text:
Neapolitan chord

In Classical music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered (flattened) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode.

Although it is sometimes indicated by an "N" rather than a "♭II", some analysts prefer the latter because it indicates the relation of this chord to the supertonic. The Neapolitan chord does not fall into the categories of mixture or tonicization. Moreover, even Schenkerians like Carl Schachter do not consider this chord as a sign for a shift to the Phrygian mode. Therefore, like the augmented sixth chords it should be assigned to a separate category of chromatic alteration.

In European Classical music, the Neapolitan most commonly occurs in first inversion so that it is notated either as ♭II6 or N6 and normally referred to as a Neapolitan sixth chord. In C major or C minor, for example, a Neapolitan sixth chord in first inversion contains an interval of a minor sixth between F and D♭.

The Neapolitan sixth chord is an idiom specific to classical music. Other music traditions often feature ♭II harmonies (ex. D♭ major chord in the keys of C major or C minor), but usually in root position. These are sometimes referred to as "Neapolitan" chords, but these rarely follow the classical voice-leading and chord functions described below. For examples and discussion, see Tritone substitution, or the section "In popular music" below.

Origin of the name
Especially in its most common occurrence (as a triad in first inversion), the chord is known as the Neapolitan sixth:
 * The chord is called "Neapolitan" because it is associated with the Neapolitan School, which included Alessandro Scarlatti, Giovanni Battista Pergolesi, Giovanni Paisiello, Domenico Cimarosa, and other important 18th-century composers of Italian opera. But it seems already to have been an established, if infrequent, harmonic practice by the end of the 17th century, used by Giacomo Carissimi, Arcangelo Corelli, and Henry Purcell.
 * It is called a "sixth" because the interval between the bass note and the root of the chord is a minor sixth. For example, in the key of C major or C minor the chord consists of D♭ (the root note), F (the third of the triad), and A♭ (the fifth of the triad) – with the F in the bass, to make it a ♭II6 rather than a root-position ♭II. The interval of a minor sixth is between F and D♭.

Harmonic function
In tonal harmony, the function of the Neapolitan chord is to prepare the dominant, substituting for the IV or ii (particularly ii6) chord. For example, it often precedes an authentic cadence, where it functions as a type of subdominant (IV). In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound.

For example, in C major, the IV (subdominant) triad in root position contains the notes F, A, and C. By lowering the A by a semitone to A♭ and raising the C to D♭, the Neapolitan sixth chord F–A♭–D♭ is formed.

In C minor, the resemblance between the subdominant (F–A♭–C) and the Neapolitan (F–A♭–D♭) is even stronger since only one note differs by a half-step. (The Neapolitan is also only a half-step away from the diminished supertonic triad in minor in first inversion, F–A♭–D, and thus lies chromatically between the two primary subdominant function chords.)

The Neapolitan sixth chord is particularly common in minor keys. As a simple alteration of the subdominant triad (iv) of the minor mode, it provides contrast as a major chord compared to the minor subdominant or the diminished supertonic triad.

Further harmonic contexts
A common use of the Neapolitan chord is in tonicizations and modulations to different keys. It is the most common means of modulating down a semitone, which is usually done by using the I chord in a major key as a Neapolitan chord (or a flattened major supertonic chord in the new key, a semitone below the original).

Occasionally, a minor seventh or augmented sixth is added to the Neapolitan chord, which turns it into a potential secondary dominant that can allow tonicization or modulation to the ♭V/♯IV key area relative to the primary tonic. Whether the added note were notated as a minor seventh or augmented sixth largely depends on how the chord resolves. For example, in C major or C minor, the Neapolitan chord with an augmented sixth (B♮ added to D♭ major chord) very likely resolves in C major or minor, or possibly into some other closely related key such as F minor.

However, if the extra note is considered an added seventh (C♭), this is the best notation if the music is to lead into G♭ major or minor. If the composer chose to lead into F♯ major or minor, very likely the Neapolitan chord would be notated enharmonically based on C♯ (for example: C♯–E♯–G♯–B), although composers vary in their practice on such enharmonic niceties.

Another such use of the Neapolitan is along with the German augmented sixth chord, which can serve as a pivot chord to tonicize the Neapolitan as a tonic. In C major/minor, the German augmented sixth chord is an enharmonic A♭7 chord, which could lead as a secondary dominant to D♭, the Neapolitan key area. As the dominant to ♭II, the A♭7 chord can then be respelled as a German augmented sixth, resolving back to the home key of C major/minor.

Minor Neapolitan chord
Sometimes one encounters a minor triad on the Neapolitan second degree rather than the major: for example, a D♭ minor chord in the key of C major or C minor. Sometimes this is enharmonically respelled as occurring on the sharpened tonic, i.e. a C♯ minor chord in C major or C minor. This has the same function as the major Neapolitan but is considered more expressive.

Voice leading
Because of its close relationship to the subdominant, the Neapolitan sixth resolves to the dominant using similar voice-leading. In the present example of a C major/minor tonic, the D♭ generally moves down by two steps to the leading tone B♮ (creating the expressive melodic interval of a diminished third, one of the few places this interval is accepted in traditional voice-leading), while the F in the bass moves up by step to the dominant root G. The fifth of the chord (A♭) usually resolves down a semitone to G as well. In four-part harmony, the bass note F is generally doubled, and this doubled F either resolves down to D or remains as the seventh F of the G-major dominant seventh chord. In summary, the conventional resolution is for all upper voices to move down against a rising bass.

Care must be taken to avoid consecutive fifths when moving from the Neapolitan to the cadential $6 4$. The simplest solution is to avoid placing the fifth of the chord in the soprano voice. If the root or (doubled) third is in the soprano voice, all upper parts simply resolve down by step while the bass rises. According to some theorists, however, such an unusual consecutive fifth (with both parts descending a semitone) is allowable in chromatic harmony, so long as it does not involve the bass voice. (The same allowance is often made more explicitly for the German augmented sixth, except in that case it may involve the bass – or must, if the chord is in its usual root position.)

Inversions
The ♭II chord is sometimes used in root position (in which case there may be even more concessions regarding consecutive fifths, similar to those just discussed). The use of a root position Neapolitan chord may be appealing to composers who wish for the chord to resolve outwards to the dominant in first inversion; the flattened supertonic moves to the leading tone (in C major, D♭ to B) and the flattened submediant may move down to the dominant or up to the leading tone (A♭ to either G or B).

In very rare cases, the chord occurs in second inversion; for example, in Handel's Messiah, in the aria "Rejoice greatly". This occurs in measure 61, where the Bb in the bass with an Eb major chord above it is a second-inversion Neapolitan chord within the D-minor key of the aria's B section.

In classical music
From the early 17th century onwards, composers became aware of the expressive power of the Neapolitan chord, especially to convey moments of intense feeling.

Baroque period
In his oratorio Jephte, Giacomo Carissimi portrays the grief-stricken tears ("lachrimate") of Jephtha’s daughter and her companions at the prospect of her brutal fate. According to Richard Taruskin, "The daughter's lament... makes especially affective use of the ‘Phrygian’ lowered second degree at cadences, producing what would later be called the Neapolitan (or ‘Neapolitan sixth) harmony." (B♭ in the key of A minor).

In his opera King Arthur, Henry Purcell features the chord (D♭ in the key of C minor) among a range of "daring chromatic harmonies" and "strange sliding semitones" to evoke the sensation of intense cold in Act 3 Scene 2, when the spirit of Winter, the awe-inspiring "Cold Genius" is aroused from its slumbers.

In contrast to Purcell, the opening movement of "Summer" from Vivaldi’s The Four Seasons, "a four-note descent transformed by Neapolitan-sixth harmony" enhances the sensation of weariness and languor under the hot sun (A♭ in the key of G minor). As the sonnet accompanying the music puts it:

"Sotto dura Staggion dal Sole accesa Langue l' huom, langue 'l gregge, ed arde il Pino;

(Under a hard season, fired up by the sun Languishes man, languishes the flock and burns the pine.)"

Paul Everett describes the above passage as "a set of disarmingly 'slow' gestures, metrically dislocated, that must represent the lethargy of the anxious man as much as the oppressive heat of an airless day." In J.S. Bach’s St Matthew Passion, No. 19, the episode conveying Christ's agony in the garden of Gethsemane, the Neapolitan chord (G♭ in the key of F minor) is used on the word "Plagen" (torments) in the chorale harmonization sung by the chorus: According to John Eliot Gardiner, "The answering soft-voiced chorus... imbues [the music] with a mysterious quality, almost as though a muted drama is taking place at a distance from the main action – Christ's ‘Agony in the Garden’ and his acceptance of his role as Saviour."

Classical period
The Neapolitan chord was a favourite idiom among composers in the Classical period. In his Piano Sonata in C minor, "a masterpiece of tragic power," Haydn uses the chord (D♭ in the key of C minor) as he brings the opening statement of his first subject to a close: Haydn makes more extended use of this chord in the finale of the sonata to powerful and dramatic effect:

Ludwig van Beethoven used the Neapolitan chord frequently in some of his best-known works, including the opening of his Moonlight Sonata, Op. 27 No. 2: Wilfrid Mellers sees the apparent tranquillity of these bars as "deceptive, since in bar 3 the bass's F sharp is harmonized not as a subdominant but, with the quaver triplet's D flattened as a first inversion of the Neapolitan chord of D major. The implied progression from D natural to the cadential B sharp delivers a small stab to the nervous system."

Beethoven’s Appassionata Sonata, Op. 57 uses the Neapolitan chord on a broader harmonic canvas. Both the first and last movements of the sonata open with a phrase repeated a semitone higher (G♭ in the key of F minor).

Other examples of Beethoven's use of the chord occur in the opening bars of String Quartet op. 59 No.2, String Quartet op. 95, and the third movement of the Hammerklavier Sonata. A powerful example from Schubert comes in his single movement Quartett-Satz (1820). The opening "has a dramatic intensity... which is all the more powerful because it begins quietly." The passage culminates in a Neapolitan chord (D♭ in the key of C minor): According to Roger Scruton, "It is as though a spirit had arisen out of the turbulent clouds and suddenly burst forth into the light – the clouds formed from the key of C minor, the spirit itself, released at last, being in the negation of C minor, namely D flat major." Scruton sees the "semitone conflict" that recurs in different keys as the movement progresses as a unifying feature that has "penetrated the whole structure of the piece."

Romantic period
In the fourth scene of Richard Wagner’s opera Das Rheingold, the earth Goddess Erda prophesies the impending doom of the Gods. Wagner's orchestration here juxtaposes two significant dramatic leitmotifs, the one ascending to represent Erda and the other, "a descending variant of Erda's motive played over a chord of the Neapolitan sixth" with the intention of conveying their ultimate downfall to ominous and chilling effect. (D in the key of C♯ minor):

In popular music
In rock and pop music, ♭II chords often occur in root position and with non-classical voice-leading. Examples include:
 * Alexander Rybak's and Paula Seling's "I'll Show You"
 * Badfinger's "Come and Get It"
 * The Beatles' "Do You Want to Know a Secret"
 * The Beatles' "Because"
 * Jacques Brel's "Ne me quitte pas" (later adapted into English as "If You Go Away" and covered by various artists)
 * Livin' Joy's "Don't Stop Movin'"
 * Robin Thicke's "Fall Again"
 * The Rolling Stones' "Mother's Little Helper"
 * Joanna Newsom's "Colleen" on the line "surf a-pounding" and other places
 * In Brazilian popular music as in Noel Rosa's Último desejo and in several Chico Buarque's songs

title: Neapolitan chord


text:
Slovak Football Association

The Slovak Football Association (Slovenský futbalový zväz, SFZ) is the governing body of Association football in Slovakia. The association has the responsibility for the control and development of football in Slovakia and is the body that runs the Slovakia national football, and futsal teams.

