul Morrissey, and he'd slept with someone called Edie Sedgwick: apparently Jean Shrimpton was not the only beautiful woman in the world with the name of a dinner lady." All of Marc's life-story is false.
 * On March 4, 2016, Mattel released the Andy Warhol Campbell's Soup Doll (DKN04), a collaboration with The Andy Warhol Foundation. The Barbie was inspired by Sedgwick's look, with a leopard fur coat and dangling earrings. The doll's dress was adorned with Warhol's 1968 Campbell's Soup I artwork series.

title: Edie Sedgwick


text:
Debito Arudou

Debito Arudou (有道 出人) is an American-born Japanese writer, blogger, and human rights activist. He was born in the United States and became a naturalized Japanese citizen in 2000. Arudou has since left Japan after living in the country for over 20 years.

Early life and academic career
Arudou was born David Christopher Schofill in California in 1965. He was raised in Geneva, New York, and became "David Christopher Aldwinckle" when his stepfather adopted him in the 1970s. He graduated from Cornell University in 1987, dedicating his senior year to studying Japanese after visiting his pen pal and future wife in Japan. Aldwinckle moved to Japan for one year where he taught English in Sapporo, Hokkaido, and later spent one year at the Japan Management Academy in Nagaoka, Niigata Prefecture, before returning to complete a Master's of Pacific International Affairs (MPIA) at the University of California, San Diego (UCSD).

In 1993, Arudou joined the faculty of Business Administration and Information Science at the Hokkaido Information University, a private university in Ebetsu, Hokkaido, where he taught courses in business English and debate. He was an associate professor until 2011 when he left the university. From 2012 to 2013, Arudou was an Affiliate Scholar at the East–West Center in Honolulu, Hawai'i. Meiji Gakuin University awarded him a Doctorate in Philosophy (International Studies) in 2014.

Family and Japanese naturalization
Aldwinckle married a Japanese citizen in 1989, and they have two daughters. Aldwinckle became a permanent resident of Japan in 1996. He became a naturalized Japanese citizen in 2000. On becoming Japanese, he changed his name to Arudoudebito Sugawara (菅原 有道出人), taking his wife's surname. They divorced in 2006.

Arudou v. Earth Cure
Arudou objected to the policies of three bathhouses in Hokkaido, Japan, in the late 1990s that had posted "No Foreigners" or "Japanese Only" signs on their doors.

Arudou led a multinational group of 17 people of various nationalities (United States, Chinese, German, and Japanese) to enter the Yunohana bathhouse in Otaru and test the firmness of the "No Foreigners" policy posted on its door. The group attempted the walk-ins twice.

Arudou returned to Yunohana in October 2000 for a third time as a naturalized Japanese citizen, but again was refused entry. The manager accepted that Arudou was a Japanese national, but refused him entry on the grounds that his foreign appearance could drive Japanese customers to take their business elsewhere. Yunohana had previously closed its bathhouse due to a decline in Japanese customers caused by the poor bathing habits of Russian sailors, and to prevent a repeat of this situation, the company refused entry to anyone who appeared to be a foreign national.

In February 2001, Arudou and two co-plaintiffs, Kenneth Lee Sutherland and Olaf Karthaus, sued Earth Cure in district court pleading racial discrimination, and the City of Otaru for violation of the United Nations Convention on the Elimination of All Forms of Racial Discrimination, a treaty which Japan ratified in 1996. On November 11, 2002, the Sapporo District Court ordered Earth Cure to pay the plaintiffs ¥1 million each in damages. The court stated that "categorically refusing all foreigners constitutes irrational discrimination, exceeds social norms, and amounts to an illegal act". The Sapporo District and High Courts both dismissed Arudou's claim against the city of Otaru for not creating an anti-discrimination ordinance. It stated that "issues such as which measures to take, and how to implement them, are properly left to the discretion of Otaru". The Sapporo High Court upheld these rulings on September 16, 2004, and the Supreme Court of Japan denied review on April 7, 2005.

