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Sherman Austin

Sherman Martin Austin (born April 10, 1983) is an American anarchist and musician who was arrested for inflammatory content on his website and subsequently convicted. He was the first person to be successfully prosecuted under 18 U.S.C. 842(p), a United States federal law which makes the distribution of information on explosives unlawful if the information is provided with the knowledge or intent that the information will be used to commit a violent federal crime. Austin was convicted under a plea agreement in 2002 and served a one-year sentence in federal prison. Some academics and activists, including Zack de la Rocha of Rage Against the Machine, protested the prosecution of Austin.

Background
Prior to his arrest and imprisonment, Austin was webmaster of the Internet site RaisetheFist.com (subtitled "National Security is the Threat"), which provides a platform for discussion for anti-police activists, and provides suggestions on how to practice for possible armed combat with police.

On May 1, 2001, the FBI received information about a possible server intrusion and defacement of the Web site of the James Redford Institute for Transplant Awareness. The information contained on that Web site's home page had been deleted and replaced with politically militant rhetoric. In addition, the coding for this and a number of other defaced sites contained links to RaisetheFist.com, while responsibility was claimed by a group calling itself "UCAUN", which was Sherman Austin's personal online username for a number of IRC clients, including AIM Instant Messenger.

Conviction
On August 4, 2003, after entering a guilty plea under an agreement with the prosecutor, Austin was sentenced in U.S. District Court by Judge Stephen V. Wilson to 12 months in a federal jail, a $2000 fine, and three years probation, and as well as other restrictions. His time was served in a federal institution in Tucson, Arizona.

Austin has claimed that he never authored the explosives information, although he freely hosted it on his webserver. He says he took the plea deal because of the possibility of a 20-year sentence due to a "terrorism enhancement" clause in the USA Patriot Act.

Austin was not indicted for any alleged hacking crimes. However, he has acknowledged defacing the sites, saying it was necessary to get his message out.

Release
Austin was released one month early in July 2004 with 3 years of probation which prohibited him from having access to a computer or knowingly associating with individuals who "espouse violence for political change".

Following his release from prison, he released a hip-hop CD, Silence is Defeat.

In February 2006, Austin released a statement on Indymedia containing claims that the National Security Agency had installed illegal wiretaps before and during the investigation against him, and that the NSA, along with "other higher-ups in the government", arranged three separate attempts to assassinate him. Austin says that anonymous informants provided him with "some detail on who was serving the contracts, names, license plate numbers, etc", by anonymous informants, and that these informants also assured him that everything was being taken care of and he was being "looked out for".

Criticism of Austin's prosecution
Some have questioned whether Austin's trial was fair. Austin's supporters consider him a political prisoner. Since his arrest, Austin has become a cause célèbre on the internet, with many sites dedicated to freeing Austin. Zack de la Rocha, lead vocalist of the band Rage Against the Machine, came out in support of Austin, and other musicians and bands, including Far East Movement and Death to W, supported Austin as well by having a benefit show at the Ché Café in San Diego, CA.

Leslie Kendrick, arguing for the adoption of a standard for determining whether speech is "criminally instructive," has questioned whether Austin's sentence was fair given the available evidence. As she notes, the law protects both (a) speech that is intended to incite a violent crime, but is not actually likely to do so, and (b) speech that is likely to incite a violent crime, but is not actually intended to do so. The Department of Justice prosecutor recommended a sentence of four months in jail and four months in a halfway house, but the judge rejected that plea twice and ordered a twelve-month sentence in jail, saying the prosecution was not "taking this case seriously enough." Writing of Austin, Kendrick says, "Too little information is available to make a complete assessment either of Austin's intent or the likely use of his website by others.… Judge Wilson's difference of opinion with the Justice Department prosecutor (the very agency that had contributed to the drafting of the Feinstein Amendment) illustrates the degree of subjectivity involved in assessing the danger imposed by the activities of individuals like [him]."

Carnegie Mellon University professor David S. Touretzky posted a mirror of the Reclaim Guide on his Web site in reaction to the FBI raid on Austin, in order to prompt public debate. As Touretzky notes on his website, his own distribution of the material does not violate the statute because it is not performed with the intention or knowledge that the information be used to commit any illegal violent acts. On his website, Touretzky distances himself from Austin's politics, which he characterizes as "mindless," and suggests that the hacking evidence alone would be enough to arrest and charge Austin. But he is deeply troubled by the way the government handled the case:

"Did the amateurish bomb-making information, written by a minor, that Mr. Austin allowed to appear on his web site pose any significant threat to public safety? Did he personally intend to promote crimes of violence? Because he was coerced (with the threat of a possible 20 year 'terrorism enhancement') into signing a plea agreement, the government was spared the trouble of a public trial, and thus did not have to prove its case or enter its evidence against him into the public record. How then can we, the American people, judge whether our government acted reasonably in this matter?"

title: Sherman Austin


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Central Connecticut State University

Central Connecticut State University (Central Connecticut, CCSU, Central Connecticut State, or informally Central) is a public university in New Britain, Connecticut. Founded in 1849 as the State Normal School, CCSU is Connecticut's oldest publicly-funded university. It is made up of four schools: the Ammon College of Liberal Arts and Social Sciences; the School of Business; the School of Education and Professional Studies; and the School of Engineering, Science, and Technology. As of Spring 2022, the university was attended by 8,898 students: 7,054 undergraduate students and 1,844 graduate students. More than half of students live off campus and 96 percent are Connecticut residents. The school is part of the Connecticut State Colleges & Universities system (CSCU), which also oversees Eastern, Western, and Southern Connecticut State Universities.

History

Central Connecticut State University was founded in 1849 as the State Normal School to train teachers. It was the sixth normal school in the United States and is the oldest public university in Connecticut. It ran until 1867 when the school was temporarily closed due to opposition in the Connecticut General Assembly. Two years later, the Normal School resumed its services and continued to do so until the 1930s. In 1933, the Connecticut General Assembly created the Teachers College of Connecticut and the first bachelor's degrees were granted. In 1922, the campus moved to its current location on Stanley Street. In Fall 2023, the university unveiled its new logo.

The school was again renamed in 1959, becoming the Central Connecticut State College.

In 1983, the school transitioned from a college to a regional university and thus became Central Connecticut State University. Organizational governance changed in 2011 when the Connecticut Department of Higher Education was dissolved and replaced by the Office of Higher Education and the Connecticut Board of Regents for Higher Education.

Academics
There are over 400 full-time faculty, 83% of whom possess the terminal degree in their field. Another 501 part-time instructors also teach at the university.

Graduate programs are in all of the academic schools. These include programs in accountancy, education, literature, international studies, engineering technology, and information technology. A number of doctoral degrees are also offered.

Facilities
Facilities include 10 academic halls, the Student Center, the Burritt Library, and numerous laboratories. Computer labs are available throughout campus, the largest of which is located in Marcus White Hall. Dining facilities are located in Memorial Hall, Hilltop Dining Center, and the Student Center. Additional computers and laboratories are spread across all of the academic halls. Welte Hall, Maloney Hall, and the Student Center function as large gathering areas for events, music performances, and theater productions. Welte contains the main auditorium and Kaiser Hall houses the main gymnasium, and houses an Olympic-size pool. Fitness classes are freely available to students in Memorial Hall and fitness equipment is provided in four locations across campus through RECentral.

Administrative offices, including Admissions, the Registrar, and Financial Aid are located in Davidson Hall. New building projects have expanded liberal arts classroom space and made significant upgrades to all sports facilities.

Residence halls and commuters
Residence halls can accommodate up to 2,500 students in nine residence halls in two quads, which are split between the north and south ends of campus.

Recent projects
A new eight-story residence hall (Mid Campus Residence Hall) opened for occupancy in the Fall of 2015. The $82 million dorm features "suite" style rooms, in addition to a 2,000 square foot fitness facility, a kitchen on each floor, and a server kitchen and main lounge with a fireplace on the main floor. The Office of Residence Life is located on the first floor of the new facility.

During the past several years, the new $37-million Social Sciences Hall, 4,300-square-foot Bichum Engineering Laboratory, and 12,500-square-foot Campus Police Station opened. In 2011, the first floor of the Elihu Burritt Library was renovated to create a new common area with seating, couches, computers, and food vendors. Arute Field and its adjacent practice and baseball fields also underwent extensive construction and renovation from 2010 through the present, including new football, soccer, track, and practice field turf. New football, track, and soccer stadium seating were added, as well as construction on the Balf–Savin baseball field.

Athletics
The university's athletic teams are known as the Blue Devils. Their mascot was originally named Victor E, but was changed to Kizer in 2011 after unveiling a new logo. Central Connecticut State participates in NCAA at the Division I (Football Championship Subdivision football) level as a member of the Northeast Conference. The university fields 18 varsity sports, eight men's sports: baseball, basketball, cross country, football, golf, soccer, as well as indoor and outdoor track & field; and ten women's sports: basketball, cross country, golf, lacrosse, soccer, softball, swimming, indoor and outdoor track & field, and volleyball.

Athletes and coaches

 * Steve Addazio – college football coach
 * Al Bagnoli – college football coach
 * Ricky Bottalico – professional baseball player and sports journalist
 * Dave Campo – professional football coach
 * Joe Costello – professional football player
 * Ryan Costello – professional baseball player
 * Jake Dolegala – professional football player
 * Justise Hairston – professional football player
 * John Hirschbeck – Major League Baseball umpire
 * Skip Jutze – professional baseball player
 * Scott Pioli – NFL Executive; 3× PFWA Executive of the Year (2003, 2007, 2010)
 * Rich Ranglin – professional football player
 * Evan Scribner – professional baseball player
 * Mike Sherman – college and professional football coach
 * John Skladany – college football coach
 * Bob Zuffelato – professional basketball coach

Entertainers

 * William Berloni – animal behaviorist known for training of animals for stage, film, and television
 * Erin Brady – Miss Connecticut USA 2013, Miss USA 2013
 * Richard Grieco – actor, 21 Jump Street, Booker
 * Kenny Johnson – actor, The Shield, Sons of Anarchy
 * Jimmy "Jomboy" O'Brien – sports media personality and podcaster
 * Colleen Ward – Miss Connecticut 2015, contestant in 2015 Miss America pageant

Public servants

 * Ebenezer D. Bassett – first U.S. African-American ambassador (to Haiti), appointed by President Ulysses S. Grant in 1869
 * Miguel Cardona – Education Commissioner of Connecticut (2019-2021); United States Secretary of Education (2021-present)
 * Walter Eli Clark – last Governor of the District of Alaska and first Governor of the Alaska Territory, appointed by President William Howard Taft on May 18, 1909
 * Carmen E. Espinosa – Justice of Connecticut Supreme Court, 2013–2021
 * Joshua Hall – Connecticut State Representative
 * Bruce Hyer – Member of Canadian Parliament (2008–2015)
 * Michael J. Ingelido – WWII fighter pilot, Distinguished Service Cross recipient, Air Force Major General (1960s)
 * John Larson – Congressman (D-CT) (1999–present); former Connecticut Senate President
 * Frances P. Mainella – 16th Director (2001–2006) of National Park Service
 * Francis M. Mullen – head of U.S. Drug Enforcement Administration (1981–1985)
 * Maria L. Sanford – educator (1870), has statue in Capitol's National Statuary Hall Collection for the state of Minnesota; namesake of Liberty ship, launched in 1943, SS Maria Sanford
 * Erin Stewart – Mayor of New Britain (2013–present), youngest-serving female mayor in U.S.

