text:
Isidore of Kiev

Isidore of Kiev, also known as Isidore of Thessalonica (1385 – 27 April 1463), was a prelate of Byzantine Greek origin. From 1437 to 1441 he served as the Metropolitan of Kiev and all Rus' in the patriarchate of Constantinople of the Eastern Orthodox Church. He was a supporter of the Union of Florence which he proclaimed in Hagia Sophia on 12 December 1452. In the Latin Church, Isidore was the cardinal bishop of Sabina, Archbishop of Cyprus, Camerlengo of the Sacred College of Cardinals and the Latin Patriarch of Constantinople.

Early life
Isidore was born in southern Greece circa 1385. He may have been a member of, or at least connected to, the Palaiologos family. He arrived at Constantinople, became a monk, and was there made hegumenos of the monastery of St Demetrius. He knew Latin well, and had considerable fame as a theologian. He was also an accomplished orator; he seems from the beginning to have been eager for reunion with the West.

It was the time when the Court of Constantinople, on the eve of its final destruction by the Turks, was considering the chance of rescue from the Western princes as a result of reuniting with Rome. In 1434 Isidore was sent to Basel by John VIII Palaiologos (1425–1448) as part of an embassy to open negotiations with the Council of Basel. Here he made a mellifluous speech about the splendour of the Roman Empire at Constantinople, but his efforts did not result in union of the churches.

Metropolitan of Kiev
In 1437, Isidore was appointed Metropolitan of Kiev and all Rus' by Emperor John VIII Palaeologus and consecrated by Patriarch Joseph II. The Emperor hoped to draw the Eastern Orthodox Church in Kievan Rus' into communion with the Holy See and thereby to secure Constantinople's protection against the invading Ottoman Turks.

The Grand Duke of Moscow — Vasili II — was suspicious of the new metropolitan. He allowed Isidore to go to Florence to attend the continuation of the Council of Basel in 1439 on condition that Isidore should return with "the rights of Divine law and the constitution of the holy Church" uninjured. Isidore assured him that he would return from the ecumenical council without betraying the Orthodox faith. During this Council, Isidore fervently defended the union between the Churches of East and West, but he was opposed by the secular representative from Ruthenia - ambassador Foma (Thomas) of Tver. Finally, the union agreement was signed and Isidore returned to Eastern Europe. Sylvester Syropoulos and other Greek writers charge Isidore with perjury because he accepted the union, despite his promise to Vasili II.

Council of Ferrara
It is possible that Isidore had been a pupil of the neoplatonist Gemistus Pletho, and went with his teacher and two of Pletho's other students, Bessarion and Mark Eugenikos, to attend the Council of Ferrara, which was intended to negotiate the reunion of the Orthodox and Catholic Churches.

The large delegation of theologians and philosophers set out with a great following on 8 September 1437, travelled via Riga and Lübeck, and arrived at Ferrara on 15, August, 1438. On the way, he caused offense by his friendly conduct towards the Latins. At Ferrara and at Florence, where the council moved to in January, 1439, Isidore was one of the six chief speakers on the Byzantine side. Together with Bessarion he steadfastly worked for the union, and never swerved afterwards in his acceptance of it.

After the council, Pope Eugene IV made him his legate for all Ruthenia and Lithuania. While returning to Moscow, news reached Isidore, at Benevento, that he had been made Cardinal-Priest of the Title of St Peter and Marcellinus. This was one of the few cases at the time in which a person not of the Latin Rite was made a cardinal.

From Buda, in March 1440, he published an encyclical calling on all Rus' bishops to accept the union, but when he at last arrived in Moscow (Easter, 1441), and proclaimed the union in the Kremlin church, he found that Vasily II and most of the bishops and people would have none of it. Then, at Vasily's command, six Rus' bishops met in a synod, deposed Isidore, and imprisoned him.

The Grand Duchy of Moscow princes denounced the union with Rome, but Isidore persisted. On his return from Italy, during his first Pontifical Divine Liturgy in the Dormition Cathedral in the Moscow Kremlin, Isidore had a Latin Rite crucifix carried in front of the procession and named Pope Eugene IV during the prayers of the liturgy. He also read aloud the decree of unification. Isidore passed a message to Vasili II from the Holy See, containing a request to assist the Metropolitan in spreading the Union in Rus'. Three days later, Isidore was arrested by the Grand Prince and imprisoned in the Chudov Monastery. He was denounced by certain Rus' clergymen, who were under pressure of Vasili II, for refusing to renounce the union with Rome.

Inventor of Russian vodka
According to the hypothesis proposed by the Russian historian William Pokhlyobkin, Isidore allegedly produced the first genuine recipe of Russian vodka while being detained in Chudov Monastery. Pokhlyobkin claimed that vodka had been recognized as a uniquely Russian alcoholic drink by the international arbitration in 1982 in a lawsuit brought by Poland claiming exclusive right to use the term "vodka" or "wodka". However, Mark Lawrence Schrad in Vodka Politics: Alcohol, Autocracy, and the Secret History of the Russian State, notes there is no evidence in the archives of the Permanent Court of Arbitration in The Hague of any such legal action by Poland.

A type of distilled liquor close to one that would later become generally designated by the Russian word vodka came to Russia in the late 14th century. In 1386, the Genoese ambassadors brought the first aqua vitae ("the living water") to Moscow and presented it to Grand Prince Dmitry Donskoy, who previously had defeated the Tatar-Mongols and their Genoese mercenaries in the remarkable large-scale Battle of Kulikovo in 1380. The Genoese likely got this beverage with the help of the alchemists of Provence, who used the Arab-invented distillation apparatus to convert grape must into alcohol. Since Islam prohibited the drinking of any alcoholic beverages for Arabs, they used alcohol mainly for the production of perfumes. In Christian Europe, however, the aqua vitae became the predecessor of all modern strong alcoholic beverages, including brandy, whisky, schnapps and Russian vodka. The liquid that was obtained as a result of distillation of grape must was thought to be a concentrate and a "spirit" of wine (spiritus vini in Latin), from where came the name of this substance in many European languages (like English spirit, or Russian spirt).

According to the Pokhlyobkin's hypothesis, Isidore, kept as a prisoner in Chudov Monastery inside the Moscow Kremlin, made a recipe of the first Russian vodka. Having a special knowledge and distillation devices he became an author of the alcoholic beverage of a new, higher quality. This "bread wine" as it was initially known, was produced for a long time exclusively in the Grand Duchy of Moscow and in no other principality of Rus' (this situation persisted until the era of industrial production). That's why this beverage for a long time was associated with Moscow. Vodka is a diminutive of voda, which means "water" in Russian. The first written usage of the word vodka in an official Russian document in its modern meaning is dated by the decree of Empress Elizabeth of June 8, 1751, which regulated the ownership of vodka distilleries.

In Europe again
In September 1443, after two years of imprisonment, Metropolitan Isidor escaped to Tver, then to Lithuania and on to Rome. He was graciously received by the pope in 1443. Pope Nicholas V (1447–1455) sent him as legate to Constantinople to arrange the reunion there in 1452, and gave him two hundred soldiers to help the defence of the city. On 12 December of that year he was able to unite three hundred of the Byzantine clergy in a celebration of the short-lived reunion.

Before the Fall of Constantinople in 1453, he subsidized the repair of fortifications at his own expense and was wounded in the early hours of the sack. He managed to escape the carnage by dressing up a dead body in his cardinal's robes. While the Turks were cutting off its head and parading it through the streets, the real cardinal was shipped off to Asia Minor with a number of insignificant prisoners as a slave, and later found safety in Crete. He composed a series of letters describing the events of the siege. He warned of the danger of further expansion of the Turks in the multiple letters and even seems to be the earliest eyewitness to have compared Mehmed II with Alexander the Great.

He made his way back to Rome in 1455, and was made Bishop of Sabina, presumably adopting the Latin Rite. Pope Pius II (1458–64) later gave him two titles successively, those of Latin Patriarch of Constantinople and Archbishop of Cyprus, neither of which he could convert into real jurisdiction. He was Dean of the Sacred College of Cardinals from October 1461 until his death in 1463.

title: Isidore of Kiev


text:
Arthur Brough

Arthur Brough (born Frederick Arthur Baker; 26 February 1905 – 28 May 1978) was a British actor and theatre founder, producer and director best known for portraying the character of bumbling senior menswear salesman Ernest Grainger on the BBC TV sitcom Are You Being Served?

Early life
Brough originally wanted to become a teacher but failed to gain such employment and worked in a solicitor's office. After taking an interest in acting, Brough attended the Royal Academy of Dramatic Art, graduating in 1928. He then joined a Shakespearean theatrical troupe, where he met his wife-to-be, actress Elizabeth Addyman. After they married in 1929, they used their wedding dowry as collateral to rent the Leas Pavilion, a repertory theatre in Folkestone, Kent. They had one daughter, Joanna.

Theatre impresario
Having used the name The Pioneer Players at Folkestone since 1929, Brough and his wife Elizabeth formed The Arthur Brough Players in 1932. Once the Folkestone rep was established, Brough formed new repertory companies in Bradford, Bristol, Blackpool, Keighley, Leeds, Lincoln, Oxford and Southampton, to name a few. With the outbreak of World War II, Brough enlisted in the Royal Navy, where he served for the duration of the war. His service included helping with the evacuation of Dunkirk in 1940, his ship returning to the rescue scene several times to bring soldiers home before the Nazis reached them at the seaport.

Following demobilisation, Brough resumed his acting career and reopened the Folkestone rep. Many prominent actors began their careers with the Arthur Brough Players, including Peter Barkworth, who appeared in The Guinea Pig in 1948: Eric Lander, later a star of the TV series No Hiding Place, in 1949: Polly James in the early 1960s: and Anne Stallybrass, who started out as ASM in 1960 and went on to play Ida the maid in Pool's Paradise by Philip King; as well as appearing in The Aspern Papers, Candida, and A Taste of Honey at the little Folkestone theatre. Others included Andrew Jack; Sydney Sturgess, who went on to marry Barry Morse; and Trevor Bannister, who would later act alongside Brough in Are You Being Served?

In those days a local repertory company would present a fresh play each week, to rival the cinemas, with a small stable cast rehearsing one play by day, whilst performing what they had rehearsed the previous week each evening, with a mid-week 'tea' matinee. Since there was a limited number of actors in the company for economic reasons, they often had to play characters far from their own age or appearance. Brough took his company on tour, and helped establish rep companies in Aldershot, Southend and Eastbourne.

Television
With the rise of television, Brough predicted the eclipse of repertory theatre as a viable entertainment form. In the 1960s he began seeking roles in the mass media, appearing in small roles in films and television. His daughter, Joanna Hutton, said this about his forecast of the decline of repertory theatre: "He was very astute and unsentimental about it. He realized the era was over and that he must diversify". According to Hutton, her father first found it hard adjusting from stage to screen. "He realized how hammy he was. He used to take the mickey out of himself; he'd always acted in a Shakespearean manner and suddenly realized he had to tone down his performance for film".