History
The Slovak Football Association was founded on 4 November 1938 and originally became a member of FIFA in 1939, but disbanded after World War II because Czech and Slovak football competitions were combined, and so did the national teams. Following the breakup of Czechoslovakia, the organization was reformed, joining UEFA in 1993, and rejoined FIFA in 1994.

The Slovak Football Association runs the Slovakia national football team, as well as male youth teams at under-21, under-19, under-18, under-17, under-16, and under-15 level. The association also organizes the Slovakia women's national football team and the Slovakia national futsal team.

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

title: Slovak Football Association


text:
Wikipedia:Manual of Style/Trademarks

Trademarks include words and short phrases used by legal entities to identify themselves and their products and services. Often, these names are written in several ways with variations in capitalization, punctuation, and formatting. The advice in this page applies to names and phrases used to identify movements, groups, forums, projects, events, and other non-commercial entities and their output. This guideline (in its entirety) applies to all trademarks, service marks, wordmarks, trade names, and all other names of businesses and similar entities, and products and services thereof.

When deciding how to format a trademark, editors should examine styles already in use by reliable sources. From among those, choose the style that most closely resembles standard English – regardless of the preference of the trademark owner. Exceptions may apply, but Wikipedia relies on sources to determine when an unusual name format has become conventional for a particular trademark; only names that are are styled that way in Wikipedia. Do not invent new styles that are not used by independent reliable sources.

These practices help ensure consistency in language and avoid drawing undue attention to some subjects rather than others. Listed below are more specific recommendations for frequently occurring nonstandard formats.

General rules

 * Capitalize trademarks, like proper names. For details, follow the same style as for titles of published works
 * use: Pyrex
 * avoid: pyrex
 * Don't expect readers to know, based on trademarks or brand names, what item is being discussed. For example:
 * use: Police in Miami confiscated 25 stolen Rolex watches.
 * avoid: Police in Miami confiscated 25 stolen Rolexes.
 * however: Police in Miami confiscated 25 stolen Apple Watches. (This capitalization is appropriate because the product type is in the formal name of the product.)
 * Follow standard English text formatting and capitalization practices, even if the trademark owner considers nonstandard formatting "official", as long as this is a style already in widespread use, rather than inventing a new one:
 * use: Time, Kiss, Asus, Sony Mobile. (Capitalize GEICO, IBM, as acronyms/initialisms.)
 * avoid: TIME, KISS, ASUS, SONY Mobile
 * Using all-caps is preferred if the letters are pronounced individually, even if they don't (or no longer) stand for anything. For instance, use SAT for the testing system (formerly the Scholastic Assessment Test) and KFC for the fast-food restaurant (formerly Kentucky Fried Chicken). Using all-lowercase letters may likewise be acceptable if it is done universally by sources, such as with the webcomic xkcd.
 * Do not use the ™ and ® symbols, or similar, in either article text or citations, unless unavoidably necessary for context.
 * use: LittleBigPlanet, Realtor
 * avoid: LittleBigPlanet™, REALTOR®
 * Avoid using special characters that are not pronounced, are included purely for decoration, or simply substitute for English words or letters (e.g., ♥ for "love", ! for i) or for normal punctuation, unless a significant majority of reliable sources that are independent of the subject consistently include the special character in the subject's name. Similarly, avoid special stylization, such as superscripting or boldface, in an attempt to emulate a trademark.
 * use: Macy's, Skate, Yellow Tail, Seven, Alien 3, Toys "R" Us
 * avoid: macy★s, skate., [ yellow tail ], Se7en, Alien3, Toys Я Us
 * When a name is almost never written except in a particular stylized form, use that form on Wikipedia: Deadmau5, 3M, 2 Fast 2 Furious; but Kesha not Ke$ha
 * Trademarks in "CamelCase" are a judgment call; the style may be used where it reflects general usage and makes the trademark more readable; however, usage should be consistent throughout the article.
 * OxyContin or Oxycontin – editor's choice
 * however: PlayStation only (camelcase preferred because Playstation is not widely used.)
 * Initial lowercase in certain trademarks almost never written any other way, such as iPhone and eBay, are accepted on Wikipedia, though for page naming there are technical limitations and methods of displaying the title appropriately.
 * Do not "correct" the spelling, punctuation, diacritics, or grammar of trademarks to be different from the reliably sourced spelling – the name should be  as referring to the topic.
 * correct: Craigslist, Uber, National Basketball Players Association, Tumblr
 * wrong: Craig's List, Über or Ueber, National Basketball Players' Association, Tumbler
 * Do not capitalize the word the in a trademark regardless how the name is styled in logos and the like, except at the beginning of a sentence. Titles of published works  have an initial The capitalized; bands and the like do not. Rarely, an exception may apply, but only when consistently treated this way in most reliable sources (e.g. The The); when expanding an acronym that starts with T for The (as in The International Cat Association(TICA)); and when the name of a publisher begins with the name of a publication with an initial The (thus The New York Times Company, per The New York Times).
 * For names of individuals that might be stylized in an unusual way, the application is the same: default to normal English style unless an overwhelming majority of reliable sources use a specific variant style for that person.
 * The title of a published work may have additional considerations, including particular uses of italics or quotation marks (which may affect link formatting and display control of the page title), capitalization norms that vary by language, etc.

Mergers, partnerships, and other combined names
The names of merged companies, partnerships, consolidated divisions, and merged product lines vary by organization, and there are. Beware assumptions about how such names are constructed and what they mean; a complex real example is Morgan Stanley Dean Witter Discover & Co., which resulted from a merger of two corporations, while its name, built from parts of those of previous entities that were themselves the results of mergers, consists of two last names, a first and last name, a company name, and an abbreviation.

The ampersand (&) is frequently used in trademarks (e.g. AT&T), and the plus sign (+) occasionally (as in Springer Science+Business Media), as substitutes for the word "and". A long-standing trend has been to drop the word entirely (along with commas sometimes) in long, multi-party business names, especially after mergers or the addition of a partner (for example, Harcourt, Brace & Company became Harcourt Brace Jovanovich, later part of Houghton Mifflin Harcourt).

More recently, some have even taken to removing spaces and using camelcase (e.g. DaimlerChrysler), sometimes unpredictably (as in JPMorgan Chase).
 * Leave compressed names as-is: Do not add "and", a symbol for it, commas, or spaces to such names (e.g. "Houghton, Mifflin & Harcourt") where independent, reliable sources do not consistently use them, and do not remove them (e.g. "HoughtonMifflinHarcourt") if they are consistently used.
 * The compressed form is not always the one to use: As with the other considerations above, if reliable sources overwhelmingly favor a particular spelling and punctuation, use it in Wikipedia, but do not simply attempt to mimic graphical marketing materials: Gulf and Western Industries is the proper corporation name (Gulf and Western for short), not the Gulf+Western of their logo; while more concise, it is less recognizable and less common.

If in doubt about a modern company, their website's small print, contact page, or legal disclaimers (privacy policy, etc.) may provide the official company name, and online searches of corporation registrations and of trademarks can also be used for this purpose. (Note, however, that Wikipedia article titles are usually given the most common name in reliable sources, which might not be the official name.)

Trademarks that begin with a lowercase letter
Trademarks that officially begin with a lowercase letter raise several problems because they break the normal capitalization rules of English that proper names are written with initial capital letters wherever they occur in a sentence. Not all trademarks with a pronunciation that might imply a lowercase letter at the beginning actually do fit this pattern, and should not be re-styled to conform to it (use NEdit not "nEdit", E-Trade not "eTrade"; Xbox, not "xBox").
 * Trademarks promoted without any capitals are capitalized on Wikipedia like any other:
 * use: I found a Thirtysomething DVD and a pair of Adidas shoes while browsing Craigslist.
 * avoid: I found a thirtysomething DVD and a pair of adidas shoes while browsing craigslist.
 * Trademarks that begin with a one-letter lowercase prefix pronounced as a separate letter are often not capitalized if the second letter is capitalized, but should otherwise follow normal capitalization rules:
 * use: He said that eBay is where he bought his iPod.
 * avoid: He said that EBay is where he bought his IPod.

In some cases, a lowercase prefix longer than one letter is used (e.g. tvOS). These are determined on a case-by-case basis; Wikipedia will use such a stylization when it is preferred in an overwhelming majority of independent reliable sources.

Indicating stylizations
In the article about a trademark, give the version that follows the usual rules of spelling and punctuation, boldfaced in the lead sentence. Follow this with a note, such as "(stylized as ...)" or "(stylised as ...)", depending on the article's variety of English, with the stylization if one exists and is significantly different. It should also be in bold, and may include simple styling, like capitalization changes, decorative characters, or superscripting (but not colorization, attempts to emulate font choices, or other elaborate effects). Then resume using the normal English spelling for the remainder of the article. In other articles that mention the subject, use only the normal English spelling, not the stylization.

However, if the title of the article is the stylized version of the name (e.g. tvOS), it should be given in the boldfaced title recapitulation at the beginning of the lead (i.e., not in a "stylized as" note), and used throughout the text (and, in most cases, in other articles that mention it). The lead may also have a note (e.g., "sometimes also written ...") indicating the unstylized version if it is also commonly attested in reliable sources, especially if any confusion could result from its absence.

When a stylization appears only in a logo rather than within text (in either primary or independent reliable sources), it generally does not need to be mentioned at the top of the article. For example, Facebook uses a lower case "f" in its logo, while within text it solely uses "Facebook" to refer to itself. Similarly, Wikipedia uses "WA" in the logo but elsewhere uses "Wikipedia" (although the relevant information is still discussed at the article Wikipedia logo). Adidas, on the other hand, uses "adidas" rather than "Adidas" in running text in the company's own materials, and the stylism is therefore mentioned.

Trademarks as article titles
Wikipedia articles are organized around a specific subject, which isn't always the same as an article about a name or phrase. Where a trademark could refer to different subjects or entities, it is best to create different articles. Consider the examples of Atari, Inc. transferring its trademark to Atari SA, or News Corporation splitting into a new corporation called News Corp. Wikipedia's guidelines on disambiguation are most helpful here.

Use of graphic logos
Product logos and corporate logos, such as the stylized rendition of the word Dell used by Dell Inc., whether copyrighted or not, may be used once in the infobox or top (usually right) corner of articles about the related product, service, company, or entity.

