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Hugh Walpole

Sir Hugh Seymour Walpole, CBE (13 March 1884 – 1 June 1941) was an English novelist. He was the son of an Anglican clergyman, intended for a career in the church but drawn instead to writing. Among those who encouraged him were the authors Henry James and Arnold Bennett. His skill at scene-setting and vivid plots, as well as his high profile as a lecturer, brought him a large readership in the United Kingdom and North America. He was a best-selling author in the 1920s and 1930s but has been largely neglected since his death.

After his first novel, The Wooden Horse, in 1909, Walpole wrote prolifically, producing at least one book every year. He was a spontaneous story-teller, writing quickly to get all his ideas on paper, seldom revising. His first novel to achieve major success was his third, Mr Perrin and Mr Traill, a tragicomic story of a fatal clash between two schoolmasters. During the First World War he served in the Red Cross on the Russian-Austrian front, and worked in British propaganda in Petrograd and London. In the 1920s and 1930s Walpole was much in demand not only as a novelist but also as a lecturer on literature, making four exceptionally well-paid tours of North America.

As a gay man at a time when homosexual practices were illegal for men in Britain, Walpole conducted a succession of intense but discreet relationships with other men, and was for much of his life in search of what he saw as "the perfect friend". He eventually found one, a married policeman, with whom he settled in the English Lake District. Having as a young man eagerly sought the support of established authors, he was in his later years a generous sponsor of many younger writers. He was a patron of the visual arts and bequeathed a substantial legacy of paintings to the Tate Gallery and other British institutions.

Walpole's output was large and varied. Between 1909 and 1941 he wrote thirty-six novels, five volumes of short stories, two original plays and three volumes of memoirs. His range included disturbing studies of the macabre, children's stories and historical fiction, most notably his Herries Chronicle series, set in the Lake District. He worked in Hollywood writing scenarios for two Metro-Goldwyn-Mayer films in the 1930s, and had a cameo in the 1935 film adaptation of David Copperfield.

Early years
Walpole was born in Auckland, New Zealand, the eldest of three children of the Rev Somerset Walpole and his wife, Mildred Helen, née Barham (1854–1925). Somerset Walpole had been an assistant to the Bishop of Truro, Edward White Benson, from 1877 until 1882, when he was offered the incumbency of St Mary's Cathedral, Auckland; on Benson's advice he accepted.

Mildred Walpole found it hard to settle in New Zealand, and something of her restlessness and insecurity affected the character of her eldest child. In 1889, two years after the birth of the couple's daughter, Dorothea ("Dorothy"), Somerset Walpole accepted a prominent and well-paid academic post at the General Theological Seminary, New York. Robert ("Robin"), the third of the couple's children, was born in New York in 1892. Hugh and Dorothy were taught by a governess until the middle of 1893, when the parents decided that he needed an English education.

Walpole was sent to England, where according to his biographer Rupert Hart-Davis the next ten years were the unhappiest time of Walpole's life. He first attended a preparatory school in Truro. Though he missed his family and felt lonely he was reasonably happy, but he moved to Sir William Borlase's Grammar School in Marlow in 1895, where he was bullied, frightened and miserable. He later said, "The food was inadequate, the morality was 'twisted', and Terror – sheer, stark unblinking Terror – stared down every one of its passages ... The excessive desire to be loved that has always played so enormous a part in my life was bred largely, I think, from the neglect I suffered there". In 1896 Somerset Walpole discovered his son's horror of the Marlow school and he moved him to the King's School, Canterbury. For two years he was a fairly content, though undistinguished, pupil there. In 1897 Walpole senior was appointed principal of Bede College, Durham, and Hugh was moved again, to be a day boy for four years at Durham School. He found that day boys were looked down on by boarders, and that Bede College was the subject of snobbery within the university. His sense of isolation increased. He continually took refuge in the local library, where he read all the novels of Jane Austen, Henry Fielding, Scott and Dickens and many of the works of Trollope, Wilkie Collins and Henry Kingsley. Walpole wrote in 1924:

"I grew up ... discontented, ugly, abnormally sensitive, and excessively conceited. No one liked me – not masters, boys, friends of the family, nor relations who came to stay; and I do not in the least wonder at it. I was untidy, uncleanly, excessively gauche. I believed that I was profoundly misunderstood, that people took my pale and pimpled countenance for the mirror of my soul, that I had marvellous things of interest in me that would one day be discovered."

Though Walpole was no admirer of the schools he had attended there, the cathedral cities of Truro, Canterbury and Durham made a strong impression on him. He drew on aspects of them for his fictional cathedral city of Polchester in Glebeshire, the setting of many of his later books. Walpole's memories of his time at Canterbury grew mellower over the years; it was the only school he mentioned in his Who's Who entry.

Cambridge, Liverpool and teaching

From 1903 to 1906 Walpole studied history at Emmanuel College, Cambridge. While there he had his first work published, the critical essay "Two Meredithian Heroes", which was printed in the college magazine in autumn 1905. As an undergraduate he met and fell under the spell of A.C.Benson, formerly a greatly loved master at Eton, and by this time a don at Magdalene College. Walpole's religious beliefs, hitherto an unquestioned part of his life, were fading, and Benson helped him through that personal crisis. Walpole was also attempting to cope with his homosexual feelings, which for a while focused on Benson, who recorded in his diary in 1906 an unexpected outburst by his young admirer: "[H]e broke out rather eagerly into protestations – He cared for me more than anyone in the world. I could not believe it... It is extraordinarily touching.... It is quite right that he should believe all this passionately; it is quite right that I should know that it will not last ... I tried to say this as tenderly as I could..."

Benson gently declined Walpole's advances. They remained friends, but Walpole, rebuffed in his "excessive desire to be loved", turned the full force of his enthusiasms elsewhere, and the relationship with Benson became less important to him. Less than two years later Benson's diary entry on Walpole's subsequent social career reveals his thoughts on his protégé's progress:

"He seems to have conquered Gosse completely. He spends his Sundays in long walks with H G Wells. He dines every week with Max Beerbohm and RRoss... and this has befallen a not very clever young man of 23. Am I a little jealous? – no, I don't think so. But I am a little bewildered ... I do not see any sign of intellectual power or perception or grasp or subtlety in his work or himself.... I should call him curiously unperceptive. He does not, for instance, see what may vex or hurt or annoy people. I think he is rather tactless – though he is himself very sensitive. The strong points about him are his curiosity, his vitality, his eagerness, and the emotional fervour of his affections. But he seems to me in no way likely to be great as an artist."

With Benson's help, Walpole had come to terms with the loss of his faith. Somerset Walpole, himself the son of an Anglican priest, hoped that his eldest son would follow him into the ministry. Walpole was too concerned for his father's feelings to tell him he was no longer a believer, and on graduation from Cambridge in 1906 he took a post as a lay missioner at the Mersey Mission to Seamen in Liverpool. He described that as one of the "greatest failures of my life... The Mission to Seamen was, and is, a splendid institution... but it needs men of a certain type to carry it through and I was not of that type." The head of the mission reprimanded him for lack of commitment to his work, and Walpole resigned after six months.

From April to July 1907 Walpole was in Germany, tutoring the children of the popular author Elizabeth von Arnim. In 1908 he taught French at Epsom College. His brief experience of teaching is reflected in his third novel, Mr Perrin and Mr Traill. As well as the clerical forebears, Walpole had notable authors in his family tree: on his father's side, the novelist and letter writer Horace Walpole, and on his mother's Richard Harris Barham, author of The Ingoldsby Legends. It was as an author that Walpole felt impelled to make his career. He moved to London and found work as a book reviewer for The Standard, writing fiction in his spare time. He had by this time recognised unreservedly that he was homosexual. His encounters were necessarily discreet, as such activities were illegal in Britain, and remained so throughout his lifetime. He was constantly searching for "the perfect friend"; an early candidate was the stage designer Percy Anderson, to whom he was intimately attached for some time from 1910 onwards.

Early literary career
A. C. Benson was a friend of Henry James, to whom Walpole wrote a fan letter late in 1908, with Benson's encouragement. A correspondence ensued and in February 1909 James invited Walpole to lunch at the Reform Club in London. They developed a close friendship, described by James's biographer Leon Edel as resembling a father and son relationship in some, but not all, respects. James was greatly taken with the young Walpole, though clear-eyed about the deficiencies in the artistry and craftsmanship of his protégé's early efforts. According to Somerset Maugham, Walpole made a sexual proposition to James, who was too inhibited to respond. Nevertheless, in their correspondence the older man's devotion was couched in extravagant terms.

Walpole published his first novel, The Wooden Horse, in 1909. It told of a staid and snobbish English family shaken up by the return of one of its members from a less hidebound life in New Zealand. The book received good reviews but barely repaid the cost of having it typed. His first commercial success was Mr Perrin and Mr Traill, published in 1911. The novelist and biographer Michael Sadleir writes that though some of the six novels Walpole wrote between 1909 and 1914 are of interest as examples of the author's developing style, it is Mr Perrin and Mr Traill that deserves to be remembered for its own sake. The book, subtitled "a tragi-comedy", is a psychological study of a deadly clash between two schoolmasters, one an ageing failure and the other a young, attractive idealist. In the view of Hart-Davis, Walpole only once recaptured "the fresh, clear cut realism" of this book, and Walpole himself, looking back on his work in the 1930s, felt that of all his books to date, it was the truest. The Observer gave the book a favourable review: "The slow growth of the poison within [Perrin] is traced with wonderful skill and sympathy ... one feels throughout these pages a sense of intolerable tension, of impending disaster"; The Manchester Guardian was less enthusiastic, praising the scene-setting but calling the story "an unconscientious melodrama". The San Francisco Chronicle praised its "technical excellence, imagination and beauty – Walpole at his best." Arnold Bennett, a well-established novelist seventeen years Walpole's senior, admired the book, and befriended the young author, regularly chiding, encouraging, sometimes mocking him into improving his prose, characters and narratives.