One of the first jobs Brough did away from the stage was the film The Green Man (1956) with Alastair Sim, in which he played the landlord of the eponymous hotel. He had a minor role opposite Jayne Mansfield in The Challenge (1960), and made guest appearances in TV shows such as Upstairs, Downstairs, Dad's Army, Z-Cars, The Persuaders, Adam Adamant Lives!, Randall and Hopkirk (Deceased) and Jason King. He also continued to appear in theatrical productions, including Half a Sixpence, playing a shopkeeper. The Folkestone Rep continued until 1969 before closing at the time that Brough's wife Elizabeth began to suffer ill health.

Are You Being Served?
In 1972, Brough was cast as Mr Ernest Grainger in the BBC sitcom Are You Being Served? by Jeremy Lloyd and David Croft. Initially a pilot episode in the Comedy Playhouse slot, it was well received and commissioned for a series in early 1973. Set in a fading fictional department store, Brough played the senior menswear salesman alongside his assistants Mr Humphries (John Inman) and Mr Lucas (Trevor Bannister). The show ran until 1985.

After the show completed its fifth series in 1977, on 22 March 1978, Arthur Brough's wife of almost 50 years, Elizabeth, died, and the emotionally devastated Brough announced he was quitting acting. Brough stayed with his daughter for a few weeks following his wife's death and, according to his daughter, Jeremy Lloyd and David Croft made contact to say they were writing him into the next series. However, he died just two months after his wife, on 28 May 1978, in Folkestone. Croft decided not to have another actor take over the part of Mr Grainger, so his character in Are You Being Served? was replaced by Mr Tebbs, played by James Hayter.

Related family life
Brough's daughter, Joanna Hutton (who died in 2002), became the first female curator of the Brontë Parsonage Museum in Haworth for a period in the 1960s.

Credits
Arthur Brough dedicated his life to the theatre, and Are You Being Served? co-star Mollie Sugden credited him with helping train a generation of actors. His colleagues have fond memories of working with Brough, who, as his daughter noted, "was a highly respected actor who'd spent forty years in the profession." At the time of his death, David Croft said: "Arthur created a living character who was the inspiration for much of the humour. His personality made him a pivot round which a whole lot of laughter and affection revolved."

With a mischievous sense of humour, he would often pull pranks on the rest of the cast during recordings. Despite this, however, Trevor Bannister held him in very high regard, saying of him that he was a "wicked old man but a wonderful man." David Croft recalls how Brough would disappear from the set. 'Whenever we were rehearsing he'd vanish at about three minutes to eleven. For a while we wondered where he went, but eventually discovered that he'd nip next door to the pub for a quick Pink Gin. We'd watch from the window as this little figure hurled towards the pub – we never spoke to him about it. One day when he returned, John Inman asked where he'd been. He made some excuse, but what he'd forgotten was that it was pouring with rain and his bald head was soaking wet!'

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

title: Arthur Brough


text:
Wikipedia talk:WikiProject C/C++

Articles as manual pages, or miniature tutorials?
I see a number of articles related to C/C++ that are tutorials. For example, there is an article on stdarg.h which provides implementation instructions. Numerous code samples -- the entire standard library article series is written like this. Is this good for Wikipedia, to be partial, second-class documentation? A third-rate tutorial site? I don't understand the motive for including all this information in an encyclopedia. I know people are passionate about the language, but these articles are clearly beyond casual encyclopedic interest. See: http://en.wikipedia.org/wiki/Wikipedia:NOT#GUIDE -- thoughts?

I propose to eliminate or merge a large number of these library pages, without the code samples they're nothing but stubs. 75.119.90.35 (talk) 18:13, 24 October 2013 (UTC)

C++0x still cited widely
You guys are probably aware of this already, but I have noticed that many C++ and general computer programming articles still refer to C++0x as an upcoming standard, rather than to C++11 adopted in August of this year. Is there any organized effort to fix that or do we just let it trickle in? TiC (talk) 15:49, 12 November 2011 (UTC)
 * I think that renaming effort is needed. C++0x is a history now. It should be explained what is that in the main C++ article. Everywhere else the C++11 should be used. Code-Analysis (talk) 12:31, 4 November 2012 (UTC)

for loop image
Hi. I have found this image : File:C language for.png. Is it bad image ? ( increment should be done also after last check of condition ) Am I right ? Regards --Adam majewski (talk) 09:47, 24 March 2012 (UTC)

Help with C++ Wikibook
Hello all! I’m working with the Saylor foundation to create a series of original, crowd-sourced textbooks that will be openly licensed and freely available on the web and within Saylor’s free, self-paced courses at Saylor.org. We are using Wikibooks as a platform to host this project and hope to garner the interest of existing members of the Wikibooks and Wikipedia community, as well as bring in new members! We thought that some of your members may be interested in contributing to our book Saylor.Org's C++ Programming .(talk) --Thomas Simpson (talk) 17:20, 22 August 2012 (UTC)

Articles for deletion/C++ grammar
See Articles for deletion/C++ grammar. FYI, —Ruud 22:08, 5 November 2012 (UTC)

Request for comments: Establish standards for version history tables in software articles
I'd like to introduce the Template:Version template to Wikipedia with the goal to establish one standard for version history tables (or lists). It simplifies creation of release histories, standardizes release stages and makes the content more accessible. Please comment on the template talk page (there already is some discussion). Thanks for your contribution. Jesus Presley (talk) 07:08, 28 November 2012 (UTC)

Requested move

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

The result of the move request was: page moved.   A rbitrarily 0   ( talk ) 02:09, 1 March 2013 (UTC)

Wikipedia:WikiProject C++ → WikiProject C/C++ – On 11 March 2006, moved WikiProject C to WikiProject C++. His reason Move the inactive project to a better location and get a fresh restart.

I disagree that "...C++" is a better location. — Sowlos 13:48, 21 February 2013 (UTC)
 * If this WikiProject is truly supposed to cover both C and C++, Wikipedia:WikiProject C/C++ is more appropriate.
 * C++ is an extremely close relative of C, not its successor. Referring to both under either name is incorrect and misleading to perspective participants.
 * "C/C++" is the commonly used term for referring both simultaneously.
 * WikiProject C and WikiProject C++ should both redirect to Wikipedia:WikiProject C/C++.
 * C and C++ articles then can be easily differentiated with WPBannerMeta's task force categorizations (one for each).

 * Support though perhaps it would be better to cover cshell, tcsh, C# and Java and ECMAscript (JS) as well, in a unified C/C++/C#/Java/JS project? -- 65.92.180.137 (talk) 23:26, 21 February 2013 (UTC)
 * Support Makes sense. —Ruud 00:11, 22 February 2013 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Member list
At some point, a few plain text names were included in the list of participants. I tried searching the names but cannot connect them to any existing Wikipedia accounts. As far as I can tell, they may be the names of three unregistered people.

Before simply removing them, I'm wondering if anyone knows who they might be. — Sowlos 11:09, 5 March 2013 (UTC)

Needs help
I wrote an article about a C++ book C++ Primer, but it was speedily deleted as advertisement. I hope some one would be able to help. Here is the deletion review. --HNAKXR (talk) 02:33, 8 June 2013 (UTC)

C++ Compilers
Computers understand only one language and that language consists of sets of instructions made of ones and zeros. This computer language is appropriately called machine language. A single instruction in computer might look like this: 0000 0001 (Binary Numbers)

A particular computer's machine language program that allows a user to input two numbers, adds the two numbers together and displays the total could include these machine code instructions: 00000	10011110 00001	11110100 00010	10011110 00011	11010100 00100	10111111 00101	00000000

As you can imagine, programming a computer directly in machine language using only ones and zeros is very tedious and error prone. To make programming easier, high level languages have been developed. High level programs also make it easier for programmers to inspect and understand each other's programs easier.

This is a portion of code written in C++ that accomplishes the exact same purpose:

int a, b, sum; cin >> a; cin >> b; sum = a + b; cout << sum << endl;

Even if you cannot really understand the code above, you should be able to appreciate how much easier it will be to program in the C++ language as opposed to machine language.

Because a computer can only understand machine language and humans wish to write in high level languages high level languages have to be re-written (translated) into machine language at some point. This is done by special programs called compilers, interpreters, or assemblers that are built into the various programming applications.

C++ is designed to be a compiled language, meaning that it is generally translated into machine language that can be understood directly by the system, making the generated program highly efficient. For that, a set of tools are needed, known as the development tool chain, whose core are a compiler and its linker.

14.96.222.110 (talk) 18:51, 19 January 2015 (UTC)

 * I'm not sure why the above was added to the talk page, but it is nice tutorial that probably belongs in an article (with a bit or rewording and some minor editing, such as my change of "is" to "might").Tripodics (talk) 16:25, 11 April 2015 (UTC)
 * It is unclear to me whether there has been any recent activity on this project. If there is some work to do, I'm willing to help out, but don't know how to participate.Tripodics (talk) 16:25, 11 April 2015 (UTC)

Why are C and C++ placed within a single project
Why are C and C++ placed within a single project? Martinkunev (talk) 16:57, 25 January 2016 (UTC)
 * Just for the historical record: the answer is literally a few sections above this one: Wikipedia talk:WikiProject C/C++ --DanielPharos (talk) 23:47, 25 March 2017 (UTC)

Request for information on WP1.0 web tool
Hello and greetings from the maintainers of the WP 1.0 Bot! As you may or may not know, we are currently involved in an overhaul of the bot, in order to make it more modern and maintainable. As part of this process, we will be rewriting the web tool that is part of the project. You might have noticed this tool if you click through the links on the project assessment summary tables.

We'd like to collect information on how the current tool is used by....you! How do you yourself and the other maintainers of your project use the web tool? Which of its features do you need? How frequently do you use these features? And what features is the tool missing that would be useful to you? We have collected all of these questions at this Google form where you can leave your response. Walkerma (talk) 04:24, 27 October 2019 (UTC)

Move discussion at C18 (C standard revision)
Watchers of this page may be interested in the move discussion at Talk:C18_(C_standard_revision), regarding whether the WP:COMMONNAME of the current C standard revision is C17 or C18. - Astrophobe  (talk) 21:56, 28 October 2020 (UTC)

Why is Barton–Nackman trick marked as "Start-Class"?
Hi,

I've carefully re-read Barton–Nackman trick (to which I had contributed many years ago) and it doesn't seem to lack anything important. I'd rate it as at least B-Class. Is there any particular reason why it is marked as a Start-Class article, instead? — Gennaro Prota •Talk 09:37, 3 January 2022 (UTC)

User script to detect unreliable sources
I have (with the help of others) made a small user script to detect and highlight various links to unreliable sources and predatory journals. Some of you may already be familiar with it, given it is currently the 39th most imported script on Wikipedia. The idea is that it takes something like and turns it into something like
 * John Smith "Article of things" Deprecated.com. Accessed 2020-02-14.
 * John Smith "Article of things" Deprecated.com. Accessed 2020-02-14.

It will work on a variety of links, including those from cite web, cite journal and doi.

The script is mostly based on WP:RSPSOURCES, WP:NPPSG and WP:CITEWATCH and a good dose of common sense. I'm always expanding coverage and tweaking the script's logic, so general feedback and suggestions to expand coverage to other unreliable sources are always welcomed.