Other

 * Justice Ofei Akrofi – Archbishop, Church of the Province of West Africa
 * Frederic Beecher Perkins – editor, librarian and writer
 * C.J. Stevens - Author of over 30 books
 * Theodore Stowell – president of Bryant University, 1878–1916
 * Eliza Talcott – missionary to Japan and founder of Kobe College

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

title: Central Connecticut State University


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User:JimD

Burning Well
http://www.burningwell.org/ seems to be a source for public domain images; photographs taken by people and donated to the public domain. This may be a wonderful source of images for Wikipedians to use.

Fleissner Grill
A Fleissner Grill or Grille du Colonel Fleissner is a term taken from the history of cryptography.

From http://babelfish.altavista.com|Babelfish:

 * The process of the perforated grid seems to be invented in XVIeme century by Jerome Cardan (1501 - 1576), doctor, mathematician, astronomer and Italian philosopher of the Renaissance. Universal scientist, Cardan is known in particular for the formula of resolution of the cubic equations, and for l'invention of the mechanism intended to make the compasses independent of the movements of the ship. By using an especially perforated grid, l expeditor writes on a sheet the letters or the words of his message. By withdrawing the grid, it then supplements the holes by letters taken randomly to make this message incomprehensible. The recipient n'avait more qu'à to apply the same grid to reveal the message. L'applet opposite illustrates the operation of this very simple process. It is seen immediately that l'un disadvantages of this process is to produce cryptograms d'une size quite higher than the message in light. Austrian colonel Fleissner improved this process by using a grid of 36 boxes (6 lines, 6 columns) and bored new holes. As for the process above, he writes in the holes the letters of the message. Once the grid filled, it did it touner d'un quarter of turn and filled the empty boxes again. Once that the grid made a full rotation the 36 boxes is filled. Compared to the preceding technique, the process of Fleissner has at least an advantage: the coded message (cryptogram) has the same size as the message in light. L'applet below shows l application of this process. If the text to quantify n'est not long enough, the grid is supplemented by letters chosen by chance.

 * The grid of colonel Fleissner can be varied with l'infini. There exists, for example alternatives with 64 or 100 boxes of which 1/4 of the boxes are cut out. These holes must of course be practised in such a way that when the grid made a quarter of turn, no hole is found on an already occupied site. The number of boxes of the grid must be the same one as that of the letters of the message (one can if this n'est not the case to supplement it with letters taken randomly, or to re-use the same grid several times).

Links

 * http://lwh.free.fr/pages/algo/crypto/fleissner.htm
 * List of cryptography topics
 * Transposition cipher

Swan Song
Shocked to find that we didn't have this idiom and that the phrase was redirected to Swan Song Records. Added to and replaced the redirect. idiom: swan song http://www.wordorigins.org/wordors.htm#Swan

Ahh, I see that's been taken care of, years ago. Yay!

Country Pages
I've been adding links from country entries to the CIA World Factbook (where most of the basic and initial data for most of these entries came from) and to LoC Portals into the World (Library of Congress). I only add them if not such reference exists in "References" or "External Links" (otherwise I verify and/or modify the existing reference to point to the correct page(s) thereunder). I position these under any "Official" (national government maintained) links. I'd eventually like to see all of these pages include links to at least three external sites:

 * Government maintained, national web sites (possibly including those by any ministry or bureau of tourism)
 * CIA World Factbook
 * Portals of the World

I'd also like to see standard references (perhaps in the first paragraph) to the ISO country codes and Internet DNS TLD (top level domain) notes (if any discrepancies exist).

I'd also like to add references to WikiTravel where possible

XML DTDs?
Reading these entries makes me think about the possibility of an XML DTD (document type definition) as a standard format for these. This naturally leads to the broader notion of a whole hierarchy of Encylopedic DTDs --- one overall DTD for "Article" or "Entry" and then different variants (descendents in a class hierarchy?) for countries, personages, historical events, etc.

Fortune Module?
I'd also love to see something like a fortunes data file generator that used the Wikipedia content.
 * That would be O-SO-TOTALLY-WAY-COOL. I found out about the fortune command from a computer game called NetHack.

Calendar?
Another thing I'd like to see is a calendar of holidays, lunar cycles, etc. I sort of wonder if we could just use the elisp code for emac's calendar mode, perhaps running under REP (run-time elisp package: provided by librep on UNIX/Linux systems). When I want to find out about upcoming holidays I just fire up emacs or xemacs and issue M-x calendar-mode, M-x show-holidays

Misc
I've also been correcting minor typos (of course) and just did a reformat as requested in the "discussion" page for Plato's Meno article.

When I monitor recent changes and find empty or wanted pages I like to do a Google search and put in something coherent and useful. Consider me to be a bit of a janitor.

My website is at: http://www.starshine.org/ and my own Wiki (MoinMoin) pages are at Sysadmoin (since they focus primarily on systems administration topics, especially for Linux). I'm most well known as The Answer Guy for the Linux Gazette.

Oneida -- redirect to Oneida, New York; reference the latter in Oneida Community

Clare Boothe Luce
(b. 1903 in New York City d. 1987 nee Anne Clare Boothe) Writer for Vogue and later editor of Vanity Fair magazine. Republican member of the House of Representatives for Connecticut (1943 - 1947). Wife to prominent publisher Henry Luce. Contemporary of Dorothy Parker. Playwright. Ambassador to Brazil in 1959 and Italy from 1953 to 1956. She was also a noted feminist.

=Notable Quotes=

 * No woman has ever so comforted the distressed or distressed the comfortable. (Regarding Eleanor Roosevelt).

 * There are no hopeless situations; there are only men who have grown helpless about them.

=External Links=
 * http://www.cblpolicyinstitute.org/clarebio.htm
 * http://www.bodysoulandspirit.net/mystical_experiences/read/notables/luce.shtml
 * http://memory.loc.gov/ammem/ndlpedu/features/timeline/postwar/election/jfklettr.html (Letter from John F. Kennedy)
 * http://www.loc.gov/exhibits/wcf/wcf0010.html (Several pictures)
 * http://www.fotopalmas.com/home.htm?http://www.fotopalmas.com/_indici/Boothe_Brokaw_Luce_Claire.htm

title: User:JimD


text:
Jacques Rivette

Jacques Rivette (1 March 1928 – 29 January 2016) was a French film director and film critic most commonly associated with the French New Wave and the film magazine Cahiers du Cinéma. He made twenty-nine films, including L'Amour fou (1969), Out 1 (1971), Celine and Julie Go Boating (1974), and La Belle Noiseuse (1991). His work is noted for its improvisation, loose narratives, and lengthy running times.

Inspired by Jean Cocteau to become a filmmaker, Rivette shot his first short film at age twenty. He moved to Paris to pursue his career, frequenting Henri Langlois' Cinémathèque Française and other ciné-clubs; there, he met François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol and other future members of the New Wave. Rivette began writing film criticism, and was hired by André Bazin for Cahiers du Cinéma in 1953. In his criticism, he expressed an admiration for American films – especially those of genre directors such as John Ford, Alfred Hitchcock and Nicholas Ray – and was deeply critical of mainstream French cinema. Rivette's articles, admired by his peers, were considered the magazine's best and most aggressive writings, particularly his 1961 article "On Abjection" and his influential series of interviews with film directors co-written with Truffaut. He continued making short films, including Le Coup de Berger, which is often cited as the first New Wave film. Truffaut later credited Rivette with developing the movement.

Although he was the first New Wave director to begin work on a feature film, Paris Belongs to Us was not released until 1961, by which time Chabrol, Truffaut and Godard released their own first features and popularised the movement worldwide. Rivette became editor of Cahiers du Cinéma during the early 1960s and publicly fought French censorship of his second feature film, The Nun (1966). He then re-evaluated his career, developing a unique cinematic style with L'amour fou. Influenced by the political turmoil of May 68, improvisational theatre and an in-depth interview with filmmaker Jean Renoir, Rivette began working with large groups of actors on character development and allowing events to unfold on camera. This technique led to the thirteen-hour Out 1 which, although rarely screened, is considered a Holy Grail of cinephiles. His films of the 1970s, such as Celine and Julie Go Boating, often incorporated fantasy and were better-regarded. After attempting to make four consecutive films, however, Rivette had a nervous breakdown and his career slowed for several years.

During the early 1980s, he began a business partnership with producer Martine Marignac, who produced all his subsequent films. Rivette's output increased from then on, and his film La Belle Noiseuse received international praise. He retired after completing Around a Small Mountain (2009), and it was revealed three years later that he had Alzheimer's disease. Very private about his personal life, Rivette was briefly married to photographer and screenwriter Marilù Parolini during the early 1960s and later married Véronique Manniez.

1928–1950: Early life and move to Paris
Jacques Pierre Louis Rivette was born in Rouen, Seine-Maritime, France, to André Rivette and Andrée Amiard, into a family "where everyone is a pharmacist". According to childhood friend André Ruellan, Rivette's father was a skilled painter who loved opera. His younger sister said that their home in Rouen was next to a cinema theatre, where she remembered watching Pathé Baby's Felix le Chat cartoons with Rivette and their grandparents. Rivette, educated at the Lycée Pierre-Corneille, said that he briefly studied literature at the university "just to keep myself occupied". Inspired by Jean Cocteau's book about the filming of Beauty and the Beast (1946), Rivette decided to pursue filmmaking and began frequenting ciné-clubs. In 1948, he shot his first short film, Aux Quatre Coins, in Rouen's Côte Sainte-Catherine section. The following year, he moved to Paris with friend, Francis Bouchet, because "if you wanted to make films it was the only way". On the day of his arrival, he met future collaborator Jean Gruault, who invited him to see Les dames du Bois de Boulogne (1945) at the Ciné-Club du Quartier Latin. Éric Rohmer, whose film criticism Rivette admired, gave a talk at the screening.

