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The Apprenticeship of Duddy Kravitz (film)

The Apprenticeship of Duddy Kravitz is a 1974 Canadian comedy-drama film directed by Ted Kotcheff, and adapted by Mordechai Richler and Lionel Chetwynd from Richler’s novel of the same name. It stars Richard Dreyfuss as the title character, a brash young Jewish Montrealer who embarks on a string of get-rich-quick schemes in a bid to gain respect. The cast also features Micheline Lanctôt, Randy Quaid, Joseph Wiseman, Denholm Elliott, Joe Silver and Jack Warden.

Winner of the Golden Bear at the 24th Berlin International Film Festival, The Apprenticeship of Duddy Kravitz has been described as a 'coming of age' for Canadian cinema, as both a widespread critical and commercial success internationally. It won the Canadian Film Award for Best Motion Picture, and was nominated for an Academy Award for Best Adapted Screenplay and a Golden Globe Award for Best Foreign Film. The film has been designated as a "masterwork" by the Audio-Visual Preservation Trust of Canada.

Plot
Duddy Kravitz is a brash young Jewish man growing up in poverty in Montreal. His cab driver father Max and his rich uncle Benjy are proud of Duddy's older brother Lenny, whom Benjy is putting through medical school. Only his grandfather shows the motherless Duddy any attention.

Duddy gets a summer job as a waiter at a kosher resort hotel in the Laurentian Mountains. His hustle and coarse manners irritate fellow waiter Irwin. Irwin gets his girlfriend Linda, the daughter of the hotel's owner, to persuade Duddy to stage a clandestine roulette game. Unbeknownst to Duddy, the roulette wheel is crooked, and he loses his $300 earnings to Irwin and some hotel guests. The other waiters make Irwin give back the money. Unaware of this, the hotel guests feel bad and give him a further $500.

Duddy starts a romantic relationship with another hotel employee, French Canadian Yvette. One day, Yvette takes him on a picnic by a lake. Duddy decides he will buy all the property around the lake and develop it. Because he is under 21 and the owners might not want to sell to a Jew, he gets Yvette to front for him.

Duddy sets out to raise the money he needs. He hires blacklisted alcoholic film director Friar to film weddings and bar mitzvahs. The first film is a success, and more orders are quickly forthcoming.

When a piece of land comes up for sale, Duddy does not have enough money. He begs his father to get him an appointment with his friend Dingleman, a businessman-cum-gangster who had equally humble beginnings. Dingleman invites him to discuss his scheme on a train to New York but just wants a drug mule to unknowingly take the risk of smuggling heroin.

On the train, Duddy meets Virgil and offers to buy his pinball machines, which are illegal in the United States. Duddy does not have enough money to pay him, so he hires Virgil as a truck driver, even though he has epilepsy. Virgil has a seizure while driving and crashes; he is left paralyzed from the waist down. Blaming Duddy, Yvette leaves him to care for Virgil.

When the last piece of property Duddy needs comes on the market, Dingleman bids for it. Desperate, Duddy forges Virgil's signature on a cheque to buy the land, leading to a rupture with Yvette and Virgil.

Duddy takes Max, Lenny, and his grandfather to see his property. When Dingleman shows up to offer to raise the financing for its development, Duddy mocks him. Duddy's grandfather, however, refuses to pick out a plot for his farm, as Yvette told him what Duddy did to get it. Duddy fails to reconcile with Yvette, who never wants to see him again. In the final scene, Duddy has risen far enough that he can run a tab at the local diner, and his father boasts about how his son made it.

Production
Lionel Chetwynd was commissioned by John G. Kemeny to write a script based on Mordecai Richler's novel The Apprenticeship of Duddy Kravitz. The first draft was sent to Richler, who then showed it to his friend Ted Kotcheff. Kotcheff said that he would direct the movie if Richler wrote the second draft of the script. The film was shot from 10 September to 14 November 1973, after $910,000 was spent. $300,000 came from the Canadian Film Development Corporation and the remainder was raised by Gerald Schneider. Miklós Lente was the director of photography for the first two weeks of filming, but was replaced by Brian West.

The film was actually Kotcheff's second adaptation of Richler's 1959 novel. In 1961, he had directed a television play for ITV's Armchair Theatre based on Kravitz, with Hugh Futcher in the title role.

American producer Samuel Z. Arkoff was approached to make the film, but wanted to turn Duddy into a Greek character.

Few Canadians were cast in major roles because the Canadian film industry was underdeveloped at that time.

Release
The Apprenticeship of Duddy Kravitz premiered at the Place des Arts on 11 April 1974, and was theatrically released the next day. The film grossed $60,000 at the Place Ville Marie and Towne Cinema one week after its release. The film was the most commercially successful English-language Canadian film ever made at the time of its release with a gross of $2.3 million in Canada. Including the U.S., the film earned theatrical rentals of $1.7 million. The CFDC made $334,888 from its investment in the film.

Stage adaptation
In 1984 in Edmonton, Alberta, The Apprenticeship of Duddy Kravitz was adapted into a musical. A 1987 adaptation was directed by Austin Pendleton and premiered in Philadelphia. A newly updated version of the musical had its debut in Montreal in 2015 with music by Alan Menken, book and lyrics by David Spencer, and directed by Pendleton.

Legacy
Duddy Kravitz has an important place in Canadian film history due to its record gross, and has thus been described as a 'coming of age' for Canadian cinema. The film has been designated and preserved as a "masterwork" by the Audio-Visual Preservation Trust of Canada, a charitable non-profit organization dedicated to promoting the preservation of Canada’s audio-visual heritage. The Toronto International Film Festival ranked it in the Top 10 Canadian Films of All Time twice, in 1984 and 1993.

In the period between shooting Duddy Kravitz and actually seeing the completed movie, Richard Dreyfuss was offered, and twice turned down, the role of Matt Hooper in Jaws; having read the script he decided that it was a film he would "rather watch than be in". After he had seen the final cut of Kravitz, however, Dreyfuss felt his performance was so bad that it could potentially end his movie career. Discovering that the role of Hooper had still not been cast, he jumped at it to ensure that he was safely under contract to make another movie before anybody at Universal Pictures heard any negative press about Kravitz.

It was shown as part of the Cannes Classics section of the 2013 Cannes Film Festival.

Prizes

 * Berlin International Film Festival – Golden Bear Award
 * Canadian Film Awards – Film of the Year
 * Writers Guild of America Award for Best Comedy Adapted from Another Medium – (Mordecai Richler and Lionel Chetwynd)

Nominations

 * Academy Award for Best Adapted Screenplay – (Mordecai Richler and Lionel Chetwynd)
 * Golden Globe Award for Best Foreign Film


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Talk:Splatbook

Hmm. I'd always thought the name "Splatbooks" came from the sound made when you drop one of the (thin softcover) books on the table.

.

I did a fairly serious overhaul. I believe the definition I give is more correct: the name is derived from the similarity of titles within a given series (Clanbook: *) not for the similarity of multiple series (*book).

The earliest Usenet reference I can find is 1996/07/05.

The term was certainly not limited to online. Somewhere during the 1990s (I'm guessing around 1996) I attended a talk by Erick Wujcik (designer of Amber Diceless Roleplaying Game) at Gen Con on game publishing. He used the term "splatbooks". Specifically he suggested that any new RPG should have groupings suitable for expanding in marketable splatbooks. At the time this was not new terminology to me, but I was reading Usenet at the time and may have first seen it there.

Alan De Smet | Talk 22:47, Apr 5, 2005 (UTC)

The alternative derivation I've heard refers to the extremely 'hit or miss' nature of such books. More than most sourcebooks, they tend to divide the target audience into those who love the book and those who hate it. The analogy was something along the lines of tossing the books at a very small target. A few would hit, the rest would just go *splat*... Having said that, the White Wolf thing sounds much more likely.

As far as I can tell, this is a phrase definition. If anywhere this belongs on Wiktionary. JoshuaRodman (talk) 04:34, 15 March 2015 (UTC)

Why is no-one asking the obvious?
Who are these people who say "splat" to mean "asterisk?" Literally every person who I have ever heard refer to an asterisk in my entire life calls it a "star" (if not actually "an asterisk"). As in "star dot star" for the wildcard filename. Perhaps there is an alternate "splat period splat" wildcard? 71.229.72.185 (talk) 05:39, 18 January 2011 (UTC)
 * This isn't that rare: see for example http://www.hacker-dictionary.com/terms/splat JoshuaRodman (talk) 04:33, 15 March 2015 (UTC)

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

title: Talk:Splatbook


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Norman Greenbaum

Norman Joel Greenbaum (born November 20, 1942) is an American singer-songwriter, known for his 1969–1970 hit song "Spirit in the Sky". The song is one of the most famous and best-selling one hit-wonders of all time.

Early life
Greenbaum was born in Malden, Massachusetts. He was raised in an Orthodox Jewish household and attended Hebrew school at Congregation Beth Israel. His initial interest in music was sparked by Southern blues music and the folk music that was popular in the late 1950s and early 1960s. He performed with various bands in high school and studied music at Boston University for two years. In college he performed at local coffeehouses but eventually dropped out and moved to Los Angeles in 1965.

Career
In the late 1960s, Norman Greenbaum was the leader and composer for Dr. West's Medicine Show and Junk Band, which recorded the novelty hit "The Eggplant That Ate Chicago". The group's psychedelic approach was too eccentric for mainstream show business; the group's name suggested a novelty or comedy act incorporating music.

Greenbaum went solo as a folk artist and submitted an original song, "Spirit in the Sky", to Reprise Records. His demonstration recording was a simple folk rendition, with Greenbaum accompanying himself on acoustic guitar. Reprise handed Greenbaum to staff producer Erik Jacobsen, who radically rearranged the song for a new recording session. The updated version now had pulsing electric guitar, gospel-styled backup singers, and an insistent rhythm accompanying Greenbaum, whose vocal was now double-tracked. Reprise released the record in late 1969, and it skyrocketed to #1 in almost all worldwide markets. It sold two million copies in 1969 and 1970, and received a gold disc from the RIAA. It has subsequently been used in many films, advertisements, and television shows.

