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Yorkshire County Cricket Club

Yorkshire County Cricket Club is one of eighteen first-class county clubs within the domestic cricket structure of England and Wales. It represents the historic county of Yorkshire. Yorkshire's first team is the most successful in English cricketing history with 33 County Championship titles, including one shared. The team's most recent Championship title was in 2015. The club's limited overs team is called the Yorkshire Vikings and their kit colours are Cambridge blue, Oxford blue, and yellow.

Yorkshire teams formed by earlier organisations, essentially the old Sheffield Cricket Club, played top-class cricket from the 18th century and the county club has always held first-class status. Yorkshire have competed in the County Championship since the official start of the competition in 1890 and have played in every top-level domestic cricket competition in England. The team play most of their home games at Headingley Cricket Ground in Leeds. Another significant venue is at North Marine Road Ground, Scarborough, which houses the annual Scarborough Festival. Yorkshire have used other grounds in the past including The Fartown Ground, Huddersfield; Bramall Lane, Sheffield, which was the club's original home; Horton Park Avenue, Bradford; St George's Road Cricket Ground, Harrogate; The Circle, Kingston upon Hull; and Acklam Park, Middlesbrough.

Earliest cricket in Yorkshire
The earliest certain reference to cricket in Yorkshire dates from 1751 when local matches were held in Sheffield and a game took place on or soon after Monday, 5 August at Stanwick, near Richmond, between the Duke of Cleveland's XI and Earl of Northumberland's XI; the same teams earlier played a game at Durham.

Sheffield Cricket Club was probably formed about this time and there are references to Sheffield matches in Derbyshire in 1757 and home and away matches against Leeds in 1765. A club was formed in Leeds in 1760 and in York in 1784. Bedale in North Yorkshire was a noted centre in the early 19th century. But cricket in most rural areas was slow to develop. Yorkshire cricket became centred around Sheffield, where it was more organised than in the rest of the county.

From 1771, Sheffield played semi-regular matches against Nottingham Cricket Club. Nottingham was generally the better side and Sheffield sometimes played with more players to give them a greater chance of victory. Nevertheless, the Sheffield player Tom Marsden was regarded as one of the leading players in the country in the 1820s.

Cricket increased in popularity after one of the 1827 roundarm trial matches was played at the purpose-built Darnall New Ground in Sheffield to evaluate the new style of roundarm bowling. After this match, many new cricket clubs were formed in the county.

In 1833, "Yorkshire" was first used as the name of the team, although it contained eleven Sheffield players, for a game against Norfolk at the Hyde Park Ground in Sheffield. The name may have arisen from a need to match the status of Norfolk as a county rather than a city. There were some differences in the organisation of the Yorkshire team vis-à-vis those called Sheffield as it included three amateurs while Sheffield teams were entirely professional. Yorkshire, as such, played intermittently over the next thirty years but was not organised in any formal way. Among their opponents were Sussex in 1835; Manchester in 1844 and 1845; and Kent in 1849. Also in 1849, Yorkshire played against a "Lancashire" team for the first time, though it was really a Sheffield v Manchester match. By 1855, Sheffield and Yorkshire were playing at Bramall Lane.

Origin
On 7 March 1861, during a meeting at the Adelphi Hotel in Sheffield, a Match Fund Committee was established to run Yorkshire county matches. The committee was made up from the management committee of the Bramall Lane ground and representatives from clubs willing to pay £1 to the fund. But the committee was unable to persuade other clubs that it was not seeking to promote Sheffield cricket and a lack of funds prevented some matches being played in 1862.

By this time, there were several cricketers with good reputations and the county team was one of the strongest in England. Consequently, on 8 January 1863, Yorkshire County Cricket Club was formed. Membership was unlimited and cost a minimum of 10s and 6d. Like most first-class cricket clubs of the time, Yorkshire relied on private patronage with administrators "paying to serve" and "moneyed enthusiasts" acting as ready match sponsors. The majority of players were freelance professionals who were paid a usual match fee of £5, from which all travel and accommodation had to be paid. Travel could be arduous, living away from home could be "rough" and sometimes the match fee was not enough to cover expenses, especially if, as was often a problem with early Yorkshire cricketers, "the ale-house was a temptation".

The first club President was former player Thomas Barker, who had become Mayor of Sheffield, although he probably never attended any meetings. Michael Ellison was the first club Treasurer and at some point early in Yorkshire's history, he assumed the Presidency. Most official accounts record Ellison as Yorkshire's first President. Joseph ("J. B.") Wostinholm became the first of four long-serving club Secretaries in 1864. The first team captain was Roger Iddison, a professional cricketer.

The objective of the club was to play matches "either in Sheffield or in any other towns of the county according as arrangements may be made". Other locations in Yorkshire were unable or unwilling to host fixtures in the first years of the club, and Bradford and York continued to attempt to organise games in competition with Yorkshire, sometimes causing confusion among other counties. Attempts to form an alternative Yorkshire team continued intermittently until 1884 although, by 1873, most clubs had accepted the authority of the Sheffield-based county club.

1863–1882
Yorkshire played their inaugural first-class match against Surrey at The Oval on 4, 5 and 6 June 1863. Surrey scored 315 runs, to which Yorkshire replied with 257. Surrey were bowled out for 60 before the match was drawn. The team recorded their first win in the following match against the strong Nottinghamshire team and although they lost the return match, won two and lost only one of the four matches played in their first season. In 1864, the team won two and lost four of seven matches.

In 1865, the club and players became involved in a dispute. Five players – Roger Iddison, George Anderson, George Atkinson, Joseph Rowbotham and Ned Stephenson – refused to play against Surrey. This concerned a controversy that arose in 1862 when Iddison and Anderson played for an All-England team against Surrey at The Oval and the Kent bowler Edgar Willsher was repeatedly no-balled for using an overarm action by an umpire whom, they claimed, had been appointed by Surrey specifically for that purpose. Anderson stated in 1865 that he "would not play against those who have combined to sweep us from the cricket field altogether if they could".

The dispute was about a point of principle and centred on the right of bowlers to use an overarm action, which had been legalised ahead of the 1864 season. Consequently, with several important players missing, Yorkshire did not win a game in 1865 and were forced to cancel some matches for the 1866 season. The Yorkshire Committee and the players came to an understanding in early 1867 after the players apologised, but Anderson never represented the county again.

With the player dispute resolved, Yorkshire won all seven of their matches in 1867, defeating Surrey, Lancashire and Cambridgeshire. As a result, the sporting press proclaimed Yorkshire to be the "Champion County" for the first time. The following year, John Thewlis scored the first century for Yorkshire in first-class cricket, against Surrey at The Oval; in 1869, Joseph Rowbotham became the first man to score two centuries in a season for Yorkshire. Yorkshire won four games in both 1868 and 1869; one sports publication regarded Yorkshire as equal champions in the latter year. The team won six out of seven in 1870 to be acclaimed as Champion County again. Much of Yorkshire's success in these years came from the bowling combination of George Freeman and Tom Emmett.

Following Freeman's retirement from regular cricket after 1870, Yorkshire declined, winning fewer games in 1871 and 1872 as Gloucestershire rose to a position of dominance in County Cricket, driven by the success of W. G. Grace and his brothers. Conscious of the need to strengthen the club, Yorkshire instituted a Colts team of young players, but replaced Iddison as captain at the end of the 1872 season. Rowbotham, another professional, assumed the position. For the 1873 season, county cricket moved a step closer towards an organised competition when the counties agreed qualification rules for players to be eligible for a team; for many years, this was considered to be start of the County Championship. However, the counties did not organise a formal competition and the "Champion County" was still decided by the press; some publications disagreed.

Despite the team containing effective players, Yorkshire did not perform as well as expected over the next seasons. The bowling attack was strong, the team contained some experienced players and critics believed Ephraim Lockwood to be the best professional batsman in the country. In 1873, Yorkshire won seven games and lost five and for the following season, Luke Greenwood replaced Rowbotham as captain. The team had an improved record, but although second only to Gloucestershire, Yorkshire lost heavily in both encounters between the teams. Greenwood retired, Rowbotham resumed the captaincy for 1875, and Lockwood took over in 1876. The team did not perform particularly well in either season, but their worst performance came in 1877, winning two games – but none of the last ten – and losing seven. This placed them eighth out of nine counties.

Tom Emmett then took over as captain, but the following two seasons brought mixed results as the team displayed inconsistency, often losing to teams they should comfortably have beaten. Derek Hodgson, in his official county history, suggests a lack of discipline in the team throughout these years was to blame; contemporary reports suggested the team drank too much alcohol to be effective. The players also suffered from public attention, receiving generous hospitality at times which impacted on their performances. In these seasons, the team often began well only to lose form later in the season and the Yorkshire committee was reluctant to replace the experienced cricketers with younger players. However, off the field, Yorkshire became increasingly successful, and the profits made by the club paid for improvements to be made to the Bramall Lane Ground and increased player wages through the introduction of travelling expenses and talent money where good performances were financially rewarded. An influx of what proved to be effective new players saw Yorkshire finish second to Lancashire in the unofficial Championship for 1881, but more significant was the debut for the county of Lord Hawke, then aged 21.

The team faded again in 1882 and Hawke, who had refused the captaincy earlier, was appointed team captain at the end of the season, the first amateur to hold this position. Previous captains had all been professionals: Roger Iddison (1863–1872), Joseph Rowbotham (1873 and 1875), Luke Greenwood (1874), Ephraim Lockwood (1876–1877) and Tom Emmett (1878–1882). Hawke remained in charge for 28 seasons until 1910, during which time the team won eight County Championships.

1883–1918
In an obituary tribute, the editor of Wisden Cricketers' Almanack said that Lord Hawke's "strength of character was tested" when, as a young man on leaving Cambridge University, he undertook the responsibility of captaining the Yorkshire side, composed at that time of "elements that were not entirely harmonious". Owing to Hawke's "tact, judgment and integrity", he moulded the Eleven into "the best and probably the most united county cricket team in England".

Yorkshire to 1883 was widely seen as an idiosyncratic team and, though Hawke's primary task as captain was to lead the team to fulfilment of its potential, his biggest challenge was to unite the club's geographical and social factions. At the end of the 1882 season, in addition to appointing Hawke as captain, the committee agreed to reorganise itself for the first time since the club's foundation and began a process which eventually made the club representative of the whole county and not just Sheffield.

