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Eliza Manningham-Buller

Elizabeth Lydia Manningham-Buller, Baroness Manningham-Buller, (born 14 July 1948) is a retired British intelligence officer. She worked as a teacher for three years before joining MI5, the British internal Security Service. She led the newly created Irish counter-terrorism section from 1992 and then became director in charge of surveillance and technical operations. She became Director General of MI5 in October 2002 and, in that capacity, led the Security Service's response to the 7 July 2005 London bombings. Following her retirement in April 2007, she became a crossbench life peer in 2008.

She became chair of the Conduct Committee, which is a select committee of the House of Lords, on 19 January 2022. As of 2020, she is listed as #86 in Forbes list of the World's 100 Most Powerful Women. She was appointed Chancellor of the Order of the Garter by King Charles III in June 2024, becoming the first woman to hold the position.

Professional life
Lady Manningham-Buller worked as a teacher for three years at Queen's Gate School, Kensington, London from 1971 to 1974, having read English at Lady Margaret Hall, Oxford, before joining the Security Service. She was recruited to the Security Service at a drinks party when someone suggested that she see someone at the Ministry of Defence. Specializing in counter-terrorism rather than MI5's then-classical counter-espionage, she was active at the time of the Lockerbie bombing by Libya in 1988. She worked for K-branch against the IRA. During the early 1980s she was reportedly one of only five people aware that Oleg Gordievsky, the deputy head of the KGB at the Soviet embassy in London, was actually a double agent.

She was a senior liaison officer working out of Washington, D.C. to the US intelligence community over the period of the first Gulf War, before leading the newly created Irish counter-terrorism section from 1992 when MI5 were given the lead responsibility for such work (from the Metropolitan Police). Having been promoted to the management board of the Security Service the next year, Manningham-Buller became the director in charge of surveillance and technical operations. She was appointed Deputy Director General in 1997, and succeeded Sir Stephen Lander as Director General in 2002, the second woman to take on the role after Dame Stella Rimington.

In the 2005 Birthday Honours, Manningham-Buller was appointed a Dame Commander of the Order of the Bath (DCB). She resigned from MI5 on 21 April 2007, and was succeeded by her deputy, Jonathan Evans. She was raised to the peerage as Baroness Manningham-Buller, of Northampton in the County of Northamptonshire on 2 June 2008.

She reportedly joined the public speaking circuit. She was appointed to the Court and Council of Imperial College London in 2009, becoming deputy chairman later that year, and named chairman in July 2011. She became a governor of biomedical research charity the Wellcome Trust in 2008 and the first female chair of the Trust on 1 October 2015. She left the Wellcome Trust in 2021, being replaced as chair by Julia Gillard on 12 April 2021. Since 2015, she has been the co-president of Chatham House.

On St George's Day (23 April), 2014, Lady Manningham-Buller was appointed a Lady Companion of the Order of the Garter (LG) by Queen Elizabeth II.

She became chair of the Conduct Committee on 19 January 2022.

She took part in the Royal Procession at the Coronation of Charles III and Camilla, carrying St Edward's Staff.

Personal life
Lady Manningham-Buller was the second daughter in a family of four, born to Reginald Manningham-Buller, 1st Viscount Dilhorne, and his wife, the former Lady Mary Lindsay. Manningham-Buller's father, Lord Dilhorne (1905–1980) was a Conservative MP from 1943 to 1962. He was Britain's second highest legal officer, the Solicitor General. He later held the office of Lord Chancellor for two years. He was created an hereditary peer with the title Viscount Dilhorne. Her mother, Lady Dilhorne, trained carrier pigeons that were used to fly coded messages in World War II. The pigeons were dropped in wicker baskets with little parachutes over France and Germany and they were used to fly back to her mother's pigeon loft carrying intelligence. One of the pigeons won the Dickin Medal, and one brought back intelligence of the V-2 rocket project in Peenemünde, Germany. Lady Dilhorne died in Oxfordshire on 25 March 2004, aged 93.

Manningham-Buller was educated at Northampton High School and Benenden School.

On 15 July 1991, she married David John Mallock and has five stepchildren by her husband's prior marriage.

Backing the War on Terror
Manningham-Buller has made speeches to invited audiences containing members of the press, as well as making court statements. On 17 June 2003, at a conference at the Royal United Services Institute she gave her complete backing for the War on Terror and said that renegade scientists had given terror groups information needed to create chemical, biological, radiological and nuclear (CBRN) weapons. She also warned that the threat from international terrorism would be "with us for a good long time", which was why new legislation had been introduced.

Speech on 7 July 2005 London bombings
On 10 September 2005, she spoke to an audience in the Netherlands about the 7 July 2005 London bombings and her disappointment that MI5 failed to stop attacks, even when in possession of intelligence, because of bureaucratic inertia. She added that "[the] world has changed and there needs to be a debate on whether some erosion of [the] civil liberties we all value may be necessary to improve the chances of our citizens not being blown apart as they go about their daily lives."

Stance on gaining intelligence through torture
On 21 October 2005, BBC News reported Manningham-Buller's leaked court statement to the Law Lords regarding methods for collecting intelligence from overseas. This was part of an investigation by the Law Lords on whether Her Majesty's Government should have to be made aware whether the intelligence it is using was obtained through torture. "Experience proves that detainee reporting can be accurate and may enable lives to be saved", she stated, also maintaining that obtaining information from foreign intelligence agencies, which initially enters the British intelligence system via MI6, was vital in fighting terrorism. Regarding the ethics of how and where this intelligence is gathered she stated that "agencies will not often know the location or details of detention".

Her example to support the need for intelligence gathering from overseas was the case of Mohammed Megeurba, an Algerian man who was questioned by agencies in his country. Evidence collected by this questioning led to a raid in London which led to the Wood Green ricin plot being uncovered. Press have speculated that Megeurba was tortured to obtain this information, although Manningham-Buller has maintained neither she nor MI5 were aware of the "precise circumstances that attended their [Algerian agencies'] questioning of Megeurba". She emphasised that, had MI5 requested information regarding how the intelligence had been gathered, its request would have been ignored and the relationship between Britain and Algeria could have been damaged. She concluded by exemplifying the "importance of co-operation between states in countering the threat from international terrorism". Shami Chakrabarti, director of human rights organisation Liberty, commended Manningham-Buller for being "brutally honest" about the activities of intelligence agencies. She also stated that Britain should not "legitimise" torture as a means of intelligence gathering by accepting evidence gained in such a manner as evidence in court. Manningham-Buller stated that the British intelligence services do not ask how intelligence is obtained "because that would make things difficult".

Refusal to appear before the Joint Committee on Human Rights
On 23 January 2006, she refused to appear before the Joint Committee on Human Rights in Parliament to speak about "the extent to which the Service is, or could take steps to ensure it is, aware that information it receives from foreign agencies may have been obtained by the use of torture", and "any information which the Service may have about extraordinary renditions using UK airports".

Speech on MI5 after the September 11 attacks
On 9 November 2006, Manningham-Buller gave a speech to the Mile End Group at Queen Mary, University of London as a guest of Professor Peter Hennessy in which she warned that her office was tracking 30 terror plots, and 200 groupings or networks, totalling over 1,600 individuals. She stated that MI5 had expanded by 50% since the September 11 attacks and stood at roughly 2,800 staff. She reiterated her warning that the threat "may — I suggest will — include the use of chemicals, bacteriological agents, radioactive materials and even nuclear technology".

This speech came three days after Dhiren Barot was sentenced to 40 years for his part in the 2004 Financial buildings plot in which he had a plan to build a radiological dirty bomb that involved setting fire to 10,000 smoke alarms. In September 2011 Eliza Manningham-Buller delivered one of the BBC Radio Reith Lectures and answered questions from an audience that included historian Peter Hennessy and novelist Ian McEwan.

Attack on 42-day terrorism detention
On 8 July 2008, Baroness Manningham-Buller made her maiden speech in the House of Lords since her resignation. She told the House that she was against government plans to extend the time period for retaining terrorist suspects in the UK from 28 to 42 days. She told peers that she disagreed on a "practical basis as well as a principled one". She criticised the plans for terrorism detention as being not "in any way workable" and emphasised the need for all political parties to work together in finding a solution for dealing with terrorism. Furthermore, Lady Manningham-Buller maintained that "complete security" could never be achieved in a country and that civil liberties were at risk of being compromised if the plans were passed by the House of Lords.

The speech, only 501 words long and lasting only four minutes, attracted praise from other Lords, including Baroness Ramsay of Cartvale, who described it as "outstanding, thoughtful and valuable", but also significant attention in the media, given the Baroness's expertise in counter-terrorism issues. Martin Kettle, writing in The Guardian on 11 July 2008, described it as "devastatingly succinct" and "the fatal shot" which would ensure that the Government's "plans were holed below the water line". James Kirkup of The Daily Telegraph described it as "a huge blow to Gordon Brown's plans to extend the detention of terrorist suspects to 42 days".