Although "Spirit in the Sky" has a clear Christian theme, Greenbaum was and remains an observant Jew. Greenbaum says he was inspired to write the song after watching a Christian-themed song performed by Porter Wagoner on television. Greenbaum also stated Western movies were a major inspiration for "Spirit in the Sky":

Norman Greenbaum: If you ask me what I based "Spirit in the Sky" on ... what did we grow up watching? Westerns! These mean and nasty varmints get shot and they wanted to die with their boots on. So to me that was spiritual, they wanted to die with their boots on.

Ray Shasho: So that was the trigger that got you to write the song?

Norman Greenbaum: Yes. The song itself was simple, when you're writing a song you keep it simple of course. It wasn't like a Christian song of praise it was just a simple song. I had to use Christianity because I had to use something. But more important it wasn't the Jesus part, it was the spirit in the sky. Funny enough ... I wanted to die with my boots on.

All of the accoutrements added to "Spirit in the Sky" in the recording studio made it impossible for Greenbaum to replicate the recording in live performances. His televised appearance on Dick Clark's American Bandstand compelled the singer to synchronize his performance to a playback of the hit record.

Greenbaum's upbeat "Canned Ham" followed in 1970, and the record reached number 46 on the American charts and number 26 in the Canadian charts.

After the release in 1972 of his album Petaluma (named after his home town in California), Greenbaum left the music business and returned to his dairy farm. He returned to the music industry as a manager and promoter in the mid-1980s.

Personal life
Greenbaum has been a long-time resident of Santa Rosa, California. On March 28, 2015, he was seriously injured when a car, in which he was a passenger, made a left turn in the path of a motorcycle on Occidental Road, killing the motorcyclist and injuring the motorcycle passenger. Greenbaum has since gone back to performing.

with Dr. West's Medicine Show and Junk Band

 * The Eggplant That Ate Chicago (1967)
 * Norman Greenbaum with Dr. West's Medicine Show and Junk Band (1969, compilation)
 * Euphoria: The Best of Dr. West's Medicine Show and Junk Band (1998, compilation; contains the album 'The Eggplant That Ate Chicago', all the band's singles and 8 previously unreleased tracks)

Solo

 * Spirit in the Sky (1969)
 * Back Home Again (1970)
 * Petaluma (1972)
 * Spirit in the Sky: The Best of Norman Greenbaum (1995, compilation)
 * Spirit in the Sky: The Best of Norman Greenbaum (1997, compilation)
 * Spirit in the Sky: The Definitive Anthology (2003, compilation)

title: Norman Greenbaum


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User:Soilguy8

i'm soliguy8, another one of those soilguys. Contributing to articles like Bored of the Rings, Melbourne, Australia, Zen Buddhism, Juice and such.

title: User:Soilguy8


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Abravanel

The Abravanel family ( ʾAbravanʾēl or ʾAbarbənəʾēl), also spelled as Abarbanel, Abrabanel, Avravanel, Barbernell, or Barbanel –  literally meaning Ab ("father") rabban ("priest") el ("of God") –  is one of the oldest and most distinguished Jewish families. It first achieved prominence on the Iberian peninsula during the Middle Ages. Its members claim to trace their origin to the biblical King David. Members of this family lived in Seville, Córdoba (Spanish province), Castile-Leon, and Calatayud. Seville is where its most prominent representative, Don Judah Abravanel, once dwelt.

Don Judah Abravanel was treasurer and tax-collector under Sancho IV (1284–95) and Ferdinand IV (1295–1312). In 1310 he and other Jews guaranteed the loans made to the crown of Castile to finance the siege of Algeciras. It is probable that he was almoxarife ("collector of revenues") of Castile. Don Judah Abravanel and his family later fled to Lisbon, Portugal, where they reverted to Judaism and filled important governmental posts. His son, Judah (died 1471), was in the financial service of the infante Ferdinand of Portugal, who by his will (1437) ordered the repayment to him of the vast sum of 506,000 reis blancs. Later he was apparently in the service of the Duke of Braganza. His export business also brought him into trade relations with Flanders. He was father of Don Isaac Abrabanel and grandfather of Judah Abrabanel Leone Ebreo and Samuel Abrabanel.

Another eminent member of the family was Samuel of Seville, of whom Menahem b. Zerah wrote that he was "intelligent, loved wise men, befriended them, was good to them and was eager to study whenever the stress of time permitted". He had great influence at the court of Castile. In 1388 he served as royal treasurer in Andalusia. During the anti-Jewish riots of 1391 he was forcibly converted to Christianity under the name of Juan Sánchez (de Sevilla) and was appointed comptroller in Castile. It is thought that a passage in a poem in the Cancionero de Baena, attributed to Alfonso Álvarez de Villasandino, refers to him.

Samuel Abravanel, Don Judah Abravanel's grandson, settled in Valencia, and Samuel's son, Judah (and perhaps Don Judah himself), left for Portugal. Isaac, the son of Judah, returned to Castile, where he lived until the time of the great expulsion of the Jews from Spain in 1492. Then, with his three sons, Judah, Joseph, and Samuel, Isaac went to Italy. Their descendants, as well as other members of the family who arrived later from the Iberian peninsula, have lived in the Netherlands, England, Ireland, Germany, Turkey, Greece and American continent since the sixteenth century.

The high relative status of the family among the people of Iberia is indicated by a Ladino saying in Thessaloniki: Ya basta mi nombre ke es Abravanel, meaning "My name is enough, and my name is Abravanel."

Claimed descent from King David
Don Isaac Abravanel wrote that his forebears were descended from King David, but this has been challenged on the grounds of lack of sources.

Notable Abravanels
Several of the more prominent members of this family include:
 * Judah Abravanel was a receiver of customs at Seville, Spain, in 1310. He rendered substantial service to the grandees of Castile. The infante Don Pedro, in his will, dated from Seville, May 9, 1317, ordered that Judah be paid: (1) 15,000 maravedis for clothes delivered; (2) 30,000 maravedis as part of a personal debt, at the same time requesting Judah to release him from paying the rest. Judah had been in great favor with King Alfonso the Wise, with whom he once had a conversation regarding Judaism.
 * Samuel Abravanel was the son of Judah Abravanel of Seville. He settled in Castile and became a patron of learning. He supported the scholar Menahem ben Zerah and had him elected rabbi of Toledo. As a mark of his gratitude, Menahem dedicated to Abravanel his work Ẓedah la-Derek (Provision for the Journey). During the persecution of 1391 he submitted to Christianity and was baptized, according to Zacuto, Juan of Seville. He soon, however, returned to Judaism.
 * Don Isaac Abravanel, also Isaac ben Judah Abravanel or Abarbanel (1437–1508) was born in Lisbon, Portugal. He was a Jewish statesman, philosopher, Bible commentator, and financier.
 * Judah Leon Abravanel, also Leon Hebreo, Leone Ebreo or Leo Hebraeus (c. 1460 – c. 1535), was a European Jewish physician, poet and philosopher, author of the "Dialogues of Love", the eldest son of Don Isaac Abravanel.
 * Joseph Abravanel (Lisbon, 1471 – c. 1552), son of Don Isaac Abravanel, was a physician and scholar. He lived in Venice and later in Ferrara, and enjoyed a great reputation.
 * Isaac Abravanel II (died 1573) was son of Joseph Abravanel and grandson of the Bible-commentator. He lived in Ferrara.
 * Samuel Abravanel (Lisbon, 1473 – Ferrara, 1551) was the youngest son of Isaac Abravanel, and the grandson of Judah. His father sent him to Salonica to pursue his Talmudic studies, where he became the pupil of Joseph Fasi. He lived in Naples and was employed as financier by the viceroy Don Pedro de Toledo. Samuel was a patron of Jewish learning. His house was a favorite resort for Jewish and Christian scholars. The Portuguese refugee David ben Yachya, whom Samuel succeeded in placing as rabbi in Naples, and the Baruch of Benevento, a Kabbalist, were his close friends. Following in the footsteps of his father, and aided by his wife, Samuel was always ready to defend his fellow Jews. When Charles V issued an edict to expel the Jews from Naples, Benvenida, with the assistance of Leonora, intervened in their behalf so effectively that the decree was revoked. But several years later, when Charles V ordered the Jews either to leave the land or to wear the badge, the Abravanels settled in Ferrara, where Samuel died 1551, and Benvenida three years later.
 * Yona Abravanel (died 1667) was a poet who lived in Amsterdam in the seventeenth century. He was the son of the physician Joseph Abravanel, and a nephew of Manasseh ben Israel. He wrote, in Portuguese, Elegio em Louvar da Nova Yesiba, instituido por o Senhor Yshac Pereira, de que he Ros Yesiba o Senhor Haham Menasse ben Israel (Elegy in Praise of New Yesiba, instituted by Lord Yshac Pereira, the Ros Yesiba of which is Lord Haham Menasse ben Israel, Amsterdam, 1644). He also wrote elegies upon the martyrs Isaac de Castro Tartas (1647) and the Bernals (1655). After 1630, with Dr. Ephraim Bueno, he published ritualistic works and Psalterio de David... transladado con toda fidelidad (Psalterio of David... translated with full fidelity, Amsterdam, 1644).
 * Maurice Abravanel (b. 1903 in Saloniki, Greece – d. 1993 in Salt Lake City, Utah) was raised in Lausanne, Switzerland and, after emigrating to the USA, became the conductor of the Utah Symphony Orchestra.
 * Senor Abravanel, better known as Silvio Santos, a well-known Brazilian television host and owner of the Sistema Brasileiro de Televisão conglomerate.
 * Patricia Abravanel, Brazilian TV hostess, producer and businesswoman
 * Tiago Abravanel, Brazilian actor, voice actor and singer
 * Yuri A. Barbanel, was a distinguished Soviet/Russian scientist in the field of physical chemistry, born in 1935.
 * The family name exists in the forms "Barbanel", "Voronel", "Abraben" and "Arnell"
 * Boris Pasternak, the Russian 20th-century author of Dr. Zhivago, whose family claimed to be descended from Isaac Abravanel.

title: Abravanel


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The Count of Monte Cristo (2002 film)

The Count of Monte Cristo is a 2002 American historical adventure film, which is an adaptation of the 1844 novel of the same name by Alexandre Dumas, produced by Roger Birnbaum, Gary Barber, and Jonathan Glickman, and directed by Kevin Reynolds. The film stars Jim Caviezel, Guy Pearce, Richard Harris, James Frain, Dagmara Dominczyk, Luis Guzmán and Henry Cavill in one of his earliest roles. It follows the general plot of the novel, with the main storyline of imprisonment and revenge preserved, but many elements, including the relationships between major characters and the ending were modified.