Although Rivette submitted his film to the Institut des Hautes Études Cinématographiques because it "was the kind of thing that would have pleased my parents", he was not accepted by the school. He took courses at the Sorbonne, but began frequenting screenings at Henri Langlois's Cinémathèque Française with Bouchet instead of attending classes. At the Cinémathèque, Rivette, Claude Chabrol, Jean-Luc Godard, François Truffaut, Suzanne Schiffman, Gruault and Bouchet were immersed in films from the silent and early "talkie" eras that they were previously unfamiliar with. He and this group of young cinephiles became acquainted as they customarily sat in the Cinématographique's front row for screenings; Rivette met Truffaut at a screening of The Rules of the Game (1939), and often sat next to Godard for several months without ever speaking to him before the latter introduced himself. Rivette was active in post-screening debates, and Rohmer said that, in film-quiz competitions at the Studio Parnasse he was "unbeatable". Rivette credited Langlois's screenings and lectures for helping him persevere during his early impoverishment in Paris: "A word from you saved me and opened the doors of the temple". Unlike his contemporaries, Rivette attended screenings at the Cinémathèque well into the 1970s.

He and his friends also attended screenings at the Ciné-Club du Quartier Latin, which was run by Rohmer. Although Rivette began to write film criticism in 1950 for the Gazette du Cinéma, founded by Rohmer with Bouchet as his assistant, the magazine ceased publication after five issues; Rivette said that being a critic was never his aim, but called it "a good exercise". That year he made his second short film, Le Quadrille, produced by and starring Godard, who raised the money by stealing and selling his grandfather's collection of rare Paul Valéry first editions. Rivette described Le Quadrille as a film in which "absolutely nothing happens. It's just four people sitting around a table, looking at each other." According to film critic Tom Milne, it had "a certain hypnotic, obsessional quality as, for 40 minutes, it attempted to show what happens when nothing happens". When the film was screened at the Ciné-Club du Quartier Latin, Rivette recalled, "After ten minutes, people started to leave, and at the end, the only ones who stayed were Jean-Luc and a girl." Later calling it Lettrist, he said that Isidore Isou, the founder of Lettrism, considered the film "ingenious".

1950–1956: Film criticism and Le Coup du berger
After casual acquaintanceship and collaboration, Rivette and his fellow cinephiles became close friends in September 1950 at the Festival Indépendant du Film Maudit (Independent Festival of Accursed Film), a film festival in Biarritz produced by film critics Jacques Doniol-Valcroze, André Bazin and members of Objectif 49 (a group of avant-garde artists). Rivette, Godard, Truffaut and future cinematographer Charles Bitsch, arriving at the gala event in casual dress, were refused entrance by the doorman until Cocteau allowed them to enter. Openly antagonistic to members of Objectif 49, they loudly criticised the festival. The evening cemented the group's friendship, earning them a reputation of bohemian "young Turks" and troublemakers. Chabrol, Grualult, Rohmer, and Jean Douchet also attended and roomed together at the Biarritz Lycée dormitory for the festival. Rivette criticised the festival in the November issue of Gazette du cinéma, calling Objectif 49 arrogant and claiming a victory over them. He was quickly considered the leader of the group, whom Bazin called the "Hitchcocko-Hawksians." Rivette and his new friends bonded by spending whole days watching repeated screenings of a film and walking home together talking about what they had seen.

In 1951, Bazin founded a film magazine, Cahiers du Cinéma, and hired most of the "Hitchcocko–Hawksians"; Rivette began writing for the magazine in February 1953. Rivette championed Hollywood directors such as Howard Hawks and Fritz Lang and international directors such as Roberto Rossellini and Kenji Mizoguchi. He was highly critical of established qualité française directors, writing that they were afraid to take risks and were corrupted by money. According to Cahiers writer Fereydoun Hoveyda, early contributors to the magazine were politically right-wing except for Pierre Kast and Rivette. In early 1954, Rivette and Truffaut (nicknamed "Truffette and Rivaut") began a series of interviews with film directors whom they admired. The interviews, influential on film criticism, were recorded on a Grundig portable tape recorder weighing over 9 lb which was never used by journalists. Although most entertainment reporting was limited to sound bites or anecdotes from film actors, Rivette and Truffaut became acquainted with the directors they interviewed and published their in-depth interviews verbatim. From 1954 to 1957, Cahiers du Cinéma published a series of interviews with noted film directors including Jacques Becker, Abel Gance, Hawks, Alfred Hitchcock, Fritz Lang, Jean Renoir, Roberto Rossellini and Orson Welles.

While he wrote criticism, Rivette continued his filmmaking career; during the summer of 1952, he made his third short film, Le Divertissement. Charles Bitsch called it "a Rohmer-esque Marivaudage between young men and women." Rivette, an assistant to Jacques Becker and Jean Renoir, was a cinematographer on Truffaut's short film Une Visite (1954) and Rohmer's short Bérénice (1954). Eager to make a feature film, he talked about elaborate adaptions of works by André Gide, Raymond Radiguet and Ernst Jünger. With financial support from Chabrol and producer Pierre Braunberger, Rivette made the 35mm short film Le Coup du Berger (1956). Written by Rivette, Chabrol and Bitsch, the film is about a young girl who receives a mink coat from her lover and must hide it from her husband; spoken commentary by Rivette describes the action like moves in a chess game. Jacques Doniol-Valcroze and Jean-Claude Brialy appeared in the film, with Godard, Truffaut, Bitsch and Robert Lachenay as extras. Shot in two weeks in Chabrol's apartment, the budget went entirely to purchasing film stock. It was distributed by Braunberger in 1957. Truffaut called Le Coup du berger the inspiration for him, Chabrol, Alain Resnais and Georges Franju to make their first films: "It had begun. And it had begun thanks to Jacques Rivette. Of all of us, he was the most fiercely determined to move." Rohmer praised the film's mise-en-scene and wrote that it had "more truth and good cinema than in all the other French films released in the past year."

1957–1961: Paris Belongs to Us and the French New Wave

In 1957, Italian neorealist director Roberto Rossellini announced that he wanted to produce a series of films about life in France. Several members of the French New Wave submitted scripts that would become their first films, including Chabrol's Le Beau Serge (1958), Rohmer's Sign of Leo (1959) and Truffaut's The 400 Blows (1959). Rivette was eager to make a film with Rossellini's help and met him along with co-writer Gruault to discuss the Cité Universitaire as a "melting pot of cultures and ideas" in Paris. Rossellini suggested that they research the project; shortly afterwards, they received ₣100,000 for their script, entitled La Cité, but Rossellini abandoned the project and went to India to make a film of his own.

Rivette and Gruault revised their story based on Rossellini's critique, and wrote Paris Belongs to Us. Its title is a play on Charles Péguy's quote, "Paris belongs to no one." With borrowed equipment, a loan of ₣80,000 from Cahiers du Cinéma and short film-reel ends provided by Chabrol, the silent film was shot in the summer of 1958 and sound was added the following year. Among Rivette's filming locations were the roof of the Théâtre Sarah-Bernhardt, the Rue des Cannettes, the Place Sorbonne and the Arts bridge. He struggled to finish the film and find distributors.

In Paris Belongs to Us, Anne (Betty Schneider), a young Parisian student rehearsing for a production of Shakespeare's Pericles, deals with the sudden death of the play's composer, a missing tape recording of its musical score, a secret society seeking world domination, an eccentric, paranoid American journalist, the suicide of the play's producer and the mysterious death of her brother. Chabrol, Godard, Jacques Demy and Rivette appear in minor roles.

Le Beau Serge and The 400 Blows were successful, and at the 1959 Cannes Film Festival, Truffaut and Chabrol used their fame to promote Paris Belongs to Us and help Rivette finish the film. According to Truffaut, who obtained funds for its completion, "The release of Paris nous appartient is a score for every member of the Cahiers du cinéma team". He helped Rivette premiere it at the Studio des Ursulines on 16 December 1961, followed by a run at the Agriculteurs cinema in Paris. Although reviews of the film were mixed, it was praised by L'Express. Pierre Marcabru of Combat said, "The connection between image and sound has never been so striking, evocative or necessary", and Jeander of Libération praised the film's depiction of "the moral and intellectual confusion of these young people who are repressed by their epoch for more than their elders". Rivette, who later said "It's the film of a sixteen-year-old child, but maybe its naïveté is where its strength lies", won the Sutherland Trophy for best first film from the British Film Institute.

Despite being the first of his friends to begin work on a feature, Chabrol, Truffaut and Godard had their feature-film debuts distributed before Rivette in what the French press called New Wave cinema. Rivette later compared the New Wave to impressionist painting; the availability of paint in tubes, which allowed artists to paint outdoors, was similar to technological advancements enabling filmmakers to shoot in the streets. Technical innovations such as faster film stock and the portable Nagra sound recorder became available after the director finished Paris Belongs to Us.

1962–1967: Editor of Cahiers du cinéma and The Nun controversy

After the financial failure of Paris Belongs to Us, Rivette unsuccessfully pitched a film adaptation of Denis Diderot's novel La Religieuse to producer Georges de Beauregard. Undaunted, Rivette and co-writer Gruault began writing the script. In 1962, Rivette suggested that Godard's wife, Anna Karina, would be perfect in the lead role. Godard agreed, but de Beauregard and producer Eric Schulmberger rejected the idea after a Commission de Controle (the French censorship board) review said that it would be banned.

Godard and Karina received funding from theatrical producer Antoine Bourseiller to produce a stage version of La Religieuse. Rivette directed and Godard produced the three-hour play, which opened at the Studio des Champs-Élysées on 6 February 1963 and closed on 5 March. Although the production was a financial failure, it received good reviews and Karina won several awards for her performance; Lotte Eisner called it "the most beautiful theatre I have seen since Bertolt Brecht". Rivette's staging, in the classical style of Marivaux, was intentionally simple. He and Gruault continued reworking the film script (which was finally passed by the censorship board), but Bourseiller could not afford to produce a film version, so the project was shelved.

After André Bazin's death in 1958, Rohmer became editor-in-chief of Cahiers du cinéma. By 1962, Rohmer was often at odds with his staff for not promoting New Wave filmmakers. After several financial failures, the directors wanted better publicity, with Cahiers an "instrument of combat" of the New Wave. Rohmer profiled New Wave filmmakers in the December 1962 issue before his June 1963 resignation, when Rivette became his successor. Rohmer later said that the pressure to leave Cahiers was the best thing that ever happened to him as a film director.

Under Rivette's leadership, Cahiers changed from a nonpolitical film magazine to a Marxist journal examining the relationship between politics and modern culture. Unlike Rohmer, Rivette allowed writers such as Michel Delahaye and Jean-Louis Comolli to publish articles gravitating towards politics and philosophy and not necessarily related to film. They wrote pieces on Martin Heidegger and Louis Althusser and interviewed non-filmmakers such as Roland Barthes and composer Pierre Boulez. Rivette and Delahaye's 1963 interview with Barthes is considered the turning point for Cahiers as a magazine analyzing film from a semiotic perspective. Rivette was an ambitious and financially irresponsible editor; shortly after an expensive, 250-page double issue on American films, Cahiers needed financial help. It was bought by teen-magazine owner Daniel Filipacchi, and its style became "splashier" and more youth-oriented. Rivette remained editor until April 1965, and was replaced by Jean-Louis Comolli and Jean Narboni. He contributed articles to the magazine until 1969.