Other peers supported Lady Manningham-Buller's stance against the plans, including former Attorney General Lord Goldsmith, former Lord Chancellor Lord Falconer and former Chairperson of the Joint Intelligence Committee (JIC), Lady Neville-Jones. Nevertheless, Lord West of Spithead, who was First Sea Lord of the Royal Navy until 2006 and was then a junior Home Office minister spoke for the Government and implied that more stringent security measures were required to deal with the "unprecedented terrorist threat" to the UK.

Lecture on torture in the House of Lords (9 March 2010)
Giving a lecture in the House of Lords, Baroness Manningham-Buller said "the government did lodge protests" to its US counterparts once the extent of torture was known. It is the first time that has been said publicly. Asked if she had known of the use of waterboarding and other techniques of pressure while she was Director General of MI5, from October 2002 until her retirement in April 2007, she said she had done, and had disapproved. "Nothing – not even the saving of lives – justifies torturing people ... the Americans were very keen to conceal from us what they were doing [with suspects]".

2010 Iraq inquiry comments
Baroness Manningham-Buller giving evidence to the Iraq inquiry in July 2010 said the decision to go to war meant that "Our involvement in Iraq, for want of a better word, radicalised a whole generation of young people, some of them British citizens who saw our involvement in Iraq, on top of our involvement in Afghanistan, as being an attack on Islam," she said, before immediately correcting herself by adding "not a whole generation, a few among a generation". As a result, she said she was not "surprised" that UK nationals were involved in the 7 July 2005 bombings in central London. She said she believed the intelligence on Iraq's threat was not "substantial enough" to justify the action. A year after the invasion, she said MI5 was "swamped" by leads about terrorist threats to the UK.

Desert Island Discs
Manningham-Buller was a castaway on Desert Island Discs broadcast on BBC Radio 4 in November 2007 giving her first interview after her retirement. She talked briefly about her personal life and her former professional life, including her reactions to the 7 July 2005 London bombings and the importance of protecting their agents. She explained that she had decided on her retirement date shortly after she took up the Director General job, choosing to retire with a total of 33 years' service in the security services. She chose an anthology of poems edited by Ted Hughes and Seamus Heaney, entitled The Rattle Bag.

The BBC Reith Lectures
In June 2011, the BBC announced Eliza Manningham-Buller would present the 2011 Reith Lectures, alongside the Burmese pro-democracy leader Aung San Suu Kyi in a series entitled Securing Freedom. Eliza Manningham-Buller's lectures broadcast on BBC Radio 4 and the BBC World Service in September 2011.

In her first lecture, titled "Terror", recorded at BBC Broadcasting House in London, she reflected on the lasting significance of 11 September 2001, asking was it a terrorist crime, an act of war, or something different. She also revealed details of her own role in the discussions involving international security agencies in the days following the attacks on New York and Washington DC and examined the impact the US-led invasion of Iraq had on the fight against al-Qaeda.

In her second lecture, titled "Security", recorded at the Leeds City Museum, she stated that the use of torture is "wrong and never justified" and should be "utterly rejected even when it may offer the prospect of saving lives". She said that the use of torture had not made the world a safer place, adding that the use of water-boarding by the United States was a "profound mistake" and as a result America lost its "moral authority".

In her third and final lecture, titled "Freedom", recorded at the British Library in London, she discussed foreign policy priorities since the September 11 attacks. She stated that it was "necessary" to talk to dictators and terrorists, to protect security and said that the British government's decision to engage with Colonel Gaddafi in 2003 was "the right decision". She went on to say that protecting British citizens would be impossible if the security services were restricted to talking only to those with shared values and cited examples where people once deemed terrorists were now part of the political establishment: "Look at Northern Ireland, where former terrorists are in government... look at Mandela and the ANC which used terror tactics when it was in exile." During the recording of the final lecture she revealed that she had suffered an anxiety dream, in which she imagined that she was to be arrested for breaking the Official Secrets Act after having given the lectures.

title: Eliza Manningham-Buller


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Wikipedia:Articles for deletion/Hopesfall/old

"They're hardly known throughout the scene" - so utter unknowns then. Delete - self promotion. Secretlondon 00:54, 3 May 2004 (UTC)

 * Delete - the article itself says they're non-notable. -- Cyrius|&#9998 03:07, May 3, 2004 (UTC)
 * Delete -- Chris 73 | Talk 03:29, 3 May 2004 (UTC)
 * Delete. Non-notable, possible vanity. Alcarillo 16:06, 3 May 2004 (UTC)
 * Speedy delete, if possible. - Lucky 6.9 18:38, 3 May 2004 (UTC)
 * No, no, keep! I don't know what the author was trying to say with that "hardly known" comment, but hopesfall are certainly not unknowns. I'm not a fan, but I've heard of them, and in fact I've seen them live.  Do a google search for "hopesfall" and you'll get 28,000+ hits, and every single one I looked at was a reference to the band.  There are lyrics pages and reviews of their albums all over the web. Isomorphic 19:24, 3 May 2004 (UTC)
 * Holy...! With that "hardly known" comment, who would have even considered a Google search?  Way to go, Isomorphic!  I withdraw my delete vote and move that the page be expanded.  I do believe that I'm going to start doing more Google searches when it comes to bands. - Lucky 6.9 00:09, 4 May 2004 (UTC)
 * D'oh. Keep -- Cyrius|&#9998 00:21, May 4, 2004 (UTC)
 * Should have googled it ... keep -- Chris 73 | Talk 23:21, 5 May 2004 (UTC)
 * Keep. Notable enough for inclusion. Adequate stub. Maybe cleanup, but I think it will grow as is. Andrewa 15:01, 4 May 2004 (UTC)
 * Keep. Cribcage 03:09, 8 May 2004 (UTC)
 * Keep. Jesus, people don't even do a google search before voting delete? anthony (see warning)

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


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Kirribilli, New South Wales

Kirribilli is a suburb of Sydney, New South Wales, Australia. One of the city's most established and affluent neighbourhoods, it is located three kilometres north of the Sydney central business district, in the local government area administered by North Sydney Council. Kirribilli is a harbourside suburb, sitting on the Lower North Shore of Sydney Harbour. Kirribilli House is one of the two official residences of the Prime Minister of Australia.

History
The name Kirribilli is derived from an Aboriginal word Kiarabilli, which means 'good fishing spot'. Another theory suggests that Kirribilli is an adaptation of 'Carabella', the name given by early colonist James Milson to his first house.

The suburb initially formed in the vicinity of Jeffrey Street and was subsequently part of a grant to James Milson, after whom Milsons Point was named. The area was largely covered in native bush. As the decades passed, the land was cleared bit by bit and sub-divided, first for the construction of large family residences during the 1840s, secondly for the erection of Victorian terrace houses from the 1860s onwards, and finally for 20th-Century flats.

Prominent early landowners in Kirribilli included members of the Campbell, Jeffrey and Gibbes families. Colonel John George Nathaniel Gibbes (1787–1873), the Collector of Customs for New South Wales, built 'Wotonga' - the forerunner of Admiralty House - in 1842–43 on a 5 acre site which he leased, and then purchased, from the Campbells. Gibbes' son, William John Gibbes, lived nearby in Beulah House during the 1840s. Beulah was later lived in by the Riley and Lasseter families. Eventually, the house was demolished and its grounds subdivided into numerous residential blocks which were put up for public auction in 1905.

Although Kirribilli is a predominantly residential area today, from 1890 to 1921, the Pastoral Finance Association had a large wool warehouse, meat cold store and wharf, on the foreshore adjacent to Admiralty House.The seven-storey building was destroyed by fire in December 1921, along with 30,000 bales of wool. Its engine room, which survived the fire, supplied electricity to customers on the north side of the harbour, until around 1922.The land was sold off in 19 allotments, in 1925, and later redeveloped as blocks of apartments.

The Kirribilli area opened up further for development with the completion of the Sydney Harbour Bridge in 1932, which linked the municipality of North Sydney directly by road and rail with the CBD of the City of Sydney.

Population
In the 2016 Census, there were 3,820 people in Kirribilli. 52.0% of people were born in Australia. The most common other countries of birth were England 7.9% and New Zealand 3.5%. 72.0% of people only spoke English at home. The most common responses for religion were No Religion 37.4% and Catholic 21.4%. While the suburb is one of the more densely populated parts of Sydney, as of 2024 it was reported to have a very high number of inactive dwellings.