Do note that this is not a script to be mindlessly used, and several caveats apply. Details and instructions are available at User:Headbomb/unreliable. Questions, comments and requests can be made at User talk:Headbomb/unreliable.

-   Headbomb {t · c · p · b}

This is a one time notice and can't be unsubscribed from. Delivered by: MediaWiki message delivery (talk) 16:01, 29 April 2022 (UTC)

Adoption
I'd like to adopt this WikiProject. If there are no objections, I'll adopt this WikiProject in a week. elijahpepe@wikipedia (he/him) 23:15, 14 March 2023 (UTC)
 * Seeing as this topic received no responses, I'll adopt the project anyway. elijahpepe@wikipedia (he/him) 21:52, 19 March 2023 (UTC)

Project-independent quality assessments
Quality assessments are used by Wikipedia editors to rate the quality of articles in terms of completeness, organization, prose quality, sourcing, etc. Most wikiprojects follow the general guidelines at Content assessment, but some have specialized assessment guidelines. A recent Village pump proposal was approved and has been implemented to add a class parameter to WikiProject banner shell, which can display a general quality assessment for an article, and to let project banner templates "inherit" this assessment.

No action is required if your wikiproject follows the standard assessment approach. Over time, quality assessments will be migrated up to WikiProject banner shell, and your project banner will automatically "inherit" any changes to the general assessments for the purpose of assigning categories.

However, if your project has decided to "opt out" and follow a non-standard quality assessment approach, all you have to do is modify your wikiproject banner template to pass WPBannerMeta a new custom parameter. If this is done, changes to the general quality assessment will be ignored, and your project-level assessment will be displayed and used to create categories, as at present. Aymatth2 (talk) 20:46, 9 April 2023 (UTC)

Requested move at Talk:Associative containers
There is a requested move discussion at Talk:Associative containers that may be of interest to members of this WikiProject. ASUKITE 19:42, 4 October 2023 (UTC)

title: Wikipedia talk:WikiProject C/C++


text:
PowerJet SaM146

The PowerJet SaM146 is a turbofan engine produced by the PowerJet joint venture between Snecma (Safran) of France and NPO Saturn of Russia. Developing 68 - 80 kN of thrust, the SaM146 is used on the Sukhoi Superjet 100.

Snecma is in charge of the core engine, control system (FADEC), transmissions (accessory gearbox, transfer gearbox), overall engine integration and flight testing. NPO Saturn is responsible for the components in the low pressure section and engine installation on the Sukhoi Superjet 100 regional aircraft and ground testing.

Design and development

The SaM146 is the outcome of a Franco-Russian joint venture between Safran Aircraft Engines of France and United Engine Corporation (UEC) of Russia. In the joint venture, Saturn, an engine design and manufacturing subsidiary of UEC is responsible for the design and manufacturing of the cold section which includes the fan, the low-pressure turbine and the low-pressure compressor, as well as for the general assembly and testing of the SaM146 engine. Conversely, the area of responsibility for Safran Aircraft Engines which is represented by its subsidiary, Snecma, covers the design and manufacture of the engine core or hot-section - this includes the development of high-pressure compressor, high-pressure turbine, a combustion chamber, an accessory gearbox, electronic engine control and power plant integration. The SaM146 engine and its manufacturing process are certified to the EASA and IAC AR regulations. Deliveries and all after-sales services on the SaM146 are performed by PowerJet.

The SaM146 core design is mainly based on the CFM56. The core was developed by Snecma, drawing on its M88 ‘hot section’ military engine experience and the DEM21 core demonstrator project – with its six-stage compressor and single-stage, high-pressure turbine with active blade-tip clearance control – and various other modern design features (such as single-piece bladed disks). The SaM146 utilizes a single-stage high-pressure turbine and as a new design has been developed to meet current and projected environmental standards, including regulations of the ICAO Committee of Aviation Environmental Protection Sixth Session (CAEP VI), set to become effective in 2008.. Blisk technology is used to improve fuel economy and lower maintenance.

The SaM146 provides 62 to 77.8KN of thrust (6,200 to 7,700 kg). In April 2003, Sukhoi Civil Aircraft Company selected the SaM146 for its Superjet 100 regional aircraft, to be produced in 75 and 95-seat versions. On 23 June 2010, it was announced that EASA certified PowerJet for its SaM146 engine. It gained Russian certification in August 2010.

The Sukhoi SuperJet 100 that the SaM146 powers has been marginally successful, being widely operated by several airlines: Interjet (Mexico), Aeroflot, Moskovia Airlines, Yakutia Airlines, Gazpromavia, Centre-South, UTair Aviation (Russia), Lao Central Airlines (Laos) and Sky Aviation (Indonesia).

By August 2017, the 300th Russian-French SaM146 engine for the Sukhoi Superjet 100 (SSJ100) aircraft has been assembled at UEC – Saturn (United Engine Corporation) and delivered to Sukhoi Civil Aircraft Company. To date, the SaM146 engine fleet has logged over 700,000 flight hours.

In 2018 due to SaM146 problems 2 companies scrapped SSJ100 from their fleet: Red Wings and Yakutia.

In September 2018, plans were announced for the Beriev Be-200 amphibian to be re-engined with a variant of the SaM146 for international sale, replacing the Progress D-436 engines which do not have EASA or FAA type certificates.

In December 2018, the engine received 120-minute ETOPS approval from Europe’s aviation authorities.

Poor SSJ100 reliability rate occurs due to a malfunction of Sam-146 engine's combustor after 2000–4000 hours. The manufacturer is said to be working on modifications to the combuster in a bid to address the issues.

Matters changed in the wake of the Russian incursion into Ukraine, since international sanctions applied to Russia prohibit sale, supply, transfer or export of aircraft and aircraft parts and technology to Russian entities. In late March 2022, PowerJet terminated its contract to provide parts, technical support, engine maintenance, or repair services with regard to the SaM146.

Applications

 * SaM146 1S17
 * Sukhoi Superjet 100/95
 * SaM146 1S18
 * Sukhoi Superjet 100/95LR

title: PowerJet SaM146


text:
MRCP

MRCP may be:
 * Magnetic resonance cholangiopancreatography, in medical imaging, a technique to visualise the biliary tract and pancreatic ducts.
 * Membership of the Royal Colleges of Physicians of the United Kingdom, a postgraduate medical diploma run by the Federation of the Medical Royal Colleges of the United Kingdom
 * Media Resource Control Protocol, in computer systems, a communication protocol used by speech servers to provide various speech services
 * Master of Regional and City Planning, a variant of Master of Urban Planning
 * Movement Related Cortical Potentials - an activity in the motor cortex and supplementary motor area of the brain leading up to voluntary muscle movement

title: MRCP


text:
Lowell Mason

Lowell Mason (January 8, 1792 – August 11, 1872) was an American music director and banker who was a leading figure in 19th-century American church music. Lowell composed over 1,600 hymn tunes, many of which are often sung today. His best-known work includes an arrangement of "Joy to the World" and the tune Bethany, which sets the hymn text Nearer, My God, to Thee. Mason also set music to Mary Had A Little Lamb. He is largely credited with introducing music into American public schools, and is considered the first important U.S. music educator. He has also been criticized for helping to largely eliminate the robust tradition of participatory sacred music that flourished in North America before his time.

Life
Mason was born and grew up in Medfield, Massachusetts, where he became the music director of First Parish (now First Parish Unitarian Universalist) Church at age 17. His birthplace residence was saved from development in 2011. It was relocated to a town park on Green Street. The Lowell Mason House foundation is an effort to create a Lowell Mason museum and music education center.

He spent the first part of his adulthood in Savannah, Georgia, where he worked first in a dry-goods store, then in a bank. He had very strong amateur musical interests, and studied music with the German teacher Frederick L. Abel, eventually starting to write his own music. He also became a leader in the music of the Independent Presbyterian Church, where he served as choir director and organist. Under his initiative, his church created the first Sunday school for black children in America at the now Historic First Bryan Baptist Church in Savannah, GA.

Following an earlier British model, Mason embarked on producing a hymnal whose tunes would be drawn from the work of European classical composers, such as Haydn, Mozart and Beethoven. Mason had great difficulty in finding a publisher for this work. Ultimately, it was published (1822) by the Handel and Haydn Society of Boston, which was one of the earliest American organizations devoted to classical music. Mason's hymnal was highly successful. He first had published it anonymously, as he felt that his main career was as a banker, and he hoped not to damage his career prospects.

In 1827, Mason moved to Boston, where he continued his banking career for some time. Mason served as choirmaster and organist at Park Street Church from 1829 to 1831. He eventually became a music director for three churches, in a six-month rotation, including the Hanover Street church, whose pastor was the prominent abolitionist Lyman Beecher. Mason became an important figure on the Boston musical scene: He served as president of the Handel and Haydn Society, taught music in the public schools, was co-founder of the Boston Academy of Music (1833). From 1838 to 1841 served as music superintendent for the Boston school system. In the 1830s, Mason set to music the nursery rhyme "Mary Had a Little Lamb". In 1845 political machinations in the Boston school committee led to the termination of his services.

In 1851, at the age of 59, Mason retired from Boston musical activity and moved to New York City, where his sons, Daniel and Lowell, Jr. had established a music business. On December 20, 1851, he set sail to Europe. During his tour of Europe in 1852, he developed a great interest and enthusiasm for congregational singing, especially that of German churches, such as the Nikolaikirche in Leipzig or the Kreuzkirche in Dresden.

Following his return to New York City, Mason accepted the position as music director in 1853 for the Fifth Avenue Presbyterian Church. It had just completed construction of a new church building on Nineteenth Street. He immediately disbanded its choir and orchestra, and installed an organ with his son, William, serving as organist. During his tenure, which lasted until 1860, he developed congregational singing to the point where the church was known as having the finest congregational singing in the city. In 1859 Mason, along with Edwards A. Parks and Austin Phelps, published the "Sabbath Hymn and Tune Book". This part of his career probably had the most enduring effects on American church music. Mason personally changed his view from imagining that church congregations were reluctant to sing to vigorously promoting congregational singing. He eliminated all professional musicians save the organist.

In 1855 the University of New York awarded Mason the degree of doctor of music, which was the first musical degree awarded by any American college.

In 1860 Mason retired to his estate in Orange, New Jersey, where he helped found Valley Congregational Church (renamed Highland Avenue Congregational Church in 1916). He was buried in Orange's Rosedale Cemetery.

Assessment
The editors of the Grove Dictionary of Music and Musicians criticize Mason for his focus on European classical music as a model for Americans. On the other hand, Mason is given credit for popularizing European classical music in a region where it was seldom performed. Since his day, the United States has been part of the global region in which this form of music is cultivated and appreciated.

The New Grove editors believe that Mason's introduction of European models for American hymnody choked off a flourishing participatory native tradition of church music, which had already produced outstanding compositions by such composers as William Billings. During the early 19th century, shape note music was used as part of evangelizing in the Second Great Awakening. Mason and his colleagues (notably his brother Timothy Mason) characterized this music as backwoods material, "unscientific", and unworthy of modern Americans. They taught their views through a new form of singing school, set up to replace the old singing schools dating from colonial times.