Hawke succeeded Emmett in 1883 and remained as official captain for 27 years, but at first he was careful to take his time and did not make too many changes. Yorkshire improved in 1883 and finished second behind Nottinghamshire in the unofficial County Championship. However, the remainder of the 1880s was disappointing for the team and its supporters. Kilburn said that Yorkshire "continued to be an unreliable side, mingling brilliant achievement with miserable performance". The basic problem was that the older players were past their peak while younger replacements did not make the progress expected. A poor season on the field in 1889 was reflected by reduced income and changes were made with several good new players being introduced. These included Jack Brown, David Hunter and Stanley Jackson, while Bobby Peel was becoming increasingly effective as a bowling all-rounder. They were followed by John Tunnicliffe, David Denton, Ted Wainwright and George Hirst. Hawke worked on fielding practice and the players became specialised and efficient as fielders.

In 1893, the club's initial reorganisation was completed and was finalised after Ellison died in 1898 and Hawke assumed the club presidency as well as captaincy. When Wostinholm died in 1902 after being club secretary for 38 years, the county offices were moved from Sheffield to the more central location of Leeds.

It was in 1893 that the team finally came good and Yorkshire won their first official County Championship. Hodgson wrote that it was "perhaps ... the first confirmation of Hawke's striving for teamwork and discipline". Yorkshire achieved second and third places in 1894 and 1895. The team continued to develop as Brown and Tunnicliffe established an effective opening partnership backed up by Denton and Jackson while Peel, Wainwright and Hirst carried the bowling attack.

Yorkshire historian R. S. Holmes described Yorkshire as "prodigious" in 1896, when they won their second title with some outstanding batting performances including a championship record total of 887 against Warwickshire. Hawke began the practice of paying the professionals over the winter, initially £2 per week; the scheme was later modified to include bonuses. Peel was sacked in 1897 after appearing drunk on the field and was replaced in 1898 by Wilfred Rhodes, who took 141 wickets in his debut season. In the same season, Brown and Tunnicliffe established a record partnership for the first wicket when they scored 554 against Derbyshire at Chesterfield. Yorkshire won their third Championship in 1898 and narrowly failed in 1899 when only a defeat late in the season by Kent prevented the retention of the title.

Between 1900 and 1902, Yorkshire lost only twice in the County Championship, both times to Somerset, and won the County Championship in all three seasons largely thanks to their two outstanding all-rounders Hirst and Rhodes. When Joseph Wolstinholm retired as club secretary after the 1902 season, he was succeeded by Frederick Toone who held the post until his death in June 1930 and formed a successful liaison with Hawke. Toone and Hawke worked together to improve the terms and conditions of professional players' contracts. To 1914, they were paid £5 for a home match and £6 for an away match with a £1 win bonus. Players who had received their county cap were obliged to join the Cricketers' Friendly Society and were paid a winter wage of £2 a week.

Yorkshire remained a strong championship contender through the 1903 to 1914 seasons and won a further three titles in this period, also finishing as runners-up three times. They won their seventh title in 1905 after being third and second in 1903 and 1904 respectively. In 1906, George Hirst achieved a unique "double-double" by scoring 2,385 runs and taking 208 wickets. The 1906 championship was decided on the last day of the season. Yorkshire lost to Gloucestershire by a single run and were overtaken by Kent, who won their last match against Hampshire by an innings. Having finished third in 1907, Yorkshire went through the 1908 season unbeaten and bowled Northamptonshire out for 27 and 15, the aggregate score of 42 being the lowest in English first-class cricket. Yorkshire finished third in 1909 but then dropped to eighth and seventh in the next two seasons before a recovery in 1912 brought their last title before the First World War. While Hirst, Rhodes and Denton continued to excel, Yorkshire gained much in the last four years before the war from two new all-rounders, Major Booth and Alonzo Drake, both of whom were an outstanding success. Another newcomer was Arthur Dolphin, who replaced the retired David Hunter as first-choice wicketkeeper. In 1913 and the unfinished 1914 season, Yorkshire finished second and fourth. Lord Hawke played only a few matches in 1909 and formally resigned as captain in 1910. He was succeeded by Everard Radcliffe, who held the post until the end of the 1911 season; and then by Sir Archibald White, who led the team until the outbreak of the First World War in August 1914.

1919–1945
Yorkshire won the first post-war Championship in 1919, a year which saw the debuts of Herbert Sutcliffe and Emmott Robinson, and remained a dominant force in the County Championship until the Second World War. They won every year from 1922 to 1925 and seven more times in the 1930s. The team won 25 games in 1923, for instance, with Rhodes and Roy Kilner doing the double in these matches alone, while four other batsmen scored 1,000 runs and three other bowlers, including George Macaulay, took 100 wickets.

Yorkshire's quintessential rivalry is with Lancashire via the Roses Match. The importance of this match reached a peak during the inter-war period when, for many years, Yorkshire and Lancashire were the dominant teams in English cricket. The writings of Neville Cardus at this time were instrumental in emphasising the sense of rivalry between the two teams.

Wilfred Rhodes retired in 1930, taking 73 wickets and scoring 478 runs in his final season at the age of 53. J. M. Kilburn wrote in the Yorkshire Post: "He had bowled at W. G. Grace, and he bowled at Don Bradman. At 20, at 30, at 40 and at 50 he had shown himself master of his world, and his kingdom was never usurped". Rhodes was succeeded by Hedley Verity, another skilful slow left armer. In 1932, Verity performed the greatest bowling feat in first-class cricket – ten wickets for ten runs against Nottinghamshire at Headingley. Percy Holmes and Sutcliffe had a record opening stand of 555 against Essex at Leyton in 1932. Len Hutton began his career in the 1930s.

1946–1970
Large crowds flocked to the cricket after the Second World War with 47,000 people attending the 3 days of the Roses Match at Bramall Lane in 1946. Yorkshire won the first post-war Championship. New players after the war included spinner Johnny Wardle, all-rounder Brian Close and fast bowler Fred Trueman. Another newcomer Bob Appleyard became the first bowler to take 200 wickets in his first full season in 1951. The 1950s were dominated by Surrey, who won seven successive championships. Yorkshire had internal problems which were resolved before the 1959 season in which Yorkshire recovered the title under Ronnie Burnet.

The 1960s saw a new Yorkshire team emerge that dominated English cricket. Brian Close was made captain in 1963 and won the Championship in his first season. The team included Fred Trueman, all-rounder Ray Illingworth, wicket-keeper Jimmy Binks and Test batsmen Geoffrey Boycott, Doug Padgett, Phil Sharpe and John Hampshire. The team began to break up after winning a third successive title in 1968 and Close was controversially sacked in 1970.

1971–2000
There followed a long-running current of unrest in the club. There was sadness too in 1973 when Bramall Lane, the club's first ever home, was finally closed to cricket after over 400 first-class matches and was converted into a specialist football stadium.

Geoff Boycott captained Yorkshire for most of the 1970s, but competitive success eluded the team even when Boycott left Test cricket for three years to concentrate on the county game. He was sacked as captain amid much internal furore after the 1978 season. Ray Illingworth returned from Leicestershire as team manager and, in 1982 at the age of 50, took over the captaincy. Yorkshire finished bottom of the 17-strong County Championship for the first time in 1983 but won the John Player (later National) League for the first time. There was further controversy when Boycott was not offered a new contract. The outcome of this was that the general committee resigned and Boycott, having already been elected to the new committee, was reinstated as a player. Meanwhile, Brian Close became chairman of the cricket committee. Success continued to elude Yorkshire although Phil Carrick led the team to a Benson and Hedges Cup triumph in 1987.

Yorkshire put themselves at a self-evident disadvantage from 1968 until 1992 by insisting that all its players must have been born within the historic county boundaries of Yorkshire, while all the other county teams strengthened themselves by signing overseas Test players. In 1992, the birth qualification rule was first modified to include those who had been educated within the county, a dispensation that allowed Michael Vaughan to play; and was then eventually abandoned altogether. Yorkshire's first ever overseas player that season was 19-year-old Sachin Tendulkar.

2001 to present
Yorkshire finally won the County Championship again in 2001 when the captain was David Byas. Yorkshire had mixed success in the first decade of the 21st century but finished a close third in the 2010 championship under Andrew Gale.

There had for many years been a controversial issue about the apparent inability of players from Yorkshire's large ethnic minority population to make their way at the club. Tendulkar was the first Asian player to represent Yorkshire, but he was an overseas player. It was not until 2003 that Dewsbury's Ismail Dawood became the first British-born Asian to play for Yorkshire. He was followed by Ajmal Shahzad and Adil Rashid who have both represented England. In 2007, Azeem Rafiq as a member of Yorkshire's academy team became the first player of an Asian background to captain England at any level when he was appointed U-15 captain. In the summer of 2012, Rafiq stepped in for the injured Andrew Gale to captain the team in six T20 matches, becoming the first player of Asian origin to lead the county, as well as the youngest captain in the club's history.

The club were relegated at the end of a disappointing 2011 season, leading to major restructuring in the coaching staff, with former Yorkshire and Australia player Jason Gillespie brought in as coach. After swiftly regaining promotion, Gillespie set about revamping the team who made a strong title challenge in 2013, eventually finishing runners-up. Yorkshire improved on that by winning the title in both 2014 and 2015, which was their last to date.

Accusations of institutional racism
In 2020, Yorkshire were accused of institutional racism by former player Azeem Rafiq. In 2021, the ECB suspended Yorkshire from holding Test matches because their handling of the issue was causing reputational damage to the sport, while former Yorkshire captain Gary Ballance, who admitted using racist language, was indefinitely suspended from national selection. The ECB wrote in a statement that there were problems with the governance and management of the club.

Badge and colours
Lord Hawke, in the early days of his captaincy, designed the white rose badge. Copying the idea from Lancashire, who already had adopted the red rose as a symbol, Hawke designed a rose which, unlike Lancashire's, was not a real flower. He created a rose with eleven petals, to represent the eleven players of the team, based on the hedge rose. Only players who had received their county cap were allowed to wear the badge. It was not until the 1980s that the committee allowed the design to be placed on merchandise as a marketing device. Yorkshire's club colours are dark blue, light blue and gold; these are knitted in bands forming the v-neck of each player's sweater.

Ground history

As with all county cricket clubs, Yorkshire represents the historic county and not any modern or current administrative unit. In Yorkshire's case, this means the three ridings and the City of York, although the club played some home matches outside the historic borders at Sheffield's Abbeydale Park, which was historically part of Derbyshire, from 1974 to 1996.

The club was founded on 8 January 1863 in the Adelphi Hotel, Sheffield and was initially based at Bramall Lane. Yorkshire first played at North Marine Road, Scarborough in the 1878 season. This remains the venue for the annual Scarborough Festival matches. Headingley was first established in 1888 and Test cricket was first played there in 1899, eight years later than it hosted its inaugural first-class match when Yorkshire played Kent in 1891, the year in which the club's headquarters moved there. The "out grounds" in Hull, Sheffield, Bradford, Middlesbrough and Harrogate were used with great success until the 1970s.

