text:
Ryan Gosling

Ryan Thomas Gosling (born November 12, 1980) is a Canadian actor. Prominent in both independent films and major studio features, his films have grossed over $2 billion worldwide. Gosling has received various accolades, including a Golden Globe Award, and nominations for three Academy Awards, two British Academy Film Awards and a Primetime Emmy Award.

Gosling rose to prominence aged 13 on Disney Channel's The Mickey Mouse Club (1993–1995), and went on to appear in other family entertainment programs, including Are You Afraid of the Dark? (1995) and Goosebumps (1996). His breakthrough role was that of a Jewish neo-Nazi in The Believer (2001), and he gained stardom in the 2004 romantic drama The Notebook. He starred in the critically acclaimed independent dramas Half Nelson (2006), for which he was nominated for the Academy Award for Best Actor; Lars and the Real Girl (2007), and Blue Valentine (2010).

In 2011, Gosling had three mainstream successes in the romantic comedy Crazy, Stupid, Love, the political drama The Ides of March, and the action thriller Drive. After making his directorial debut with Lost River (2014), he starred in the financial satire The Big Short (2015), the action comedy The Nice Guys (2016), and the romantic musical La La Land (2016), the latter won him a Golden Globe and a second Academy Award nomination for Best Actor. Further acclaim followed with the science fiction film Blade Runner 2049 (2017) and the biopic First Man (2018). In 2023, he played Ken in the fantasy comedy Barbie, which emerged as his highest-grossing release and earned him a nomination for the Academy Award for Best Supporting Actor.

Gosling's band, Dead Man's Bones, released their self-titled debut album and toured North America in 2009. He is a co-owner of Tagine, a Moroccan restaurant in Beverly Hills, California. He is a supporter of PETA, Invisible Children, and the Enough Project and has traveled to Chad, Uganda and eastern Congo to raise awareness about conflicts in the regions. He has been involved in peace promotion efforts in Africa for over a decade. He is in a relationship with actress Eva Mendes, with whom he has two daughters.

Early life and education
Ryan Thomas Gosling was born on November 12, 1980, at St. Joseph's Hospital in London, Ontario, the son of Thomas Ray Gosling, a travelling salesman for a paper mill, and Donna, a secretary. Both of his parents are of part French Canadian descent, along with some German, English, Scottish, and Irish. He and his family were members of the Church of Jesus Christ of Latter-day Saints, and Gosling has said that the religion influenced every aspect of their lives. Because of his father's work, they "moved around a lot" and Gosling lived in both Cornwall, Ontario and Burlington, Ontario. His parents divorced when he was 13, and he and his older sister Mandi lived with their mother, an experience Gosling has credited with programming him "to think like a girl".

Gosling was educated at Gladstone Public School, Cornwall Collegiate and Vocational School and Lester B. Pearson High School. As a child, he watched Dick Tracy and was inspired to become an actor. He "hated" being a child, was bullied in elementary school, and had no friends until he was "14 or 15". In grade one, having been heavily influenced by the action film First Blood, he took steak knives to school and threw them at other children during recess. This incident led to a suspension. He was unable to read, and was evaluated for attention deficit hyperactivity disorder (ADHD), but was not diagnosed with it and, contrary to false reports, never took medication. His mother left her job and home-schooled him for a year. He has said homeschooling gave him "a sense of autonomy that I've never really lost". Gosling performed in front of audiences from an early age, encouraged by his sister being a performer. He and his sister sang together at weddings; he performed with Elvis Perry, his uncle's Elvis Presley tribute act, and was involved with a local ballet company. Performing boosted his self-confidence as it was the only thing for which he received praise. He developed an idiosyncratic accent because, as a child, he thought having a Canadian accent did not sound "tough". He began to model his accent on that of Marlon Brando. Gosling dropped out of high school at age 17 to focus on his acting career.

1993–1999: Child actor
In 1993, 12-year-old Gosling attended an open audition in Montreal for a revival of the Disney Channel's The Mickey Mouse Club. He was given a two-year contract as a mouseketeer and moved to Orlando, Florida. He appeared on-screen infrequently because other children were considered more talented. Nonetheless, he has described the job as the greatest two years of his life. Fellow cast members included Britney Spears, Christina Aguilera, and Justin Timberlake. Gosling has credited the experience with instilling in him "this great sense of focus." He became particularly close friends with Timberlake and they lived together for six months during the second year of the show. Timberlake's mother became Gosling's legal guardian after his mother returned to Canada for work reasons. Gosling has said that even though he and Timberlake talk infrequently, they are still supportive of each other.

Following the show's cancellation in 1995, Gosling returned to Canada, where he continued to appear in family entertainment television series, including Are You Afraid of the Dark? (1995) and Goosebumps (1996), and starred in Breaker High (1997–98) as Sean Hanlon. At age eighteen, he moved to New Zealand to film the Fox Kids adventure series Young Hercules (1998–1999) as the title character. He later said that he initially enjoyed working on the series, but began to care too much about the show, so it was no longer fun for him. He wanted to spend more time sitting with and devising a character as well as play a variety of roles, so he chose to transition into film and not accept any more television work.

2000–2003: Independent films
Aged 19, Gosling decided to move into "serious acting". He was dropped by his agent and initially found it difficult to secure work because of the "stigma" attached to children's television. After a supporting role in the football drama Remember the Titans, he secured a lead role as a young Jewish neo-Nazi in 2001's The Believer. Director Henry Bean said he cast Gosling because his Mormon upbringing helped him understand the isolation of Judaism. Kevin Thomas of the Los Angeles Times praised an "electrifying and terrifyingly convincing" performance while Todd McCarthy of Variety felt his "dynamite performance" could "scarcely have been better". The film won the Grand Jury Prize at the Sundance Film Festival and Gosling has described it as "the film that kind of gift-wrapped for me the career that I have now." Because of the controversial nature of the film, it was difficult to secure financial backing for a full theatrical release, and the film was instead broadcast on Showtime. The film was a commercial failure, grossing $416,925 worldwide from a production budget of $1.5 million.

In 2002, Gosling co-starred in the psychological thriller Murder by Numbers with Sandra Bullock and Michael Pitt, where Gosling and Pitt portrayed a pair of high school seniors who believe they can commit the perfect murder. Bullock played the detective tasked with investigating the crime. Lisa Schwarzbaum of Entertainment Weekly described him as "a phenomenal talent even in junk like this" while Todd McCarthy felt that the "strong and "charismatic" young actors were "let down by the screenplay". The film was a minor commercial success, grossing $56 million worldwide from a production budget of $50 million. His second screen appearance of 2002 was in The Slaughter Rule with David Morse which explores the relationship between a high school football player and his troubled coach in rural Montana. Gosling has said that the opportunity to work with Morse made him "a better actor". Stephen Holden of The New York Times described Gosling as "major star material" with a "rawness and an intensity that recall the young Matt Dillon" while Manohla Dargis of the Los Angeles Times was won over by his "raw talent". The film was released in just three US theatres and grossed $13,411.

In 2003, Gosling starred in The United States of Leland as a teenager imprisoned for the murder of a disabled boy. He was drawn to the role because it was unusual to find a character that was "emotionally disconnected for the whole film." Critic Roger Ebert felt that the "gifted actor does everything that can be done with Leland, but the character comes from a writer's conceits, not from life." A. O. Scott of The New York Times noted that he "struggles to rescue Leland from the clutches of cliché" while David Rooney of Variety felt that his "one-note, blankly disturbed act has none of the magnetic edge of his breakthrough work in The Believer". The film grossed $343,847 in the United States and was not released overseas.

2004–2009: The Notebook and Half Nelson
Gosling gained mainstream attention in 2004 after starring opposite fellow Canadian Rachel McAdams in the romantic drama film The Notebook, a film adaptation of Nicholas Sparks' novel of the same name, directed by Nick Cassavetes. Gosling played Noah Calhoun and commented on the role: "It gave me an opportunity to play a character over a period of time – from 1940 to 1946 – that was quite profound and formative." He sought to imbue his character with "quiet strength" and was inspired by Sam Shepard's performance in Days of Heaven. Shepard co-starred in The Notebook. Filming took place in Charleston, South Carolina, in late 2002 and early 2003. Although Gosling and McAdams became romantically involved in 2005, they had a combative relationship on the set. "We inspired the worst in each other," Gosling has said. "It was a strange experience, making a love story and not getting along with your co-star in any way."

At one point, Gosling asked Cassavetes to "bring somebody else in for my off-camera shot" because he felt McAdams was uncooperative. The New York Times praised the "spontaneous and combustible" performances of the two leads and noted that, "against your better judgment, you root for the pair to beat the odds against them." Desson Thomson of The Washington Post praised Gosling's "beguiling unaffectedness" and noted that "it's hard not to like these two or begrudge them a great love together". The film grossed over $115 million worldwide. Gosling won four Teen Choice Awards and an MTV Movie Award. Entertainment Weekly has said that the movie contains the All-Time Best Movie Kiss while the Los Angeles Times has included a scene from the film in a list of the 50 Classic Movie Kisses. The Notebook has appeared on many Most Romantic Movies lists.

In 2005, Gosling appeared as a disturbed young art student in Stay, a psychological thriller film co-starring Naomi Watts and Ewan McGregor. In an uncomplimentary review of the film, Manohla Dargis of The New York Times stated that Gosling "like his fans, deserves better." Todd McCarthy remarked that the "capable" Gosling and McGregor "deliver nothing new from what they've shown before". The film grossed $8 million worldwide. Gosling was unfazed by the negative reaction: "I had a kid come up to me on the street, 10 years old, and he says, 'Are you that guy from Stay? What the f--- was that movie about?' I think that's great. I'm just as proud if someone says, 'Hey, you made me sick in that movie,' as if they say I made them cry."

Gosling next starred in 2006's Half Nelson as a drug-addicted junior high school teacher who forms a bond with a young student. To prepare for the role, Gosling moved to New York for one month before shooting began. He lived in a small apartment in Brooklyn and spent time shadowing an eighth grade teacher. Kenneth Turan of the Los Angeles Times described it as "a mesmerizing performance ... that shows the kind of deep understanding of character few actors manage." Ruthe Stein of the San Francisco Chronicle drew comparisons with Marlon Brando and asserted that "nobody who cares about great acting will want to miss his performance". Roger Ebert believed that his performance "proves he's one of the finest actors working in contemporary movies." Gosling garnered a nomination for the Academy Award for Best Actor. The film grossed $4 million at the worldwide box office. In 2007, he was invited to join the Academy of Motion Picture Arts and Sciences.