Although many companies claim copyright over their logos, the use of the logo in an encyclopedia article may be considered fair use. Please tag logo images with non-free logo. Some logos are free content because they are in the public domain or are under a free license: for example, logos consisting of short text may not be eligible for copyright protection, and old logos that were published without a copyright notice have likely fallen into the public domain. When this is definitely the case, the trademark tag may be used instead. However, when in doubt, err on the side of caution per non-free content policy by assuming that the logo is copyrighted.

Note that non-free logos should only be used in the infoboxes of the primary article(s) to which they are affiliated; i.e. a company logo may be used in the article about that company, but not in a separate article about one of the company's products.

Distinguish clearly between the trademark and the company name when, as with Dell, it is customary to do so. Company names should normally be given in the most common form in English; only specify International Business Machines Corporation to state that that is the legal name, otherwise call it IBM, as our sources do.

Multiple, changed, and former names
Regardless of the page title, the lead sentence of an article on a company or other organization should normally begin with its full legal name (the current one or, if defunct, the final one):
 * Generic Publishing Corporation Ltd. is one of the largest publishers of widget books worldwide and is based in ....

Where the most common name in independent, reliable, secondary sources (as reflected in the article title) is substantively different from the legal name, it is normal to mention both in the lead. If a stylized version of the name is also appropriate to include,. Following an official name change, Wikipedia does not automatically switch to the new one, but follows the most common usage in independent reliable sources written the change.

Previous names are often better placed in the article body (e.g. under a "History" section) than in the lead, especially if there are several of them.

Aside from in the lead sentence in its own article, use the most common name found in the sources, whenever practical, when referring to an organization or other trademark name in article text.

title: Wikipedia:Manual of Style/Trademarks


text:
Talk:Tracey Emin

External links modified
Hello fellow Wikipedians,

I have just modified 5 external links on Tracey Emin. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20100528131837/http://www.vam.ac.uk/activ_events/courses/lectures_talks_tours/friday_talks/index.html to http://www.vam.ac.uk/activ_events/courses/lectures_talks_tours/friday_talks/index.html
 * Added archive https://web.archive.org/web/20151009232052/http://www.southlondongallery.org/page/144/Minky-Manky/208 to http://www.southlondongallery.org/page/144/Minky-Manky/208
 * Added archive https://web.archive.org/web/20070524015201/http://www.labiennale.org/en/art/exhibition/en/73805.6.html to http://www.labiennale.org/en/art/exhibition/en/73805.6.html
 * Added archive https://web.archive.org/web/20081210065415/http://www.theherald.co.uk/news/news/display.var.2465953.0.Emin_gives_75_000_sculpture_as_thankyou_for_Scots_show.php to http://www.theherald.co.uk/news/news/display.var.2465953.0.emin_gives_75_000_sculpture_as_thankyou_for_scots_show.php
 * Added tag to http://www.npg.org.uk/live/wotraceyemin.asp
 * Added archive https://web.archive.org/web/20151009232052/http://www.southlondongallery.org/page/144/Minky-Manky/208 to http://www.southlondongallery.org/page/144/Minky-Manky/208

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 06:24, 7 December 2017 (UTC)

Missing key bio details
Odd that Emin's page is missing her full DOB (3rd July) and her middle name (Karima). These are not hard to find – they're available on her Britannica page here (article researched and written by their arts editor, Kathleen Kuiper, as credited at the top of the page). I was going to add this info myself but thought I'd ask why it's been removed first? Thanks --Jkaharper (talk) 18:39, 23 October 2020 (UTC)

Cleanup template
I have removed the following from the top of the article:

It is nearly five years old. There have been, Does anyone think it is still pertinent? Andy Mabbett ( Pigsonthewing ); Talk to Andy; Andy's edits 22:02, 3 December 2020 (UTC)

 * Good work. Absolutely not pertinent and the other ones should be removed as well. Whoever defaces articles with these boxes ought to either organise people to fix whatever they find objectionable, or it fix themselves or just not put the boxes there; instead of feeling like they've done 'stellar and important editing work' by generating an eyesore. I'm tired of seeing them.86.87.191.180 (talk) 18:14, 23 October 2021 (UTC)

title: Talk:Tracey Emin


text:
Jacques Pelletier du Mans

Jacques Pelletier du Mans, also spelled Peletier (Iacobus Peletarius Cenomani, 25 July 1517 – 17 July 1582) was a humanist, poet and mathematician of the French Renaissance.

Life

Born in Le Mans into a bourgeois family, he studied at the Collège de Navarre in Paris, where his brother Jean was a professor of mathematics and philosophy. He subsequently studied law and medicine, frequented the literary circle around Marguerite de Navarre and from 1541 to 1543 he was secretary to René du Bellay. In 1541 he published the first French translation of Horace's Ars Poetica and during this period he also published numerous scientific and mathematical treatises.

In 1547 he produced a funeral oration for Henry VIII of England and published his first poems (Œuvres poétiques), which included translations from the first two cantos of Homer's Odyssey and the first book of Virgil's Georgics, twelve Petrarchian sonnets, three Horacian odes and a Martial-like epigram; this poetry collection also included the first published poems of Joachim Du Bellay and Pierre de Ronsard (Ronsard would include Jacques Pelletier into his list of revolutionary contemporary poets (La Pléiade). He then began to frequent a humanist circle around Théodore de Bèze, Jean Martin, Denis Sauvage.

In the Renaissance, the French language had acquired many inconsistencies in spelling through attempts to model French words on their Latin roots (see Middle French). Pelletier tried to reform French spelling in his 1550 treatise Dialoguɇ Dɇ l’Ortografɇ e Prononciation Françoęſɇ ("Dialogue on French spelling and pronunciation"), advocating a phonetic-based spelling using new typographic signs which he would continue to use in all his published works. In this system, he consistently spells his name with one "l": Iacquɇs Pɇlɇtier du Mans.

Pelletier was principal of the Collège de Bayeux and subsequently spent many years in Bordeaux, Poitiers, Piedmont (where he may have been the tutor of the son of Maréchal de Brissac), and Lyon (where he frequented the poets and humanists Maurice Scève, Louise Labé, Olivier de Magny and Pontus de Tyard). In 1555 he published a manual of poetic composition, Art poétique français, a Latin oration calling for peace from King Heney II and Emperor Charles V, and a new collection of poetry, L'Amour des amours (consisting of a sonnet cycle and a series of encyclopedic poems describing meteors, planets and the heavens), which would influence that poets Guillaume du Bartas and Jean-Antoine de Baïf.

His last years were spent in travels to the Savoy, Germany, Switzerland, possibly Italy and various regions in France and in publishing numerous works in Latin on algebra, geometry and mathematics and medicine (including a refutation of Galen and a work on the plague). In 1572, he was briefly director of the College of Aquitaine in Bordeaux, but, bored by the position, he resigned. During this period, he was friends with Michel de Montaigne and Pierre de Brach. In 1579, he returned to Paris and was named director of the College of Le Mans. A final collection of poetry Louanges was published in 1581.

Pelletier died in Paris in July or August 1582.

New naming convention for large numbers
While maintaining the original system of the French mathematician Nicolas Chuquet (1484) for the names of large numbers, Jacques Pelletier promoted milliard for 1012 which had been used earlier by Budaeus. In the late 17th century, milliard was subsequently reduced to 109. This convention is used widely in long scale countries.

title: Jacques Pelletier du Mans


text:
Talk:Play (play)

Note

 * The light is a symbol for the cruelty of god, who does not care about what each person has to say, which is irrelivant nonetheless.

According to who? Beckett? A critic? A director? Some bloke in a pub? I don't see anything in the script to suggest this. --Camembert

 * Dys and I have edited into a more coherent form- probably valid as an interpretation. Markalexander100 03:11, 27 May 2004 (UTC)

 * Yes, I suppose so. I keep meaning to dig out the opinions of some quotable people on Beckett's plays, never got round to it. One day... --Camembert

In the article I read that 'Billie Whitelaw referred to it as “an instrument of torture."' Was she referring to the flashlight, or to the play itself? I saw the play last night and found it to be absolute torture. John Link (talk) 05:07, 30 March 2008 (UTC)

I found that the Synopsis section often had tangents that strayed from summarizing the contents of the play "Play." Such as where there are direct quotes taken from the play and interspersed in parentheses amidst the summary. Melly12many (talk) 04:09, 30 October 2018 (UTC)

Introducing Quotes & Informality
This page has a lot of really good quotes, but barely any of them have a decent introduction. I think if we're writing for a general audience, having tons of drop quotes is less than helpful. I wish I had time to fix this. I fixed a few. I tried to base them on the references, but some of them are confusing. For example, a lot of references are to Collected Plays, but the quotes seem to be Beckett or somebody describing the play. The Collected Plays just has, well, the plays collected, not really people discussing the plays. I admit I may be wrong about this since my collected plays is a different edition. If this edition of the collected plays has, for example, essays or interviews, then the essay or interview should be cited individually as in ''Joe Blow "Interview with Beckett". Collected Plays Faber and Faber. pg.2'' or whatever. Again here the issue is clarity. We're trying to make this helpful and easy for a general audience, not necessarily for Beckett scholars who can do their own work. Also, the interpretation section is a very worthwhile section and presently is helpful in many ways, but at times it's quite informal. For example, I changed something like "He couldn't have possibly not known about the world's greatest this or that" to "This is likely a reference" -- not perfect but more formal at least. There are other places like that in the interpretation but, again, I have no time to fix them. I strongly encourage others to go through with that in mind.F. Simon Grant (talk) 15:52, 2 April 2010 (UTC)

Play text
External links -> Text of the play

leads to a car insurance. However, the text is to be found here, but I'm not sure how to technically put in the new link in a proper way: http://faculty.cua.edu/johnsong/hsct101/readings-pdf/playbeckett.html — Preceding unsigned comment added by 77.181.151.229 (talk) 09:56, 11 December 2011 (UTC)

Which Sweetwater?
In "Biographical references", there is mention of what appears to be a placename of Sweetwater, but no detail of which one, yet the Wiki disambiguation page lists numerous possibilities. Can someone with access to the cited source clarify this? --Blurryman (talk) 00:11, 24 June 2024 (UTC)

title: Talk:Play (play)


text:
Ashtekar variables

In the ADM formulation of general relativity, spacetime is split into spatial slices and a time axis. The basic variables are taken to be the induced metric $$q_{ab} (x)$$ on the spatial slice and the metric's conjugate momentum $$K^{ab} (x)$$, which is related to the extrinsic curvature and is a measure of how the induced metric evolves in time. These are the metric canonical coordinates.

In 1986 Abhay Ashtekar introduced a new set of canonical variables, Ashtekar (new) variables to represent an unusual way of rewriting the metric canonical variables on the three-dimensional spatial slices in terms of an SU(2) gauge field and its complementary variable.

Overview
Ashtekar variables provide what is called the connection representation of canonical general relativity, which led to the loop representation of quantum general relativity and in turn loop quantum gravity and quantum holonomy theory.