Immediately after Rivette left Cahiers, Beauregard was ready to make The Nun (1966) and Rivette and Gruault again revised their script. Rivette called the script a record of the stage play, with a "highly written texture". On 31 August 1965, the censors told Beauregard that the film "run[s] the risk of being totally or partially cut". Beauregard ignored the warning, and Rivette began shooting in October. The film was controversial before its completion; members of the Catholic Church in France began a letter-writing campaign in opposition, and pressurised Paris police commissioner Maurice Papon and Minister of Information Alain Peyrefitte to take action. Both said they would ban it.

Rivette finished The Nun in 1966. Although it was approved twice by the censorship board in March, new Minister of Information Yvon Bourges overrode the approvals in April and banned the film. In response, Beauregard began a public campaign in its defense; many journalists, including Godard and Chabrol, wrote editorials demanding the film's release. A "Manifesto of the 1,789" in support was signed by Jacques Prévert, Raymond Queneau, Marguerite Duras and several major French book publishers, and many Catholic priests and nuns denounced the ban's effect on freedom of speech. Rivette told Le Figaro Magazine, "It was as though they had guillotined us", and in Rouen his father André vehemently defended the film against the city's efforts to ban it.

Godard wrote a lengthy editorial criticising Minister of Culture André Malraux. Shortly afterwards, Malraux publicly defended The Nun, allowing it to premiere at the 1966 Cannes Film Festival, where it was not subject to censorship. At Cannes the film was critically praised, and Beauregard later successfully sued the censorship board. French President Charles de Gaulle called the controversy "silly", and ordered newly appointed Minister of Information Georges Gorce to lift the ban. The Nun was finally released on 26 July 1967, with the publicity helping make it Rivette's only hit film to that point. Although it received many good reviews, Guy Daussois of Le Populaire said that it was "marked by a schematisation and over-simplicity that is rarely encountered, with absolutely no human depth".

The Nun starred Karina as Suzanne Simonin, as a young woman forced into a convent by her family, who is physically and psychologically tortured. She attempts to escape while dealing with her hateful mother, an empathetic mother superior, an indifferent attorney, a lesbian nun and a sympathetic-but-lustful monk. According to Rivette, "The shooting of La Religieuse was difficult ... I was troubled because we had done the piece before as a play with the sentiments, rehearsals, etc, and I realized when I shot the film that since the people were doing the same text, the same words, my mind was wandering and I was no longer listening to the words". Karina described Rivette's direction as hyperactive; he was constantly "darting in and out of all corners ... always looking at this or that detail."

After the controversy surrounding The Nun, Rivette made a series of documentaries on director Jean Renoir for the French television series Cinéastes de notre temps which aired in 1966 as Jean Renoir, le patron. Around this time, Rivette and Gruault worked on a script for The Taking of Power by Louis XIV; Rivette decided that he did not want to direct another costume drama, and Rossellini directed the film in 1966.

1968–1972: Political activism and cinematic style
In February 1968, Henri Langlois was ousted from the Cinémathèque Francaise by Malraux and Minister of Cultural Affairs Pierre Moinot; a government-appointed board of directors assumed control, and Rivette and his old friends reunited to fight for Langlois' reinstatement. With the Cahiers du Cinéma office as their headquarters, current and former staff members, including Rivette, Truffaut, Godard, Rohmer and Chabrol, began mass letter-writing and telephone campaigns to recruit support. Within days, filmmakers from around the world announced that they would halt screenings of their films unless Langlois was reinstated. Journalists from Le Monde and Combat expressed support, and on 12 February several hundred members of the film industry protested outside the Cinémathèque. Two days later, a protest by over 3,000 people was met by club-wielding police. Rivette spoke at a press conference and led a charge past one of the police barricades, briefly entering the Cinémathèque with Anne Wiazemsky. In March 1968, Rivette was appointed to an advisory committee, and the following month Langlois was reinstated in the Cinémathèque.

The protests led to the creation of the Etats généraux du cinéma Francais, a committee of film-industry workers who wanted more freedom to make films and less control by the Centre national de la cinématographie. At a May meeting attended by Rivette, the committee called for a strike by film-industry workers and a shutdown of the 1968 Cannes Film Festival in solidarity. Rivette called Truffaut at Cannes with the news, and Truffaut, Godard and other directors stopped the festival. In Paris, the Etats généraux du cinéma Francais organised mass street protests as part of the May 68 protest movement.

Rivette's next film was L'amour fou (1969). Frustrated by filmmaking convention, he wanted to create an improvisational atmosphere. Rivette dispensed with a script, shot list and specific direction, experimenting with scenarios and groups of actors. On a limited budget, he shot the film in five weeks. After seeing performances by director Marc'O's experimental-improvisational theatre group, Rivette cast Marc'O actors Jean-Pierre Kalfon and Bulle Ogier as the leads; other Marc'O performers appeared in supporting roles. According to the director, he cast Kalfon because of his dissimilarity to Rivette since he was self-conscious about the character's autobiographical aspects.

The film has several layers, including a theatrical group rehearsing a production of Jean Racine's Andromaque; a TV documentary crew filming the making of the play in 16mm, and a backstage story about the relationship between the stage director (Kalfon) and his wife and lead actress (Ogier). The film ends with an hour-long argument between Kalfon and Ogier, during which they destroy their apartment and its contents. Kalfon was allowed to direct the stage play during filming. Rivette cast André S. Labarthe as the director of the TV crew after working with him on Cinéastes de notre temps, allowing him to direct the 16mm footage. Rivette and cinematographer Alain Levent then filmed the stage performers and TV crew in 35mm from a distance without intervening. The film was entirely improvised, including the scene in which Kalfon and Ogier destroy their apartment (which had to be done in a single take for budgetary reasons). Released in 1969, the 252-minute film received positive reviews. L'amour fou gave Rivette his second Sutherland Trophy from the British Film Institute.

The director found his cinematic style during the making of this film. According to Rivette, "With improvisation, you automatically listen" and an author is an "analyst, a person who must listen to what the people say—all words are important. You must listen to all and not have any preconceived ideas as a director". Invigorated by his new filmmaking technique, Rivette invited over forty actors (including Jean-Pierre Leaud, Juliet Berto, Michael Lonsdale and Bulle Ogier) to each develop a character for a new film without a plot or interaction with each other. He then developed the basic structure for what would become Out 1 (1971). From April to June 1970, Rivette shot over 30 hours of 16mm footage as his cast improvised a story involving conspiracy theories and theatrical rehearsals.

Out 1 starred Jean-Pierre Leaud as Colin, a Parisian con artist who pretends to be a deaf-mute and begins receiving anonymous messages referring to Lewis Carroll's The Hunting of the Snark and Honoré de Balzac's Histoire des Treize (The Thirteen). Colin becomes obsessed with the messages, and begins to believe that a Utopian secret society like the one in Balzac's short story is contacting him. He is led to a boutique and meets Frederique (Juliet Berto), a young thief. Colin and Frederique use stolen letters to track down what they believe is the secret group, Thirteen, at a house where two groups of actors are rehearsing productions of Aeschylus's Prometheus Bound and Seven Against Thebes.

Out 1 was shown only once in its 760-minute original version at the Maison de la Culture in Le Havre, on 9–10 September 1971. Over 300 people attended the weekend-long premiere, and Martin Even of Le Monde called it a "voyage beyond cinema" because most of the audience had traveled from Paris to see it. Originally intended as a 12-part television broadcast, the Office de Radiodiffusion-Television Francaise refused to purchase it. With help from Suzanne Schiffman, Rivette spent over a year editing a 260-minute version entitled Out 1: Spectre and released in 1974. Out 1 was highly praised, and become a cult film. Because it was notoriously difficult to see in its entirety, and critics Jonathan Rosenbaum and Dennis Lim have called the film a "Holy Grail" for cinephiles. The first revival screening of the original version was at the Rotterdam Film Festival in February 1989. It was finally shown on French TV during the early 1990s and was first shown in the US at the Museum of the Moving Image in December 2006 to a sold-out audience.

1973–1982: Fantasy films and nervous breakdown

During the summer of 1973, Rivette attempted to make Phénix, a film about the early-1900s Paris theatrical world which would have starred Jeanne Moreau. Due to budgetary constraints, he was forced to abandon the project. Rivette then made his most critically acclaimed film, Céline and Julie Go Boating (1974). "Aller en bateau" ("go boating") is French slang for "caught up in fiction" or "taken for a ride". Rivette met with friends, actresses Juliet Berto and Dominique Labourier, to develop two characters and created a plot and script with collaborator Eduardo de Gregorio. He later said that during this pre-production period, he "never had as much [fun]. I don’t believe I ever laughed as much". Unlike his previous two films, Rivette did not use improvisation during the filming and said that the plot was carefully constructed in advance.

Filled with references to Alice in Wonderland, Jean Cocteau and Marcel Proust, Céline and Julie Go Boating begins when Julie (Labourier), and Céline (Berto) meet by chance and become friends. They begin to visit a mysterious "House of Fiction" where the same melodrama (based on two short stories by Henry James) plays out every day, ending with the murder of a young girl by the enigmatic Sophie (Marie-France Pisier). Shot in five weeks during the summer of 1973, Céline and Julie Go Boating won the Special Jury Prize at the 1974 Locarno International Film Festival. It was produced by Barbet Schroeder and distributed by Les films du losange. Jonathan Rosenbaum praised it, writing that he knew "many women who consider Céline et Julie vont en bateau their favourite film about female friendship".

Rivette then conceived and obtained funding for a series of four films, Scènes de la vie parallèle. Each film would revolve around two female leads. Part one was to be a love story, part two a fantasy, part three an adventure and part four a musical comedy. According to Rivette, his intention for the film series was "to invent a new approach to film acting where speech, pared down to essential phrases, precise formulas, would play the role of poetic punctuation. Neither a return to silent cinema nor a pantomime, nor choreography: something else, where the movements of the bodies, their counterpoint and inscription in the space of the screen, will be the basis of [a] mise-en-scene." The tetralogy, reflecting the political situation in France, including the conservative backlash after May '68 and the election of Valéry Giscard d'Estaing, would be tied together by improvised musical scores. Rivette collaborated on the scenarios with de Gregorio and Parolini.