Gosling played an introvert who falls for a sex doll in the 2007 film Lars and the Real Girl. He drew inspiration from James Stewart's performance in Harvey. Roger Ebert felt "a film about a life-sized love doll" had been turned into "a life-affirming statement of hope" because of "a performance by Ryan Gosling that says things that cannot be said". Ann Hornaday of The Washington Post described his performance as "a small miracle ... because he changes and grows so imperceptibly before our eyes." However, Manohla Dargis of The New York Times felt "the performance is a rare miscalculation in a mostly brilliant career." He was nominated for a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy and a Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role. The film was a box office failure, failing to recoup its $12 million production budget.

Gosling starred opposite Anthony Hopkins in the 2007 courtroom thriller Fracture. He originally turned down the role, but changed his mind when Hopkins signed on. Gosling noted that he was drawn to his character, Willie, because he had flaws and seemed like a real person. He spent time shadowing lawyers and observing courtroom proceedings in preparation for the role. Claudia Puig of USA Today declared that "watching a veteran like Hopkins verbally joust with one of the best young actors in Hollywood is worth the price of admission". Manohla Dargis of The New York Times felt it was a treat to watch "the spectacle of that crafty scene stealer Anthony Hopkins mixing it up with that equally cunning screen nibbler Ryan Gosling ... Each actor is playing a pulp type rather than a fully formed individual, but both fill in the blanks with an alchemical mix of professional and personal charisma." The film grossed over $91 million worldwide.

Gosling was scheduled to begin filming The Lovely Bones in 2007. However, he left the production two days before filming began because of "creative differences" and was replaced by Mark Wahlberg. Gosling was cast as the father of the murdered teenage girl and initially felt he was too young for the role. The director Peter Jackson and the producer Fran Walsh persuaded him that he could be aged with hair and make-up changes. Before shooting began, Gosling gained 60 pounds (27 kilograms) in weight and grew a beard to appear older. Walsh then "began to feel he was not right. It was our blindness, the desire to make it work no matter what." Gosling later said, "We didn't talk very much during the preproduction process, which was the problem ... I just showed up on set, and I had gotten it wrong. Then I was fat and unemployed." He has said the experience was "an important realisation for me: not to let your ego get involved. It's OK to be too young for a role."

2010–2012: Widespread recognition
Following a three-year absence from the screen, Gosling starred in five films in 2010 and 2011. "I've never had more energy," Gosling said. "I'm more excited to make films than I used to be. I used to kind of dread it. It was so emotional and taxing. But I've found a way to have fun while doing it. And I think that translates into the films." He has also spoken of feeling depressed when not working. In 2010, he starred opposite Michelle Williams in Derek Cianfrance's directorial debut, the marital drama Blue Valentine. The low-budget film was mainly improvised and Gosling has said "you had to remind yourself you were making a film". Mick LaSalle of the San Francisco Chronicle felt he "brings a preternatural understanding of people to his performance" while A.O. Scott of The New York Times found him to be "convincing as the run-down, desperate, older Dean, and maybe a bit less so as the younger version". Owen Gleiberman of Entertainment Weekly wrote that he "plays Dean as a snarky working-class hipster, but when his anger is unleashed, the performance turns powerful." However, Wesley Morris of The Boston Globe felt the performance was an example of "hipsterism misdirected". He was nominated for a Golden Globe Award for Best Actor – Motion Picture Drama. The film was a box office success, grossing over $12 million worldwide from a production budget of $1 million.

Gosling's second on-screen appearance of 2010 was in the mystery film All Good Things with Kirsten Dunst, based on a true story. He played the role of New York real-estate heir David Marks, who was investigated for the disappearance of his wife (played by Dunst). Gosling found the filming process to be a "dark experience" and did not undertake any promotional duties for the film. When asked if he was proud of the film, he said, "I'm proud of what Kirsten does in the movie." Peter Travers of Rolling Stone wrote that he "gets so deep into character you can feel his nerve endings." Mick LaSalle of the San Francisco Chronicle found the "chameleonic Gosling is completely convincing as this empty shell of a man". Betsy Sharkey of the Los Angeles Times felt that the film belonged to Dunst, but praised Gosling's performance. The film grossed $644,535 worldwide. Also in 2010, Gosling narrated and produced ReGeneration, a documentary that explores the cynicism in today's youth towards social and political causes.

2011 saw Gosling expand his horizons by appearing in three diverse, high-profile roles. He co-starred in his first comedic role in the romantic comedy-drama Crazy, Stupid, Love, with Steve Carell and Emma Stone. Gosling took cocktail-making classes at a Los Angeles bar in preparation for his role as a smooth-talking ladies' man. Ann Hornaday of The Washington Post said his "seductive command presence suggests we may have found our next George Clooney". Peter Travers declared him "a comic knockout" while Claudia Puig of USA Today felt he reveals a "surprising" "knack for comedy." He was nominated for a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. The film was a box office success, grossing over $142 million worldwide. With adjustments for inflation, it is the fourth most successful of Gosling's career.

Gosling's first action role was in Drive, based on a novel by James Sallis. Gosling played a Hollywood stunt performer who moonlights as a getaway driver, and he has described the film as a "violent John Hughes movie": "I always thought if Pretty in Pink had head-smashing it would be perfect". Roger Ebert compared Gosling to Steve McQueen and stated that he "embodies presence and sincerity ... he has shown a gift for finding arresting, powerful characters [and] can achieve just about anything. Joe Morgenstern of The Wall Street Journal pondered "the ongoing mystery of how he manages to have so much impact with so little apparent effort. It's irresistible to liken his economical style to that of Marlon Brando." The film was a box office success, grossing $81 million worldwide from a production budget of $15 million.

In his final appearance of 2011, Gosling co-starred with Philip Seymour Hoffman in the political drama The Ides of March directed by George Clooney, in which he played an ambitious press secretary. Gosling partly decided to do the film to become more politically aware: "I'm Canadian and so American politics aren't really in my wheelhouse." Joe Morganstern stated that Gosling and Hoffman "are eminently well equipped to play variations on their characters' main themes. Yet neither actor has great material to conjure with in the script." In a generally tepid review, Kenneth Turan of the Los Angeles Times asserted that it was "certainly involving to see the charismatic Gosling verbally spar with superb character actors like Hoffman and [Paul] Giamatti." Mick LaSalle of the San Francisco Chronicle felt there was "one aspect to the character that Gosling can't quite nail down, that might simply be outside his sphere, which is idealism." He was nominated for a Golden Globe Award for Best Actor – Motion Picture Drama. The film grossed $66 million worldwide.

2013–2014: Mixed critical reception and directorial debut
In 2013's crime thriller Gangster Squad, Gosling portrayed Sgt. Jerry Wooters, a 1940s LAPD officer who attempts to outsmart mob boss Mickey Cohen (played by Sean Penn). He was reunited with Emma Stone as his love interest, after their earlier pairing in Crazy, Stupid, Love. Stone has said she hopes they will find more projects to work together on. A.O. Scott of The New York Times described the film as an excuse for the cast "to earn some money trying out funny voices and suppressing whatever sense of nuance they might possess." Christy Lemire of The Boston Globe criticized Gosling's "weird, whispery voice" and his "barely developed, one-note" character. However, Betsy Sharkey of the Los Angeles Times felt that there was "a seductive power" in the scenes shared by Gosling and Stone: "But like too much else in the film, it's a scenario that is only half played out."

In The Place Beyond the Pines, a generational drama directed by Blue Valentine's Derek Cianfrance, Gosling played Luke, a motorcycle stunt rider who robs banks to provide for his family. The shoot was described by Gosling as "the best experience I have ever had making a film." A. O. Scott of The New York Times praised his performance, writing: "Mr. Gosling's cool self-possession — the only thing he was allowed to display in "Drive" — is complicated, made interesting, by hints of childlike innocence and vulnerability." Scott Foundas of The Village Voice was unimpressed: "Gosling's character verges on parody ... Gosling uses a soft, wounded half-whisper that tells us this is all some kind of put-on ... It's a close variation on the role Gosling played to stronger effect in Nicolas Winding Refn's existential Hollywood thriller, Drive, where it was clear the character was meant to be an abstraction." David Denby of The New Yorker remarked that he "reprises his inexorable-loner routine". The film grossed $35 million worldwide from a production budget of $15 million.

Later in 2013, Gosling starred in the violent revenge drama Only God Forgives, directed by Drive's Nicolas Winding Refn. Gosling undertook Muay Thai training in preparation for the role, and has described the script as "the strangest thing I've ever read". Both the film and his performance drew negative reviews. David Edelstein of New York magazine stated, "Gosling looked like a major actor as a skinhead in The Believer and a star in Half Nelson. Then he stopped acting and started posing. His performance in Only God Forgives (would God forgive that title?) is one long, moist stare". Stephen Holden of the New York Times criticized Gosling's inability "to give his automaton any suggestion of an inner life". Peter Travers of Rolling Stone commented that Gosling, while "meant to be a blank page for us to write on, often looks merely blank".

In early 2013, Gosling announced that he was taking a break from acting, stating, "I've lost perspective on what I'm doing. I think it's good for me to take a break and reassess why I'm doing it and how I'm doing it. And I think this is probably a good way to learn about that." Gosling's directorial debut Lost River competed in the Un Certain Regard section at the 2014 Cannes Film Festival. The "fantasy noir", written by Gosling, stars Christina Hendricks, Ben Mendelsohn, and Matt Smith. The film received largely unfavorable reviews. Peter Bradshaw of The Guardian found it "insufferably conceited" and remarked that Gosling had lost "any sense of proportion or humility." Robbie Collin of The Daily Telegraph described Lost River as "mind-bogglingly pleased with itself", while Variety's Justin Chang dismissed the "derivative" film as a "train-wreck."