On 31 December 2005, Yorkshire purchased the Headingley cricket ground for £12 million from the Leeds Cricket, Football and Athletic Company, parent company of the Leeds rugby league club, with the help of a £9 million loan from Leeds City Council. This purchase ensures that Test cricket continues at the venue with a 15-year staging agreement. On 11 January 2006, the stadium was officially renamed the Headingley Carnegie Stadium as a result of sponsorship from Leeds Metropolitan University and the club announced plans on 11 January 2006 to rebuild the stand next to the rugby ground with 3,000 extra seats, taking capacity to 20,000. The club also announced plans to redevelop the Winter shed (North) stand on 25 August 2006 providing a £12.5 million pavilion complex.

Sponsorship
The club was founded in 1863 to be owned by its members who have elected various officials including the club's general committee, which existed until 2002 when it was replaced by a board of management headed by a chief executive. The office of club President still exists (see list below) and (in 2017) there are seven board members including the chief executive and the director of cricket. In addition to the board members, there are a director of finance and a human resources manager who is also personal assistant (PA) to both the board and chief executive. Among other roles are coaching, groundstaff, physiotherapy, operations, marketing, retail and community development. The once-influential post of club Secretary effectively ceased in 2002 although the club did have a company secretary for three years. That function has now disappeared under the broader structure and the present secretary as such is the finance director. Like all county clubs, Yorkshire relies heavily on sponsorship and numerous companies have formed deals with the club over many years. Current partners and sponsors can be found on the club website.

Current squad

 * No. denotes the player's squad number, as worn on the back of their shirt.
 * ‡ denotes players with international caps.
 * denotes a player who has been awarded a county cap.

All players
The following represented England while playing for Yorkshire:

 * Bob Appleyard
 * Tom Armitage
 * Bill Athey
 * David Bairstow
 * Jonny Bairstow
 * Gary Ballance
 * Wilf Barber
 * Billy Bates
 * Jimmy Binks
 * Richard Blakey
 * Brian Bolus
 * Major Booth
 * Bill Bowes
 * Geoffrey Boycott
 * Don Brennan
 * Tim Bresnan
 * Harry Brook
 * Jack Brown
 * Brian Close
 * Geoff Cope
 * Alec Coxon
 * Richard Dawson
 * David Denton

 * Arthur Dolphin
 * Tom Emmett
 * Paul Gibb
 * Darren Gough
 * Andrew Greenwood
 * Schofield Haigh
 * Gavin Hamilton
 * John Hampshire
 * Lord Hawke
 * Allen Hill
 * George Hirst
 * Matthew Hoggard
 * Percy Holmes
 * Joseph Hunter
 * Richard Hutton
 * Len Hutton
 * Ray Illingworth
 * Stanley Jackson
 * Paul Jarvis
 * Roy Kilner
 * Eddie Leadbeater
 * Maurice Leyland

 * Frank Lowson
 * Adam Lyth
 * George Macaulay
 * Anthony McGrath
 * Frank Milligan
 * Arthur Mitchell
 * Frank Mitchell
 * Martyn Moxon
 * Chris Old
 * Doug Padgett
 * Ted Peate
 * Bobby Peel
 * Liam Plunkett
 * Adil Rashid
 * Wilfred Rhodes
 * Joe Root
 * Ajmal Shahzad
 * Phil Sharpe
 * Arnie Sidebottom
 * Ryan Sidebottom
 * Chris Silverwood
 * Frank Smailes

 * Gerald Smithson
 * R. T. Stanyforth
 * Graham Stevenson
 * Frank Sugg
 * Herbert Sutcliffe
 * Ken Taylor
 * George Thornton
 * Fred Trueman
 * George Ulyett
 * Michael Vaughan
 * Hedley Verity
 * Abe Waddington
 * Ted Wainwright
 * Albert Ward
 * Johnny Wardle
 * Willie Watson
 * Craig White
 * David Willey
 * Don Wilson
 * Clem Wilson
 * Rockley Wilson
 * Arthur Wood
 * Norman Yardley

Club captains
Four Yorkshire players – Stanley Jackson, Len Hutton, Ray Illingworth and Michael Vaughan – have captained England to success in The Ashes yet none of them was club captain at the time (Ray Illingworth had just left Yorkshire for Leicestershire when he became captain of England; he later returned to Yorkshire).

From 1883 to 1959 inclusive, Yorkshire always had an amateur club captain. The extent of leadership given by these gentlemen has long been a subject of discussion. Hawke and Sellers are generally held to have been autocratic and decisive, but in fact both relied heavily on sound professional advice. At the other extreme, Wilfred Rhodes is supposed to have been the de facto captain from 1920 to 1930, but it was Major Arthur Lupton who restored discipline to the side when a row erupted between Yorkshire and Middlesex in 1924.

Lord Hawke famously said at the Yorkshire Annual General Meeting in 1925: "Pray God, no professional shall ever captain England. I love and admire them all, but we have always had an amateur skipper and when the day comes when we shall have no more amateurs captaining England it will be a thousand pities." In view of this, it is perhaps surprising that, when Arthur Lupton retired at the end of the 1927 season, Hawke was one of the sponsors of the suggestion that Herbert Sutcliffe should become Yorkshire captain. In the event, there was sufficient opposition to the idea amongst the Yorkshire committee and players (some of the latter felt that Wilfred Rhodes, as senior professional, had a prior claim), that the proposal was dropped.

In 1960, Vic Wilson became Yorkshire's first professional captain since Tom Emmett when he succeeded Ronnie Burnet. Brian Close, who took over in 1963, has been Yorkshire's most successful professional captain with four County Championships.

Directors of Cricket

 * 2002 Geoff Cope
 * 2007–2021 Martyn Moxon

Managing Director of Cricket

 * 2021 to 2024 Darren Gough

Coaching staff

 * Head Coach Ottis Gibson
 * Assistant Coach Kabir Ali
 * Assistant Coach Alistair Maiden
 * Second Eleven Coach Tom Smith

Club Presidents
Those who have held the office of Yorkshire President are:

Club Secretaries
Those who have held the office of Yorkshire Secretary are:

First XI honours

 * County Championship (32) – 1893, 1896, 1898, 1900, 1901, 1902, 1905, 1908, 1912, 1919, 1922, 1923, 1924, 1925, 1931, 1932, 1933, 1935, 1937, 1938, 1939, 1946, 1959, 1960, 1962, 1963, 1966, 1967, 1968, 2001, 2014, 2015; shared (1) – 1949
 * FP Trophy (3) – 1965, 1969, 2002
 * National League (1) – 1983
 * Benson & Hedges Cup (1) –  1987

Second XI honours

 * Second XI Championship (5) – 1977, 1984, 1991, 2003, 2022; shared (1) – 1987
 * Second XI Trophy (1) – 2009, 2017
 * Minor Counties Championship (5) – 1947, 1957, 1958, 1968, 1971

Other honours

 * Fenner Trophy (3) – 1972, 1974, 1981
 * Asda Challenge (1) – 1987
 * Ward Knockout Cup (1) – 1989
 * Joshua Tetley Festival Trophy (6) – 1991, 1993, 1994, 1996, 1997, 1998; shared (1) – 1992
 * Tilcon Trophy (1) – 1988
 * Under-25 Competition (3) – 1976, 1978, 1987
 * Bain Clarkson Trophy (1) – 1994

title: Yorkshire County Cricket Club


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Antoine Busnois

Antoine Busnois (also Busnoys; c. 1430 – before 6 November 1492) was a French composer, singer and poet of early Renaissance music. Busnois and colleague Johannes Ockeghem were the leading European composers of the second half the 15th century, and central figures of the early Franco-Flemish School.

While also noted as a composer of motets and other sacred music, he was one of the most renowned 15th-century composers of secular polyphonic chansons. Between Guillaume Du Fay and Claudin de Sermisy, Busnois was the most prolific and important French composer of songs.

Life and career
The details of Busnois's early life are largely conjectural, and nothing is certain. He was probably from the vicinity of Béthune in the Pas-de-Calais, possibly the hamlet of Busnes, to which his name seems to refer. He may have been related to the aristocratic family of Busnes; in particular, a Philippe de Busnes, canon of Notre-Dame in Lens, could have been a relative. He clearly received an excellent musical education, probably at a church choir school somewhere in northern or central France. An aristocratic origin may explain his early association with the French royal court: as early as the 1450s references to him appear there, and in 1461 he was a chaplain at Tours. That he was not entirely a man of peace is indicated by a petition for absolution he filed in Tours, dated 28 February 1461, in which he admitted to being part of a group that beat up a priest "to the point of bloodshed", not once but five times. While in a state of anathema he was foolhardy enough to celebrate Mass although he was not an ordained priest, an act which got him excommunicated until Pope Pius II pardoned him.

He moved from the cathedral to the collegiate church of St. Martin, also in Tours, where he became a subdeacon in 1465. Johannes Ockeghem was treasurer at that institution, and the two composers seem to have known each other well. Later in 1465 Busnois moved to Poitiers, where he not only became master of the choirboys but managed to attract a flood of talented singers from the entire region; by this time his reputation as singing teacher, scholar and composer seems to have spread widely. But he departed in 1466 just as suddenly as he came for no known reason, and the former master was given his old job back. He then moved to Burgundy.

Busnois was at the Burgundian court by 1467. His first compositions there appeared immediately before the accession of Charles as Duke on 15 June, since one of his motets — In hydraulis — contains a dedication to Charles calling him Count. On becoming Duke of Burgundy, he quickly became known as Charles the Bold for his fierce and sometimes reckless military adventurism (which indeed led to his death in battle ten years later). But Charles loved not only war but also music, appreciating and rewarding Busnois for works composed while in his service. Busnois was listed along with Hayne van Ghizeghem and Adrien Basin as "chantre et valet de chambre" to Charles in 1467.

In addition to serving Charles as singer and composer, Busnois accompanied the Duke on his military campaigns, as did Hayne van Ghizeghem. Busnois was at the siege of Neuss in Germany in 1475, and survived (or missed) the disastrous Battle of Nancy in 1477 at which Charles was killed and Burgundian expansion was ended forthwith and forever.

Busnois remained in the employ of the Burgundian court until 1482, but nothing exact is known about his exploits between then and the year of his death. At the time of his death, in 1492, he was employed by the church of St. Sauveur in Bruges.