The Count of Monte Cristo was released in North America on January 25, 2002 to generally positive reviews from critics. It was commercially successful, grossing $75 million.

Plot
In 1815, Edmond Dantès, second mate of a French merchant vessel, and his friend Fernand Mondego, a representative of the shipping company, seek medical help on Elba for their ailing captain. Napoleon Bonaparte is in exile on the island. Having kept his guardians from killing the pair, Bonaparte privately requests that Edmond deliver a letter to the mainland in exchange for his physician's services. Edmond is sworn to secrecy, but Fernand witnesses the exchange. In Marseille, the company owner, Morrell, commends Edmond for his bravery, promoting him to captain over first mate Danglars, who had given Edmond explicit orders not to land at Elba. Edmond thereafter states his intention to marry his girlfriend, Mercédès, whom Fernand lusts after.

Envious of Edmond’s good fortune, Fernand and Danglars inform on Edmond regarding Bonaparte's letter, which reveals information that could be used to aid Bonaparte's escape from Elba. Villefort, the city's chief magistrate, has Edmond arrested, but initially prepares to exonerate him until he learns the letter is addressed to his own father, Monsieur Clarion, a Bonapartist. He burns the letter and orders Edmond imprisoned in the Château d'If. Edmond escapes from Villefort and goes to Fernand for help, but Fernand instead turns him over to the pursuing gendarmes. Edmond is consigned to the island prison and its sadistic warden, Armand Dorleac. In exchange for persuading Mercédès that Edmond has been executed for treason and that she should take comfort in Fernand, Villefort has Fernand assassinate his father.

Six years later, Edmond is startled in his cell by an eruption in the ground revealing another prisoner, Abbé Faria, who has been imprisoned for 11 years after refusing to tell Bonaparte the whereabouts of the treasure of the Spada family. Faria has been digging an escape tunnel, but upon seeing that he is in Edmond's cell, he realizes he dug in the wrong direction. In exchange for Edmond's help digging a new tunnel, Faria educates him in a wide array of academic and martial disciplines. Faria is fatally injured in a tunnel cave-in, but before dying he gives Edmond a map to the treasure and implores him to use it only for good. Edmond escapes the prison by taking Faria's place in the disposal of his corpse, and is thrown into the sea, pulling Dorleac along with him and drowning him.

Wading ashore, Edmond encounters a band of pirates preparing to execute one of their own, Jacopo. Their leader, Luigi Vampa, decides justice and entertainment would be better served by pitting Edmond against Jacopo in a knife fight. Edmond wins but spares Jacopo, who swears himself to Edmond for life. They both work with the pirates until they arrive in Marseille. Edmond learns from Morrell, who does not recognize him, that Fernand and Danglars were complicit in his betrayal, his father committed suicide out of grief, and that Fernand and Mercédès wed shortly after Edmond was imprisoned. With Faria's map, he and Jacopo locate the treasure on the island of Montecristo. With his newfound wealth and comprehensive education, Edmond establishes himself in Parisian society as "The Count of Monte Cristo" with Jacopo as his manservant, and swears vengeance on those who conspired against him.

Edmond ingratiates himself to the Mondegos by staging the kidnap and rescue of their son, Albert. He lures Fernand, Villefort, and Danglars into a trap by letting slip the notion that he has located the treasure of Spada, and is shipping it through Marseille. His plans result in Danglars being caught red-handed in the act of theft, and Villefort being tricked into revealing his role in his father's death; both are arrested. Fernand is brought to financial ruin as Edmond has his gambling debts called in. Even though his appearance has changed dramatically, Edmond is recognized by Mercédès. Eventually, she softens him, and they rekindle their relationship. As Fernand prepares to flee the country, Mercédès reveals the only reason she married him was that she was pregnant with Albert, who is actually Edmond's son.

Edmond ambushes Fernand in the ruins of his family's country estate, having led him to believe that the treasure of Spada would be waiting for him. Albert intervenes when Edmond attempts to kill Fernand, but Mercédès tells him of his true parentage. Fernand attempts to flee, but changes his mind upon realizing he has nowhere to go, and challenges Edmond to a fight to the death; Edmond prevails.

Edmond purchases Château d'If, intending to raze it, but instead leaves it standing as he swears to Faria to use his vast resources for good and departs with his new family.

Production
Most of filming took place on the island of Malta, where the capital of Valletta stood in for Marseilles. The fortified city of Vittoriosa, part of the Grand Harbour of Valletta, was chosen for its strong resemblance to early 19th century Port of Marseilles. The waterfront stretch of Vittoriosa known as Xatt Ir-Risq and Fort St Elmo featured specifically in the "Marseilles" scenes. The Grand Harbour had the added advantage of being one of a very few ports deep enough to allow the huge period sailing ships brought from the UK to dock. Saint Mary's Tower on the island of Comino was used for the exteriors of the Château d'If; the Azure Window of Gozo also makes an appearance in the scenes set on the island of Montecristo.

In Ireland, locations included Powerscourt Estate, which stood in for the estate which Dantès buys and where he hosts his grand introduction to Paris society, while Kilruddery House appears as Mondego's home early in the film. The climactic fight scene between Dantès and Mondego was filmed near Slane in County Meath.

Reception
On Rotten Tomatoes the film holds an approval rating of 73% based on 143 reviews, with an average rating of 6.7/10. The website's critics consensus reads: "Though it may not reach for any new artistic heights, The Count of Monte Cristo is an old-fashioned yet enjoyable swashbuckler." At Metacritic, the film has a weighted average score of 61 out of 100, based on 33 critics, indicating "generally favourable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

Roger Ebert gave the film 3 stars out of 4, writing: "The Count of Monte Cristo is a movie that incorporates piracy, Napoleon in exile, betrayal, solitary confinement, secret messages, escape tunnels, swashbuckling, comic relief, a treasure map, Parisian high society and sweet revenge, and brings it in at under two hours, with performances by good actors who are clearly having fun. This is the kind of adventure picture the studios churned out in the Golden Age—so traditional it almost feels new."

Soundtrack
The official soundtrack for the film was composed and conducted by Edward Shearmur and performed by the London Metropolitan Orchestra.

title: The Count of Monte Cristo (2002 film)


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Cowell College

The first of the ten residential colleges of the University of California, Santa Cruz, established in 1965, Cowell College (Samuel Henry Cowell College) sits on the edge of a redwood forest with a remarkable view of Monterey Bay. The college is named for Henry Cowell and the Cowell family, who donated the land that UCSC is built upon, previously known as the Cowell Ranch.

Living at Cowell
Cowell College features seven dormitory buildings which are named after American historians, and architecturally reminiscent of English schools. Each building houses between 45 and 95 students in two clusters known as Upper Quad and Lower Quad. The buildings are named as follows: Adams, Prescott, Parkman (upper quad); Beard, Parrington, Turner (lower quad); and Morison (though Morison's front entrance opens onto the lower quad, whether the dorm is upper or lower quad is a source of debate.) Three buildings of apartments opened in 2004. Each apartment houses six or seven students in several bedrooms that share a living room, kitchen, and bathrooms.

These residence halls and apartments have resident assistants that live in the buildings in order to offer some counseling, programming, and guidance to the students living in Cowell. There are two resident assistants for each dormitory and five resident assistants for the apartments.

In the past, another building known as La Maison Francophone housed approximately 15 students who met weekly to speak French, study French culture, and put on events for the college. This building, located behind the Humanities and Social Sciences complex, now houses mostly teachers and graduate students, in addition to the Soviet Apartment, a communal living experiment occupied by students of the Russian language course.

Topped by a glass cupola, Cowell's dining hall is one of Cowell's best known visible features and has become one of the College's icons. The dining hall serves as the primary eatery for Cowell and Stevenson College. This building was reopened following retrofitting during the 2008 school year.

Cowell programs
Cowell also features a wide variety of annual events and programs. For example, residential staff has in the past hosted a series of events each year known as the Cowell Olympics. Teams of students from the two quads, or each individual building are pitted against each other for prizes, their house name on an official Cowell Olympics plaque, and most recently, a banner to hang from the building's balcony.

Along with college wide events, the Resident Assistants in the living areas are required to run 6 house events for each building every quarter. These can range from movie showings to nature trips to discussions on current events.

Cowell College also sponsors a UCSC a cappella group, Acquire. The group recently put on a large free show at Cowell called Acquirefest featuring all three on campus a cappella groups and some other guest groups. The event brought in over 400 people and has now become one of the school's largest music events of the year.

Notable features
It is home to the Eloise Pickard Smith Gallery, named in honor of Eloise Pickard Smith, the wife of Cowell's first Provost, Page Smith. Cowell's library, housing a small private collection of books, and another popular study spot, is named in his honor. An unofficial 24-hour silent rule exists in this space. In addition, Cowell owns many sculptures displayed around its campus, including the Cowell fountain and a statue dedicated to students who died in the Vietnam War. Cowell is also known for beautiful wisteria plants that bloom in the spring around the college. Cowell also has glass display cases that are used to display student and class art work. They are curated by a UCSC student.

Dating from the days of the old ranch, Cowell houses a Printing Press. A course is offered that teaches students about book making.

title: Cowell College


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User talk:Paul99

Welcome to Wikipedia, Paul99! Bienvenue. I fraternally invite you to add your name, to join the new community Wikipedians/Quebec. Thanks and welcome! Je vous invite fraternellement à ajouter votre nom, à vous joindre à la nouvelle communauté Wikipedians/Quebec. Merci et bienvenue! --Liberlogos 04:34, 2 Aug 2004 (UTC)

License
Hi Paul99, we use on french wp your picture Image:Lavaluniversitycampus.jpg. I've assumed it is GFDL to tag it. If I'm wrong, please let me know. Regards, Tipiac 00:21, 2 Dec 2004 (UTC)

 * No problem. Paul99 12:28, 2 Dec 2004 (UTC)

Quebec Wikipedians notice board
You are hereby cordially invited to join the Quebec Wikipedians notice board.