Landmarks
Kirribilli is one of Australia's older suburbs, with the first land grants in the area being granted by the colonial government during the 1790s. A scattering of Georgian and Gothic-revival houses and mansions were built in the 1830s, '40s and '50s. Most of these have since been razed. Originally, Kirribilli formed part of the Parish of St Leonard's and was served by a private ferry service. In a process which began in the 1860s, the area's old estates were subdivided. New residential streets were laid out and terrace houses, Victorian villas and, later, blocks of apartments erected. During the early decades of the 20th century, Kirribilli's shoreline was dominated by a large, multi-storey brick warehouse which was eventually torn down to make way for housing.

The suburb contains Kirribilli House (the official Sydney residence of the Prime Minister of Australia), Admiralty House (the official Sydney residence of the Governor-General of Australia), and the headquarters and marina of the Royal Sydney Yacht Squadron located on the former Carabella mansion. The Sydney headquarters of ASIO was formerly at 31 Carabella Street. The Sydney Flying Squadron is located adjoining Milson Park, formerly Kirribilli Park.

Admiralty House, originally a private dwelling belonging to Colonel John George Nathaniel Gibbes, is Kirribilli's oldest extant building, the earliest portions of which date to 1842. Kirribilli House was built next door by Adolphus Frederick Feez, a wealthy merchant, in 1854–55.

The following buildings are on the Register of the National Estate:
 * St Aloysius' College, Upper Pitt Street
 * St Aloysius' College's junior school (formerly Kirribilli Public School), Burton Street
 * Loreto Convent (formerly Elamang), Carabella Street
 * Kirribilli Neighbourhood Centre, Fitzroy Street
 * Sunnyside (house and grounds), Holbrook Avenue
 * Kirribilli House, Kirribilli Avenue
 * Admiralty House and Lodge, Kirribilli Point

Transport
Kirribilli supports the northern end of the Sydney Harbour Bridge. The Warringah Freeway provides a link south to the Sydney CBD and north to Chatswood. Kirribilli is serviced by rail, bus and ferry services.

Milsons Point railway station is the closest railway station on the North Shore railway line of the Sydney Trains network. It is located next to the main shopping streets, and has frequent services to the Sydney CBD and the North Shore.

Busways operate regular services from Kirribilli to many parts of northern Sydney. The 269 bus service runs a loop within the Kirribilli - Milsons Point - McMahons Point - North Sydney railway station area on weekdays.

There are four operating ferry wharves near Kirribilli, serviced by both public and private ferries. They are:

 * On the eastern side is Kirribilli wharf, part of the Sydney Ferries Neutral Bay service. The wharf is one stop from Circular Quay and has two services per hour in each direction. Kirribilli Wharf also has a small local cafe serving coffees, cakes, and newspapers to commuters and many local regulars.
 * At the southernmost tip of Kirribilli is the Beulah Street Wharf. This small wharf was dropped from public Sydney Ferries services when an inner harbour ferry route was cancelled, though was briefly pressed into service between 7–13 February 2011 and again on 27–28 October 2012 while the main Kirribilli wharf was undergoing maintenance. In 2005, private operator Matilda Cruises started using Beulah Street Wharf as part of their Matilda Express loop from Circular Quay to Darling Harbour but it was suspended by 2006. Outside ferry hours, Beulah Street Wharf is frequently used for fishing and recreation and being directly north of the Sydney Opera House, offers spectacular harbour views.
 * On the eastern side of the Sydney Harbour Bridge, Jeffreys Street Wharf is also no longer used by Sydney Ferries, with just a few services by Matilda Cruises. It is still used by private charter services, but is more popular as a fishing location. The panoramic views of the Opera House, Circular Quay, and the Harbour Bridge make Jeffrey Street a popular location for wedding photography.
 * On the western side of the Bridge is Milsons Point ferry wharf, which carries many more services than the Kirribilli wharves and joins Kirribilli to the CBD, the inner harbour, and along the Parramatta River to Parramatta.

Commercial area
Kirribilli has a small shopping strip opposite Milsons Point railway station. The 'Kirribilli Markets' are held on the fourth Saturday of each month, on the lawns of the former Kirribilli Bowling Club. The markets contain a mixture of new and second-hand clothing, bric-a-brac, jewellery, and food-and-drink stands.

Schools
The two main schools in the suburb are St Aloysius' College and Loreto Kirribilli.

Churches

 * Our Lady Star of the Sea Catholic Church, part of North Sydney Parish
 * St John's Anglican Church ("Church by the Bridge")

Culture
Kirribilli is the home of Australia's oldest continuously operating professional theatre company, The Ensemble Theatre. Located in a converted boatshed, it shows productions of contemporary works by both Australian and International playwrights.

People

 * Elizabeth von Arnim (1866–1941), German-British novelist

title: Kirribilli, New South Wales


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User:Bbernal~enwiki

www.oocities.com/byronbernal/

title: User:Bbernal~enwiki


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Stuart Scott

Stuart Orlando Scott (July 19, 1965 – January 4, 2015) was an American sportscaster and anchor on ESPN, including on SportsCenter. Known for his hip-hop style and use of catchphrases, Scott was also a regular for the network in its National Basketball Association (NBA) and National Football League (NFL) coverage.

Scott was born in Chicago and resided in the back of London Towne Houses on Chicago's Southeast side. After relocating to North Carolina in his youth, Scott graduated from the University of North Carolina at Chapel Hill. He began his career with various local television stations before joining ESPN in 1993. Although there were already accomplished African-American sportscasters, his blending of hip hop with sportscasting was unique for television. By 2008, he was a staple in ESPN's programming, and also began on ABC as lead host for their coverage of the NBA.

In 2007, Scott had an appendectomy and learned that his appendix was cancerous. After going into remission, he was again diagnosed with cancer in 2011 and 2013. Scott was honored at the ESPY Awards in 2014 with the Jimmy V Award for his fight against cancer, less than six months before his death in 2015 at age 49.

Early life
Stuart Orlando Scott was born in Chicago, Illinois on July 19, 1965. His parents were O. Ray and Jacqueline Scott. When he was 7, Scott and his family moved to Winston-Salem, North Carolina. Scott had a brother named Stephen and two sisters named Susan and Synthia.

He attended Mount Tabor High School for 9th and 10th grade and then completed his last two years at Richard J. Reynolds High School in Winston-Salem, graduating in 1983. In high school, he was a captain of his football team, ran track, served as Vice President of the Student Council, and was the Sergeant at Arms of the school's Key Club. Scott was inducted into the Richard J. Reynolds High School Hall of Fame during a ceremony on February 6, 2015, which took place during the Reynolds/Mt. Tabor (the two high schools that Scott attended) basketball game.

He attended the University of North Carolina at Chapel Hill, where he was a member of the Mu Zeta Chapter of Alpha Phi Alpha fraternity and was part of the on-air talent at WXYC. While at UNC, Scott also played wide receiver and defensive back on the football team. In 1987, Scott graduated from the UNC with a B.A. in speech communication. In 2001, Scott gave the commencement address at UNC.

Career
Following graduation, Scott worked as a news reporter and weekend sports anchor at WPDE-TV in Florence, South Carolina from 1987 until 1988. Scott came up with the phrase "as cool as the other side of the pillow" while working his first job at WPDE. After this, Scott worked as a news reporter at WRAL-TV 5 in Raleigh, North Carolina from 1988 until 1990. WRAL Sports anchor Jeff Gravley recalled there was a "natural bond" between Scott and the sports department. Gravley described his style as creative, gregarious and adding so much energy to the newsroom. Even after leaving, Scott still visited his former colleagues at WRAL and treated them like family.

From 1990 until 1993, Scott worked at WESH, an NBC affiliate in Orlando, Florida as a sports reporter and sports anchor. While at WESH, he met ESPN producer Gus Ramsey, who was beginning his own career. Ramsey said of Scott: "You knew the second he walked in the door that it was a pit stop, and that he was gonna be this big star somewhere someday. He went out and did a piece on the rodeo, and he nailed it just like he would nail the NBA Finals for ESPN." He earned first place honors from the Central Florida Press Club for a feature on rodeo.

ESPN
Al Jaffe, ESPN's vice president for talent, brought Scott to ESPN2 because they were looking for sportscasters who might appeal to a younger audience. Scott became one of the few African-American personalities who was not a former professional athlete. His first ESPN assignments were for SportsSmash, a short sportscast twice an hour on ESPN2's SportsNight program. After Keith Olbermann left SportsNight for ESPN's SportsCenter, Scott took his place in the anchor chair at SportsNight. After this, Scott was a regular on SportsCenter. At SportsCenter, Scott was frequently teamed with fellow anchors Steve Levy, Kenny Mayne, Dan Patrick, and Rich Eisen. Scott was a regular in the This is SportsCenter commercials.