Music
Busnois' contemporary reputation was immense; he was probably the best-known musician in Europe between Guillaume Dufay and Johannes Ockeghem. He wrote sacred and secular music. Of the former, two cantus firmus Masses and eight motets have survived, while many others were most likely lost. He set the Marian antiphon Regina coeli several times. Stylistically, his music can be considered a midpoint between the simplicity and homophonic textures of Dufay and Binchois, and the soon-to-be pervasive imitative counterpoint of Josquin and Gombert. He used imitation only occasionally but skillfully, created smooth and singable melodic lines and had a strong feeling for triadic sonorities, anticipating 16th-century practice.

According to Pietro Aron, Busnois may have been the composer of the famous tune L'homme armé, one of the most widely distributed melodies of the Renaissance and the one more often used than any other as a cantus firmus in Mass composition. Whether or not he wrote the first Mass based on L'homme armé, his was by far the most influential; Obrecht's setting, for example, closely parallels that of Busnois, and even Dufay's quotes from it directly. Richard Taruskin attempts to prove that Busnois' was the model later L'homme armé masses were based upon through a study of the composer's numerological symbology within the work, and by demonstrating that Dufay and others were emulating (or paying homage) to this aspect, among others. David Fallows points out that the complexity of the Busnois mass may indicate that he was actually borrowing from Dufay. Busnois may even be the composer of a cycle of six Masses all based on the same tune, found in Naples, on the basis of stylistic comparison.

But Busnois' polyphonic chansons (French secular songs) are the works on which his reputation mainly rests. Most are rondeaux, but some are bergerettes; many of them achieved the status of popular songs, and some were perhaps based on other popular songs which are now lost. He probably wrote the words for almost all of his chansons. Some of his tunes were recycled as cantus firmus for Masses composed more than a generation after his death, for instance Fortuna desperata (which was used both by Obrecht and Josquin), though this attribution is controversial. An unusual chanson is Terrible dame, which is not only an antiphonal dialogue (unique in the chanson literature) but has an Old French title requiring no special skill to translate.

While most of Busnois's secular songs are set to French words, at least two employ Italian texts and one is in Flemish. Most are for three voices, although there are a few for four.

Masses

 * 1) Missa L'homme armé;
 * 2) Missa O crux lignum;
 * 3) Patrem Vilayge.

Motets and magnificats

 * 1) Ad coenam agni providi;
 * 2) Alleluia, verbum caro factum est;
 * 3) Anima mea liquefacta est / Stirps Jesse;
 * 4) Anthoni usque limina;
 * 5) Asperges me (lost);
 * 6) Conditor alme siderum;
 * 7) Gaude coelestis domina;
 * 8) In hydraulis;
 * 9) Lamentation on the death of Guillaume Dufay (probably written in 1474, lost);
 * 10) Magnificat sexti toni;
 * 11) Noel, noel;
 * 12) Regina caeli (I);
 * 13) Regina caeli (II);
 * 14) Victimae paschali laudes.

Secular music

 * 1) Acordes moy;
 * 2) Advegne que advenir pourra;
 * 3) Amours nous traicte / Je m'en vois;
 * 4) A qui vens tu tes coquilles;
 * 5) Au gré de mes iculx;
 * 6) A une dame;
 * 7) Au povre par necessité;
 * 8) A vous, sans autre;
 * 9) Bel acueil;
 * 10) Bone chére;
 * 11) Ce n’est pas moy;
 * 12) C'est bien maleur;
 * 13) C'est vous en qui;
 * 14) Con tutta gentileça;
 * 15) Corps digne / Dieu quel mariage;
 * 16) Cy dit benedicite;
 * 17) En soustenant;
 * 18) En tous les lieux;
 * 19) En voyant sa dame;
 * 20) Esaint-il merci;
 * 21) Faictes de moy;
 * 22) Faulx mesdisans;
 * 23) Fortuna desperata?
 * 24) (O) Fortune, trop tu es dure;
 * 25) Ha que ville;
 * 26) In myne zynn;
 * 27) Ja que lui ne;
 * 28) J'ay mayns de bien;
 * 29) J'ay pris amours tout au rebours;
 * 30) Je m'esbaïs de vous;
 * 31) Je ne demande aultre degré;
 * 32) Je ne demande lialté;
 * 33) Je ne puis vivre ainsi;
 * 34) Joye me fuit;
 * 35) Laissez dangier;
 * 36) L'autrier la pieça /En l'ombre du buissonet / Trop suis jonette;
 * 37) L'autrier que passa;
 * 38) Le corps s'en va;
 * 39) Le monde a tel;
 * 40) Ma damoiselle;
 * 41) Maintes femmes;
 * 42) Ma plus qu'assez;
 * 43) Ma tres souveraine princesse;
 * 44) M'a vostre cueur;
 * 45) Mon mignault / Gracieuse, playsant;
 * 46) Mon seul et sangle souvenir;
 * 47) On a grant mal / On est bien malade;
 * 48) Pour entretenir mes amours;
 * 49) Pucellotte;
 * 50) Quant j'ay au cueur;
 * 51) Quant vous me ferez;
 * 52) Quelque povre homme;
 * 53) Quelque povre homme;
 * 54) Resjois toy terre de France / Rex pacificus;
 * 55) Seule a par moy;
 * 56) Soudainementmon cueur;
 * 57) Terrible dame;
 * 58) Une filleresse / S'il y a compagnion / Vostre amour;
 * 59) Ung grand povtre homme;
 * 60) Ung plus que tous;
 * 61) Vostre beauté / Vous marchez;
 * 62) Vostre gracieuse acointance.

Masses

 * 1) Missa L'Ardent desir;
 * 2) Missa L'homme armé (I);
 * 3) Missa L'homme armé (II);
 * 4) Missa L'homme armé (III);
 * 5) Missa L'homme armé (IV);
 * 6) Missa L'homme armé (V);
 * 7) Missa L'homme armé (VI) (these six Masses from Naples, attributed to Busnois from stylistic similarities);
 * 8) Missa sine nomine;
 * 9) Missa Quant ce viendra.

Magnificats and motets

 * 1) Magnificat octavi toni;
 * 2) Magnificat secundi toni;
 * 3) Incomprehensibilia / Preter rerum ordinem.

Conflicting attributions

 * 1) Amours, amours, amours;
 * 2) Amours fait moult / Il est de binne heure né /Tant que nostre argent dura;
 * 3) Cent mile escus;
 * 4) Et qui la dira;
 * 5) J'ay bien choisi;
 * 6) Il sera pour vous canbatu / L'homme armé;
 * 7) Je ne fay plus;
 * 8) Je suis venu;
 * 9) Le serviteur;
 * 10) Quant ce vendra (attributed to Busnoys in Dijon MS 517);
 * 11) Sans avoir (‚S' amours vous fiu' or 'Malagrota');
 * 12) Se brief puis.

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

title: Antoine Busnois


text:
Wikipedia:Articles for deletion/Hexaware Technologies

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was '''Administrative close 15 years after initial discussion ended in Delete. Will not delete 15 years late, but will allow current PROD action to proceed.'''. User:Ceyockey ( talk to me ) 19:01, 22 December 2019 (UTC) Does not provide any evidence of significant role in financial software industry. There are plenty of middle sized firms that employ 1,700 people. The client list might look impressive, but so are plenty of other small-to-medium sized enterprise client lists. In fact, my business (of 1 employee) has a very similar client list in prestige and I am just an independent consultant. Also the company suggests that the majority of their employees are not in US, so at minimum Hexaware Technologies should not be listed on the US Companies list page.--Mbbx6spp 21:28, 31 Jul 2004 (UTC)
 * Delete. They don't even say that the companies listed are their clients, they just say that they "associate with" them (whatever that means). Elf-friend 21:38, 31 Jul 2004 (UTC)
 * Delete, unless there is a policy which states Wikipedia is a business directory.--Ianb 22:02, 31 Jul 2004 (UTC)
 * Wikipedia is explicitly not a business directory. Seven-month old comment on the talk page says the information is unverifiable and/or wrong. Delete. -- Cyrius|✎ 22:24, 31 Jul 2004 (UTC)
 * Delete. DannyBoy | Talk 02:09, 1 Aug 2004 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Barry Van Dyke

Barry Van Dyke (born July 31, 1951) is an American actor and the second son of actor and entertainer Dick Van Dyke and Margie Willett, and nephew of Jerry Van Dyke. He has often worked with his father. He is best known to audiences as Lieutenant Detective Steve Sloan, a homicide detective and the son of Dr. Mark Sloan (played by Dick Van Dyke) on Diagnosis: Murder. In the show, the characters' relatives were frequently played by real-life family members.

Biography
Barry Van Dyke was born in Atlanta, Georgia, the son of Dick Van Dyke (born 1925) and his first wife, Margie Willett (1926–2008).

Van Dyke's television debut was as Florian, a violin-toting nine-year-old in "The Talented Neighborhood" episode of The Dick Van Dyke Show alongside big brother Christian. However, his father advised him to wait before pursuing a show business career. Van Dyke later told a reporter, "He wanted me to have my childhood. He told me that if I still wanted to act after I graduated high school, then it would be OK."

Later, he worked as a gofer on his father's television series, The New Dick Van Dyke Show, which debuted in 1971 and aired until 1974. While working on that show, he secured a part as an extra.

He worked with his father again in the short-lived series The Van Dyke Show (which was canceled after six episodes in 1988) and then the long-running series Diagnosis: Murder, which aired from 1993 to 2001. In both series, he had major roles. He also wrote and directed several episodes of Diagnosis: Murder. After Diagnosis: Murder ended, Barry appeared in the Murder 101 television films, again alongside his father.

Barry Van Dyke also appeared in many other television shows over the course of his long career. His other television work includes a starring role in Galactica 1980 as Lieutenant Dillon, and appearances in Remington Steele; The Love Boat; Magnum, P.I.; The Dukes of Hazzard; as Ace Combat Pilot and former M.I.A. soldier St. John Hawke in the final season of Airwolf; The A-Team; Gun Shy; Murder, She Wrote; Mork & Mindy; and The Redd Foxx Show.

Marriage and children
In 1974, he married Mary Carey; the couple has four children: Carey (born February 25, 1976), Shane (born August 28, 1979), Wes (born October 22, 1984), and Taryn (born June 1, 1986).

title: Barry Van Dyke


text:
User:WRONG

I am not!

title: User:WRONG


text:
User:Taak/peeves

adjectival versus parenthetical disambiguation
I have trouble thinking of cases where it is more readable to use parenthetical disambiguation rather than to use an adjective. Is hedge (linguistics) more readable than linguistic hedge? Computer science heuristic versus heuristic (computer science)? With the parenthetical form, you almost always have to use a | to rename the link, while with the adjective form this isn't necessary as often. Plus, you can use the ]]s style plural formatting with adjectival disambiguation. Is there any reason to use the parenthetical form?

