text:
Talk:Silesian Voivodeship (1920–1939)

Other info

 * http://www.silesia-region.pl/wiadomosc.php?id=468
 * http://www.republika.pl/rg1/silesia/autonomia.html
 * http://wiem.onet.pl/wiem/00662a.html

Powiaty
In mid-1939 the population of the Voivodeship was 1,533,500 (together with Zaolzie, annexed in October 1938) and its area was 5 122 sq. km. The Voivodeship was divided into these counties:

Cities
Biggest cities of the Voivodeship within its 1939 boundaries were (population based on 1931 census):
 * ¹ – in 1934 city Królewska Huta, Maciejkowice and Chorzów municipality join to Chorzów

County (powiaty)
Source: www.szukamypolski.com
 * ¹ – 1929
 * ² – in 1934 change name "Królewska Huta" -> Chorzów

Name of the article

 * The move discussion below has been closed. As per consensus and weight of arguments in this discussion, the page is moved back from Silesian Voivodeship (autonomy) to Silesian Voivodeship (1920–1939). If there should be a remaining argument whether it should say "1920" or "1921", please discuss the relevant arguments separately. Fut.Perf. ☼ 23:34, 18 January 2011 (UTC)

 * The following discussion is closed. Please do not modify it. Subsequent comments should be made in a new section.

Original name of the Voivodship was "Województwo Śląskie" (English: "Silesian Voivodeship") without a word "Autonomous". Yes, the region had an autonomy and nobody deny it like the rollbacker LUCPOL said. The main case is the name former voivodship which was formed by present supporters to create an autonomous region in present Poland. Every law acts and even Constitution of the Voivodship]] and Cancellation Constitution Law Act stays clearly "Silesian Voivodeship". There is no one act with name with word Autonomous E.x. or. I've changed a name of the article to correct one and given the creating Act of the Voivodship in a reference, but it was rejected, denied without any other literature, word of discussion or note by the LUCPOL in this edit. LUCPOL with his OR declaration shows clearly his intentions. Wikipedia cannot deny the facts, and fact is clear that the formal law acts and every literature use the name "Silesian Voivodeship". Even Silesian Parliament used the name "Silesian Voivodeship". I move a proposal to change article name to Silesian Voivodeship (1921–1939). JDavid (talk) 01:01, 2 January 2011 (UTC)

 * Name "Silesian Voivodeship (1921–1939)" is unclear and controversial. There are some different dates, formal and practical. Beginning in 1920, 1921 or 1922 - depending on the sources and ending 1939 and 1945 - depending on how the status II World War.
 * Citation "Yes, the region had an autonomy and nobody deny it" ...really?!?, come down autonomy to the level of plain voivodeships . This is one of some examples.
 * I change name on Silesian Voivodeship (autonomy) according to User:JDavid version + change wrong dates on name "(autonomy)". This version is compromise and consistent with the sources and principles of Wikipedia. LUCPOL (talk) 21:33, 2 January 2011 (UTC)
 * Ad. 1. Silesian Voivodeship (1921–1939)" is clear and uncontroversial, we have to choose good date. For sure 1939 like other voivodeships. JDavid (talk) 04:14, 6 January 2011 (UTC)
 * Ad. 2. Really I don't know what you have meant. JDavid (talk) 04:14, 6 January 2011 (UTC)
 * Re. Ad. 2. I explain again, in Polish. You wrote: "Yes, the region had an autonomy and nobody deny it" - translate to polish: "Tak, region miał autonomię i nikt temu nie zaprzecza". Ale tuszujecie to jak tylko można. Pamiętam to, jak jeszcze aktywnie działałem na pl.Wikipedii. Podałem ci też jeden z wielu przykładów . Najlepiej śląską autonomię zmniejszyć do poziomu zwykłego województwa, zatuszować nazwę "autonomia" w nazwie artykułu co właśnie robicie. Jaki będzie wasz następny krok? Cicha likwidacja faktu "autonomii" w samej treści artykułu? (jak ktoś chce to może to przetłumaczyć na angielski, pisałem po polsku bo JDavid mnie nie zrozumiał po angielsku). LUCPOL (talk) 18:53, 6 January 2011 (UTC)
 * I think I'd rather have disputed dates than this solution, which doesn't make any immediate sense. At least with the dates people will understand what the title means.--Kotniski (talk) 10:51, 4 January 2011 (UTC)
 * I also think that dates are better. The word autonomy is unclear, becouse something can have autonomy, but something cannot be autonomy. Am I right? Dates show that this article is historical, and this is important I think. And what's more it's name convension on en.Wiki (which I would have on pl.Wiki). Poznań Voivodeship (1921–1939) was created in 1921, but they had a voivode since 1919, so there is not a problem. I think we could decide what should be a determinant in this case. JDavid (talk) 04:14, 6 January 2011 (UTC)
 * Citation "The word autonomy is unclear, becouse something can have autonomy, but something cannot be autonomy. Am I right?" - No, you are wrong. The word "autonomy" is clear and not apply this term to things that do not have autonomy. Second: can change on name "Silesian Voivodeship (autonomous)", if someone annoys word "autonomy". LUCPOL (talk) 13:37, 6 January 2011 (UTC)
 * You can do, what we establish here in this discussion, You aren't a ruler of Wikipedia. JDavid (talk) 17:08, 6 January 2011 (UTC)

 * This article doesn't show everything, and I've made mistake in name changing. Silesian Voivodeship was created in 1920, included Cieszyn Silesia, and other small lands. After plebiscite, uprisings other lands were joined to Silesian Voivodeship. Name Silesian Voivodeship (1920–1939) it's accurate and noncontroversial, without POV. It's crystal-clear! JDavid (talk) 17:08, 6 January 2011 (UTC)
 * If I can add something. "Silesian Voivodeship (i.e. date)" is kind of logical, because "Silesian Voivodeship" itself can refer both to historical and current region of Poland. However "autonomy" is not a good choice, because it doesn't clearly define "which Silesian Voivodeship" - at least at first glance. Certainly date would be much better (as is usually used for disambigs). Then the issue of "autonomous" as part of a name. Undoubtly the name should be given according to the offical act of law, which was defining this region. I assume, that the proper law act was issued by polish parliament. And over there the name should be claerly written, and out of this definition, it should be the name for the wikipedia article. However I agree that technically and according to regulations, this region (in opposition to other voivodeships) could posses a certain degree of autonomy, which of course should me mentioned and described in the article itself, ideally basing on, once again, proper law acts. It's similar situation as for Poznań, as far as I remember, where Poznań is a official name for this city, but historically it was called (or rather had a status = like autonomy) of King's City Poznań (or something like that). But no one claims that the wiki article should be called like this. What is, at first glance, contradictory is the situation for Kraków, where its officially approved (by polish government) name is: "Stołeczne Królewskie Miasto Kraków" (Capital King's City Kraków), so one could say, that the article about it should be called like that. But no - because we would rather choose commons name, instead of the more offical but rarely used full one. However the latter example (and previous with Poznań) should be considered only when there were or are official acts calling "Silesian Voivodeship" - "Autonomous Silesian Voivodeship". Otherwise its autonomy is only technical but has nothing to do with the naming and therefore should be ommited from any part of article name, because it can create confusion and the date (19xx-19xx) is more along with the naming convention anyway Masur (talk) 17:32, 6 January 2011 (UTC)
 * Citation (from User:JDavid): "Name Silesian Voivodeship (1920–1939) it's accurate and noncontroversial, without POV. It's crystal-clear!" Not crystal-clear and this is controversial. See: Constitution of the Silesian Voivodship (autonomous) - Data obowiązywania (Effective Date): 	1919-06-28, Data wejścia w życie: (Date of entry to life): 1919-06-28 , Data wydania (Release Date): 1920-07-15 , your date from your edit: 1921 , practical (real) existence of autonomy - from 1922. In addition: Data uchylenia (Date set aside): 1945-05-07 , not 1939 - as you did in your editing . In addition, according to very many sources (also polish sources) Poland not exist only 123 years (1795–1918), not in 1939-1945. Formally and internationally, in 1939-45 Poland exist, but really this is occupation. Summary: there are several dates (1919, 1920, 1921, 1922, 1939, 1945), each date has sources!!!!!! You wrote "It's crystal-clear"? Are you freaking kidding. LUCPOL (talk) 19:14, 6 January 2011 (UTC)
 * First of all, using more exclamation marks won't make your sentences more... I don't know... important? Loud? In regards to the topic, of course one needs to admit, that it is hard to set precise dates of Silesian Voiv. existence (however for me it should 1919-1945 as law acts say; with a small correction for 1939 or 1945? As far as I remember, unlawfully but effectively, Germans dissolved the polish state), however I assume that proper sources, like monographies about the region's history, can provide us some commonly used date brackets. If not, and really if the dates of establishing and formal ceasing of Silesian Voivodeship are so controversial, still the posibility to use something different as a disambiguation in brackets can be used. Like "Silesian Voivodeship (Second Polish Republic)" or anything else, what would be unequivocal enough. Masur (talk) 19:47, 6 January 2011 (UTC)
 * Name "Silesian Voivodeship (autonomy within Second Polish Republic)" or "Silesian Voivodeship (autonomy within II Polish Republic)" or "Silesian Voivodeship (autonomy in Second Polish Republic)" or similary names would be acceptable, because this name shows status (autonomy) and the period (II Polish Republic). LUCPOL (talk) 19:54, 6 January 2011 (UTC)
 * Yep. But like I mentioned. Autonomy is part of a description, not part of a name. Name like: "Silesian Voivodeship (autonomy within II Polish Republic)" is imo hardly correct, because it suggests that it was almost completely independent (compare with Palestine Autonomy or Free City Gdańsk/Danzig). The only thing to figure out is how to clearly distiguish "this" Sil. void. from the current one. Like imagine that we have more than one "Kraków" in Poland. Whould you name different articles: "Kraków (Capital King's City)" and (fictionous one) "Kraków (Pomerania Voivodeship)" or rather "Kraków (Lesser Poland Voivodeship)" and "Kraków (Pomerania Voivodeship)"? And as I see i.e. here: Pomeranian Voivodeship (1919–1939), the system is to discriminate articles using dates, and there is no problem whether it is 1939 or 1945 (as we agreed that 1919 is a correct "starting" year). Therefore I think that "Silesian Voivodeship (1919-1939)" (1939 reflecting actual "end year", even if considered unlawful by the polish government on exile and some allied states) is a proper name, being in the agreement with existing naming conventions. Masur (talk) 20:12, 6 January 2011 (UTC)
 * Name "Silesian Voivodeship (1919-1939)" and in the introductory article write "The status of autonomy was forcibly removed on May 6, 1945". Quite a mess + controversial (these dates are collusive between us). PS. excerption to Palestine Autonomy is your wrong sentence. Name: autonomy "within" II Polish Republic not suggests to Palestine Autonomy and similary your samples. In addition, I wrote "Name "Silesian Voivodeship (autonomy within Second Polish Republic)" or "Silesian Voivodeship (autonomy within II Polish Republic)" or "Silesian Voivodeship (autonomy in Second Polish Republic)" or similary names" - maybe my examples are not grammatical, you can improve grammar or give another example name with shows status (autonomy) and the period (II Polish Republic). LUCPOL (talk) 20:46, 6 January 2011 (UTC)
 * OK, so if your point of view is commonly (it's quite important, because on en-wiki common names or conventions in naming are prefered over official ones or "correct" ones. See North Korea and Democratic People's Republic of Korea) supported in the subject literatury (that the Sil. Void. ceased to exist on 1945), the name should be then "Silesian Voivodeship (1919-1945)". BTW. 1945 is the date where autonomy privileges were revoked or when Sil. Void. was "cancelled"? The same with 1919 - is it a year when Sil. Void. was formed or its autonomy status set? I have to say, that by the dates for disambiguation I understand the dates when Sil. Void. existed (!), therefore 1939 is a real end point, even if it was unlawful to liquidate the poolish state at all (I adressed this issue above). The dates when Sil. Void. had privileges of autonomy can be, but don't have to be, different, what of course should me mentioned in the article itself, but for the sake of discrimination from other Silesian Voivodeships, the naming convention calls for dates of existence. And, like I agreed, 1939 or 1945 is arguable, however en-wiki consensus points toward 1939 as a real "end point" for the Polish Second Republic, ergo for its administrative parts (like mentioned Pomeranian Voivodeship (1919–1939)) Masur (talk) 06:19, 7 January 2011 (UTC)