In comparison with the earlier forms of American sacred music, the music that Mason and his colleagues propagated would be considered by many musicians to be rhythmically more homogeneous and harmonically less forceful. By emphasizing the soprano line, it also made the other choral parts less interesting to sing. Lastly, the new music generally required the support of an organ, which was a Mason family business.

James Keene also addresses the shift in church music that Mason led, putting forth the idea that to some degree Mason's work cut off the people from their music:

As so often happens in America, the so-called arbiters of good taste looked across the Atlantic for their models and scorned that which was home-grown. And such was their influence, then as now, that an uncertain population, striving for cultural respectability, embraced the common practice of European art music. Those who studied in Europe or in the European model cultivated a social superiority. ... These arbiters of taste did not represent the mean of the population. Their influence left the many congregations without a music to which they could identify. An interest in church singing waned, giving way to the quartet choir. New England would not hear again the stimulating strains of the fuge-tune coming from all parts of the sanctuary.

The noted early music specialist Joel Cohen, whose ensemble has performed much early American music, offers the following assessment of Mason:

"[Mason] spent his long career trying to 'correct' the vital American folkhymn tradition and to replace it with something blander, and worse. He was rewarded for his largely successful efforts with fame, fortune, and a place in all standard music history books, while true geniuses like the anonymous harmonizer of Midnight Cry lie in unmarked graves."

The tradition that Mason largely succeed in defeating retreated to the inland rural South, where it resisted efforts at conversion, surviving in the form of (for example) Sacred Harp music. This genre has grown in popularity as Americans (and even Europeans   ) in all regions rediscover pre-Lowell Mason American sacred music.

Nevertheless, his achievements as a hymnodist were celebrated long after his death. In 1942, his sesquicentennial was well celebrated. After an unveiling of a plaque at his grave, a commemorative service at the Orange church he founded was held. In addition to a variety of choral performances (of Mason's music), the service featured organ preludes based on Mason hymn tunes specially written for the occasion by T. Tertius Noble and by Mason's grandson Daniel Gregory Mason. Later that evening another concert featuring Mason's music was held at Union Theological Seminary in New York City.

Relatives
Lowell Mason was the father of Henry Mason (the founder of the Mason and Hamlin firm), as well as composer William Mason. He was the grandfather of Daniel Gregory Mason, a music critic and composer and John B. Mason, a popular late nineteenth and early twentieth-century stage actor. Lowell's twin brother Johnson Mason was the grandfather of Louisville, Kentucky architect Mason Maury.

title: Lowell Mason


text:
James Hayter (actor)

Henry James Hayter (23 April 1907 – 27 March 1983) was a British actor of television and film. He is best remembered for his roles as Friar Tuck in the film The Story of Robin Hood and His Merrie Men (1952) and as Samuel Pickwick in the film The Pickwick Papers (1952), the latter earning him a BAFTA Award for Best British Actor nomination.

Early life
Hayter was born in Lonavala, India, and brought up in Scotland, attending Dollar Academy. He made his West End debut in the 1936 comedy The Composite Man at Daly's Theatre. His best remembered film roles include Friar Tuck in the 1952 film The Story of Robin Hood and His Merrie Men (he reprised the same role in the 1967 film A Challenge for Robin Hood) and Samuel Pickwick in The Pickwick Papers of the same year. His rotund appearance and fruity voice made him a natural choice for such roles.

Acting career
As an actor, Hayter became a graduate of the Royal Academy of Dramatic Art. His film career began in 1936 in Sensation, but was interrupted by World War II, during which he served in the Royal Armoured Corps. His 1946 television series Pinwright's Progress, shown on the BBC, is recognised as the first real example of the half-hour situation comedy format in the history of British television.

In the 1968 film Oliver!, Hayter played Mr Jessop, the bookshop owner. He appeared in scenes when Dodger steals a gentleman's wallet outside the bookshop and also when Oliver is in court charged with the robbery. Hayter was the Ministry doorman in the film Passport to Pimlico (1949).

His later career included roles in TV series such as The Forsyte Saga (1967) and The Onedin Line. In 1967, Hayter appeared in The Avengers episode "A Funny Thing Happened On The Way to the Station" as the ticket master. He also appeared as Dickson McCunn in the BBC serial Huntingtower, based on the book by John Buchan.

Hayter also appeared in the long-running BBC department store sitcom Are You Being Served? as the senior salesman Mr Tebbs in 1978. He was the original narrator of the UK television advertisements for Mr Kipling cakes. These adverts actually led to his departure from Are You Being Served?; the cake company paid him a significant bonus to withdraw from the series, as they felt his reputation lent an air of dignity to their advertisements. "Who can blame an actor in his seventies for accepting money for staying at home? I, now 78, would jump at the chance!" wrote Frank Thornton (Captain Peacock in the series) in a letter to one of Hayter's eight children in 1999.

Personal life and death
He died in Spain in 1983, aged 75.

Partial filmography

 * Sensation (1936) – Jock
 * Aren't Men Beasts! (1937) – Minor Role (uncredited)
 * Big Fella (1937) – Chuck
 * Marigold (1938) – Peter Cloag
 * Murder in Soho (1939) – Nick Green
 * Come On George! (1939) – Barker
 * Band Waggon (1940) – Minor Role (uncredited)
 * Sailors Three (1940) – Hans
 * The Laughing Lady (1946) – Ostler, Turk's Head
 * School for Secrets (1946) – Warrant Officer
 * Nicholas Nickleby (1947) – Ned Cheeryble / Charles Cheeryble
 * Captain Boycott (1947) – Music Hall Comic (uncredited)
 * The October Man (1947) – Garage Man
 * The Ghosts of Berkeley Square (1947) – Capt. Dodds (uncredited)
 * The End of the River (1947) – Chico
 * The Mark of Cain (1947) – Dr. White
 * Vice Versa (1948) – Bandmaster
 * My Brother Jonathan (1948) – Tom Morse
 * A Song for Tomorrow (1948) – Nicholas Klausmann
 * The Fallen Idol (1948) – Perry
 * Woman Hater (1948) – Mr. Burrell
 * No Room at the Inn (1948) – Councilor Trouncer
 * Quartet (1948) – Foreman of the Jury (segment "The Alien Corn")
 * Bonnie Prince Charlie (1948) – Kingsburgh
 * Once a Jolly Swagman (1949) – Pa Fox
 * Silent Dust (1949) – Pringle
 * The Blue Lagoon (1949) – Doctor Murdoch
 * All Over the Town (1949) – Councillor Baines
 * Passport to Pimlico (1949) – Commissionaire
 * For Them That Trespass (1949) – John Craigie 'Jocko' Glenn
 * Don't Ever Leave Me (1949) – Man with Summons
 * Helter Skelter (1949) – Inn landlord (uncredited)
 * Dear Mr. Prohack (1949) – Carrell Quire
 * The Spider and the Fly (1949) – Mayor
 * Your Witness (1950) – Prouty, Trial Witness
 * Morning Departure (1950) – Able Seaman Higgins
 * Night and the City (1950) – Figler, King of the Beggars (uncredited)
 * Waterfront (1950) – Ship's captain
 * Trio (1950) – Albert Foreman – (segment The Verger)
 * The Woman with No Name (1950) – Capt. Bradshawe
 * Flesh and Blood (1951) – Sir Douglas Manley
 * Calling Bulldog Drummond (1950) – Bill
 * Tom Brown's School Days (1951) – Old Thomas
 * The Story of Robin Hood and His Merrie Men (1952) – Friar Tuck
 * I'm a Stranger (1952) – Horatio Flowerdew
 * The Crimson Pirate (1952) – Prof. Elihu Prudence
 * The Pickwick Papers (1952) – Samuel Pickwick
 * The Great Game (1953) – Joe Lawson
 * Four Sided Triangle (1953) – Dr. Harvey
 * Always a Bride (1953) – Dutton
 * Will Any Gentleman...? (1953) – Dr. Smith
 * A Day to Remember (1953) – Fred Collins
 * For Better, for Worse (1954) – The Plumber
 * Beau Brummell (1954) – Mortimer
 * The Awakening (1954) - The Chief
 * See How They Run (1955) – Bishop of Lax
 * Land of the Pharaohs (1955) – Mikka, Vashtar's Servant
 * Touch and Go (1955) – Kimball
 * Keep It Clean (1956) – Mr. Bouncenboy
 * Port Afrique (1956) – Nino
 * It's a Wonderful World (1956) – Bert Fielding
 * Seven Waves Away (1957) – 'Cookie' Morrow
 * Carry On Admiral (1957) – Member of Parliament (uncredited)
 * The Heart Within (1957) – Grandfather Willard
 * Sail Into Danger (1957) – Monty
 * Gideon's Day (1958) – Robert Mason
 * The Big Money (1958) – Mr. Frith
 * I Was Monty's Double (1958) – Sgt. Adams
 * The Captain's Table (1959) – Earnshaw
 * The 39 Steps (1959) – Mr. Memory
 * The Boy and the Bridge (1959) – Tugboat Skipper
 * The Moonstone (1959) – Gabriel Betteredge
 * Go to Blazes (1962) – Pipe Smoker
 * Out of the Fog (1962) – Tom Daniels
 * Lawrence of Arabia (1962) – Arab Sheik at Council (uncredited)
 * Stranger in the House (1967) – Harry Hawkins
 * A Challenge for Robin Hood (1967) – Friar Tuck
 * Oliver! (1968) – Mr. Jessop
 * The Flaxton Boys (1969) – Nathan
 * Song of Norway (1970) – Butler to Berg
 * The Horror of Frankenstein (1970) – Bailiff
 * Scramble (1970) – (uncredited)
 * The Firechasers (1971) – Inspector Herman
 * The Blood on Satan's Claw (1971) – Squire Middleton
 * Burke & Hare (1972) – Dr. Selby
 * The Bawdy Adventures of Tom Jones (1976) – Briggs

title: James Hayter (actor)


text:
RAF Brampton

RAF Brampton was a non-flying Royal Air Force installation near Huntingdon in Cambridgeshire, England. Formerly the home of RAF Support Command, it also became the home of several elements of Defence Equipment & Support (DE&S), which itself was a result of a merger between the Defence Logistics Organisation (DLO) and the Defence Procurement Agency (DPA), and provided a base for the Defence Security & Assurance Services and Defence Estates.

It was part of the combined station RAF Brampton Wyton Henlow but this was disbanded on 2 April 2012 and the station was renamed Brampton Camp, losing its status as a RAF station and coming under the control of Joint Forces Command and RAF Wyton. The camp was closed at the end of 2013 and all assets were transferred to a new JFIG Pathfinder building at RAF Wyton.

History
The site was used during the First World War, when Lord Mandeville (who owned the site) agreed to its use to house German prisoners of war. After this, Lord Mandeville let the site for domestic use. During the early years of the Second World War, the site was used to house babies and children evacuated from London. In 1942, the United States Army Air Force First Bomb Wing Headquarters was established on the site and it was used to billet American airmen. In September 1945, the USAAF moved out to what was RAF Alconbury, to the north of the Brampton site.