The Guardian reviewer observed that the setting of Mr Perrin and Mr Traill – a second-rate public school – was clearly drawn from life, as indeed it was. The boys of Epsom College were delighted with the thinly disguised version of their school, but the college authorities were not, and Walpole was persona non grata at Epsom for many years. This was of no practical consequence, as he had no intention of returning to the teaching profession, but it was an early illustration of his capacity, noted by Benson, for unthinkingly giving offence, though being hypersensitive to criticism himself.

In early 1914 James wrote an article for The Times Literary Supplement surveying the younger generation of British novelists and comparing them with their eminent elder contemporaries. In the latter category James put Bennett, Joseph Conrad, John Galsworthy, Maurice Hewlett and HGWells. The four new authors on whom he focused were Walpole, Gilbert Cannan, Compton Mackenzie and D H Lawrence. It was a very lengthy article, to the extent that it had to be spread across two issues of the Supplement in March and April 1914. James said that agreeing to write it had been "an insensate step", but from Walpole's point of view it was highly satisfactory: one of the greatest living authors had publicly ranked him among the finest young British novelists.

First World War
As war approached, Walpole realised that his poor eyesight would disqualify him from serving in the armed forces. He volunteered to join the police, but was turned down; he then accepted a journalistic appointment based in Moscow, reporting for The Saturday Review and The Daily Mail. He was allowed to visit the front in Poland, but his dispatches from Moscow (and later from Petrograd, which he preferred) were not enough to stop hostile comments at home that he was not doing his bit for the war effort. Henry James was so incensed at one such remark by a prominent London hostess that he stormed out of her house and wrote to Walpole suggesting that he should return to England. Walpole replied in great excitement that he had just been appointed as a Russian officer, in the Sanitar:

"The 'Sanitar' is the part of the Red Cross that does the rough work at the front, carrying men out of the trenches, helping at the base hospitals in every sort of way, doing every kind of rough job. They are an absolutely official body and I shall be one of the few (half-dozen) Englishmen in the world wearing Russian uniform."

While in training for the Sanitar, Walpole devoted his leisure hours to gaining a reasonable fluency in the Russian language, and to his first full-length work of non-fiction, a literary biography of Joseph Conrad. In the summer of 1915 he worked on the Austrian-Russian front, assisting at operations in field hospitals and retrieving the dead and wounded from the battlefield. Occasionally he found time to write brief letters home; he told Bennett, "A battle is an amazing mixture of hell and a family picnic – not as frightening as the dentist, but absorbing, sometimes thrilling like football, sometimes dull like church, and sometimes simply physically sickening like bad fish. Burying dead afterwards is worst of all." When disheartened he comforted himself with the thought, "This is not so bad as it was at Marlow".

During an engagement early in June 1915 Walpole single-handedly rescued a wounded soldier; his Russian comrades refused to help and Walpole carried one end of a stretcher and dragged the man to safety. For this he was awarded the Cross of Saint George; General Lechitsky presented him with the medal in August. After his tour of duty he returned to Petrograd. Among the city's attractions for him was the presence of Konstantin Somov, a painter with whom he had formed an intimate relationship. Throughout his time in Petrograd and Moscow he kept a diary of the books he read and the plays and operas he attended, a habit that continued throughout his life. He met Maxim Gorky, Mikhail Lykiardopoulos, Nikita Baliev and immersed himself in the Moscow art scene which influenced the Symbolism in his work. He remained in Russia until October 1915, when he returned to England. He visited his family, stayed with Percy Anderson in London, telephoned Henry James in Rye, and retreated to a cottage he had bought in Cornwall. In January 1916 he was asked by the Foreign Office to return to Petrograd. Russians were being subjected to highly effective German propaganda. The writer Arthur Ransome, Petrograd correspondent of The Daily News, had successfully lobbied for the establishment of a bureau to counter the German efforts, and the British ambassador, Sir George Buchanan, wanted Walpole to take charge.

Before he left for Petrograd, Walpole's novel The Dark Forest was published. It drew on his experiences in Russia, and was more sombre than much of his earlier fiction. Reviews were highly favourable; The Daily Telegraph commented on "a high level of imaginative vision... reveals capacity and powers in the author which we had hardly suspected before."

Walpole returned to Petrograd in February 1916. He moved into Somov's flat, and his Anglo-Russian Propaganda Bureau began work. The following month he suffered a personal blow: he recorded in his diary for 13 March 1916, "Thirty two to-day! Should have been a happy day but was completely clouded for me by reading in the papers of Henry James' death. This was a terrible shock to me." Walpole remained at the bureau for the rest of 1916 and most of 1917, witnessing the February Revolution. He wrote an official report on events for the Foreign Office, and also absorbed ideas for his fiction. In addition to the first of his popular "Jeremy" novels, written in his spare time from the bureau, he began work on the second of his Russian-themed books, The Secret City. Sadleir writes that this novel and The Dark Forest "take a high place among his works, on account of their intuitive understanding of an alien mentality and the vigour of their narrative power." The book won the inaugural James Tait Black Memorial Prize for fiction. By late 1917 it was clear to Walpole and to the British authorities that there was little advantage in keeping him in Russia. On 7 November he left, missing the Bolshevik Revolution, which began on that day. He was appointed to a post at the Foreign Office in its Department of Information, headed by John Buchan. Soon after returning he volunteered for the British Army, but, as expected, failed the necessary medical examination because of his poor sight. He continued to work in British propaganda when the department was reconstituted under Lord Beaverbrook in April 1918, and remained there for the rest of the war and beyond, resigning in February 1919. Little is known about what he wrote for the department, as most of its records were destroyed after the war, but he noted in his diary that he had written the department's official report to the War Cabinet: "a beastly job – the worst I've ever attempted". For his wartime work he was awarded the CBE in 1918.

Post-war and 1920s
Walpole remained prolific in the post-war years, and began a parallel and highly remunerative career as a lecturer in literature. At the instigation of his American publisher, George Doran, he made his first lecture tour of the US in 1919, receiving an enthusiastic welcome wherever he went. What Sadleir describes as Walpole's "genial and attractive appearance, his complete lack of aloofness, his exciting fluency as a speaker [and] his obvious and genuine liking for his hosts" combined to win him a large American following. The success of his talks led to increases in his lecturing fees, greatly enhanced sales of his books, and large sums from American publishers anxious to print his latest fiction. He was a prodigiously quick writer who seldom revised, but pressed on, keen to get his ideas down on paper. His main British publishers, Macmillan, found it expedient to appoint a senior member of staff to edit his manuscripts, correcting spelling, punctuation, inconsistencies and errors of historical fact. His fluency enabled him to fulfil between tours a contract from The Pictorial Review for ten short stories at the remarkable sum of $1,350 apiece.

One of Walpole's major novels of the early post-war period was The Cathedral, which unlike much of his fiction was not dashed off but worked on across four years, beginning in 1918. The story of an arrogant 19th-century archdeacon in conflict with other clergy and laity was certain to bring comparisons with Trollope's Barchester Towers (The Manchester Guardian's review was headed "Polchester Towers"), but unlike the earlier work, The Cathedral is wholly uncomic. The hubristic Archdeacon Brandon is driven to domestic despair, professional defeat and sudden death. The reviewer Ivor Brown commented that Walpole had earlier charmed many with his cheerful tales of Mayfair, but that in this novel he showed a greater side to his art: "This is a book with little happiness about it, but its stark strength is undeniable. The Cathedral is realism, profound in its philosophy and delicate in its thread." The Illustrated London News said, "No former novelist has seized quite so powerfully upon the cathedral fabric and made it a living character in the drama, an obsessing individuality at once benign and forbidding....The Cathedral is a great book."

Walpole was a keen music lover and when in 1920 he heard a new tenor at the Proms he was much impressed and sought him out. Lauritz Melchior became one of the most important friendships of his life, and Walpole did much to foster the singer's budding career. Wagner's son Siegfried engaged Melchior for the Bayreuth Festival in 1924 and succeeding years. Walpole attended, and met Adolf Hitler, then recently released from prison after an attempted putsch. Hitler was a protégé of Siegfried's wife Winifred, and was known in Bayreuth as "one of Winnie's lame ducks." Walpole later admitted that he had both despised and liked him – "both emotions that time has proved I was wrong to indulge". This and future visits to Bayreuth were complicated by the fact that Winifred Wagner fell in love with Walpole, and attached herself so firmly to him that rumours began to spread.

In 1924 Walpole moved into a house near Keswick in the Lake District. His large income enabled him to maintain his London flat in Piccadilly, but Brackenburn, on the slopes of Catbells overlooking Derwentwater, was his main home for the rest of his life. He was quickly made welcome by local residents, and the scenery and atmosphere of the Lake District often found their way into his fiction. The critic James Agate commented that one might think from some of Walpole's stories that their author had created the English Lakes, but that he was probably only consulted about them. At the end of 1924 Walpole met Harold Cheevers, who soon became his friend and companion and remained so for the rest of Walpole's life. In Hart-Davis's words, he came nearer than any other human being to Walpole's long-sought conception of a perfect friend. Cheevers, a policeman, with a wife and two children, left the police force and entered Walpole's service as his chauffeur. Walpole trusted him completely, and gave him extensive control over his affairs. Whether Walpole was at Brackenburn or Piccadilly, Cheevers was almost always with him, and often accompanied him on overseas trips. Walpole provided a house in Hampstead for Cheevers and his family.