2015–present: Established actor
In 2015, Gosling played a bond salesman in the ensemble financial satire The Big Short, a Best Picture nominee at the 2016 Academy Awards. David Sims of The Atlantic felt that he was "smarmily funny, somehow simultaneously magnetic and repulsive; after years wandering the halls of mediocre art cinema, it's wonderful to see him cut loose again." Peter Travers of Rolling Stone said: "Gosling, a virtuoso of verbal sleaze, talks directly to the camera, and he's volcanically fierce and funny." The following year, Gosling starred in the black comedy The Nice Guys, opposite Russell Crowe, and in Damien Chazelle's musical La La Land, for which he won the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy and received his second Academy Award for Best Actor nomination. Robbie Collin praised his chemistry with co-star Emma Stone, writing: "Both stars are so attuned to each other's pace and flow that their repartee just seems to tumble out, perfectly formed." It emerged as one of his most commercially successful films, with earnings of over $440 million against its $30 million budget.

Gosling was signed on to work with Terrence Malick in 2004 on the biographical film Che, but later dropped out. He made an appearance in Malick's Song to Song (2017), which co-starred Christian Bale and Cate Blanchett. Also in 2017, he starred in Blade Runner 2049, a sequel to the 1982 science fiction film Blade Runner, directed by Denis Villeneuve and co-starring Harrison Ford, who reprised his role as Rick Deckard. Gosling's role was as Officer K, a "blade runner" working for the LAPD whose job it is to kill rogue bioengineered humans known as replicants. A. O. Scott found him to be perfectly cast, adding that his "ability to elicit sympathy while seeming too distracted to want it – his knack for making boredom look like passion and vice versa – makes him a perfect warm-blooded robot for our time". Despite being Gosling's largest box office opening, grossing $31.5 million domestically, the film generally underperformed at the box office.

In 2018, Gosling portrayed Neil Armstrong, the astronaut who became the first man to walk on the Moon in 1969, in Chazelle's biopic First Man, based on the book First Man: The Life of Neil A. Armstrong. Writing for IndieWire, Michael Nordine commended him for bringing "quiet charisma" and "grace" to his role, while Nicholas Barber of the BBC hailed him as the "best deadpan actor in the business". He received a nomination for the Critics' Choice Movie Award for Best Actor.

After a four-year break from film, Gosling returned starring in the 2022 spy-action thriller The Gray Man, opposite Chris Evans and Ana de Armas. The film had a limited theatrical release and was distributed by Netflix. Despite negative reviews from critics, who described the film as "mediocre" and full of cliches, a sequel has been announced and is in development. In the following year, Gosling starred as Ken in Greta Gerwig's fantasy comedy Barbie, opposite Margot Robbie in the title role. He also sang the song "I'm Just Ken" for the film's accompanying soundtrack as well as a cover of "Push" by Matchbox Twenty. His performance was acclaimed, with Anthony Lane of The New Yorker lauding his comedic performance as "peak Gosling", and Vulture Alison Willmore wrote that he "comes close to stealing the movie". He received Golden Globe, Critics' Choice, SAG, BAFTA, and Academy Award nominations for his performance. He performed "I'm Just Ken" live at the 96th Academy Awards, where it was nominated for Best Original Song.

Gosling next starred in the action comedy film The Fall Guy alongside Emily Blunt. <!--Since 2017, Gosling has been attached to co-produce a film adaptation of Jeff Lemire's 2012 graphic novel The Underwater Welder. Deadline confirmed in March 2020 that Gosling will produce and star in Project Hail Mary with Metro-Goldwyn-Mayer in negotiations to acquire the project, based on the Andy Weir novel centered on a solitary astronaut on a space ship who is trying to save Earth. Later, Deadline reported in September 2020 that Gosling is set to star in an untitled stuntman drama from director David Leitch and screenwriter Drew Pearce, who previously worked together on the Fast and Furious spinoff Hobbs & Shaw under Universal. In February 2021, Gosling signed to star in The Actor, an adaptation of Donald E. Westlake's novel Memory. Duke Johnson will direct the film and produce with Abigail Spencer under their Innerlight Films production banner. Gosling, who will also produce alongside Ken Kao, will play the lead role of Paul Cole, who must deal with his damaged memory as he struggles to rebuild his life after being left for dead and hospitalized in 1950s Ohio. He will reunite with Robbie in a prequel to the Ocean's film series -->

Music career

In 2007, Gosling made a solo recording called "Put Me in the Car" available for download on the Internet. Also that year, Gosling and his friend Zach Shields formed the indie rock band Dead Man's Bones. The two first met in 2005 when Gosling was dating Rachel McAdams and Shields was dating her sister, Kayleen. They initially conceived of the project as a monster-themed musical but settled on forming a band when they realized putting on a stage production would be too expensive. They recorded their eponymous debut album with the Silverlake Conservatory's Children's Choir and learned to play all the instruments themselves. Gosling contributed vocals, piano, guitar, bass guitar and cello to the record. The album was released through ANTI- Records on October 6, 2009. Pitchfork Media was won over by the "unique, catchy and lovably weird record" while Prefix felt the album was "rarely kitschy and never inappropriate". However, Spin felt the album "doesn't reverse the rule that actors make dubious pop musicians" and Entertainment Weekly criticized its "cloying, gothic preciousness".

In September 2009, Gosling and Shields had a three-night residency at LA's Bob Baker Marionette Theater where they performed alongside dancing neon skeletons and glowing ghosts. They then conducted a thirteen-date tour of North America in October 2009, using a local children's choir at every show. Instead of an opening act, a talent show was held each night. In September 2010, they performed at Los Angeles' FYF Festival. In 2011, the actor spoke of his intentions to record a second Dead Man's Bones album. No children's choir will be featured on the follow-up album because "it's not very rock 'n' roll".

Personal life
Gosling previously resided in New York City. He co-owns Tagine, a Moroccan restaurant in Beverly Hills, California. He bought the restaurant on an impulse; he said he spent "all [his] money" on it, spent a year doing the renovation work himself, and now oversees the restaurant's menus.

Gosling dated his Murder by Numbers co-star Sandra Bullock from 2002 to 2003. He then had a relationship with his The Notebook co-star Rachel McAdams from 2005 to 2007; they briefly reunited in 2008.

Gosling has been in a relationship with his The Place Beyond the Pines co-star Eva Mendes since September 2011. They have two daughters, born in 2014 and 2016.

Charity work
Gosling supports various social causes. He has worked with PETA to encourage KFC and McDonald's to use improved methods of chicken slaughter, and on a campaign encouraging dairy farmers to stop de-horning cows.

In 2005, Gosling volunteered in Biloxi, Mississippi in the clean-up effort following Hurricane Katrina.

He is a supporter of Invisible Children, Inc., a group that raises awareness about the LRA in Central Africa. In 2005, he traveled to Darfur refugee camps in Chad. He was a speaker at Campus Progress' National Conference in 2008, where he discussed Darfur. As part of his work with the Enough Project, he visited Uganda in 2007 and eastern Congo in 2010.

Filmography and accolades
Among his many accolades, Gosling has received three Academy Award nominations, two British Academy Film Award nominations, one Golden Globe Award from six nominations, and six Screen Actors Guild Award nominations.

In 2006, his role as a troubled history teacher in the drama film Half Nelson gained him nominations for an Academy Award and Screen Actors Guild Award for Best Actor. He received nominations for an Academy Award, British Academy Film Award, Golden Globe Award and Screen Actors Guild Award for La La Land (2016) and Barbie (2023) in the Best Actor and Best Supporting Actor categories respectively, winning a Golden Globe Award for the former. His performances in Lars and the Real Girl (2007), Blue Valentine (2010), The Ides of March, and Crazy, Stupid, Love (both 2011); also earned him Golden Globe nominations.

title: Ryan Gosling


text: File:Mordecai Brown Baseball Hand.jpg

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

title: File:Mordecai Brown Baseball Hand.jpg


text:
LQG

LQG may refer to:

 * Loop quantum gravity, a theory that aims to merge quantum mechanics and general relativity
 * Liouville quantum gravity, a theory of gravity on two-dimensional surfaces
 * Linear–quadratic–Gaussian control, an optimal control problem
 * Large quasar group, a massive collection of black holes and the largest known object in the universe

title: LQG


text:
Theater an der Wien

The Theater an der Wien is a historic theatre in Vienna located on the Left Wienzeile in the Mariahilf district. Completed in 1801, the theatre has hosted the premieres of many celebrated works of theatre, opera, and symphonic music. Since 2006, it has served primarily as an opera house, hosting its own company.

Although "Wien" is German for "Vienna", the "Wien" in the name of the theatre is actually the name of the Wien River, which once flowed by the theatre site; "an der Wien" means "on the banks of the Wien". In modern times, the river has been covered over in this location and the covered riverbed now houses the Naschmarkt, an open-air market.

The theatre is operated in cooperation with Vereinigte Bühnen Wien (VBW) which also operates the Raimund Theater and the Ronacher.

Early history
The theatre was the brainchild of the Viennese theatrical impresario Emanuel Schikaneder, who is best known as Mozart's librettist and collaborator on the opera The Magic Flute (1791). Schikaneder's troupe had already been successfully performing for several years in Vienna in the smaller Theater auf der Wieden and this is where The Magic Flute had premiered. As the troupe's performances often emphasized spectacle and scenery, the librettist felt ready to move to a larger and better equipped venue.

He had already been granted an imperial licence to build a new theatre in 1786, but it was only in 1798 that he felt ready to act on this authorization. The building was designed by the architect Franz Jäger in Empire style (it has since been remodeled). Construction was completed in 1801. The theatre has been described as "the most lavishly equipped and one of the largest theatres of its age".

The theatre opened on 13 June 1801 with a prologue written by Schikaneder followed by a performance of the opera Alexander by Franz Teyber. The new theatre proved to be a sensation. Adolf Bäurle, a local critic, wrote "if Schikaneder and [his partner] Zitterbarth had had the idea ... to charge admission simply for looking at the glories of their Theater an der Wien, Schikaneder would certainly have been able to take in vast sums of money without giving one single performance." The Allgemeine musikalische Zeitung called it the "most comfortable and satisfactory in the whole of Germany" (which meant at the time, "all German-speaking lands").

In 1807 the theatre was acquired by a group of court nobles that included Count Ferdinand Palffy von Erdöd, who bought it outright in 1813. During the period of his proprietorship, which lasted until 1826, he offered opera and ballet and, to appeal to a wider Viennese audience, popular pantomime and variety acts, losing money in elaborate spectacles until finally he was forced to sell the theatre at auction in 1826.