Other protests
In 2003, Arudou and several other long-term foreign residents dressed up as seals to protest the granting of an honorary jūminhyō (residency registration) to Tama-chan, a male bearded seal, in Nishi Ward, Yokohama. The protesters asserted that if the government could grant jūminhyō to animals and animation characters, as was the case in Niiza and Kasukabe Cities, Saitama Prefecture, then there was no need to deny foreign residents the same. At the time, non-Japanese residents were registered in a separate alien registration system.

In February 2007, Arudou participated in a protest against an over-the-counter Japanese-language publication titled Kyōgaku no Gaijin Hanzai Ura File – Gaijin Hanzai Hakusho 2007 (Secret Files of Foreigners' Crimes). The magazine highlighted crimes committed by foreigners. Arudou, calling the magazine "ignorant propaganda" that "focuses exclusively on the bad things that some foreigners do, but has absolutely nothing about crimes committed by Japanese". Arudou posted a bilingual letter for readers to take to FamilyMart stores protesting discrimination against non-Japanese residents of Japan.

In June 2008, Arudou lodged a complaint with the Hokkaido Prefectural Police that its officers were targeting foreigners as part of a security sweep prior to the 34th G8 summit in Tōyako, Hokkaido. This followed an incident where Arudou asserted his right under the Police Execution of Duties Law to not need to show identification when requested by a police officer at New Chitose Airport. After meeting with police representatives at their headquarters, Arudou held a press conference covered by a local television station.

In August 2009, Arudou—acting as the chair of FRANCA (the Foreign Residents and Naturalized Citizens Association)—began a letter-writing campaign to protest an advertisement by McDonald's Japan featuring a bespectacled, mildly geeky, 43-year-old American Japanophile known as Mr. James—a burger mascot who proclaims his love for the fast-food outlet in broken katakana Japanese. Writing in The Japan Times, Arudou argued that the "Mr. James" campaign perpetuates negative stereotypes about non-Japanese Caucasian minorities living in Japan, and demanded that McDonald's Japan withdraw the advertisement: "Imagine McDonald's, a multinational that has long promoted cultural diversity, launching a McAsia Menu in America featuring a deep-bowing, grimacing Asian in a bathrobe and platform sandals saying 'Me likee McFlied Lice!' or 'So solly, prease skosh honorable teriyaki sandrich? Time magazine's Coco Masters concluded: "To protest Mr. James as a stereotype of a minority population in Japan because the Ohio native fails to speak or write Japanese fluently, dresses like a nerd and blogs about burgers only ends up underscoring the fact that there really aren't a lot of foreigners who fit the bill running around Japan."

Reception
Eric Weiner described Arudou as an "outspoken man that rejects the notion that there's one Japanese way of doing anything". Washington Post journalist Doug Struck described Arudou as "the Outraged Man, tilting at uncomfortable truths about Japanese racial discrimination"

Japanologist Alex Kerr has criticized Arudou for his "openly combative attitude", an approach that Kerr says usually "fails" in Japan and may reinforce the belief "that gaijin are difficult to deal with". John Spiri, associate professor at Gifu Shotoku Gakuen University, argues that Arudou's tactics are excessive, that he tends to perceive things as "black and white", and that he is "more interested in attacking Japan and its people than fighting stereotyping and injustice".

Publications
Arudou had a book published about the 1999 Otaru hot springs incident, originally in Japanese, and then in 2004 in an expanded English version, Japanese Only – The Otaru Hot Springs Case and Racial Discrimination in Japan (ジャパニーズ・オンリー―小樽温泉入浴拒否問題と人種差別). The book is listed in the Japan Policy Research Institute's recommended library on Japan.

Arudou's next book, published in 2008, was coauthored with Akira Higuchi (樋口 彰) and titled Handbook for Newcomers, Migrants and Immigrants to Japan (ニューカマー定住ハンドブック). This bilingual book provides information on visas, starting businesses, securing jobs, resolving legal problems, and planning for the future from entry into Japan to death. Handbook came out in 2012 in an updated 2nd Edition and an ebook version in 2013.