During the mid-twenties Walpole produced two of his best-known novels in the macabre vein that he drew on from time to time, exploring the fascination of fear and cruelty. The Old Ladies (1924) is a study of a timid elderly spinster exploited and eventually frightened to death by a predatory widow. Portrait of a Man with Red Hair (1925) depicts the malign influence of a manipulative, insane father on his family and others. Walpole described it to his fellow author Frank Swinnerton as "a simple shocker which it has amused me like anything to write, and won't bore you to read." In contrast he continued a series of stories for children, begun in 1919 with Jeremy, taking the young hero's story forward with Jeremy and Hamlet (the latter being the boy's dog) in 1923, and Jeremy at Crale in 1927. Sadleir, writing in the 1950s, suggests that "the most real Walpole of all – because the most unselfconscious, kindly, and understanding friend – is the Walpole of the Jeremy trilogy." Of his other novels of the 1920s Wintersmoon (1928), his first attempt at a full-length love story, portrays a clash between traditionalism and modernism: his own sympathies, though not spelled out, were clearly with the traditionalists.

1930–1941
By the 1930s, though his public success remained considerable, many literary critics saw Walpole as outdated. His reputation in literary circles took a blow from a malicious caricature in Somerset Maugham's 1930 novel Cakes and Ale: the character Alroy Kear, a superficial novelist of more pushy ambition than literary talent, was widely taken to be based on Walpole. In the same year Walpole wrote possibly his best-known work, Rogue Herries, a historical novel set in the Lake District. It was well-received: The Daily Mail considered it "not only a profound study of human character, but a subtle and intimate biography of a place." He followed it with three sequels; all four novels were published in a single volume as The Herries Chronicle.

In 1934 Walpole accepted an invitation from Metro-Goldwyn-Mayer studios to go to Hollywood to write the scenario for a film adaptation of David Copperfield. He enjoyed many aspects of life in Hollywood, but as one who rarely revised any of his own work he found it tedious to produce sixth and seventh drafts at the behest of the studio. He enjoyed his brief change of role from writer to bit-part player: in the film he played the Vicar of Blunderstone delivering a boring sermon that sends David to sleep. Agate was doubtful of the wisdom of this: "Does not Hugh see that to bring a well-known character from real life into an imaginary sequence of events is to destroy the reality of that imaginary sequence?" Nevertheless, Walpole's performance was a success. He improvised the sermon; the producer, David O Selznick, mischievously called for retake after retake to try to make him dry up, but Walpole fluently delivered a different extempore address each time.

The critical and commercial success of the film of David Copperfield led to an invitation to return to Hollywood in 1936. When he got there he found that the studio executives had no idea which films they wanted him to work on, and he had eight weeks of highly paid leisure, during which he wrote a short story and worked on a novel. He was eventually asked to write the scenario for Little Lord Fauntleroy, which he enjoyed doing. He spent most of his fees on paintings, forgetting to keep enough money to pay US tax on his earnings. He replenished his American funds with a lecture tour – his last – in late 1936.

In 1937 Walpole was offered a knighthood. He accepted, though confiding to his diary that he could not think of a good novelist since Walter Scott who had done so. "Kipling, Hardy, Galsworthy all refused. But I'm not of their class, and range with Doyle, Anthony Hope and such.... Besides I shall like being a knight."

Walpole's taste for adventure did not diminish in his last years. In 1939 he was commissioned to report for William Randolph Hearst's newspapers on the funeral in Rome of Pope Pius XI, the conclave to elect his successor, and the subsequent coronation. A fellow correspondent was Tom Driberg, whose memoirs tell of a lunch à deux at which Walpole arrived flushed with excitement from a sexual encounter that morning with an attendant in the Borghese Palace. In the weeks between the funeral and Pius XII's election Walpole, with his customary fluency, wrote much of his book Roman Fountain, a mixture of fact and fiction about the city. This was his last overseas visit.

After the outbreak of the Second World War Walpole remained in England, dividing his time between London and Keswick, and continuing to write with his usual rapidity. He completed a fifth novel in the Herries series and began work on a sixth. His health was undermined by diabetes. He overexerted himself at the opening of Keswick's fund-raising "War Weapons Week" in May 1941, making a speech after taking part in a lengthy march, and died of a heart attack at Brackenburn, aged 57. He is buried in St John's churchyard in Keswick.

Legacy
Walpole was a keen and discerning collector of art. Sir Kenneth Clark called him "one of the three or four real patrons of art in this country, and of that small body he was perhaps the most generous and the most discriminating." He left fourteen works to the Tate Gallery and Fitzwilliam Museum, including paintings by Cézanne, Manet, Augustus John, Tissot and Renoir. Other artists represented in Walpole's collection were Epstein, Picasso, Gauguin, Sickert and Utrillo. After his death the finest works in his collection, other than those bequeathed, were exhibited in London during April and May 1945; the exhibition also included works by Constable, Turner and Rodin.

Sadleir notes how Walpole's considerable income enabled him to indulge not only his love of art and of old books and manuscripts, but also philanthropy, particularly towards younger writers. Although Walpole enjoyed the limelight, he was secretive about his many acts of generosity to younger writers, with both encouragement and financial help. After his death some idea of the scale of his generosity was discovered. Osbert Sitwell commented, "I don't think there was any younger writer of any worth who has not at one time or another received kindness of an active kind, and at a crucial moment, from Hugh". Hart-Davis lists thirty-eight authors from whom letters of gratitude were found among Walpole's correspondence; Sadleir writes of Walpole's "generous kindness to literary aspirants and to writers fallen on evil days... by immediate financial assistance, by prefaces freely supplied or by collaboration volunteered, by introductions and recommendations to likely publishers, Walpole relieved the distresses of authorship to a degree which will never be fully known." Agate, though himself the recipient of Walpole's generosity on occasion, thought it sometimes went too far: "Mr Walpole's large-heartedness gets him into all kinds of trouble. He is an inveterate patter. He pats on the back young men whom sterner critics would knock down, because even in fantastic incompetence he perceives the good intention. No art or artist is safe from Mr Walpole's benevolence".

In his adopted home of Keswick a section of the town museum was dedicated to Walpole's memory in 1949, with manuscripts, correspondence, paintings and sculpture from Brackenburn, donated by his sister and brother.

Works
Walpole's books cover a wide range. His fiction includes short stories, bildungsromane (Mr Perrin and Mr Traill, 1911, and the Jeremy trilogy) that delve into the psychology of boyhood; gothic horror novels (Portrait of a Man with Red Hair, 1925, and The Killer and the Slain, 1942); ghost stories (All Souls' Night, 1933); a period family saga (the Herries chronicle) and even detective fiction (Behind the Screen). He wrote literary biographies (Conrad, 1916; James Branch Cabell, 1920; and Trollope, 1928); plays; and screenplays including David Copperfield, 1935.

Influences
Walpole's debt to Henry James is discernible in The Duchess of Wrexe (1914) and The Green Mirror (1917), but in the view of JBPriestley the two most potent influences on Walpole were the highly contrasting ones of Trollope and Dostoyevsky. Other critics noted the Trollopian influence; in 1923 Arthur St John Adcock commented:

"The Trenchards [in The Green Mirror] are a kind of family Trollope might have created had he been living now; The Cathedral is a kind of story he might have told, with its realistic melodrama and its clerical atmosphere, but Walpole tells it with a subtler art in the writing and the construction, with a conciseness and charm of style that are outside the range of the earlier novelist."

Walpole, though he was devoted to the works of Trollope, and published a study of him, thought that there was no real comparison between the two of them: "I am far too twisted and fantastic a novelist ever to succeed in catching Trollope's marvellous normality." Priestley was less impressed by the supposed Trollopian side of Walpole's work, finding some of it formulaic. He was more taken with a darker, Dostoyevskian, side that he found in the writing: "suddenly it will transform the pleasant easy scene he is giving us into transparency behind which are bright stars and red hellfire ... No matter how jolly and zestful he may appear to be, the fact remains that he possesses an unusually sharp sense of evil."

Possibly the most pervasive influence on Walpole was Walter Scott, whose romanticism is reflected in much of the later writer's fiction. Such was Walpole's love of Scott that he liked to think of himself as the latter's reincarnation. He amassed the largest collection in Britain of Scott manuscripts and early editions, and constantly reread the novels. With the Herries stories Walpole restored the popularity of the historical novel, a form for which Scott was famous but which had been out of fashion for decades. The Herries series begins in the 18th century and follows a Lakeland family through the generations up to modern times.

Reputation
Walpole sought critical as well as financial success, and longed to write works that equalled those of Trollope, Thomas Hardy and Henry James. In his early days, he received frequent and generally approving scrutiny from major literary figures. He was a good friend of Virginia Woolf, and rated her as an influence; she praised his gift for seizing on telling detail: "it is no disparagement to a writer to say that his gift is for the small things rather than for the large ... If you are faithful with the details the large effects will grow inevitably out of those very details". Joseph Conrad said of him, "We see Mr. Walpole grappling with the truth of things spiritual and material with his characteristic earnestness, and we can discern the characteristics of this acute and sympathetic explorer of human nature." In 1928 Priestley observed,"When I first remember seeing Hugh Walpole's name he had no public at all, but the ferocious young reviewers – the 'highbrows' as we have since learned to call them – delighted in him. Now he has an enormous public, both in England and America, and the young 'highbrows' – who are saddened by the thought of a large public – are not particularly fond of him."

Priestley contended that Walpole had fulfilled his early potential, unlike Compton Mackenzie, Gilbert Cannan and other promising young novelists of his generation. This view was not universal among critics: Walpole sometimes divided opinion. Writing of Walpole's Russian novels the contemporary critic and novelist Douglas Goldring commented, "Russia has been the grave of many reputations; and our Napoleon of the drawing-room novel has fared no better than other would-be conquerors of that disconcerting land." Goldring's complaint was that Walpole's Russian (and English) characters were clichéd stereotypes. The reviewer in Punch, by contrast, wrote, "I consulted a Russian, who is very much alive, and received the opinion that, if Mr. Walpole has not succeeded in drawing the real average Russian, he has given us a type whose faults and virtues sound the keynote of the situation as it is to-day." The Observer rated The Dark Forest as "one of the finest novels of our generation".