Only a part of the original building is preserved: the Papagenotor (Papageno Gate) is a memorial to Schikaneder, who is depicted playing the role of Papageno in The Magic Flute, a role he wrote for himself to perform. He is accompanied by the Three Boys, characters in the same opera.

From 1889 to 1905, Alexandrine von Schönerer was managing director after the lease ended in 1884 between her and the librettist Camillo Walzel.

In the late 19th to early 20th centuries, the theatre experienced a golden age during the flourishing of Viennese operetta, as referenced in the list below.

Later history
From 1945 to 1955, it was one of the temporary homes of the Vienna State Opera, whose own building had been destroyed by Allied bombing during World War II. However, in 1955, the theatre was closed for safety reasons. It languished unused for several years, and by the early 1960s, the threat had emerged that it would be converted to a parking garage. (This was the same era of "urban renewal" that in America nearly destroyed Carnegie Hall).

By 1962 the theatre had a new and successful role as a venue for contemporary musical theatre. Many English-language musicals had their German premieres there. In 1992, the musical Elisabeth (about Franz Joseph I of Austria's wife, Elisabeth of Bavaria, also known as Sisi), premiered there and ran for six consecutive years until 1998; Elisabeth went on to become the most successful German-language musical to date, returning to the Theater an der Wien for a revival production from 2003 to 2005. The musical Cats directed and choreographed by Gillian Lynne played successfully for seven years.

Despite its focus on operettas and musicals, the theatre still served as a venue for occasional opera productions, especially during the Vienna Festival seasons, and sometimes co-produced with the Vienna State Opera. Notable productions of the non-standard repertory include: Between 1996 and 2002, Riccardo Muti conducted new productions of the three Da Ponte operas of Mozart, based on an original production by Giorgio Strehler.
 * Alban Berg's Lulu (1962), conducted by Karl Böhm, staged by Otto Schenk, designed by Caspar Neher, and starring Evelyn Lear
 * Joseph Haydn's Orfeo ed Euridice (1967), conducted by Richard Bonynge, staged by Rudolf Hartmann, and starring Nicolai Gedda and Joan Sutherland
 * Claudio Monteverdi's Il ritorno d'Ulisse in patria (1971), conducted by Nikolaus Harnoncourt, and staged by Federik Mirdita
 * Wolfgang Amadeus Mozart's La clemenza di Tito (1976), conducted by Julius Rudel, staged by Mirdita, and starring Werner Hollweg, Teresa Berganza, Arleen Auger, and Edda Moser
 * Franz Schubert's Fierrabras (1988), conducted by Claudio Abbado, staged by Ruth Berghaus, and starring Thomas Hampson, Karita Mattila, and László Polgár
 * The world premiere of Adriana Hölszky's Die Wände (1995), conducted by Ulf Schirmer, and staged by Hans Neuenfels

Today
In 2006, the 250th anniversary year of Mozart's birth, the Theater an der Wien presented a series of major Mozart operas, thus initiating its conversion to a full-time venue for opera and other forms of classical music under the direction of Roland Geyer (director). Major musical productions since are now presented at either the Raimund Theater or the Ronacher. The first opera to be given was Mozart's Idomeneo with Neil Shicoff in the title role and Peter Schneider conducting the new production by Willy Decker. Other members of the cast were Angelika Kirchschlager, Genia Kühmeier, and Barbara Frittoli.

Geyer is quoted as saying that he wishes to "present cutting edge directors and interesting productions", and his three main areas of focus are on Baroque opera, contemporary opera, and Mozart.

In recent years, the theatre's seasons have included the following works outside the standard repertoire:
 * Ian Bell: The Harlot's Progress with Diana Damrau in the title role.
 * Hector Berlioz: Béatrice et Bénédict, conducted by Leo Hussain, staged by Kasper Holten featuring Malena Ernman and Christiane Karg
 * Claude Debussy: Pelléas et Mélisande conducted by Bertrand de Billy
 * Christoph Willibald Gluck: Orfeo ed Euridice conducted by René Jacobs
 * George Frideric Handel:
 * Ariodante, conducted by Christophe Rousset, staged by Lukas Hemleb
 * Partenope, conducted by Christophe Rousset, staged by Pierre Audi
 * Semele, conducted by William Christie (with Les Arts Florissants), staged by Robert Carsen, featuring Cecilia Bartoli
 * Radamisto, conducted by René Jacobs, staged by Vincent Boussard featuring David Daniels
 * Joseph Haydn: Orlando paladino; conducted by Nikolaus Harnoncourt, staged by Keith Warner
 * Jake Heggie: Dead Man Walking, conducted by Sian Edwards, staged by Nikolaus Lehnhoff
 * Leoš Janáček: Káťa Kabanová, conducted by Kirill Petrenko, staging by Keith Warner
 * Wolfgang Amadeus Mozart:
 * La finta semplice, conducted by Fabio Luisi, staged by Laurent Pelly;
 * Mitridate, re di Ponto conducted by Harry Bicket, staged by Robert Carsen;
 * Idomeneo, conducted by René Jacobs, staged by Damiano Michieletto
 * Francis Poulenc: Dialogues des Carmélites; conducted by Bertrand de Billy, staged by Robert Carsen
 * André Previn: A Streetcar Named Desire, conducted by Sian Edwards, staged by Stein Winge
 * Jean-Philippe Rameau: Platée, conducted by William Christie, staged by Robert Carsen
 * Richard Strauss: Intermezzo conducted by Kirill Petrenko
 * Igor Stravinsky: The Rake's Progress conducted by Nikolaus Harnoncourt
 * Giacomo Puccini:Il trittico, conducted by Rani Calderon, staged by Damiano Michieletto featuring Patricia Racette and Roberto Frontali
 * Paul Hindemith: Mathis der Maler, conducted by Bertrand de Billy, staged by Keith Warner
 * Federico Moreno Torroba: Luisa Fernanda, conducted by Josep Caballé-Domenech, staged by Emilio Sagi
 * Giuseppe Verdi:
 * I due Foscari, conducted by James Conlon, staged by Thaddeus Strassberger with Plácido Domingo in the lead role
 * Attila, conducted by Riccardo Frizza, staged by Peter Konwitschny featuring Dmitry Belosselskiy
 * Carl Maria von Weber: Der Freischütz, conducted by Bertrand de Billy, staged by Stefan Ruzowitzky

Premieres
The Theater an der Wien has seen the premieres of many works by celebrated composers and playwrights. It was a particularly favorite venue for Ludwig van Beethoven, who actually lived in rooms inside the theatre, at Schikaneder's invitation, during part of the period he was composing his opera Fidelio.

List of premieres

 * November 10, 1804: Die Neger, Antonio Salieri's last opera
 * 1817: Die Ahnfrau by Franz Grillparzer
 * December 20, 1823: Rosamunde, Fürstin von Zypern, a play by Helmina von Chézy with incidental music by Franz Schubert
 * April 9, 1844:  by Johann Nestroy
 * April 5, 1874: Die Fledermaus by Johann Strauss II
 * December 6, 1882: Der Bettelstudent by Carl Millöcker
 * October 24, 1885: The Gypsy Baron by Johann Strauss II
 * January 10, 1891: Der Vogelhändler by Carl Zeller
 * January 5, 1898: Der Opernball by Richard Heuberger
 * December 30, 1905: The Merry Widow by Franz Lehár
 * November 14, 1908: The Chocolate Soldier by Oscar Straus
 * November 12, 1909: Der Graf von Luxemburg by Franz Lehár
 * February 28, 1924: Gräfin Mariza by Emmerich Kálmán

Works by Beethoven

 * April 5, 1803: Symphony No. 2, Piano Concerto No. 3, Christ on the Mount of Olives
 * April 7, 1805: Symphony No. 3
 * November 20, 1805: Leonore, oder Der Triumph der ehelichen Liebe, entitled in later versions Fidelio
 * December 23, 1806: The Violin Concerto
 * December 22, 1808: Symphonies No. 5 and No. 6, the Choral Fantasy, Piano Concerto No. 4.

title: Theater an der Wien


text:
Lochcarron

Lochcarron (Loch Carrann) is a village, community and civil parish in the Wester Ross area of Highland, Scotland. It has a population of 923.

Locality
The name Lochcarron is also applied to the collection of small settlements strung out along Loch Carron, a sea loch on the west coast of Ross and Cromarty. The village stretches for almost 2 mi, meandering along the shore of the loch. It means "Loch of rough water". In the 19th Century the village was named Janetown, then Jeantown. The local newspaper, An Carrannach, is published on a monthly basis.

Lochcarron is a central location for hillwalking and touring the West Coast Highlands, including the Torridon, Plockton and Skye regions. Close to the village lies the Bealach na Bà road (Gaelic: Pass of the cattle), which links Applecross to the rest of the mainland. It is a road popular with tourists, drivers, and motorcyclists alike for its scenery and hairpin bends.

Amenities
Lochcarron contains a variety of local services. These include two petrol stations, a Spar shop (which has a Post Office counter), a library, a nursing home (attached to which is the local library), medical centre and tartan weaving heritage shop.

There are also two hotels (offering entertainment and meals), a restaurant and two cafés. The community hall hosts a number of public events including ceilidhs and sales; and sports such as indoor bowls and short tennis.

There are a number of self catering and bed and breakfast establishments, many of which are members of the local business association.

Education
The local primary school stands at the entrance to the village, with 43 pupils (as of December 2019). The primary school offers both English and Gaelic Medium education. Plockton High School is the nearest secondary school to Lochcarron.

Employment
The area's biggest employment sectors include tourism, crofting, and fish farming. Other employers include transportation via sea and road, and quarry work. Service industries include engineering, motor garages, health services and education. The Howard Doris Centre employs people in the care sector.

Sport and recreation
Sailing is a popular activity amongst the local and visiting population, and as such, a local RYA accredited, and Volvo Championship Club hosts free sailing sessions every Wednesday evening (between April and October), and racing sessions every Sunday afternoon. It currently enlists over 100 members.

Lochcarron is home to the local shinty team Lochcarron Camanachd. The team currently play their home games at Battery Park in the west end of the village. The playing field is used during the week for training, and knockabout sessions.

There is a 9-hole course in the area which is over 150 years old. The golf club's clubhouse offers catering facilities and golf clubs available to hire.