Overuse of stub notices
I can't remember how many times a I've seen a full, five-paragraph half-page article with a thorough references section marked as a stub. Or, even for short articles, there are plenty of subjects in a real encyclopedia that would receive just one paragraph's treatment. These are not stub articles as long as all the basic information is present and factually accurate.

The result of this inclination is tens of thousands of stub pages, Category:stub is so huge it doesn't even load and it's completely impracticable.

Overuse of minor edits
Minor edits are supposed to be used only for grammar or spelling errors or very minor wording changes. Some people mark almost all their edits as minor, or all their talk: additions as minor.

Underuse of stub pages
Some people think stub pages are "bad", such as the author(s) of Kill the Stub Pages.

The argument goes like: Stub pages are bad, because they don't "signal" to authors via the red-colored link that an article needs to be written.

Such reasoning is based entirely on the flimsy assumption that people are more likely to write a complete, high-quality article from scratch than to expand on a stub. From my personal experience, this assumption is very questionable — someone with the inclination and a copy of the database could do some research and get some a posteriori data about this.

title: User:Taak/peeves


text:
Marsha Hunt

Marsha Hunt may refer to:

 * Marsha Hunt (actress, born 1917) (1917–2022), American film, theatre and television actress
 * Marsha Hunt (actress, born 1946) (born 1946), American singer, novelist, actress and model

title: Marsha Hunt


text:
Talk:Karl Rudolf Gerd von Rundstedt

double with Gerd von Rundstedt Waerth 21:34, 31 Jul 2004 (UTC)

title: Talk:Karl Rudolf Gerd von Rundstedt


text:
Semi-automatic transmission

A semi-automatic transmission is a multiple-speed transmission where part of its operation is automated (typically the actuation of the clutch), but the driver's input is still required to launch the vehicle from a standstill and to manually change gears. Semi-automatic transmissions were almost exclusively used in motorcycles and are based on conventional manual transmissions or sequential manual transmissions, but use an automatic clutch system. But some semi-automatic transmissions have also been based on standard hydraulic automatic transmissions with torque converters and planetary gearsets.

Names for specific types of semi-automatic transmissions include clutchless manual, auto-manual, auto-clutch manual, and paddle-shift transmissions. These systems facilitate gear shifts for the driver by operating the clutch system automatically, usually via switches that trigger an actuator or servo, while still requiring the driver to manually shift gears. This contrasts with a preselector gearbox, in which the driver selects the next gear ratio and operates the pedal, but the gear change within the transmission is performed automatically.

The first usage of semi-automatic transmissions was in automobiles, increasing in popularity in the mid-1930s when they were offered by several American car manufacturers. Less common than traditional hydraulic automatic transmissions, semi-automatic transmissions have nonetheless been made available on various car and motorcycle models and have remained in production throughout the 21st century. Semi-automatic transmissions with paddle shift operation have been used in various racing cars, and were first introduced to control the electro-hydraulic gear shift mechanism of the Ferrari 640 Formula One car in 1989. These systems are currently used on a variety of top-tier racing car classes; including Formula One, IndyCar, and touring car racing. Other applications include motorcycles, trucks, buses, and railway vehicles.

Design and operation
Semi-automatics facilitate easier gear shifts by removing the need to depress a clutch pedal or lever at the same time as changing gears. Most cars that have a semi-automatic transmission are not fitted with a standard clutch pedal since the clutch is remotely controlled. Similarly, most motorcycles with a semi-automatic transmission are not fitted with a conventional clutch lever on the handlebar.

Clutchless manual transmissions
Most semi-automatic transmissions are based on conventional manual transmission. They can be partially automated transmission. Once the clutch becomes automated, the transmission becomes semi-automatic. However, these systems still require manual gear selection by the driver. This type of transmission is called a clutchless manual or an automated manual.

Most semi-automatic transmissions in older passenger cars retain the normal H-pattern shifter of a manual transmission; similarly, semi-automatic transmissions on older motorcycles retain the conventional foot-shift lever, as on a motorcycle with a fully manual transmission. However, semi-automatics systems in newer motorcycles, racing cars, and other types of vehicles often use gear selection methods such as shift paddles near the steering wheel or triggers near the handlebars.

Several different forms of automation for clutch actuation have been used over the years, from hydraulic, pneumatic, and electromechanical clutches to vacuum-operated, electromagnetic, and even centrifugal clutches. Fluid couplings (most commonly and formerly used in early automatic transmissions) have also been used by various manufacturers, usually alongside some form of mechanical friction clutch, to prevent the vehicle from stalling when coming to a standstill or at idle.

A typical semi-automatic transmission design may work by using Hall effect sensors or micro switches to detect the direction of the requested shift when the gear stick is used. These sensors' output, combined with the output from a sensor connected to the gearbox which measures its current speed and gear, is fed into a transmission control unit, electronic control unit, engine control unit, or microprocessor, or another type of electronic control system. This control system then determines the optimal timing and torque required for smooth clutch engagement.

The electronic control unit powers an actuator, which engages and disengages the clutch in a smooth manner. In some cases, the clutch is actuated by a servomotor coupled to a gear arrangement for a linear actuator, which, via a hydraulic cylinder filled with hydraulic fluid from the braking system, disengages the clutch. In other cases, the internal clutch actuator may be completely electric, where the main clutch actuator is powered by an electric motor or solenoid, or even pneumatic, where the main clutch actuator is a pneumatic actuator that disengages the clutch.

A clutchless manual system, named the Autostick, was a semi-automatic transmission introduced by Volkswagen for the 1968 model year. Marketed as the Volkswagen Automatic Stickshift, a conventional three-speed manual transmission was connected to a vacuum-operated automatic clutch system. The top of the gear stick was designed to depress and activate an electric switch, i.e. when touched by the driver's hand. When pressed, the switch operated a 12-volt solenoid, which in turn operated the vacuum clutch actuator, thus disengaging the clutch and allowing shifting between gears. With the driver's hand removed from the gearshift, the clutch would re-engage automatically. The transmission was also equipped with a torque converter, allowing the car to idle in gear like with an automatic, as well as stop and start from a standstill in any gear.

Automated manual transmissions
Starting in the late 1990s, automotive manufacturers introduced what is now called an automated manual transmission (AMT), which is mechanically similar to, and has its roots in, earlier clutchless manual transmission systems. An AMT functions in the same way as older semi-automatic and clutchless manual transmissions, but with two exceptions; it is able to both operate the clutch and shift automatically, and does not use a torque converter. Shifting is done either automatically from a transmission control unit (TCU), or manually from either the shift knob or shift paddles mounted behind the steering wheel. AMTs combine the fuel efficiency of manual transmissions with the shifting ease of automatic transmissions. Their biggest disadvantage is poor shifting comfort due to the mechanical clutch being disengaged by the TCU, which is easily noticeable as "jolting". Some transmission makers have tried solving this issue by using oversized synchronizer rings and not fully opening the clutch during shifting—which works in theory, but as of 2007, there have not been any series production cars with such functions. In passenger cars, modern AMTs generally have six speeds (though some have seven) and a rather long gearing. In combination with a smart-shifting program, this can significantly reduce fuel consumption. In general, there are two types of AMTs: integrated AMTs and add-on AMTs. Integrated AMTs were designed to be dedicated AMTs, whereas add-on AMTs are conversions of standard manual transmissions into AMTs.

An automated manual transmission may include a fully automatic mode where the driver does not need to change gears at all. These transmissions can be described as a standard manual transmission with an automated clutch and automated gear shift control, allowing them to operate in the same manner as traditional automatic transmissions. The TCU automatically shifts gears if, for example, the engine is redlined. The AMT can be switched to a clutchless manual mode wherein one can upshift or downshift using a console-mounted shift selector or paddle shifters. It has a lower cost than conventional automatic transmissions.

The automated manual transmission (trade names include SMG-III) is not to be confused with "manumatic" automatic transmission (marketed under trade names such as Tiptronic, Steptronic, Sportmatic, and Geartronic). While these systems seem superficially similar, a manumatic uses a torque converter like an automatic transmission, instead of the clutch used in the automated manual transmission. An automated manual can give the driver full control of the gear selection, whereas a manumatic will deny a gear change request that would result in the engine stalling (from too few RPM) or over-revving. The automatic mode of an automated manual transmission at low or frequent stop start speeds is less smooth than that of manumatics and other automatic transmissions.

Sequential manual transmissions
Several semi-automatic transmissions used by motorcycles and racing cars are actually mechanically based on sequential manual transmissions. Semi-automatic motorcycle transmissions generally omit the clutch lever, but retain the conventional heel-and-toe foot shift lever.

Semi-automatic motorcycle transmissions are based on conventional sequential manual transmissions and typically use a centrifugal clutch. At idle speed, the engine is disconnected from the gearbox input shaft, allowing both it and the bike to freewheel, unlike with torque converter automatics, there is no idle creep with a properly adjusted centrifugal clutch. As the engine speed rises, counterweights within the clutch assembly gradually pivot further outwards until they start to make contact with the inside of the outer housing and transmit an increasing amount of engine power and torque. The effective "bite point" or "biting point" is found automatically by equilibrium, where the power is transmitted through the (still-slipping) clutch is equal to what the engine can provide. This allows relatively fast full-throttle takeoffs (with the clutch adjusted so the engine is at peak torque) without the engine slowing or being bogged down, as well as more relaxed starts and low-speed maneuvers at lower throttle and RPMs.

1900s–1920s

In 1901, Amédée Bollée developed a method of shifting gears that did not require the use of a clutch and was activated by a ring mounted within the steering wheel. One car using this system was the 1912 Bollée Type F Torpedo.

1930s–1940s
Prior to the arrival of the first mass-produced hydraulic automatic transmission (the General Motors Hydra-Matic) in 1940, several American manufacturers offered various devices to reduce the amount of clutch or shifting input required. These devices were intended to reduce the difficulty of operating the unsynchronised manual transmissions, or "crash gearboxes", that were commonly used, especially in stop-start driving.

An early step towards automated transmissions was the 1933–1935 REO Self-Shifter,  which automatically shifted between two forward gears in the "forward" mode (or between two shorter gear ratios in the "emergency low" mode). Standing starts required the driver to use the clutch pedal. The Self-Shifter first appeared in May 1933 and was offered as standard on the Royale and as an option on the Flying Cloud S-4.

In 1937, the four-speed Oldsmobile Automatic Safety Transmission was introduced on the Oldsmobile Six and Oldsmobile Eight models. It used a planetary gearset with a clutch pedal for starting from a standstill and switching between the "low" and "high" ranges. The Automatic Safety Transmission was replaced by the fully-automatic Hydra-Matic for the 1940 model year.