In 1924 Ernest Hemingway wrote into a short story a comparison of G. K. Chesterton and Walpole, concluding that the former was the better man, the latter a better writer and both were classics. Walpole could be sensitive about his literary reputation and often took adverse criticism badly. When Hilaire Belloc praised P.G.Wodehouse as the best English writer of their day, Walpole took it amiss, to the amusement of Wodehouse who regarded Belloc's plaudit as "a gag, to get a rise out of serious-minded authors whom he disliked". Wodehouse was not a great admirer of Walpole; his own scrupulous craftsmanship, with drafts polished over and over again, was the opposite of Walpole's hastily written and seldom-revised prose. He also viewed Walpole's sensitivity to criticism as absurd. Walpole was not always as oversensitive as Wodehouse supposed. The critic James Agate was a friend despite his regular rude remarks about Walpole's prose, and when Walpole discovered that Agate had written a spoof of the Herries "Lakeland" style, he made him promise to print it in the next published volume of his diaries.

During his career contemporaries saw both negative and positive sides to Walpole's outgoing nature and desire to be in the public eye. Wodehouse commented, "I always think Hugh Walpole's reputation was two thirds publicity. He was always endorsing books and speaking at lunches and so on." On the other hand, Walpole stood out as one of the few literary figures willing to go into court and give evidence for the defence at the obscenity trial after the 1928 lesbian novel by Radclyffe Hall, The Well of Loneliness, was published.

By the time of his death The Times's estimation of Walpole was no higher than, "he had a versatile imagination; he could tell a workmanlike story in good workmanlike English; and he was a man of immense industry, conscientious and painstaking". The belittling tone of the obituary brought forth strong rebuttals from T S Eliot, Kenneth Clark and Priestley, among others. Within a few years of his death, Walpole was seen as old-fashioned, and his works were largely neglected. In the Oxford Dictionary of National Biography Elizabeth Steele summed up: "His psychology was not deep enough for the polemicist, his diction not free enough for those returning from war, and his zest disastrous to a public wary of personal commitment".

Walpole's works have not been completely neglected in recent years. The Herries stories have seldom been out of print, and in 2014 WorldCat listed a dozen recent reissues of Walpole's works, including The Wooden Horse, The Dark Forest, The Secret City, Jeremy, and The Cathedral. In 2011 the BBC broadcast a reappraisal of Walpole, The Walpole Chronicle, presented by Eric Robson. In 2013 a new stage version of Rogue Herries was presented by the Theatre by the Lake company in Walpole's adopted home of Keswick. The BBC speculated that this could mark a revival in interest in his works.

Biographies
Two full-length studies of Walpole were published after his death. The first, in 1952, was written by Rupert Hart-Davis, who had known Walpole personally. It was regarded at the time as "among the half dozen best biographies of the century" and has been reissued several times since its first publication. Writing when homosexual acts between men were still outlawed in England, Hart-Davis avoided direct mention of his subject's sexuality, so respecting Walpole's habitual discretion and the wishes of his brother and sister. He left readers to read between the lines if they wished, in, for example, references to Turkish baths "providing informal opportunities of meeting interesting strangers". Hart-Davis dedicated the book to "Dorothy, Robin and Harold", Walpole's sister, brother, and long-term companion.

In 1972 Elizabeth Steele's study of Walpole was published. Much shorter than Hart-Davis's biography, at 178 pages to his 503, it dealt mainly with the novels, and aimed "to show the sources of Hugh Walpole's success as a writer during the thirty-five years and fifty books of his busy career". Steele concentrated on half a dozen of Walpole's best books, each illustrating aspects of his writing, under the headings "Acolyte", "Artist", "Witness", "Evangelist", "Critic" and "Romanticist". Steele also wrote a study of Walpole's North American lecture tours (2006) and the article on Walpole in the Oxford Dictionary of National Biography (2004), which treats his private life briefly but candidly.

Notes and references
Notes

References

title: Hugh Walpole


text:
Talk:Earl Brooke

I suspect the title is "Earl Brooke". Burke's is always over-enthusiastic about including territorial designations in actual titles. Proteus (Talk) 13:07, 23 May 2004 (UTC)

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

title: Talk:Earl Brooke


text:
Wycomb

Wycomb is a small hamlet in the district of Melton, which is approximately 4 mi northeast of Melton Mowbray in Leicestershire, and is part of the civil parish of Scalford, which also includes the neighbouring village of Chadwell. Until 1 April 1936 it was in the parish of Wycomb and Chadwell.

The settlement name (originally recorded as Wykeham) means 'wīc-hām (Old English) A settlement associated with a Roman 'vicus'. Wycomb is half a mile west of Chadwell, and Wycomb has traditionally used Chadwell's church. The Church of St Mary is a Grade II* Listed building.

History
Mentioned in the Domesday Book Survey of 1086, Wycomb was a settlement in the Hundred of Framland, Leicestershire. It had an estimated population of 23 households in 1086. Not long after the Enclosure Act of 1773, it was recorded that the 750 acres of land in and around "Caudwell and Wykeham" belonged to the "Parish of Rodeley". Among the parish landowners, influential figures included the lord of the manor, Thomas Babington, esq., the Bishop of Ely and the Brethren of Wigston's Hospital. In 1795, the two settlements, and their surrounding 750 acres of farmland, were considered to be part of East-Goscote Hundred, making it an outlier within the surrounding Hundred of Framland. By 1879, the Waltham branch of the Great Northern Railway ran between the two settlements, adding a railway station on the eastern road out towards Chadwell. Listed buildings in Wycomb include: The Homestead - an 18th century Ironstone built cottage, and Stowleigh - a former farmhouse built in 1850. Both buildings are Grade II Listed.

Geography
Wycomb is situated on two Middle Jurassic bedrock geology Formations. Most of the settlement is on Marlstone Rock (Iron-grainstone, 174-191 million years old), and as you go down the valley towards the northeast, it gives way to Dyrham Formation (grey siltstone, 183-191 million years old) with bands of Sandrock. Colluvial and alluvial river deposits overlie the bedrock along ancient watercourses, as you head towards the stream.

title: Wycomb


text:
Talk:Meänkieli

Why meänkieli is a language
Today the border between a language and a dialect has been very political for example norwegian and swedish are diffirend languages. ALso meänkieli doesnt only have swedish loans but saami loans. Some saami words for example: These are all saami loanwords. --Palmtree222 — Preceding undated comment added 09:46, 5 December 2019 (UTC)
 * kaanij = kummitus
 * mella = hiekkamäki
 * tseeru = lapinkylä
 * kieppä = alanko
 * kobbo = kukkula
 * gaissa = korkea tunturi
 * fjeruavesi = alivesi
 * kiena = mäki
 * In meänkieli how much you can understand depends on the topic for example
 * mie pruukaan praatata meänkielelä ko laulan köökissä ( now there are altmost no simular words to finnish )
 * Meänmaa on maa missä torniolaaksolaiset ja saamelaiset ellää ( fully understandable to finns )
 * If meänkieli is a finnish dialect then norwegian and swedish are the same language. Also for example in china cantonese and mandarin are officialy the dialects of chinese but they can not understand each other.

.
I started to revise this article on my laptop, but am now busy with studies and preparations for an exam, why I think I better post my version here - unfinished and unpolished as it may seem. /Tuomas 13:15, 23 May 2004 (UTC)

Whether Meänkieli is in fact a language could be questioned. It is much closer to standard Finnish than are some Finnish dialects, such as those of Rauma, Savo or Karjala. 26.09.04 — Preceding unsigned comment added by 62.78.185.120 (talk) 23:34, 25 September 2004 (UTC)

The word 'language' seems redundant. 'Kieli' means the exact same thing. -- Kizor — Preceding unsigned comment added by 193.167.190.81 (talk) 07:35, 28 October 2004 (UTC)

Maybe it's a dialect that just happens to have a name like that. No matter what dialect you speak anyway, it's still part of a language. Seems pretty natural for a group of people to say "our language". They wouldn't necessarily know there is a bunch of politics involved in saying so. Besides, I cant see them saying meänmurreh 'our dialect'. Doesnt have the same ring to it. --Alcarilinque 22:49, 14 Nov 2004 (UTC)

 * Meänkieli language is an unnecessary redundancy, since "kieli" means language as Kizor already pointed out. Either meänkieli or meän kieli should do fine. I see it written as meänkieli most of the times, and Google supports this (36,700 vs. 522). "Meänkieli language" gets 859 hits. I now move this page to meänkieli. / Habj 20:05, 1 October 2005 (UTC)

 * ..."unnecessary redundancy" is self-referent — Preceding unsigned comment added by 203.109.252.196 (talk) 09:37, 14 January 2006 (UTC)

Renaming (Meänkieli -> Meæn language)
Meänkile is actually (Meæn) Meæn Kile, (English) Meæn language. I propose we rename the page to Meæn language if there isn't objections.

Reasons:
 * replace ä with æ: ä is not used in English, but old English used æ.
 * Meæn language are sometimes used
 * Quens or Tornedalians rather write Meæn Kile and not Meænkile
 * It should rather be Meæn-Kile language rather than Meænkile language
 * There is somewhat mostly relation to this article and when I search for Meänkieli language on e.g. Google.