In Duelle (Une quarantaine) (1976), the Queen of the Night (Juliet Berto) battles the Queen of the Sun (Bulle Ogier) over a magic diamond which will allow the winner to remain in modern-day Paris. In Noroît (Une vengeance) (1976), the pirate Morag (Geraldine Chaplin) seeks revenge against the pirate Giulia (Bernadette Lafont) for killing her brother. Duelle was filmed in March and April 1975, and Noroît was shot at Brittany in May. De Gregorio saw Cyril Tourneur's The Revenger's Tragedy, and suggested it to Rivette. The script, written in 15th-century English, caused some difficulty for the actresses.

In August 1975, Rivette began filming part one of the series: Marie et Julien, a love story starring Albert Finney and Leslie Caron. After three days of shooting, Rivette broke down due to nervous exhaustion and production of the series was abandoned. Rivette later said that he "broke down physically.... I had overestimated my own strength." Although Marguerite Duras offered to finish the film, the actors refused to continue without Rivette. In 2003, he said that Marie et Julien was based on a true story of a woman who committed suicide. Rivette's musical-comedy fourth film would have starred Anna Karina and Jean Marais. Noroît premiered in London and was shown at the 1976 Cannes Film Festival, but was never distributed. It and Duelle received mediocre reviews, causing problems for Rivette with the series' producers. The director said that Susan Sontag enjoyed Noroît, and Jean Rouch recognised ancient African myths in its plot, where Rivette had included Celtic myths.

According to the director, it took over a year to recover from his breakdown. Producer Stéphane Tchalgadjieff had renegotiated the contract for the Scènes de la vie parallèle series to require only one more film, the intended first or fourth part. Rivette decided that he wanted to film both or neither and made an unrelated film, Merry-Go-Round (1981). Tchalgadjieff had told him that Maria Schneider wanted to make a film with him and actor Joe Dallesandro and Rivette agreed. Shot in 1978 but not completed until 1981, the film is a detective story about a missing sister and inheritance. Rivette relied on improvisation during its production, which he described after a few days as "going very badly". Although Schneider was also recovering from an illness and she and Rivette wanted to abandon the project, they were persuaded to continue by the cast and crew. Rivette said, "There were two people in poor health during filming, and there wasn’t any money at all". Over a year after filming was completed, he added footage of the film's composers, Barre Phillips and John Surman, in performance despite its lack of relation to the plot or characters. Merry-Go-Round, theatrically released in 1981, received mediocre reviews.

In 1980, Rivette decided to remake Out 1. Ogier, the only original-cast member available for the project, and her daughter Pascale Ogier worked with Rivette on the characters as the director had done a decade earlier. With co-screenwriter Suzanne Schiffman they made the 30-minute short film Paris s'en va (1980) as a sketch for the eventual feature Le Pont du Nord (1982), which was distributed in 1982. Le Pont du Nord starred Bulle and Pascale Ogier as two women who meet and investigate a strange Snakes and Ladders-like map of Paris and a mysterious man named Max. Rivette had difficulty finding financing, with the Centre national de la cinématographie refusing three times to fund the film. The director accommodated his tight budget by making Bulle Ogier's character claustrophobic, because he could not afford many interior scenes. According to Rivette biographer Mary Wiles, as Paris Belong to Us is a reflection of France during the 1950s and Out 1 the 1960s, Le Pont du Nord completes a trilogy by reflecting the social and political milieu of 1970s France.

1983–1991: Partnership with Marignac and increased recognition
Rivette's difficulties in securing financial backing for his films during the late 1970s led him to a business partnership with Pierre Grise Productions and producer Martine Marignac (1946–2022). The company was the chief distributor and financier for all his subsequent films. Their first film, Love on the Ground (1984), again concerned a theatrical group and the blurring of fiction and reality. Geraldine Chaplin and Jane Birkin star as members of a theatrical troupe who are invited to appear in a new play resembling the real life of its director (Kalfon) and the mysterious disappearance of his wife.

In a break from his experimental, complex style, Rivette next adapted Emily Brontë's Wuthering Heights. Based on the novel's first part and set in 1930s southern France, Hurlevent starred three unknown actors: Fabienne Babe as Catherine, Lucas Belvaux as Roch (Heathcliff) and Oliver Cruveiller as Catherine's brother, William. Hurlevent, Rivette's first film in years without his usual troupe of actors and technicians and modeled on Balthus' India ink illustrations, was released in 1985.

Rivette received critical acclaim for his 1988 film La Bande des quatre (Gang of Four), about four drama students whose lives playfully alternate from theatre to real life and make-believe. According to the director, who wanted to make a film about young people working on a play, "The work is always much more interesting to show than the result". The film received an honorable mention at the 39th Berlin International Film Festival.

He enjoyed working with the four young actresses in La Bande des quatre so much, that Rivette returned to the theatre. The actresses had performed a scene from Pierre Corneille's Suréna in La Bande des quatre, so Rivette, the actresses and additional performers rehearsed Corneille's Tite et Bérénice, Jean Racine's Bajazet and a play by Pierre de Marivaux (which was eventually dropped "because he was too hard"). After several weeks of rehearsals, the actresses were ready to perform the two plays, which ran at the Théâtre Gérard Philipe in Saint-Denis from 18 April to 20 May 1989. According to Rivette, Corneille's play was more interesting for the actresses; he was "very deep. He's an author I find very dense, so full of history, of thought".

Saul Austerlitz called La Bande des quatre success "Rivette’s second wind as a filmmaker"; it led to La Belle Noiseuse (The Beautiful Troublemaker) (1991), the most-acclaimed film of Rivette's later career. Loosely based on the Balzac short story "The Unknown Masterpiece", it depicts the relationship between reclusive, uninspired painter Frenhofer (Michel Piccoli), his wife and former model Liz (Birkin) and his new model, Marianne (Emmanuelle Béart). Marianne inspires Frenhofer to finish his long-abandoned magnum opus, La Belle Noiseuse, as Liz and Marianne's boyfriend become increasingly jealous. The four-hour film shows the painting's progress in real time, one brush stroke at a time, with hand close-ups by French abstract painter Bernard Dufour. According to Rivette, "We tried truly to make a film that did not talk about painting, but approached it". The film earned him the Grand Prix at the 1991 Cannes Film Festival and the Prix Méliès from the French Syndicate of Cinema Critics. It received five César Award nominations, including Best Picture and Best Director (Rivette's only nomination in that category). Shortly after its Cannes success, a two-hour version, La Belle Noiseuse: Divertimento, was theatrically released.

1992–2009: Later films and retirement
Rivette then made a two-part film about the life of Joan of Arc entitled Joan the Maiden: Joan the Maiden, Part 1: The Battles and Joan the Maiden, Part 2: The Prisons (1994). Rivette's film differed from well-known interpretations of Joan by Carl Theodor Dreyer and Robert Bresson, focusing on her popularity in France rather than her suffering and martyrdom. Loosely based on Rivette's memories of Charles Péguy's books on Joan, the film was partially shot in his hometown of Rouen. Joan the Maiden, starring Sandrine Bonnaire, was released in 1994.

With its large budget, the film was not a financial success. Because of this, Martine Marignac wanted to make a quick, inexpensive film; Rivette, short of ideas, began assembling a cast. He contacted Nathalie Richard, Marianne Denicourt and Laurence Côte, who gave him an idea for a film about 1920s New York City taxi dance halls; this led to Up, Down, Fragile (1995). Richard, Denicourt and Côte star as three women struggling to overcome personal obstacles, with musical numbers at a mysterious nightclub commenting on their lives. In the film, a nod to 1920s and 1930s Hollywood backstage musicals, Anna Karina appears as a nightclub singer whose songs refer to her previous films with Godard. Up, Down, Fragile was screened at the 19th Moscow International Film Festival.

Rivette's film policier, Top Secret (1998), featured Bonnaire as a young scientist whose brother (Grégoire Colin) convinces her that their father was killed by Walser (Jerzy Radziwilowicz) and seeks revenge. Rivette said that the film, loosely based on the Electra myth, was influenced more by Jean Giraudoux's lesser-known play than on the classical versions by Aeschylus, Sophocles and Euripides. Top Secret pays tribute to Double Indemnity (1944), and biographer Mary Wiles saw influences from Hitchcock's Strangers on a Train (1951) and Vertigo (1958). Wiles called Rivette's three films with Bonnaire feminist, writing that they "reveal a deep personal connection with [Rivette]."

Va savoir (2001) starred Jeanne Balibar and Sergio Castellitto as a couple caught up in romantic farce as they attempt to stage Luigi Pirandello's Come tu mi vuoi and search for a missing manuscript. Rivette pays tribute to Howard Hawks' screwball comedies, and includes a reference to It Happened One Night (1934). The film's theatrical-director character, Ugo, intentionally resembles Gerard in Paris Belongs to Us. A longer version, Va Savoir+ was released the following year. According to Saul Austerlitz, it is "a stunning film, and is yet another peak in Jacques Rivette's exceptional career."

In 2002, Rivette published a book of scripts from three of his unmade films, including Marie et Julien. The script for Marie et Julien had never been completed, and the footage from the three days of shooting was lost; Rivette worked from "cryptic notes" taken by his assistant, Claire Denis, which cinematographer William Lubtchansky had kept for decades. His work on a readable script for the publication led him to resurrect the project. Rivette, Pascal Bonitzer and Christine Laurent collaborated on the script with the actors during production of the revised The Story of Marie and Julien (2003). Rivette cast Béart and Radziwilowicz in the lead roles, saying that it was "more interesting and more exciting" to work with actors with whom he had previously worked, and some dialogue in the original notes was unchanged. Although the film lacked the improvised musical score connecting the first two films, the Madame X character resembles the moon goddess and Marie the sun goddess. It premiered at the 2003 Toronto International Film Festival.

In 2007, Rivette made The Duchess of Langeais, a faithful adaptation of Balzac's novel, and the second of Balzac's trilogy, Histoire des treize, the introduction to which inspired Out 1. Jeanne Balibar and Guillaume Depardieu star as lovers in early 1823 Majorca who are involved in a tormented, frustrating relationship. The film premiered at the 2007 Toronto International Film Festival. In 2009, Rivette made 36 vues du pic Saint-Loup; Jane Birkin starred as a woman who returns to her childhood circus troupe after her father dies, and begins a romance with a wealthy Italian drifter (Sergio Castellitto). The film, which premiered at the 66th Venice International Film Festival, was the director's last.

Personal life
Rivette's early years in Paris were impoverished and he was known to live ascetically on minimal resources; Chabrol said that he was very thin and hardly ate, comparing his smile to that of the Cheshire Cat. Gruault described Rivette as "slight, dark-haired and [having] very lively dark eyes in an emaciated visage of a waxy pallor...add to that a forced, nervous smile of someone who has to make constant efforts to win acceptance by a society that he seemed to regard as irremediably hostile." His opinions were highly regarded among his peers and according to Douchet, "[Rivette] was the great talker. He was the group's secret soul, the occult thinker, a bit of a censor." Godard said, "I might like a film very much, but if Rivette said 'It's no good' then I would agree with him ... it was as though he had a privileged access to cinematographic truth." Truffaut considered Rivette his best friend, and they were frequently seen at screenings. Truffaut said that in the 1950s, Rivette was the only member of the group already capable of directing a feature film.