I don't think there's much doubt as to the end point: 1939 (after then it existed only in people's minds). As to the start point, it doesn't matter when autonomy was granted, it matters when an entity called województwo śląskie was created (there's no separate article for the voivodeship before autonomy, nor any reason to create such a split). So if the voivodeship was created in 1919 (regardless of whether it had any special autonomous status then), then 1919 should be the start point.--Kotniski (talk) 07:42, 7 January 2011 (UTC)
 * ISAP (Internet Law Acts System) isn't a source of law in Rzeczpospolita of Poland. Every date which is presented there as a beginning of binding force of the law is not valid. Ustawa Konstytucyjna z dnia 15 lipca 1920 r. zawierająca statut organiczny Województwa Śląskiego (Dz. U. z 1920 r. Nr 73, poz. 497) was proclaimed 11 August 1920. Due to unclear bequest of Article 45 of the Act: This law act comes into effect with acquisition of the Silesian Voivodeship by Rzeczpospolita of Poland - part with Cieszyn of the Silesian Voivodeship was granted 28 July 1920, and part Upper Silesia was formally accessed in 22 June 1922 - as a date of creating the Silesian Voivodeship can be accepted only 26 August 1920 (coming into force of the Law Act according to 4th article of a Law Act of 31 July 1919 [ustawa z dnia 31 lipca 1919 r. w sprawie wydawania Dziennika Ustaw Rzeczypospolitej Polskiej (Dz. U. z 1919 r. Nr 66, poz. 400)] or 22 June 1922 (accession of Upper Silesia by Rzeczpospolita of Poland). Poznaniak (talk) 20:56, 7 January 2011 (UTC)
 * So, Silesian Voivodeship (1920–1939) would be satisfactory?--Kotniski (talk) 10:29, 8 January 2011 (UTC)
 * Yes, this title is the most appropriate. Poznaniak (talk) 11:23, 8 January 2011 (UTC)
 * ✅ what I've said above. JDavid (talk) 19:33, 8 January 2011 (UTC)

 * discussion. Still it is date discussed by us, still is mess, still controversial, still complicated. All "neutral" users is confirmed that is controversial and complicated. In the case of the Silesian autonomy will never!!! be clean and non-complicated dates. LUCPOL (talk) 19:52, 8 January 2011 (UTC)
 * this discussion. Current name of article is ok. WojtekSIL (talk) 23:30, 8 January 2011 (UTC)
 * conversation. Silesian Voivodeship (autonomy) is the best name. [[User:Ozi64|◄Ozi64►]] <small>[[User talk:Ozi64|and his talk]]</small> (talk) 00:48, 9 January 2011 (UTC)
 * How do you reach that conclusion? It doesn't even make sense.--Kotniski (talk) 14:10, 9 January 2011 (UTC)
 * This discussion makes no sense. Still it is date discussed by us, still is mess, still controversial, still complicated. All "neutral" users is confirmed that dates is controversial and complicated . In the case of the Silesian autonomy will never!!! be clean and non-complicated dates . Besides, you can use a name "Silesian Voivodeship (autonomous)" instead of "Silesian Voivodeship (autonomy)". LUCPOL (talk) 14:53, 9 January 2011 (UTC)
 * Have I mentioned that using more than one exclamation mark and underlining your sentences is not making them more important, really? I think, that I have... The date is not discussed, as we agreed that Silesian Voivodeship existed from 1920 to 1939 (practically) or 1945 (according to the law act). It means that the name: "Silesian Voivodeship (1920-1939)" clearly distinguishes this article from other "Silesian Voivodeships" articles; is without any doubts unequivocal, even if dates are disputable (but they clearly point toward right historical period), whereas "(autonomy)" at most is unclear because it doesn't point toward anything (could be "(yellow)" as I wrote below). Meaning that as a reader not familiar with the subject, when I see the name "Silesian Voivodeship (autonomy)" it doesn't ring me a bell as good as "Silesian Voivodeship (1920-1939)", which nicely places the article within the historical period and moreover the latter one is according to the naming convention for other voivodeships. The other option, however unused at en-wiki (but in use at pl-wiki) would be "Silesian Voivodeship (Second Polish Republic)". Masur (talk) 15:39, 9 January 2011 (UTC)
 * Look at it another way. You write that date in the name of the article are cool because you can easily see from what period the province. You say that the word autonomy need not be named because he is in the article. Is that so? And now look at from another perspective. Silesian region was autonomy as the only region, so you can use status in the name of the article and not mix it with the usual regions. However, the period of autonomy can be read from the article. Also there may be a detailed explanation of dates. Is my reasoning is logical? Yes.
 * In Polish, for better understanding: Popatrz na to w inny sposób. Piszesz, że daty w nazwie artykułu są fajne bo od razu widać z jakiego okresu jest województwo. Mówisz, że słowo autonomia nie musi być w nazwie bo jest w treści artykułu. Czy tak? A teraz popatrz z innej perspektywy. Województwo śląskie jako jedyne było autonomią, dlatego lepiej użyć statusu w nazwie artykułu a nie mieszać go ze zwykłymi województwami. Natomiast okres w jakim funkcjonowało województwo można odczytać z treści artykułu. Tam też może być dokładne wyjaśnienie dat - jak każdy przyzna - skomplikowanych. Czy moje uzasadnienie jest logiczne? Tak. LUCPOL (talk) 15:48, 9 January 2011 (UTC)
 * But don't you see that anyone who knows this entity had some kind of special autonomy will know in which period it existed (maybe not the precise years, but certainly that it was basically the interwar period), so using dates will not confuse anyone; but on the other hand, other people will know that they are interested in the interwar voivodeships, but won't necessarily know that the Silesian one had some autonomous status, so using "(autonomous)" might confuse people (as well as being inconsistent with how we do all the other voivodeships)?--Kotniski (talk) 08:07, 10 January 2011 (UTC)

 * ✅ I find very amusing voting over the article name... Like you know - democracy cannot make things more or less correct. And the current name is: a) against naming standards; b) not clear; "autonomy" doesn't clarify anything. And when I look for a certain article, I'd like to see from its name, whether it is the one (instead of (autonomy), ther could be (yellow)); c) autonomy, as far as I understand, didn't span the same period of time as the existence of voivodeship. Or at least practically it didn't. The Silesian autonomy was neglectable after 1935 (afair... new Constitution); d) in the discussion above at least several other arguments were presented, why (autonomy) is not good for this article disambiguation, as part of the article name. Other point of view (so, favoring "autonomy" as part of the name), imo, wasn't supported at all (like: "unnecessary - conversation. Silesian Voivodeship (autonomy) is the best name." from above... very constructive) and arguments focused on negating other options rather than supporting "the autonomy" one. Anyway, if we want to vote and if its the way how things are settled at en-wiki... fine. Just hope, that voters will read the discussion. Masur (talk) 14:15, 9 January 2011 (UTC)
 * ✅ Silesian Voivodeship (1920–1939) - the most appropriate and in the line with the naming convention for other voivodeships. Current name Silesian Voivodeship (autonomy) is OR. The name od this voivodeship was "Silesian Voivodeship". Aspects of autonomy should be mentioned in the article. Elfhelm (talk) 14:16, 9 January 2011 (UTC)
 * Silesian Voivodeship (autonomy) is the best name. Leave as is.--SPL908455, Henryk (talk) 15:28, 9 January 2011 (UTC)
 * And again - why it is the best name? Cos somehow I don't see any argumentation. Masur (talk) 15:39, 9 January 2011 (UTC)
 * Powiem wprost, nie jestem Śląskiem od urodzenia, i nie przeszkadza mi dopisek "(autonomia)", jak komuś to przeszkadza to już jego problem. Dla mnie ta "autonomia" w nawiasach jest swego rodzaju kompromisem, a przecież o kompromis Tu nam chodzi, a nie jakieś nasze prywatne-polityczne animozje. Dlatego uważam ze nazwa hasła "Silesian Voivodeship (autonomy)" jest jak najbardziej kompromisowa. Pozdrawiam,--SPL908455 (talk) 16:10, 9 January 2011 (UTC)
 * It's pretty touching what you say, however all of us would appreciate if you speak english here; while this is english language Wikipedia and maybe there are some participants, which would like to follow this discussion. And we aren't discussing whether the "annotation" is bothering someone or not, but whether such disambiguation fulfils its role as a way for discriminating different articles bearing similar names. Masur (talk) 16:35, 9 January 2011 (UTC)
 * Rozumiem, cel jest szczytny, ale materia - w Śląskim przypadku - jest wyjątkowo delikatna. Dziwne, ale przez wiele lat pewne fakty nikomu nie przeszkadzały. Została otwarta przysłowiowa puszka Pandory.--SPL908455 (talk) 19:29, 9 January 2011 (UTC)
 * Mógłbyś chopie przeczytać argumenty adwersarzy, zamiast pisać co Ci Lucpol przekazał. Takie minimum rzetelności udziału w dyskusji. Pozdrawiam JDavid (talk) 17:10, 9 January 2011 (UTC)
 * Rozumiem, ale moja wypowiedź dotyczyła wyłącznie nazwy tego hasła, Nie wnikam w czas trwania autonomii tego województwa, bo to już inna kwestia. Pozdrawiam,--SPL908455 (talk) 19:29, 9 January 2011 (UTC)