Let us introduce a set of three vector fields $$\ E^a_j\ ,$$ $$\ j = 1,2,3\ $$ that are orthogonal, that is,

 * $$\delta_{jk} = q_{ab}\ E_j^a\ E_k^b ~.$$

The $$\ E_i^a\ $$ are called a triad or drei-bein (German literal translation, "three-leg"). There are now two different types of indices, "space" indices $$\ a,b,c\ $$ that behave like regular indices in a curved space, and "internal" indices $$\ j,k,\ell\ $$ which behave like indices of flat-space (the corresponding "metric" which raises and lowers internal indices is simply $$\ \delta_{jk}\ $$). Define the dual drei-bein $$\ E^j_a\ $$ as

 * $$\ E^j_a = q_{ab}\ E^b_j ~.$$

We then have the two orthogonality relationships

 * $$\ \delta^{jk} = q^{ab}\ E^j_a\ E^k_b\ ,$$

where $$q^{ab}$$ is the inverse matrix of the metric $$\ q_{ab}\ $$ (this comes from substituting the formula for the dual drei-bein in terms of the drei-bein into $$\ q^{ab}\ E^j_a\ E^k_b\ $$ and using the orthogonality of the drei-beins).

and

 * $$\ E_j^a\ E^k_b\ = \delta_b^a\ $$

(this comes about from contracting $$\ \delta_{jk} = q_{ab}\ E_k^b\ E_j^a\ $$ with $$\ E^j_c\ $$ and using the linear independence of the $$\ E_a^k\ $$). It is then easy to verify from the first orthogonality relation, employing $$\ E_j^a\ E^j_b = \delta_b^a\ ,$$ that

 * $$\ q^{ab} ~=~ \sum_{j,\ k=1}^{3}\; \delta_{jk}\ E_j^a\ E_k^b ~=~ \sum_{j=1}^{3}\; E_j^a\ E_j^b\ ,$$

we have obtained a formula for the inverse metric in terms of the drei-beins. The drei-beins can be thought of as the 'square-root' of the metric (the physical meaning to this is that the metric $$\ q^{ab}\ ,$$ when written in terms of a basis $$\ E_j^a\ ,$$ is locally flat). Actually what is really considered is

 * $$\ \left( \mathrm{det} (q) \right)\ q^{ab} ~=~ \sum_{j=1}^{3}\; \tilde{E}_j^a\ \tilde{E}_j^b\ ,$$

which involves the "densitized" drei-bein $$\tilde{E}_i^a$$ instead (densitized as $\ \tilde{E}_j^a = \sqrt{ \det (q)\ }\ E_j^a\ $ ). One recovers from $$\ \tilde{E}_j^a\ $$ the metric times a factor given by its determinant. It is clear that $$\ \tilde{E}_j^a\ $$ and $$\ E_j^a\ $$ contain the same information, just rearranged. Now the choice for $$\ \tilde{E}_j^a\ $$ is not unique, and in fact one can perform a local in space rotation with respect to the internal indices $$\ j\ $$ without changing the (inverse) metric. This is the origin of the $$\ \mathrm{ SU(2) }\ $$ gauge invariance. Now if one is going to operate on objects that have internal indices one needs to introduce an appropriate derivative (covariant derivative), for example the covariant derivative for the object $$\ V_i^b\ $$ will be

 * $$\ D_a\ V_j^b = \partial_a V_j^b - \Gamma_{a \;\; j}^{\;\; k}\ V_k^b + \Gamma^b_{ac}\ V_j^c\ $$

where $$\ \Gamma^b_{ac}\ $$ is the usual Levi-Civita connection and $$\ \Gamma_{a \;\; j}^{\;\; k}\ $$ is the so-called spin connection. Let us take the configuration variable to be

 * $$\ A_a^j = \Gamma_a^j + \beta\ K_a^j\ $$

where $$\Gamma_a^j = \Gamma_{ak\ell}\ \epsilon^{k \ell j}$$ and $K_a^j = K_{ab}\ \tilde{E}^{bj} / \sqrt{\det (q)\ } ~.$ The densitized drei-bein is the conjugate momentum variable of this three-dimensional SU(2) gauge field (or connection) $$\ A^k_b\ ,$$ in that it satisfies the Poisson bracket relation

 * $$\ \{\ \tilde{E}_j^a (x) ,\ A^k_b (y)\ \} = 8\pi\ G_\mathsf{Newton}\ \beta\ \delta^a_b\ \delta^k_j\ \delta^3 (x - y) ~.$$

The constant $$\beta$$ is the Immirzi parameter, a factor that renormalizes Newton's constant $$\ G_\mathsf{Newton} ~.$$ The densitized drei-bein can be used to re construct the metric as discussed above and the connection can be used to reconstruct the extrinsic curvature. Ashtekar variables correspond to the choice $$\ \beta = -i\ $$ (the negative of the imaginary number, $$\ i\ $$), $$\ A_a^j\ $$ is then called the chiral spin connection.

The reason for this choice of spin connection, was that Ashtekar could much simplify the most troublesome equation of canonical general relativity – namely the Hamiltonian constraint of LQG. This choice made its formidable second term vanish, and the remaining term became polynomial in his new variables. This simplification raised new hopes for the canonical quantum gravity programme. However it did present certain difficulties: Although Ashtekar variables had the virtue of simplifying the Hamiltonian, it has the problem that the variables become complex. When one quantizes the theory it is a difficult task to ensure that one recovers real general relativity, as opposed to complex general relativity. Also the Hamiltonian constraint Ashtekar worked with was the densitized version, instead of the original Hamiltonian; that is, he worked with $\tilde{H} = \sqrt{\det (q)} H ~.$

There were serious difficulties in promoting this quantity to a quantum operator. In 1996 Thomas Thiemann who was able to use a generalization of Ashtekar's formalism to real connections ($$\beta$$ takes real values) and in particular devised a way of simplifying the original Hamiltonian, together with the second term. He was also able to promote this Hamiltonian constraint to a well defined quantum operator within the loop representation.

Lee Smolin & Ted Jacobson, and Joseph Samuel independently discovered that there exists in fact a Lagrangian formulation of the theory by considering the self-dual formulation of the tetradic Palatini action principle of general relativity. These proofs were given in terms of spinors. A purely tensorial proof of the new variables in terms of triads was given by Goldberg and in terms of tetrads by Henneaux, Nelson, & Schomblond (1989).

title: Ashtekar variables


text:
Felice Romani

Giuseppe Felice Romani (31 January 1788 – 28 January 1865) was an Italian poet and scholar of literature and mythology who wrote many librettos for the opera composers Donizetti and Bellini. Romani was considered the finest Italian librettist between Metastasio and Boito.

Biography
Born Giuseppe Felice Romani to a bourgeois family in Genoa, he studied law and literature in Pisa and Genoa. At the University of Genoa he translated French literature and, with a colleague, prepared a six-volume dictionary of mythology and antiquities, including the history of the Celts in Italy. Romani's expertise in French and antiquity is reflected in the libretti he wrote; the majority are based on French literature and many, such as Norma, use mythological sources.

After refusing a post at the University of Genoa, he appears to have travelled to France, Spain, Greece and Germany before returning to Milan in either 1812 or 1813. There he became friends with important figures in the literary and musical world. He turned down the post of court poet in Vienna, and began instead a career as an opera librettist. He wrote two librettos for the composer Simon Mayr, which resulted in his appointment as the librettist for La Scala. Romani became the most highly regarded of all Italian librettists of his age, producing nearly one hundred. In spite of his interest in French literature, he refused to work in Paris.

Romani wrote the librettos for Bellini's Il pirata, La straniera, Zaira, I Capuleti e i Montecchi, La sonnambula, Norma and Beatrice di Tenda, for Rossini's Il turco in Italia and Bianca e Falliero, and Donizetti's Anna Bolena and L'elisir d'amore (which he adapted from Eugène Scribe's Le philtre). He also wrote a libretto (originally for composer Adalbert Gyrowetz) that Verdi used for his early comedy Un giorno di regno.

Romani was considered an ideal match for Bellini, who is quoted as having said: "Give me good verses and I will give you good music". Dramatic, even extravagant "situations" expressed in verses "designed to portray the passions in the liveliest manner" was what Bellini was looking for in a libretto, according to a letter to Francesco Florimo, of 4 August 1834, and he found them in Romani.

The two, however, had a falling out over missed deadlines for Beatrice di Tenda. After setting I puritani to a libretto by Carlo Pepoli, Bellini was determined not to compose any more Italian operas with anyone but Romani. I puritani was his last opera; he died less than a year after its première. Romani mourned him deeply and wrote an obituary in which he expressed his profound regrets over their disagreement.

In 1834 Romani became editor of the Gazzetta Ufficiale Piemontese to which he contributed literary criticism. He retained the post, with a break from 1849–1854, until his death, in Moneglia, (in the region of Liguria, Italy). A volume of his lyric poems was published in 1841.

Libretti
For each libretto, the composer/s are listed who set it to music, the date of the first performance, and the new title where applicable.