The 1938–1939 Buick Special was available with another Self-Shifter 4-speed semi-automatic transmission,  which used a manual clutch for starting from standstill and an automated clutch for gear changes.

The 1941 Chrysler M4 Vacamatic transmission was a two-speed manual transmission with an integral underdrive unit, a traditional manual clutch, and a fluid coupling between the engine and the clutch. The two-speed transmission had "high" and "low" ranges, and the clutch was used when the driver wanted to switch between ranges. For normal driving, the driver would press the clutch, select the High range, and then release the clutch. Once the accelerator was pressed, the fluid coupling would engage and the car would begin moving forward, with the underdrive unit engaged to provide a lower gear ratio. At between 15 - 20 mph, the driver would lift off the accelerator and the underdrive unit would disengage. The Vacamatic was replaced by a similar M6 Presto-Matic transmission for the 1946 model year.

Similar designs were used for the 1941–1950 Hudson Drive-Master and the ill-fated 1942 Lincoln Liquimatic. Both of these combined a 3-speed manual transmission with automated shifting between the 2nd and 3rd gears, instead of the Vacamatic's "underdrive" unit.

The Packard Electro-Matic, introduced in the 1941 Packard Clipper and Packard 180, was an early clutchless manual transmission that used a traditional friction clutch with automatic vacuum operation, which was controlled by the position of the accelerator.

1950s–1960s
The Automotive Products manumatic system, available on the 1953 Ford Anglia 100E, was a vacuum-powered automatic clutch system that was actuated by a switch that was triggered whenever the gear stick was moved. The system could control the throttle cable (to keep the engine at the required RPM for the gear change) and vary the rate of clutch engagement. The successive Newtondrive system, available on the 1957–1958 Ford Anglia, also had a provision for choke control. A similar product was the German Saxomat automatic clutch system, which was introduced in the mid-1950s and available on various European cars.

The Citroën DS, introduced in 1955, used a hydraulic system with a hydraulically-operated speed controller and idle speed step-up device to select gears and operate the otherwise conventional clutch. This allowed clutchless shifting with a single column-mounted selector, while the driver simultaneously lifted off the accelerator to change gear. This system was nicknamed "Citro-Matic" in the U.S.

For the 1962 model year, American Motors introduced the E-Stick, which eliminated the clutch pedal in the Rambler American with standard three-speed manual transmissions. This automatic clutch used engine oil pressure as a hydraulic source and was available for less than $60. Compared to fully automatic transmissions of the time, the E-Stick offered the fuel economy of a stick-shift, with vacuum and electric switches controlling the clutch. The E-Stick three-speed transmission was offered on the larger Rambler Classic models, along with an overdrive unit. The system was only available with 6-cylinder engines, and the lack of a clutch proved unpopular, so it was discontinued after 1964.

The 1967 Volkswagen WSK (Wandlerschaltkupplungsgetriebe; English: Torque converter shift/clutch gearbox), used in the Beetle, Type 3 and Karmann Ghia, was one of the first gearboxes of its kind, with an automatic mechanical clutch and a torque converter. It was also known as the Autostick. Shifting was done manually by the driver. The automatic mechanical clutch allowed the car to accelerate from a stop, whereas the torque converter enabled it to do so in any gear. Dampening engine vibrations and providing torque multiplication, it functioned as a sort of "reduction gearbox", so the actual mechanical gearbox only needed three forward gears (this is why conventional automatic transmissions with torque converters normally have fewer gears than manual transmissions). The WSK had no "first" gear; instead, the first gear was converted into reverse gear, and the second gear was labeled first (with the third and fourth gears respectively being labeled second and third).

The Chevrolet Torque-Drive transmission, introduced on the 1968 Chevrolet Nova and Camaro, is one of a few examples where a semi-automatic transmission was based on a conventional hydraulic automatic transmission (rather than a standard manual transmission). The Torque-Drive was essentially a 2-speed Powerglide automatic transmission without the vacuum modulator, requiring the driver to manually shift gears between "Low" and "High". The quadrant indicator on Torque-Drive cars was "Park-R-N-Hi-1st". The driver would start the car in "1st," then move the lever to "Hi" when desired. The Torque-Drive was discontinued at the end of 1971 and replaced by a traditional hydraulic automatic transmission. Other examples of semi-automatic transmissions based on hydraulic automatics were the Ford 3-speed Semi-Automatic Transmission used in the 1970–1971 Ford Maverick, early versions of Honda's 1972–1988 Hondamatic 2-speed and 3-speed transmissions, and the Daihatsu Diamatic 2-speed transmission used in the 1985–1991 Daihatsu Charade.

Usage in motorcycles
An early example of a semi-automatic motorcycle transmission was the use of an automatic centrifugal clutch in the early 1960s by the Czechoslovakian manufacturer Jawa Moto. Their design was used without permission in the 1965 Honda Cub 50, which resulted in Jawa suing Honda for patent infringement and Honda agreeing to pay royalties for each motorcycle using the design.

Other semi-automatic transmissions used in motorcycles include:
 * Honda's Hondamatic two-speed transmission fitted with a torque converter (which shares its name with several fully-automatic transmissions), as used in its 1976 CB750A, 1977 CB400A Hawk, 1978 CM400A and 1982 CM450A.
 * Those in various minibikes, including the Amstar Nostalgia 49, Honda CRF50F, Z series, and ST series, Kawasaki KLX-110, KLX-110R,   and KSR110, KTM 65 SX, Suzuki DR-Z50, DR-Z70,    and DR-Z125,  SSR SR110TR, and Yamaha TT-R50E.
 * Yamaha used an automatic clutch system called YCCS on motorcycles such as the 2006 Yamaha FJR1300AE sports-touring. This system can be shifted either with the lever in the traditional position near the left foot or with a switch accessible to the left hand where the clutch lever would go on traditional motorcycles.
 * The Can-Am Spyder Roadster's SE5 and SE6 5-speed and 6-speed transmissions.
 * Those in several underbone motorcycles in the 1970s; the Suzuki FR50, Suzuki FR80, and Yamaha Townmate used 3-speed transmissions with a heel-and-toe gear shift.
 * Some high-performance sport bikes use a trigger-shift system, with a handlebar-mounted trigger, paddle, switch, or button, and an automatically operated clutch.
 * Some dirt bikes use this system, which is sometimes referred to as an auto-clutch transmission.  These include the Honda CRF110F  and Yamaha TT-R110E.  The conventional motorcycle foot shifter is retained, but the manual hand-clutch lever is no longer required. Semi-automatic transmissions in dirt bikes may be referred to as "automatic" despite a lack of automatic shifting.

Usage in motorsports
Semi-automatic transmissions in racing cars are typically operated by shift paddles connected to a designated transmission control unit.

The first Formula One car to use a semi-automatic transmission was the 1989 Ferrari 640. It used hydraulic actuators and electrical solenoids for clutch control and shifting, and was shifted via two paddles mounted behind the steering wheel. Another paddle on the steering wheel controlled the clutch, which was only needed when starting from a standstill. The car won its debut race at the Brazilian Grand Prix, but for much of the season suffered from reliability problems. Other teams began switching to similar semi-automatic transmissions; the 1991 Williams FW14 was the first to use a sequential drum-rotation mechanism (similar to those used in motorcycle transmissions), which allowed for a more compact design that required only one actuator to rotate the drum and change gears. A further development was made possible by the introduction of electronic throttle control soon after, which made it possible for the car to automatically rev-match during downshifts. By 1993, most teams were using semi-automatic transmissions. The last F1 car fitted with a conventional manual gearbox, the Forti FG01, raced in 1995.

Following concerns about the potential for Formula One cars to shift gears automatically without any driver input, mandatory software was introduced in 1994 that ensured that gear changes only occurred when instructed by the driver. Pre-programmed, computer-controlled, fully-automatic upshifts and downshifts were re-introduced and allowed from 2001, and were permitted from that year's Spanish Grand Prix, but were banned again in 2004. Buttons on the steering wheel to shift directly to a particular gear (instead of having to shift sequentially using the paddles) are permitted. The 2005 Minardi PS05, Renault R25, and Williams FW27 were the last Formula 1 cars to use a 6-speed gearbox before the switch to a mandatory 7-speed gearbox for the 2006 season. Since 2014 season, Formula 1 cars currently use mandatory 8-speed paddle-shift gearboxes.

The now-defunct CART Champ Car Series switched from a lever-shift sequential system to a 7-speed paddle-shift system for the 2007 season. This transmission was introduced with the new-for-2007 Panoz DP01 chassis.

The rival IndyCar Series introduced their 6-speed semi-automatic paddle-shift system for the 2008 season, also replacing the previous lever-shifted sequential transmission, introduced with the Dallara IR-05 chassis for 2008. IndyCars currently use the Xtrac P1011 sequential transmission, which uses a semi-automatic paddle shift system supplied by Mega-Line called AGS (Assisted Gearshift System). AGS uses a pneumatic gearshift and clutch actuator controlled by an internal transmission control unit.

Both the FIA Formula 2 and Formula 3 Championships currently use 6-speed sequential gearboxes with electro-hydraulic operation via shift paddles. Manual control of the multi-plate clutch systems via a lever behind the steering wheel is used to launch the cars.

DTM currently uses a Hewland DTT-200 6-speed sequential transmission with steering-wheel-mounted shift paddles, which was introduced for the 2012 season with the new rule change. This new system replaced the older lever-shifted sequential transmission, which had been used for the previous 12 seasons (since 2000).

Usage in other vehicles
Other notable uses for semi-automatic transmissions include:
 * During the 1940s to 1960s, many small diesel shunting locomotives used epicyclic semi-automatic transmissions. For example, the British Rail Class 03 and British Rail Class 04 used the Wilson-Drewry CA5 R7 transmission.
 * The Sinclair S.S.S. Powerflow, used from the 1950s to the early 1960s in Huwood-Hudswell diesel mining locomotives, the British Rail Class D2/7 and the British Rail Class D2/12. The Powerflow design is of the layshaft type with constant-mesh gears and dog clutch engagement, allowing it to provide seamless power delivery during upshifts. This transmission was also used in some road vehicles.
 * The Self-Changing Gears Pneumocyclic, an epicyclic transmission built in the United Kingdom from the 1960s to the 1980s. Using a similar design to the company's previous preselector gearboxes, the Pneumocyclic transmission was used in several buses, such as the Leyland Leopard, Panther, and Tiger. It was also fitted to several thousand British diesel railcars during this time.
 * All-terrain vehicles, such as the Honda ATC185, Honda ATC200, Honda TRX90X and TRX250X (Honda SportClutch), Suzuki LT125D Quadrunner (also known as the Suzuki QuadRunner 125), Suzuki LT 230, Suzuki Eiger 400, Yamaha Big Bear 250, 350,  and 400, Yamaha Grizzly 80, Yamaha Grizzly 700, Yamaha Raptor 80, Yamaha YFB250 Timberwolf, the Yamaha Moto-4 ATV range, and the Yamaha Tri-Moto range.
 * The Honda Electric Shift Program is used in ATVs such as the 1998 Honda TRX450FE (also called the Foreman 450ES ESP) and first-generation Honda Rincon. Shifting is accomplished by pressing one of the two gear selector arrows on the left handlebar, which activates an electric shifting system.

title: Semi-automatic transmission


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Category:Architecture in Italy

 * Architecture of Italy.

title: Category:Architecture in Italy


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Jaime Humberto Hermosillo

Jaime Humberto Hermosillo Delgado (22 January 1942 – 13 January 2020) was a Mexican film director, often compared to Spain's Pedro Almodóvar.