 * ✅ Silesian Voivodeship (1920–1939) Name with word "autonomy" is erroneous and inaccurate. On the legal basis of article 81, section 3, Law Act of Constitution of Rzeczpospolita of Poland from 23 April 1935 (Dz. U. z 1935 r. Nr 30, poz. 227) autonomy was abolished. To 1935 a change of Organic Statute required of approval from Silesian Sejm (Silesian Parliament). While after coming into force April Constitution of Rzeczpospolita of Poland (24 April 1935), it was sufficient only law act of the State (Country, enacted by Sejm of Poland). So it was no longer an autonomy, but a wide self-government of municipality . From 1935 to 1939 it was voivodeship without autonomy. The abolishing Organic Statut of the Silesian Voivodeship in 1945 by the State National Council was only a abolishing of binding law basis of distict self-government of municipality from other self-governments of the State (Poland). That is why forsing a name with word "autonomy" is pure OR and it is intended only to meet the individual's complexes of user LUCPOL, what it cannot be alowed in Wikipedia, which has to present a Neutral Point of View. Therefore it's be ordered as in the sentence. Poznaniak (talk) 16:34, 9 January 2011 (UTC)

 * Not exactly. This according to Mr. Kasznica - although still a source of verification. Furthermore, nowhere says that the silesian autonomy lasted only until 1935. Thirdly: acts of law are saying something else, also scientific literature. I'm sorry poznaniak.
 * In Polish, for better understanding: Niezupełnie. To według pana Kasznicy - choć źródło jeszcze do weryfikacji. Ponadto, nigdzie nie pisze że autonomia śląska trwała tylko do 1935 roku. Po trzecie: akty prawne mówią co innego, także literatura naukowa. Przykro mi poznaniaku. LUCPOL (talk) 16:38, 9 January 2011 (UTC)
 * Even if it did have some kind of special "autonomy" for all of its existence, there still isn't any need to mention that fact in the article title. Most people will be most helped by being told the dates when that incarnation of Silesian Voivodeship existed, not a (seemingly rather controversial) label about its legal status. This is what we do with other former voivodeships whose names are ambiguous, and isn't anything to do with any point of view - just trying to make Wikipedia more consistent, clear and (in as far as there exists doubt about the autonomous status) neutral.--Kotniski (talk) 16:58, 9 January 2011 (UTC)

✅ Silesian Voivodeship (1920–1939), Bacus15 (talk) 14:17, 16 January 2011 (UTC)
 * this discussion. Current name of article is ok. Maras84 (talk) 16:17, 15 January 2011 (UTC)
 * All in all, I consider the name proposed name of the article (Silesian Voivodeship (1921–1939)) to be the best, taking into account a variety of factors, all of which have been raised avobe. Wpedzich (talk) 14:18, 16 January 2011 (UTC)
 * As said above. ✅ Silesian Voivodeship (1920–1939) Awersowy (talk) 15:14, 16 January 2011 (UTC)
 * ✅ "Silesian Voivodeship (1920–1939)" is the best name for this article because the facts state that, not the opinions. Patrol110 (talk) 15:40, 16 January 2011 (UTC)
 * ✅ The best name for it is "Silesian Voivodeship (1920–1939)". Viatoro (talk) 19:17, 16 January 2011 (UTC)
 * ✅ The name "Silesian Voivodeship (1920–1939)" is the best choice and is not POV.Dominus Vobisdu (talk) 10:09, 18 January 2011 (UTC)
 * The name "Silesian Voivodeship (1920–1939)" is OR. LUCPOL (talk) 14:39, 18 January 2011 (UTC)
 * The above discussion is preserved as an archive. Please do not modify it. Subsequent comments should be made in a new section.

Cleanup and removing POV
I've removed the following from the article as it is non-factual and extremely POV. The Voivodeship officially ceased to exist in Sept. 1939. There is no connection whatsoever between the current voivodeship, which was created in 1999, and the voivodeship from before the war. The current voivodeship is not in any sense a "successor" to the previous one. The last sentence is blatantly POV. I've also cleaned up the English and removed other POV statements.

"The status of autonomy was forcibly removed on May 6, 1945 by the ruling Polish Workers' Party.

Its successor is the current Silesian Voivodeship, which has the same city — Katowice — as its capital. Up today, Polish authorities don't want to give back autonomy of Silesia[citation needed]." — Preceding unsigned comment added by Dominus Vobisdu (talk • contribs) 10:19, 18 January 2011 (UTC) — Preceding unsigned comment added by Dominus Vobisdu (talk • contribs)

 * No, you wrong. The Voivodeship not officially ceased to exist in Sept. 1939. From 1939 to 1945 this is occupation. "There is no connection whatsoever between the current voivodeship, which was created in 1999, and the voivodeship from before the war. The current voivodeship is not in any sense a "successor" to the previous one." - ok, I agree. LUCPOL (talk) 14:39, 18 January 2011 (UTC)
 * You are wrong. The area of Sil. Voiv. was formally not occupied during the II WW. This area, as well as western parts of pre-war Poland were incorporated into III Reich, therefore they didn't hold an occupied territory status (see e.g. Polish areas annexed by Nazi Germany). Therefore, legally or not, but certainly for sure formally and practically - this voivodeship ceased to exist. Masur (talk) 19:03, 18 January 2011 (UTC)
 * Practically, not oficially and internationally. Countries in the world (not connected with the Germany) did not accept new borders of Germany during World War II. LUCPOL (talk) 20:13, 18 January 2011 (UTC)

"Temporary"
User:LUCPOL has added the word "temporary" in the following sentence:

"The Voivodeship was temporarily disolved on October 8, 1939 as a result of the German invasion of Poland, and its territory was incorporated into the German Province of Silesia."

This is incorrect, because Hitler meant the disolution to be permanent. The Polish Sejm did not disolve the voivodeship.

He has also vandalized the article by adding Nationalistic POV ("Up today, Polish authorities don't want to give back autonomy of Silesia.") Polish authorities revoked autonomy in 1935.

Sorry, LUCPOL, but pro-Silesian propaganda has no place on Wikipedia. Dominus Vobisdu (talk) 14:40, 18 January 2011 (UTC)
 * ... but pro-Polish propaganda has always place on Wikipedia. LUCPOL (talk) 14:43, 18 January 2011 (UTC)
 * Take it to Silesiapedia, buddy. It's just plain vandalism here. Dominus Vobisdu (talk) 14:46, 18 January 2011 (UTC)
 * You right. Polish propaganda is vandalism here. This is not Polish Wikipedia - slot of Polish nationalists. LUCPOL (talk) 14:48, 18 January 2011 (UTC)

PS: You vandal and manipulator. How can you trust the Poles? How? Yours propaganda knows no bounds. LUCPOL (talk) 14:56, 18 January 2011 (UTC)
 * You seem to be oversensitive about something here - none of this has any value as propaganda, for either side in what you perceive as the conflict, even if it were somehow intended as propaganda. We just want to present the historical facts accurately and in a way that will be clear to the general reader.--Kotniski (talk) 15:34, 18 January 2011 (UTC)
 * So avoid names "autonomy", stoop to the level of mere province, blame on the Germans and delete content on the polish liquidation of the region and very many other examples.
 * In Polish, for better understanding: Oczywiście. Żadnej polskiej propagandy i POV. To nic, że staracie się usuwać słowo "autonomia", mieszacie Autonomię Śląską ze zwykłymi województwami, zwalacie wszystko na Niemców oraz usuwacie informacje o zlikwidowaniu województwa przez polską władzę. Ale przecież to jest NPOV. Tylko tyle, że tylko dla was, dla innych to co robicie to manipulacja tekstem tak aby wszystko wybielić i zatuszować co dla polaków jest niesmaczne, a co za tym idzie to zwykłe kłamstwo i oszustwo. LUCPOL (talk) 15:59, 18 January 2011 (UTC)
 * I really don't know what you mean. A voivodeship had a certain amount of autonomy for a certain period of time, and with the course of history came to be replaced by other entities (first German, then Polish) that didn't have such autonomy. None of this helps or hinders any present-day cause, whether pro- or anti-Silesian - it's all just old facts. Don't worry about it so.--Kotniski (talk) 16:12, 18 January 2011 (UTC)

"Autonomous" or "one of many"
User:Stan J Klimas removed the following material from the lead:

 * was one of the 17 provinces (voivodeships) into which interwar Poland was divided. It consisted of territory which came into Polish possession as a result of the 1921 Upper Silesia plebiscite, the Geneva Conventions, three Upper Silesian Uprisings, and the eventual partition of Upper Silesia between Poland, Germany and Czechoslovakia. By an act of parliament of 1920, the Silesian Voivodeship was granted special autonomy within the Polish Republic. Its capital was Katowice.

And replaced it with the following:

 * a province (voivodeships) of interwar Poland. Today, often relevant in the Polish regional politics in the context of the (lost) Silesian autonomy.

The information he removed is a summary of the body of the article. The sentence he added is not.