Rivette's friendship with Rohmer was complex due to Rivette's direct role in getting Rohmer fired from Cahiers du Cinéma. Rivette and Rohmer respected each other, but fought over Cahiers' political and aesthetical positions and financial issues. They became close friends again after Rohmer became interested in Rivette's improvisational films, praising L'amour fou and acting in Out 1. Rohmer later called Out 1 "a capitol monument in the history of modern cinema, an essential part of the cinematic heritage." Rivette also admired Rohmer's films and called Les Rendez-vous de Paris (1995) a "film of absolute grace." Several Cahiers writers during the Rohmer-era disliked him, such as Douchet, Jean Domarchi, Fereydoun Hoveyda, Phillippe Demonsablon, Claude Beylie and Phillippe d’Hugues, who said that Rivette "had a Saint-Just side, he was an intransigent Jacobin who considered you a moron if you didn’t agree with him. He determined what was moral and right, like a hall monitor." Antoine de Baecque wrote that these writers respected Rivette, but considered him "brusque, arrogant and dogmatic" and that he "did not hesitate to excommunicate adversaries or mediocrities." However Cahiers writers André Labarthe and Michel Delahaye praised him; Delahaye said that he "was the most brilliant, with a peerless charisma."

According to David Thomson, Rivette was "famous for having little or no home life, certainly not a private life that overlaps with his work. On his own, he would rather sit in the dark with another movie"; in 1956, he was described as "too aloof and forbiddingly intellectual". Bulle Ogier described Rivette as very secretive about his life: "I've no idea what he does. I only see him when we're filming" or when she bumped into him in public, although she felt close to him. According to Ogier, he had neuroses and anxiety which often prevented him from answering the phone, and talking about his personal life would be indiscreet and a betrayal. Laurence Côte said that joining Rivette's inner circle of trusted friends was difficult and required "a number of hurdles to overcome and to respect codes." Martine Marignac said that Rivette was very modest and shy, and that his circle of close friends grew used to not hearing from him for prolonged periods of time. Marignac also said that "He spends his life going to the movies, but also reading, listening to music. It is clear that the world of reality assaults him." Jonathan Romney reported that in the 1970s "Rivette sometimes went AWOL from his own shoots, he would invariably be found watching some rarity in one of the Left Bank art cinemas." Jean-Pierre Léaud, who described Rivette as a close friend, said that he "was the only person who saw everything in a film. And he transmitted everything he saw to us, setting in march our own aesthetic ideas". The director was the subject of a 1990 documentary, Jacques Rivette, the Night Watchman, directed by Claire Denis and Serge Daney. Travis Mackenzie Hoover wrote that the documentary portrays Rivette with "lonerish tendencies" and as "a sort of transient with no home or country, wandering about or loitering in public space instead of staking out some personal terra firma."

In 1960, he appeared briefly with girlfriend Marilù Parolini in Jean Rouch and Edgar Morin's cinéma-vérité documentary, Chronique d'un été. Parolini was a secretary at Cahiers and, later, an on-set still photographer for Rivette and other New Wave filmmakers. She and Rivette married, but they broke up shortly after the stage version of The Nun closed and eventually divorced. They continued a professional relationship; Parolini collaborated with Rivette on L'amour fou, Duelle, Noroît and Love on the Ground as a co-writer, and she took photographs on the sets of The Nun and Celine and Julie Go Boating. Parolini died in Italy on 21 April 2012.

On 20 April 2012, film critic David Ehrenstein posted online that Rivette had Alzheimer's disease. Bonitzer and Marignac later said that he began to feel the disease's effects during the negative experience of filming 36 vues du pic Saint-Loup. Shooting days were four hours on average and Rivette often lost track of what had already been filmed, which led to the shorter running time than his previous films. In the mid-2000s, Rivette met his second wife Veronique Manniez. They married shortly after he was diagnosed with Alzheimer's. Marignac said that, "Thanks to her, he avoided hospitals and was able to stay home." Rivette and his wife lived in the Rue Cassette section of Paris, where caregivers and doctors attended to him for the last eight years of his life.

Death
Rivette died on 29 January 2016 from complications of Alzheimer's disease at the age of 87, in his home in Paris. He was memorialised by President François Hollande as "one of the greatest filmmakers" and praised by Minister of Culture Fleur Pellerin. Members of the French film industry eulogised him; Serge Toubiana said "Rivette was undoubtly the most reflective, thoughtful, the most intellectual figure of the New Wave." Bulle Ogier wrote that Rivette's "body of work was inventive, researched and well structured. Nothing but making films interested him." Isabelle Regnier wrote about Rivette's secretive nature, observing that the mystery about his life "prevails in his grave." Cinémathèque française director Frédéric Bonnaud called Rivette influential and said that he always tried to invent a new kind of cinema with every film he made. Longtime collaborator Pascale Bonitzer said that "he was a bit of an outsider in the Nouvelle Vague and, at the same time, he was its soul, one of the most radical ones, and the most confidential." Jean-Michel Frodon said that he incarnated "the spirit of the New Wave." Hélène Frappat praise his use of mise en scène in regards to his portrayal of women. Martin Scorsese called him a fascinating artist who was "the most experimental of the French New Wave directors."

Richard Brody called Rivette "the most open and the most reticent of French filmmakers", claiming that all of Rivette's films "represent an effort to capture the fullness of an inner world, a lifetime’s range of obsessions and mysteries." Unlike other obituaries that focused mostly on his filmmaking career, Brody praised Rivette for his influence on film criticism, singling out his 1961 article "On Abjection", a review of Gillo Pontecorvo's holocaust film Kapò. Brody called it "a touchstone for discussing any film in which atrocities are committed." In France, Jean-Marie Pottier also praised "On Abjection" as "one of the most famous texts in the history of the French cinephile." Other film critics to have previously praised the article include Serge Daney and Antoine de Baecque, and Godard's famous quote "tracking shots are a question of morality" was influenced by the article. Locarno Film Festival artistic director Carlo Chatrian wrote that Rivette "made the first and best attempt to transpose the ideas of André Bazin into critical writings" and praised such articles as "The Genius of Howard Hawks" and "Letter on Rossellini."

Rivette was buried on 5 February 2016 in the Montmartre Cemetery in Paris, not far from François Truffaut's grave. Bonitzer, Marignac and Narboni all spoke at the funeral. Rivette's sister and nephews also attended. Véronique Manniez-Rivette told the funeral goers that just as angels are said to sing during moments of silence at twenty minutes past the hour, Rivette had died at 12:20pm. The March 2016 issue of Cahiers du Cinéma was dedicated to him. In May 2016 the Cinémathèque française announced that Rivette's first three short films had been rediscovered by his widow and were being restored and then screened at the Festival Coté Court that June.

Works

 * Jacques Rivette filmography
 * Jacques Rivette bibliography
 * Themes and style in the works of Jacques Rivette

title: Jacques Rivette


text:
Elamite language

Elamite, also known as Hatamtite and formerly as Susian, is an extinct language that was spoken by the ancient Elamites. It was recorded in what is now southwestern Iran from 2600 BC to 330 BC. Elamite is generally thought to have no demonstrable relatives and is usually considered a language isolate. The lack of established relatives makes its interpretation difficult.

A sizeable number of Elamite lexemes are known from the Achaemenid royal inscriptions – bilingual or trilingual inscriptions of the Achaemenid Empire, in which Elamite was written using Elamite cuneiform (circa 400 BC), which is fully deciphered. An important dictionary of the Elamite language, the Elamisches Wörterbuch was published in 1987 by W. Hinz and H. Koch. The Linear Elamite script however, one of the scripts used to write the Elamite language circa 2000 BC, has remained elusive until recently.

Writing system
The following scripts are known or assumed to have encoded Elamite:
 * Proto-Elamite script is the oldest known writing system from Iran. It was used during a brief period of time (c. 3100–2900 BC); clay tablets with Proto-Elamite writing have been found at different sites across Iran. It is thought to have developed from early cuneiform (proto-cuneiform) and consists of more than 1,000 signs. It is thought to be largely logographic and is not deciphered.
 * Linear Elamite is attested in a few monumental inscriptions. It has been described either as a syllabic or logosyllabic writing system. At least part of the script has been deciphered and it has been argued to have developed from Proto-Elamite, although the exact nature of the relationship between the two is disputed (see the main article). Linear Elamite was used for a very brief period of time during the last quarter of the third millennium BC.

Later, Elamite cuneiform, adapted from Akkadian cuneiform, was used from c. 2500 on. Elamite cuneiform was largely a syllabary of some 130 glyphs at any one time and retained only a few logograms from Akkadian but, over time, the number of logograms increased. The complete corpus of Elamite cuneiform consists of about 20,000 tablets and fragments. The majority belong to the Achaemenid era, and contain primarily economic records.

Linguistic typology
Elamite is an agglutinative language, and its grammar was characterized by an extensive and pervasive nominal class system. Animate nouns have separate markers for first, second and third person. It can be said to display a kind of Suffixaufnahme in that the nominal class markers of the head are also attached to any modifiers, including adjectives, noun adjuncts, possessor nouns and even entire clauses.

History
The history of Elamite is periodised as follows:

 * Old Elamite (c. 2600–1500 BC)
 * Middle Elamite (c. 1500–1000 BC)
 * Neo-Elamite (1000–550 BC)
 * Achaemenid Elamite (550–330 BC)
 * Late Elamite?
 * Khuzi? (Unknown – 1000 AD)

Middle Elamite is considered the “classical” period of Elamite, but the best attested variety is Achaemenid Elamite, which was widely used by the Achaemenid Persian state for official inscriptions as well as administrative records and displays significant Old Persian influence.

Persepolis Administrative Archives were found at Persepolis in 1930s, and they are mostly in Elamite; the remains of more than 10,000 of these cuneiform documents have been uncovered. In comparison, Aramaic is represented by only 1,000 or so original records. These documents represent administrative activity and flow of data in Persepolis over more than fifty consecutive years (509 to 457 BC).

Documents from the Old Elamite and early Neo-Elamite stages are rather scarce.

Neo-Elamite can be regarded as a transition between Middle and Achaemenid Elamite, with respect to language structure.

The Elamite language may have remained in widespread use after the Achaemenid period. Several rulers of Elymais bore the Elamite name Kamnaskires in the 2nd and 1st centuries BC. The Acts of the Apostles (c. 80–90 AD) mentions the language as if it was still current. There are no later direct references, but Elamite may be the local language in which, according to the Talmud, the Book of Esther was recited annually to the Jews of Susa in the Sasanian period (224–642 AD). Between the 8th and 13th centuries AD, various Arabic authors refer to a language called Khuzi or Xūz spoken in Khuzistan, which was unlike any other Iranian language known to those writers. It is possible that it was "a late variant of Elamite".