 * La rosa bianca e la rosa rossa
 * Simon Mayr (1813)
 * Pietro Generali (1818)
 * Tomás Genovés y Lapetra, Enrico e Clotilde (1831)
 * Medea in Corinto
 * Simon Mayr (1813)
 * Prospero Selli (1839)
 * Saverio Mercadante, Medea, revision by Salvadore Cammarano (1851)
 * Aureliano in Palmira
 * Gioachino Rossini (1813)
 * Atar ossia Il serraglio di Ormus
 * Simon Mayr (1814)
 * Carlo Coccia, Atar ou O serralho de Ormuz (1820)
 * Luiz Antonio Miró, Atar ou O serralho d'Ormus (1836)
 * Il turco in Italia
 * Gioachino Rossini (1814)
 * Le due duchesse subtitled La caccia ai lupi
 * Simon Mayr (1814)
 * Filippo Celli (1824)
 * L'ira di Achille
 * Giuseppe Nicolini (1814)
 * La testa di bronzo or La capanna solitaria
 * Carlo Evasio Soliva (1816)
 * Saverio Mercadante (1827)
 * Giacomo Fontemaggi (1835)
 * Vincenzo Mela (1855)
 * Maometto
 * Peter Winter (1817)
 * Rodrigo di Valenza
 * Pietro Generali (1817)
 * Ferdinando Orlandi (1820)
 * Filippo Chimeri, Elmonda di Valenza (1845)
 * Mennone e Zemira
 * Simon Mayr (1817)
 * La gioventù di Cesare
 * Stefano Pavesi (1814)
 * Le zingare dell'Asturia
 * Carlo Evasio Soliva (1817)
 * Adele di Lusignano
 * Michele Carafa (1817)
 * Ramón Carnicer (1819)
 * I due Valdomiri
 * Peter Winter (1817)
 * Gianni di Parigi
 * Francesco Morlacchi (1818)
 * Giovanni Antonio Speranza (1836)
 * Gaetano Donizetti (set to music 1831, first performance 1839)
 * Il finto Stanislao
 * Adalbert Gyrowetz (1818)
 * Giuseppe Verdi, Un giorno di regno (1840)
 * Il barone di Dolshein
 * Giovanni Pacini (1818)
 * Franz Schoberlechner (1827)
 * Danao
 * Simon Mayr (1818)
 * Giuseppe Persiani, Danao re d'Argo (1827)
 * Gl'Illinesi
 * Francesco Basili (1819)
 * Francesco Sampieri (1823)
 * Luigi Viviani, L'eroe francese (1826)
 * Feliciano Strepponi (1829)
 * Pietro Antonio Coppola, Gli Illinesi (1835)
 * Francisco Gomez, Irza (1845)
 * Clemenza d'Entragues
 * Vittorio Trento (1819)
 * Il falegname di Livonia
 * Giovanni Pacini (1819)
 * Il califo e la schiava
 * Francesco Basili (1819)
 * Gioachino Rossini, Adina, revision by Gherardo Bevilacqua Aldobrandini (1826)
 * Giovanni Quaquerini (1842)
 * Bianca e Falliero or Il consiglio dei tre
 * Gioachino Rossini (1819)
 * Vallace or L'eroe scozzese
 * Giovanni Pacini (1820)
 * La sacerdotessa d'Irminsul
 * Giovanni Pacini (1820)
 * I due Figaro or Il soggetto di una commedia
 * Michele Carafa (1820)
 * Giovanni Panizza (1824)
 * Dionigi Brogialdi (1825)
 * Saverio Mercadante (composed: 1826/staged: 1835)
 * Giovanni Antonio Speranza (1839)
 * Margherita d'Anjou
 * Giacomo Meyerbeer (1820)
 * Donna Aurora or Il romanzo all'improvviso
 * Francesco Morlacchi (1821)
 * La voce misteriosa
 * Giuseppe Mosca (1821)
 * Carlo Mellara (1823)
 * Atalia
 * Simon Mayr (1822)
 * L'esule di Granata
 * Giacomo Meyerbeer (1822)
 * Giovanni Tadolini, Almanzor (1827)
 * Adele ed Emerico ossia Il posto abbandonato
 * Saverio Mercadante (1822; revised 1826)
 * Chiara e Serafina subtitled Il pirata
 * Gaetano Donizetti (1822)
 * Alberto Mazzucato, I corsari, revision by Temistocle Solera (1840)
 * Amleto
 * Saverio Mercadante (1822)
 * Chi fa così, fa bene
 * Feliciano Strepponi (1823)
 * Abufar, ossia La famiglia araba
 * Michele Carafa (1823)
 * Manuel García, El Abufar (1827)
 * Francesca da Rimini
 * Feliciano Strepponi (1823)
 * Luigi Carlini (1825)
 * Massimiliano Quilici (1829)
 * Saverio Mercadante (written 1830; unperformed)
 * Giuseppe Staffa (1831)
 * Giuseppe Fournier (1832)
 * Giuseppe Tamburini (1835)
 * Emanuele Borgatta (1837)
 * Francesco Morlacchi (composta nel 1840, incompiuta)
 * Francesco Canneti (1843)
 * Giovanni Franchini (1857)
 * Egilda di Provenza
 * Stefano Pavesi (1823)
 * João Evangelista Pereira da Costa, Egilda de Provenca (1827)
 * Amina or L'innocenza perseguitata
 * Giuseppe Rastrelli (1824)
 * Antonio D'Antoni (1825)
 * Carlo Valentini, Amina, subtitled L'orfanella di Ginevra, revision by Andrea Leone Tottola (1825)
 * Elena e Malvina
 * Carlo Evasio Soliva (1824)
 * Ramón Carnicer, Elena e Malvina (1829)
 * Francesco Vincenzo Schira (1832)
 * Giuseppe Mazza (1834)
 * Egisto Vignozzi (1835)
 * Il sonnambulo
 * Michele Carafa (1824)
 * Luigi Ricci (1830)
 * Carlo Valentini (1834)
 * Luiz Antonio Miró, O sonambulo (1835)
 * Salvatore Agnelli, Il fantasma (1842)
 * Giuseppe Persiani, Il fantasma (1843)
 * Gli avventurieri
 * Giacomo Cordella (1825)
 * Luigi Felice Rossi (1835)
 * Carlo Valentini (1836)
 * Antonio Buzzolla (1842)
 * Antonio Cagnoni, Amori e trappole, revision by Marco Marcelliano Marcello (1850)
 * Giulietta e Romeo
 * Nicola Vaccai (1825)
 * Eugenio Torriani (1828)
 * Vincenzo Bellini, I Capuleti e i Montecchi (1830)
 * Il montanaro
 * Saverio Mercadante (1827)
 * Pietro Campiuti, L'incognito (1832)
 * Giovan Battista Cagnola, Il podestà di Gorgonzola (1854)
 * La selva d'Hermanstadt
 * Felice Frasi (1827)
 * Il pirata
 * Vincenzo Bellini (1827)
 * Gastone di Foix
 * Giuseppe Persiani (1827)
 * Franciszek Mirecki, Cornelio Bentivoglio (1844)
 * Il divorzio Persiano subtitled Il gran bazzarro di Bassora
 * Pietro Generali (1828)
 * Feliciano Strepponi, L'ullà di Bassora (1831)
 * Giuseppe Gerli, Il pitocco (1834)
 * Giuseppe Mazza (1836)
 * I saraceni in Sicilia ovvero Eufemio di Messina
 * Francesco Morlacchi (1828)
 * Daniele Nicelli, Il proscritto di Messina (1829)
 * Giuseppe Persiani, Eufemio di Messina ovvero La distruzione di Catania (1829)
 * Francesco Morlacchi, Il rinnegato (1832)
 * Ramón Carnicer, Eufemio da Messina o Los sarracenos en Sicilia (1832)
 * Alessandro Curmi, Il proscritto di Messina (1843)
 * Angelo Agostini, Il rinnegato (1858)
 * Alina, regina di Golconda
 * Gaetano Donizetti (1828)
 * Colombo
 * Francesco Morlacchi (1828)
 * Luigi Ricci (1829)
 * Ramón Carnicer, Cristoforo Colombo (1831)
 * Luigi Bottesini, Cristoforo Colombo (1848)
 * Carlo Emanuele De Barbieri, Columbus (1848)
 * Vincenzo Mela, Cristoforo Colombo (1857)
 * Felicita Casella, Cristoforo Colombo (1865)
 * Giuseppe Marcora (1869)
 * La straniera
 * Vincenzo Bellini (1829)
 * Rosmonda
 * Carlo Coccia (1829)
 * Gaetano Donizetti, Rosmonda d'Inghilterra (1834)
 * Antonio Belisario (1835)
 * Pietro Tonassi e Pietro Collavo, Il castello di Woodstock (1839)
 * Otto Nicolai, Enrico II (1839)
 * Saul
 * Nicola Vaccai (1829)
 * Ferdinando Ceccherini (1843)
 * Giovanni Antonio Speranza (1844)
 * Zaira
 * Vincenzo Bellini (1829)
 * Alessandro Gandini (1829)
 * Saverio Mercadante (1831)
 * Antonio Mami (1845)
 * Giovanna Shore
 * Carlo Conti (1829)
 * Lauro Rossi (1836)
 * Enrico Lacroix (1845)
 * Vincenzo Bonnetti (1853)
 * La rappresaglia
 * Saverio Mercadante (1829)
 * Bianca di Belmonte
 * Luigi Riesck (1829)
 * Tomás Genovés y Lapetra (1833)
 * Annibale in Torino
 * Luigi Ricci (1830)
 * Anna Bolena
 * Gaetano Donizetti (1830)
 * Il romito di Provenza
 * Pietro Generali (1831)
 * M. A. Sauli (1846)
 * La sonnambula
 * Vincenzo Bellini (1831)
 * Il disertore svizzero aka La nostalgia''
 * Cesare Pugni (1831)
 * Lauro Rossi (1832)
 * Angelo Pellegrini (1841)
 * Giovanni Battista Meiners (1842)
 * La neve
 * Luigi Ricci (1831)
 * Norma
 * Vincenzo Bellini (1831)
 * I normanni a Parigi
 * Saverio Mercadante (1832)
 * Ugo, Conte di Parigi
 * Gaetano Donizetti (1832)
 * Alberto Mazzucato (1843)
 * L'elisir d'amore
 * Gaetano Donizetti (1832)
 * Ismalia ossia Morte ed amore
 * Saverio Mercadante (1832)
 * Ramón Carnicer (1838)
 * Vicenc Cuyás y Borés, La fattucchiera (1838)
 * Il segreto
 * Luigi Maiocchi (1833)
 * Placido Mandanici (1836)
 * Caterina di Guisa
 * Carlo Coccia (1833)
 * Giuseppe Mazza (1836)
 * Luigi Savi (1838)
 * Fabio Campana (1838)
 * Francesco Chiaromonte (1850)
 * Antonio Gandolfi (1859)
 * Cenobio Paniagua y Vasques (1859)
 * Beniamino Rossi (1861)
 * Giacomo Nascimbene, Enrico di Guisa (1868)
 * Il conte d'Essex
 * Saverio Mercadante (1833)
 * Parisina
 * Gaetano Donizetti (1833)
 * Tomás E. Giribaldi (1878)
 * Beatrice di Tenda
 * Vincenzo Bellini (1833)
 * Rinaldo Ticci (1837)
 * Frederico Guimarães, Beatriz (1882)
 * Il contrabbandiere
 * Cesare Pugni (1833)
 * Natale Perelli (1842)
 * I due sergenti
 * Luigi Ricci (1833)
 * Alberto Mazzucato (1841)
 * Gualtiero Sanelli (1842)
 * Lucrezia Borgia
 * Gaetano Donizetti (1833)
 * La figlia dell'arciere
 * Carlo Coccia, atto III di Domenico Andreotti (1834)
 * Gaetano Donizetti, Adelia, Third Act by Girolamo Maria Marini (1841)
 * Carlo Pedrotti (1844)
 * Valdemaro de Barbarikine, Adelia (1877)
 * Un'avventura di Scaramuccia
 * Luigi Ricci (1834)
 * Emma d'Antiochia
 * Saverio Mercadante (1834)
 * Giovanni Bracciolini, Emma e Ruggero (1838)
 * Vincenzo Pontani, Emma e Ruggero (1852)
 * Carlo Lovati-Cozzulani, Alda (1866)
 * Ercole Cavazza, Emma (1877)
 * Un episodio del San Michele
 * Cesare Pugni (1834)
 * Giuseppe Concone (1836)
 * Luigi Savi, L'avaro (1840)
 * Ermanno Picchi, Il tre di novembre (1844)
 * Giuseppe Lombardini, La sartina e l'usurajo (1853)
 * Pietro Repetto, Un episodio del San Michele (1855)
 * Guglielmo Quarenghi, Il dì di San Michele (1863)
 * Carlo Brizzi, L'avaro (1877)
 * Uggero il danese
 * Saverio Mercadante (1834)
 * La gioventù di Enrico V
 * Saverio Mercadante (1834)
 * Francesca Donato subtitled Corinto distrutta
 * Saverio Mercadante (1835)
 * Pietro Raimondi (1842)
 * Odio e amore
 * Mariano Obiols (1837)
 * Alfonso Cosentino, Laurina (1858)
 * La solitaria delle Asturie or La Spagna ricuperata
 * Carlo Coccia (1838)
 * Saverio Mercadante (1840)
 * Luigi Ricci (1845)
 * Giuseppe Sordelli (1846)
 * Giuseppe Winter, Matilde di Scozia (1852)
 * La spia ovvero Il merciaiuolo americano
 * Angelo Villanis (1850)
 * Edita di Lorno
 * Giulio Litta (1853)
 * Cristina di Svezia
 * Sigismond Thalberg (1855)

title: Felice Romani


text:
Joanne Whalley

Joanne Whalley (born 25 August 1961) is an English film and television actress. She was credited as Joanne Whalley-Kilmer from 1988 to 1996 during her marriage to Val Kilmer.