I have asked him here and on his talk page to justify his deletions and additions here Dominus Vobisdu (talk) 21:13, 23 January 2011 (UTC)

 * @Stan J Klimas: No, Stan, I most certainly did not misread. I reverted your change because you removed all information from the lede about the plebescites and uprisings that lead to the granting of partial autonomy to the region in 1920. You even removed the fact that Autonomy was granted. All of this is a summary of the article. It is precisely because of these events that the Voivodeship is mentioned in history textbooks, both in Poland and abroad.

 * The sentence you added is NOT a summary of any material presented in the article. The present-day autonomy movement is not mentioned (nor should it be), and present-day Polish politics really has nothing to do with the scope of this article. Even in present-day Polish politics, Silesian autonomy is very far down on the list of burning items.

 * I also don't understand what you mean by autonomy being "buried" in the article. The first paragraph of the lead consists of little else besides the events leading up to the granting of autonomy in 1920, and the act granting autonomy itself. The words "autonomy" or "autonomous" appear no less than eight times in this article, and appear, as I said, in the very first paragraph of the lead, as well as at the very top of the infobox to the right.

 * The "17" is there to preserve uniformity among articles pertaining to Polish Voivodships.

 * Please discuss your justification for your deletions and additions here. Dominus Vobisdu (talk) 20:55, 23 January 2011 (UTC)

 * (1) I believe you keep misreading. Which exactly phrase is missing? If possible please give an exact quote. The phrase you give as missing is there, exactly underneath.
 * (2) Today's relevance of the topic is withing the scope of every article. I thought it was rather self evident that the issue is current in the Polish politics and hotly debated. References can be added - if marked it with template "fact"; I will oblige with references.
 * (3) It is a minor misrepresentation when the article just says "one of 17" because it implies there were all the same, whereas they were not. Silesian was the only autonomous province in Poland of the period to my information and belief. Today Poland has no autonomous entities, so it is also the most recent one, hence the modern relevance.

 * I thought it was only fair to have the term "autonomous" mentioned at the very top since it was recently removed from the title. This removal from the title changed no facts and the fairness for this hotly debated topic does call for a better balance.

 * I allowed myself to change the title of this section to reflect the merit of the discussion rather than the name of the editor. Hope this is fine with you. Cheers. Stan J. Klimas (talk) 21:47, 23 January 2011 (UTC)

 * OK, I see it now. Sorry. I still think that the sentence you added does not belong in the lede, because it does not summarize anything from the body of the article. Sourcing it would make no difference to me, and discussing the modern autonomy movement in the body of this article is out of the question.

 * I would hardly say that Silesian autonomy is debated hotly in Poland. It's basically a dead issue even among the residents of the modern Voivodeship, and it's prospects don't look promising. That would require changes to the Polish Constitution, and I honestly can't see that ever happening. The only ones who are hotly debating it are a small group of autonomy activists, but they have garnered very little support for Silesian autonomy. Their support in recent elections does not translate into support for Silesian autonomy per se. To anyone outside of Poland, the debate is of minimal significance.

 * The plebescites and uprising are mentioned in most genral modern history books outside of Poland, and the information about them is what would be most interesting to most readers, not the present-day autonomy movement. This information should therefore be in the first paragraph of the lede, not the second.

 * Actually, I think we can achieve your goal of mentioning the autonomous mature of the voivodeship by simpling relacing the "17" with "an autonomous", and leaving the rest of the paragraph as it is. That gives you your earlier mention of the unique autonomic status of the voivodship, and me my info on the plebescites and uprisings in the first paragraph. I've made the change. Tell me what you think. Dominus Vobisdu (talk) 22:38, 23 January 2011 (UTC)

Formally repealed
Autonomous Silesian Voivodeship was formally repealed by a law of 6 May 1945 by Polish Gov. http://isap.sejm.gov.pl/isap.nsf/DocDetails.xsp?id=WDU19450170092 http://isap.sejm.gov.pl/isap.nsf/download.xsp/WDU19450170092/O/D19450092.pdf

German minority
Similarly to the Poznan and Pomeranian Vojvodeships of the era, the bulk of this Vojvodeship was former German territory. Should the page include some sort of article highlighting the German minority and their numbers like the two articles I have mentioned here have? Sandjaar (talk) 13:04, 1 June 2024 (UTC)

title: Talk:Silesian Voivodeship (1920–1939)


text: User talk:63.230.255.35

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

title: User talk:63.230.255.35


text:
Consumer debt

[[File:Personal savings rate & revolving credit.webp|thumb|275px|Personal savings & consumer credit in the US

]]

In economics, consumer debt is the amount owed by consumers (as opposed to amounts owed by businesses or governments). It includes debts incurred on purchase of goods that are consumable and/or do not appreciate. In macroeconomic terms, it is debt which is used to fund consumption rather than investment.

The most common forms of consumer debt are credit card debt, payday loans, student loans and other consumer finance, which are often at higher interest rates than long-term secured loans, such as mortgages.

Long-term consumer debt is often considered fiscally suboptimal. While some consumer items such as automobiles may be marketed as having high levels of utility that justify incurring short-term debt, most consumer goods are not. For example, incurring high-interest consumer debt through buying a big-screen television "now", rather than saving for it, cannot usually be financially justified by the subjective benefits of having the television early.

In many countries, the ease with which individuals can accumulate consumer debt beyond their means to repay has led to a growth in the debt consolidation industry and credit counseling. Debt also leads to a lower credit score and may have effects on mental health.

The amount of debt outstanding versus the consumer's disposable income is expressed as the consumer leverage ratio. On a monthly basis, this debt ratio is advised to be no more than 20 percent of an individual's take-home pay. The interest rate charged depends on a range of factors, including the economic climate, perceived ability of the customer to repay, competitive pressures from other lenders, and the inherent structure and security of the credit product. Rates generally range from 0.25 percent above base rate, to well into double figures. Consumer debt is also associated with predatory lending, although there is much debate as to what exactly constitutes predatory lending.

In recent years, an alternative analysis might view consumer debt as a way to increase domestic production, on the grounds that if credit is easily available, the increased demand for consumer goods should cause an increase of overall domestic production. The permanent income hypothesis suggests that consumers take debt to smooth consumption throughout their lives, borrowing to finance expenditures (particularly housing and schooling) earlier in their lives and paying down debt during higher-earning periods.

Personal debt is on the rise, particularly in the United States and the United Kingdom. However, according to the US Federal Reserve, the US household debt service ratio is at the lowest level since its peak in the Fall of 2007.

Debt-to-GDP ratio, consumer leverage ratio
A country's private debt can be measured as a 'debt-to-GDP ratio', which is the total outstanding private debt of its residents divided by that nation's annual GDP. A variant is the consumer leverage ratio, which is the ratio of debt to personal income.

title: Consumer debt


text:
Lina Bo Bardi

Lina Bo Bardi, born Achillina Bo (5 December 1914 – 20 March 1992), was an Italian-born Brazilian modernist architect. A prolific architect and designer, she devoted her working life, most of it spent in Brazil, to promoting the social and cultural potential of architecture and design. While she studied under radical Italian architects, she quickly became intrigued with Brazilian vernacular design and how it could influence a modern Brazilian architecture. During her lifetime it was difficult to be accepted among the local Brazilian architects, because she was both a "foreigner" and a woman.

She is recognizable for the unique style of the many architectural illustrations she created over her lifetime, along with her tendency to leave poignant notes to herself. She is also known for her furniture and jewelry designs. The popularity of her works has increased since 2008, when a 1993 catalog of her works was republished. A number of her product designs are being revived, and exhibitions such as her 1968 exhibition of glass and concrete easels have been recreated.

Early life in Italy
Achillina Bo was born on 5 December 1914 in Rome, Italy. Lina was the oldest child of Enrico and Giovanna Bo, who later had another daughter named Graziella. Lina had an appreciation for art from a young age. When she decided on becoming an architect, her father was not in total support of her decision. In 1939, she graduated from the Rome College of Architecture at the age of 25 with her final piece, "The Maternity and Infancy Care Centre". She then moved to Milan to begin working with architect Carlo Pagani in the Studio Bo e Pagani, No 12, Via Gesù. Bo Bardi collaborated (until 1943) with architect and designer Giò Ponti on the magazine Lo Stile – nella casa e nell’arredamento. In 1942, at the age of 28, she opened her own architectural studio on Via Gesù, but the lack of work during wartime soon led Bardi to take up illustration for newspapers and magazines such as Stile, Grazia, Belleza, Tempo, Vetrina and Illustrazione Italiana. Her office was destroyed by an aerial bombing in 1943. From 1944-5 Bardi was the Deputy Director of Domus magazine.

The event prompted her deeper involvement in the Italian Communist Party. In 1945, Domus commissioned Bo Bardi to travel around Italy with Carlo Pagani and photographer Federico Patellani to document and evaluate the situation of the destroyed country. Bo Bardi, Pagani and Bruno Zevi established the weekly magazine A – Attualità, Architettura, Abitazione, Arte in Milan (A Cultura della Vita). She also collaborated on the daily newspaper Milano Sera, directed by Elio Vittorini. Bo Bardi took part in the First National Meeting for Reconstruction in Milan, alerting people to the indifference of public opinion on the subject, which for her covered both the physical and moral reconstruction of the country.

In 1946, Bo Bardi moved to Rome and married the art critic and journalist Pietro Maria Bardi.

Career in Brazil
In October 1946 Bo Bardi and her husband traveled to South America. Because they had participated in the Italian resistance movement, they had found life in post-war Italy difficult. In Rio, they were received by the IAB (Institute of Brazilian Architects). Bardi quickly re-established her practice in Brazil, a country which had a profound effect on her creative thinking. She and her husband co-founded the influential art magazine Habitat. The magazine's title referenced Bardi's conceptualization of the ideal interior as a "habitat" designed to maximize human potential.

In 1947, Assis Chateaubriand invited Pietro Maria Bardi to establish and run a Museum of Art. São Paulo was chosen as the location despite Bo Bardi's preference for Rio de Janeiro. MASP (the São Paulo Museum of Art) was established on 2 October, with temporary offices on the second floor of the headquarters of the Diários Associados on Rua Sete de Abril. Working with Pietro Maria Bardi, Bo Bardi designed the conversion of several floors of the building into a museum; early sketches evoke the facade of the 1939 MoMA building by Philip L. Goodwin and Edward Durell Stone, but alterations were ultimately limited to the interior. She also designed the new headquarters for the Diários Associados on Rua Álvaro de Carvalho, São Paulo, and designed jewelry using Brazilian gemstones. In addition, soon after arriving in Brazil, Bardi began designing their home in Morumbi, a part of the virgin forest in the southern part of São Paulo.