The nearby Attadale hosts an annual Highland Games every third Saturday of July.

title: Lochcarron


text:
Talk:Uruguay

HDI in 2021
I've noticed that the HDI was tagged with an "increase" from its previous state. That's not right. In 2020 it was 0.821, dropping to 0.809 in 2021. Check out UPND data for deeper insight. — Preceding unsigned comment added by 2800:A4:14EF:C00:7156:E04A:2D52:E084 (talk) 15:12, 22 October 2023 (UTC)

 * That's correct, HDI has gone down from 2020 to 2021. I noticed edits to correct this but then I saw that it was reverted to "increase". I believe the correct thing in this case is "decrease". I also noticed that the ref has been updated -- thanks. Ocampoernesto (talk) 16:17, 23 October 2023 (UTC)

Wrong information in the Religion part of the Infobox
Please pay attention, that total summary of the percentage in the Religion part of the Infobox is more than 100% (60.8% + 40.1% + 1.2% = 102.1%), which is incorrect. Qaraqalpaqpan (talk) 03:01, 30 January 2024 (UTC)

Capital cities
There is mention it's the 3rd most south city and listed Wellington and Canberra. There are other state capital in Australia that are further south, such as Melbourne, Hobart, Perth. Canberra is further north. Should this be limited to "nations capitals?". It isn't restricted to such at the moment though. — Preceding unsigned comment added by 180.150.32.104 (talk) 01:09, 14 April 2024 (UTC)

title: Talk:Uruguay


text: Category:Puddle of Mudd albums

title: Category:Puddle of Mudd albums


text: Talk:Come Clean

title: Talk:Come Clean


text:
Talk:Roots-type supercharger

This description is at odds with what I know of as a Roots blower, which is what's described at Roots type supercharger: a lobe pump. See http://www.rootsblower.com/aboutus.cfm?call=history for backround of the Roots company. Mackerm 22:00, 10 Aug 2004 (UTC)

Is Roots rotary pump and Roots blower are the same thing?--Turbos10 13:49, 18 October 2005 (UTC)

The page is at odds with what you know about Roots Blowers because it is wrong! http://www.rootsblower.com/DocCentral/Document/IRB-140-379%20RGS-HVB.pdf Shows some images of Root Blowers and a description of how they work direct from the original manufacturer. A liquid ring rotary pump is described here http://www.hivaceng.com/liquid_ring-pumps.html

Roots Rotary pumps sometimes refers to the Roots Blower itself but also often refers to a Rotary pump and roots Blower combination.

Roots Cleanup
Moved the Liquid ring pump stuff to the appropriate place (there was even a link already) and edited out the Roots references. Put in some new stuff on Roots pumps with a few links, but it still needs a diagram and some new technical data on pump speeds and minimum pressures.

LMJohnson

error and question
I've always seen this referred to as a 'Rootes' blower. I don't know which spelling is correct, by maybe it needs a note? And the diagram looks to have the arrows pointing the wrong direction of rotation. ie clockwise where it should be anti-clockwise, and vice-versa. —The preceding unsigned comment was added by 143.52.90.14 (talk) 15:42, 23 April 2007 (UTC).

"Roots" is a legacy type of machines (Rotary Lobe). Please check out www.roots-blowers.com — Preceding unsigned comment added by 2600:1700:F120:F7D0:C3:939B:1568:35A (talk) 17:39, 1 September 2020 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Roots-type supercharger which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 16:31, 27 October 2023 (UTC)

title: Talk:Roots-type supercharger


text:
Capitulation after the Warsaw Uprising

The Warsaw Uprising of 1944 was ended through a capitulation agreement which guaranteed not only the rights of the resistance to be treated as prisoners of war but also was designed to guarantee the fair treatment of the civilians living in Warsaw. This agreement, between General Tadeusz Bór-Komorowski and SS General Erich von dem Bach, had taken a long period of on-and-off negotiations to achieve.

Signing of the capitulation treaty
On October 3, General Tadeusz Bór-Komorowski signed the capitulation of the remaining Polish forces (Warszawski Korpus Armii Krajowej or Home Army Warsaw Corps) in the German headquarters in the presence of General Erich von dem Bach-Zelewski. According to the capitulation treaty, the Home Army soldiers were to be treated in accordance with the Geneva Convention and the civilian population was to be treated humanely.

The next day the Germans began to disarm the Home Army soldiers. Most of them were later sent to POW camps in various parts of Germany. At the same time the civilian population (approximately 700,000) was resettled to concentration camps west of Warsaw. Many soldiers, fearing German atrocities in captivity, chose to blend into the civilian population, escape Warsaw among them and continue the fight later.

Reasons for failure
There are several factors responsible for the failure, although there is no consensus about all of them nor their relative importance.

One of the main reasons for the collapse of the uprising was the lack of support from the Soviet Red Army. Soviet assistance to the Home Army on the eastern territories was limited to small collaboration on a tactical level at best, with common incidents of shooting or imprisoning of Home Army soldiers after the area was seized by Soviets. During the Warsaw Uprising the Red Army stood on the other bank of the Vistula River and only elements from the Polish 1 Armia Wojska Polskiego attempted to make a crossing and received artillery support. The Soviet High Command did not allow pilots from the RAF and the Polish Air-forces to use Soviet landing strips. After the initial radio and leaflet propaganda campaign, the Moscow-backed Wanda radio station remained silent until the very end of fighting. It has been argued that the Soviets deliberately allowed the Germans to defeat the Home Army in order to eliminate a force in Poland which would oppose the communist puppet government the Soviets planned to install in Poland. This is consistent with later Soviet treatment of many Home Army soldiers, who were usually imprisoned, tortured, and executed.

 * See Operation Tempest for aftermath of other actions of that operation

The decision to begin the Uprising can be viewed more as a political one (a demonstration to show the Soviets and the Western Allies that the Polish government-in-exile had control over the country) than a military one (since the military situation was worsening, as German troops in Warsaw were being strengthened and reinforced). The decision to start the Uprising was rushed several times: first on 20 July, when plans for Operation Tempest were changed to include Warsaw (after the series of reports on aggressive actions by Soviets toward Home Army units in the eastern territories), then on 31 July when exaggerated reports of approaching Russian forces convinced some decision makers that if they did not start the Uprising soon it would be too late to aid the Russians and 'make a stand'. Due to this rushed change of plans, personnel and ammunition available at the time of "W-hour" in Warsaw were not optimal.

Fate of the Warsaw civilians
Most civilians were not killed and many were released into the country west of Warsaw, but some were sent to concentration camps or subjected to slave labour.

The entire civilian population of Warsaw was expelled from the city and sent to a transit camp Durchgangslager 121 in Pruszków. Out of 350,000–550,000 civilians who passed through the camp, 90,000 were sent to labour camps in the Third Reich, 60,000 were shipped to death and concentration camps (including Ravensbrück, Auschwitz, and Mauthausen, among others), while the rest were transported to various locations in the General Government and released.

Fate of the fighters
Most of the resistance fighters were sent to POW camps in various parts of Germany. Depending on where they were sent, the ones that were still alive were later liberated by U.S., British or Soviet forces.

title: Capitulation after the Warsaw Uprising


text:
Category:Artistic techniques

Articles related to artistic rendering.

title: Category:Artistic techniques


text:
Talk:Hellenistic-era warships

Untitled
By AD 325 there were no more triremes, as the development of Greek fire (a chemical substance that caught fire when wetted) had changed the nature of battle at sea once again.

I'm not sure what to replace this sentence with, but something else must have happened to triremes - Greek fire wasn't invented until the 7th century. Adam Bishop 22:07, 10 Aug 2004 (UTC)

 * Oops, you're quite right. I don't know where I got that from. Now deleted. Gdr 13:06, 2004 Aug 11 (UTC)

 * There were war machines in use among the Rhodesian Navy ~200BC-150BC which ejected a burning substance (not Greek fire). The source is Livy to look this up in detail. Wandalstouring 12:01, 27 December 2006 (UTC)

Second Punic war
ROME was the major naval power at the beginning of the second Punic war. Carthage was not able to contact Hannibal nor send reinforcements for a long time, because Rome had a supreme fleet. Who is the one always correcting things the wrong way?

Quintiremes
As far as I can tell, these are just two names for the same type of ship Nik42 03:08, 27 December 2006 (UTC)

 * You mean quinquiremes? Some people are not sure about spelling it correctly. Wandalstouring 11:58, 27 December 2006 (UTC)

real history
they were developed by the greeks, improved by the carthagians and then stolen by the romans.

 * It is not clear. It is likely that they were developed in Greek Syracuse, but it could also have been Carthage. Both cities were strongly connected via family ties and during the great scientific leap in Syracuse (when the ballista and the pentere made teir appearance in the Greek world) a lot of nations, among them many Punic Carthaginian craftsmen, were involved in the developments. Wandalstouring 01:02, 25 February 2007 (UTC)

 * Carthaginians favoured the bireme and the romans used quinquiremeres to assault syracuses docks. That was when archimedes got the greek defenders to refect sunlight from thier shields on to the roman galleys to set them on fire. I don't think that worked but it proves that the romans couldn't "steal" them - 5 June 2007

Types of quinqueremes and some extras
There were in use two types of quinqueremes:

1. 2-deck quinqueremes, with 3 and 2 rowers on each side. Used by Phoenician, Carthage, Roman and early Byzantine navies. 2. 3-deck quinqueremes, with 2, 2 and 1 rowers on each side. Used by all of the above plus Syracusians, Macedonians, Seleukids and Ptolemaic Egyptians.

--Vchorozopoulos (talk) 03:56, 10 November 2008 (UTC)
 * Amorgos Naval Battle (322 BC) was a characteristic combat: abour 300 Athenean ships, mainly triremes, versus about 300 Macedonian ships, mainly quinqueremes. After this Athenean defeat, the number of triremes in naval power's fleet started to decreased.
 * Some of the greater Byzantine Dromons were in fact 2-deck quinqueremes. Usualy were 2-deck quadriremes (by the archean style naval name system). Some "cheldanes" were 3-deck quinqueremes. or somewhat larger polyremes.
 * The larger polyremes used in naval battle were Antonio's and Cleopatra's decaremes.
 * Quinqueremes and quadriremes prooved to be the most succesful polyremes in naval compact: Lighter ones weren't powerful enough. Heavier ones were too slow, with too low agility and expensive. They were good enough as armed trasports and at sieges.
 * I plan to gather some more with their resourses to add them to the article. I would like someome to help me with the language because English isn't my mother one. If someone wishes, please contact with my talk page.
 * Polyremes, as the triremes before them, were temponary transformed to trasporters: The lower rows of rowers was replacing by troops (infantry transports) or even horses (cavalry transports). The same system use in use by Byzantine fleets too. These transports of course were escorded in convoys by standard warships for protection.