Whalley came to fame through television with appearances drama serials Edge of Darkness (BBC, 1985), for which she was nominated for the BAFTA TV Award for Best Actress, and The Singing Detective (BBC, 1986). She has also appeared in both British and American feature films, including Willow (1988), where she met Kilmer, and Scandal (1989).

Her subsequent career has seen her cast as a number of iconic historical and fictional figures including Scarlett O'Hara in Scarlett (CBS, 1994), Jackie Kennedy in Jackie Bouvier Kennedy Onassis (CBS, 2000), Queen Mary I in The Virgin Queen (BBC, 2005) and Catherine of Aragon in Wolf Hall (BBC, 2015).

Early life and career
Whalley was born in Salford, Lancashire, and later moved to Levenshulme and then to Stockport, Greater Manchester. There, she attended Bredbury Comprehensive School, before leaving to study at Harrytown Convent Girls' School in Romiley and the Braeside School of Speech and Drama in Marple. As a child actress, from 1974 to 1979, Whalley made a number of television appearances including bit parts in popular soap operas Coronation Street and Emmerdale.

She made her feature film debut as a young Beatles fan in Richard Marquand's biographical film, Birth of the Beatles (1979) and flirted with the fringes of the Manchester New Wave scene by briefly being a member of a Stockport-based band called the Slowguns, but left before the release of the first of their two singles later that year. Her television work continued with early appearances in episodes of popular series including Juliet Bravo and The Gentle Touch.

From 1982 to 1986 she studied and performed with the Royal Court Theatre starting at the 1982 Young Writers' Festival by originating the role of Rita in Max Stafford-Clark's first production of Andrea Dunbar's Rita, Sue and Bob Too. That same year she made a non-speaking appearance as a groupie in Alan Parker's musical drama Pink Floyd – The Wall (1982), featured in Stan Barstow's well-received TV series A Kind of Loving (Granada, 1982) and starred as Gilly Brown alongside Trevor Eve in Danny Boyle's production of The Genius at the Royal Court Theatre.

At this time, she was also the lead singer of the pop group Cindy & The Saffrons; they recorded the Shangri-Las' song "Past, Present and Future" in 1982 at Abbey Road Studios, and the track made the UK singles charts, peaking at #56. The next year they recorded "Terry", written and originally recorded by Twinkle, but this single failed to chart. The group split up soon afterward.

Continuing her theatrical work, she played the title role in the first production of Daniel Mornin's Kate at the Bush Theatre in 1983. That year she also appeared in episodes of popular TV series Bergerac and Reilly, Ace of Spies. Her work for the English Stage Company at the Royal Court Theatre continued with performances as Pam in Danny Boyle's production of Saved and June in Max Stafford-Clark's The Pope's Wedding from 1984 to 1985.

Rise to prominence
Whalley found early success on British television with a lead role in Troy Kennedy Martin's highly-regarded and influential drama serial Edge of Darkness (BBC, 1985), for which she received a nomination for the BAFTA TV Award for Best Actress. At this time she appeared in Alan Bleasdale's comedy film No Surrender (1985) and two films for Mike Newell: The Good Father (FilmFour, 1985) and the critically acclaimed Dance with a Stranger (Goldcrest, 1985). She also concluded her work at the Royal Court Theatre this year by performing the role of Bianca in William Gaskill's production of Women Beware Women and then moved to the Royal National Theatre appearing as Dewey Dell in Peter Gill's productions of As I Lay Dying at the Cottesloe Theatre.

Further television success came with the key role of Nurse Mills in Dennis Potter's drama serial The Singing Detective (BBC, 1986). She concluded her work with the Royal National Theatre that year by performing as Euphie and 1st Cutie in Peter Gill and John Burgess's The Women. The following year she performed as Masha in Bill Kenwright and Elijah Moshinsky's production of Three Sisters at the Albery Theatre and the Greenwich Theatre.

Whalley met the American actor Val Kilmer in 1987 while filming her first US lead role in George Lucas and Ron Howard's Academy Award nominated fantasy adventure Willow (1988). After her wedding to Kilmer in 1988, she moved to Los Angeles to continue her film career and began using 'Joanne Whalley-Kilmer' as her professional SAG-AFTRA name.

Her most notable British film role to date was as Christine Keeler in Michael Caton-Jones' historical drama Scandal (1989), a fictionalised account of the Profumo affair, which screened in competition at the 1989 Cannes Film Festival, featuring John Hurt as Stephen Ward and Sir Ian McKellen as John Profumo. That same year she also co-starred with Kilmer in John Dahl's neo-noir Kill Me Again (1989) and received a Theatre World Award for her performance of Geraldine Barklay in John Tillinger's off-Broadway production of What the Butler Saw for the Manhattan Theatre Club.

Further theatrical work came with her performance in the title role of Lulu in Ian McDiarmid's production of The Lulu Plays at the Almeida Theatre in 1990 to 1991. Later that year she gave birth to her first child, Mercedes, in Santa Fe, New Mexico.

She recreated Margaret Mitchell's iconic heroine Scarlett O'Hara, originally played by Vivien Leigh in Gone with the Wind (1939), in the Emmy Award-winning TV miniseries Scarlett (CBS, 1994). That same year she also played the lead role in Heywood Gould's legal thriller Trial By Jury (1994). She gave birth to her second child, Jack, the following year.

After her divorce from Kilmer in 1996, she changed her surname back to Whalley, starting with her lead role in Jon Amiel's spy comedy The Man Who Knew Too Little (1997) starring Bill Murray. She played the title role of former US First Lady Jackie Kennedy in David Burton Morris's Emmy Award-winning miniseries Jackie Bouvier Kennedy Onassis (CBS, 2000).

Later career
She later collaborated with the pop-punk band Blink-182, reading a letter at the beginning of the song "Stockholm Syndrome". In 2005, she appeared as Queen Mary I in The Virgin Queen, a BBC serial about the life of Queen Elizabeth I which also starred Anne-Marie Duff and Tara FitzGerald. That same year she filmed Played which also starred her ex-husband Val Kilmer. However, the two did not share any scenes together. In 2006, she appeared in Life Line, a two-part drama on BBC1, starring opposite Ray Stevenson.

In February 2008, she appeared on stage in Billy Roche's Poor Beast in the Rain presented by the Salem K. Theatre Company at the Matrix Theatre in Los Angeles. In that same year, Whalley was also a regular in the ITV mini series Flood with Robert Carlyle amongst others.

Whalley played one of the female leads, Vannozza dei Cattanei, mistress of Cardinal Rodrigo Borgia, future Pope Alexander VI, in the Showtime historical drama The Borgias (2011), for which she was nominated for a Best Actress Golden Nymph Award at the Monte-Carlo Television Festival.

She guest-starred as Princess Sophie in season 4 of Gossip Girl. With the cast of 44 Inch Chest, she shared the Best Ensemble Award at the San Diego Film Critics Society Awards 2010. The film reunited her with John Hurt, with whom she had done two previous films. In 2014 she played Aunt Patience in Jamaica Inn for BBC One. In 2015, she played Claudia, the wife of Pontius Pilate, in A.D. The Bible Continues, and Catherine of Aragon in the BBC miniseries Wolf Hall.

She has made a number of appearances in streaming shows including roles as Sister Maggie in the third season of Daredevil (2018), reprising her role of Sorsha from Willow (Lucas Film, 1988) in Willow (Disney+, 2022), and a starring appearance in an episode of the second season of Carnival Row (Prime, 2023) as the "Puck" Leonora.

In 2020, Whalley starred in Eleanor Coppola's anthology film Love Is Love Is Love. It was scheduled to have its world premiere at the Tribeca Film Festival in April 2020, but the festival was postponed due to the COVID-19 pandemic. The film subsequently premiered at the Deauville American Film Festival in France in September of that year.

Personal life
Whalley met American actor Val Kilmer while filming the movie Willow. The couple married in 1988. Whalley took a break from acting to bring up two children with Kilmer: a daughter, Mercedes, born on 29 October 1991 and a son, Jack, born on 6 June 1995. Shortly after that, the pair separated. Whalley filed for divorce on 21 July 1995, citing irreconcilable differences.

title: Joanne Whalley


text:
Snaps

In Denmark and Sweden, snaps (pronounced in Danish and Swedish) is a small shot of a strong alcoholic beverage taken during the course of a meal.

In Denmark, a snaps will always be akvavit, although there are many varieties of it. In Sweden, snaps is a more general term; it is usually akvavit, although it may also be vodka, bitters/bitter liqueurs or some other kind of brännvin/brændevin. Spirits such as whisky or brandy are seldom drunk as snaps. One of Finland's strongest alcohol drinks served with snaps is Marskin ryyppy, named after Marshal C. G. E. Mannerheim.

The word "snaps" also has the same meaning as German Schnapps, in the sense of "any strong alcoholic drink".

Culture
Swedes, Danes and Swedish-speaking Finns have a tradition of singing songs (called snapsvisor) before drinking snaps. These snapsvisor are typically odes to the joys of drinking snaps. They may praise the flavour of snaps or express a craving for it.

Snaps and snapsvisor are essential elements of Swedish crayfish parties, which are notoriously tipsy affairs. Dozens of songs may be sung during such a party, and every song requires a round of snaps. However, the glass need not be emptied every time.

title: Snaps


text:
Buffel

The Buffel (English: Buffalo) is an infantry mobility vehicle used by the South African Defence Force during the South African Border War. The Buffel was also used as an armoured fighting vehicle and proved itself in this role. It replaced the older Bedford RL-based Hippo APC and itself was replaced by the Mamba from 1995 in South Africa, but remains in use elsewhere, notably Sri Lanka.

Production history
The Buffel was the first truly effective landmine-protected armored personnel carrier to enter service anywhere. The South African Army began deploying it in the operational area from 1978. The Buffel was an improvement over the Bosvark which offered little protection to the driver. In 1974, 54 Mercedes-Benz Unimog 416–162 chassis had been hastily converted into Bosvarks by 61 Base Workshops in Pretoria. The Bosvark offered limited landmine protection to the crew, but compensated for this with good off-road mobility. It is estimated that around 2,400 Buffels were delivered before production stopped. Sri Lanka purchased Buffels in the 1980s, and in the early 1990s the vehicle was exported to Uganda.

The Buffel (Afrikaans for Buffalo) was not a wholly South African built vehicle, but made use of the chassis, engine and some other components of the Mercedes-Benz U416-162 Unimog, which were fitted with a domestically designed armoured driver's cab and separate armoured troop compartment. The cab was situated on the left with the engine compartment on the right. Later models replaced the original Mercedes-Benz OM352 engine with copies built under license by Atlantis Diesel Engines factory near Cape Town.