In 2002, Scott was named studio host for the NBA on ESPN. He became lead host in 2008, when he also began at ABC in the same capacity for its NBA coverage, which included the NBA Finals. Additionally, Scott anchored SportsCenter's prime-time coverage from the site of NBA post-season games. From 1997 until 2014, he covered the league's finals. During the 1997 and 1998 NBA Finals, Scott did one-on-one interviews with Michael Jordan. When Monday Night Football moved to ESPN in 2006, Scott hosted on-site coverage, including Monday Night Countdown and post-game SportsCenter coverage. Scott previously appeared on NFL Primetime during the 1997 season, Monday Night Countdown from 2002 to 2005, and Sunday NFL Countdown from 1999 to 2001. Scott also covered the MLB playoffs and NCAA Final Four in 1995 for ESPN.

Scott appeared in each issue of ESPN the Magazine, with his Holla column. During his work at ESPN, he also interviewed Tiger Woods, Sammy Sosa, President Bill Clinton and President Barack Obama during the 2008 presidential campaign. As a part of the interview with President Barack Obama, Scott played in a one-on-one basketball game with the President. In 2004, per the request of U.S. troops, Scott and fellow SportsCenter co-anchors hosted a week of programs originating from Kuwait for ESPN's SportsCenter: Salute the Troops. He hosted a number of ESPN game and reality shows, including Stump the Schwab, Teammates, and Dream Job, and hosted David Blaine's Drowned Alive special. He hosted a special and only broadcast episode of America's Funniest Home Videos called AFV: The Sports Edition.

Style
While there were already successful African-American sportscasters, Scott blended hip-hop culture and sports in a way that had never been seen before on television. He talked in the same manner as fans would at home. ESPN director of news Vince Doria told ABC: "But Stuart spoke a much different language ... that appealed to a young demographic, particularly a young African-American demographic." Michael Wilbon wrote that Scott allowed his personality to infuse the coverage and his emotion to pour out.

Scott also integrated pop culture references into his reports. One commentator remembered his style: "he could go from evoking a Baptist preacher riffing during Sunday morning service ('Can I get a witness from the congregation?!'), to quoting Public Enemy frontman Chuck D ('Hear the drummer get WICKED!') In 1999, he was parodied on Saturday Night Live by Tim Meadows. Scott appeared in music videos with the rappers LL Cool J and Luke, and he was cited in "3 Peat", a Lil Wayne song that included the line: "Yeah, I got game like Stuart Scott, fresh out the ESPN shop." In a 2002 segment of NPR's On the Media, Scott revealed one approach to his anchoring duties: "Writing is better if it's kept simple. Every sentence doesn't need to have perfect noun/verb agreement. I've said 'ain't' on the air. Because I sometimes use 'ain't' when I'm talking."

As a result of his unique style, Scott and ESPN received a lot of hate mail from people who resented his color, his hip-hop style, or his generation. In a 2003 USA Today survey, Scott finished first in the question of which anchor should be voted off SportsCenter, but he also was second to Dan Patrick in the 'definitely keep him' voting. Jason Whitlock criticized Scott's use of Jay-Z's alternate nickname, "Jigga", at halftime of Monday Night Football as ridiculous and offensive. Scott never changed his style and ESPN stuck with him.

Catchphrases
Scott became well known for his use of catch phrases, following in the SportsCenter tradition begun by Dan Patrick and Keith Olbermann. He popularized the phrase booyah, which spread from sports into mainstream culture. Some of the catchphrases included:
 * "Boo-yah!"
 * "Hallah"
 * "As cool as the other side of the pillow"
 * "He must be the bus driver cuz he was takin' him to school."
 * "He must be jelly cause jam don't shake like that!"
 * "Holla at a playa when you see him in the street!"
 * "Just call him butter 'cause he's on a roll"
 * "They call him the Windex Man 'cause he's always cleaning the glass"
 * "You ain't gotta go home, but you gotta get the heck outta here."
 * "He treats him like a dog. Sit. Stay."
 * "And the Lord said you got to rise up!"
 * "Make all the kinfolk proud ... Pookie, Ray Ray and Moesha"
 * "It's your world, kid ... The rest of us are still paying rent"
 * "Can I get a witness from the congregation?"
 * "Doing it, doing it, doing it well"
 * "See ... What had happened was"

Legacy
ESPN president John Skipper said Scott's flair and style, which he used to talk about the athletes he was covering, "changed everything." Fellow ESPN Anchor, Stan Verrett, said he was a trailblazer: "not only because he was black – obviously black – but because of his style, his demeanor, his presentation. He did not shy away from the fact that he was a black man, and that allowed the rest of us who came along to just be ourselves." He became a role model for African-American sports journalists.

Personal life
Scott was married to Kimberly Scott from 1993 to 2007. They had two daughters together, Taelor and Sydni. Scott lived in Avon, Connecticut. At the time of his death, Scott was in a relationship with Kristin Spodobalski. During his Jimmy V Award speech, he told his teenage daughters: "Taelor and Sydni, I love you guys more than I will ever be able to express. You two are my heartbeat. I am standing on this stage here tonight because of you." His daughter, Sydni Scott, was named a Rhodes Scholar in 2022.

Eye injury
Scott was injured when he was hit in the face by a football thrown during a New York Jets mini-camp on April 3, 2002, while filming a special for ESPN, a blow that damaged his cornea. He received surgery but afterwards suffered from ptosis, or drooping of the eyelid.

Appendectomy and cancer
After leaving Connecticut on a Sunday morning in 2007 for Monday Night Football in Pittsburgh, Scott had a stomach ache. After the stomach ache worsened, he went to the hospital instead of the game and later had his appendix removed. After testing the appendix, doctors learned that he had cancer. Two days later, he had surgery in New York that removed part of his colon and some of his lymph nodes near the appendix. After the surgery, they recommended preventive chemotherapy. By December, Scott—while undergoing chemotherapy—hosted Friday night ESPN NBA coverage and led the coverage of ABC's NBA Christmas Day studio show. Scott worked out while undergoing chemotherapy. Scott said of his experience with cancer at the time: "One of the coolest things about having cancer, and I know that sounds like an oxymoron, is meeting other people who've had to fight it. You have a bond. It's like a fraternity or sorority." When Scott returned to work and people knew of his cancer diagnosis, the well-wishers felt overbearing for him as he just wanted to talk about sports, not cancer.

The cancer returned in 2011, but it eventually went back into remission. He was again diagnosed with cancer on January 14, 2013. After chemo, Scott would do mixed martial arts and/or a P90X workout regimen. By 2014, he had undergone 58 infusions of chemotherapy and switched to chemotherapy pills. Scott also underwent radiation and multiple surgeries as a part of his cancer treatment. Scott never wanted to know what stage of cancer he was in.

Jimmy V Award
On July 16, 2014, Scott was honored at the ESPY Awards, with the Jimmy V Award for his ongoing battle against cancer, which was his final public appearance before his death. He shared that he had had four surgeries in the week prior to his appearance, when he was suffering from liver complications and kidney failure. Scott told the audience, "When you die, it does not mean that you lose to cancer. You beat cancer by how you live, why you live, and in the manner in which you live." At the ESPYs, a video was also shown that included scenes of Scott from a clinic room at Johns Hopkins Hospital and other scenes from Scott's life fighting cancer. Scott ended the speech by calling his daughter up to the stage for a hug, "because I need one," and telling the audience to "have a great rest of your night, have a great rest of your life."

Death
On the morning of January 4, 2015, Scott died of appendiceal cancer in his home in Avon, Connecticut, at age 49. Soon after, his foundation for cancer research was created.

Tributes
ESPN announced: "Stuart Scott, a dedicated family man and one of ESPN's signature SportsCenter anchors, has died after a courageous and inspiring battle with cancer. He was 49." ESPN released a video obituary of Scott. Sports Illustrated called ESPN's video obituary a beautiful and moving tribute to a man who died "at the too-damn-young age of 49." Barack Obama paid tribute to Scott, saying: "I will miss Stuart Scott. Twenty years ago, Stuart helped usher in a new way to talk about our favorite teams and the day's best plays. For much of those twenty years, public service and campaigns have kept me from my family – but wherever I went, I could flip on the TV and Stu and his colleagues on SportsCenter were there. Over the years, he entertained us, and in the end, he inspired us – with courage and love. Michelle and I offer our thoughts and prayers to his family, friends, and colleagues."

A number of National Basketball Association athletes—current and former—paid tribute to Scott, including Stephen Curry, Carmelo Anthony, Kobe Bryant, Steve Nash, Jason Collins, Shaquille O'Neal, Magic Johnson, Dwyane Wade, LeBron James, Michael Jordan, Bruce Bowen, Dennis Rodman, James Worthy and others. A number of golfers paid tribute to Scott: Tiger Woods, Gary Player, David Duval, Lee Westwood, Blair O'Neal, Jane Park and others. Other athletes paid tribute including Robert Griffin III, Russell Wilson, Jon Lester, Lance Armstrong, Barry Sanders, J. J. Watt, David Ortiz and Sheryl Swoopes. UNC basketball coach Roy Williams called him a "hero." Arizona Cardinals head coach Bruce Arians said: "We lost a football game but we lost more this morning. I think one of the best members of the media I've ever dealt with, Stuart Scott, passed away."