Vous êtes cordialement invité à collaborer au Quebec Wikipedians notice board. Circeus 19:29, Feb 23, 2005 (UTC)

Janelle Pierzina
You probably already know, but just in case, I thought I would mention the vote has restarted form scratch at Articles for deletion/Janelle Pierzina 2. I hope you choose to participate. Thanks. --rob 12:03, 10 September 2005 (UTC)

User Categorisation
You were listed on the Wikipedians/Quebec page as living in or being associated with Quebec. As part of the User categorisation project, these lists are being replaced with user categories. If you would like to add yourself to the category that is replacing the page, please visit Category:Wikipedians in Quebec for instructions.--Rmky87 02:21, 11 October 2005 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:15, 30 November 2015 (UTC)

title: User talk:Paul99


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Talk:Kendallville, Indiana

I am searching for some unspecified photos of Lyska, a well known Kendallville person

Untitled
Hello, I am a concerned part of the public and wish to remain annoyomus. My concern, that I've chosen to visibaly throw out, is the secruity of the Noble Co. courthouse located in Albion, IN.

Here is my concern, I was at the courthouse Monday, the 19th day of July, 2004 when I was struck by, the realization of how unsafe it may actually be. My friend and I had just entered the courthouse,I had put my purse onto the conveyer for a secruity check, and we both, had just walked through the metal detector, when another couple entered. I heard one of the police officer's ask the man if he had anything metal on him, and the man replied, and said, that he had steel toed boots on. This man was not asked to take his shoes off and then walk through the metal detector, nor was a hand held detector used to locate where on his body, the metal was. He was simpily just trusted! I realize that Albion is a very small town, but does that mean those in charge of protecting the judges and innocent suvillions, should be so trusting? Anyone could just "SAY" that they're wearing steel toed boots and take vengence on the lives of many. I do not know, exactly how the metal detector's function, nor do I mean to put those who protect and keep our cities safe and drug free on a daily basis, down, or try to put any shame on them at all! But I definatley feel, that this is something worth being looked into! I thank you, for taking the time to read this! Sincerely signed, Annoyomus

We're not the ones you need to talk to. Also, the proper spellings are "civilians", "security", "simply", "vengeance", "definitely", and "anonymous". Kurt Weber 16:04, 22 August 2005 (UTC)

Additionally, "conveyer" should be "conveyor," "simpily" should be "simply," "visibaly" should be "visibly," "officer's" should be "officers" and "detector's" should be "detectors." There are numerous hyphenation errors and numerous comma blunders as well. My advice is to complain to the police, but be sure you do so annonnymussily. Signed, Mystyryus —The preceding unsigned comment was added by Special:Contributions/ (talk)

External links modified
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External links modified
Hello fellow Wikipedians,

I have just modified one external link on Kendallville, Indiana. 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:
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Making Improvements
Hello,

I recently stumbled upon this page, and I think we could definitely make some improvements to the "History" segment. Knowing that there are likely a few "old guards" watching this page for changes who wouldn't be so keen for drastic alterations to the article, I would like to start a discussion on how we can improve "History" to better capture a more thorough history of Kendallville and what sets it apart from the other towns in northeast Indiana.

I welcome feedback.

ZionMoulder (talk) 09:48, 18 February 2019 (UTC)
 * , that's not how change gets done on Wikipedia. The essay WP:BRD describes how to make changes. To lessen the likelihood of having to go beyond the "B" in BRD, please familiarize yourself with the pillar policies, WP:BLP, and the guidelines for US settlement articles prior to making any changes and please cite your sources. Thanks. John from Idegon (talk) 14:27, 18 February 2019 (UTC)

 * , thank you for your feedback. I will be prudent to review the provided documents before attempting any edits, and of course I'll cite all my sources. Thank you. ZionMoulder (talk)

title: Talk:Kendallville, Indiana


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Caladbolg

Caladbolg ("hard cleft", also spelled Caladcholg, "hard blade") is the sword of Fergus mac Róich from the Ulster Cycle of Irish mythology.

Fergus calls his sword by that name in Táin Bó Cúailnge. Ailill mac Máta had stolen Fergus's sword when he caught him in flagrante with Medb. Fergus carved a dummy wooden sword to disguise the fact he was unarmed. Ailill returns the sword to him before the final battle, and Fergus speaks a poem over it, calling it Caladcholc in one version, and Caladbolg in another. It is said to have been "the sword of Leite from the elf-mounds. When one wished to strike with it, it was as big as a rainbow in the air." Prevented from using it against Conchobar mac Nessa, Fergus instead cuts off the tops of three hills.

A poem in the Duanaire Finn traces the ownership of sword through various figures of classical mythology and history, passing down from Saturn, via the heroes of the Trojan War, to Julius Caesar, to Cú Chulainn, who gave it to Fergus. After Fergus's death, it was passed down through the generations from Medb, to Fionn mac Cumhaill's son Oscar, and ultimately to Saint Patrick.

T. F. O'Rahilly argues that Caladbolg is the older form of the name, and interprets it as meaning "hard lightning". He connects it with the Builg, an ancient people of Ireland (he identifies a subgroup of the Múscraige called the Dál Caladbuilg), as well as Caledfwlch, the Welsh name of King Arthur's sword Excalibur. Other sources connect similarly named swords with the legends of Arthur, Cú Chulainn, Fergus mac Léti and Fergus mac Róich.

The name Caladbolg appears in the plural as a generic word for "great swords" in the 10th-century Irish translation of the classical tale The Destruction of Troy, Togail Troí.

title: Caladbolg


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Latin League

The Latin League (c. 8th century – 338 BC) was an ancient confederation of about 30 villages and tribes in the region of Latium near the ancient city of Rome, organized for mutual defense. The term "Latin League" is one coined by modern historians with no precise Latin equivalent.

Creation
The Latin League was originally created for protection against enemies from surrounding areas (the Etruscans) under the leadership of the city of Alba Longa. An incomplete fragment of an inscription recorded by Cato the Elder claims that at one time the league included Tusculum, Aricia, Lanuvium, Lavinium, Cora, Tibur, Pometia and Ardea.

Roman leadership of the League
During the reign of Tarquinius Superbus, the Latins were persuaded to acknowledge the leadership of Rome. The treaty with Rome was renewed, and it was agreed that the troops of the Latins would attend on an appointed day to form a united military force with the troops of Rome. That was done, and Tarquin formed combined units of Roman and Latin troops.

The early Roman Republic formed an alliance with the Latin League in 493 BC. According to Roman tradition, the treaty, the Foedus Cassianum, followed a Roman victory over the league in the Battle of Lake Regillus. It provided that both Rome and the Latin League would share loot from military conquests (which would later be one of the reasons for the Latin War 341–338 BC) and that any military campaigns between the two would be led by Roman generals. The alliance helped repel attacks from such peoples as the Aequi and the Volsci, tribes of the Apennine Mountains, who were prevented from invading Latium by the blending of armies.

It is still unclear if the Latins had accepted Rome as a member of the League, or if the treaty had been signed as between Rome and the Latin League.

Wars with Rome
During the Roman Kingdom and the early-to-mid Roman Republic there were numerous disputes between Rome and the Latins, which led to a number of wars between Rome and individual Latin cities and occasionally with the entire league.

The increasing power of Rome gradually led to its domination of the league. The renewal of the original treaty in 358 BC formally established Roman leadership and eventually triggered the outbreak of the Latin War (343–338 BC). Following the Roman victory, the league was dissolved.

After 338 BC, the end of the Latin league, Rome renamed the cities municipia and established coloniae inside them. This meant that the towns were now ruled by Rome (or the Roman Republic) and that the people living there were considered Roman colonists.

Cities
Alba Longa (founder – destroyed in the mid-7th century BC), Ardea, Aricia, Cameria (destroyed in 502 BC), Cora, Lanuvium, Lavinium, Pometia, Tibur, and Tusculum.

title: Latin League


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Matsuda

Matsuda (written: 松田 lit. "pine ricefield") is a Japanese surname. Notable people with the surname include:

 * Aoi Matsuda (松田 蒼), Japanese badminton athlete
 * Aoko Matsuda (松田青子, born 1979), Japanese writer and translator
 * Eiji Matsuda (1894–1978), Mexican botanist
 * Fujio Matsuda (1924–2020), president of the University of Hawaii
 * Gaku Matsuda (松田 岳), Japanese actor
 * Genta Matsuda (松田 元太), member of Travis Japan
 * Haruko Matsuda (松田 治子), Japanese badminton player
 * Hideshi Matsuda (松田 秀士), Japanese racing driver and television personality
 * Hiroaki Matsuda (松田 亘哲), Japanese baseball player
 * Iwao Matsuda (松田 岩夫), member of the Diet of Japan
 * Iwao Matsuda (general) (松田 巌), general in the Imperial Japanese Army
 * Jeff Matsuda, animator for Jackie Chan Adventures and The Batman
 * Jujiro Matsuda (松田 重次郎), founder of Mazda Motor Corporation
 * Kazuo Matsuda (松田 一夫), Japanese ice hockey player
 * Kiichi Matsuda (松田 喜一), Japanese educator
 * Mari Matsuda (born 1956), American law school professor
 * Mikio Matsuda (松田 幹郎), Japanese ice hockey player
 * Miyuki Matsuda (松田 美由紀), Japanese actress
 * Naoki Matsuda (松田 直樹), Japanese footballer
 * Natsuko Matsuda (松田 奈津子), Japanese swimmer
 * Nobuhiro Matsuda (松田 宣浩), Japanese professional baseball player
 * Rika Matsuda, survivor of Korean Air Flight 801
 * Riki Matsuda (松田 力), Japanese footballer
 * Riku Matsuda (disambiguation), multiple people
 * Ryuchi Matsuda (松田 隆智), Japanese author and martial artist
 * Ryuhei Matsuda (松田 龍平), Japanese actor, Yusaku Matsuda's son
 * Seiko Matsuda (松田 聖子), Japanese pop singer
 * Shino Matsuda (松田 紫野), Japanese women's professional footballer
 * Shinya Matsuda, voice actor
 * Shota Matsuda (松田 翔太), Japanese actor, Yusaku Matsuda's son
 * So Matsuda (born 1991), Japanese Olympic mogulist
 * Sorakichi Matsuda (松田 幸次郎), professional wrestler
 * Takafumi Matsuda (松田 隆文), Japanese cyclist
 * Takeshi Matsuda (松田 丈志), Japanese swimmer
 * Yasuko Matsuda (松田 靖子), Japanese shot putter
 * Yōji Matsuda (松田 洋治), Japanese actor and voice actor
 * Yura Matsuda (松田 悠良), Japanese figure skater
 * Yukio Matsuda (松田 征男), Japanese rower
 * Yūsaku Matsuda (松田 優作) actor