Born in Aguascalientes, Aguascalientes, in central Mexico, Hermosillo's films often explore the hypocrisy of middle-class Mexican values.

He worked with Gabriel García Márquez on Mary My Dearest (1979) and The Summer of Miss Forbes (1988). His film Homework (1991) was entered into the 17th Moscow International Film Festival where it won a Special Mention.

At the time of his death Hermosillo was teaching film-making at the University of Guadalajara and had recently collaborated with his students on several projects.

On 13 January 2020, Hermosillo died at the age of 77.

Awards and nominations

 * Medalla Salvador Toscano al Mérito Cinematográfico, 2012

title: Jaime Humberto Hermosillo


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Talk:Svenska Akademiens ordbok

[Untitled]
The SAOB is a dictionary "on historical principles," like the OED, with definitions, etymologies, citations, etc--I just don't see it as a thesaurus, so I've changed the word back to "dictionary". I'd be happy for Mic or anybody else to change the word right back, yet again, only it would be nice if you'd post a comment on this page, if you do.--Bishonen 21:39, 31 Jul 2004 (UTC)

Propose move
Propose move to "Svenska Akademiens ordbok" Same problem as always with Swedish titles in an English wiki. This article is currently named "Svenska Akademiens Ordbok" following the spelling of most English dictionaries with caps all around. But the title is in Swedish and that way there is no cap in "ordbok". See the official website. The sister project Svenska Akademiens ordlista has no cap either and in the Template:Swedish language there is no cap on "ordbok". Comments? w.carter -Talk  08:25, 25 February 2016 (UTC)

title: Talk:Svenska Akademiens ordbok


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La Celestina

The Tragicomedy of Calisto and Melibea (Tragicomedia de Calisto y Melibea), known in Spain as La Celestina is a work entirely in dialogue published in 1499. It is attributed to Fernando de Rojas, a descendant of converted Jews, who practiced law and, later in life, served as an alderman of Talavera de la Reina, an important commercial center near Toledo.

The book is considered to be one of the greatest works of all Spanish literature, even the single topic of a Spanish literary journal, Celestinesca. La Celestina is usually regarded as marking the end of the medieval period and the beginning of the renaissance in Spanish literature. Although usually regarded as a novel, it is written as a continuous series of dialogues and can be taken as a play, having been staged as such and filmed.

The story tells of a bachelor, Calisto, who uses the old procuress and bawd Celestina to start an affair with Melibea, an unmarried girl kept in seclusion by her parents. Though the two use the rhetoric of courtly love, sex — not marriage — is their aim. When he dies in an accident, she commits suicide. The name Celestina has become synonymous with "procuress" in Spanish, especially an older woman used to further an illicit affair, and is a literary archetype of this character, the masculine counterpart being Pandarus.

Plot summary
While chasing his falcon through the fields, a rich young bachelor named Calisto enters a garden where he meets Melibea, the daughter of the house, and is immediately taken with her. Unable to see her again privately, he broods until his servant Sempronio suggests using the old procuress Celestina. She is the owner of a brothel and in charge of her two young employees, Elicia and Areúsa.

When Calisto agrees, Sempronio plots with Celestina to make as much money out of his master as they can. Another servant of Calisto's, Pármeno, mistrusts Celestina because he used to work for her when he was a child. Pármeno warns his master not to use her. However Celestina convinces Pármeno to join her and Sempronio in taking advantage of Calisto. His reward is Areúsa.

As a seller of feminine knick-knacks and quack medicines, Celestina is permitted entrance into the home of Alisa and Melibea by pretending to sell thread. Upon being left alone with Melibea, Celestina tells her of a man in pain who could be cured by the touch of her girdle. When she mentions Calisto's name, Melibea becomes angry and tells her to go. But the crafty Celestina persuades her that Calisto has a horrible toothache that requires her aid, and manages to get the girdle off her and to fix another meeting.

On her second visit, Celestina persuades the now willing Melibea to a rendezvous with Calisto. Upon hearing of the meeting set by Celestina, Calisto rewards the procuress with a valuable gold chain. The lovers arrange to meet in Melibea's garden the following night, while Sempronio and Pármeno keep watch.

When the weary Calisto returns home at dawn to sleep, his two servants go round to Celestina's house to get their share of the gold. She tries to cheat them and in rage they kill her in front of Elicia. After jumping out of the window in an attempt to escape the Night Guard, Sempronio and Pármeno are caught and are beheaded later that day in the town square. Elicia, who knows what happened to Celestina, Sempronio, and Pármeno, tells Areúsa of the deaths. Areúsa and Elicia come up with a plan to punish Calisto and Melibea for being the cause of Celestina, Sempronio, and Pármeno's downfall.

After a month of Calisto sneaking around and seeing Melibea at night in her garden, Areúsa and Elicia enact their plan of revenge. Calisto returns to the garden for another night with Melibea; while hastily leaving because of a ruckus he heard in the street, he falls from the ladder used to scale the high garden wall and dies. After confessing to her father the recent events of her love affair and Calisto's death, Melibea jumps from the tower of the house and dies too.

Historical and social context
La Celestina was written during the reign of Ferdinand and Isabella, whose marriage took place in 1469 and lasted until 1504, the year of Isabella's death, which occupies the last phase of the Pre-Renaissance for Spain. Three major events in the history of Spain took place during the union of the kingdoms of Castile and Aragon in 1492. These events were the discovery of the Americas, the conquest of Granada and the expulsion of the Jews. It is also the year that Antonio de Nebrija published the first grammar of the Spanish language, together with Nebrija's own teachings at the University of Salamanca, where Fernando de Rojas studied, favoring the emergence of Renaissance humanism in Spain. Thus, 1492 began the transition between the Middle Ages and the Renaissance. It is precisely in the 1490s when the first editions of Comedy of Calisto and Melibea began to appear.

The unification of all the territories of the Iberian peninsula, except Portugal and the Kingdom of Navarre, under one king and one religion, Catholic Christianity, took place in this period. Claudio Sánchez Albornoz highlighted the importance of being Christian in a society that has warned against members of other religions, such as Jews and Muslims, and even came to outright rejection. Society was suspicious of converts, such as Christians who had been Jews before or had Jewish ancestry, and those who had to hide their conditions. Finally, those of other religions were expelled from the kingdom and the Inquisition would enforce orthodoxy among those who professed the Catholic faith.

Editions
There are two versions of the play. One is called a Comedy and has 16 acts; the other is considered a Tragic Comedy and has 21 acts.

Although most scholars admit that an earlier version by an unknown author already existed, the first known edition is credited to be the Comedy published in Burgos by printer Fadrique de Basilea in 1499. The first page is missing and consequently there is no indication of title or author. It is preserved in the Hispanic Society of New York City. On the first page of the 1500 edition of Toledo, which is for the first time entitled Comedia de Calisto y Melibea it states: nuevamente revista y enmendada con la adición de los argumentos de cada un auto en principio ("newly reviewed and amended with the addition of the synopses of each act at its beginning"), alluding to a princeps edition prior to 1499.

Some scholars wish to explain this discrepancy about the 1499 date, considering the version published in 1500 in Toledo to be the first edition; however, there is no positive proof of this, and there are some contradictions:
 * 1. Acrostic verses are not in themselves proof enough that the 16th century edition is the "Prínceps Edition".
 * 2. If the 1499 version was published after the Toledo version, it should contain as stated, additional material, whereas some of the verses are actually omitted.
 * 3. The phrase "fernando de royas acabo la comedia" means that a previous version existed and that Fernando de Rojas completed it by adding additional material.

The Toledo 1500 edition contains 16 acts, and also some stanzas with acrostic verses such as "el bachjller fernando de royas acabo la comedia de calysto y melybea y fve nascjdo en la puebla de montalvan", which means "the graduate Fernando de Rojas finished the Comedy of Calisto and Melibea and was born in La Puebla de Montalbán." (This is the reason it is believed that Rojas was the original author of the play.)

A similar edition appeared with minor changes "Comedia de Calisto y Melibea", Sevilla, 1501

A new edition entitled Tragicomedia de Calisto y Melibea (Tragic Comedy of Calisto and Melibea) (Seville: Jacobo Cromberger) appeared in 1502. This version contained 5 additional acts, bringing the total to 21.

Another edition with the title Tragicomedia de Calisto y Melibea (Tragic Comedy of Calisto and Melibea) (Valencia: ) appeared in 1514. This version contained those 5 additional acts, with the total of 21.

In 1526 a version was published in Toledo that included an extra act called the Acto de Traso, named after one of the characters who appears in that act. It became Act XIX of the work, bring the total number of acts to 22. According to the 1965 edition of the play edited by M. Criado de Val and G. D. Trotter, "Its literary value does not have the intensity necessary to grant it a permanent place in the structure of the book, although various ancient editions of the play include it."

Characters
Rojas makes a powerful impression with his characters, who appear before the reader full of life and psychological depth; they are human beings with an exceptional indirect characterization, which moves away from the usual archetypes of medieval literature.

Some critics see them as allegories. The literary critic Stephen Gilman has come to deny the possibility of analyzing them as characters, based on the belief that Rojas limited dialogue in which interlocutors respond to a given situation, so that the sociological depth can thus be argued only on extratextual elements.

Lida de Malkiel, another critic, speaks of objectivity, whereby different characters are judged in different manners. Thus, the contradictory behavior of characters would be a result of Rojas humanizing his characters.

One common feature of all of the characters (in the world of nobles as well as servants) is their individualism, their egoism, and their lack of altruism. The theme of greed is explained by Francisco José Herrera in an article about envy in La Celestina and related literature (meaning imitations, continuations, etc.), where he explained the motive of the gossipers and servants to be "greed and robbery", respectively, in the face of the motives of the nobles, which are raging lust and the defense of social and family honor. The private benefit of the lower-class characters forms a substitute for the love/lust present for the upper class.