 * All unsourced material in the article will be challenged and deleted. Please provide sources for your claims. I'm neither convinced that the dromoi should be counted as triremes. Their rowing structure possible derived from the liburnia and is thus a different animal.
 * I can help you with English and with technical aspects. Speed of a ship was limited by the squareroot of its length and by its rowing power. While the polyremes weren't much longer they had more rowers bringing them closer to the maximum speed possible and had a different accceleration. They were also heavier projectiles enabling them to hit an unarmoured ship frontally. Wandalstouring (talk) 09:21, 10 November 2008 (UTC)

I have read the above data. Of course they aren't my idea. --Vchorozopoulos (talk) 00:28, 11 November 2008 (UTC)
 * Thanks for offering help. I'll collect together my sources for additions to the article. Only in language I little need help. I read and understand clarly English and American texts, but I have some difficulties in writing them. It's the main reason I have edited/written few articles' parts here. In greek WP I have started over 30 ones since January '08 I started plus over 2,000 editings in others.
 * About dromons: The naval name system had changed by this age, but usualy had 2 decks and rows of oars, with 2 men to each. This made them equivalent to quadriremes, not triremes. The number of their crew was also aout equal with this kind of ships too. These were the most typical byzantine dromons. Perhaps the exact term is that they evolved from 2-deck quadriremes. Romans, Carthegenians, Phoenicians and Etrusians, used also 2-deck triremes in earlier time. Some historicians counted the decks and the rows of oars and not the number of rows of oarsmen as it's correct. The total number of crew make a 2-deck trireme equivaent to a 3-deck on. Theoriticaly even 1-deck triremes also could be build. But there is no historical event to refer such case.
 * Except speed itself, agility was also important in naval battles. Polyremes were very heavy and expensive. The mean vessels in hellinistic period were quinqueremes and quadriremes. There were havier ones but more for troop transportation and as naval artillery (as you wrote) mainly in sieges. Battle in Actio showed that quinqueremes and quadriremes were more effective than heavier vessels in sea. And battle in Amorgos showed that quinqueremes and quadriremes were more effective than triremes. Combats show the effect ability of each weapon and warrior type. Of course stategy, tactics, human quality of troops, numbers and even just luck has also effect in battles too.
 * When I'm ready I'll contact with you to see whwee exactly should be added my extra data about these archean and medieval war galleys.
 * No, I don't have access to my books on the topic now because a friend has them, but the dromos can't be linked to the trireme. As I said they are descended from the liburnia which also had two levels of rowers, but in a different arrangement, making it easiser to train crews for rowing the boat. As long as you don't show me a source that explicitly states the dromos descended from the quadrireme, I won't believe you and all such statements will be deleted per WP:OR.
 * I think your problem is that you don't know about the difference between Hellenistic triremes and earlier triremes. Earlier triremes had one rower per oar and bench and thus 3 decks. For Hellenistic ships this isn't defined any more. Now trireme means 3 men per vertical section on 1 to 3 oars. For example, the reconstructions of Carthaginian triremes based on ship finds of this time have 3 rowers per oar and only one deck.
 * That one battle showed that one type of ship was superior to another is disputable. Provide sources saying that. There are some tactical advantages for a quinquireme, but a fleet of triremes can outnumber any fleet of quadriremes if they have the same manpower available, so there are also disadvantages. As far as I know the Punic Wars, the fleets were mixed. Wandalstouring (talk) 08:42, 11 November 2008 (UTC)

 * I agree with Wandalstouring. I would also like to note that the predominance of lighter craft in the imperial era is not so much attributable to any "superiority" over heavier vessels, but mostly to tactical and operational considerations, since the imperial Roman navy was, in effect, a police force. On the dromons, it is well-established that they are not descended from the Hellenistic-era quadriremes, but are derivatives of the liburnians, and Byzantine literary sources state clearly that they had one to two banks of oars (three are also a possibility) with one rower per oar, not two. Regards, Constantine  �?  10:53, 11 November 2008 (UTC)

Fundamental problem
I've always understood the number to be the number of banks of oars; thus, the bireme has one on each side; the trireme 2 on one and 1 on the other; the quadrireme, 2 on each side; the quinquereme, 3 on one and 2 on the others. That is the way the dictionaries present it and that is the way all ship reconstructions I've seen present it. I'm astounded to read of five banks on a side and to see references given for this. Moreover, the article itself is now self-contradictory. The man who supplied the refs says, no, he loaned his books to a friend and does not have them. Oh yeah? I question the whole thing. I'm not ready to work on this article but I thought I would bring this little matter up as did one of the commentators above. All the Roman ship articles were evidently done with the same understanding. I believe they are all wrong. Needs a multi-source lookup. Later.Dave (talk) 10:22, 27 March 2009 (UTC)

You need to have the same number of rowers on each side, otherwise the ship wouldn't go in a straight line... — Preceding unsigned comment added by 2A02:C7D:B990:300:887:FA9E:F299:ABCB (talk) 19:18, 20 February 2017 (UTC)

hello cplakidas
Hi there. Someone else got my machine this morning so I could not finish this intro. Liddell & Scott says Herodotus but the big edition does not substantiate it so it appears that Polybius is the first Greek. I had planned to put some etymology in there - I will do that now - it does not mean what you have there in greek - Latin is "5-oar" but no one knows what that means. The Greek is "5-row" or "5-sweep" based in the action not the oars. I will however try to keep what you have just added if that is possible -I need a little time to get the refs in thereDave (talk)
 * Medium? That's fine with me - it's pretty much a judgement call. There were heavier ships but they were not practicable. There were lighter ships than the trireme, much lighter. Why don't you think it over and if you change your mind change it. By the way don't get your heart set on 5 banks. Smith goes for the 2-bank, 3-bank, 4-bank, etc and that is easier to justify with the lower numbers but just about most of the other authors I see point out it can't mean that - for one thing there are no ancient representations of more than 3 banks. When you gat into the higher banks that is a physical impossibility. This is why it needs some etymology, but very likely as this article already points out the term need not mean the same thing in all periods. Later.Dave (talk) 12:06, 10 April 2009 (UTC)

 * Hello! I though the Herodotus reference was very odd... After all, the quinquiremes were invented about a century later... As for the etymology, the meaning "five banks of oarsmen" is well accepted not on the basis that there were five rows of oars, but five groups of oarsmen on each side, arranged in different ways, e.g. 2-2-1, or 3-2 etc. It is well-accepted that the max. number of oar banks was three. As for "medium", you understood correctly what I meant: compared with the heavy Hellenistic polyremes, the quinquiremes were so to speak the middle-weight main warship, complemented by the trireme and lighter vessels, such as the lemboi, hemioliae, etc. I have some good books on the subject, and will add some stuff. Cheers, Constantine  �?  14:20, 10 April 2009 (UTC)

 * Well hello Constantine, so it is you. I have to agree with the 3 banks and 5 rows myself, but looking through these articles I see there is a problem with interpretation. Some think there would have been 6 banks of oars for a trireme, 3 on a side, 5 on a side, 10 in all, for a quinquereme. What I want to do is put that idea to rest. It is common, I dare say. The main classical encyclopedia of the 19th century, by Smith, promulgates that idea. I noticed the inconsistent ideas in the articles, which is why I am here. I think your use of "bank" is still a little confusing: in English we don't have banks of people unless they work in a bank. As "bank" is not in the etymology I suggest you use "row" of oarsmen like everyone else. I see you cut out my refs. What did you do that for? The public might like to see those dictionary entries! I don't think that is according to policy but I see we do agree on some major points and the overall summary still says the same. So I have two choices. I can fight you for the refs or I can let you fix the inconsistencies, since we agree over all. My inclination is, since we agree generally, I'm going to let you fix the inconsistencies. Then later I will make suggestions with the fact tag if warranted. In summary here is what I would like. 1) Make sure the 5 rows of people is clear. 2) Try to present your theories as theories and not as definitively established fact. You don't have to agree with the other theories but they ought to be mentioned. 3) Back up more of your constructional and other ideas with refs from some of those great books you have. 4) Especially, put some pictures in, will you? 5) As a final desideratum, when you get this article fixed, do go on to trireme, will you? And then there is bireme, etc. None of them are too good. Are you interested in ships? If there is any bottom-line critique of what you are doing, I would say, don't be quite so arbitrary and don't use language that is arbitrary unless it is for facts proven beyond a doubt. So until later, ciao, and have fun. The next you will see of me will probably be suggestive tags unless you are in the mood to discuss.Dave (talk) 16:27, 10 April 2009 (UTC)

 * I am always in the mood to discuss :) I was indeed a bit heavy-handed (sorry about that) because I was working on a version of the article at the same time as you were, and ran into the dreaded "edit-conflict", in which cases I tend to be less discriminate than usual (a bad trait, alas). I am perfectly willing to re-incorporate any and all citations that are necessary, and agree with you about the need to make the "bank" vs "row" issue clear. On the first, there were several issues: a) the lead needed to be rewritten, per MOS, as to present a summary of the article, so the fact of the trireme's disappearance or the etymology and the list of writers who mention the terms were a bit too much there (it can however be added elsewhere in the article) and b) the incorporation of refs in the lead section is generally to be avoided, if the same point is made (and properly cited) in the main body of the text. On the latter, most scholars still use both interchangeably, and I tend to follow their usage (I'll try to be more consistent though). Second, they are not "my" theories, but the theories of people who have studied naval history and architecture a lot more than I hope to ever do... Third, pics will indeed be useful, but copyright is the killer. I recently brought the Byzantine navy to FA, and am working on the Greek fire article, and the lack of suitably-licensed images is one of the biggest problems... So if you have any, please either upload them or link to them. Fourth, I know about the trireme article, since I wrote most of that myself in earlier days. Anyhow, any comments, additions and/or criticism are more than welcome. As for the etymology section, I leave it to you entirely, and you can freely re-introduce the refs there. Regards, Constantine  �?  17:16, 10 April 2009 (UTC)
 * PS, what would you think about renaming the article to "Polyremes" or "Hellenistic warships", so that we could include the other ships (fours, sixes, etc) as well? It would not serve any purpose to start small articles with what little we know of each of them. The "design" section of the quinquireme, as it stands know, really sums up our current state of knowledge, and there is, if anything, less to go on with the rest. On the other hand, they all share many common characteristics, be it construction, the oar numbers controversy, or the tactics (missile fire & boarding) which they exemplified. PS2 would you care to clarify your comment in the section above? I don't really understand what you mean by the trireme having one row on one side and two on the other, etc.... Cheers, Constantine  �?  18:41, 10 April 2009 (UTC)