Colleagues Hannah Storm and Rich Eisen gave on-air remembrances of Scott on SportsCenter and NFL Network respectively. Also on SportsCenter, Scott Van Pelt and Steve Levy said farewell to Scott and left a chair empty in his honor. Tom Jackson, Cris Carter, Chris Berman, Mike Ditka and Keyshawn Johnson from NFL Countdown shared their memories of Scott.

During Ernie Johnson, Jr.'s acceptance speech for his 2015 Sports Emmy Award for Best Studio Host, the TNT and TBS NBA and MLB host gave his award to Scott's daughters, saying it "belongs with Stuart Scott". At the 67th Primetime Emmy Awards and at the 2015 ESPY Awards, Scott was included in the "in memoriam" segment, a rare honor for a sports broadcaster.

On Fox Sports Live on FS1, the broadcast team of Joe Buck, Troy Aikman, Erin Andrews and Chris Myers paid tribute to Stuart Scott from Fox's gamesite. The Fox NFL Sunday crew anchored by Curt Menefee, Terry Bradshaw, Howie Long, Michael Strahan and Jimmy Johnson also paid tribute to Stuart Scott on behalf of Fox Sports, as did Jay Onrait and Dan O'Toole from TSN in Canada.

Funeral
Scott was laid to rest in Raleigh Memorial Park on January 10, 2015, after a private funeral service at Providence Baptist Church. The public funeral visitation was held the previous evening.

Filmography

 * He Got Game (1998)
 * Disney's The Kid (2000)
 * Drumline (2002)
 * Love Don't Cost A Thing (2003)
 * Mr. 3000 (2004)
 * Herbie: Fully Loaded (2005)
 * The Game Plan (2007)
 * Enchanted (2007)
 * Just Wright (2010)

Television

 * The Chris Rock Show (1997)
 * Arli$ (2000)
 * I Love the '80s (2002)
 * Soul Food (2003)
 * She Spies (2005)
 * I Love the '70s (2003)
 * One on One (2004)
 * Stump the Schwab (2004–06)
 * Dream Job (2004)
 * Teammates (2005)
 * I Love the '90s (2004)
 * I Love the Holidays (2005)
 * I Love Toys (2006)
 * Black to the Future (2009)

title: Stuart Scott


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User talk:Anduin13

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It's not enough to saw someone runs the most important legal blog, you've got to show it wth references from theird party published sources. You also need if possible some references to her work. I halted deletion for the moment, but I think people who may not understand the academic world may try again. DGG 02:38, 4 July 2007 (UTC)

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User talk:PaulLedbury

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Greek tragedy

Greek tragedy (τραγῳδία) is one of the three principal theatrical genres from Ancient Greece and Greek inhabited Anatolia, along with comedy and the satyr play. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy.

Greek tragedy is widely believed to be an extension of the ancient rites carried out in honor of Dionysus, and it heavily influenced the theatre of Ancient Rome and the Renaissance. Tragic plots were most often based upon myths from the oral traditions of archaic epics. In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are Aeschylus, Sophocles, and Euripides. These tragedians often explored many themes of human nature, mainly as a way of connecting with the audience but also as way of bringing the audience into the play.

Aristotelian hypothesis
The origin of the word tragedy has been a matter of discussion from ancient times. The primary source of knowledge on the question is the Poetics of Aristotle. Aristotle was able to gather first-hand documentation from theater performance in Attica, which is inaccessible to scholars today. His work is therefore invaluable for the study of ancient tragedy, even if his testimony is open to doubt on some points.

According to Aristotle, tragedy evolved from the satyr dithyramb, an Ancient Greek hymn, which was sung along with dancing in honor of Dionysus. The term τραγῳδία, derived from τράγος "goat" and ᾠδή "song", means "song of the goats," referring to the chorus of satyrs. Others suggest that the term came into being when the legendary Thespis (the root for the English word thespian) competed in the first tragic competition for the prize of a goat (hence tragedy).

Alexandrian hypothesis
Alexandrian grammarians understood the term τραγῳδία as a "song for the sacrifice of the goat" or "song for the goat", believing the animal was a prize in a race, as attested by Horace's Ars Poetica: "The poet, who first tried his skill in tragic verse for the paltry prize of a goat, soon after exposed to view wild satyrs naked, and attempted raillery with severity, still preserving the gravity of tragedy."

Other hypotheses
There are other suggested etymologies for the word tragedy. The Oxford English Dictionary adds to the standard reference to "goat song", that:"As to the reason of the name, many theories have been offered, some even disputing the connection with ‘goat’."

J. Winkler proposed that "tragedy" could be derived from the rare word tragizein (τραγίζειν), which refers to "adolescent voice-change" referring to the original singers as "representative of those undergoing social puberty". D'Amico, on the other hand, suggests that tragoidía does not mean simply "song of the goats", but the characters that made up the satyr chorus of the first Dionysian rites.

Other hypotheses have included an etymology that would define the tragedy as an ode to beer. Jane Ellen Harrison pointed out that Dionysus, god of wine (a drink of the wealthy classes) was actually preceded by Dionysus, god of beer (a drink of the working classes). Athenian beer was obtained from the fermentation of barley, which is tragos in Greek. Thus, it is likely that the term was originally meant to be "odes to spelt," and later on, it was extended to other meanings of the same name. She writes: "Tragedy I believe to be not the 'goat-song', but the 'harvest-song' of the cereal tragos, the form of spelt known as 'the goat'."

Origin of tragedy
The origin of Greek tragedy is one of the unsolved problems of classical scholarship. Ruth Scodel notes that, due to lack of evidence and doubtful reliability of sources, we know nearly nothing about tragedy's origin. Still, R.P. Winnington-Ingram points out that we can easily trace various influences from other genres. The stories that tragedy deals with stem from epic and lyric poetry, its meter—the iambic trimeter—owed much to the political rhetoric of Solon, and the choral songs' dialect, meter and vocabulary seem to originate in choral lyric. How these have come to be associated with one another remains a mystery however.

Speculating on the problem, Scodel writes that: Three innovations must have taken place for tragedy as we know it to exist. First, somebody created a new kind of performance by combining a speaker with a chorus and putting both speaker and chorus in disguise as characters in a story from legend or history. Second, this performance was made part of the City Dionysia at Athens. Third, regulations defined how it was to be managed and paid for. It is theoretically possible that all these were simultaneous, but it is not likely.

From dithyramb to drama
Aristotle writes in the Poetics that, in the beginning, tragedy was an improvisation "by those who led off the dithyramb", which was a hymn in honor of Dionysus. This was brief and burlesque in tone because it contained elements of the satyr play. Gradually, the language became more serious and the meter changed from trochaic tetrameter to the more prosaic iambic trimeter. In Herodotus's Histories and later sources, the lyric poet Arion of Methymna is said to be the inventor of the dithyramb. The dithyramb was originally improvised, but later written down before performance. The Greek chorus of up to 50 men and boys danced and sang in a circle, probably accompanied by an aulos, relating to some event in the life of Dionysus.

Scholars have made a number of suggestions about the way the dithyramb changed into tragedy. "Somebody, presumably Thespis, decided to combine spoken verse with choral song. ... As tragedy developed, the actors began to interact more with each other, and the role of the chorus became smaller. " Scodell notes that: The Greek word for “actor” is hypocrites, which means “answerer” or “interpreter,” but the word cannot tell us anything about tragedy’s origins, since we do not know when it came into use. Also, Easterling says: There is .. much to be said for the view that hypokrites means 'answerer'. He answers the questions of the chorus and so evokes their songs. He answers with a long speech about his own situation or, when he enters as messenger, with a narrative of disastrous events ... Naturally, the transformation of the leader into an actor entailed a dramatization of the chorus.

The first tragedies
Tradition attributes Thespis as the first person to represent a character in a play. This took place in 534 BC during the Dionysia established by Peisistratus. Of his tragedies we know little except that the choir was still formed by Satyrs and that, according to Aristotle, he was the first to win a dramatic contest, and the first actor (ὑποκριτής) who portrayed a character rather than speaking as himself. Moreover, Themistius, a writer of the 4th century AD, reports that Thespis invented the prologue as well as the spoken part (ῥῆσις). Other playwrights of the time were Choerilus, author of probably one hundred and sixty tragedies (with thirteen victories), and Pratinas of Phlius, author of fifty works, of which thirty-two are satyr plays. We have little record of these works except their titles. At this time, satyr plays were presented alongside tragedies. Pratinas definitely competed with Aeschylus and worked from 499 BC.

Another playwright was Phrynichus. Aristophanes sings his praises in his plays: for example, The Wasps presents him as a radical democrat close to Themistocles. Besides introducing dialogues in iambic trimeter and including female characters for the first time, Phrynichus also introduced historical content to the genre of tragedy (e.g. in the Capture of Miletus). His first victory in a contest was in 510 BC. At this time, the organization of plays into trilogies began.