The Royal Air Force Technical Training Command billeted staff at RAF Brampton (then known as Brampton Park) whilst the Command HQ was located at Brampton Grange, a large house that dates back to 1773. In 1955, Brampton Park became RAF Brampton and units began to be located there rather than just personnel. Units included the Central Reconnaissance Establishment, which was formed at Brampton in January 1957.

In 1953, JARIC (UK) was established and it moved, in 1956, with other elements to the recently formed RAF Brampton. JARIC stayed at Brampton for 57 years with various name changes before departing RAF Brampton for RAF Wyton in 2013.

In 1955, RAF Wyton was granted the Freedom of the Borough of Huntingdon and 40 years later, this privilege was extended to the staff at RAF Brampton.

Between 1976 and 1979 the station had two gate guardian aircraft - a Gnat (tail number XR571) and a Jet Provost (tail number XN602), representing the presence on the base of RAF Support Command. After they were removed, the base had no gate guardian until Phantom XT914 was installed in 1997.

In June 1977, the Support and Training Commands were unified to form RAF Support Command at Brampton. Support command occupied a large building in the centre of the base that caught fire in October 1985. Staff were moved to empty families' quarters on the base and contingencies were implemented; when Air Marshal Sir John Sutton was appointed Commander in January 1986, he was faced with a burnt out HQ which would eventually cost £10 million to fix. On 1 April 1994, Support Command was combined with Personnel and Logistics staff to form Personnel and Training Command (at RAF Innsworth) and RAF Logistics Command at RAF Brampton.

Originally, RAF Brampton, RAF Wyton and RAF Henlow were separate stations. However, in the mid-1990s, with the closure of RAF Logistics Command then at Brampton, and the cessation of operational flying from Wyton, the two stations amalgamated to become Brampton Wyton. Henlow joined the group in 2001, and brought with it RAF Stanbridge, to produce the largest station in terms of both geography and number of personnel in the RAF. The station stretches from Brampton and Wyton, around 7 mi apart, in the north, southwards around 30 mi to Henlow, and then westwards some 20 mi (towards Leighton Buzzard) to Stanbridge.

However, in 2009, an MoD review decided that Brampton was surplus to requirements because a new intelligence centre (DIFC) would be built at nearby RAF Wyton. The tri-station amalgamation was disbanded on 2 April 2012 and RAF Brampton was renamed Brampton Camp, losing its status as a RAF station and coming under the control of Joint Forces Command and RAF Wyton.

Closure
In March 2012, the gate guardian – a McDonnell Douglas F-4 Phantom II aircraft with tail number XT914 – was removed from RAF Brampton and transported to Wattisham airfield in Suffolk. The Phantom had previously flown in two of the squadrons based at what was RAF Wattisham (No. 56 Squadron RAF and No. 74 Squadron RAF) in the 1980s and 90s. It had been a gate guardian at RAF Leeming, North Yorkshire until 1997 when it was moved to Brampton.

The station closed at the end of 2013 with large scale demolition of the buildings taking place in 2016 and into 2017. The site is being cleared to make way for housing but some of the buildings and trees on the site are protected. There are plans for between 400 and 500 homes on the site. Military housing was kept on the site for a further three years with a gradual rundown until all staff were transferred to RAF Wyton. The 95 homes left at Brampton were then bought up by a company who rent them out. Controversially, the Brampton Park Little Theatre on the base was approved for demolition in 2014. The building had been used as a cinema since the 1950s and had also been available for public use despite being on a military base. Support to keep the theatre had come from Joanna Lumley and Ian McKellen, but along with other non-listed buildings on the base, it was demolished.

Airfield
Brampton never had an airfield, although Wyton and Henlow used to. RAF Wyton was used by No. 57 Squadron RAF, Cambridge and London University Air Squadrons and 5 AEF flying the Grob Tutor, before they were transferred to RAF Wittering in 2014 apart from No. 57 squadron which was transferred to RAF Cranwell. RAF Henlow is used by 616 Volunteer Gliding Squadron flying the Grob Vigilant and leased out as a general aviation airfield.

Operational units

 * Joint Air Reconnaissance Intelligence Centre (JARIC) – became part of DGIFC (later DIFC)
 * Defence Equipment and Support (DE&S)
 * Defence Logistics Organisation (DLO) – became part of DE&S
 * Defence Security & Assurance Services

The station was for many years home to JARIC – The National Imagery Exploitation Centre, which produced intelligence from all forms of imagery, and trained Service personnel to provide intelligence in support of operations. This was moved to RAF Wyton in September 2013 under the Defence Intelligence Fusion Centre (DIFC).

title: RAF Brampton


text:
Azerbaijani literature

Azerbaijani literature (Azərbaycan ədəbiyyatı, آذربایجان ادبیاتی) is written in Azerbaijani, a Turkic language, which is the official state language of the Republic of Azerbaijan, where the North Azerbaijani variety is spoken. It is also natively spoken in Iran, where the South Azerbaijani variety is used, and is particularly spoken in the northwestern historic region of Azerbaijan. Azerbaijani is also spoken natively in Russia (especially Dagestan), Georgia and Turkey. While the majority of Azerbaijani people live in Iran, modern Azerbaijani literature is overwhelmingly produced in the Republic of Azerbaijan, where the language has official status. Three scripts are used for writing the language: Azerbaijani Latin script in the Republic of Azerbaijan, Arabic script in Iran and Cyrillic script formerly used in Soviet Azerbaijan.

The earliest development of Azerbaijani literature is closely associated with Anatolian Turkish, written in Perso-Arabic script. Examples of its detachment date to the 14th century or earlier. Several major authors helped to develop Azerbaijani literature from the 14th century until the 17th century and poetry figures prominently in their works. Towards the end of the 19th century, popular literature such as newspapers began to be published in Azerbaijani language. The production of written works in Azerbaijani was banned in Soviet Azerbaijan Stalin's "Red Terror" campaign targeted thousands of Azerbaijani writers, journalists, teachers, intellectuals and others and resulted in the changing of the Azerbaijani alphabet into one with a Cyrillic alphabet. Modern Azerbaijani literature is almost exclusively produced in the Republic of Azerbaijan and despite being widely spoken in Iran, Azerbaijani is not formally taught in schools nor are publications in Azerbaijani easily available.

The two traditions of Azerbaijani literature
Throughout most of its history, Azerbaijani literature has been rather sharply divided into two rather different traditions, neither of which exercised much influence upon the other until the 19th century. The first of these two traditions is Azerbaijani folk literature, and the second is Azerbaijani written literature.

For most of the history of Azerbaijani literature, the salient difference between the folk and the written traditions has been the variety of language employed. The folk tradition, by and large, was oral and remained free of the influence of Persian and Arabic literature, and consequently of those literatures' respective languages. In folk poetry—which is by far the tradition's dominant genre—this basic fact led to two major consequences in terms of poetic style:
 * the poetic meters employed in the folk poetic tradition were different, being quantitative (i.e., syllabic) verse, as opposed to the qualitative verse employed in the written poetic tradition;
 * the basic structural unit of folk poetry became the quatrain (Azerbaijani: dördmisralı) rather than the couplets (Azerbaijani: beyt) more commonly employed in written poetry.

Furthermore, Azerbaijani folk poetry has always had an intimate connection with song—most of the poetry was, in fact, expressly composed so as to be sung—and so became to a great extent inseparable from the tradition of Azerbaijani folk music.

In contrast to the tradition of Azerbaijani folk literature tended to embrace the influence of Persian and Arabic literature. To some extent, this can be seen as far back as the Seljuk period in the late 11th to early 14th centuries, where official business was conducted in the Persian language, rather than in Turkic, and where a court poet such as Dehhanî—who served under the 13th century sultan Ala ad-Din Kay Qubadh I—wrote in a language highly inflected with Persian.

With the founding of Safavid Iran in the 16th century, it continued this tradition. The standard poetic forms—for poetry was as much the dominant genre in the written tradition as in the folk tradition—were derived either directly from the Persian literary tradition (the qəzəl غزل; the məsnəvi مثنوی), or indirectly through Persian from the Arabic (the qəsidə قصيده). However, the decision to adopt these poetic forms wholesale led to two important further consequences: the poetic meters (Azerbaijani: aruz) of Persian poetry were adopted;

 * Persian- and Arabic-based words were brought into the Azerbaijani language in great numbers, as Turkic words rarely worked well within the system of Persian poetic meter. This style of writing under Persian and Arabic influence came to be known as "Divan literature" (Azerbaijani: divan ədəbiyyatı), dîvân (ديوان) being a Persian originated Azerbaijani word referring to the collected works of a poet.

Azerbaijani folk literature
Azerbaijani folk literature is an oral tradition deeply rooted, in its form, in Central Asian nomadic traditions. However, in its themes, Azerbaijani folk literature reflects the problems peculiar to a settling (or settled) people who have abandoned the nomadic lifestyle.One example of this is the series of folktales surrounding the figure of Keloğlan, a young boy beset with the difficulties of finding a wife, helping his mother to keep the family house intact, and dealing with the problems caused by his neighbors. Another example is the rather mysterious figure of Nasreddin, a trickster who often plays jokes, of a sort, on his neighbors.

Because the Azerbaijani folk literature tradition extends in a more or less unbroken line from about the 13–15th century to today, it is perhaps best to consider the tradition from the perspective of genre. There are three basic genres in the tradition: epic; folk poetry; and folklore.

The epic tradition
The Turkic epic has its roots in the Central Asian epic tradition that gave rise to the Book of Dede Korkut.; written in Azerbaijani language. The form developed from the oral traditions of the Oghuz Turks influenced Azeri literature. Turkic epics like Alpamysh are popular among Azerbaijanis.

The Book of Dede Korkut was the primary element of the Azerbaijani epic tradition in the Caucasus and Anatolia for several centuries: 11th–12th centuries. Concurrent to the Book of Dede Korkut was the so-called Turkic Epic of Köroğlu, which concerns the adventures of Rüşen Ali ("Köroğlu", or "son of the blind man") as he exacted revenge for the blinding of his father. The origins of this epic are somewhat more mysterious than those of the Book of Dede Korkut: many believe it to have arisen in sometime between the 15th and 17th centuries; more reliable testimony, though, seems to indicate that the story is nearly as old as that of the Book of Dede Korkut, dating from around the dawn of the 11th century. Complicating matters somewhat is the fact that Köroğlu is also the name of a poet of the aşıq/ozan tradition.

Folk poetry
The folk poetry tradition in Azerbaijani literature, as indicated above, was strongly influenced by the Islamic Sufi and Shia traditions. Furthermore, as partly evidenced by the prevalence of the still existent aşıq/ozan tradition, the dominant element in Turkic folk poetry has always been song. The development of folk poetry in Turkic —which began to emerge in the 13th century with such important writers as Yunus Emre, Sultan Veled, and Şeyyâd Hamza—was given a great boost when, on 13 May 1277, Karamanoğlu Mehmet Bey declared Turkic the official state language of Anatolia's powerful Karamanid state; subsequently, many of the tradition's greatest poets would continue to emerge from this region.