Meæn language is also (poetical) refered to as old-Finnish language in some literature. // Rogper 20:43, 22 Nov 2004 (UTC)
 * If you have an urge to invent new terminology in English I suggest we translate the term correctly: Meänkieli is literally translated Our language.
 * Meänkieli is a dialect of Finnish. This is a linguistic fact that is poliically difficult to admit in Sweden. The decision to treat it as a separate language derives from the ahistorical policy of trying to deny that area of modern Sweden has an indigenous Finnish population in the North.--84.239.133.56 (talk) 09:31, 8 June 2009 (UTC)

 * What?? That is just silly! A brief google search gives only links which use "meän language". Can you give some references where this form is used? Also, please sign your posts with ~ and don't mark them as minor if you want people to actually read them. -- Jniemenmaa 08:07, 22 Nov 2004 (UTC)
 * Yes, it's termed old-Finnish in old sources. (c.f. Hälsinge-Runor pertains to this language, beyond others, too)
 * I saw it was written meän kiele in newspaper (and by e.g. www.tornio.fi). // Rogper 20:43, 22 Nov 2004 (UTC)

 * Why would we want to replace ä with æ? Give us some authorative source that uses the form "meæn language".
 * All language articles on wikipedia should be named in the form "X language", unfortunately Meänkieli means "our language". But "Meän language" would be just wrong, since the name of the language is not "Meän". -- Jniemenmaa 08:59, 23 Nov 2004 (UTC)
 * Because 'ä' is improper form of 'æ'.

 * The form Meänkiele descents from the Swedish form. Themself write meän kiele (Meän-Kiele) or similar, thus Meæn language would be more suitable.
 * // Rogper 17:16, 23 Nov 2004 (UTC)

 * Using æ instead of ä in this case would be improper. Please show me even one source that uses æ instead of ä.
 * "meän kiele" gives 5 google hits. "meänkieli" gives 8,310. Example of page that is written in meänkieli and that uses the name "meänkieli": . -- Jniemenmaa 17:34, 23 Nov 2004 (UTC)

Consider to look for Meän. The character 'ä' is an improper form of 'æ'. The character 'ä' has never existed in English language. The character ä in Skräling is replaced to æ on wikipedia (Skræling is in OED). The character 'ä' and 'meänkiele' is the Swedish form of 'meän kiele' or 'meän language'. I propose and argue that the page should be renamed to Meæn language! :-) That 'meänkiele' is best practice might be cause that you refers to Swedish Govermental sites, which presumably have used Nationalencyklopedin where Meæn language is termed meänkiele. // Rogper 23:58, 23 Nov 2004 (UTC)

 * Well, æ doesn't exist in modern english, either. And if one should follow your argument with all its implications, it would probably end with the article being written in runes. — Preceding unsigned comment added by 213.112.113.112 (talk) 16:21, 8 January 2005 (UTC)

 * You have not shown any evidence for your argument. The name of the language is "Meänkieli", not "Meænkieli", "Meæn" or "Meænkiele". The Ethnologue gives the names "Torne Walley Finnish", "Tornedalsfinskan", "North Finnish" and the quite strange "Tornedalen". I will not continue arguing with you if you do not provide some evidence for your claims. -- Jniemenmaa 08:10, 24 Nov 2004 (UTC)
 * There is no authorative source in this question, besides perhaps Kvänlandsförbundet, as I am aware of. I don't know if they are representative, either. The sourcers I refers to is newspaper, e.g. . // Rogper 23:31, 24 Nov 2004 (UTC)

I propose we call it the same thing as the meänkieli-speakers would. Perhaps though, the title should remove the 'language', as it is ambiguous.

--Alcarilinque 22:10, 24 Nov 2004 (UTC)

 * The argument made at WikiProject Languages is that we might want to have articles such as Meänkieli literature and Meänkieli phonetics in the future. So the name would not just refer to the language alone. But since Meänkieli redirects here I do not think that is such a problem. -- Jniemenmaa 08:29, 25 Nov 2004 (UTC)
 * I still propose we use the noun Meän on Wikipedia for Meän language, Meän culture, Meän literature, etc. They simply refers to themself as Meän. The question whether to use ä or æ or ae is somewhat irrelevant. Some Englishmen have earlier pointed out to me that æ should be used instead of ä. For those considering Google as an authority, check yourself that meän gives 11,000 hits, whereas meänkieli gives 9,000 hits. // Rogper 12:52, 17 Feb 2005 (UTC)

 * Back to the old argument again... Of course "meän" gives a lot of links in Google, it just means "ours" in this dialect, a pretty common word. For instance the first Google link is to "Meän raatio" (Our Radio). The only relevant links seem to use the form "meän kieli". I would really like to see just one link or reference that refers to the language as just "meän". Note that this article is about the language itself, not the people speaking it. -- Jniemenmaa 13:10, 17 Feb 2005 (UTC)

But Meän raatio refers specificially to radio with Meän-Kieli and not generall radio! I doubt that Meänkieli language is used more frequently than Meän language. (If you Google, remove all referens that has to do with Wikipedia!)// Rogper 21:21, 17 Feb 2005 (UTC)

 * Google hits for "Meän language" : 1
 * Google hits for "Meänkieli language" : 152
 * I rest my case. -- Jniemenmaa 09:14, 18 Feb 2005 (UTC)
 * According to my searchs (removing referens from Wikipedia offsprings):
 * Google hits for meän language, or meän kieli : 756
 * Google hits for non-Wikipedia meänkieli language : 18
 * //Rogper 10:37, 18 Feb 2005 (UTC)

Searching for "meän language" still just gives 1 hit. If you include "Meän kieli" in your search (which I think is cheating) you of course get more hits. Just searching for "Meän kieli" gives 758 hits. Most of those hits are in Finnish or Swedish.

If we search on just english pages for "Meän kieli" or "Meän language" we get 86 hits.  But that doesn't prove anything, since searching for "Meänkieli" on english pages gives 1,860 hits

If you still want to continue this argument I suggest you post it on Requests for comment. -- Jniemenmaa 10:56, 18 Feb 2005 (UTC)

 * Although it is true that Æ is a Danish letter, it is also an English letter. Or, more precise, it used to be an English letter, but has fallen out of favor. Indeed, the entire history of how the letter Æ became the letter Ä is quite interesting - it happened mostly in Germany, and other countries picked it up from them. The first morphing of the Æ created a letter A with a lower-case e above it. I can't show this on the comments here, because the Wiki editor does not have a character to show that. After a while the scribes stopped writing the A with the superscripted e, and morphed it further into an A with a couple of dots instead. Similar morphism also took place with the letters Œ becoming O and superscripted e and eventually Ö, as well as with a combined UE, which morphed into the Ü.

 * It is interesting to trace which countries chose to go with the German changes in the alphabet, and those that did not. The Danish and Norwegians kept the Æ, but changed the Œ to Ø, except for a while they did use Ö for distinct purposes that later went away. A lot of this was taking place during the time of Martin Luther and others who were translating the Bible into vernacular languages, as well as the typesetters of the early printing presses, who tried to standardize the alphabets of the various languages. --Saukkomies talk 03:55, 23 June 2013 (UTC)

Relationship to Finnish
Is it really true that Meän language is a Finnish "offspring" since the 1800s? I think that during the last centuries, the language has rather been influenced very much by Finnish...

Some writers have earlier called it Old Finnish language... — Preceding unsigned comment added by Rogper~enwiki (talk • contribs) 12:26, 17 February 2005 (UTC)

 * Some Finnish speakers understand Meänkieli completely. It's about the same as the other Northern Finnish dialects. There are a lot of Swedish loan words in all the Finnish dialects.
 * The borders between Sweden and Finland have never been closed. The reasons for the differentiation between Meänkieli and standard Finnish are purely political. I have relatives in Southern Sweden and their Finnish is much more different from modern Finnish than Meänkieli. They have lived in Sweden since the early 60's.
 * Æ is a Danish letter. I can see no reason why it should be used here. --84.231.134.30 08:30, 27 March 2006 (UTC)

Sweden Bias
Well, not bias as in valuing one thing over another, but this article seems to assume a Swedish context when it talks about legal and societal issues. When you look at the sentence "Meänkieli is spoken by some 40,000-70,000 people in the Torne River Valley, in Norrbotten, along the border between Sweden and Finland," it sounds as if it is spoken in both countries, to someone who doesn't know where Norrbotten or the Torne River Valley are. Yet, later, you have the sentence "The governmental and legal support for Meänkieli as a minority language has proved to be weaker than in comparable countries, such as Norway, Finland, and the Netherlands." What government? If support for Meänkieli is stronger in Norway, Finland and the Netherlands, why focus on Sweden so much?

I may just be confused, but I think there may be something confusing in this article. — Preceding unsigned comment added by Rschmertz (talk • contribs) 18:26, 19 May 2005 (UTC)

 * I hope my recent additions have made it clearer - meänkieli is a phenomenon located in Sweden. I think it hardly exists in Finland; the dialects on the Finnish side of the Torne River are regarded Finnish dialects. Maybe my additions are a bit POV; I personally find it a shame that we have deliberately oppressed this language, and made people ashamed of themselves because of their language. I trust someone else to wash my additions a bit, and make them look a bit more encyclopedic. /Habj 23:18, 17 Jun 2005 (UTC)

 * Meänkieli is spoken on the Finnish side of the Torne valley as much as on the Swedish side. The Finnish government, however, considers meänkieli a Finnish dialect, not a language. Linguistically I agree with that. Reasons for its status in Sweden are mostly political, as pointed out. --Oami 17:19, 2 June 2006 (UTC)
 * Furthermore, the word meänkieli is not used in standard Finnish; it is called "tornionlaakson murre", "Torne valley dialect". --Oami 17:21, 2 June 2006 (UTC)

I found the sample translation text talking about Swedish democracy very strange, for what seems to be a form of Finnish (despite the fact that populations speak it both sides of the border). If there's controversy, perhaps a more neutral passage should be used? 82.36.250.71 (talk) 14:46, 14 July 2010 (UTC)

Terminology: declension
Meänkieli lacks two of the declensions used in standard Finnish, the comitative and the instructive cases.