Aeschylus: the codification
Aeschylus was to establish the basic rules of tragic drama. He is credited with inventing the trilogy, a series of three tragedies that tell one long story, and introduced the second actor, making the dramatization of a conflict possible. Trilogies were performed in sequence over a full day, sunrise to sunset. At the end of the last play, a satyr play was staged to revive the spirits of the public, possibly depressed by the events of the tragedy.

In the work of Aeschylus, comparing the first tragedies with those of subsequent years, there is an evolution and enrichment of the proper elements of tragic drama: dialogue, contrasts, and theatrical effects. This is due to the competition in which the older Aeschylus was with other playwrights, especially the young Sophocles, who introduced a third actor, increased plot complexity and developed more human characters, with which the audience could identify.

Aeschylus was at least partially receptive to Sophocles' innovations, but remained faithful to a very strict morality and a very intense religiosity. So, for instance, in Aeschylus, Zeus always has the role of ethical thinking and action. Musically Aeschylus remains tied to the nomoi, rhythmic and melodic structures developed in the Archaic period.

The reforms of Sophocles
Plutarch, in the Life of Cimon, recounts the first triumph of the young talented Sophocles against the famous and hitherto unchallenged Aeschylus. This competition ended in an unusual manner, without the usual draw for the referees, and caused the voluntary exile of Aeschylus to Sicily. Many innovations were introduced by Sophocles, and earned him at least twenty triumphs. He introduced a third actor, increased the number of chorus members to fifteen; he also introduced scenery and the use of scenes.

Compared to Aeschylus, the chorus became less important in explaining the plot and there was a greater emphasis on character development and conflict. In Oedipus at Colonus, the chorus repeats "not to be born is best." The events that overwhelm the lives of the heroes are in no way explained or justified, and in this we see the beginning of a painful reflection on the human condition, still current in the contemporary world.

The realism of Euripides
The peculiarities that distinguish the Euripidean tragedies from those of the other two playwrights are the search for technical experimentation, and increased attention for feelings, as a mechanism to elaborate the unfolding of tragic events.

The experimentation carried out by Euripides in his tragedies can be observed mainly in three aspects that characterize his theater: he turned the prologue into a monologue informing the spectators of the story's background, introduced the deus ex machina and gradually diminished the choir's prominence from the dramatic point of view in favor of a monody sung by the characters.

Another novelty of Euripidean drama is represented by the realism with which the playwright portrays his characters' psychological dynamics. The hero described in his tragedies is no longer the resolute character as he appears in the works of Aeschylus and Sophocles, but often an insecure person, troubled by internal conflict.

He uses female protagonists of the plays, such as Andromache, Phaedra and Medea, to portray the tormented sensitivity and irrational impulses that collide with the world of reason.

Structure
The structure of Greek tragedy is characterized by a set of conventions. The tragedy usually begins with a prologue, (from pro and logos, "preliminary speech") in which one or more characters introduce the drama and explain the background of the ensuing story. The prologue is followed by the parodos (entry of the characters/group) (πάροδος), after which the story unfolds through three or more episodes (ἐπεισόδια, epeisodia). The episodes are interspersed by stasima (στάσιμoν, stasimon), choral interludes explaining or commenting on the situation developing in the play. In the episode, there is usually interaction between characters and the chorus. The tragedy ends with the exodus (ἔξοδος), concluding the story. Some plays do not adhere to this conventional structure. Aeschylus' The Persians and Seven Against Thebes, for example, have no prologue.

Language
The Greek dialects used are the Attic dialect for the parts spoken or recited by individual characters, and a literary Doric dialect for the choral odes. For the metre, the spoken parts mainly use the iambic (iambic trimeter), described as the most natural by Aristotle, while the choral parts rely on a variety of meters. Anapaests were typically used as the chorus or a character moved on or off the stage, and lyric metres were used for the choral odes. These included Dactylo-epitrites and various Aeolic metres, sometimes interspersed with iambics. Dochmiacs often appear in passages of extreme emotion.

Mimesis and catharsis
As already mentioned, Aristotle wrote the first critical study of the tragedy: the Poetics. He uses the concepts of mimesis (μίμησις, "imitation"), and catharsis or katharsis (κάθαρσις, "cleansing") to explain the function of tragedy. He writes: "Tragedy is, therefore, an imitation (mimēsis) of a noble and complete action [...] which through compassion and fear produces purification of the passions." Whereas mimēsis implies an imitation of human affairs, catharsis means a certain emotional cleansing of the spectator. What exactly is meant by "emotional cleansing" (κάθαρσις των παθήματων) however, remains unclear throughout the work. Although many scholars have attempted to define this element vital to the understanding of Aristotle's Poetics, they remain divided on the subject.

Gregory, for instance, argues that there is "a close relationship between tragic katharsis and the transformation of pity and fear [...] into essentially pleasurable emotions in the theater". Katharsis, on this reading, will denote the overall ethical benefit that accrues from such an intense yet fulfillingly integrated experience. Exempt from the stresses that accompany pity and fear in social life, the audience of tragedy can allow these emotions an uninhibited flow that ... is satisfyingly attuned to its contemplation of the rich human significance of a well-plotted play. A katharsis of this kind is not reducible to either ‘‘purgation’’ or ‘‘purification.’’

Lear promotes as "the most sophisticated view of katharsis", the idea that it "provides an education for the emotions." "Tragedy ... provides us with the appropriate objects towards which to feel pity or fear."

The three unities
The three Aristotelian unities of drama are the unities of time, place and action.

 * 1) Unity of action: a play should have one main action that it follows, with no or few subplots.
 * 2) Unity of place: a play should cover a single physical space and should not attempt to compress geography, nor should the stage represent more than one place.
 * 3) Unity of time: the action in a play should take place over no more than 24 hours.

Aristotle asserted that a play must be complete and whole, in other words, it must have unity, i.e. a beginning, a middle and an end. The philosopher also asserted that the action of epic poetry and tragedy differ in length, "because in tragedy every effort is made for it to take place in one revolution of the sun, while the epic is unlimited in time."

These unities were considered key elements of the theatre until a few centuries ago, although they were not always observed (such as by authors like Shakespeare, Calderón de la Barca and Moliere).

Apollonian and Dionysian: the analysis of Nietzsche
Friedrich Nietzsche at the end of the 19th century highlighted the contrast between the two main elements of tragedy: firstly, the Dionysian (the passion that overwhelms the character) and the Apollonian (the purely pictorial imagery of the theatrical spectacle).

Contrasted with that is nemesis, the divine punishment that determines the fall or death of the character.

In ancient Greek culture, says Nietzsche, "there is a conflict between the plastic arts, namely the Apollonian, and non-plastic art of music, the Dionysian." "Both drives, so different from each other, go side by side, mostly in open discord and opposition, always provoking each other to new, stronger births, in order to perpetuate in themselves the struggle of opposites which is only apparently bridged over by the common word 'art'; until, finally, by a wonderful act of Hellenic 'will,' they seem to pair up and in this pairing, at last, produce Attic Tragedy, which is as much a Dionysian as an Apollonian artwork."

The tragic theatre as a mass phenomenon
Greek tragedy as we understand it today, was not merely a show, but rather a collective ritual of the polis. It took place in a sacred, consecrated space (the altar of the god stood at the center of the theatre).

A spectator of a Greek dramatic performance in the latter half of the fifth century B.C. would find himself seated in the theatron, or koilon, a semi-circular, curved bank of seats, resembling in some respects the closed end of a horseshoe stadium. ... Below him, in the best location in the theatre, is the throne of the priest of Dionysus who presides in a sense over the whole performance. The theatron is large-in fact, the one in Athens, in the Theatre of Dionysus, with its seats banked up on the south slope of the Acropolis, seated approximately 17,000 persons.

The spectator sees before him a level circular area called the orchestra, which means literally the "dancing place". ... In the centre of the orchestra stands an altar. A part of the dramatic action will take place in the orchestra, as well as the manoeuvres and dance figures performed by the Chorus as they present their odes. To the right and left of the theatron are the parodoi, which are used not only by the spectators for entering and leaving the theatre, but also for the entrances and exits of actors and the Chorus. Directly beyond the circular orchestra lies the skene or scene building. ... In most plays the skene represents the facade of a house, a palace, or a temple. The skene normally had three doors which served as additional entrances and exits for the actors. Immediately in front of the scene-building was a level platform, in the fifth century B.C. in all probability only a single step above the level of the orchestra. This was called the proskenion or logeion where much of the dramatic action of the plays takes place. Flanking the proskenion were two projecting wings, the so-called paraskenia. It must be remembered that the skene, since at first it was only a wooden structure, was flexible in its form, and was probably modified frequently.