The last original report on the Xūz language was written circa 988 AD by Al-Muqaddasi, characterizing the Khuzi as bilingual in Arabic and Persian but also speaking an "incomprehensible" language at the town of Ramhormoz. The town had recently become prosperous again after the foundation of a market, and as it received an influx of foreigners and being a "Khuzi" was stigmatized at the time, the language probably died in the 11th century. Later authors only mention the language when citing previous work.

Phonology
Because of the limitations of the language's scripts, its phonology is not well understood.

Its consonants included at least stops, and , sibilants ,  and  (with an uncertain pronunciation), nasals  and , liquids  and  and fricative , which was lost in late Neo-Elamite. Some peculiarities of the spelling have been interpreted as suggesting that there was a contrast between two series of stops (,, as opposed to , , ), but in general, such a distinction was not consistently indicated by written Elamite.

Elamite had at least the vowels, , and and may also have had , which was not generally expressed unambiguously.

Roots were generally CV, (C)VC, (C)VCV or, more rarely, CVCCV (the first C was usually a nasal).

Morphology
Elamite is agglutinative but with fewer morphemes per word than, for example, Sumerian or Hurrian and Urartian. It is mostly suffixing.

Nouns
The Elamite nominal system is thoroughly pervaded by a noun class distinction, which combines a gender distinction between animate and inanimate with a personal class distinction, corresponding to the three persons of verbal inflection (first, second, third, plural). The suffixes that express that system are as follows: Animate: Inanimate:
 * 1st person singular: -k
 * 2nd person singular: -t
 * 3rd person singular: -r or -Ø
 * 3rd person plural: -p
 * -∅, -me, -n, -t

The animate third-person suffix -r can serve as a nominalizing suffix and indicate nomen agentis or just members of a class. The inanimate third-person singular suffix -me forms abstracts.

Some examples of the use of the noun class suffixes above are the following:

 * sunki-k “a king (first person)” i.e. “I, a king”

 * sunki-r “a king (third person)”

 * nap-Ø or nap-ir “a god (third person)”

 * sunki-p “kings”

 * nap-ip “gods”

 * sunki-me “kingdom, kingship”

 * hal-Ø “town, land”

 * siya-n “temple”

 * hala-t “mud brick”.

Modifiers follow their (nominal) heads. In noun phrases and pronoun phrases, the suffixes referring to the head are appended to the modifier, regardless of whether the modifier is another noun (such as a possessor) or an adjective. Sometimes the suffix is preserved on the head as well:

 * u šak X-k(i) = “I, the son of X”

 * X šak Y-r(i) = “X, the son of Y”

 * u sunki-k Hatamti-k = “I, the king of Elam”

 * sunki Hatamti-p (or, sometimes, sunki-p Hatamti-p) = “the kings of Elam”

 * temti riša-r = “great lord” (lit. “lord great”)

 * riša-r nap-ip-ir = “greatest of the gods” (lit. "great of the gods")

 * nap-ir u-ri = “my god” (lit. “god of me”)

 * hiya-n nap-ir u-ri-me = “the throne hall of my god”

 * takki-me puhu nika-me-me = “the life of our children”

 * sunki-p uri-p u-p(e) = ”kings, my predecessors” (lit. “kings, predecessors of me”)

This system, in which the noun class suffixes function as derivational morphemes as well as agreement markers and indirectly as subordinating morphemes, is best seen in Middle Elamite. It was, to a great extent, broken down in Achaemenid Elamite, where possession and, sometimes, attributive relationships are uniformly expressed with the “genitive case” suffix -na appended to the modifier: e.g. šak X-na “son of X”. The suffix -na, which probably originated from the inanimate agreement suffix -n followed by the nominalizing particle -a (see below), appeared already in Neo-Elamite.

The personal pronouns distinguish nominative and accusative case forms. They are as follows:

In general, no special possessive pronouns are needed in view of the construction with the noun class suffixes. Nevertheless, a set of separate third-person animate possessives -e (sing.) / appi-e (plur.) is occasionally used already in Middle Elamite: puhu-e “her children”, hiš-api-e “their name”. The relative pronouns are akka “who” and appa “what, which”.

Verbs
The verb base can be simple (ta- “put”) or “reduplicated” (beti > bepti “rebel”). The pure verb base can function as a verbal noun, or “infinitive”.

The verb distinguishes three forms functioning as finite verbs, known as “conjugations”. Conjugation I is the only one with special endings characteristic of finite verbs as such, as shown below. Its use is mostly associated with active voice, transitivity (or verbs of motion), neutral aspect and past tense meaning. Conjugations II and III can be regarded as periphrastic constructions with participles; they are formed by the addition of the nominal personal class suffixes to a passive perfective participle in -k and to an active imperfective participle in -n, respectively. Accordingly, conjugation II expresses a perfective aspect, hence usually past tense, and an intransitive or passive voice, whereas conjugation III expresses an imperfective non-past action.

The Middle Elamite conjugation I is formed with the following suffixes:

 * Examples: kulla-h ”I prayed”, hap-t ”you heard”, hutta-š “he did”, kulla-hu “we prayed”, hutta-h-t “you (plur.) did”, hutta-h-š “they did”.

In Achaemenid Elamite, the loss of the /h/ reduces the transparency of the Conjugation I endings and leads to the merger of the singular and plural except in the first person; in addition, the first-person plural changes from -hu to -ut.

The participles can be exemplified as follows: perfective participle hutta-k “done”, kulla-k “something prayed”, i.e. “a prayer”; imperfective participle hutta-n “doing” or “who will do”, also serving as a non-past infinitive. The corresponding conjugations (conjugation II and III) are:

In Achaemenid Elamite, the Conjugation 2 endings are somewhat changed:

There is also a periphrastic construction with an auxiliary verb ma- following either Conjugation II and III stems (i.e. the perfective and imperfective participles), or nomina agentis in -r, or a verb base directly. In Achaemenid Elamite, only the third option exists. There is no consensus on the exact meaning of the periphrastic forms with ma-, but durative, intensive or volitional interpretations have been suggested.

The optative is expressed by the addition of the suffix -ni to Conjugations I and II.

The imperative is identical to the second person of Conjugation I in Middle Elamite. In Achaemenid Elamite, it is the third person that coincides with the imperative.

The prohibitative is formed by the particle anu/ani preceding Conjugation III.

Verbal forms can be converted into the heads of subordinate clauses through the addition of the nominalising suffix -a, much as in Sumerian: siyan in-me kuši-hš(i)-me-a “the temple which they did not build”. -ti/-ta can be suffixed to verbs, chiefly of conjugation I, expressing possibly a meaning of anteriority (perfect and pluperfect tense).

The negative particle is in-; it takes nominal class suffixes that agree with the subject of attention (which may or may not coincide with the grammatical subject): first-person singular in-ki, third-person singular animate in-ri, third-person singular inanimate in-ni/in-me. In Achaemenid Elamite, the inanimate form in-ni has been generalized to all persons, and concord has been lost.

Syntax
Nominal heads are normally followed by their modifiers, but there are occasional inversions. Word order is subject–object–verb (SOV), with indirect objects preceding direct objects, but it becomes more flexible in Achaemenid Elamite. There are often resumptive pronouns before the verb – often long sequences, especially in Middle Elamite (ap u in duni-h "to-them I it gave").

The language uses postpositions such as -ma "in" and -na "of", but spatial and temporal relationships are generally expressed in Middle Elamite by means of "directional words" originating as nouns or verbs. They can precede or follow the governed nouns and tend to exhibit noun class agreement with whatever noun is described by the prepositional phrase: i-r pat-r u-r ta-t-ni "may you place him under me", lit. "him inferior of-me place-you-may". In Achaemenid Elamite, postpositions become more common and partly displace that type of construction.

A common conjunction is ak "and, or". Achaemenid Elamite also uses a number of subordinating conjunctions such as anka "if, when" and sap "as, when". Subordinate clauses usually precede the verb of the main clause. In Middle Elamite, the most common way to construct a relative clause is to attach a nominal class suffix to the clause-final verb, optionally followed by the relativizing suffix -a: thus, lika-me i-r hani-š-r(i) "whose reign he loves", or optionally lika-me i-r hani-š-r-a. The alternative construction by means of the relative pronouns akka "who" and appa "which" is uncommon in Middle Elamite, but gradually becomes dominant at the expense of the nominal class suffix construction in Achaemenid Elamite.

Language samples
Middle Elamite (Šutruk-Nahhunte I, 1200–1160 BC; EKI 18, IRS 33):

Transliteration:

"(1) ú DIŠšu-ut-ru-uk-d.nah-hu-un-te ša-ak DIŠhal-lu-du-uš-din-šu-ši-

(2) -na-ak-gi-ik su-un-ki-ik an-za-an šu-šu-un-ka4 e-ri-en-

(3) -tu4-um ti-pu-uh a-ak hi-ya-an din-šu-ši-na-ak na-pír

(4) ú-ri-me a-ha-an ha-li-ih-ma hu-ut-tak ha-li-ku-me

(5) din-šu-ši-na-ak na-pír ú-ri in li-na te-la-ak-ni"

Transcription: "U Šutruk-Nahhunte, šak Halluduš-Inšušinak-ik, sunki-k Anzan Šušun-ka. Erientum tipu-h ak hiya-n Inšušinak nap-ir u-ri-me ahan hali-h-ma. hutta-k hali-k u-me Inšušinak nap-ir u-ri in lina tela-k-ni."

Translation: "I, Šutruk-Nahhunte, son of Halluduš-Inšušinak, king of Anshan and Susa. I moulded bricks and made the throne hall of my god Inšušinak with them. May my work come as an offering to my god Inšušinak."

Achaemenid Elamite (Xerxes I, 486–465 BC; XPa):

Transliteration: "(01) [sect 01] dna-ap ir-šá-ir-ra du-ra-mas-da ak-ka4 AŠmu-ru-un

(02) hi pè-iš-tá ak-ka4 dki-ik hu-ip-pè pè-iš-tá ak-ka4 DIŠ

(03) LÚ.MEŠ-ir-ra ir pè-iš-tá ak-ka4 ši-ia-ti-iš pè-iš-tá DIŠ

(04) LÚ.MEŠ-ra-na ak-ka4 DIŠik-še-ir-iš-šá DIŠEŠŠANA ir hu-ut-taš-

(05) tá ki-ir ir-še-ki-ip-in-na DIŠEŠŠANA ki-ir ir-še-ki-ip-

(06) in-na pír-ra-ma-ut-tá-ra-na-um"

Transcription: "Nap irša-rra Uramasda, akka muru-n hi pe-š-ta, akka kik hupe pe-š-ta, akka ruh(?)-irra ir pe-š-ta, akka šiatiš pe-š-ta ruh(?)-ra-na, akka Ikšerša sunki(?) ir hutta-š-ta kir iršeki-pi-na sunki(?), kir iršeki-pi-na piramataram."