Arudou has written a monthly column for the Community section of The Japan Times titled "Just Be Cause" since 2008, and has contributed occasional opinion columns to the newspaper since 2002. He was also a columnist for the Japan Today website and has been featured in The Asahi Evening News.

In 2011, Arudou self-published his first novella titled In Appropriate: a novel of culture, kidnapping, and revenge in modern Japan. The novella tells the story of a transnational marriage, culture shock, and child abduction. In 2015 he published Embedded Racism: Japan's Visible Minorities and Racial Discrimination through the Lexington Books imprint of Rowman & Littlefield.

Arudou has published twice in Fodor's Japan Travel Guide, in 2012 (Hokkaido Chapter) and 2014 (Hokkaido and Tohoku Chapters). He has also published academic papers in The Asia-Pacific Journal: Japan Focus and other peer-reviewed journals in the interdisciplinary field of Asia-Pacific Studies, and has contributed chapters to academic books published by Akashi Shoten (Tokyo) and Springer.

title: Debito Arudou


text:
Laryngitis

Laryngitis is inflammation of the larynx (voice box). Symptoms often include a hoarse voice and may include fever, cough, pain in the front of the neck, and trouble swallowing. Typically, these last under two weeks.

Laryngitis is categorised as acute if it lasts less than three weeks and chronic if symptoms last more than three weeks. Acute cases usually occur as part of a viral upper respiratory tract infection, other infections and trauma such as from coughing are other causes. Chronic cases may occur due to smoking, tuberculosis, allergies, acid reflux, rheumatoid arthritis, or sarcoidosis. The underlying mechanism involves irritation of the vocal cords.

Concerning signs that may require further investigation include stridor, history of radiation therapy to the neck, trouble swallowing, duration of more than three weeks, and a history of smoking. If concerning signs are present the vocal cords should be examined via laryngoscopy. Other conditions that can produce similar symptoms include epiglottitis, croup, inhaling a foreign body, and laryngeal cancer.

The acute form generally resolves without specific treatment. Resting the voice and sufficient fluids may help. Antibiotics generally do not appear to be useful in the acute form. The acute form is common while the chronic form is not. The chronic form occurs most often in middle age and is more common in men than women.

Signs and symptoms
The primary symptom of laryngitis is a hoarse voice. Because laryngitis can have various causes, other signs and symptoms may vary. They can include
 * Dry or sore throat
 * Coughing (both a causal factor and a symptom of laryngitis)
 * Frequent throat clearing
 * Increased saliva production
 * Dysphagia (difficulty swallowing)
 * Sensation of swelling in the area of the larynx (discomfort in the front of the neck)
 * Globus pharyngeus (feeling like there is a lump in the throat)
 * Cold or flu-like symptoms (which, like a cough, may also be a causal factor for laryngitis)
 * Swollen lymph nodes in the throat, chest, or face
 * Fever
 * General muscle pain (myalgia)
 * Shortness of breath, predominantly in children

Voice quality
Aside from a hoarse-sounding voice, changes to pitch and volume may occur with laryngitis. Speakers may experience a lower or higher pitch than normal, depending on whether their vocal folds are swollen or stiff. They may also have breathier voices, as more air flows through the space between the vocal folds (the glottis), quieter volume and a reduced range.

Causes
Laryngitis can be infectious as well as noninfectious in origin. The resulting inflammation of the vocal folds results in a distortion of the sound produced there. It normally develops in response to either an infection, trauma to the vocal folds, or allergies. Chronic laryngitis may also be caused by more severe problems, such as nerve damage, sores, polyps, or hard and thick lumps (nodules) on the vocal cords.

Viral

 * Most acute cases of laryngitis are caused by viral infections, the most common of which tend to be rhinovirus, influenza virus, parainfluenza virus, adenovirus, coronavirus, and RSV. In patients who have a compromised immune system, other viruses such as herpes and HIV may also be potential causes.