The theatre voiced ideas and problems from the democratic, political and cultural life of Athens. Tragedies can discuss or use the Greek mythical past as a metaphor for the deep problems of current Athenian society. In such plays, "the poet alludes directly to fifth-century events or developments, but moves them back into the mythological past. In this category [can be placed] Aeschylus’ Persians and Oresteia."

In the case of Aeschylus' tragedy The Persians, it was performed in 472 BC in Athens, eight years after the battle of Salamis, when the war with Persia was still in progress. It tells the story of the Persian fleet's defeat at Salamis and how the ghost of former Persian King Darius accuses his son Xerxes of hubris against the Greeks for waging war on them.

"The possibility that a reflection of Athens is to be seen in Aeschylus’ Persian mirror could explain why the poet asks his audience to look at Salamis through Persian eyes and elicits great sympathy for the Persians, including Xerxes."

Other tragedies avoid references or allusions to 5th century BC events, but "also draw the mythological past into the present.""The bulk of the plays in this category are by Euripides. Strains of fifth-century Athenian rhetoric, sketches of political types, and reflections of Athens’ institutions and society lend plays of this category a distinctly fifth-century Athenian flavor. The emphasis in Euripides’ Orestes on political factions, for example, is directly relevant to the Athens of 408 BCE."

The performances of the tragedies took place in Athens on the occasion of the Great Dionysia, feasts in honor of Dionysus celebrated in the month of Elaphebolion, towards the end of March. It was organized by the State and the eponymous archon, who picked three of the richest citizens to pay for the drama's expenses. In the Athenian democracy wealthy citizens were required to fund public services, a practice known as liturgy.

During the Dionysia a contest took place between three plays, chosen by the archon eponymous. This procedure might have been based on a provisional script, each of which had to submit a tetralogy consisting of three tragedies and a satyr play. Each tetralogy was recited in one day, so that the recitation of tragedies lasted three days. The fourth day was dedicated to the staging of five comedies. At the end of these three days a jury of ten people chosen by lot from the body of citizens chose the best choir, best actor and best author. At the end of the performances, the judges placed a tablet inscribed with the name of their choice inside an urn, after which five tablets were randomly selected. The person who received the highest number of votes won. The winning author, actor and choir were thus selected not purely by lot, but chance did play a part.

The passion of the Greeks for the tragedy was overwhelming: Athens, said the critics, spent more on theatre than on the fleet. When the cost for the shows became a sensitive subject, an admission fee was instated, alongside the so-called theorikon, a special fund to pay for festival's expenses.

The surviving tragedies
Of the many tragedies known to have been written, just 32 full-length texts by only three authors, Aeschylus, Sophocles and Euripides, survive. More than 300 are known from fragments.

Aeschylus
Seventy-nine titles of Aeschylus' works are known (out of about ninety works), both tragedies and satyr plays. Seven of these have survived, including the only complete trilogy which has come down from antiquity, the Oresteia, and some papyrus fragments:
 *  The Persians (Πέρσαι / Persai), 472 BC;
 *  Seven Against Thebes (Ἑπτὰ ἐπὶ Θήβας / Hepta epi Thebas), 467 BC;
 *  Suppliants (Ἱκέτιδες / Hiketides), probably 463 BC;
 * The trilogy Oresteia (Ὀρέστεια / Oresteia), 458 BC, consisting of:
 * Agamemnon (Ἀγαμέμνων / Agamemnon);
 * Choephoroi (Χοηφόροι / Choephοroi);
 * Furies (Εὐμενίδες / Eumenides);
 * Prometheus Bound (Προμηθεὺς δεσμώτης / Prometheus desmotes) of uncertain date and considered spurious by some scholars.

Sophocles
According to Aristophanes of Byzantium, Sophocles wrote 130 plays, 17 of which are spurious; the Suda lexicon counted 123. Of all Sophocles's tragedies, only seven remain intact:
 * Ajax (Αἴας / Aias) around 445 BC;
 * Antigone (Ἀντιγόνη / Antigone), 442 BC;
 * Women of Trachis (Tραχίνιαι / Trachiniai), date unknown;
 * Oedipus Rex (Οἰδίπoυς τύραννoς / Oidipous Tyrannos) around 430 BC;
 * Electra (Ἠλέκτρα / Elektra), date unknown;
 * Philoctetes (Φιλοκτήτης / Philoktētēs), 409 BC;
 * Oedipus at Colonus (Oἰδίπoυς ἐπὶ Κολωνῷ / Oidipous epi Kolōnōi), 406 BC.

Apart from the plays that have survived in their entirety, we also possess a large part of the satyr play Ἰχνευταί or Trackers, which was found at the beginning of the 20th century on a papyrus containing three-quarters of this work.

Euripides
According to the Suda, Euripides wrote either 75 or 92 plays, of which survive eighteen tragedies and the only complete surviving satyr play, the Cyclops.

His extant works are:
 * Alcestis (Ἄλκηστις / Alkestis), 438 BC;
 * Medea (Μήδεια / Medeia), 431 BC;
 * Heracleidae (Ἡρακλεῖδαι / Herakleìdai), c. 430 BC;
 * Hippolytus (Ἱππόλυτος στεφανοφόρος / Ippolytos stephanoforos), 428 BC;
 * The Trojan Women (Τρώαδες / Troades), 415 BC;
 * Andromache (Ἀνδρομάχη /Andromache), date unknown;
 * Hecuba (Ἑκάβη / Hekabe), 423 BC;
 * Suppliants (Ἱκέτιδες / Hiketides), 414 BC;
 * Ion (Ἴων / Ion);
 * Iphigenia in Tauris (Ἰφιγένεια ἡ ἐν Ταύροις / Iphighèneia he en Taurois);
 * Electra (Ἠλέκτρα / Elektra);
 * Helen (Ἑλένη / Helene), 412 BC;
 * Heracles (Ἡρακλῆς μαινόμενος / Herakles mainomenos);
 * The Phoenician Women (Φοινίσσαι / Phoinissai) circa 408 BC;
 * Orestes (Ὀρέστης /Orestes), 408 BC;
 * Iphigenia in Aulis (Ἰφιγένεια ἡ ἐν Αὐλίδι / Iphighèneia h en Aulìdi), 410 BC;
 * The Bacchae (Βάκχαι / Bakchai), 406 BC;
 * Cyclops (Κύκλωψ / Kuklops) (satyr);
 * Rhesus (Ῥῆσος / Resos) (possibly spurious).

Demos: An Exploration of People and Democracy in Greek Tragedy
The role of the audience in a Greek Tragedy is to become part of that theatrical illusion, to partake in the act as if they were part of it. "The Demos in Greek Tragedy", frequently addresses the works of Euripides. The way he addresses the audience through his plays is usually implied and never made obvious, as that would not only break the narrative that is being constructed, it would also fail to subject the disbelief of the audience. The article notes how often the audience is incorporated as being representative of the expected demos, usually by having silent actors, or individuals who are part of the Tragedy, be seated with the audience, to ensure that the actor is engaging with the audience.

Through further exploration into the role of the chorus, the author looks at what impact that may have had from the perspective of the demos. The author notes that it was often the case for tragic choruses to be of one type of social position (in both age, gender, nationality, and class). With regard to gender distinctions, the author finds that despite the fact that females choruses existed within Greek plays in general, they, like other enslaved and foreign individuals lacked the same kind of status as male Greeks. Those not considered citizens were not representative of the demos. The author gives an example of how a female chorus in Aeschylus' Seven against Thebes, is criticized for being bad for citizen morale.

The author further notes how male based choruses were designated by name based on their "factions within the citizenry" (p. 66). For example, if the chorus were composed of boys from Argive, then one would refer to them as "Argive boys" (p. 66). However, a much clearer distinction is made with adult males, such as "jury-service-loving old men (Wasps)" (p. 66), which indicates that the chorus is composed entirely of older men who are part of a jury service, further indicating their role within the citizenry. The citizen chorus was not only distinguished by status but was also seen as a subset of the demos.

Greek Tragedy: A Performance
Greek Tragedy can often become confusing when trying to assess it as a drama, a detailed event, a performance, or even as something conveying an underlying theme. An article by Mario Frendo, looks at the latter as a phenomenon of performance, a separation in the meaning of the play from what it is actually being conveyed, and not an attempt to approach Greek tragedy through context (e.g., conventions of performance, historical facts, etc.). Approaching antiquity from a contemporary outlook, especially with regard to the construction and form of the plays, hinders any understanding of classical Greek society.