Fictional characters

 * Takato Matsuda (Takato Matsuki), a character in the anime Digimon Tamers. (Matsuda is the character's name in the Japanese version)
 * Touta Matsuda, a character in the manga and anime series Death Note.
 * Takeyoshi Matsuda, a character in War and Destiny.
 * Yasuke Matsuda, a character in the light novel Danganronpa/Zero
 * Sean Matsuda, a character in Capcom's Street Fighter franchise.

title: Matsuda


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Phaedrus (dialogue)

The Phaedrus (Φαῖδρος), written by Plato, is a dialogue between Socrates, and Phaedrus, an interlocutor in several dialogues. The Phaedrus was presumably composed around 370 BC, about the same time as Plato's Republic and Symposium. Although ostensibly about the topic of love, the discussion in the dialogue revolves around the art of rhetoric and how it should be practiced, and dwells on subjects as diverse as metempsychosis (the Greek tradition of reincarnation) and erotic love, and the nature of the human soul shown in the famous Chariot Allegory.

Setting
Socrates runs into Phaedrus on the outskirts of Athens. Phaedrus has just come from the home of Epicrates of Athens, where Lysias, son of Cephalus, has given a speech on love. Socrates, stating that he is "sick with passion for hearing speeches", walks into the countryside with Phaedrus. Socrates is hoping that Phaedrus will repeat the speech. They sit by a stream under a plane tree and a chaste tree, and the rest of the dialogue consists of oration and discussion.

The dialogue does not set itself as a re-telling of the day's events. It is given in the direct words of Socrates and Phaedrus, without other interlocutors to introduce the story. This is in contrast to dialogues such as the Symposium, in which Plato sets up multiple layers between the day's events and our hearing of it, explicitly giving us an incomplete, fifth-hand account.

Dramatis personae

 * Socrates
 * Phaedrus
 * Lysias (in absentia)

Lysias was one of the three sons of Cephalus, the patriarch whose home is the setting for Plato's Republic. Lysias was perhaps the most famous logographos (λογογράφος, lit. "speech writer") in Athens during the time of Plato. Lysias was a rhetorician and a sophist whose best-known extant work is a defense speech, "On the Murder of Eratosthenes". In the speech a man who killed his wife's lover claims that the laws of Athens required him to do it. The outcome of this speech is unknown.

Summary
The dialogue consists of a series of three speeches on the topic of love that serves as the subject to construct a discussion on the proper use of rhetoric. They encompass discussions of the soul, madness, divine inspiration, and the practice and mastery of an art.

As they walk out into the countryside, Socrates tries to convince Phaedrus to repeat the speech of Lysias which he has just heard. Phaedrus makes several excuses, but Socrates suspects strongly that Phaedrus has a copy of the speech with him. Saying that while Lysias is present, he would never allow himself to be used as a training partner for Phaedrus to practice his own speech-making on, he asks Phaedrus to expose what he is holding under his cloak. Phaedrus gives in and agrees to perform Lysias' speech.

Lysias' speech (230e–235e)
Phaedrus and Socrates walk through a stream and find a seat in the shade. Phaedrus and Socrates both note how anyone would consider Socrates a foreigner in the countryside, and Socrates attributes this fault to his love of learning which "trees and open country won't teach," while "men in the town" will. Socrates then proceeds to give Phaedrus credit for leading him out of his native land: "Yet you seem to have discovered a drug for getting me out. A hungry animal can be driven by dangling a carrot or a bit of greenstuff in front of it; similarly if you proffer me speeches bound in books I don't doubt you can cart me all around Attica, and anywhere else you please."

Phaedrus then commences to repeat Lysias' speech. Beginning with "You understand, then, my situation: I've told you how good it would be for us in my opinion, if this worked out", the speech proceeds to explain all the reasons why it is better to give your favor to a non-lover rather than a true lover. Friendship with a non-lover, he says, demonstrates objectivity and prudence; it doesn't create gossip when you are seen together; it doesn't involve jealousy; and it allows for a much larger pool of possible partners. You will not be giving your favor to someone who is "more sick than sound in the head" and is not thinking straight, overcome by love. He explains that it is best to give your favor to one who can best return it, rather than one who needs it most. He concludes by stating that he thinks the speech is long enough, and the listener is welcome to ask any questions if something has been left out.

Socrates, attempting to flatter Phaedrus, responds that he is in ecstasy and that it is all Phaedrus' doing. Socrates comments that as the speech seemed to make Phaedrus radiant, he is sure that Phaedrus understands these things better than he does himself, and that he cannot help follow Phaedrus' lead into his Bacchic frenzy. Phaedrus picks up on Socrates' subtle sarcasm and asks Socrates not to joke.

Socrates retorts that he is still in awe, and claims to be able to make an even better speech than Lysias on the same subject.

First speech of Socrates (237a–241d)
When Phaedrus begs to hear it however, Socrates refuses to give the speech. Phaedrus warns him that he is younger and stronger, and Socrates should "take his meaning" and "stop playing hard to get". Finally, after Phaedrus swears on the plane tree that he will never recite another speech for Socrates if Socrates refuses, Socrates, covering his head, consents.

Socrates, rather than simply listing reasons as Lysias had done, begins by explaining that while all men desire beauty, some are in love and some are not. We are all ruled, he says, by two principles: one is our inborn desire for pleasure, and the other is our acquired judgment that pursues what is best (237d). Following your judgment is "being in your right mind", while following desire towards pleasure without reason is "outrage" (hubris).

Following different desires leads to different things; one who follows his desire for food is a glutton, and so on. The desire to take pleasure in beauty, reinforced by the kindred beauty in human bodies, is called Eros.

Remarking that he is in the grip of something divine, and may soon be overtaken by the madness of the nymphs in this place, he goes on.

The problem, he explains, is that one overcome with this desire will want to turn his boy into whatever is most pleasing to himself, rather than what is best for the boy. The boy's intellectual progress will be stifled, his physical condition will suffer, the lover will not wish the boy to mature and take a family, all because the lover is shaping him out of desire for pleasure rather than what is best. At some point, "right-minded reason" will take the place of "the madness of love", and the lover's oaths and promises to his boy will be broken.

Phaedrus believes that one of the greatest goods given is the relationship between lover and boy. This relationship brings guidance and love into the boy's life. Because the boy has a lover as such a valuable role model, he is on his best behavior to not get caught in something shameful. To get caught in something shameful would be like letting down his lover, therefore the boy is consistently acting his best. The absence of shame makes room for a sense of pride to come in; pride from the wealthy feeling of impressing one's own lover. Impressing one's own lover brings more learning and guidance into the boy's life.

The non-lover, he concludes, will do none of this, always ruled by judgment rather than desire for pleasure. Socrates, fearing that the nymphs will take complete control of him if he continues, states that he is going to leave before Phaedrus makes him "do something even worse".

However, just before Socrates is about to leave, he is stopped by the "familiar divine sign", his daemon, which always occurs and only just before Socrates is about to do something he should not. A voice "from this very spot" forbids Socrates to leave before he makes atonement for some offense to the gods. Socrates then admits that he thought both of the preceding speeches were terrible, saying Lysias' repeated itself numerous times, seemed uninterested in its subject, and seemed to be showing off. Socrates states that he is a "seer". While he is not very good at it, he is good enough for his purposes, and he recognizes what his offense has been: if love is a god or something divine, as he and Phaedrus both agree he is, he cannot be bad, as the previous speeches have portrayed him. Socrates, baring his head, vows to undergo a rite of purification as a follower of the Muses, and proceeds to give a speech praising the lover.

Madness (244a–245c)
Socrates begins by discussing madness. If madness is all bad, then the preceding speeches would have been correct, but in actuality, madness given as a gift of the gods provides us with some of the best things we have. There are, in fact, several kinds of divine madness (theia mania), of which he cites four examples:
 * 1) From Apollo, the prophetic madness;
 * 2) From Dionysus, the initiatory or ritual madness;
 * 3) From the Muses, the poetic madness;
 * 4) From Aphrodite, erotic madness

As they must show that the madness of love is, indeed, sent by a god to benefit the lover and beloved in order to disprove the preceding speeches, Socrates embarks on a proof of the divine origin of this fourth sort of madness. It is a proof, he says, that will convince "the wise if not the clever".

The soul (245c–249d)
He begins by briefly proving the immortality of the soul. A soul is always in motion and as a self-mover has no beginning. A self-mover is itself the source of everything else that moves. So, by the same token, it cannot be destroyed. Bodily objects moved from the outside have no soul, while those that move from within have a soul. Moving from within, all souls are self-movers, and hence their immortality is necessary.

Then begins the famous chariot allegory. A soul, says Socrates, is like the "natural union of a team of winged horses and their charioteer". While the gods have two good horses, everyone else has a mixture: one is beautiful and good, while the other is neither.

As souls are immortal, those lacking bodies patrol all of heaven so long as their wings are in perfect condition. When a soul sheds its wings, it comes to earth and takes on an earthly body that then seems to move itself. These wings lift up heavy things to where the gods dwell and are nourished and grow in the presence of the wisdom, goodness, and beauty of the divine. However, foulness and ugliness make the wings shrink and disappear.