I would reword this: Meänkieli lacks two of the cases used in standard Finnish, the comitative and the instructive.

The word "declension" has two closely related meanings in grammatical terminology. It means the process of declining a word or group of words, i.e, of giving them their appropriate case forms. If a student is asked to decline the Latin word mensa, he will respond with the catalogue of all its case forms - mensa, mensa, mensam, mensae, mensae, mensā; mensae, mensae, mensās, mensārum, mensīs, mensīs. The verb "decline" can also be used intransitively: puella declines like mensa. "The declension of mensa" means the pattern of case-endings of mensa.

The other meaning of "declension" is a particular pattern of endings, in contrast with other patterns of endings. It is tempting to speak of Finnish having two declensions, with fronted and non-fronted vowels, but the correspondences are so precise and invariable, that it is a question of phonology rather than morphology. In Latin, many words are declined like mensa. This pattern is called the first declension, or a-declension. The noun servus declines, servus, serve, servum, servī, servō, servō; servī, servī, servōs, servōrum, servīs, servīs. This pattern is the second declension or o-declension.

The sentence quoted above from the article implies that different nouns have different sets of endings, that Finnish has three or more such patterns, of which Meänkieli lacks two.

Cheers - Neil Copeland — Preceding unsigned comment added by 203.109.252.196 (talk) 04:04, 5 December 2005 (UTC)

The politics of Finnish in Swedish
Meankieli is arguably a term that has been introduced for political purposes to refer to Finnish dialects spoken in northern Sweden.

There has been considerable pressure on the Swedish authorities to grant Finnish an official status in view not only of the indigenous and historic Finnish minority in the north of the country, but also because of the existence of a more recent Finnish immigrant community in southern and central Sweden.

By classifying the northern Finnish dialects as a separate language, the Swedish authorities have been able to meet their international treaty obligations towards established minority groups and circumvent the need to grant an official status to Finnish -- a move that they have been relectant to make in view of the size of the Finnish immigrant population and the repercussions it would have had on the status of other immigrant languages. — Preceding unsigned comment added by 132.185.144.120 (talk) 18:13, 13 June 2006 (UTC)

Meänkieli different from Finnish?
Meänkieli may have some differences to standard Finnish, but this must be a joke:

"...Meänkieli also contains many loanwords from Swedish, pertaining to daily life, such as "ampulansi" as "ambulance"..."

In Finnish "ambulance" is "ambulanssi", a loan word from Swedish.

"...Meänkieli lacks two of the declensions used in standard Finnish, the comitative and the instructive cases..."

The comitative and instructive case do not de facto exist in the Finnish language either. Certainly they are not "used", except in some grammar books. —The preceding unsigned comment was added by 62.78.197.64 (talk) 15:01, 17 April 2007 (UTC).

 * Of course it's a joke. I don't wish to offend anyone, but the whole idea of "Meänkieli" being a language is a joke. It's a Finnish dialect, and a pretty standard dialect too. There are many Finnish dialects that are more different from Standard Finnish than Meänkieli and are still seen as Finnish dialects. This isn't even like the differences between English in the US and the UK, it's more like inventing a bunch of new languages in Devonshire, Kent, Shropshire etc. JdeJ 20:25, 20 August 2007 (UTC)

 * Of course the comitative and instructive exist in Finnish. I don't see a problem in using f.ex. the instructive containing phrase tuli varkain in speech either. --88.114.252.193 22:25, 13 October 2007 (UTC)

 * Don't the instructive and comitative cases exist in Mäenkieli? This is the first thing I've read about the language that actually makes it different from any other dialect of Finnish. For example when using the comitative do you have to use the word kanssa, you absolutely cannot use -ine?. The comitative and instructive cases are very common in the Finnish language, like the above user said. Kankkis (talk) 08:47, 5 May 2008 (UTC)

 * In Finnish very comitative and instructive can be replaced by postposition. What can or cannot be used only depends on how are the rules made but it is Finnish even if you make grammatical or spelling mistakes. Instructive or comitative are not natural in dialects.--SM (talk) 12:00, 5 January 2010 (UTC)

The Meänkieli speaking population
Would anybody have any links to sources regarding the ethnic identity of the 40-70,000 speakers in Sweden? Do they declare Finn? Meänkieli? or simply Swedish? or anything else? Is there proof that some declare one thing whilst others something else? I'm just curious to know. Evlekis 09:48, 20 October 2007 (UTC)

Do Finnish Americans speak Meänkieli?
There seems to be a fairly clear case to be made that the variety of Finnish spoken by the majority of Finnish Americans living in North America (U.S. and Canada) is most closely related to Meänkieli, not to proper standard Finnish. Some researchers have been working on this topic, and are attempting to establish a solid basis for this theory, effectively proving it to be true. One man in particular (I am reluctant to give his name here without his permission) who grew up speaking Finnish in the Upper Peninsula of Michigan has traveled to the Torne Valley in Sweden and made copious notes about the similiarities between the Meänkieli dialect and that of the dialect spoken in the most heavily concentrated Finnish American region of North America among Finnish-speaking people (the Upper Peninsula of Michigan, and the Iron Mountains region of northern Minnesota, to be precise).

There is an actual historic basis for this: there were large numbers of immigrants coming from the Torne Valley region to North America between 1840-1930, effectively about 10-15% of the population of that area emigrated. These people also brought with them their Laestadian religion, whose followers typically have very large families. Although other waves of Finnish-speaking immigrants arrived in North America over the decades, the Torne Valley Finns arrived early and basically overwhelmed the rest of the Finnish Americans by simply outbreeding them, until today the vast majority of Finnish speaking people in the U.S. and Canada are descended from people who spoke the Meänkieli dialect.

I think it would be useful to make a note of this in the article. I will try to find some solid sources to back this up. If anyone has any additional information or suggestions, I'd like to hear. Thanks. --Saukkomies talk 03:40, 23 June 2013 (UTC)

The samples
I made some changes into the samples of comparisions between meänkieli and standard finnish into the standard finnish sections. In the source there were only meänkieli and swedish but not standard finnish, so I used both the meänkieli and swedish texts. I myself do not speak meänkieli, I am only native speaker of Finnish and have learnt swedish at shcool. My version probably is not the best possible, as translating even into one's own native language requiers professional skills and not only that one is a native speaker. So other users are encouraged to make a better translation. Now the meänkieli section seems to be clear and beautiful language, but the finnish section is not as professional. But anyway, before my modifications the standard Finnish section was still worse, I guess.--Urjanhai (talk) 10:16, 15 March 2020 (UTC)

Addition: The examples are of a bureaucratic official language, and the swedish and and meänkieli sections seem to be of high quality, but to write a good translation of a bureaucratic text even into one's own native language seems to be hard if you are not a language professional.--Urjanhai (talk) 11:22, 15 March 2020 (UTC)

Renaming this
Currently the name is VERY biased with the name "meänkieli dialects" its implying that it is a dialect. The name should be cahnged to just Meänkieli where it does not favor any side because meänkieli is the name of the form of speech in swedish torneo valley. Even if someone consideres it a dialect wikipedia should not be biased. — Preceding unsigned comment added by Pepethefrog1234567890 (talk • contribs) 15:20, 10 December 2019 (UTC)

 * I agree. Meänkieli is de jure one of the official minority languages of Sweden. Finnish is de jure another minority language in Sweden. Thus, the status of the language from a linguistic point of view is irrelevant. There are also different standardizing institutions. The articles name Meankieli dialects is also not a good choice, since the article hardly is dealing with the dialects of meänkieli at all. // 158.174.186.199 (talk) 07:04, 10 August 2020 (UTC)

Requested move 10 August 2020

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this section.

Meänkieli dialects → Meänkieli – Added request to move template according to discussion above. // 158.174.186.199 (talk) 07:22, 10 August 2020 (UTC)

Adding my main reasons for renaming / moving this article again:

 * Meänkieli is de jure one of the official minority languages of Sweden.
 * Finnish is de jure another official minority language of Sweden. Thus, the linguistic analysis about language/dialect status is irrelevant.
 * The name of the article is misleading, since the article doesn't really discuss the dialects of the language meänkieli, as the title claims.

// 158.174.186.199 (talk) 08:09, 10 August 2020 (UTC)
 * Support because it's an actual language, and the article doesn't really discuss dialects. J I P  | Talk 14:08, 11 August 2020 (UTC)

 * The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

title: Talk:Meänkieli


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Talk:Sámi flag

Sápmi/Lapland
I took out the entry that said Sápmi is also called Lapland. These names do not in fact imply the same area - Lapland is a part of Sápmi. See the article Sápmi for more info. —Preceding unsigned comment added by 193.157.242.172 (talk) 08:11, 22 May 2008 (UTC)

Colours due sex
Blue for males and red for females is taken from Nordisk familjebok. But as you mentioned it there is need to clarify that both colours is used today by both males and females. This simply needs to be investigated further. // Rogper 13:19, 23 May 2004 (UTC)

 * I think the right place for this information would be an article on gakti.  Unfortunately jag talar inte svenska (although I did try to learn it once), and I can't find anything in English on the internet that is sufficiently detailed.   Maybe you could have a go?  Thanks.  GrahamN 01:24, 30 May 2004 (UTC)

i looking for a flag of Sami please contact me at : crackwindobe@voila.fr

Specifications
Has anyone found any specifications for the proportions of the flag? What are the respective sizes of the bars, and of the circle? --Orzetto 20:39, 27 September 2005 (UTC)

 * See http://www.sametinget.no/artikkel.asp?AId=166&MId1=1&Back=1, its in norwegian, but you should get the picture(!). ZorroIII 20:32, 10 October 2006 (UTC)

Flag usage controversy
A section about the controversy with regards to using the flag, and respecting the Sami flag days should be added.Labongo 21:47, 10 August 2007 (UTC)

Rule of tincture
The rule of tincture is not too well-defined for simple tricolors; if you blazon the flag of Germany as "per fess, gules and or, a chief sable", it complies perfectly. AnonMoos (talk) 14:12, 22 January 2009 (UTC)

External links modified
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Move discussion in progress
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title: Talk:Sámi flag


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Pierre Molinier

Pierre Molinier (April 13, 1900 – March 3, 1976) was a French painter, photographer and "maker of objects".