There are, broadly speaking, two traditions of Azerbaijani folk poetry:
 * the aşıq tradition, which—although much influenced by religion, as mentioned above—was for the most part a secular tradition;
 * the explicitly religious tradition, which emerged from the gathering places (təkyəs) of the Sufi religious orders and Shia groups.

Much of the poetry and song of the aşıq/ozan tradition, being almost exclusively oral until the 19th century, remains anonymous. There are, however, a few well-known aşıqs from before that time whose names have survived together with their works: the aforementioned Köroğlu (16th century); Karacaoğlan (1606–1689), who may be the best-known of the pre-19th century aşıqs; Dadaloğlu (1785–1868), who was one of the last of the great aşıqs before the tradition began to dwindle somewhat in the late 19th century; and several others. The aşıqs were essentially minstrels who travelled through Anatolia performing their songs on the bağlama, a mandolin-like instrument whose paired strings are considered to have a symbolic religious significance in Alevi/Bektashi culture. Despite the decline of the aşıq/ozan tradition in the 19th century, it experienced a significant revival in the 20th century thanks to such outstanding figures as Aşık Veysel Şatıroğlu (1894–1973), Aşık Mahzuni Şerif (1938–2002), Neşet Ertaş (1938–2012), and many others.

The explicitly religious folk tradition of təkyə literature shared a similar basis with the aşıq/ozan tradition in that the poems were generally intended to be sung, generally in religious gatherings, making them somewhat akin to Western hymns (Azerbaijani ilahi). One major difference from the aşıq/ozan tradition, however, is that—from the very beginning—the poems of the təkyə tradition were written down. This was because they were produced by revered religious figures in the literate environment of the təkyə, as opposed to the milieu of the aşıq/ozan tradition, where the majority could not read or write.

The explicitly religious folk tradition of təkyə literature shared a similar basis with the aşıq/ozan tradition in that the poems were generally intended to be sung, generally in religious gatherings, making them somewhat akin to Western hymns (Azerbaijani ilahi). One major difference from the aşıq/ozan tradition, however, is that—from the very beginning—the poems of the təkyə tradition were written down. This was because they were produced by revered religious figures in the literate environment of the təkyə, as opposed to the milieu of the aşıq/ozan tradition, where the majority could not read or write. The major figures in the tradition of təkyə literature are: Yunus Emre (1238–1321), who is one of the most important figures in all of Turkish literature; Süleyman Çelebi, who wrote a highly popular long poem called Vesîletü'n-Necât (وسيلة النجاة "The Means of Salvation", but more commonly known as the Mevlid), concerning the birth of the Islamic prophet Muhammad; Kaygusuz Abdal, who is widely considered the founder of Alevi/Bektashi literature; and Pir Sultan Abdal, whom many consider to be the pinnacle of that literature.

Safavid literature
The two primary streams of Safavid written literature are poetry and prose. Of the two, poetry—specifically, Divan poetry—was by far the dominant stream. Moreover, until the 19th century, Safavid prose did not contain any examples of fiction; that is, there were no counterparts to, for instance, the European romance, short story, or novel (though analogous genres did, to some extent, exist in both the Turkish folk tradition and in Divan poetry).

Divan poetry
Divan poetry was a ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير müraat-i nəzir / تناسب tənasüb) and opposition (تضاد təzad)—were more or less prescribed. Examples of prevalent symbols that, to some extent, oppose one another include, among others:
 * the nightingale (بلبل bülbül) — the rose (ﮔل gül)
 * the world (جهان cəhan; عالم aləm) — the rosegarden (ﮔﻠﺴﺘﺎن gülüstan; ﮔﻠﺸﻦ gülşən)
 * the ascetic (زاهد zahid) — the dervish (درويش dərviş)

As the opposition of "the ascetic" and "the dervish" suggests that divan poetry, much like Azerbaijani folk poetry, was heavily influenced by Shia Islam. One of the primary characteristics of divan poetry. However, as of the Persian poetry before it—was its mingling of the mystical Sufi element with a profane and even erotic element. Thus, the pairing of "the nightingale" and "the rose" simultaneously suggests two different relationships:
 * the relationship between the fervent lover ("the nightingale") and the inconstant beloved ("the rose")
 * the relationship between the individual Sufi practitioner (who is often characterized in Sufism as a lover) and God (who is considered the ultimate source and object of love)

Similarly, "the world" refers simultaneously to the physical world and to this physical world considered as the abode of sorrow and impermanence, while "the rosegarden" refers simultaneously to a literal garden and to the garden of Paradise. "The nightingale", or suffering lover, is often seen as situated—both literally and figuratively—in "the world", while "the rose", or beloved, is seen as being in "the rose-garden".

Ottoman and Safavid divan poetry heavily influenced each other. As for the development of Divan poetry over the more than 500 years of its existence, that is—as the Ottomanist Walter G. Andrews points out—a study still in its infancy; clearly defined movements and periods have not yet been decided upon. Early in the history of the tradition, the Persian influence was very strong, but this was mitigated somewhat through the influence of poets such as the Azerbaijani Nəsimi (1369–1417) and the Uzbek/Uyghur Əli Şir Nəvai (1441–1501), both of whom offered strong arguments for the poetic status of the Turkic languages as against the much-venerated Persian. Partly as a result of such arguments, Divan poetry in its strongest period—from the 16th to the 18th centuries—came to display a unique balance of Persian and Turkic elements, until the Persian influence began to predominate again in the early 19th century.

Azerbaijani poets although they had been inspired and influenced by classical Persian poetry, it would be a superficial judgment to consider the former as blind imitators of the latter, as is often done. A limited vocabulary and common technique, and the same world of imagery and subject matter based mainly on Islamic sources were shared by all poets of Islamic literature.

Despite the lack of certainty regarding the stylistic movements and periods of Divan poetry, however, certain highly different styles are clear enough, and can perhaps be seen as exemplified by certain poets:
 * Füzuli (1494–1556); a unique poet who wrote with equal skill in Azerbaijani, Persian, and Arabic, and who came to be as influential in Persian as in Divan poetry
 * Bâkî (1526–1600); a poet of great rhetorical power and linguistic subtlety whose skill in using the pre-established tropes of the Divan tradition is quite representative of the poetry in the time of Süleyman the Magnificent
 * Nef‘î (1572–1635); a poet considered the master of the kasîde (a kind of panegyric), as well as being known for his harshly satirical poems, which led to his execution
 * Nâbî (1642–1712); a poet who wrote a number of socially oriented poems critical of the stagnation period of Ottoman history
 * Nedîm (1681–1730); a revolutionary poet of the Tulip Era of Ottoman history, who infused the rather élite and abstruse language of Divan poetry with numerous simpler, populist elements
 * Şeyh Gâlib (1757–1799); a poet of the Mevlevî Sufi order whose work is considered the culmination of the highly complex so-called "Indian style" (سبك هندى sebk-i hindî)

The vast majority of divan poetry was lyric in nature: either qəzəls (which make up the greatest part of the repertoire of the tradition), or qəsidəs. There were, however, other common genres, most particularly the məsnəvi, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli və Məcnun (ليلى و مجنون) of Füzuli and the Hüsn ü eşq (حسن و عشق; "Beauty and Love") of Şeyx Qalib.

Early Safavid prose
Until the 19th century, Safavid prose never managed to develop to the extent that contemporary Divan poetry did. A large part of the reason for this was that much prose was expected to adhere to the rules of səc (سجع, also transliterated as səci), or rhymed prose, a type of writing descended from the Arabic saj and which prescribed that between each adjective and noun in a sentence, there must be a rhyme.

Nevertheless, there was a tradition of prose in the literature of the time. This tradition was exclusively nonfictional in nature—the fiction tradition was limited to narrative poetry. A number of such nonfictional prose genres developed:
 * the târih (تاريخ), or history, a tradition in which there are many notable writers, including the 15th-century historian Aşıkpaşazâde and the 17th-century historians Kâtib Çelebi and Naîmâ
 * the seyâhatnâme (سياحت نامه), or travelogue, of which the outstanding example is the 17th-century Seyahâtnâme of Evliya Çelebi
 * the sefâretnâme (سفارت نامه), a related genre specific to the journeys and experiences of an Ottoman ambassador, and which is best exemplified by the 1718–1720 Paris Sefâretnâmesi of Yirmisekiz Mehmed Çelebi, ambassador to the court of Louis XV of France
 * the siyâsetnâme (سياست نامه), a kind of political treatise describing the functionings of state and offering advice for rulers, an early Seljuk example of which is the 11th-century Siyāsatnāma, written in Persian by Nizam al-Mulk, vizier to the Seljuk rulers Alp Arslan and Malik Shah I
 * the tezkîre (تذکره), a collection of short biographies of notable figures, some of the most notable of which were the 16th-century tezkiretü'ş-şuarâs (تذكرة الشعرا), or biographies of poets, by Latîfî and Aşık Çelebi
 * the münşeât (منشآت), a collection of writings and letters similar to the Western tradition of belles-lettres
 * the münâzara (مناظره), a collection of debates of either a religious or a philosophical nature

Classical era
The earliest known figure in Azerbaijani literature is Izzeddin Hasanoghlu, who composed a diwan of Azerbaijani and Persian ghazals. In Persian ghazals he used the pen-name Pur-e Hasan, while his Turkic ghazals were composed under his own name of Hasanoghlu. In the 15th century, Azerbaijan was under the control of Qara Qoyunlu and Aq Qoyunlu Turkic tribal confederacies. Among the poets of this period were Kadi Burhan al-Din, Haqiqi (pen-name of Jahan-shah Qara Qoyunlu), Habibi, and Kishvari. The end of the 14th century was also the period of starting literary activity of Imadaddin Nasimi, one of the greatest Azerbaijani Hurufi mystical poets of the late 14th and early 15th centuries The book Dede Qorqud which consists of two manuscripts copied in the 16th century, was not written earlier than the 15th century. It is a collection of twelve stories reflecting the oral tradition of Oghuz nomads. Since the author is buttering up both the Aq Qoyunlu and Ottoman rulers, it has been suggested that the composition belongs to someone living between the Aq Qoyunlu and Ottoman Empire. Geoffery Lewis believes an older substratum of these oral traditions dates to conflicts between the ancient Oghuz and their Turkish rivals in Central Asia (the Pechenegs and the Kipchaks), however this substratum has been clothed in references to the 14th-century campaigns of the Aq Qoyunlu Confederation of Turkic tribes against the Georgians, the Abkhaz, and the Greeks in Trabzon.

The 16th-century poet, Muhammed Fuzuli produced his timeless philosophical and lyrical Qazals in Arabic, Persian, and Azerbaijani. Benefiting immensely from the fine literary traditions of his environment, and building upon the legacy of his predecessors, Fizuli was to become the leading literary figure of his society. His major works include The Divan of Ghazals and The Qasidas.