In 1948, the Studio d’Arte Palma was established on the 18th floor of a building by Polish architect Lucjan Korngold (N˚ 66 Praça Bráulio Gomes, São Paulo), bringing Pietro Maria Bardi, Bo Bardi, Giancarlo Palanti (until 1951) and Valeria Piacentini Cirell (responsible for the antiquarian section) together.

In 1950, Bo Bardi and fellow Italian immigrant Giancarlo Palanti re-designed the MASP museum space in the Diários Associados building, shifting away from Beaux-Arts-style interiors with paintings backed by curtained walls, towards exhibition design rooted in interwar avant-garde artistic practices such as the work of El Lissitzky, the Deutscher Werkbund, and Franco Albini.

Bo Bardi became a naturalized Brazilian citizen in 1951, the same year she completed her first built work, her own "Glass House" in the new neighborhood of Morumbi. Italian rationalism shaped this first work, but because she was immersed in Brazilian culture, her creative thinking began to become more expressive.

In 1955 Bo Bardi became a lecturer for the Architecture and Urbanism Faculty at the University of São Paulo. She wrote and submitted the manuscript, "Contribuição Propedêutica ao Ensino da Teoria da Arquitetura" (Propaedeutic Contribution to the Teaching of Architecture Theory) to the school in 1957, hoping to win a permanent position there.

In 1959, Bo Bardi collaborated with theater director Martim Gonçalves to create the exhibition Bahia in Ibirapuera, which exhibited artworks, craft objects, music, and images from the Brazilian state of Bahia in the heart of the V São Paulo Bienal. This exhibition was a crucial transitional design between the museology of the earlier MASP in the Diários Associados building and the crystal easels of the later MASP on Avenida Pompéia.

In 1977 Bo Bardi designed the SESC Pompéia Factory, which was called a "leisure center" instead of a sports and cultural center by Bo Bardi because she felt that the word culture was too weighty, and this place should be somewhere to relax and find enjoyment. The design of SESC Pompéia prioritized labor and craftmanship over expensive materials because Bo Bardi believed architects should do their best to create jobs for craftsmen and laborers.

In 1989, at the age of 74, Bo Bardi was honored with the first exhibition of her work at the University of São Paulo.

Bo Bardi also created jewelry, costume, and set designs.

Bo Bardi died at the Casa de Vidro on 20 March 1992. When she died she left designs for a new São Paulo City Hall and a Cultural Centre for Vera Cruz.

Early Projects
In August 1940 Bo Bardi partnered with Carlo Pagani in an unbuilt project titled 'Casa sul mare di Sicilia' in a special issue of the magazine Domus. It is one of the first projects that Bo Bardi worked on - a utopian project whose representations indicate a way of proceedings that coagulates theory and imagination conceived as indissoluble relationship of 'doing'." In addition the project had "'unconventional' drawings of the project, plans, perspectives and perspective section, indicating a very personal way in using of graphic language". The project was a design for a Mediterranean house integrated into the landscape and built using an abundance of historical and cultural imaginary.

Bo Bardi's very particular representational style likely originated through an artistic style inspired from her father Enricao Bo, who was in many trades but was an anarchist with an adventurous life which influenced many of the unique graphical drawings of her 'Casa sul mare di Sicilia'.

The Glass House
In 1951 Bo Bardi designed the "Casa de Vidro" (“Glass House”) to live with her husband in what was then the remnants of the Mata Atlantica, the original rain forest surrounding São Paulo. She appreciated the site's rugged landscape, which aligned with many of her written works praising rural architecture. The structure is an early example of reinforced concrete in domestic architecture. Located on a 7,000-square-metre plot of land, it was one of the first three residences in the Morumbi neighborhood, along with Oswaldo Bratke's studio house and his project for Oscar and Maria Luisa Americano. The area is now a wealthy suburb; a more domesticated version of the rain forest has re-established itself around the house, concealing it from view.

In addition to being her first built project, this building was also Bo Bardi's first attempt at finding a Brazilian language for the Italian modernism that she had been trained in. She also drew from other American modernist works, such as Mies van der Rohe's Farnsworth House and Case Study House No. 8 by Charles and Ray Eames, both of which were widely publicized at the time. It also could have been influenced by Bernard Rudofsky's courtyard houses featured in the Brazil Builds exposition (1940-1942). However, she wanted to contextualize this modernism into the fabric of Brazil. Rather than copying the local forms, she hoped to incorporate the ideas behind them into the design in a way that was modern, and she celebrated the local environment.

The main part of the house is horizontal between thin reinforced concrete slabs with slender circular columns. The columns are pilotis, which allows the landscape to flow under the building. Large panels of glass combined with a sense of the structure hovering over the ground contributed to the "Glass House" name. Inside, the main living area is almost completely open, except for a courtyard that allows the trees in the garden below to grow up into the heart of the house. In the house, there are zones allocated to different functions- a dining room, a library, and a sitting area around the freestanding fireplace- but all are unified by the forest views through the glass. In theory, the glass panels slide open horizontally, but there is no balcony to encourage people to go outside.

The living area is only half of the house. The other half sits on solid ground at the top of the hill, on the north side of the living room. A row of bedrooms face a narrow courtyard, on the other side of which is the blank wall of the staff wing. Only the kitchen crosses the divide - a territory shared by servants and mistress, and equipped with a variety of well-designed labor-saving devices.

The house would become a model for the developer's campaign to sell the remaining lots in the Morumbi. The slogan of "Architecture and Nature" echoed the major themes of Bo Bardi's work.

The São Paulo Museum of Art
Bo Bardi's basic design was used for the São Paulo Museum of Art (also known as "MASP") which was built between 1957 and 1968. Her husband, Pietro Maria Bardi, was curator. The Bardis became involved with the Museum after meeting the Brazilian journalist and diplomat Assis Chateaubriand. Chateaubriand, with P.M. Bardi's curatorial insight, acquired a vast collection of art for MASP, including art works by Bosch, Mantegna, Titian and Goya.

In what she coins "Poor Architecture", one divorced from the pretentiousness often associated with cultured intellectuals, Bo Bardi sought to design a museum that embodied a simple form of monumental architecture. Formed from pre-stressed concrete without embellishment, the building is formed from raw and efficient solutions. The building features a suspended volume, spanning 74 meters, held aloft by 4 brilliant red,  concrete columns connected by two concrete beam running along the length of the building, with 2 floors of gallery above and below the ground floor. The open midsection of the building left the plaza open to Avenida Paulista, São Paulo's main financial and cultural avenue, and left the site unobstructed to the views of the lower-lying parts of the city, which was one of the conditions given by the local legislation when Bo Bardi received the commission for this project

Paintings were hung on individual sheets of glass set in rough-hewn concrete blocks - called "crystal easels" - and arranged in a rough grid in the MASP Pinacoteca. Bo Bardi intended to create an experience within the art gallery that would be unexpected and almost uncomfortable, by presenting the artwork in a non-chronological order in the open plan of each floor to create dissonance between the preconceived understanding of order and what is presented.

Solar do Unhão
Solar do Unhão is Salvador's main cultural center. It was founded by Lina Bo Bardi after an invitation by the governor of Bahia to direct a new art museum in the North East of Brazil. Bo Bardi wanted this museum to show primitive art from the North East of Brazil, as well as the practical nature of their designs. The design of the museum reflects the culture in Salvador, but also the practicality and beauty of the region. Solar do Unhão used to be a sugar mill and was named after the 17th-century Brazilian high court judge, Pedro Unhão Castelo Branco. Bo Bardi was commissioned to restore the sugar mill into a museum of modern art. The construction lasted from 1959-1963. The staircase contrasts abstract geometry and traditional materiality. Bo Bardi is paying homage to the 17th-century building, but at the same time updating it with modern designs. Her goal was to restore extant buildings in ways that neither pandered to nostalgia nor ignored context. To do this, she left the colonial exterior intact and added the modern staircase. Solar do Unhão reflects Bo Bardi's belief that a museum should also be a place for education. When the museum was first built it held many classes that educated the locals in art and history. Bo Bardi believed that a museum should not be a mausoleum of the past and should instead be an active site of knowledge.

Centro de Lazer Fábrica da Pompéia
The Centro de Lazer Fábrica da Pompéia (now called the SESC Pompéia) was one of Bo Bardi's largest and most important projects, in addition to being an early example of adaptive reuse. The site was a former steel drum and refrigerator factory in São Paulo, and was to be redeveloped into a leisure and recreation center for the working class. SESC is a Brazilian non-governmental organization linked to national unions, created in the 1940s to provide workers with health services and cultural activities. Completed in several stages between 1977 and 1986, Bo Bardi combined the existing structure with additions of her own design.

After a site visit in the early stages of the project, Bo Bardi realized that locals and former factory workers were already using the existing structure as a social gathering space and a place for football, dance groups, and theater. Rather than interfere with the use of the site, she set out to maintain and amplify those uses. Bo Bardi stripped away old plaster and then sandblasted to reveal the rough concrete of the former factory. Her design added new concrete towers which were connected to the factory building by aerial walkways. Rough windows were knocked out of the factory walls and covered with bright red sliding screens attached inside. When deciding what kind of program should be implemented, Bo Bardi believed that the project should be a leisure center rather than a culture and sporting center. She believed that "culture" is a strong term and may mandate people to hold cultural events, and the term "sporting" may have a harmful tendency towards a culture that is already competitive by nature The building currently houses many activities rooms, including: theatres, gymnasiums, a swimming pool, snack bars, leisure areas, restaurants, galleries, and workshops.

SESC Pompéia was built after a 20-year military dictatorship in Brazil that created architecture that did not mirror the Brazilian culture. SESC Pompéia is thought to be an example of a new architectural language predominately influenced by Brazilian culture.