In heaven, he explains, there is a procession led by Zeus, who looks after everything and puts things in order. All the gods, except for Hestia, follow Zeus in this procession. While the chariots of the gods are balanced and easier to control, other charioteers must struggle with their bad horse, which will drag them down to earth if it has not been properly trained. As the procession works its way upward, it eventually makes it up to the high ridge of heaven where the gods take their stands and are taken in a circular motion to gaze at all that is beyond heaven.

What is outside of heaven, says Socrates, is quite difficult to describe, lacking color, shape, or solidity, as it is the subject of all true knowledge, visible only to intelligence. The gods delight in these things and are nourished. Feeling wonderful, they are taken around until they make a complete circle. On the way they are able to see Justice, Self-control, Knowledge, and other things as they are in themselves, unchanging. When they have seen all things and feasted on them, coming all the way around, they sink back down inside heaven.

The immortal souls that follow the gods most closely are able to just barely raise their chariots up to the rim and look out on reality. They see some things and miss others, having to deal with their horses; they rise and fall at varying times. Other souls, while straining to keep up, are unable to rise, and in noisy, sweaty discord they leave uninitiated, not having seen reality. Where they go after is then dependent on their own opinions, rather than the truth. Any soul that catches sight of any true thing is granted another circuit where it can see more; eventually, all souls fall back to earth. Those that have been initiated are put into varying human incarnations, depending on how much they have seen; those made into philosophers and artists have seen the most, while kings, statesmen, doctors, prophets, poets, manual laborers, sophists, and tyrants follow respectively.

Souls then begin cycles of reincarnation. It generally takes 10,000 years for a soul to grow its wings and return to where it came, but philosophers, after having chosen such a life three times in a row, grow their wings and return after only 3,000 years. This is because they have seen the most and always keep its memory as close as possible, and philosophers maintain the highest level of initiation. They ignore human concerns and are drawn towards the divine. While ordinary people rebuke them for this, they are unaware that the lover of wisdom is possessed by a god. This is the fourth sort of madness, that of love.

The madness of love (249d–257b)
One comes to manifest this sort of love after seeing beauty here on earth and being reminded of true beauty as it was seen beyond heaven. When reminded, the wings begin to grow back, but as they are not yet able to rise, the afflicted gaze aloft and pay no attention to what goes on below, bringing on the charge of madness. This is the best form that possession by a god can take, for all those connected to it.

When one is reminded of true beauty by the sight of a beautiful boy, he is called a lover. While all have seen reality, as they must have to be human, not all are so easily reminded of it. Those that can remember are startled when they see a reminder, and are overcome with the memory of beauty.

Beauty, he states, was among the most radiant things to see beyond heaven, and on earth it sparkles through vision, the clearest of our senses. Some have not been recently initiated, and mistake this reminder for beauty itself and only pursue desires of the flesh. This pursuit of pleasure, then, even when manifested in the love of beautiful bodies, is not "divine" madness, but rather just having lost one's head. The recent initiates, on the other hand, are overcome when they see a bodily form that has captured true beauty well, and their wings begin to grow. When this soul looks upon the beautiful boy it experiences the utmost joy; when separated from the boy, intense pain and longing occur, and the wings begin to harden. Caught between these two feelings, the lover is in utmost anguish, with the boy the only doctor for the pain.

Socrates then returns to the myth of the chariot. The charioteer is filled with warmth and desire as he gazes into the eyes of the one he loves. The good horse is controlled by its sense of shame, but the bad horse, overcome with desire, does everything it can to go up to the boy and suggest to it the pleasures of sex. The bad horse eventually wears out its charioteer and partner, and drags them towards the boy; yet when the charioteer looks into the boy's face, his memory is carried back to the sight of the forms of beauty and self-control he had with the gods, and pulls back violently on the reins. As this occurs over and over, the bad horse eventually becomes obedient and finally dies of fright when seeing the boy's face, allowing the lover's soul to follow the boy in reverence and awe.

The lover now pursues the boy. As he gets closer to his quarry, and the love is reciprocated, the opportunity for sexual contact again presents itself. If the lover and beloved surpass this desire they have won the "true Olympic Contests"; it is the perfect combination of human self-control and divine madness, and after death, their souls return to heaven. Those who give in do not become weightless, but they are spared any punishment after their death, and will eventually grow wings together when the time comes.

A lover's friendship is divine, Socrates concludes, while that of a non-lover offers only cheap, human dividends, and tosses the soul about on earth for 9,000 years. He apologizes to the gods for the previous speeches, and Phaedrus joins him in the prayer.

Discussion of rhetoric and writing (257c–279c)
After Phaedrus concedes that this speech was certainly better than any Lysias could compose, they begin a discussion of the nature and uses of rhetoric itself. After showing that speech making itself isn't something reproachful, and that what is truly shameful is to engage in speaking or writing shamefully or badly, Socrates asks what distinguishes good from bad writing, and they take this up.

Phaedrus claims that to be a good speechmaker, one does not need to know the truth of what he is speaking on, but rather how to properly persuade, persuasion being the purpose of speechmaking and oration. Socrates first objects that an orator who does not know bad from good will, in Phaedrus's words, harvest "a crop of really poor quality". Yet Socrates does not dismiss the art of speechmaking. Rather, he says, it may be that even one who knew the truth could not produce conviction without knowing the art of persuasion; on the other hand, "As the Spartan said, there is no genuine art of speaking without a grasp of the truth, and there never will be".

To acquire the art of rhetoric, then, one must make systematic divisions between two different kinds of things: one sort, like "iron" and "silver", suggests the same to all listeners; the other sort, such as "good" or "justice", lead people in different directions. Lysias failed to make this distinction, and accordingly, failed to even define what "love" itself is in the beginning; the rest of his speech appears thrown together at random, and is, on the whole, very poorly constructed. Socrates then goes on to say,
 * "Every speech must be put together like a living creature, with a body of its own; it must be neither without head nor without legs; and it must have a middle and extremities that are fitting both to one another and to the whole work."

Socrates's speech, on the other hand, starts with a thesis and proceeds to make divisions accordingly, finding divine love, and setting it out as the greatest of goods. And yet, they agree, the art of making these divisions is dialectic, not rhetoric, and it must be seen what part of rhetoric may have been left out.

When Socrates and Phaedrus proceed to recount the various tools of speechmaking as written down by the great orators of the past, starting with the "Preamble" and the "Statement Facts" and concluding with the "Recapitulation", Socrates states that the fabric seems a little threadbare. He goes on to compare one with only knowledge of these tools to a doctor who knows how to raise and lower a body's temperature but does not know when it is good or bad to do so, stating that one who has simply read a book or came across some potions knows nothing of the art. One who knows how to compose the longest passages on trivial topics or the briefest passages on topics of great importance is similar, when he claims that to teach this is to impart the knowledge of composing tragedies; if one were to claim to have mastered harmony after learning the lowest and highest notes on the lyre, a musician would say that this knowledge is what one must learn before one masters harmony, but it is not the knowledge of harmony itself. This, then, is what must be said to those who attempt to teach the art of rhetoric through "Preambles" and "Recapitulations"; they are ignorant of dialectic, and teach only what is necessary to learn as preliminaries.

They go on to discuss what is good or bad in writing. Socrates tells a brief legend, critically commenting on the gift of writing from the Egyptian god Theuth to King Thamus, who was to disperse Theuth's gifts to the people of Egypt. After Theuth remarks on his discovery of writing as a remedy for the memory, Thamus responds that its true effects are likely to be the opposite; it is a remedy for reminding, not remembering, he says, with the appearance but not the reality of wisdom. Future generations will hear much without being properly taught, and will appear wise but not be so, making them difficult to get along with.

No written instructions for an art can yield results clear or certain, Socrates states, but rather can only remind those that already know what writing is about. Furthermore, writings are silent; they cannot speak, answer questions, or come to their own defense.

Accordingly, the legitimate sister of this is, in fact, dialectic; it is the living, breathing discourse of one who knows, of which the written word can only be called an image. The one who knows uses the art of dialectic rather than writing:
 * "The dialectician chooses a proper soul and plants and sows within it discourse accompanied by knowledge—discourse capable of helping itself as well as the man who planted it, which is not barren but produces a seed from which more discourse grows in the character of others. Such discourse makes the seed forever immortal and renders the man who has it happy as any human being can be."

Chariot allegory
Plato paints the picture of a charioteer driving a chariot pulled by two winged horses:

"First the charioteer of the human soul drives a pair, and secondly one of the horses is noble and of noble breed, but the other quite the opposite in breed and character. Therefore in our case the driving is necessarily difficult and troublesome."

The charioteer represents intellect, reason, or the part of the soul that must guide the soul to truth; one horse represents rational or moral impulse or the positive part of passionate nature (e.g., righteous indignation); while the other represents the soul's irrational passions, appetites, or concupiscent nature. The charioteer directs the entire chariot/soul, trying to stop the horses from going different ways, and to proceed towards enlightenment.

Plato describes a "great circuit" which souls make as they follow the gods in the path of enlightenment. Those few souls which are fully enlightened are able to see the world of the forms in all its glory. Some souls have difficulty controlling the black horse, even with the help of the white horse. They may bob up into the world of the forms, but at other times enlightenment is hidden from them. If overcome by the black horse or forgetfulness, the soul loses its wings and is pulled down to earth.

Should that happen, the soul is incarnated into one of nine kinds of person, according to how much truth it beheld. In order of decreasing levels of truth seen, the categories are: (1) philosophers, lovers of beauty, or someone musical and erotic; (2) law-abiding kings or civic leaders; (3) politicians, estate-managers or businessmen; (4) ones who specialize in bodily health; (5) prophets or mystery cult participants; (6) poets or imitative artists; (7) craftsmen or farmers; (8) sophists or demagogues; and (9) tyrants.

One need not suppose that Plato intended this as a literal discussion of metempsychosis or reincarnation: perhaps he meant it figuratively.

Plato does not see the human soul as a sort of patchwork of emotions and concepts; this differs from the views of many philosophers of his time. Instead he views the soul as a sort of composite, in which many different elements blend together and affect each other. He uses the allegory of the charioteer to explain that love is a reflection of love of the forms, and is thus a "divine madness," a theia mania.