Land mine protection was provided by the V-shaped hull underneath these compartments, which quite effectively deflected the blast. The troop compartment contained two plastic tanks in the vee beneath the floor: a 200-litre fuel tank and a 100-litre water tank. The water tank provided drinking water to the occupants by means of a tap at the rear of the vehicle.

In order to help dissipate the energy from hitting a mine, the large tyres were sometimes filled with water, adding about 500 kg per wheel to the vehicle weight.

Variants
SAA variants
 * Buffel - original
 * Buffel Mk 1 - Improved engine and bush guard (bumper)
 * Buffel Mk 1B - Disc brakes replaced drum brakes
 * Log Buffel - Logistic/Cargo version, a standard Buffel with the seat assembly removed from the troop compartment
 * Buffel Mk IIA - Essentially a rebuild of earlier Mk 1s with an enclosed troop compartment, a rear exit door and large bulletproof windows on the sides and rear. Referred to as Moffel.
 * Buffel Mk IIB - Cargo carrier. The SA Army ordered 57 of these in the early 1980s. Payload capacity stated as 2.637 tons.

SAAF variants
 * Bulldog - based on SAMIL 20 truck with the driver's cab on the right. The Bulldog was utilized by the SAAF for patrolling airfields. A variant called the Ystervark was produced and used in the anti-aircraft role.
 * Rhino - A further development of the Bulldog but with the driver seated inside a fully enclosed troop compartment. 20 were produced for the SAAF.

Sri Lankan variants
 * Unicorn - Sri Lanka Army produced version of the Buffel original.
 * Unibuffel - Sri Lanka Army produced version of the Mk I and Mk II with Tata and Leyland engine and an enclosed troop compartment.

Current operators

 * 🇲🇼 Malawi: 1; Rhino variant.
 * 🇱🇰 Sri Lanka: 47; other variants produced as the Unicorn and Unibuffel.
 * 🇺🇬 Uganda: 55; 20 in service with the army and 35 in service with the national police.
 * 🇺🇳 United Nations Mission in South Sudan: 3
 * 🇿🇲 Zambia: 1; Rhino variant.
 * 🇺🇳 United Nations Multidimensional Integrated Stabilization Mission in Mali; nine Unibuffels were deployed to Mail under urgent operational requirements for peacekeeping operations in Mali.

Former operators

 * 🇿🇦 South Africa: Formerly around 2,400 in service; all retired and replaced by the Mamba.
 * 🇺🇳 United Nations Transition Assistance Group: 1
 * 🇿🇼 Zimbabwe: Possibly inherited from Rhodesia.

Combat history

 * Rhodesian Bush War
 * Angolan Civil War
 * South African Border War
 * Second Congo War
 * Sri Lankan Civil War

Vehicles of comparable role, performance, and era

 * Unibuffel
 * Unicorn APC
 * Gazelle FRV
 * Hippo APC
 * Casspir

External sources/Bibliography

 * Video footage - Buffel
 * Video - The South African Buffel & How an MRAP Works
 * Buffel Mine-protected APC/ video footage
 * Jane's Land Warfare Platforms 2014/2015: Logistics, Support & Unmanned ISBN 0710631308 Jane’s Land Warfare Platforms: Logistics, Support & Unmanned
 * Jane's Land Warfare Platforms 2015-2016: Logistics, Support & Unmanned ISBN 0710631723
 * Jane's Military Vehicles & Logistics 2004-2005 ISBN 0710626312 Jane’s Land Warfare Platforms: Logistics, Support & Unmanned

title: Buffel


text:
Talk:Black belt (martial arts)

Removed material
I removed the sentence "A black belt is only a white belt that never gave up!" from the end of the first paragraph, as it struck me as being nowhere near encyclopædia material. 89.236.57.174 (talk) 15:03, 3 June 2010 (UTC)

Error in Misconceptions
Fact-of-the-matter (talk) 14:36, 15 August 2010 (UTC)The Misconceptions section notes that the "white belt turning black with age" traditions is simply a misconception. While this is true in Japanese traditions, and in many others as well, some Kung Fu schools did practice this, for example the Shaolin, I believe (don't quote me on this, I have no sources to back it up off the top of my head) use this practice, at least at one time. In this case, if there is a misconception, it is simply that this practice was universal, rather than confined to only a few Kung Fu schools. I don't have any sources to back this up right now, as pretty much all my stuff is in boxes as I pack up for college, but I would recommend addressing the issue in some fashion, or simply removing this from the misconceptions section for now.Fact-of-the-matter (talk) 14:36, 15 August 2010 (UTC)

Relative Ranks
Regarding the statement 'ranks coming more or less automatically with time done in Japan.' This seems to be a matter of opinion rather than fact. In fact, (Japanese) Kodokan grades in Judo are commonly perceived to be more difficult to obtain than those of other ranking organisations and therefore commonly sought after and highly valued by Western Judoka. Perhaps the original statement applies more to certain styles of Karate. — Preceding unsigned comment added by 118.209.80.120 (talk)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Black belt (martial arts). Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20071016173119/http://www.thestar.com:80/article/154329 to http://www.thestar.com/article/154329

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 10:02, 9 February 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 1 one external link on Black belt (martial arts). Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20100102132306/http://blackbeltmag.com/michael_jai_white_black_dynamite/archives/816 to http://www.blackbeltmag.com/michael_jai_white_black_dynamite/archives/816

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

Cheers.— InternetArchiveBot  (Report bug) 18:58, 3 November 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Black belt (martial arts). Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20140606221959/http://www.judo-chikara.nl/2014/06/myths-and-misconceptions-part-1-vol-44.html to http://www.judo-chikara.nl/2014/06/myths-and-misconceptions-part-1-vol-44.html
 * Added archive https://web.archive.org/web/20110711002412/http://www.fightmagazine.com/mma-magazine/mma-article.asp?aid=298&issid=22 to http://www.fightmagazine.com/mma-magazine/mma-article.asp?aid=298&issid=22

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 12:37, 21 July 2017 (UTC)

In popular culture
In popular culture, we see the term "black belt" used to signify expertise in a certain field, such as a Six Sigma Black Belt certification. Kortoso (talk) 12:39, 9 January 2019 (UTC)

The Actual Belt
This article fails to go into the details of the belt itself. Where did it come from? How was it traditionally tied? — Preceding unsigned comment added by B0ef (talk • contribs) 22:25, 12 April 2019 (UTC)

Fake photo?
Anyone else think this photo looks strange? The lighting looks different (compare shadows on noses, one from left, one from underneath). They look super imposed on the background. Their hand sizes look wildly different. https://en.wikipedia.org/wiki/Black_belt_(martial_arts)#/media/File:Goju_NiDan_Rabyoung-Thonden-Gyalkhang.jpg TFJamMan (talk) 21:49, 8 June 2020 (UTC)

 * I agree, it's photoshopped. The white of their ghi don't match (one more yellow, the other more blue), their heads don't match the bodies, the bodies don't match the background perspective...something is off and I don't think it should be used in an encyclopedia. Wikipedia can do better. -- Earth Sprite ∞ 21:07, 9 August 2020 (UTC)

"Black belt(martial arts)" listed at Redirects for discussion
The redirect [//en.wikipedia.org/w/index.php?title=Black_belt(martial_arts)&redirect=no Black belt(martial arts)] has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at  until a consensus is reached. Steel1943 (talk) 15:46, 6 November 2023 (UTC)

title: Talk:Black belt (martial arts)


text:
British Columbia Highway 31

Highway 31 is a minor north–south highway through the Selkirk Mountains in British Columbia, Canada. The highway first gained its number in 1973, and it is one of the few numbered highways in the province that is not fully paved. Highway 31 has a total distance of 175 km — 37 km along Kootenay Lake between Balfour (a junction with Highway 3A) and Kaslo (a junction with Highway 31A), 106 km north along Kootenay Lake north of Kaslo, then the Duncan and Lardeau Rivers and the north shore of Trout Lake, and 32 km between the northwest end of Trout Lake and Galena Bay, where it ends at Highway 23.

The highway is a gravel road between Meadow Creek at the north end of Kootenay Lake and Trout Lake. Care should be taken when driving the route as it is narrow and has drop offs into Trout Lake north of Gerrard.

The section between Lardeau and Gerrard was possibly a part of a railway. The railway was converted into a highway in 1942 or early 1943 as part of a rail-to-road conversion project. The work took only two months to complete.

Highway 31A
Highway 31's main spur, Highway 31A, which also opened in 1973, is 47 km long, connecting Highway 31 at Kaslo to Highway 6 at New Denver.

title: British Columbia Highway 31


text:
Talk:Filipino Americans

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Cnilss2.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 21:15, 17 January 2022 (UTC)

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 23 September 2019 and 2 December 2019. Further details are available on the course page. Student editor(s): KrisM148. Peer reviewers: Gingyrael.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 21:15, 17 January 2022 (UTC)

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): FP1997. Peer reviewers: FP1997.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 21:23, 16 January 2022 (UTC)

Number: 4M or 2.8M
There is currently a bit of an edit war going on over this. The number has stood at 4,037,564 (or so) for some time and, in recent edits, has been revised to 2,843,071. The later number is supported by a cite of this U.S. census bureau source, giving data from U.S. Census Bureau 2018: ACS 5-Year Estimates Data Profiles. This figure, I think, is a later figures than earlier figures from the U.S. census bureau and from other sources giving numbers in the 4 million range. I have reverted the article to a version using the 2.8 million figure and citing the source which supports that. Please discuss below instead of edit-warring in the article. Wtmitchell (talk) (earlier Boracay Bill) 14:39, 4 April 2020 (UTC)

I see that, here, has again changed the figure in the article from about 2.8M to his user talk page 4.1M. The edit summary of that change says

I have placed a warning about edit warring on that user's user talk page and asked that he join this discussion. I have not reverted the change because I do not want to perpetuate this edit war, and am hoping that he will join this discussion.

Kagoikunai:
 * The source cited to support your assertion that the 4.1M figure does not mention that figure, but gives a figure of 2,843,071. where is the support for your 4.1M figure?
 * Where is the support for your assertion that the 4.1M figure includes Filipinos with both full and partial ancestry and the 2.8M figure includes just those with full ancestry?

Digging around, I found this U.S. Census source titled, "Census 2000 PHC-T-43. Table 1. First, Second, and Total Responses to the Ancestry Question by Detailed Ancestry Code: 2000", which gives figures of First Ancestry:1,938,790; Second Ancestry:177,688; Total:2,116,478, and I found this source which gives some information about that. Your assertions appear to contradict this. Do you have a source which would help resolve this apparent contradiction and explain these ancestry issues further?

Also, I see that you currently have a total of 457 WP edits under this username, yet you conduct yourself as an experienced editor. Are you a new WP editor or an experienced one? Wtmitchell (talk) (earlier Boracay Bill) 16:53, 4 April 2020 (UTC)

I placed a discuss tag in the article, and Kagoikunai removed it, saying  I do recall past official statements to the effect that there were more than 3.8 million Filipino illegals in the U.S. and,  googling for the quote in Kagoikunai's edit summary, I found this U.S. State Dept web page where that appears. I have changed the asserted figure to "Over four million" and replaced the cite of this census bureau source which gives the 2,843,071 figure as a supporting source with a cite of that State Dept web page.