Teatro Oficina
The Teatro Oficina was designed by Bo Bardi in 1984. She was commissioned to turn a burnt office building in São Paulo into a theatre. The building was designed for the theatre group with the same name whom were an important part of the Tropicalia movement of the late 1960s. Tropicalia strived for change and a way for Brazil to escape its colonial past. They used theater to try and understand their Brazilian heritage. Bo Bardi designed the new space almost completely out of painted scaffolding. The design references the construction of sets in a theatre space. The theatre does not have conventional seats, which leads to bad sight lines. Architectural critiques have stated that this does not take away from the theatre experience but enhances it with intensity. The heavy wooden seats are designed in a circle at center stage and the stage is very narrow. Initially, the theatre was designed for experimental director, Zé Celso, who has said that the idea of the space came to him in an acid trip. The theatre is often used by experimental performers who work around the space. The design of the theatre is meant to make the viewer feel as though they are engaged with the act on the stage.

Furniture design
In 1948, Bo Bardi founded the Studio de Arte e Arquitetura Palma with Giancarlo Palanti (1906–77) to design economical furniture of pressed wood or plastic manufactured by Pau Brasil Ltda., the fabrication studio they opened, and through which they furnished the São Paulo Museum of Art's first headquarters. In the 1950s, Bardi began designing metal-framed furniture with upholstered seats and backs. Her most famous design is the 1951 upholstered bowl chair on a metal frame. Pianeta Design has written of her design that it received positive reviews in 1951, but only two original prototypes remain of the initial design as it was not initially put into production.

Later designs, such as her 1967 Cadeira Beira de Estrada (Roadside Chair), inspired by the vernacular designs she observed during her travels in the northeast of Brazil, embody an unofficial aesthetic with simplicity of design and reduction and rawness of material. She often used plywood and native Brazilian woods in her designs. Bardi wanted each object to display its own "natural logic."

Studio Culture
A day working in one of Bo Bardi's multiple studios was anything but typical. After the completion of her Glass House project, Bo Bardi and her four staff members met around the open fireplace in lieu of a dedicated office and collaborated there. In 1977, Bo Bardi moved her studio into a shipping container unit on the grounds of the SESC Pompéia site where it remained for nine years. It was common to see construction tools and hard hats littering her workspace as she was just as interested in the techniques and skills rooted in building as she was the poetics of her designs. Bo Bardi's office never had a secretary to handle administrative duties, nor did they make a habit of producing "standard" technical drawings and plans for construction. Instead, Bo Bardi crafted colorful and expressive drawings using a plethora of pens, paints, watercolors and brushes. She used a unique drafting desk with a glass top and a cast-iron base imported from Italy in her office.

Drawings
Bo Bardi produced more than six thousand drawings most of which are stored in her personal archives in the house she designed for herself and her husband in São Paulo. She used drawing as a primary language for communicating her thoughts and ideas to the rest of the world. Most of her drawings are not isolated events as they correlate and exist in a wide range of scales, patterns, relationships, and themes. As she moved to different practices and places her drawing style adapted to about the world surrounding her. Zeuler R. Lima, Lina Bo Bardi's biographer, dedicated two books and two exhibitions to the study of her drawings (see external links below).

Analytical drawings
Bo Bardi's drawings continued to have a presences in her education as an architect. She eventually moved away from the colorful representations of her adolescence and switched to a more analytical framework of observing and drafting. She used orange gouache for the pochè, the filled-in section of walls, which suggests her use of bold graphic choices. She took courses that helped her in composition, plein air drawing, perspective, and descriptive geometries all focused on historic buildings. She also studied classical, Renaissance, and manurist writings and treatises by Vitruvius.

Narrative drawings
After graduating at the outset of war, she used her knowledge of watercolor and gouache, with her architecture education to create drawings that tell stories. She created images illustrating pieces of traditional and modernist modes of representation, between lyricism and rationalism. She often organized these stories into little cartoons, resembling medieval horror vacui composition with little blank spaces between them. She would limit the texture of the drawings while also using a single-point perspective, axonometric and cavalier representations, as well as bird's-eye views. She would display multiple spatial frameworks simultaneously, but never losing sight of the aspects of daily life, which she revealed gracefully, in colorful detail.

Legacy
In 1990, the Instituto Lina Bo Bardi e P.M. Bardi was established to promote the study of Brazilian culture and architecture. Bo Bardi died in 1992 in Sao Paulo, Brazil.

Over the past years, numerous artists and architects including Gilbert & George, Cildo Meireles, Isaac Julien, Cristina Iglesias, Norman Foster, Olafur Eliasson, and Adrián Villar Rojas have created works in homage to Lina Bo Bardi. SANAA architect Kazuyo Sejima put her at the center of her Venice Architecture Biennale in 2009. Her work was the subject of a 2012 exhibition at the British Council in London. In 2013, curator Hans Ulrich Obrist mounted the exhibition “The Insides are on the Outside”, set at the Casa de Vidro and at SESC Pompeia. Gilbert & George spent a day at the Glass House as living sculptures, documenting the results with postcards to be distributed to visitors.

In 2013 the British Council, in collaboration with the Instituto Lina Bo Bardi e P.M. Bardi, created a fellowship called the Lina Bo Bardi Fellowship for UK architects to travel and work in Brazil.

In 2014, a Google Doodle commemorated her 100th birthday.

In 2015, The Guardian elected Lina Bo Bardi's Teatro Oficina (1991) as the best theatre in the world.

In 2018, Nilufar Gallery, in collaboration with Space Caviar, supported by Instituto Bardi Casa de Vidro, presented the largest collection of Lina’s furniture ever brought together, at Fuorisalone Milan Design Week.

Publications

 * Lina Bo Bardi – The Poetry of Concrete. Catalogue of the exhibition at the Tchoban Foundation. Museum for Architectural Drawing, Berlin
 * Lina Bo Bardi – The Poetry of Concrete. Catalogue of the exhibition at the Tchoban Foundation. Museum for Architectural Drawing, Berlin
 * Lina Bo Bardi – The Poetry of Concrete. Catalogue of the exhibition at the Tchoban Foundation. Museum for Architectural Drawing, Berlin

Selected architectural projects

 * Casa de Vidro (The Glass House), 1951: Bo Bardi's residence
 * Bardi's Bowl, 1951: Chair
 * Solar do Unhão, 1959: sugar mill converted to a craft museum in Bahia
 * Museu de Arte de São Paulo (São Paulo Museum of Art), 1968
 * Caipiras, Capiaus: Pau a Pique (Exhibition), 1984
 * Centro de Lazer Fábrica da Pompéia (Pompéia Factory Leisure Centre), 1986
 * Teatro Oficina, 1991: variable space composed of reused materials that dissolved the distinctions between actor and audience, stage and backstage

title: Lina Bo Bardi


text:
User talk:205.213.6.3

November 2018
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Speedy deletion nomination of Draft:BiggrThanBub

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title: User talk:205.213.6.3


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Null morpheme

In morphology, a null morpheme or zero morpheme is a morpheme that has no phonetic form. In simpler terms, a null morpheme is an "invisible" affix. It is a concept useful for analysis, by contrasting null morphemes with alternatives that do have some phonetic realization. The null morpheme is represented as either the figure zero (0) or the empty set symbol ∅.

In most languages, it is the affixes that are realized as null morphemes, indicating that the derived form does not differ from the stem. For example, plural form sheep can be analyzed as combination of sheep with added null affix for the plural. The process of adding a null affix is called null affixation, null derivation or zero derivation. The concept was first used by the 4th century BCE Sanskrit grammarian from ancient India, Pāṇini, in his Sanskrit grammar.

Inflection
The existence of a null morpheme in a word can also be theorized by contrast with other forms of the same word showing alternative morphemes. For example, the singular number of English nouns is shown by a null morpheme that contrasts with the plural morpheme -s.
 * cat = cat + -∅ = ROOT ("cat") + SINGULAR
 * cats = cat + -s = ROOT ("cat") + PLURAL

In addition, there are some cases in English where a null morpheme indicates plurality in nouns that take on irregular plurals.
 * sheep = sheep + -∅ = ROOT ("sheep") + SINGULAR
 * sheep = sheep + -∅ = ROOT ("sheep") + PLURAL

Also, a null morpheme marks the present tense of English verbs in all forms but the third person singular:
 * (I) run  = run + -∅ = ROOT ("run") + PRESENT: Non-3rd-SINGULAR
 * (He) runs = run + -s = ROOT ("run") + PRESENT: 3rd-SINGULAR

Derivation
According to some linguists' view, English verbs such as to clean, to slow, to warm are converted from adjectives by a null morpheme – in contrast to verbs such as to widen or to enable which are also converted from adjectives, but using non-null morphemes. Null derivation, also known as conversion if the word class changes, is very common in analytic languages such as English.

In other languages
In languages that show the above distinctions, it is quite common to employ null affixation to mark singular number, present tense and third persons. It is also frequent to find null affixation for the least-marked cases (the nominative case in nominative–accusative languages, and the absolutive case in ergative–absolutive languages). English is unusual in its marking of the third person singular with a non-zero morpheme, by contrast with a null morpheme for others. Another unusual usage of the null morpheme is the feminine genitive case plural in most Slavic languages, cf. Russian singular nominative женщин-а (zhenshchin-a), woman, singular genitive женщин-ы (zhenshchin-y), woman's and plural genitive женщин-∅ (zhenshchin-∅), women's.

In most languages of the world it is the affixes that are realized as null morphemes. But in some cases roots may also be realized as these. For instance, the Russian word вы-∅-ну-ть (vynut', 'to take out') consists of one prefix (вы-), one zero root (-∅-), and two suffixes (-ну- and -ть).

A basic radical element plus a null morpheme is not the same as an uninflected word, though usage may make those equal in practice.

title: Null morpheme


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Wikipedia:Press releases/May 2004

ALL edits to this page are considered released into the PUBLIC DOMAIN

Ready for release
''If you distribute this press release, please protocol it on Press releases/Logbook/May 2004. Announce your intent a day before releasing it, and check that page to make sure no-one else has sent it to the same recipient.''

Please review the release below; add in any commented-out sections you feel are appropriate (e.g., if you have a quote from Jimbo or know what our acceptance speech will be), and make a list of places you intend to send the press release.

See also: Press releases/How to send a press release

Wikipedia Wins Eighth Annual Webby Award for Best Community
May 2004 (World Wide Web): Wikipedia (Wikipedia.org), a free multilingual online encyclopedia, announced today that it had won a Webby Award for Best Community, competing against sites like Friendster and Livejournal.com. This is the second international accolade awarded to Wikipedia for its community in as many weeks: it won the top prize for Digital Communities in the 2004 Prix Ars Electronica.