Fernando de Rojas liked to create characters in pairs, to help build character development through relationships between complementary or opposing characters. In the play in general there are two opposite groups of characters, the servants and the nobles, and within each group are characters divided into pairs: Pármeno and Sempronio, Tristán and Sosia, Elicia and Areúsa, in the group of servants, and Calisto and Melibea, Pleberio and Alisa, in the group of nobles. Only Celestina and Lucrecia do not have a corresponding character, but this is because they perform opposite roles in the plot: Celestina is the element that catalyzes the tragedy, and represents a life lived with wild abandon, while Lucrecia, Melibea's personal servant, represents the other extreme, total oppression. In this sense, the character of the rascal Centurio added in the second version is an addition with little function, although he has something to do with the disorder that calls the attention of Calisto and causes his death.

Celestina
Celestina is the most suggestive character in the work, to the point that she gives it its title. She is a colorful and vivid character, hedonistic, miserly, and yet full of life. She has such a deep understanding of the psychology of the other characters that she can convince even those who do not agree with her plans to accede to them. She uses people's greed, sexual appetite (which she helps create, then provides means to satisfy), and love to control them. She also represents a subversive element in the society, by spreading and facilitating sexual pleasure. She stands apart for her use of magic. Her character is inspired by the meddling characters of the comedies of Plautus and in works of the Middle Ages such as the Libro de Buen Amor (The Book of Good Love) by Juan Ruiz and Italian works like The Tale of Two Lovers by Enea Silvio Piccolomini and Elegía de madonna Fiammeta by Giovanni Boccaccio. She was once a prostitute, and now she dedicates her time to arranging discreet meetings between illicit lovers, and at the same time uses her house as a brothel for the prostitutes Elicia and Areusa.

Melibea
Melibea is a strong-willed girl, in whom repression appears as forced and unnatural; she feels like a slave to the hypocrisy that has existed in her house since her childhood. In the play she appears to be the victim of a strong passion induced by Celestina's spell. She is really bound by her social conscience. She worries about her honor, not modesty, not her concept of what is moral. Her love is more real and less "literary" than that of Calisto: her love motivates her actions, and Celestina's "spell" allows her to retain her honor.

Calisto
A young nobleman who falls madly in love with Melibea. He is shown to be quite egotistical and full of passion as the entire first act is about his love for her. Even going as far as to 'create a new religion' worshipping her (Act 1 pg 92-93). He is also quite insecure as, after he gets rejected, he is easily convinced to go to the witch Celestina for assistance. In the 16-act version, Calisto dies as he falls while climbing down a ladder after a sexual encounter with Melibea.

Sempronio
Servant to Calisto. Sempronio is the one who suggests to Calisto to ask Celestina for help with wooing Melibea; he is also the one who suggests to Celestina that by working together they could swindle money and other items of luxury from Calisto. Sempronio is in love with one of Celestina's prostitutes, Elicia. Through him, we can also see the sexism of how this work represents its day and age. After all, after he and Pármeno kill Celestina he cannot begin to even fathom being betrayed by the women, for the women are now their property.

Pármeno
Servant to Calisto. Son of a prostitute who was friends with Celestina many years ago. As a child, Pármeno worked for Celestina in her brothel doing odd-jobs around the house and the town. Pármeno is in love with the prostitute Areúsa.

Elicia
A prostitute who lives with and works for Celestina. Cousin to Areúsa. Both she and her cousin deeply respect their mistress as they use words such as "Señora" to describe her. It is for this reason that after Sempronio and Pármeno kill Celestina she plots Calisto's death as revenge (and succeeds several months later).

Areúsa
Prostitute who periodically works with Celestina but lives independently. Cousin to Elicia. Both she and her cousin deeply respect their mistress as they use words such as "Señora" to describe her. It is for this reason that after Sempronio and Pármeno kill Celestina she plots Calisto's death as revenge (and succeeds several months later).

Lucrecia
Personal servant to Melibea.

Pleberio
Melibea's father.

Alisa
Melibea's mother.

Relevant literature

 * Călin, Alin Titi. "Proverbele din La Celestina. De la original la traducere." Philologica Jassyensia 12, no. 2 (34) (2021): 125-133. (English summary)
 * Fothergill-Payne, Louise (1988). Seneca and Celestina. Cambridge: Cambridge University Press.
 * Shipley, George A. (1985). "Authority and Experience in La Celestina". Bulettin of Hispanic Studies2 (1): 95-111.
 * Webber, Edwin (1957). «The Celestina as an "arte de amores"». Modern Philology (55): 145-153.

title: La Celestina


text:
Wikipedia:Articles for deletion/Hot Topic (0th nomination)

On 31 July 2004, Hot Topic was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP. Rossami 05:15, 7 Aug 2004 (UTC)

Hot Topic does not suggest or mention they are a leader in their niche market of "gothic ware". I could not find any evidence on google to suggest this either. If they can legitimately claim to be a leader in their niche market, I have no objections. Otherwise I would suggest this should be marked for deletion.--Mbbx6spp 21:39, 31 Jul 2004 (UTC) This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Wake up. The store is a large chain of stores in the United States and besides, the article is non promotional, as it names its rival stores and the store does exists. Keep. "Antonio Hot Martin"
 * Information: It is also listed on NASDAQ and has been reported on by Forbes. Elf-friend 23:27, 31 Jul 2004 (UTC)
 * After looking further into the matter, I say Keep to this one as well. Elf-friend 02:21, 1 Aug 2004 (UTC)
 * Keep. This is a large and notable chain. - Lucky 6.9 23:53, 31 Jul 2004 (UTC)
 * Keep. I have seen them in various malls. I'm also pretty sure they've been mentioned in a Motley Fool email newsletter or two. -RedWordSmith 00:11, 1 Aug 2004 (UTC)
 * Keep. bbx 01:10, 1 Aug 2004 (UTC)
 * Keep. You really found no Google evidence? Try "Hot Topic clothing". Everyking 01:36, 1 Aug 2004 (UTC)
 * Keep, regrettably, but do send to Clean Up to see if anyone wants to neutralize and improve it some out of charity. It's a common mallrat hangout, but the bit about goth ware (sic) is a bit, well, distracting. Geogre 01:57, 1 Aug 2004 (UTC)
 * Keep. Hot Topic is well-known. I've heard them show up in song lyrics, even.  Seriously. Isomorphic 05:50, 1 Aug 2004 (UTC)
 * Keep, we have other stores, why not this one? Saopaulo1
 * Keep. I'm Australian, and they have no operations here, but I still certainly know who they are. Ambi 11:16, 1 Aug 2004 (UTC)
 * Keep. If you couldn't find this on Google, it's prima facie evidence you are unable to operate Google properly - David Gerard 12:21, 1 Aug 2004 (UTC)
 * Keep. Famous. Smerdis of Tlön 16:33, 1 Aug 2004 (UTC)
 * If even I've heard of them, they're notable. Keep. -FZ 18:42, 2 Aug 2004 (UTC)
 * Keep. Note that the article has been much improved by User:Gtrmp since its VfD listing. —Morven 22:51, Aug 2, 2004 (UTC)
 * Keep for reasons stated above.--Neutrality 02:35, 3 Aug 2004 (UTC)


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Talk:List of New Mexico county name etymologies

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It will take some time to flesh out this page. Please be patient and do not trash this page. H2O 21:42, 31 Jul 2004 (UTC)


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Arturo Ripstein

Arturo Ripstein y Rosen (born December 13, 1943) is a Mexican film director and screenwriter. Considered the "Godfather of independent Mexican cinema", Ripstein's work is generally characterized by "somber, slow-paced, macabre melodramas tackling existential loneliness", often with a grotesque-like edge.

He is a nine-time Ariel Award winner, including five for Best Picture and two for Best Director. Three of his films have been nominated for the Palme d'Or at the Cannes Film Festival. In 1997, he received the prestigious National Prize for Arts and Sciences for his contributions to Mexican cinema. He was the second filmmaker (after Luis Buñuel) to receive that honour.

Early life
Of Polish Jewish descent, Ripstein was born in Mexico City on 13 December 1943, to producer Alfredo Ripstein and Frida Rosen. He developed an interest in filmmaking from a young age due to his family's proximity, and made short films as a teenager. He met Luis Buñuel after seeing Nazarín, and they developed a close mentor-student relationship that lasted until Bunuel's death.

Career
After working as Bunuel's uncredited assistant director on The Exterminating Angel (1962), Ripstein got his break into movies working learning from Luis Buñuel. In 1965, he directed Tiempo de morir, his first feature. Written by Carlos Fuentes and Gabriel García Márquez, it began a tradition of making independent films written by high-profile Latin-American authors. His 1981 film Seduction was entered into the 12th Moscow International Film Festival. His 1989 film Love Lies was entered into the 16th Moscow International Film Festival.

Some of Ripstein's films, especially the earlier ones, "highlighted characters beset by futile compulsions to escape [their] destinies". Many of his films are shot in tawdry interiors, with bleak brown color schemes, and seedy pathetic characters who manage to achieve a hint of pathos and dignity. Así es la vida, according to Jonathan Crow, "boldly reworks the ancient Greek drama Medea, employing a dizzying array of flashbacks and Brechtian devices". Deep Crimson, according to the New York Times, is "a ferociously anti-romantic portrait of an obese nurse and a seedy small-time gigolo whose bungling scheme to swindle a succession of lonely women out of their life savings turns into a killing spree."

In 1997, Ripstein won the National Prize of Arts and Sciences, the second filmmaker after Buñuel to do so.

Personal life
Ripstein is married to screenwriter Paz Alicia Garciadiego, with whom he has two children. In 2003, the two received honorary Spanish citizenship.

Selected filmography

 * Tiempo de morir (1966)
 * The Castle of Purity (1973)
 * The Holy Office (1974)
 * Foxtrot (1976)
 * La viuda negra (1977)
 * The Place Without Limits (El lugar sin límites) (1978)
 * La tía Alejandra (1979)
 * Seduction (1981)
 * Rastro de muerte (1981)
 * El imperio de la fortuna (1986)
 * Mentiras piadosas (1989)
 * Simplemente María (1989) TV
 * Woman of the Port (1991)
 * The Beginning and the End (1993)
 * The Queen of the Night (1994)
 * Deep Crimson (Profundo Carmesi) (1996)
 * El evangelio de las maravillas (1998)
 * No One Writes to the Colonel (1999)
 * Such Is Life (2000)
 * La perdición de los hombres (2000)
 * The Virgin of Lust (2002)
 * El carnaval de Sodoma (2006)
 * Las razones del corazón (2011)
 * Bleak Street (2015)
 * Devil Between the Legs (2019)

title: Arturo Ripstein