Bacterial

 * This is another major cause of acute laryngitis, and may develop in conjunction with or due to a viral infection. Common bacterial strains are group A streptococcus, Streptococcus pneumoniae, C. diphtheriae, M. catarrhalis, Haemophilus influenzae, Bordetella pertussis, Bacillus anthracis, and M. tuberculosis. In developing countries, more unusual bacterial causes may occur, such as mycobacterial and syphilitic, though these may occur in developed nations as well.

Fungal

 * Laryngitis caused by fungal infection is common but not frequently diagnosed according to a review by BMJ and can account for up to 10% of acute laryngitis cases. Patients with both functioning and impaired immune systems can develop fungal laryngitis, which may develop as a result of recent antibiotic or inhaled corticosteroids use. Certain strains of fungi that may cause laryngitis include; Histoplasma, Blastomyces, Candida (especially in immunocompromised persons), and Cryptococcus and Coccidioides.

Trauma

 * Often due to excessive use of the vocal folds such as excessive yelling, screaming, or singing. Though this often results in damage to the outer layers of the vocal folds, the subsequent healing may lead to changes in the physiology of the folds. Another potential cause of inflammation may be overuse of the vocal cords.    Laryngeal trauma, including iatrogenic (caused by endotracheal intubation), can also result in inflammation of the vocal cords.

Allergies

 * Findings are unclear as to whether asthma may cause symptoms commonly associated with laryngitis. Some researchers have posited that allergic causes of laryngitis are often misdiagnosed as being the result of acid reflux.

Reflux

 * One possible explanation of chronic laryngitis is that inflammation is caused by gastro-oesophageal reflux, which causes subsequent irritation of the vocal folds.

Autoimmune disorders

 * Approximately between 30 and 75% of persons with rheumatoid arthritis report symptoms of laryngitis.
 * Symptoms of laryngitis are present in only 0.5–5% of people that have sarcoidosis. According to a meta-analysis by Silva et al. (2007), this disease is often an uncommon cause of laryngeal symptoms and is frequently misdiagnosed as another voice disorder.

Diagnosis
Diagnosis of different forms of acute laryngitis
 * Laryngitis following trauma: This form of laryngitis is usually identified by obtaining a case history providing information on previous phono traumatic experiences, internal trauma caused by recent procedures as well as any previous neck injuries.
 * Acute viral laryngitis: This form of laryngitis is characterized by lower vocal pitch as well as hoarseness. The symptoms in this form of laryngitis are usually present for less than one week, however they can persist for 3–4 weeks. This form of laryngitis might also be accompanied by upper respiratory tract symptoms such as: sore throat, odynophagia, rhinorrhea, dyspnea, postnasal discharge, and congestion.
 * Fungal laryngitis: A biopsy and culture of abnormal lesion may help confirm fungal laryngitis.

Visual diagnosis
The larynx itself will often show erythema (reddening) and edema (swelling). This can be seen with laryngoscopy or stroboscopy (method depends on the type of laryngitis). Stroboscopy may be relatively normal or may reveal asymmetry, aperiodicity, and reduced mucosal wave patterns.

Other features of the laryngeal tissues may include
 * Redness of the laryngeal tissues (acute)
 * Dilated blood vessels (acute)
 * Thick, yet dry laryngal tissue (chronic)
 * Stiff vocal folds
 * Sticky secretions between the vocal folds and nearby structures (the interarytenoid region)

Referral
Some signs and symptoms indicate the need for early referral. These include
 * Difficulty swallowing
 * Vocal stridor
 * Ear pain
 * Recent weight loss
 * History of smoking
 * Current or recent radiotherapy treatment (in the neck region)
 * Recent neck surgery or surgery involving endotracheal tubing
 * Person is a professional voice user (teacher, singer, actor, call center worker, and so on)

Differential diagnosis

 * Acute epiglottitis: This is more likely in those with stridor, drooling, and painful or trouble swallowing.
 * Spasmodic dysphonia
 * Reflux laryngitis
 * Chronic allergic laryngitis
 * Neoplasm
 * Croup: This presents with a barking cough, hoarseness of voice, and inspiratory stridor.