Translation: "A great god is Ahura Mazda, who created this earth, who created that sky, who created man, who created happiness of man, who made Xerxes king, one king of many, one lord of many."

Relations to other language families
Elamite is regarded by the vast majority of linguists as a language isolate, as it has no demonstrable relationship to the neighbouring Semitic languages, Indo-European languages, or to Sumerian, despite having adopted the Sumerian-Akkadian cuneiform script.

An Elamo-Dravidian family connecting Elamite with the Brahui language of Pakistan and Dravidian languages of India was suggested in 1967 by Igor M. Diakonoff and later, in 1974, defended by David McAlpin and others. In 2012, Southworth proposed that Elamite forms the "Zagrosian family" along with Brahui and, further down the cladogram, the remaining Dravidian languages; this family would have originated in Southwest Asia (southern Iran) and was widely distributed in South Asia and parts of eastern West Asia before the Indo-Aryan migration. Recent discoveries regarding early population migration based on ancient DNA analysis have revived interest in the possible connection between proto-Elamite and proto-Dravidian.

Václav Blažek proposed a relation with the Semitic languages.

In 2002 George Starostin published a lexicostatistic analysis finding Elamite to be approximately equidistant from Nostratic and Semitic.

None of these ideas have been accepted by mainstream historical linguists.

Grammar

 * Republished in
 * Republished in
 * Republished in
 * Republished in
 * Republished in

title: Elamite language


text:
List of prime ministers of Lebanon

This is a list of prime ministers of Lebanon (officially titled President of the Council of Ministers) since the creation of the office in 1926.

National Pact
Though it is not specifically stated in the constitution, an unwritten understanding known as the National Pact, agreed in 1943, has resulted in the holder of the post being a Sunni Muslim in every electoral cycle since that time. Nevertheless, several prime ministers in the past have been Christian.

title: List of prime ministers of Lebanon


text:
User:Espen/gra6821

GRA6821 Wikipedia assignment

This assignment is intended to teach you something about collaborative software - and what better way to learn that than to use it? (A side benefit may be to improve the quality and quantity of information available in the English or Norwegian version of Wikipedia.) Wikipedia is an on-line encyclopedia, written collaboratively (that is, by the readers). It uses wiki technology, and everybody can update (more or less) everything. Order is maintained by common goals and common norms, as well as a strong underlying information model - that of the encyclopedia..

Assignment: (The following can be done in either the Norwegian or the English version of Wikipedia. If your main language is something else, you can edit there, but put links to what you have done here.) Be advised that this assignment takes time - not just in editing, but in understanding what you are doing and the interactions with other Wikipedians - so a good idea is to start early and work on it consistently.

 * 1) Register yourself as a user, read some of the documentation about what Wikipedia is and how it is to be used. You will find links to it on the main page. (The material in the English version is most rich here, of course.)
 * 2) While logged in, start editing and writing articles – anything you do will be tracked.  Write on whatever you want, but make sure that you follow the intention of the Wikipedia.  (The Norwegian version is probably the easiest to do this in, since many of the articles are missing and need to be added).
 * 3) Go to the course Wikipedia page (English or Norwegian version) and add yourself to the list of students, making sure you use the correct format (for an idea, see the 2005 list).  (The intent here is that I should be able to click on each student, and then see what articles this student has worked on.)
 * 4) Write me a memo, marked with both your student number and your Wikipedia user name, and whether you used the Norwegian or English Wikipedia version.  For a total of less than 900 words, answer these questions:
 * 5) What, if anything, surprised you the most about your experience in editing the Wikipedia?
 * 6) What does it take for a collaborative project like this to work (believe me, there are many similarly crowdsourced projects that never got off the ground and reached anything like the level of Wikipedia for reach and depth.)
 * 7) For which kind of businesses and technologies can Wikis be useful? Where would it be disruptive technology?

The memo is to be handed in the usual way (It's Learning). Please include a list of the Wikipedia articles you have worked at the end of your assignment!!!

Good luck, and welcome to the ‘pedia!

Espen

no:Bruker:Espen/gra6821

title: User:Espen/gra6821


text:
Leiria District

The District of Leiria (Distrito de Leiria ) is a district located in Centro region of Portugal, divided between the traditional provinces of Beira Litoral and Estremadura. It borders on the north with district of Coimbra, on the east with district of Castelo Branco and with district of Santarém, on the south with district of Lisbon and on the west with the Atlantic Ocean. The district capital is the city of Leiria.

Summary of votes and seats won 1976-2022
!rowspan=2|Parties!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S!!%!!S !colspan=2 | 1976 !colspan=2 | 1979 !colspan=2 | 1980 !colspan=2 | 1983 !colspan=2 | 1985 !colspan=2 | 1987 !colspan=2 | 1991 !colspan=2 | 1995 !colspan=2 | 1999 !colspan=2 | 2002 !colspan=2 | 2005 !colspan=2 | 2009 !colspan=2 | 2011 !colspan=2 | 2015 !colspan=2 | 2019 !colspan=2 | 2022 ! Total seats || colspan=12|11 || colspan=20|10 ! colspan="33"|Source: Comissão Nacional de Eleições
 * - class="unsortable"
 * - class="unsortable" style="text-align:center;"
 * align="left"| PS || 31.1|| 4 || 23.2 || 3 ||22.7 || 3 || 32.7 || 4 || 19.6 || 2 || 18.7 || 2 || 23.0 || 3 || 36.7 || 4 || 36.8 || 4 || 29.5 || 3 || 35.6 || 4 || 30.1 || 4 || 20.7 || 3 || 24.8 || 3 || 31.1 || 4 || style="background:#FF66FF;"|35.7 || style="background:#FF66FF;"|5
 * align="left"| PSD || style="background:#f90;"|31.2 || style="background:#f90;"|4 || align=center colspan=4 rowspan=2|In AD || style="background:#f90;"|35.6 || style="background:#f90;"|4 || style="background:#f90;"|38.6 || style="background:#f90;"|5 || style="background:#f90;"|60.8 || style="background:#f90;"|9 || style="background:#f90;"|61.2 || style="background:#f90;"|7 || style="background:#f90;"|43.3 || style="background:#f90;"|5 || style="background:#f90;"|42.6|| style="background:#f90;"|5 || style="background:#f90;"|50.8 || style="background:#f90;"|6 || style="background:#f90;"|39.8 || style="background:#f90;"|5 || style="background:#f90;"|34.9 || style="background:#f90;"|4 || style="background:#f90;"|47.0 || style="background:#f90;"|6 || align=center colspan=2 rowspan=2|In PàF || style="background:#f90;"|33.5 || style="background:#f90;"|5 || 34.7 || 4
 * align="left"| CDS-PP || 19.4 || 2 || 16.2 || 2 || 12.2 || 1 || 6.0 || || 4.8 ||  || 11.4 || 1 || 9.9 || 1 || 9.8 || 1 || 8.9 || 1 || 12.6 || 1 || 12.8 || 1 || 5.3 ||  || 2.1 ||
 * align="left"| PCP/APU/CDU || 7.3 || 1 || 10.9|| 1 || 9.7 || 1 || 9.5 || 1 || 7.9 || 1 || 5.9 || || 4.5 ||  || 4.5 ||  || 5.3 ||  || 4.1 ||  || 4.6 ||  || 5.1 ||  || 5.0 ||  || 5.1 ||  || 4.3 ||  || 3.1 ||
 * align="left"| AD || colspan=2| || style="background:#0ff;"|56.2 || style="background:#0ff;"|7 || style="background:#0ff;"|59.8 || style="background:#0ff;"|7 || colspan=26|
 * align="left"| PRD || colspan=8| || 15.3 || 2 || 3.0 || || colspan=20|
 * align="left"| BE || colspan=16| || 1.7 || || 2.2 ||  || 5.5 ||  || 9.5 || 1 || 5.1 ||  || 9.7 || 1 || 9.4 || 1 || 4.5 ||
 * align="left"| PàF || colspan=26| || style="background:#00AAAA;"|48.4 || style="background:#00AAAA;"|6 || colspan=4|
 * align="left"| CHEGA || colspan=28| || 1.5 || || 8.0 || 1
 * align="left"| AD || colspan=2| || style="background:#0ff;"|56.2 || style="background:#0ff;"|7 || style="background:#0ff;"|59.8 || style="background:#0ff;"|7 || colspan=26|
 * align="left"| PRD || colspan=8| || 15.3 || 2 || 3.0 || || colspan=20|
 * align="left"| BE || colspan=16| || 1.7 || || 2.2 ||  || 5.5 ||  || 9.5 || 1 || 5.1 ||  || 9.7 || 1 || 9.4 || 1 || 4.5 ||
 * align="left"| PàF || colspan=26| || style="background:#00AAAA;"|48.4 || style="background:#00AAAA;"|6 || colspan=4|
 * align="left"| CHEGA || colspan=28| || 1.5 || || 8.0 || 1
 * align="left"| PàF || colspan=26| || style="background:#00AAAA;"|48.4 || style="background:#00AAAA;"|6 || colspan=4|
 * align="left"| CHEGA || colspan=28| || 1.5 || || 8.0 || 1
 * align="left"| CHEGA || colspan=28| || 1.5 || || 8.0 || 1
 * align="left"| CHEGA || colspan=28| || 1.5 || || 8.0 || 1
 * }

title: Leiria District


text:
Talk:Gaines, New York

Untitled
This was removed from the article:

 * Gaines was established in 1816 and contains part of the Village of Albion, the county seat. Communities in Gaines include Childs, Eagle Harbor, and Gaines.

Not sure why -- left message on user's page. -- BCorr ¤ Брайен 03:09, Mar 1, 2004 (UTC)

Hell, I was the one who put that info there just recently. I have no idea who would want to delete it -- and it is correct. Tmesipt. 3.1.04.

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I have just modified 2 external links on Gaines, New York. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added tag to http://www.census.gov/popest/data/cities/totals/2014/SUB-EST2014.html
 * Added archive http://www.webcitation.org/6YSasqtfX?url=http%3A%2F%2Fwww.census.gov%2Fprod%2Fwww%2Fdecennial.html to http://www.census.gov/prod/www/decennial.html
 * Added archive https://web.archive.org/web/20130911234518/http://factfinder2.census.gov to http://factfinder2.census.gov

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Cheers.— InternetArchiveBot  (Report bug) 07:20, 7 January 2017 (UTC)

title: Talk:Gaines, New York