Madness and divine inspiration
In the Phaedrus, Socrates makes the rather bold claim that some of life's greatest blessings flow from madness; and he clarifies this later by noting that he is referring specifically to madness inspired by the gods. Phaedrus is Plato's only dialogue that shows Socrates outside the city of Athens, out in the country. It was believed that spirits and nymphs inhabited the country, and Socrates specifically points this out after the long palinode with his comment about listening to the cicadas. After originally remarking that "landscapes and trees have nothing to teach me, only people do", Socrates goes on to make constant remarks concerning the presence and action of the gods in general, nature gods such as Pan and the nymphs, and the Muses, in addition to the unusually explicit characterization of his own daemon. The importance of divine inspiration is demonstrated in its connection with the importance of religion, poetry and art, and above all else, love. Eros, much like in the Symposium, is contrasted from mere desire of the pleasurable and given a higher, heavenly function. Unlike in the Ion, a dialogue dealing with madness and divine inspiration in poetry and literary criticism, madness here must go firmly hand in hand with reason, learning, and self-control in both love and art. This rather bold claim has puzzled readers and scholars of Plato's work for centuries because it clearly shows that Socrates saw genuine value in the irrational elements of human life, despite many other dialogues that show him arguing that one should pursue beauty and that wisdom is the most beautiful thing of all.

Pederasty
The pederastic relationships common to ancient Greek life are also at the fore of this dialogue. In addition to theme of love discussed in the speeches, seeming double entendres and sexual innuendo are abundant; we see the flirtation between Phaedrus and Socrates. As Phaedrus encourages Socrates to make his first speech, Phaedrus makes a remark at noon-time that Socrates should not leave as the heat has not passed and it is "straight-up, as they say," Socrates wishes to know what Phaedrus is holding under his cloak, and so on. The relationships discussed in the speeches are explicitly pederastic. And yet, this is tempered in various ways; role reversals between lover and beloved are constant, as they are in the Symposium. Socrates, ostensibly the lover, exhorts Phaedrus to lead the way at various times, and the dialogue ends with Socrates and Phaedrus leaving as "friends": equals, rather than partaking in the lover/beloved relationship inherent in Greek pederasty. In the beginning, they sit themselves under a chaste tree, which is precisely what its name suggests—often known as "monk's pepper", it was used by monks to decrease sexual urges and is believed to be an antaphrodisiac. Notably, Socrates sees the pederastic relationship as ideally devoid of sexual consummation; rather than being used for sexual pleasure, the relationship is a form of divine madness, helping both lover and beloved to grow and reach the divine.

Rhetoric, philosophy, and art
The Phaedrus also gives us much in the way of explaining how art should be practiced. The discussion of rhetoric, the proper practice of which is found to actually be philosophy, has many similarities with Socrates's role as a "midwife of the soul" in the Theaetetus; the dialectician, as described, is particularly resonant. To practice the art, one must have a grasp of the truth and a detailed understanding of the soul in order to properly persuade. Moreover, one must have an idea of what is good or bad for the soul and, as a result, know what the soul should be persuaded towards. To have mastered the tools of an art is not to have mastered the art itself, but only its preliminaries. This is much like the person who claims to have mastered harmony after learning the highest and lowest notes of the lyre. To practice an art, one must know what that art is for and what it can help one achieve.

The role of divine inspiration in philosophy must also be considered; the philosopher is struck with the fourth kind of madness, that of love, and it is this divine inspiration that leads him and his beloved towards the good—but only when tempered with self-control.

Writing, examined separately but ultimately equated with philosophy and rhetoric, is somewhat deprecated; it is stated that writing can do little but remind those who already know. Unlike dialectic and rhetoric, writing cannot be tailored to specific situations or students; the writer does not have the luxury of examining his reader's soul in order to determine the proper way to persuade. When attacked it cannot defend itself, and is unable to answer questions or refute criticism. As such, the philosopher uses writing "for the sake of amusing himself" and other similar things rather than for teaching others. A writer, then, is only a philosopher when he can himself argue that his writing is of little worth, among other requirements.

This final critique of writing with which the dialogue concludes seems to be one of the more interesting facets of the conversation for those who seek to interpret Plato in general; Plato, of course, comes down to us through his numerous written works, and philosophy today is concerned almost purely with the reading and writing of written texts. It seems proper to recall that Plato's ever-present protagonist and ideal man, Socrates, fits Plato's description of the dialectician perfectly, and never wrote a thing.

There is an echo of this point of view in the Seventh Letter, wherein Plato (or the pseudo-Platonic author) says not to write down things of importance.

Soul: soul-leading; life as self-motion; self-motion and intelligence
Jessica Moss has argued that the entire unity of the Phaedrus is assured by the motif of soul-leading. The discussion of rhetoric, for instance, features the orator leading the soul to some decision or course of action. Socrates' great myth illustrates this motif most clearly when the soul is depicted as a charioteer and its horses, being led around a heavenly circuit. This is the occasion for the first appearance in Plato's dialogues of the prominent Platonic doctrine that life is motion: the soul, being the principle (or source) of life, is that which moves itself, as opposed to inanimate objects that require an external source of motion to move them. The view that life is self-motion and that the soul is a self-mover is used by Plato to guarantee the immortality of the soul, making this a novel argument for the soul's immortality not found in the Phaedo. Plato relies, further, on the view that the soul is a mind in order to explain how its motions are possible: Plato combines the view that the soul is a self-mover with the view that the soul is a mind in order to explain how the soul can move things in the first place (e.g., how it can move the body to which it is attached in life). Souls move things by means of their thoughts.

References in other art

 * In Thomas Mann's novella Death in Venice, the narrator's young love Tadzio is associated with Phaedrus.
 * In Mary Renault's 1953 novel The Charioteer, a text of Phaedrus is passed among the characters (gay men during World War II) and the image of the charioteer and his white and black horses recurs as the protagonist struggles to choose between consummated and unconsummated love.
 * In a key scene from the film adaptation of Maurice, students, including Maurice, attend Dean Cornwallis's translation class in which two undergraduates orally translate into English the text (based on) Phaedrus (Stephanus 251a, 255a–e), during which the Dean instructs one to "Omit the reference to the unspeakable vice of the Greeks".
 * The 2016 film, Knight of Cups by Terrence Malick is inspired, in part, by Phaedrus.
 * In Robert M. Pirsig's fictionalized autobiographical novel Zen and the Art of Motorcycle Maintenance, Pirsig refers to his past self from before undergoing electroconvulsive therapy in the third person and using the name "Phaedrus," intended to reflect his opposition to certain educational and philosophical ideas. The character reappears in the follow-up "Lila: An Inquiry into Morals".
 * In Virginia Woolf's 1922 novel Jacob's Room, Jacob reads Phaedrus alone in his room after a visit to the "enormous mind," as Woolf characterizes the British Museum.
 * In Wes Anderson's film The French Dispatch, the introduction to "Revisions to a Manifesto" has speech similar to that found in Phaedrus.

Texts and translations

 * Jowett translation at StandardEbooks
 * Greek text at Perseus
 * Plato & Nichols, J. H. (tr. and ed.). Phaedrus. Cornell University Press. (1998).
 * Plato: Euthyphro, Apology, Crito, Phaedo, Phaedrus. Greek with translation by Harold N. Fowler. Loeb Classical Library 36. Harvard Univ. Press (originally published 1914).
 * Fowler translation at Perseus
 * Plato. Opera, volume II. Oxford Classical Texts. ISBN 978-0198145417
 * Plato. Complete Works. Hackett, 1997. ISBN 978-0872203495
 * Plato. Phaedrus (Scully Edition). Focus Philosophical Library, 2003. ISBN 978-0941051545

title: Phaedrus (dialogue)


text:
List of General Motors platforms

The American-based international automotive conglomerate General Motors (GM) underpins its many vehicle models with various platforms. These platforms are established sets of axles, suspensions, and steering mechanisms which fit various bodies and powertrains from various marques that GM owns.

From the early twentieth century, a Latin letter-based naming scheme was used to designate platforms, which were aimed at vehicles under different brands that served similar niches of the market. For example, the B platform was the base for fullsize, rear-wheel drive (RWD) sedans and wagons from 1926 to 1996. This platform underpinned vehicles made by Buick, Cadillac, Chevrolet, Marquette, Pontiac, and Oldsmobile. During the 1970s and 1980s, GM introduced many new front-wheel drive (FWD) platforms for the first time, such as the FWD C platform introduced in 1985. Despite being mechanically very new and different, it kept the same name as the RWD C platform for the sake of consistency, as most of the models remained the same, such as the Oldsmobile 98. For most of these platforms, the platform name is the fourth character of a vehicle's VIN, with a notable exception being trucks, for which it is the fifth character.

At the outset of the twenty-first century, General Motors' approach to platforms changed, and so did the nomenclature they use. Platforms themselves are now referred to by GM as "architectures", and are now named according to the English-language names of letters from the Greek alphabet, such as the subcompact Gamma platform. Today, many of the since-discontinued Latin letter platforms are informally called "bodies", such as "J-body", which refers to the J platform. In the 2010s, GM once again began to change platform nomenclature, this time to a four-character format: platform-generation-XX. An example of this is the D2XX, from the second generation of the Delta platform, hence the "D" and "2".

All but three platforms listed here use a front-mounted engine, and those exceptions are noted in the 'layout' column.

In production
As of April 2020, GM produces cars, trucks, and sport utility vehicles (SUVs) of multiple different sizes on 19 different platforms: 7 of which are inherently RWD, with the rest being FWD. All but 5 of these have four-wheel drive variants as well.

The GM nomenclature works as follows:

1st position is the platform:
 * A – Alpha
 * C – Chi
 * D – Delta
 * G – Gamma
 * E – Epsilon
 * P – Premium Epsilon (XTS)
 * Y – Corvette (Y-body)
 * L – Lambda
 * K – Trucks

2nd position is the platform generation.