In the 16th century, Azerbaijani literature further flourished with the development of Ashik (Aşıq) poetic genre of bards. During the same period, under the pen-name of Khatāī (خطائی for sinner) Shah Ismail I wrote about 1400 verses in Azerbaijani, which were later published as his Divan. A unique literary style known as qoshma (qoşma for improvisation) was introduced in this period, and developed by Shah Ismail and later by his son and successor, Shah Tahmasp I.

In the span of the 17th century and 18th century, Fizuli's unique genres as well Ashik poetry were taken up by prominent poets and writers such as Qovsi of Tabriz, Shah Abbas Sani, Agha Mesih Shirvani, Nishat, Molla Vali Vidadi, Molla Panah Vagif, Amani, Zafar and others.

Along with Anatolian Turks, Turkmens and Uzbeks, Azerbaijanis also celebrate the epic of Koroglu (from kor oğlu for blind man's son), a legendary hero or a noble bandit of the Robin Hood type. Several documented versions of Koroglu epic remain at the Institute for Manuscripts of the National Academy of Sciences of Azerbaijan.

The nineteenth century onward
Azerbaijani literature of the nineteenth century was profoundly influenced by the Russian conquest of the territory of present-day Republic of Azerbaijan, as a result of Russo-Persian Wars, which separated the territory of nowadays Azerbaijan, from Iran. Azerbaijani-Turkish writer Ali bey Huseynzade's poem Turan inspired Turanism and pan-Turkism among Turkish intellectuals during the First World War and early Republican period. Hüseynzade emphasized the linguistic bonds between the Turks, who were Muslim, and the Christian people of Hungary.

The fascination with language is seen in the work of Mirzə Cəlil Məmmədquluzadə who was an influential figure in the development of Azerbaijani nationalism in Soviet Azerbaijan. Məmmədqulzadə, who was also the founder of the satirical journal Molla Nasraddin, wrote the play Anamın kitabı (My Mother's Book) in 1920 in Karabakh. It was about a wealthy widow who lived with her three sons who had graduated from universities in St. Petersburg, Istanbul and Najaf. The brothers had adapted to the culture and languages of the cities in which they were educated and were not able to understand one another or their mother. Their sister, Gülbahar, only able to read in Muslim language (müsəlmanca savadlı), burns her brothers' books at the end. After the Russian vocabularies, Ottoman poems, and Persian astronomy books are destroyed, the only book that survives Gülbahar's "cultural revolution" is a notebook, written in Azerbaijani language, containing wishes for the unity of the family.

Soviet Azerbaijani literature
Under the Soviet rule, particularly during Joseph Stalin's reign, Azerbaijani writers who did not conform to the party line were persecuted. Bolsheviks sought to destroy the nationalist intellectual elite established during the short-lived Azerbaijan Democratic Republic, and in the 1930s, many writers and intellectuals were essentially turned into mouthpieces of Soviet propaganda.

Although there were those who did not follow to the official party line in their writings. Among them were Mahammad Hadi, Abbas Sahhat, Huseyn Javid, Abdulla Shaig, Jafar Jabbarly, and Mikayil Mushfig, who in their search for a means of resistance, turned to the clandestine methodologies of Sufism, which taught spiritual discipline as a way to combat temptation.

When Nikita Khrushchev came to power in 1953 following Stalin's death, the harsh focus on propaganda began to fade, and writers began to branch off in new directions, primarily focused on uplifting prose that would be a source of hope to Azerbaijanis living under a totalitarian regime.

Iranian Azerbaijani literature
An influential piece of post-World War II Azerbaijani poetry, Heydar Babaya Salam (Greetings to Heydar Baba) is considered to be a pinnacle in Azerbaijani literature was written by Iranian Azerbaijani poet Mohammad Hossein Shahriar. This poem, published in Tabriz in 1954 and written in colloquial Azerbaijani, became popular among Azerbaijanis in Iran's northwestern historic region of Azerbaijan and Republic of Azerbaijan. In Heydar Babaya Salam, Shahriar expressed his Azerbaijani identity attached to his homeland, language, and culture. Heydar Baba is a hill near Khoshknab, the native village of the poet.

Modern literature
From writers of modern Azerbaijan, the most famous were the screenwriter Rustam Ibragimbekov and the author of the detective novels Chingiz Abdullayev, who wrote exclusively in Russian.

Poetry is represented by famous poets Nariman Hasanzade, Khalil Rza, Sabir Novruz, Vagif Samadoghlu, Nusrat Kesemenli, Ramiz Rovshan, Hamlet Isakhanli, Zalimkhan Yagub, etc. Among modern Azerbaijani playwrights, F. Goja, Elchin, K. Abdullah, A. Masud, G. Miralamov, E. Huseynbeyli, A. Ragimov, R. Akber, A. Amirley, and others.

The framework of the new Azerbaijani prose is expanded by elements of the detective, fiction, anti-utopia, Turkic mythology, eastern surrealism. Among the writers working in this genre one can name such writers as Anar, M. Suleymanly, N. Rasulzade, R. Rahmanoglu. The new Azerbaijani realism began to gain momentum when young prose writers began to turn increasingly to national history and ethnic memory. In this regard, it is worth noting the historical and synthetic novel "The Thirteenth Apostle, or One Hundred Forty-First Don Juan" by Elchin Huseynbeyli and the historical novels "Shah Abbas" and "Nadir Shah" by Yunus Oguz.

After gaining independence in Azerbaijan, an important role was played by the liberation of the occupied territories, love of the Motherland and justice. One of the most famous books about Karabakh are: "Karabakh – mountains call us" Elbrus Orujev, "Azerbaijan Diary: A Rogue Reporter's Adventures in an Oil-Rich, War-Torn, Post-Soviet Republic" Thomas Goltz "History of Azerbaijan on documents and Ziya Bunyatov. The Karabakh war left its misprint in the modern Azerbaijani literature: such writers as G. Anargizy, M. Suleymanly, A. Rahimov, S. Ahmedli, V. Babally, K. Nezirli, A. Kuliev, A. Abbas, M. Bekirli turned to the themes of the fate of refugees, longing for the lost Shusha, Khojaly massacre, cruelty of war, etc.

To support young writers in 2009, the "Ali and Nino" publishing house established the National Book Award of Azerbaijan, which annually monitors novelties of literature, and gives awards to the most successful samples of literature and works released over the past year. The jury of the award includes well-known Azerbaijani writers, cultural figures.

Cultural laws of the Republic of Azerbaijan
Creative persons, winners of festival and competition who have special services in the development and promotion of culture, are awarded with honorary titles and awards in the form determined by the relevant executive authority.

Persons who have exceptional services in the development of Azerbaijani culture are awarded with orders and medals in accordance with Article 109.2 of the Constitution of Azerbaijan.

State support in the field of literature
The literary editions of the Union of Writers – " Newspaper of Literature", "Azerbaijan", "Ulduz", "Gobustan" and "Literaturniy Azerbaijan " in Russian began to operate after the X congress of the Union of Writers of Azerbaijan, which was held in October 1997 with the participation of Heydar Aliyev. Also, Mingachevir, Aran, and Moscow departments of the Writers Union of Azerbaijan were created after that congress.

For the first time in 1995, the "Istiglal" order was given to Bakhtiyar Vahabzade by Heydar Aliyev. Mammad Araz and Khalil Rza Uluturk were also awarded the "Istiglal" Order.

The literary activity of National writer Anar Rzayev has been awarded the “Heydar Aliyev Prize” by Ilham Aliyev.

The book "Heydar Aliyev and Azerbaijan Literature", prepared by the ANAS Institute of Literature in 2010, was awarded the State Prize in 2014. The publicist novel of "Heydar Aliyev: Personality and Time" with 6 volumes written by Elmira Akhundova and in 2016 Fikrat Goca's Works – 10 volumes were awarded that State Prize.

Sabir Rustamkhanli, Nariman Hasanzade and Zelimkhan Yaqub were awarded “National poets” by Ilham Aliyev in 2005. Maqsud and Rustam Ibrahimbeyov's brothers, Movlud Suleymanli were awarded the title of "National Writer" by the President. In general, there are 22 “National poets” and 25 “National writers” in the country. Chingiz Abdullayev was awarded both the honorary title "Glory" and the "National Writer" by the decree of the President in 2009 when he was 50 years old.

Ilham Aliyev signed a decree on holding 100th anniversary of S. Vurgun, S.Rustam, M. Jalal, M.Huseyn, A.Alekbarzade, M.Ibrahimov, R. Rza, Ilyas Afandiyev. He also signed a decree on holding 100th anniversary of Almas Yildirim on April 16, 2007, and Mikayil Mushfiq in 2008 who are the victims of repression. Ilham Aliyev signed decrees to hold the 125th, 130th and 135th anniversary of Hussein Javid.

S.Rahimov and M.Adadzadeh were celebrated the 110th anniversary, M. Rasulzadeh – the 130th anniversary, A.Huseynzade – 150th anniversary. The celebration of these writers' anniversaries at the state level also serves to promote them throughout the world.

On November 10, 2008 Mehriban Aliyeva, President of the Heydar Aliyev Foundation, spoke at the UNESCO headquarters in Paris on the occasion of the 100th anniversary of M.Pashayev.

Hundreds of books have been published based on the decree of the President, dated 12 January 2004, on “The implementation of mass editions in the Azerbaijani language (Latin)". In addition, 150 volumes of examples from the World Literature Library have been translated.

Literature museums
President Ilham Aliyev attended the opening of the Literature Museum in Gazakh. The busts of 12 national heroes and famous writers from Qazakh were erected in the park where the museum is located. The president signed an order on June 1, 2012, to allocate from the Presidential Reserve Fund AZN 5 million to construct this museum.

title: Azerbaijani literature


text:
Talk:Zaza language

/Archive 1

Zazaki language
"Zazaki" is the most common name for the language in English, therefore should remain the name of the article. The most recent compendium of information on the Iranian languages uses "Zazaki": Ludwig Paul, "Zazaki", The Iranian Languages, ed. Gernot Windfuhr (2009, Routledge), pages 545-586. --Taivo (talk) 10:48, 20 June 2012 (UTC)
 * The article should be moved to "Zaza language". The most common name in English-language sources is Zaza or Zāzā, e.g. Ethnologue and some articles in iranicaonline are using it. Khestwol (talk) 12:52, 20 June 2012 (UTC)
 * I don't think it's the most common name. At best, "Zaza" is equally frequent.  I've cited the most recent grammatical source in English above and Paul Ludwig, who is probably the leading authority on Zazaki (he's published the most on the language), uses Zazaki exclusively.  He is the expert.  On your sources, the first Iranica on-line link uses "Dimli", and cites Gernot Windfuhr, "Dialectology and Topics", The Iranian Languages, ed. Gernot Windfuhr (2009, Routledge), pages 5-42 as its source.  But Windfuhr also only uses "Zazaki".  Ethnologue doesn't use "Zaza" for the individual language, but for the "macrolanguage" which includes Kirmanjki.  These macrolanguage labels are not language labels, but are more like sociolinguistic subgroup labels.  The language label used by Ethnologue for this language is "Dimli", not "Zaza".  The experts appear to use "Zazaki" (with "Dimli" as the second most common).  --Taivo (talk) 16:58, 20 June 2012 (UTC)

 * Please stop speaking on something you don't have any idea! The main problem with "Paul Ludwid", he doesn't speak zazaki at all: he knows just words and ready phrases: i have spoken with him: to told to me "i prefer to speak english or german". Paul Ludwig did make for his "university doctorate" the grammar of zazakî! But here to say that zazaki is close or not to kurdish, he must first know kurdish language! But he doesn't know kurdish also. He only make comparaison of words between zazaki and kurdish. What can we say more? Is "ancyclopedia iranica" really sincer or is the institut under the love of Iran??