Biography and works
Born in Agen, France, he lived his life in Bordeaux. He began his career as a painter of landscapes until his work soon turned towards a fetishistic eroticism photography.

Molinier began to take photographs at the age of 18.

After returning from military service during 1921–1922, Molinier set out for Paris to draw from master works. Prior to Paris, he had apprenticed with his father and Pierre Augustin de Fumadelles, a sculptor. In Paris, Molinier reportedly preferred not to see too much art by the great masters as a personal manifesto on "how to create a work of art."

Moliner married Andrea Lafaye on July 7, 1931, in Bordeaux.

Molinier began a correspondence with André Breton and sent him photographs of his paintings, and was later integrated into the Surrealist group.

In 1955 Molinier made contact with the leading surrealist Andre Breton and by 1959 was showing at the International Surrealist Exhibition. At this time they defined the purpose of his art as 'for my own stimulation', indicating they future direction in one of their exhibits in the 1965 Surrealist show – a dildo.

Between 1965 and his suicide in 1976, he chronicled his exploration of his subconscious transsexual desires in "Cent Photographies Erotiques": graphically detailed images of pain and pleasure. Molinier, with the aid of a remote control switch, also began to create photographs in which he assumed the roles of dominatrix and succuba previously taken by the women of his paintings. In these black and white photographs, Molinier, either alone with doll-like mannequins or with female models, appears as a transvestite, transformed by his 'fetish' wardrobe of fishnet stockings, suspender belt, stilettos, mask and corset. In montages, an unlikely number of stockinged limbs intertwine to create the women of Molinier's paintings.

He declared that all his erotic works had been painted for his own stimulation: “In painting, I was able to satisfy my leg and nipple fetishism.” His primary interest regarding his sexuality was neither the female body or the male body; Molinier said that legs of either sex arouse him equally, as long as they are hairless and dressed up in black stockings. Regarding his dolls, he said: “While a doll can function as a substitute for a woman, there is no movement, no life. This has a certain charm if one is before a beautiful corpse. The doll can, but does not have to become the substitute for a woman”

For the last 11 years of his life Molinier played out his own most profound moments in the 'theatre' of his Bordeaux 'boudoir – atelier'. He intended his photographs to shock, inviting the viewer to bring to the images his or her own response of excitement or disgust.

In the 1970s, Molinier's health began to decline. Like his father before them, Molinier committed suicide at 76 years of age by hanging himself in a hotel room, leaving a note saying "I’m taking my life. The key is at the concierge's"

The epitaph reads "Here lies Pierre Molinier, He was a man without morals."

Influences
Molinier became interested in such topics after World War I when he entered a masonic order called the Brotherhood. During this time he became fascinated with ancient Egyptian and Indian religions, as well as Satanism.

Molinier explored connections between religious ritual and sexuality which he believed had been obscured by the post-Renaissance morality he so despised. He was a transvestite Baudelaire who rather than words, chose as his medium the corset, the mask and the chain. He challenges received orthodoxies of art and morality and, like a jester, seeks to destroy taboos.

Molinier echoes the ancient Shamanic tradition and experiments in sexual transformation can be interpreted as an attempt to regain the primordial, Platonic perfection of the androgyne. It is significant that his (unrealised) biography was to have been entitled The Shaman and His Creatures.

title: Pierre Molinier


text:
User talk:Mjoloza

Thanks for experimenting with Wikipedia. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in articles will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. -- Graham :) | Talk 13:22, 23 May 2004 (UTC)

title: User talk:Mjoloza


text:
User:Odin-

About the MAN

 * Born in Norrköping, Sweden.
 * Lives in Stockholm, Sweden.
 * Holds a M.Sc. in Electronics Design Engineering from Linköping Institute of Technology.
 * Works in the telecom bussiness.

Trivia

 * Loves the concept of wiki.
 * Enjoys the strange combination of computer programming, weight training, flowers and watching films. I also enjoy working on my hobby-project (well it's passed the hobby stage) web-site BETAPET.COM.

Pages I've done or edited (incomplete)

 * Braviken
 * Holmen
 * Sony Ericsson P990
 * Scrabble
 * Thermo_mechanical_pulp

title: User:Odin-


text:
CTRL

CTRL or Ctrl may refer to several things:

 * Channel Tunnel Rail Link or High Speed 1 (HS1), a high-speed railway line linking London with the Channel Tunnel
 * Control key, an input button present on most computer keyboards
 * CTRL (gene), a gene that in humans encodes the enzyme chymotrypsin-like protease CTRL-1
 * Ctrl (web series), an American comedy web series from NBC
 * Ctrl (Derek Webb album), a 2012 album by singer-songwriter Derek Webb
 * Ctrl (SZA album), a 2017 album by singer-songwriter SZA
 * CTRL (TV series), a 2021 Singaporean television drama
 * Cyberoam Threat Research Labs, a facility of Cyberoam
 * The stock symbol for Control4

title: CTRL


text:
Jean Shiley

Jean Shiley Newhouse (November 20, 1911 – March 11, 1998) was an American high jumper. She was born Jean Shiley in Harrisburg, Pennsylvania, and later moved to Havertown, a Philadelphia suburb, where she joined the team at Haverford High School.

Shiley tied with Babe Didrikson in the trials for the 1932 Summer Olympics in Los Angeles. In the games, both cleared 5 ft and failed at 5 ft. In the jump-off, they tied again at a world record height of 5 ft; however, Shiley was awarded the gold medal, as Didrikson's Western roll technique was deemed "diving".

Didrikson was also given a share in the world record and this, though equalled a few times, stood until 1939. Shiley was ruled ineligible for the 1936 Games as she had worked as a swimming instructor.

title: Jean Shiley


text:
Talk:Gokturk runes

Does this actually differ from the Orkhon script?

title: Talk:Gokturk runes


text:
Creative industries

The creative industries refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. They may variously also be referred to as the cultural industries (especially in Europe) or the creative economy, and most recently they have been denominated as the Orange Economy in Latin America and the Caribbean.

Howkins' creative economy comprises advertising, architecture, art, crafts, design, fashion, film, music, performing arts, publishing, R&D, software, toys and games, TV and radio, and video games. Some scholars consider that the education industry, including public and private services, are forming a part of the creative industries. There remain, therefore, different definitions of the sector.

The creative industries have been seen to become increasingly important to economic well-being, proponents suggesting that "human creativity is the ultimate economic resource", and that "the industries of the twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation".

Definitions
Various commentators have provided varying suggestions on what activities to include in the concept of "creative industries", and the name itself has become a contested issue – with significant differences and overlap between the terms "creative industries", "cultural industries" and "creative economy" l.

Lash and Urry suggest that each of the creative industries has an "irreducible core" concerned with "the exchange of finance for rights in intellectual property". This echoes the UK Government Department for Culture, Media and Sport (DCMS) definition which describes the creative industries as:

 * "those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property"

the DCMS definition recognizes nine creative sectors, namely:

 * Advertising and marketing
 * Architecture
 * Crafts
 * Design: product, graphic and fashion design
 * Film, TV productions, TV, video, radio and photography
 * IT, software and computer services
 * Publishing
 * Museums, galleries and libraries
 * Music, performing and visual arts

To this list John Howkins would add toys and games, also including the much broader area of research and development in science and technology. It has also been argued that gastronomy belongs in such a list.

The various fields of engineering do not appear on this list, that emerged from the DCMS reports. This was due, probably, to the fact that engineers occupy relevant positions in "non-cultural" corporations, performing activities of project, management, operation, maintenance, risk analysis and supervision, among others. However, historically and presently, several tasks of engineers can be regarded as highly creative, inventive and innovative. The contribution of engineering is represented by new products, processes and services.

Hesmondhalgh reduces the list to what he terms "the core cultural industries" of advertising and marketing, broadcasting, film, internet and music industries, print and electronic publishing, and video and computer games. His definition only includes those industries that create "texts"' or "cultural artefacts" and which engage in some form of industrial reproduction.

The DCMS list has proven influential, and many other nations have formally adopted it. It has also been criticised. It has been argued that the division into sectors obscures a divide between lifestyle business, non-profits, and larger businesses, and between those who receive state subsidies (e.g., film) and those who do not (e.g., computer games). The inclusion of the antiques trade often comes into question, since it does not generally involve production (except of reproductions and fakes). The inclusion of all computer services has also been questioned.

Some areas, such as Hong Kong, have preferred to shape their policy around a tighter focus on copyright ownership in the value chain. They adopt the WIPO's classifications, which divide up the creative industries according to who owns the copyrights at various stages during the production and distribution of creative content.

The Inter-American Development Bank (IDB) has denominated them for Latin America and the Caribbean as the Orange Economy which is defined as the "group of linked activities through which ideas are transformed into cultural goods and services whose value is determined by intellectual property."

Others have suggested a distinction between those industries that are open to mass production and distribution (film and video; videogames; broadcasting; publishing), and those that are primarily craft-based and are meant to be consumed in a particular place and moment (visual arts; performing arts; cultural heritage).