This year marks Wikipedia's first appearance in the Webby Awards, also known as the Webbys or the "online Oscars." Nominated in the categories of Best Community and Best Practices, it was one of few sites to receive multiple nominations. Since 1996, awards in thirty categories have been presented to the best sites on the Web. The Webbys are sponsored by the International Academy of Digital Arts & Sciences (IADAS), a diverse organization comprised of nearly five hundred leading experts in related fields. Nominees are evaluated in a three-tiered process over a period of six months, during which IADAS members evaluate the sites according to six criteria: content, structure and navigation, visual design, functionality, interactivity, and overall experience. Other notable winners include Google and the BBC.

About Wikipedia
Wikipedia has been online since January 2001. In the past three years, its volunteer community has written over half a million reference articles in over 50 languages. In 2003, the nonprofit Wikimedia Foundation, Inc. was formed to manage and fund the operation of Wikipedia and its sister sites. The foundation plans to release abridged print editions of the encyclopedias later this year.

Wikipedia's strong international community has now been recognized for the second time this year. The community observes core principles of cooperation and objective writing from a neutral point of view. An international newsletter, voluntary member associations, and special community pages help to maintain ties among Wikipedia's diverse participants.

The accuracy of the information in the encyclopedia is maintained by community members who review the work of their peers for incorrect information and vandalism. Conflicts between contributors are resolved by open discussion and consensus.

The text of all WikiMedia pages is available under the terms of the GNU Free Documentation License, which permits anyone to create derivative works in any way, including commercially, as long as the works are released under the same license and credit is given to the authors of the previous work. The WikiMedia software, which runs the sites, is freely available under similar terms.

Additional information
For questions and interviews, please contact:

Jimmy Wales, Chairman, Wikimedia Foundation, Inc. (English only) Phone: (+1)-727-527-9776 Email: [mailto:jwales@bomis.com jwales@bomis.com]

Andrew Lih, Asia region press contact, Hong Kong, China (English, Chinese Putonghua) Phone: (+852)-9759-0220 Email: alih@hku.hk

For further background information, please see:

 * Wikipedia's article about Wikipedia ( http://en.wikipedia.org/wiki/Wikipedia )
 * Wikipedia's article about Wikimedia ( http://en.wikipedia.org/wiki/Wikimedia )
 * Past press coverage of the project ( http://en.wikipedia.org/wiki/Wikipedia:Press_coverage )

This press release was collaboratively written within a WikiWikiWeb on the Wikipedia site.

Related links

 * List of Webby Award winners, 2004 ( http://www.webbyawards.com/main/webby_awards/winner_list.html )
 * The Winners of the 2004 Prix Ars Electronica ( http://www.aec.at/en/prix/winners2004.asp )

title: Wikipedia:Press releases/May 2004


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Assis Chateaubriand

Francisco de Assis Chateaubriand Bandeira de Melo (pronounced ), also nicknamed Chatô (October 4, 1892 – April 4, 1968), was a Brazilian lawyer, journalist, politician and diplomat. He was founder and director of the prominent media conglomerate of Brazil, the Diários Associados including: 34 newspapers, 36 radio stations, 18 television stations, one news agency, one weekly magazine (O Cruzeiro), one monthly magazine (A Cigarra) as well as many magazines for children.

During the 1940s and 1950s, he became notable in Brazil for his work as a journalist, an entrepreneur, an arts patron as well as a politician. Chateaubriand was appointed Ambassador of Brazil to the United Kingdom, position he held from 1957 to 1961. He was also a lawyer and professor of law, writer and member of the Brazilian Academy of Letters, occupying its 37th chair from 1954 until his death in 1968.

Early life
Chateaubriand was born in Umbuzeiro, state of Paraíba, in the Northeast of Brazil, on October 4, 1892, the son of Francisco José Bandeira de Melo and his wife, Maria Carmem Guedes Gondim.

Chateaubriand married Maria Henriqueta Barroso do Amaral, who was the daughter of attorney Judge Zózimo Barroso do Amaral, and had one son, Fernando, with her.

Career
Chateaubriand was born into poor conditions, living in a wattle and daub house and only learning to read at the age of 10. He started working as a journalist at the age of 15, working for the newspaper Gazeta do Norte. He also wrote for Jornal Pequeno and Diário de Pernambuco. In 1917, having moved to Rio de Janeiro, he worked for Correio da Manhã. In this newspaper, he would publish his impressions about his trip to Europe, in 1920.

In the state of Pernambuco, as a young lawyer, he gained fame for a series of verbal clashes with various political and literary figures. At the same time, he managed, to become Professor of Roman Law at the Law Faculty of Recife in his 20's, being formally appointed for the post only after various clashes with the state's politicos, among them General Dantas Barreto and Dr. Manuel Borba. What finally settled the battle was a telegram from the president of the republic, Venceslau Brás, on December 8, 1915. His victory in attaining the position as professor further became a platform for his even more ambitious goal; to own a newspaper of his own by the age of thirty.

In 1924, Chatô became the director of O Jornal. This was his first step toward building his press empire, to which were added important newspapers from Brazil, such as Diário de Pernambuco (the oldest newspaper in Latin America) and Jornal do Commercio (the oldest newspaper in Rio de Janeiro). In the following year, a newspaper from São Paulo was added to his press conglomerate: Diário da Noite. In 1929, Chateaubriand added to Diários Associados another newspaper: Estado de Minas, now the most famous, influential and respected of that conglomerate.

Intelligent, learned, hard-headed and stubborn, he soon earned a reputation as a self-made man, who had no scruples about approaching and lobbying for influential people who might be serviceable to his personal interests; already as a teenager, he had already made friends with the powerful local Lundgren family of industrialists.

After moving to Rio, Chateaubriand worked as a journalist and lawyer, and it was in the latter capacity that he made friends with influential people, especially magnates connected with the interests of foreign corporations who wanted to hedge through lobbying against nationalist politics, among them the public utilities trust Light & Co's CEO Alexander McKenzie and the American mining magnate Percival Farquhar.

Chateaubriand was a media mogul in Brazil between the late 1930s and the early 1960s and the owner of Diários Associados, a conglomerate that counted at its peak more than a hundred newspapers, radio and TV stations, magazines and a telegraphic agency. He is also known as the co-creator and founder, in 1947, of the São Paulo Museum of Art (MASP), together with Pietro Maria Bardi.

On September 25, 1935, Chateaubriand inaugurated Rádio Tupi (pt) in a ceremony attended by the inventor of radio Guglielmo Marconi, who, ten days earlier, had broadcast the first musical program with a 120-voice orchestra performing the Brazilian National Anthem and was conducted by conductor Villa-Lobos. In its beginning, the station was known as "Cacique do Ar", also being called by its prefix PRG-3 or, simply, G-3.

Chateubriand also founded the first television network of Latin America and the fifth in the world (Tupi TV). He was Senator of the Republic between 1952 and 1957.

After becoming a press tycoon, he eventually combined undeniable journalistic feeling with a totally unscrupulous behaviour, using as his main tool for money making the most extensive use of libel and blackmail, directed against magnates and authorities.: in the promotion of his pet projects – as in his campaign for the building of airports and training of pilots across Brazil – he would resort to any means whatsoever, having even ordered his thugs to shoot a German businessman who refused to be blackmailed by him Later in life, he would refurbish his São Paulo Museum of Art (MASP) with a whole collection of old European masters' works purchased at bargain prices in impoverished post-WW II Europe, by using funds extorted through blackmail from various Brazilian businessmen. Chateaubriand never made a great secret about his peculiar business strategies: "excellency in business means buying without money" he once allegedly said.

He died on April 4, 1968, in São Paulo, from a persistent disease, in which he resisted for years, continuing to write his articles, even though he was paraplegic and was unable to speak.

Historical influence
An often polemic and controversial figure, hated and feared, Chateaubriand has also been nicknamed "the Brazilian Citizen Kane" and accused of unethical behavior, for allegedly blackmailing companies that did not place ads in his media vehicles, and for insulting entrepreneurs with lies (such as industry owner Count Francesco Matarazzo). His empire would have been built based on political interests and agreements, including tumultuous but profitable ties with Brazilian President Getúlio Vargas.

Regarded by some as having formed the basis for a modern Brazilian press and mass culture, Francisco de Assis Chateaubriand Bandeira de Melo's power over the Brazilian media – as well as his lack of scruples, his upstart drive and gangster-like ethos – during his height from the 1920s and well into the '60s can be compared to that of William Randolph Hearst in the USA. Chateaubriand was one of the most influential individuals in Brazilian history. He was known for having strong ties to the current leaders within both politics and economy. With a career as solicitor, journalist, media mogul, ambassador and senator, he often was the decisive drop on the scale of political campaigns and decisions. He was part of the creation of presidents and the undisputed ruler of Brazilian press. At the same time, he always lacked a clear ideological agenda – except for being a staunch partisan of the untrammeled Free Market and of consented submission to imperialist interests. At the end of his life – especially after a stroke in 1960, that left him speechless, using a wheelchair and communicating with others mostly by means of notes typed in a specially adapted typewriter – he had become a clownish shadow of himself, "a blackmailer who acted as an interloper in the power game of the ruling class". His media empire, after decades of personal financial mismanagement, quickly declined after his death. In the new ambience of a modernized Brazil, he was quickly dislocated by the new professionally managed, streamlined and more ideologically coherent Rede Globo.

Books

 * Morais, Fernando (1994). Chatô – O rei do Brasil (1st ed.). São Paulo: Editora Schwarcz LTDA (Cia. das Letras). ISBN 85-7164-396-2.

title: Assis Chateaubriand


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Godzilla vs. Mechagodzilla II

Godzilla vs. Mechagodzilla II (ゴジラvsメカゴジラ), is a 1993 Japanese kaiju film directed by Takao Okawara, with special effects by Kōichi Kawakita. Distributed by Toho and produced under their subsidiary Toho Pictures, it is the 20th film in the Godzilla franchise, as well as the fifth film to be released during the franchise's Heisei era. The film features the fictional monster character Godzilla, along with Baby Godzilla, Rodan and the mecha character Mechagodzilla. Despite its English title, the film is not a sequel to the 1974 film Godzilla vs. Mechagodzilla.