The origins of Greek tragedy were mostly based on song or speech rather than written script. In this way, Frendo states that Tragedy by its nature, was performative. Frendo furthers his argument by drawing on previous research into Greek Tragedy. He elaborates on the musical, often sing-song nature of the plays, and looks at oral tradition as the backdrop to the construction of these plays (e.g., oral tradition may play a role in the processes that lead to the creation of Greek Tragedy). Frendo draws on the notion that the experience of tragedy requires a theatrical performance and is in that sense, a separation of tragedy from literature. Further stating that it is essential to look at tragedy as pre-drama, that it does not fit with a more contemporary envisioning of "drama" as we would've seen under the Renaissance.

After dialogue based interactions were eventually brought into development, the percentage of scripts read by the chorus tended to decrease in regards to their involvement in the play. Therefore, the author concludes that this not only demonstrates the performative nature of Greek tragedy but also brings forth the possibility that dialogic based strategies may have been employed.

Deus Ex Machina: An Intervention Technique
An article by Thomas Duncan discusses the impact of dramatic technique on the influence of Tragic plays and conveying important or essential outcomes, particularly through the use of Deus Ex Machina. This is a technique in which an action is halted by the appearance of an unforeseen character or through the intervention of a god, that essentially brings about a conclusion to a play. One such example can be seen with Euripides' play, Hippolytus. In the play, Hippolytus is cursed with an untimely death by his father, Theseus, for the supposed rape and subsequent suicide of Queen Phaedra, his step-mother. However, Queen Phaedra commits suicide due to unwanted desire for Hippolytus (instigated by the goddess, Aphrodite) and thus, blames her death on Hippolytus.

Hippolytus' demise is brought forth by a god, Aphrodite, whose hatred of Hippolytus' and his unending devotion to Artemis stems from his subsequent disparagement or denial of Aphrodite. In other words, because Hippolytus chooses to devote himself to the goddess, Artemis, whose themai, or divine domain, is chastity, for some reason, he decides to then deny the existence of another goddesses divine domain, Aphrodite's' themai, lust, the polar opposite to chastity. The play demonstrates how divine intervention sets in motion the main theme of the play, revenge, and how that leads to the downfall of a royal family. However, it is not until the end of the play, when Artemis intervenes to tell King Theseus that he has killed his son by cursing him, that he has fallen prey to the workings of Aphrodite.

Without this kind of divine intervention, Theseus would not have realized his mistakes and Hippolytus would not have been cursed. Without divine intervention, the events that transpired would not have been as effective in revealing certain truths to the audience if they were to have come from a fellow human. In this way, such a technique is essential to the mechanisms of Greek Tragedy and the capabilities of the tragedian in conveying their play as more than just a story or detailed event.

Aeschylus: Human Identification through Character Representation
Character identification can be seen in many of Aeschylus' plays, such as Prometheus Bound. In this play, Prometheus, the Titan god of forethought and the inventing fire, stole the inventing flame from Hephaestus and gave it to humanity. Thereby, bestowing upon humanity knowledge of the arts, angering the gods. The idea behind this Greek tragedy is that Prometheus is punished by Zeus not only for the crime of giving humanity divine knowledge, but also for believing that by doing so, humanity would, in some way, praise Prometheus as a champion for justice and see Zeus as nothing more than a tyrant. Through this the author notes how Aeschylus' play relates to this notion of character identification, as it depicts a being who is not necessarily acting out of selfish intention but in many ways was willing to be punished for the betterment of Humanity.

title: Greek tragedy


text:
User talk:Bloodruby

Hello Bloodruby, welcome to Wikipedia.

You might find these links helpful: How to edit a page, How to write a great article, Naming conventions, Manual of Style. You should read our policies at some point too.

If you have any questions, see the help pages, add a question to the Help desk or (if you want a broader audience) the village pump, or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!
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Again, welcome! Chris Roy 01:11, 3 May 2004 (UTC)

title: User talk:Bloodruby


text:
Talk:Valerie Singleton

Biography assessment rating comment
WikiProject Biography Assessment

The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. -- Yamara 04:03, 25 May 2007 (UTC)

Bridget Jones
Hmm, is that thing about Bridget Jones Diary (which an anon added a while ago) true (the part about the meaning being at all related to Valerie Singleton). The mathematical meaning of singleton preceeds her by century or so. Can someone with an OED check this, as it sounds cute but suspicious. -- Finlay McWalter | Talk 01:11, 3 May 2004 (UTC)

 * Don't think it has anything to do with Valerie Singleton. I'm removing it. --Auximines 14:25, 30 Jun 2004 (UTC)

"She continues to be more closely associated with Blue Peter than any other former presenter."

surely John Noakes is as equally. if not more associated/identified with the programme? —Preceding unsigned comment added by GeneralJumbo (talk • contribs) 22:33, 7 September 2007 (UTC)

 * I think the implication was more that she is the one most likely to turn up to do stuff for the programme - in stark contrast to Noakes, of course. -88.111.73.251 07:32, 26 September 2007 (UTC)

Is she gay?
Rumour has it she lives just outside Tavistock in Devon, with another woman.136.153.2.2 (talk) 10:12, 8 April 2008 (UTC)
 * She has continuously denied it, so I would say no Parrot of Doom (talk) 09:45, 16 July 2008 (UTC)
 * Ms Singleton is a personal friend and colleague of mine and she is very upset and distressed about this persistent rumour forming part of the article. She has told me personally, at length, that it is absolutely untrue; that she is heterosexual and indeed barely knows Ms Armatrading, having only met her twice in her career. Is it necessary to have salacious gossip as part of a Wikipedia article? I feel that it is non-encyclopaedic & would like to see it deleted. Liam Proven (talk) 16:10, 15 July 2011 (UTC)

She's on this morning now, denying it all, and talking about "wikidpedia" —Preceding unsigned comment added by 82.152.219.216 (talk) 09:47, 16 July 2008 (UTC)

What does living outside Tavistock have to do with one's sexual orientation?UrsusMaximus (talk) 21:02, 25 January 2009 (UTC)
 * Damned if I know, but she does not live in Devon nor anywhere Tavistock. Liam Proven (talk) 16:10, 15 July 2011 (UTC)
 * I see the article already says, correctly, that she lives in Dorset, quite near Yeovil and Sherbourne. Liam Proven (talk) 16:20, 15 July 2011 (UTC)
 * If I were in Ms Singleton's shoes, I'd be more angry at the BBC than wikipedia - deserving of ridicule though the site may be. On BBC2's "Blue Peter Night" some time back, several of those interviewed stated that Singleton was a "lesbian icon" including Muriel Grey. Not very helpful when trying to scotch malicious gossip to have the official broadcaster of the show she's most closely associated with broadcast further nonsense on the matter. The Joan Armatrading story originated because one of the tabloids reported seeing Singleton in the audience at a concert in London, just days after she had interviewed the singer. They put two and two together and made five hundred and sixty one. Plus, later, Private Eye printed a short gossip piece about how Singleton and another woman were sun bathing topless on the roof of a home in London. It's amazing how such twaddle can blow up into a daft rumour that lasted decades.218.17.33.90 (talk) 02:17, 2 November 2017 (UTC)
 * Yeovil is in Somerset...2.31.162.42 (talk) 23:42, 26 July 2022 (UTC)

 * Back in the press again this morning - will this ridiculous story never die? https://www.dailymail.co.uk/news/article-6197565/Ex-Blue-Peter-presenter-Valerie-Singleton-begs-singer-Joan-Armatrading-end-rumours-affair.html  — Preceding unsigned comment added by 67.189.190.227 (talk) 14:15, 23 September 2018 (UTC)

She has consistently denied it. There's no evidence for it. Her problem is she's been discreet: gossip fills a vacuum. Rustygecko (talk) 04:54, 24 April 2021 (UTC)

Protection
I've protected the article for a few hours as she's currently on This Morning and mentioned her article on Wikipedia. The protection is to stop the "raving mad lesbian" etc. comments. Craigy (talk) 09:50, 16 July 2008 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Valerie Singleton. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive http://web.archive.org/web/20121014030140/http://www.bigredbook.info:80/valerie_singleton.html to http://www.bigredbook.info/valerie_singleton.html

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.—cyberbot II  Talk to my owner :Online 21:44, 2 March 2016 (UTC)

title: Talk:Valerie Singleton


text:
Minoru Honda

Minoru Honda (本田 実) was a Japanese astronomer. Starting in 1937, Honda worked for Issei Yamamoto at the Zodiacal Light Observatory in Hiroshima.

He discovered twelve comets between 1940 and 1968, including the periodic comet 45P/Honda–Mrkos–Pajdušáková.

He discovered on FH Serpentis (Nova Serpentis 1970) on February 13, 1970 from Kurashiki, Japan.

He was the first to report the very bright V1500 Cygni (Nova Cygni 1975) at magnitude 3.0 on August 29, 1975; it peaked at 2.0, and many hundreds of independent discoveries were subsequently made by others.

The asteroid 3904 Honda is named after him, 8485 Satoru is named after his wife, and 11442 Seijin-Sanso is named after his astronomical observatory.

title: Minoru Honda