Treatment
Treatment is often supportive in nature, and depends on the severity and type of laryngitis (acute or chronic). General measures to relieve symptoms of laryngitis include behaviour modification, hydration and humidification.

Vocal hygiene (care of the voice) is very important to relieve symptoms of laryngitis. Vocal hygiene involves measures such as: resting the voice, drinking sufficient water, reducing caffeine and alcohol intake, stopping smoking and limiting throat clearing.

Acute laryngitis
In general, acute laryngitis treatment involves vocal hygiene, painkillers (analgesics), humidification, and antibiotics.

Viral
The suggested treatment for viral laryngitis involves vocal rest, pain medication, and mucolytics for frequent coughing. Home remedies such as tea and honey may also be helpful. Antibiotics are not used for treatment of viral laryngitis.

Bacterial
Antibiotics may be prescribed for bacterial laryngitis, especially when symptoms of upper respiratory infection are present. However, the use of antibiotics is highly debated for acute laryngitis. This relates to issues of effectiveness, side effects, cost, and possibility of antibiotic resistance patterns. Overall, antibiotics do not appear to be very effective in the treatment of acute laryngitis.

In severe cases of bacterial laryngitis, such as supraglottitis or epiglottitis, there is a higher risk of the airway becoming blocked. An urgent referral should be made to manage the airway. Treatment may involve humidification, corticosteroids, intravenous antibiotics, and nebulised adrenaline.

Fungal
Fungal laryngitis can be treated with oral antifungal tablets and antifungal solutions. These are typically used for up to three weeks and treatment may need to be repeated if the fungal infection returns.

Trauma
Laryngitis caused by excessive use or misuse of the voice can be managed through vocal hygiene measures.

Reflux
Laryngopharyngeal reflux treatment primarily involves behavioural management and medication. Behavioural management involves aspects such as Anti-reflux medications may be prescribed for patients with signs of chronic laryngitis and hoarse voice. If anti-reflux treatment does not result in a decrease of symptoms, other possible causes should be examined. Over-the-counter medications for neutralizing acids (antacids) and acid suppressants (H-2 blockers) may be used. Antacids are often short-acting and may not be sufficient for treatment. Proton pump inhibitors are an effective type of medication. These should only be prescribed for a set period of time, after which the symptoms should be reviewed. Proton pump inhibitors do not work for everyone. A physical reflux barrier (e.g. Gaviscon Liquid) may be more appropriate for some. Antisecretory medications can have several side-effects.
 * Wearing loose clothing
 * Eating smaller, more frequent meals
 * Avoiding certain foods (e.g. caffeine, alcohol, spicy foods)

When appropriate, anti-reflux surgery may benefit some individuals.

Inflammatory
When treating allergic laryngitis, topical nasal steroids and immunotherapy have been found to be effective for allergic rhinitis. Antihistamines may also be helpful, but can create a dryness in the larynx. Inhaled steroids that are used for a long period can lead to problems with the larynx and voice.

Autoimmune
Mucous membrane pemphigoid may be managed with medication (cyclophosphamide and prednisolone).

Granulomatous
Sarcoidosis is typically treated with systemic corticosteroids. Less frequently used treatments include intralesional injections or laser resection.

Acute
Acute laryngitis may persist, but will typically resolve on its own within two weeks. Recovery is likely to be quick if the patient follows the treatment plan. In viral laryngitis, symptoms can persist for an extended period, even when upper respiratory tract inflammation has been resolved.

Chronic
Laryngitis that continues for more than three weeks is considered chronic. If laryngeal symptoms last for more than three weeks, a referral should be made for further examination, including direct laryngoscopy. The prognosis for chronic laryngitis varies depending on the cause of the laryngitis.

title: Laryngitis