3rd position is the body style:
 * A – Convertible
 * B – Coupe
 * S – Sedan
 * J – Hatchback
 * K – CUV?
 * L – Long Wheel Base Sedan
 * M – Minispace
 * U – Crossover/CUV (5 seater)
 * Y – SUV/Truck (7 seater)

4th position is the Brand:
 * B – Buick
 * C – Chevrolet
 * G – GMC
 * H – Holden
 * L – Cadillac
 * M – Citroën (partnership between GM & PSA)
 * O – Opel/Vauxhall

5th position is an optional qualifier: for example the Sales market area:
 * S – sales market China
 * N – sales market North-America
 * I – electric/hybrid

For example, E2UB-N is the Crossover Buick for the North-American market in the second generation of the Epsilon platform.

Historical applications
, GM has produced cars, trucks, and SUVs of multiple different sizes on 107 different platforms: 55 of these with Latin letters, 12 with English spellings of Greek letters, and 40 others. Also, 64 of these platforms are inherently RWD, while the rest are primarily FWD. Furthermore, 50 of these have four-wheel drive variants as well.

Others

 * These vehicles were/are not from GM brands, but rather were given license to a particular platform by GM, usually either from co-development or a platform nearing the end of its tenure.

 * These platforms have active models, but no active models from any GM brands, and are thus considered former platforms for this list.

Future platforms
In 2015 GM announced their intention to shift all of their vehicles (with the notable exception of the eighth-generation Corvette) to four platforms by 2025. The following are those platforms, including the already-launched VSS-F: It is currently unknown whether GEM or a similar low-cost platform will be continued in some form as a subset of VSS.

EV platforms

 * BEV2, base of the Chevrolet Bolt and Chevrolet Menlo

 * BEV3, base of the Chevrolet Equinox EV and Chevrolet Blazer EV

 * Ultium, base of the GMC Hummer EV and Cadillac Lyriq

title: List of General Motors platforms


text:
User talk:Christian Kreibich

Feel free to leave comments here — I check back periodically.

title: User talk:Christian Kreibich


text:
Saildrive

A saildrive is a transmission system for a boat whose inboard engine has a horizontal output shaft. The saildrive's input shaft is therefore also horizontal. That input shaft is geared so as to drive a vertical intermediate shaft extending downward through the hull. The intermediate shaft is then geared so as to drive a horizontal propeller shaft mounted on a skeg outside the hull.

The transitions from horizontal to vertical and then back to horizontal can be seen as a Z shape, and saildrives are indeed similar to the Z-drive transmissions used on larger vessels. The difference between a saildrive and a Z-drive is that a saildrive's propeller shaft is fixed in place, pointing aft, whereas a Z-drive's propeller shaft can be rotated to any azimuth.

Traditional sailboat transmissions consist of a simple horizontal output shaft extended rearward from the engine, through the stern via a stuffing box. The saildrive has several advantages over the traditional sailboat transmission: smaller horizontal size, no stuffing box to maintain, and the propeller is mounted horizontally instead of at a downward angle.

Saildrive also reduces propeller walk, reduces vibration, and is more efficient.

History of the saildrive
Among the earliest representatives of the technology was the OMC Zephyr Saildrive, produced from 1977 to 1984. This was a two-stroke gasoline engine to which oil needed to be added on a 50:1 mixture. It was a derated version of the 32 cubic inch engine block used at that time on the OMC Evinrude 25/30/35 hp outboards.

title: Saildrive


text:
UDT

UDT may refer to:

Organisations

 * Uitgeverij De Tijd, a former Belgian publisher
 * Underwater Demolition Team, United States Naval reconnaissance and amphibious landing beach demolition unit from which the U.S. Navy SEALs evolved
 * Republic of Korea Navy UDT/SEAL, from the Republic of Korea Navy
 * União Democrática Timorense, (Timorese Democratic Union), a conservative political party in East Timor
 * Union Démocratique Tchadienne, (Chadian Democratic Union), the second African political party in Chad
 * Union of Djibouti Workers, a trade union centre in Djibouti
 * United Dominions Trust, a subsidiary of the former Trustee Savings Bank, merged with Lloyds Bowmaker in 2001

Computing

 * UDP-based Data Transfer Protocol, a high performance data transport protocol and library
 * User-defined type, in computer science that is generally synonymous with "record", "structure", "composite type" or "class"

Technology

 * Urine Diversion Toilet, a toilet system where urine and faeces are separated at source

title: UDT


text:
Talk:Normal school

Chinese equivalents
Are there articles in the Chinese Wikipedia on normal schools? Since the article mentions them, it would seem appropriate to link to them. Mateo SA 04:49, 2 Aug 2004 (UTC)

List
Should there be a list of (current or former) Normal Schools? — Preceding unsigned comment added by User: (talk • contribs)

My $.02 says "no," as there are MANY of these schools. Madmaxmarchhare 16:48, 2 October 2006 (UTC)

 * I also see a move toward providing a paragraph or more on the establishment of Normal Schools in each region or State of the United Stated. I don't think that will add to the article, either, and I propose to remove the paragraphs of this sort that have accumulated already.  Comments?  Pzavon 02:14, 10 April 2007 (UTC)

 * The article isn't terribly long, and the paragraphs do add some historical context. Why don't we watch to make sure that they don't get bloated with boosterism at this point? Madmaxmarchhare 16:43, 10 April 2007 (UTC)

Ecole Normal
My French is atrophied, but I'm pretty sure Ecole Normal means "model school" comment posted 20 April 2007 by 192.18.41.196
 * Roughly, yes. However, the word was borrowed directly to a number of other languages, most notably to German. From German, the word normal school spread then to other languages along with the concept. (In 19th century, many notable pedagogicians were German.) --MPorciusCato 10:10, 23 April 2007 (UTC)

 * No. First Normal School was Reims' 1685 School, long before German pedagogicians' rise to prominence. And école normale is "normal school", "model school" is école modèle. A norm (norme in french) isn't a model (modèle in french). 88.178.189.194 (talk) 11:11, 17 May 2008 (UTC)

Merge with Teachers college
"Teachers college" and "normal school" are synonyms; some schools use one term and other schools use the other term. There is no difference in the concept, therefore the one article should discuss all schools that prepare students to become teachers. Neelix (talk) 17:20, 21 June 2008 (UTC)

I have no problem with this if Normal School is the surviving article. That term is the original term and the article itself is older and more extensive than the Teachers college article. Pzavon (talk) 00:33, 23 June 2008 (UTC)

 * I agree with Pzavon's position that normal school should be the surviving article. The term "teachers college" was relatively short-lived since it was eventually displaced by the rise of the modern graduate school of education throughout the United States. --Coolcaesar (talk) 04:01, 24 June 2008 (UTC)

 * I completed the merge. Otebig (talk) 15:12, 17 August 2008 (UTC)

Meaningless in UK - Wikipedia US-centric weakness
I edited the article earlier to indicate that there was no such thing as a 'Normal School' in the UK and that the phrase 'normal school' would be taken to mean that a school is normal, i.e. not abnormal or unusual.

I have worked in the Education sector in schools and universities for many years, but any ordinary citizen would verify the change I made as easily. However finding a 'source' for it might prove as difficult as finding a source for many statements that are so widely known that they rarely warrant comment.

Nevertheless, the 'follow our script if you don't now any better (and even if you do)' approach of Wikipedia provides the perfect platform for ignorant 'editors' to exercise 'power' within their little dominions.

A, presumably well-intentioned but rather ignorant, Wikipedia editor reverted my change because it was not 'referenced'. However, the same editor apparently saw no need for a reference to support the implicit implication of the converse - an implication much more in need of verification if it is to be (incorrectly) claimed as a blanket definition for the whole world.

Anyone living in the UK would confirm the voracity of my change. That it is unknown to a US editor is illustrative of the variability of quality of Wikipedia editors and, indeed, of widespread ignorance amongst them. Editors such as the one who reverted the change are clearly not the brightest pebbles in the pond and it is unfortunate that they wield such power over Wikipedia content, demeaning its quality as they do so.

Perhaps the same editor believes, on the back of the unreferenced and unchallenged information in this article, that 'Normal School' means the same on Mars or Jupiter or the Andromeda Galaxy as it does, apparently, in the Good Ol' U S Of A, Yessirree. Presumably, anyone who claimed it doesn't would have their change reverted until they provide definitive references from The Daily Martian Chronicle, or similar inter-stellar publications.

If it weren't so sad, it would be laughable that some Americans (of which I believe that only about 25% have ventured outside their own country), feel that anything they read in an American source is de facto correct.

Oh well, back to laughing at Dubbya's 'nucular', and all the Americans who produced an article in Wikipedia trying to demonstrate that he was correct, rather than just 'plain stoopid', as Americans would say. — Preceding unsigned comment added by 86.183.0.167 (talk) 23:13, 19 November 2011 (UTC)
 * Frankly this rant adds little to the article. Americans know that the term has little meaning to those who have no analagous history of institutions. So, yes the article should have some US centric information as it directly relates to the US use of the term.Blanksamurai (talk) 12:56, 27 April 2015 (UTC)

Improve this article
Those watching this page, Please be patient as these improvements are being directed by a school project of Orsch. The project is being presented to the Wikimedia Strategy people for consideration of implimentation in their Mission Statement.

Discussion is welcome. O = M C 4 03:09, 21 August 2012 (UTC)
 * I would extend this toward those from abroad, that interest in this type of educational topic from regions beyond the U.S.A. are also part of this project on a global basis. Intend to multi-lingual through Meta-Babel, and improve projects on other Wikimedia Foundation Projects. O = M C 4  03:15, 21 August 2012 (UTC)

Father Demia
Apparently this guy taught the first teacher training courses in Lyorn France in 1672. The subject was reading of the Catchecisms. I haven't been able to find out much more on him. — Preceding unsigned comment added by 108.196.223.103 (talk) 18:32, 12 October 2013 (UTC)

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Split off new article on History of normal schools in the United States
The long section on US schools makes the article very long. The topic belongs in a separate article, where it can be expanded. Any objections to the split? Rjensen (talk) 05:46, 29 November 2023 (UTC)
 * See the first draft at Normal schools in the United States Rjensen (talk) 00:45, 30 November 2023 (UTC)

title: Talk:Normal school