How creative workers are counted
The DCMS classifies enterprises and occupations as creative according to what the enterprise primarily produces, and what the worker primarily does. Thus, a company which produces records would be classified as belonging to the music industrial sector, and a worker who plays piano would be classified as a musician.

The primary purpose of this is to quantify – for example it can be used to count the number of firms, and the number of workers, creatively employed in any given location, and hence to identify places with particularly high concentrations of creative activities.

It leads to some complications which are not immediately obvious. For example, a security guard working for a music company would be classified as a creative employee, although not as creatively occupied.

The total number of creative employees is then calculated as the sum of:

 * All workers employed in creative industries, whether or not creatively occupied (e.g. all musicians, security guards, cleaners, accountants, managers, etc. working for a record company)
 * All workers that are creatively occupied, and are not employed in creative industries (for example, a piano teacher in a school). This includes people whose second job is creative, for example somebody who does weekend gigs, writes books, or produces artwork in their spare time

Properties or characteristics
According to Richard E. Caves, creative industries are characterized by seven economic properties:

 * 1) Nobody knows principle: Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward.
 * 2) Art for art's sake: Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs.
 * 3) Motley crew principle: For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome.
 * 4) Infinite variety: Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise).
 * 5) A list/B list: Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success.
 * 6) Time flies: When coordinating complex projects with diversely skilled inputs, time is of the essence.
 * 7) Ars longa: Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.

The properties described by Caves have been criticized for being too rigid (Towse, 2000). Not all creative workers are purely driven by 'art for art's sake'. The 'ars longa' property also holds for certain noncreative products (i.e., licensed products). The 'time flies' property also holds for large construction projects. Creative industries are therefore not unique, but they score generally higher on these properties relative to non-creative industries.

Difference from the 'cultural industries'
There is often a question about the boundaries between creative industries and the similar term of cultural industries. Cultural industries are best described as an adjunct-sector of the creative industries. Cultural industries include industries that focus on cultural tourism and heritage, museums and libraries, sports and outdoor activities, and a variety of 'way of life' activities that arguably range from local pet shows to a host of hobbyist concerns. Thus cultural industries are more concerned about delivering other kinds of value—including cultural wealth and social wealth—rather than primarily providing monetary value. (See also cultural institutions studies.)

The creative class
Some authors, such as the American urban studies theorist Richard Florida, argue for a wider focus on the products of knowledge workers, and judge the 'creative class' (his own term) to include nearly all those offering professional knowledge-based services.

The creative class and diversity
Florida's focus leads him to pay particular attention to the nature of the creative workforce. In a study of why particular US cities such as San Francisco seem to attract creative producers, Florida argues that a high proportion of workers from the 'creative class' provide a key input to creative production, which enterprises seek out. He seeks to quantitatively establish the importance of diversity and multiculturalism in the cities concerned, for example the existence of a significant public gay community, ethnic and religious variety, and tolerance.

Economic contribution
Globally, Creative Industries excluding software and general scientific research and development are said to have accounted for around 4% of the world's economic output in 1999, which is the last year for which comprehensive collated figures are currently available. Estimates of the output corresponding to scientific Research and Development suggest that an additional 4-9% might be attributable to the sector if its definition is extended to include such activities, though the figures vary significantly between different countries.

In 2015, the World Intellectual Property Organization (WIPO) assisted in the preparation of national studiesundefined that measured the size of over 50 copyright industries around the world. Findings from the recompilation of these studies indicate that the GDP contribution to national economies vary between 2% and 11%.

Taking the UK as an example, in the context of other sectors, the creative industries make a far more significant contribution to output than hospitality or utilities and deliver four times the output due to agriculture, fisheries and forestry. In terms of employment and depending on the definition of activities included, the sector is a major employer of between 4-6% of the UK's working population, though this is still significantly less than employment due to traditional areas of work such as retail and manufacturing.

Within the creative industries sector, and again taking the UK as an example, the three largest sub-sectors are design, publishing, and television and radio. Together these account for around 75% of revenues and 50% of employment.

In economies like Brazil, for example, a 2021 study into the Intellectual Property intensive sectors in the Brazilian economy found that 450 of Brazil's 673 economic classes could be classified as IP-intensive sectors which collectively employed 19,3 million people. The Brazilian creative industry's collective share of GDP between 2014 and 2016, when calculated across these 450 economic classes, totaled R$2,1 trillion Reais or 44,2% of Brazil's GDP.

The complex supply chains in the creative industries sometimes make it challenging to calculate accurate figures for the gross value added by each sub-sector. This is particularly the case for the service-focused sub-sectors such as advertising, whereas it is more straightforward in product-focused sub-sectors such as crafts.

There may be a tendency for publicly funded creative industries development services to inaccurately estimate the number of creative businesses during the mapping process. There is also imprecision in nearly all tax code systems that determine a person's profession, since many creative people operate simultaneously in multiple roles and jobs. Both these factors mean that official statistics relating to the Creative Industries should be treated with caution.

The creative industries in Europe make a significant contribution to the EU economy, creating about 3% of EU GDP – corresponding to an annual market value of billion – and employing about 6 million people. In addition, the sector plays a crucial role in fostering innovation, in particular for devices and networks. The EU records the second highest TV viewing figures globally, producing more films than any other region in the world. In that respect, the newly proposed 'Creative Europe' programme (July 2011) will help preserve cultural heritage while increasing the circulation of creative works inside and outside the EU. The programme will play a consequential role in stimulating cross border co-operation, promoting peer learning and making these sectors more professional. The Commission will then propose a financial instrument run by the European Investment Bank to provide debt and equity finance for cultural and creative industries. The role of the non-state actors within the governance regarding Medias will not be neglected anymore. Therefore, building a new approach extolling the crucial importance of a European level playing field industry may boost the adoption of policies aimed at developing a conducive environment, enabling European companies as well as citizens to use their imagination and creativity – both sources of innovation -, and therefore of competitiveness and sustainability. It supposes to tailor the regulatory and institutional frameworks in supporting private-public collaboration, in particular in the Medias sector. The EU therefore plans to develop clusters, financing instruments as well as foresight activities to support this sector. The European Commission wishes to assist European creators and audiovisual enterprises to develop new markets through the use of digital technology, and asks how policy-making can best help achieve this. A more entrepreneurial culture will have to take hold with a more positive attitude towards risk-taking, and a capacity to innovate anticipating future trends. Creativity plays an important role in human resource management as artists and creative professionals can think laterally. Moreover, new jobs requiring new skills created in the post-crisis economy should be supported by labour mobility to ensure that people are employed wherever their skills are needed.

In the US
In the introduction to a 2013 special issue of Work and Occupations on artists in the US workforce, the guest editors argue that by examining the work lives of artists, one can identify characteristics and actions that help both individual workers and policy makers adapt to changing economic conditions. Elizabeth Lingo and Steven Tepper cite multiple sources to suggest artists' skill sets allow them to "work beyond existing markets and create entirely new opportunities for themselves and others". Specifically, Lingo and Tepper suggest artistic workers are "catalysts of change and innovation" because they "face special challenges managing ambiguity, developing and sustaining a relative identity, and forming community in the context of an individually based enterprise economy" (2013). Because of these adaptive skills, the suggestion is that "studying how artists cope with uncertainty and the factors that influence their success should be relevant for understanding these broader social and economic trends facing today's (and tomorrow's) workforce."

This view of artist-as-change-agent changes the questions researchers ask of creative economies. Old research questions would focus on topics like "skills, work practices, contracts, wage differentials, employment incentives, formal credentials, employment pipelines, and labor flows of differentiated occupational categories". Examples of new questions include:
 * 1) How do artists both create changes in the labor market itself and the way cultural work is done?
 * 2) What is their process of innovation and enterprise?
 * 3) What is the nature of their work and the resources they draw upon?
 * 4) How do different network structures produce different opportunity spaces?
 * 5) How do artistic workers create and manage planned serendipity—the spaces and exchanges that produce unexpected collaborations and opportunities?
 * 6) How do creative workers broker and synthesize across occupational, genre, geographic, and industry boundaries to create new possibilities? (Tepper & Lingo, 2013)

Wider role
As some first world countries struggle to compete in traditional markets such as manufacturing, many now see the creative industry as a key component in a new knowledge economy, capable perhaps of delivering urban regeneration, often through initiatives linked to exploitation of cultural heritage that leads to increased tourism. It is often argued that, in future, the ideas and imagination of countries like the United Kingdom will be their greatest asset; in support of this argument, a number of universities in the UK have started to offer creative entrepreneurship as a specific area for study and research. Indeed, UK government figures reveal that the UK's creative industries account for over a million jobs and brought in billion to the UK economy (DCMS Creative Industries Mapping Document 2001), although the data sets underlying these figures are open to question.

In recent years, creative industries have become 'increasingly attractive to governments outside the developed world'. In 2005, the United Nations Conference on Trade and Development (UNCTAD) XI High Level Panel on Creative Industries and Development commissioned several studies to identify challenges and opportunities facing the growth and development of creative industries in developing industries. As Cunningham et al. (2009) put it, 'the harnessing of creativity brings with it the potential of new wealth creation, the cultivation of local talent and the generation of creative capital, the development of new export markets, significant multiplier effects throughout the broader economy, the utilisation of information communication technologies and enhanced competitiveness in an increasingly global economy'. A key driver of interest in creative industries and development is the acknowledgement that the value of creative production resides in ideas and individual creativity, and developing countries have rich cultural traditions and pools of creative talent which lay a basic foundation for creative enterprises. Reflecting the growing interest in the potential of creative industries in developing countries, in October 2011 a Ministry of Tourism and Creative Economy was created within the Indonesian government with well-known economist Mari Pangestu appointed as the first minister to hold the position.

title: Creative industries