Kagoikunai: Please read WP:BURDEN, WP:V, WP:CRP, WP:EW, WP:TE and WP:DE. Wtmitchell (talk) (earlier Boracay Bill) 09:00, 5 April 2020 (UTC)

Spanish and Chevacano
This edit caught my eye. I've reverted it because Spanish has a constitutional basis along with Arabic. I also moved mention of Chavacano from among outside languages to a place which presents it as a language of the Philippines. The second part of that followed on the description of Chavacano as a Creole and info in the Creole language article saying that that is "a stable natural language that develops from the simplifying and mixing of different languages into a new one within a fairly brief period of time". I read that as Chevanaco is a language which developed in the Philippines (i.e., a Philippine language). I'm not a linguist, and what I see here gives me second thoughts about Chevanaco as a Philippine language, but I see here that Ethnologue seems to classify it that way. Wtmitchell (talk) (earlier Boracay Bill) 20:12, 22 May 2020 (UTC)

Content in article introduction
Recently there's been a dispute over the proper content in the introduction. I added rearranged some content in the introduction, which was subsequently deleted by another editor. While my version of the introduction is far from perfect, I think it is better than the alternative. First of all, it is unusual for a Wikipedia article, especially one as that is otherwise well-developed, to have a single sentence as the first paragraph, and that tends to signal lower-quality articles. Secondly, per MOS:LEAD, the lead paragraph "should stand on its own as a concise overview of the article's topic", and it "should identify the topic, establish context, explain why the topic is notable, and summarize the most important points." In an article about a particular minority group in the United States, surely the population and distribution of this group is among the most important points, which is why articles like Vietnamese Americans, Chinese Americans, Italian Americans, and Korean Americans all touch on these topics. Kagoikunai made the argument in their edit summary that the information is already in the infobox, but the infobox of any article usually includes information that is also in the introduction (e.g., Barack Obama, Bolivia, etc.), and the introduction should be able to stand on its own. -- Rublov (talk) 14:47, 21 October 2020 (UTC)
 * Agree. Wtmitchell (talk) (earlier Boracay Bill) 17:36, 21 October 2020 (UTC)
 * As no one has dissented, I've gone ahead and restored the previous version of the introduction. -- Rublov (talk) 17:49, 26 October 2020 (UTC)

Rublov made that edit here, as indicated above. I nitpickedd his edit with modifications here and here and, hopefully improved it. Kagoikunai then reverted both of us here. Since a discussion had been opened on this, with a reasonable waiting period for comment before the reverted edits had passed, I believe that the reversion was against WP:CONSENSUS as supplemented by WP:SILENCE and have undone Kagoikunai's reversion. Consensus can change, as noted in WP:CCC; please discuss further significant changes here per WP:TALK rather than WP:edit warring.over them in the article. As this concerns the opening paragraph of this article, please note the guidelines in W{:LEAD, particularly MOS:OPENING. That guidance includes the statement: "The lead serves as an introduction to the article and a summary of its most important contents", and the disagreement appears to be over the importance of the information at issue. Input from other editors would be useful. Wtmitchell (talk) (earlier Boracay Bill) 21:27, 26 October 2020 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 06:11, 9 July 2021 (UTC)
 * Filipino Veterans WWII Congressional Gold Medal.jpg

Infobox image
Per WP:UNDUE & MOS:NOETHNICGALLERIES, I attempted to remove the infobox image added by in March 2020. reverted this removal. The majority of FilAms do not reside in NYC, New York state, or the NY Metro area. To choose the image which FDW777 re-added is to give undue representation of that population of FilAms, and does not represent the entire FilAm population, who are the subject of this article, as a whole. It is best to return to the way it had been added.-- RightCow LeftCoast ( Moo ) 20:06, 14 November 2021 (UTC)

 * MOS:NOETHNICGALLERIES does not refer to a single image. It refers to galleries such as this one, which I actually removed. FDW777 (talk) 20:34, 14 November 2021 (UTC)
 * Quoting: "should not be illustrated by a photomontage or gallery of images". (emphasis added). Wtmitchell (talk) (earlier Boracay Bill) 20:42, 14 November 2021 (UTC)

 * It's not a photomontage either. It's a single unmodified image. FDW777 (talk) 20:54, 14 November 2021 (UTC)
 * Per WP:APPNOTE I have notified relevant wikiprojects, and users of this discussion.
 * Even though it is not a collection of images, part of WP:NOETHNICGALLERIES, when it was developed was to avoid contentious editing by removing images in the infobox are in the introduction of ethnic group articles. As I stated, choosing an image which highlights the population of FilAms in NYC, gives undue weight to a portion of the population which make up less than 5% of the the total population of the ethnicity. Thus why at Demographics of Filipino Americans, no single population concentration is highlighted in the introduction section, and relevant images are included in their relevant sub-sections.-- RightCow LeftCoast ( Moo ) 22:06, 14 November 2021 (UTC)
 * According to the Philippine Independence Day Parade article, the New York parade is the biggest in the US. Simply because there is a larger population elsewhere than New York doesn't make that larger population a better representation of Filipino Americans. No matter where in the US they are from, and no matter how big the population is there, they are still Filipino Americans. FDW777 (talk) 17:40, 16 November 2021 (UTC)
 * I agree this is a good call, not only because of the policy that has stated, but the removed photo is objectively very poor to illustrate the article in the first place, showing only a parade crowd. Additionally, if you look at the articles for all the major Asian American ethnic groups (or any American ethnic groups in general) they have shunned the idea of illustrating the infobox with the faces of people. - Fuzheado | Talk 00:32, 15 November 2021 (UTC)
 * Is that because of the lack of a suitable photo though? That appears to be a circular argument; other articles have no suitable photos, therefore no photo can be suitable. FDW777 (talk) 17:42, 16 November 2021 (UTC)
 * It's not the most exciting image, but I don't think it contravenes MOS:NOETHNICGALLERIES. On the due point, while the image certainly doesn't represent all filams, I would not expect any individual image to represent all of any group of people. That said, if a good map or other abstract image is preferred as is used in the Demographics article, it seems likely to win out on individual merits. CMD (talk) 01:38, 15 November 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 13:56, 10 January 2022 (UTC)
 * Filipino Veterans WWII Congressional Gold Medal.jpg

title: Talk:Filipino Americans


text:
Penrose diagram

In theoretical physics, a Penrose diagram (named after mathematical physicist Roger Penrose) is a two-dimensional diagram capturing the causal relations between different points in spacetime through a conformal treatment of infinity. It is an extension (suitable for the curved spacetimes of e.g. general relativity) of the Minkowski diagram of special relativity where the vertical dimension represents time, and the horizontal dimension represents a space dimension. Using this design, all light rays take a 45° path $$(c = 1)$$. Locally, the metric on a Penrose diagram is conformally equivalent to the metric of the spacetime depicted. The conformal factor is chosen such that the entire infinite spacetime is transformed into a Penrose diagram of finite size, with infinity on the boundary of the diagram. For spherically symmetric spacetimes, every point in the Penrose diagram corresponds to a 2-dimensional sphere $$(\theta,\phi)$$.

Basic properties
While Penrose diagrams share the same basic coordinate vector system of other spacetime diagrams for local asymptotically flat spacetime, it introduces a system of representing distant spacetime by shrinking or "crunching" distances that are further away. Straight lines of constant time and straight lines of constant space coordinates therefore become hyperbolae, which appear to converge at points in the corners of the diagram. These points and boundaries represent conformal infinity for spacetime, which was first introduced by Penrose in 1963.

Penrose diagrams are more properly (but less frequently) called Penrose–Carter diagrams (or Carter–Penrose diagrams), acknowledging both Brandon Carter and Roger Penrose, who were the first researchers to employ them. They are also called conformal diagrams, or simply spacetime diagrams (although the latter may refer to Minkowski diagrams).

Two lines drawn at 45° angles should intersect in the diagram only if the corresponding two light rays intersect in the actual spacetime. So, a Penrose diagram can be used as a concise illustration of spacetime regions that are accessible to observation. The diagonal boundary lines of a Penrose diagram correspond to the region called "null infinity", or to singularities where light rays must end. Thus, Penrose diagrams are also useful in the study of asymptotic properties of spacetimes and singularities. An infinite static Minkowski universe, coordinates $$(x, t)$$ is related to Penrose coordinates $$(u, v)$$ by:
 * $$\tan(u \pm v) = x \pm t$$

The corners of the Penrose diagram, which represent the spacelike and timelike conformal infinities, are $$\pi /2$$ from the origin.

Black holes
Penrose diagrams are frequently used to illustrate the causal structure of spacetimes containing black holes. Singularities in the Schwarzschild solution are denoted by a spacelike boundary, unlike the timelike boundary found on conventional spacetime diagrams. This is due to the interchanging of timelike and spacelike coordinates within the horizon of a black hole (since space is uni-directional within the horizon, just as time is uni-directional outside the horizon). The singularity is represented by a spacelike boundary to make it clear that once an object has passed the horizon it will inevitably hit the singularity even if it attempts to take evasive action.

Penrose diagrams are often used to illustrate the hypothetical Einstein–Rosen bridge connecting two separate universes in the maximally extended Schwarzschild black hole solution. The precursors to the Penrose diagrams were Kruskal–Szekeres diagrams. (The Penrose diagram adds to Kruskal and Szekeres' diagram the conformal crunching of the regions of flat spacetime far from the hole.) These introduced the method of aligning the event horizon into past and future horizons oriented at 45° angles (since one would need to travel faster than light to cross from the Schwarzschild radius back into flat spacetime); and splitting the singularity into past and future horizontally-oriented lines (since the singularity "cuts off" all paths into the future once one enters the hole).

The Einstein–Rosen bridge closes off (forming "future" singularities) so rapidly that passage between the two asymptotically flat exterior regions would require faster-than-light velocity, and is therefore impossible. In addition, highly blue-shifted light rays (called a blue sheet) would make it impossible for anyone to pass through.

The maximally extended solution does not describe a typical black hole created from the collapse of a star, as the surface of the collapsed star replaces the sector of the solution containing the past-oriented white hole geometry and other universe.

While the basic space-like passage of a static black hole cannot be traversed, the Penrose diagrams for solutions representing rotating and/or electrically charged black holes illustrate these solutions' inner event horizons (lying in the future) and vertically oriented singularities, which open up what is known as a time-like "wormhole" allowing passage into future universes. In the case of the rotating hole, there is also a "negative" universe entered through a ring-shaped singularity (still portrayed as a line in the diagram) that can be passed through if entering the hole close to its axis of rotation. These features of the solutions are, however, not stable under perturbations and not believed to be a realistic description of the interior regions of such black holes; the true character of their interiors is still an open question.

title: Penrose diagram


text: User talk:210.198.164.87

title: User talk:210.198.164.87


text:
Monodendri

Monodendri may refer to:
 * Monodendri, Ioannina, a village in Zagori, Ioannina regional unit, Greece
 * Monodendri, Achaea, part of the municipal unit of Vrachnaiika, Achaea, Greece
 * Red Apple Tree, late medieval Greek legend

title: Monodendri