OR?
I still express my doubts that Carthage's and Rome's navies can be handled in an article about Hellenistic warships. Yes, the Hellenistic powers built big ships, but the great fleets were not by Hellenistic powers, but Rome and Carthage(over 300 each during the I.PW), giving them more weight. As long as you don't proof that Carthage copied the Hellenistic designs it's OR to group them together with the Hellenistic warships. I'll do some research in Scientific American, they have the reconstruction of a Carthaginian warship with intermediate oardecks. I don't know of this feature in Hellenistic ships. For this reason I object to the current article title because Rome and Carthage are different animals(also mentioned in another source I'll retrieve) and together with the Hellenistic warships they could be covered under the better title "polyremes". However, the idea to cover the Hellenistic navies isn't a bad one and I would opt that you spare your intended material for such an article about the different fleet philosophies of the great and small Hellenistic powers. Wandalstouring (talk) 16:50, 12 April 2009 (UTC)

 * Erm, I agree with you? How can I say it more clearly? The term is not entirely satisfactory, and I remain very much open to proposals for a more satisfactory heading ("Ancient Mediterranean galleys"? too generic). However it must be noted that the Romans at least used a lot of Hellenistic designs (their sixes at least, not to mention the liburnians, were built with outriggers, not in the fashion of the Punic five), and the Punic design is at least partly derived from Phoenician (i.e. Eastern Mediterranean) origins. My objections to "polyremes" have already been stated, and the present title at least has the virtue of being used by a major scholar of the field like John Morrison (thus it is not exactly OR)... As for the "great fleets", Egypt and the Seleucids also fielded hundreds of warships; "big fleets" were not a Roman or Punic privilege. If however we decide to split the article, how should we proceed? There will be an article "Hellenistic navies", covering organizational aspects as well, but under what heading do you intend to group the Punic five (which, given our sources, seems to be a one-off exception)? Only a full article on the Carthaginian navy could cover it adequately. Constantine  �?  17:04, 12 April 2009 (UTC)

 * The Carthaginian shiptypes were copied by the Romans, possibly with some Greek influences because the prototype for the fives belonged to Hannibal the Rhodian. Other ship types were rare in the Roman navy(until Agrippa), however, not excluded. Thus we have shiptypes of the Western and of the Eastern Mediterranean. The eastern types were Illyrian(lemboi) and Hellenistic, the western were Carthaginian (with some Greek fleets that played a minor role). Polyremes excludes the lemboi, Hellenistic warships excludes Carthage and the Romans. So I favour a two article solution. Wandalstouring (talk) 17:36, 12 April 2009 (UTC)

 * Hmmm, I very much doubt that the two halves of the Mediterranean were as much isolated as you imply. The Romans, who after all were in the middle, used Hellenistic designs quite often (hemiloliai, for example, as transports, during the Punic Wars) and given their eventual dominance of the entire Mediterranean, Greek-type ships also appeared in the West. Also, Syracuse, which invented the fives and sixes, was a Greek state located in the Western Med... The period covered here is ca. 400 BC to around Actium, and we shouldn't let the Punic Wars, no matter how important they were, determine the entire scope of the article. Furthermore, a quinquereme, whether it was Greek-type or Punic-type, fulfilled the same operational role. Just as there were differences of construction between German and British battleships for example, it doesn't mean that they did not belong in the same category of warships (plus, the different Punic type only appears in the mid-3rd century). Granted, the relative absence of heavier warships in the West is a major difference, but this article, as it stands, deals with the ships, not with the naval philosophies of the Mediterranean powers. Either way, the basic operational philosophy (boarding & missile fire vs ramming) is common for both East and West. Also, if the fours, fives, sixes etc are an evolution of the trireme, so is the trihemiolia, and so are the sevens, eights etc, and they belong together. In conclusion I am strongly in favour of keeping the ship types in a single article, simply because they represent a single chapter of naval technology (AFAIK, this is how they are treated by the overwhelming majority of scholarly works on the subject). I remain always open to a more inclusive naming proposal, which I feel would solve our problem. Constantine  �?  18:23, 12 April 2009 (UTC)
 * Can you name me a few sources for your claim that Punic and Greek ship can be handled together as Hellenistic warships. That's rather new to me. Wandalstouring (talk) 06:09, 13 April 2009 (UTC)
 * Erm, to clarify, I didn't say that Punic and Greek warships are handled together as Hellenistic warships, I merely said that they are usually handled together as belonging to the same chapter in maritime technology. You can check Meijer, the Cambridge history, Casson or Morrison and Coates. In all of them, the warships of the 4th to 1st centuries BC are handled together, whether they were of Punic or Greek type, which is quite natural, as explained above. For the Hellenistic, I agree it is not very accurate, but Morrison at least has written a chapter "Hellenistic Oared Warships, 399–31 BC" in AGE OF THE GALLEY in which he includes both Western and Eastern Mediterranean ships. Perhaps a more accurate title for our article would be "Hellenistic-era warships" which emphasizes the period and not the culture? Given that the Hellenistic era lasted all the way to the battle of Actium, it would also fit the article's scope. Constantine  �?  13:52, 13 April 2009 (UTC)

 * "Hellenistic-era warships" is OK (Rome and Carthage were both under Greek influence, same for the Phoenicians and Illyrians). I've some problems retrieving the image of the Carthaginian trireme with intermediate decks. It isn't where I thought it was. I'll do some more research. There aren't so many resources for colourful photos of recontructed ship models. Of course, I could sent you a copy out of my photographic memory to show you what I mean. Greetings Wandalstouring (talk) 15:43, 13 April 2009 (UTC)

 * Great! Glad we could reach a satisfactory solution! :) Proceeding with moves & redirect fixing ASAP. As for colourful images, I will be in Crete for Easter, and the Naval Museum of Chania (reputed to be rather good) may have something interesting... Cheers, Constantine  �?  16:44, 13 April 2009 (UTC)
 * Have fun, if you need some advice you can ask User:Durova about achieving high quality images, she's our specialist on photography. Wandalstouring (talk) 17:31, 13 April 2009 (UTC)

Construction
We do have actual ship finds of Punic warships at Marsala and they are very much different from the Greek design. Please correct your statements. Wandalstouring (talk) 13:20, 23 May 2009 (UTC)

 * Yes indeed, I haven't yet gotten around to writing fully on either ship construction or tactics and weaponry, as opposed to general characteristics and oar arrangement. Please be patient, or, better yet, be bold and add the information yourself. :) Constantine  �?  14:39, 23 May 2009 (UTC)

Language
This is the E N G L I S H wikipedia. You can't assume that everybody visiting this site speaks or reads ancient Greek fluently. Please render all terms in Latin letters. You can additionally provide Greek letters, but only as an add on. Wandalstouring (talk) 13:24, 23 May 2009 (UTC)

 * Yes, I had noticed, thank you. You can be a bit more polite, you know. :) Constantine   �?  14:41, 23 May 2009 (UTC)

 * Sorry if you perceived this as impolite, but I wanted to stress this still very much neglected fact. Wandalstouring (talk) 16:35, 2 June 2009 (UTC)

ill suited article structure
The article is too heavily structured around minor differences and lacks important innovations like katamaran ships. I advice to totally restructure it around groups of light, medium, heavy and superheavy ships and not so much into hardly relevant subsections. Wandalstouring (talk) 14:05, 10 June 2009 (UTC)

I'm using Casson, Ancient seamanship, pages 97-140. Light is anything up to the trireme, excluding that ship that was still in use in Hellenistic times and is excluded from your list. Futhermore there were also improvements to this shiptype that was one of the main types of these times. Superheavy is anything above the 16 according to Casson(this means according to my source a katamaran construction and shifts the emphasize from ramming to the use of marines). The remaining problem is that you can hardly group together triremes and 16-polyremes. According to Polybius in the Battle of the Aegates Islands the triremes were in the middle of the Punic formation between the heavy ships and the light ships and they carried out a special maneuver sinking 30 Roman ships in pursuit. We could use that to establish them as a class of their own that is in between heavy and light, but what to include or exclude? I'm open to suggestions that aren't OR. Greetings Wandalstouring (talk) 14:34, 10 June 2009 (UTC)

 * To make things clear: the article is in no way perceived by me to be complete. I intend to expand greatly on architecture and armament and tactics, but won't have the necessary time for meaningful additions until July, at least. So if you want, go ahead and add stuff. I certainly do not own not want to monopolize the article. The catamarans are mentioned in the "larger polyremes" section, but again, it is something best left for elaboration in the "construction" section. As for the trireme, I agree it must be included. IMO, I would include it in the light ships, as its tactical role was mostly auxiliary to the bigger vessels in this era. As for the structure, I tried to explain the names of various ships, and how they differed from each other. Again, if you have more info or a better idea on how to restructure the article, go ahead and improve it, I'll be more than happy if you do. :) Best regards, Constantine   �?  20:38, 10 June 2009 (UTC)

"Jarring"
The following sentence makes me a bit weary: "This system [several men per oar, a scaloccio] was also in use in Renaissance galleys, but jars with the evidence of ancient crews continuing to be thoroughly trained by their commanders."

Who says there's a contradiction here? Is it de Souza or whoever wrote the sentence? I don't even see that there should be any apparent contradiction. Even if rowing a scaloccio (the Italian term for more than one per oar), we're still talking about a quite complicated process of synchronization with various maneuvers that need to be mastered. I've recently read about French 17th century galleys, which employed huge numbers of penal convicts, and their captains also stressed the need for constant exercise and training.