The comparaison of linguistists are only on the words but not with the grammmar, and the grammar of zazaki or kurdish is more close to bulgarian thant to any iranian tongs!
 * please stop to pollute this article with Paul Ludwig, he dosn't know anything, his book is not scientifical! http://www.youtube.com/watch?v=74zIXMzJHOw he knows a dew word, that is all! --Alsace38 (talk) 15:40, 28 October 2012 (UTC)
 * Ludwig is not the only linguist who states the simple linguistic facts, his article is just in the first book that I grabbed off my shelf. Zazaki is not a Kurdish language.  Period.  The Zazaki people claim that they are Kurdish, but that's an entirely different, and completely non-linguistic, unscientific issue.  The linguistics of the matter are crystal clear--Zazaki is not a Kurdish language.  --Taivo (talk) 16:23, 28 October 2012 (UTC)
 * Ludwig take himself for something he is not! lol he speak better persian than zazaki, he doesn t know any kurdish word! but he can say that kurdish is or not...! Lol By the way i didn't understand your behaviour, why did you clean up this source " Ivan Nasidze et al. 2005. "MtDNA and Y-chromosome Variation in Kurdish Groups," Annals of Human Genetics 69:401-412. online" ??! ONU didn't accept the zaza people even the europe council, so stop to say nothing say are kurds, genetically it's attested (have a look at what you cleand up) --Alsace38 (talk) 20:21, 28 October 2012 (UTC)
 * Zazaki and kurmanci are the only "iranian languages" who have feminin/masculin casus! only zazaki and kurmanci are ergatif tongs no more "iranian tongs" are ergatif! Only kurmanci and zazaki among all "iranian tongs" have those consoms "kh, ph, lh, rh, rr, tch... So stop speaking on something you don't know. Paul ludwig did never speak on this issue because he is iranist, so he loves iran something like a pro-iran. --Alsace38 (talk) 20:28, 28 October 2012 (UTC)
 * You apparently either didn't understand my comment or you simply refuse to understand the science. I clearly stated that Ludwig is not the only scholar who places the Zazaki language outside Kurdish.  Genetics has absolutely nothing to do with linguistics so the genetics reference is immaterial.  It's like putting a reference to "Twinkle, twinkle little star" in the middle of an astronomy article.  It's irrelevant.  Your second comment simply illustrates that you don't understand the science of historical linguistics.  You have a non-linguist's view of language relationship--"They sound alike, so they must be related".  It's unscientific.  The consensus among historical linguists is that Zazaki is not part of the Kurdish branch.  All your wishing it weren't so won't change that.  --Taivo (talk) 20:49, 28 October 2012 (UTC)
 * you cannot say that genetics is irrelevant, it's a non-sence! zaza are kurd. So we must say zaza are geneticaly kurds but they don't speak a kurdish language? I know you love linguistic but here it's to much complexe --Alsace38 (talk) 10:55, 29 October 2012 (UTC)
 * Genetics are irrelevant to the issue of language relationship. Language is not carried in the genetic code.  --Taivo (talk) 11:43, 29 October 2012 (UTC)
 * If you don't accept genetic that's your matter and point of vue, but not of wikipedia standard vieuw. Secondly stop giving every time evry way paul ludwid exemple, it becomes borring and repetitve --Alsace38 (talk) 13:56, 1 November 2012 (UTC)
 * No, it's not my "point of view", it is the point of view of the great majority of historical linguists who work on the Iranian languages. Ludwig is not the only linguist who asserts this fact, but you seem to be blind to that fact and are fixating on Ludwig.  --Taivo (talk) 14:42, 1 November 2012 (UTC)
 * Ok Taivo, but there is a dilemn, on the classification of zazaki, we must be neutral, that is why you mus accept my contribution on this article: the classification of zazaki (an indenpendent tong or a kurdish one) : ok? Because i have a lot a scientist and linguist which agree to say that zazaki is kurdish, so according to wiki-laws, we must be neutral and we shall give the 2 point of vieuw, oki? (i forget i am a kurdish kurmanci girl, not zaza, lol...) --Alsace38 (talk) 20:37, 1 November 2012 (UTC)
 * There is no dilemma at all. The great majority of specialists in Iranian languages put Zazaki outside of Kurdish as a separate branch of Western Iranian.  It's not even disputed in the mainstream historical linguistic literature.  Your POV is WP:FRINGE.  If you want even a mention of it included, you're going to have to show some mainstream historical linguists who espouse that view.  --Taivo (talk) 20:45, 1 November 2012 (UTC)
 * I have to apologize, I got confused between this issue and another. We already list the minority view that Zazaki is Kurdish.  It doesn't require any more mention or emphasis because is it a minority view.  It should not have undue weight.  --Taivo (talk) 20:51, 1 November 2012 (UTC)
 * look at it http://upload.wikimedia.org/wikipedia/commons/4/4f/IndoEuropeanTree.svg paul ludwig say that zazaki is closer to caspian tongs? --Alsace38 (talk) 20:54, 1 November 2012 (UTC)
 * nations of the world, organisation says zazaki is kurdish, http://books.google.fr/books?id=YfUcgOCNE08C&pg=PA346&lpg=PA346&dq=zaza+langue+kurde&source=bl&ots=zVqUDIzNY7&sig=F-bxZBomvSLyKETjXS3dPqA6Y-o&hl=fr&sa=X&ei=gOKSULXqOoiO0AXLz4G4Ag&ved=0CEwQ6AEwBzgK#v=onepage&q=zaza%20langue%20kurde&f=false --Alsace38 (talk) 21:01, 1 November 2012 (UTC)
 * As I have said a dozen times already, Ludwig is not the only Iranian historical linguist. And the Google Books link you give is not any more reliable a source as Britannica.  It is not a specialized historical linguistic source.  Indeed, it is ethnically based ultimately and not linguistically based.  You don't seem to know what a proper historical linguistic source on the Iranian languages actually looks like.  Apparently you're not able to read your own links even.  The first link you give (which is not a reliable source because Wikipedia cannot rely on itself) still shows Zazaki and Kurdish on different branches.  In other words, Zazaki is not a dialect of Kurdish on that chart.  --Taivo (talk) 21:14, 1 November 2012 (UTC)

Requested move 6 May 2015

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

The result of the move request was: Moved. kennethaw88 • talk 03:22, 24 May 2015 (UTC)

Zazaki language → Zaza language – Per WP:COMMONNAME. "Zaza language" is common but "Zazaki" is used rarely. Per the Google Books search, "Zaza language" gets about 465 results, but "Zazaki language" gets only about 61 results. Per WP:CONCISE. "Zazaki" is longer than "Zaza", because of a suffix with 2 extra characters (k, and i). "Zaza language" is the optimal title for this page. --Relisted. George Ho (talk) 03:33, 16 May 2015 (UTC) Khestwol (talk) 23:25, 6 May 2015 (UTC)
 * SUPPORT per above. Khestwol (talk) 23:45, 6 May 2015 (UTC)
 * Support Kmoksy (talk) 00:03, 7 May 2015 (UTC)
 * Support as per WP:UCRN and WP:PRECISE. WP:CONCISE is an irrelevance here.  GregKaye 06:34, 16 May 2015 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Note about move discussion
A related move discussion is open at Zaza people's talk page. Khestwol (talk) 23:45, 6 May 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Zaza language. 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/20061009064254/http://www21.brinkster.com/miyaheqi/culture/Article.asp?ArticleID=96&LanguageID=3&TypeID=18&Rnd=281 to http://www21.brinkster.com/miyaheqi/culture/Article.asp?ArticleID=96&LanguageID=3&TypeID=18&Rnd=281
 * Added archive https://web.archive.org/web/20060621113452/http://home.arcor.de/fidemes/zaza-tarih.pdf to http://home.arcor.de/fidemes/zaza-tarih.pdf

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) 19:24, 14 December 2017 (UTC)

Orthography
According to, this source supports the article's claim that the Zazaki alphabet includes letters such as eth, thorn, o-stroke, and aesh. From what I can see of the article, nothing there corroborates anything of the sort (although I don't understand Zazaki, so there's possibly some context I'm missing). If you take a look at the Zazaki article on Zazaki WP, you can also observe that it uses an orthography similar to Kurdish and does not use æ, ð, ø, or þ as this article claims. Would those of you who believe the source supports the table in the article explain why? Snorepion (talk) 03:21, 3 October 2018 (UTC)
 * Also, apparently the Zazaki alphabet page has a completely different table with a decent source. That appears to be the correct one. Snorepion (talk) 18:04, 3 October 2018 (UTC)

Removal of content
Some sentences have been unsourced for years without any attempt to find a reliable source for the claims. Instead of having all those unsourced segments, they should be removed. Furthermore, the File:Zaza DialectsMap-5.gif is not sourced and can be misleading. Again, why have it in the article. --Ahmedo Semsurî (talk) 18:29, 18 May 2019 (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. —Community Tech bot (talk) 00:54, 20 September 2021 (UTC)
 * Kurdish languages map.svg

Zazaki is an independent language
Although the Zaza language is often considered a Kurdish dialect for political and cultural reasons, Iranian studies (the science of researching Iranian languages) clearly states that Zazaki is an independent language of the Northwestern branch of the Iranian languages. Within this Northwestern branch, the Kurdish languages, together with the Central Iranian dialects, form a genetic subgroup, whereas Zazaki, together with Gorani, forms an independent subunit called Zaza-Gorani. -- Mirzali (talk) 18:04, 26 April 2023 (UTC)

 * On what page is the info for the table? Semsûrî (talk) 22:27, 26 April 2023 (UTC)
 * The reference is to the paragraph described above and not to the table. You mentioned references and still despair of the truth? Try to look there yourself. I don't want to argue with you anymore. -- Mirzali (talk) 00:39, 27 April 2023 (UTC)
 * Before you continue to edit on Wikipedia, you should check Reliable references. Semsûrî (talk) 08:27, 27 April 2023 (UTC)

Issue of editing with political motivations
This issue persists in the English "Zaza people" page as well, there seems to be people who would like to dedicate the entire sections of the pages, to "Zaza people considering themselves as Kurds", with no adequate source or credible statistical research on their claims. Moreover, Whether Zaza people identify as Kurdish or not, Zazaki language's linguistic classification has nothing to do with Zazas' identity. These editings do not exist in the Turkish page, which uses credible and neutral information regarding Zazas and Zazaki language. 95.13.97.7 (talk) 18:14, 1 April 2024 (UTC)

title: Talk:Zaza language