Godzilla vs. Mechagodzilla II was released theatrically in Japan on December 11, 1993, to generally positive reviews from critics. The film was a commercial success, generating a combined US$194,000,000 1993 from the box office, book sales and merchandise sales by 1994. It was the first Japanese film to use Dolby Digital sound format. It was released directly to pay-per-view satellite television in the United States in 1998 by Sony Pictures Television. The film was promoted as the last film in the franchise's Heisei series, and was also promoted by a children's television program called Adventure! Godzilland 2. Although Godzilla vs. Mechagodzilla II was not the final entry in the Heisei series, as it was followed by Godzilla vs. SpaceGodzilla in 1994, Toho producers initially wished to avoid competing with TriStar's then-upcoming Godzilla reboot.

Plot
In 1992, following the events of Godzilla vs. King Ghidorah, the United Nations establishes the United Nations Godzilla Countermeasures Center (UNGCC) to stop Godzilla. Their military branch, G-Force, salvages Mecha-King Ghidorah's remains and reverse engineers them to build two anti-Godzilla machines: an aerial gunship called Garuda and a mecha modeled after Godzilla called Mechagodzilla.

Two years later, while on a mission to Adona Island, a Japanese team comes across what they assume is a large Pteranodon egg, which gives off a telepathic signal that attracts Godzilla and Rodan, an adult Pteranodon irradiated by nuclear waste. Godzilla critically wounds Rodan during the ensuing battle while the research team escapes with the egg. It is taken to a research center in Kyoto, where it imprints on a young female scientist. When a Baby Godzilla hatches from the egg, the research team concludes that the egg was left in the Pteranodon nest with Rodan in a manner similar to the brood parasitism displayed by European cuckoos. Godzilla appears, once again responding to the creature's psychic call. The JSDF mobilizes Mechagodzilla, which intercepts Godzilla as it is heading to Kyoto. The two battle, with Mechagodzilla initially having the upper hand until Godzilla disables the robot with an energy pulse. Godzilla continues searching for Baby, but the scientists, having discovered the telepathic link between the monsters, shield it from Godzilla. Frustrated, it destroys most of Kyoto before returning to the ocean.

Tests on the baby reveal that it has a second brain in its hips that controls the animal's movement. The UNGCC assumes that this also holds true for Godzilla and decide to use Baby to bait Godzilla into another fight with Mechagodzilla. The "G-Crusher" is installed into Mechagodzilla, which will allow the robot to penetrate Godzilla's hide and destroy its second brain. Young psychic Miki Saegusa is ordered to become a part of Mechagodzilla's crew to locate Godzilla's second brain. While she is reluctant due to her mental connection with Godzilla, she agrees. The plan backfires when Rodan, having survived its battle with Godzilla and further mutated by radiation, responds to Baby's call and intercepts the UNGCC transport.

In response, they send Mechagodzilla and Garuda after Rodan instead, which mortally wound it. Godzilla arrives soon after and attacks Mechagodzilla. The fight is evenly matched until Mechagodzilla combines with Garuda to become Super-Mechagodzilla and successfully paralyzes Godzilla. Suddenly, the dying Rodan, revived by Baby's call, begins flying towards it, but is shot down by Super-Mechagodzilla, crashing atop Godzilla. Rodan's life force regenerates Godzilla's second brain and supercharges the monster. Now more powerful than before, Godzilla attacks and destroys Super-Mechagodzilla with a high-powered, spiral-shaped atomic ray.

Godzilla locates Baby, who is initially afraid of the giant. Miki telepathically communicates with Baby, convincing it to go with Godzilla. The two monsters head out to the ocean together.

Production

The fifth film in the Heisei series of Godzilla movies was originally meant to be the last, in order to avoid competing with the upcoming TriStar American Godzilla reboot film (which was later delayed) and to honor the recent passing of Ishirō Honda. Toho had initially wanted to produce a remake of King Kong vs. Godzilla, but were unable to acquire the rights to use the King Kong character from Universal Pictures. When that project was scrapped, Toho considered pitting Godzilla against Mechani-Kong, a mecha first introduced in King Kong Escapes. The plot would have involved Mechani-Kong sporting syringes containing G-Force special forces which would have been injected into Godzilla's bloodstream in a manner similar to Fantastic Voyage, though the project was abandoned, as obtaining the rights to a monster even bearing the semblance of King Kong proved too costly.

Producers Tomoyuki Tanaka and Shōgo Tomiyama felt that reviving Mechagodzilla was a logical next step for the series after the successful reintroduction of King Ghidorah and Mothra to contemporary audiences. Furthermore, effects artist Koichi Kawakita had already demonstrated his competence in designing and creating mecha contraptions like the Super XII, Mecha-King Ghidorah, and the machines featured in Gunhed. The decision to reintroduce Minilla (rechristened as Baby Godzilla) was made in order to appeal to the largely female audience that made Godzilla vs. Mothra a financial success, despite objections by director Takao Okawara, who held a low opinion of the 1960s movies the character had previously been featured in. In the original ending for the film, Godzilla destroys Garuda but is killed by Mechagodzilla. Garuda's nuclear reactor explodes and resurrects the King of the Monsters. Another ending was considered in which Godzilla's escaping life energy mutates Baby Godzilla into a new adult Godzilla, a concept that was later used in Godzilla vs. Destoroyah.

Toho promoted the film as Akira Ifukube's last performance as composer, and aired the children's program Adventure Godzilla-land, which portrayed Godzilla and Mechagodzilla as rival news anchors reporting on the events of the upcoming movie, as well as featuring the dance routine "Be like Godzilla". Shortly after the movie was released, Toho further promoted the film's merchandise by opening a Godzilla-themed simulation ride in Sanrio Puroland called "Monster Planet of Godzilla", which featured Megumi Odaka as the captain of a spacecraft which lands on a planet inhabited by Godzilla, Rodan, and Mothra, who are then accidentally transported to contemporary Tokyo.

Kawakita made more extensive use of CGI than in previous Godzilla movies he worked on, and made an effort for the featured monsters to be less reliant on energy beams during battle sequences, particularly Rodan, who was portrayed via handpuppets and marionettes rather than through suitmation. Baby Godzilla was performed by series veteran Hurricane Ryu, and was designed to look much more dinosaur-like than his previous incarnation. Mechagodzilla was redesigned to be much less angular in form, and was performed by Wataru Fukuda. The Mechagodzilla suit itself consisted of multiple separate elements which Fukuda wore like plate armor. Kawakita originally envisioned Mechagodzilla being able to split into aerial and terrestrial units, though this idea was scrapped in favor of the character merging with the flying battleship Garuda. The new Godzilla suit was notably bulkier in profile than its predecessor, and had smaller shoulders and slimmer legs. The tail was also placed higher up the back, thus resulting in a very top-heavy appearance. Like the previous suit, the one used in Godzilla vs. Mechagodzilla II had an electronically operated head that could tilt its head independently of the body. The suit previously used for Godzilla vs. Mothra was recycled for the long shots during the battle with Rodan, the rampage through Tokyo, and the character's departure into the sea during the end credits.

English versions
After the film was released in Japan, Toho commissioned a Hong Kong company to dub the film into English. In this international version of the movie, an English title card was superimposed over the Japanese title, as had been done with the previous 1990s Godzilla films.

In past English releases, including dubbed films and video game titles, Rodan's name was pronounced "roh-dan." In Japan, however, his name has always been pronounced (and spelled in katakana) as "rah-dohn"(ラドン). In the English version of this film, the producers changed his name back to Radon, as it is in Japan.

Columbia TriStar Home Entertainment released Godzilla vs. Mechagodzilla II on home video on August 3, 1999. This was the first time the film had been officially released in the United States. Instead of using the original monaural English dub, a newer stereo version was included, with the main characters' lines and most other dialog re-recorded by a mostly different Hong Kong cast. Most of the new cast did not start dubbing until the late '90s. The purpose or origin of this revised English version is unknown. TriStar additionally cut the end credits and created new titles and opening credits.

The original version of the international dub is not known to have ever been released on video in its complete form. The only evidence of its existence is in the Hindi theatrical version. The Hindi dubbing company lacked a clean music and effects track and only had access to a copy of the original English version. Therefore, English dialog was muted and replaced with library tracks and music from other parts of the film itself, but occasionally the English source track was left intact.

An anamorphic widescreen transfer of the "new" English version was later released on DVD by TriStar in February 2005 with the option to listen to the original Japanese audio.

Box office
The film sold 3.8 million tickets in Japan, earning ¥1.87 billion (roughly US$18 million) in distributor rental income and ¥3.18 billion in gross receipts. The film grossed a total box office revenue of US$36,000,000 1993 by 1994.

Critical response
The film received mostly positive reviews. On Rotten Tomatoes, an approval rating of 83% based on 6 reviews, with a rating average of 7.2/10."

Monster Zero said that "some critical flaws exist" but felt overall that "of all the films of the [Heisei era], Godzilla vs MechaGodzilla II represents Toho's most technically and artistically successful effort," adding that "the action sequences in this film are impeccable... excitingly staged, logical, and quite dramatic." American Kaiju said the film "stumbles in the areas of both story and special effects" but concluded it to be "a good, solid entry in the Godzilla series," saying that "the battles between Godzilla and Mechagodilla entertain" and "Akira Ifukube's music score soars." Japan Hero said "the story was interesting," "the soundtrack is plain gorgeous," and "the costume designs are just as great," concluding: "While this is not my top favorite movie [of the Heisei series], it is definitely one of the best."

Home media
The film has been released twice on home media. The first release, by Columbia/Tristar Home Entertainment, was released on February 8, 2005. The subtitles for the Japanese track are really "dubtitles" (the subtitles are actually the captions for the English track). The video transfer is a 1.78:1 widescreen version of TriStar's print. This means the Toho logos and end credits have been cut and all the onscreen, optical text from Toho's international version has been removed or replaced by video-generated text.

The second release was by Sony on Blu-ray as part of The Toho Godzilla Collection and was released on May 6, 2014, in a two-disc double feature with Godzilla vs. SpaceGodzilla.

Merchandise
In addition to its box office gross, the film generated a further US$158,000,000 1993 from sales of books and merchandise by 1994, for a combined US$194,000,000 1993 generated from the box office, book sales and merchandise sales, making it the most profitable non-animated Japanese film at the time.

title: Godzilla vs. Mechagodzilla II


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