Peter Isotalo 17:26, 8 August 2010 (UTC)

Split proposal
It seems from previous comments there is a consensus to split this page. For what it's worth, I just turned up looking for information on quadriremes (currently redirects here) in the context of the Venetian 16th century naval architect Vettor Fausto. Absolutely nothing in here really applied, and he also built quinqueremes. I am therefore proposing a split. Feel free to discuss and adjust the suggested destination articles. I believe we can run with: I will go ahead and do this myself in a while if there's no substantive discussion, since it's clear there's consensus for change. prat (talk) 01:22, 17 November 2014 (UTC)
 * Leave Hellenistic-era warships as a sort of temporally-defined overview article
 * Add separate (Political entity) warships (or use existing similar political entity specific navy or military-oriented) articles with full details, linked from sections in the above overview article with Main article: (Political entity) warships
 * Add a polyreme article.
 * Add separate articles on quadriremes, quinqueremes, etc. including images, plain English understandable comparisons to other designs, and links to appropriate articles from the above

 * Hello! The reason I lumped all these ships together back then was because they all represented a specific age of maritime technology and naval warfare, which stands out form what came before or after. So while I have no problem with creation of dedicated articles for the subjects where enough material exists (e.g. quinquereme), I'd be very cautious about splitting for splitting's sake. The octeres/enneres/deceres for instance are AFAIK practically unknown except for some literary references, and what information there is has already been included here. I also fail to see what late medieval/Renaissance Venetian warships have in common with the subject of this article. Mediterranean galleys of this era were very, very different from the Hellenistic warships in design, construction and role. Otherwise, feel free to work on the subject as you see fit. Constantine  ✍  07:43, 17 November 2014 (UTC)

 * Good work so far, yes. I understand how the current structure came to be. It's just that currently people looking for info on some of the touched-on subjects, which span other time periods as well (eg. 15th/16th century Venetian navy) wind up here due to redirects. This needs to be resolved, and the most obvious way to do so seems to be by splitting. If you have any other suggestions, I'm all ears. I think fundamentally a good reason not to lump lots of content in this page is that 'Hellenistic Era' is not that well defined temporally or geospatially, it doesn't have a monopoly on the technologies discussed (and presently redirected here). Furthermore, the combined notion of 'warships' is perhaps better contextualized in '(Political entity) navy' pages since other elements of their operation (chiefly naval formation, training, build materials and quality, opposition technologies faced, sociopolitical context of rowers vs. soldiers vs. commanders) were from the limited sources I have access to rather more important to leveraging the designs successfully or otherwise than in latter (eg. modern-day) technology-centric warships. prat (talk)

 * OK, question (I'm too lazy to check): which subjects referring to the 15th/16th century Venetian navy redirect here? If there are any, they should be redirected away immediately, because other than the fact that there were oared warships in both periods, there is literally nothing in common between the two subjects. As for 'Hellenistic Era' not being that well defined temporally or geospatially, I respectfully disagree: it is usually held to encompass everything between Alexander and Actium, and in terms of maritime technology/naval warfare it encompasses the entire Mediterranean, including Carthage, Rome and the Greek states of Italy and Sicily. Constantine  ✍  11:35, 18 November 2014 (UTC)

 * Special:WhatLinksHere/Hellenistic-era_warships has a list of what links to the article. (Just click 'What links here' under 'Tools' in the left section of the article page. Sorry I wasn't aware of that definition of Hellenistic Era... I only studied Latin, then moved to China :) Classicism is not my forte. Things that directly 'redirect' here are as follows...
 * Aphract
 * Polyreme
 * Hexareme
 * Hexeres
 * Sexireme
 * Lembos
 * Lemboi
 * Octeres
 * Quadreme
 * Quadrireme
 * Quadriremes
 * Tetreres
 * Penteres
 * Quinquereme
 * Quinqueremes
 * Quinquireme
 * Quinquiremes
 * Quinterimes
 * Septireme
 * Trihemiolia
 * They should all probably be in other articles... -- prat (talk) 14:23, 23 November 2014 (UTC)

 * Well, none of these terms has anything to do with late medieval/Renaissance galleys, so that is done with. As to which terms should have articles of their own, I repeat what I said above: if you can find sufficient material to develop them further, feel free to do so. I am certain that for the quinquereme at least, there should be enough material. But splitting off for the sake of splitting off makes no sense. Constantine  ✍  17:37, 23 November 2014 (UTC)

 * Apologies but I must inform you that from my sources you are incorrect on that point... some of these types were built in later periods. As mentioned I learned this by reading The Venetians then coming here and searching for further information via Fausto's identity. I added a relevant and explanatory quote over here at Wiktionary if you are interested to learn more. prat (talk) 02:53, 28 December 2014 (UTC)

Solution just proposed
It seems to me the above discussion of prat and Constantine actually does propose a solution. You just have to consider it. On the one hand this is a really super article. It explains the matter of the banks of oars totally lucidly. I would hate to see that go anywhere else. On the other hand expansion is needed for the special types of vessel. More could be put in: the inventor, some main battle, changes over the ages, what not. The two approaches can be combined simply by the use of the "main" template. So, each type would have a brief introduction here and a full article somewhere else linked by "main". That article would have a "see also" leading to here. I believe that is the way it is done. I therefore vote for that solution. I think I will put in a few "main"s to try it out. I'm not really working on ships right now. If we go for this solution then the proposal tag should be removed.Botteville (talk) 15:34, 17 December 2014 (UTC)
 * Well, all right, I misunderstood the situation a little. Links have already been set up on those topics to here. I'm going to butt out. But before I do, I recommend, not splitting this article up as is, but creating new, expanded articles on each of those topics. That is a lot of work, I know. Once the decision is made the tag should come out, as it is an obstacle to further work. Nobody will create the articles until the matter is "decided."Botteville (talk) 15:47, 17 December 2014 (UTC)
 * Your approach of making more articles and summarizing in relevant context articles seems to be the de-facto wiki way ... it makes sense to me and seems to be similar to what I was proposing. By the way I don't think anyone can block creating new articles ... that's just not how Wikipedia works. See also the quote I link to above to refute the false assertion that all this stuff belongs in some ancient, nation-state centric era out of classical studies. prat (talk) 02:53, 28 December 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Hellenistic-era warships. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20091013221811/http://www.utexas.edu/courses/citylife/readings/ships.pdf to http://www.utexas.edu/courses/citylife/readings/ships.pdf

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

Cheers.— InternetArchiveBot  (Report bug) 18:51, 1 November 2017 (UTC)

deceres - a typo?
deceres seems to be a typo but it is not obvious what it should be - can anyone figure out what it should be? (from Correct typos in one click)

Different explanation of hemiolia
The current explanation of the term “hemiolia” (ἡμιολία) has a weak point: The notion of “one and a half files of oarsmen” doesn't make immediate sense. A different explanation can be found in Benselers Griechisch-Deutsches Schulwörterbuch, Leipzig and Berlin 1931: „Es war nur zur Hälfte mit Ruderern besetzt (daher sein Name), um für die Kämpfer Raum zu behalten.“ (“It was only manned by half the number of oarsmen (hence its name) to make room for the fighters.”) A weak point of that is that the meaning “half” can't be directly derived from that of the adjective, although its female form “ἡμιόλια” looks suggestively similar. So I won't change it, but I'm submitting it for the consideration of the editors of this article. ◅ Sebastian 13:57, 11 February 2022 (UTC)
 * please go ahead and add it to the article as an alternative interpretation. Constantine  ✍  19:29, 11 February 2022 (UTC)
 * Good suggestion; I'll do that. ◅ Sebastian 01:21, 12 February 2022 (UTC)
 * Done. One thing I noticed that appears to be a mistake in the citation of Morrison 2004: Our article first says “they would have had 15 oars on each side, with a full file of ten and a half file of five” but then goes on to explain that there may have been only one file of oars, citing the same source. Can someone with access to the source please check which of these contradicting statements is actually in the source? ◅ Sebastian 02:04, 12 February 2022 (UTC)
 * For now, I merged the two contradicting statements as if they were both in the source, so that at least the wording in our article is consistent. Still, as per the above, it needs to be checked by someone with access to the source. ◅ Sebastian 02:16, 12 February 2022 (UTC)

title: Talk:Hellenistic-era warships


text:
Shooting at the 1972 Summer Olympics

Shooting at the 1972 Summer Olympics in Munich comprised eight events. The running target event was re-added to the programme, after last appearing in 1956. The events were held between 27 August and 2 September 1972. All events were mixed, meaning both men and women were allowed to compete in the same events, against each other. Four women competed in these games.

Participating nations
A total of 397 shooters, 393 men and 4 women, from 71 nations competed at the Munich Games:

title: Shooting at the 1972 Summer Olympics


text:
Duc de Dalberg

The title of Duc de Dalberg was created by the French Emperor Napoleon I on 14 April 1810 for Emmerich von Dalberg, the nephew of Karl Theodor von Dalberg, Prince-Primate of the Confederation of the Rhine and Grand Duke of Frankfurt. He died on 27 April 1833. His daughter and heiress married firstly Sir Richard Acton, 7th Baronet (by whom she was the mother of John Dalberg-Acton, 1st Baron Acton) and secondly Granville George Leveson-Gower, 2nd Earl Granville, but as the Duke had no sons, the title became extinct.

However, by decree of the Emperor Napoleon III, 2 March 1859, the extinct Dalberg dukedom was revived and extended to the Emmerich de Dalberg's first cousin twice removed, Charles de Tascher de La Pagerie (who was also a second cousin once removed of Napoleon III), and redesignated as Duc de Tascher de La Pagerie. It became extinct again at the death of Charles's son Louis Robert in 1902, though the senior branch of the Tascher de La Pagerie family (who were unrelated to the 1st Duc de Dalberg but distant relatives of Empress Josephine de Beauharnais) later illegally assumed the ducal title.

Ducs de Dalberg, later de Tascher de La Pagerie (1810)

 * Emmerich Joseph Franz Heinrich Felix Dismas Kämmerer von Worms gt. von Dalberg, 1st Duc de Dalberg (1773-1833)
 * Charles Joseph Louis Robert Philippe de Tascher de La Pagerie, 2nd Duc de Tascher de La Pagerie (1811-1869)
 * Louis Robert de Tascher de La Pagerie, 3rd Duc de Tascher de La Pagerie (1840-1902)

title: Duc de Dalberg