text:
User talk:Storpilot

ClockworkTroll 14:20, 9 Oct 2004 (UTC)

Help with Translation!?
Can you help translate this for me to swedish? Many thanks in advance!

''The first railroad line in Albania was built in 1948 linking Tiranë with Durrës on the coast and Elbasan in the interior. The main ports are Durrës, Vlorë, Shëngjin, and Sarandë.''

''Albania has a somewhat limited telephone network. There is a fairly extensive broadcasting service, however, and television programming began in 1971. Newspaper circulation is quite limited. There is a state university at Tiranë.''

--Armour 09:59, 23 November 2005 (UTC)

 * Since there were some concerns raised about your intentions with this and copyvio, I'll wait until you addressed these concerns. Regards, Storpilot 17:08, 23 November 2005 (UTC)

ISO 15924
Since you edited ISO 15924 you may be interested in Template talk:User cyr and Category talk:User cyr. Tobias Conradi (Talk) 11:28, 15 August 2006 (UTC)

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

title: User talk:Storpilot


text:
User talk:Dodger~enwiki

Hi! I've gotten the impression that you're interested in articles related to comics and sequential art. I've just created a project called WikiProject on Comics in order to establish consensus on the organization and content of such articles, and I hope you'll join in. See the main project page and please leave comments on the Talk page. Thanks! -leigh (φθόγγος) 06:54, Dec 6, 2004 (UTC)

Image:1950CanadianFordPrefect.jpg
Hi! Thanks for uploading Image:1950CanadianFordPrefect.jpg. I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GFDL, or  if you claim fair use, etc.) If you don't know what any of this means, just let me know where you got the images and I'll tag them for you. Thanks so much,   – Quadell (talk) (help)   02:29, Dec 20, 2004 (UTC)
 * Thanks!   – Quadell (talk) (help)   12:43, Dec 20, 2004 (UTC)

Fair use disputed for Image:OrigIChatLogo.gif
Thanks for uploading Image:OrigIChatLogo.gif. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our Criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 02:33, 6 September 2007 (UTC)

Disputed fair use rationale for Image:OrigIChatLogo.gif
Thanks for uploading Image:OrigIChatLogo.gif. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 19:31, 2 January 2008 (UTC)

Re: Please restore OrigIchatLogo.gif
Hi! I've restored the image (Image:OrigIChatLogo.gif), but it still needs a fair use rationale - see WP:FURG for help on how to write one. east. 718 at 20:31, January 25, 2008

Possibly unfree File:Sonic Screwdrivers.png
A file that you uploaded or altered, File:Sonic Screwdrivers.png, has been listed at Possibly unfree files because its copyright status is unclear or disputed. If the file's copyright status cannot be verified, it may be deleted. You may find more information on the file description page. You are welcome to add comments to its entry at if you are interested in it not being deleted. Thank you. ---mattbuck (Talk) 20:55, 4 July 2010 (UTC)

Nomination for deletion of Template:Say what?
Template:Say what? has been nominated for deletion. You are invited to comment on the discussion at the template's entry on the Templates for discussion page.  Lord Vetinari  13:38, 2 July 2011 (UTC)

Do not edit a user page
If you have a problem with me, discuss it on the talk page.  Serendi pod ous  09:25, 4 September 2011 (UTC)

I would, but you delete anything anyone says that disagrees with you.
 * I deleted what you (I assume it was you) wrote because it was abusive, not because I disagreed with it.  Serendi pod ous  09:29, 4 September 2011 (UTC)
 * I've taken this to WP:ANI  Serendi pod ous  09:31, 4 September 2011 (UTC)
 * You do that. I'm defending an anonymous user who raised a point on a discussion page. I welcome hem to look at this as closely as they can Dodger (talk) 09:34, 4 September 2011 (UTC)
 * Whatever, you still should not be posting this to Serendipodous's user page. Please stop. And I'm not surprised that "That's because it's the NINTH FUCKING PLANET. FTW No matter what wikipedia shitheads insist some conference of asshats " was deleted. That was a forum style post inappropriate anywhere on Wikipedia and I would have deleted it if I'd seen it. Dougweller (talk) 10:06, 4 September 2011 (UTC)
 * As he has every right to do. But you do not have any right to touch a user page. -- 98.171.173.90 (talk) 13:37, 28 February 2015 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Dodger. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Dodger~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:31, 19 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 12:13, 22 April 2015 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:14, 30 November 2015 (UTC)

title: User talk:Dodger~enwiki


text:
Dadeland North station

Dadeland North station is a station on the Metrorail rapid transit system in the Dadeland district of Glenvar Heights, Florida. This station is located at the intersection of South Dixie Highway (US 1) and Southwest 83rd Street on the Snapper Creek, two blocks north of Kendall Drive and two blocks south from the US 1–Snapper Creek Expressway (SR 878) junction. It opened to service May 20, 1984.

It is located along the border of Kendall and Glenvar Heights, two census-designated places. The station is in both areas.

Dadeland North serves the communities of Dadeland, Glenvar Heights, Kendall, and Pinecrest, as well as serving the Dadeland Station and Dadeland Mall shopping centers.

Station layout
The station has two tracks served by an island platform, with a parking garage immediately west of the platform.

title: Dadeland North station


text:
Wikipedia:Articles for deletion/Modhvadia Stories

Modhvadia Stories
Modhvadia Stories was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was a consensus to delete the article.

A "short story", most likely by the author of Modhvadia_Family_History_part_2of_2 (also in VfD). Search by Google didn't find anything useful, so I conclude this is an original contribution. Sorry kids, it's cool you want to practise writing English, but this must clearly be deleted from Wikipedia. jni 14:22, 9 Oct 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete. Even the word Modhvadia by itself gets ~211 hits on google, many of which are wikimirrors. --Jill St. Crux 20:59, 9 Oct 2004 (UTC)
 * Delete. Original research, not encyclopedic. --Improv 22:09, 9 Oct 2004 (UTC)
 * Delete: Private concerns, not public. Geogre 00:48, 10 Oct 2004 (UTC)


text: Category:Renaissance architecture

title: Category:Renaissance architecture


text:
Ein echter Wiener geht nicht unter

Ein echter Wiener geht nicht unter (German; lit. 'A real Viennese does not go under'. Free translation: A real/proud Viennese never gives up) is a classic Austrian television series. It was produced by Österreichischer Rundfunk, Austrian Television, and ran for 24 episodes from 1975 to 1979. The script writer was Ernst Hinterberger; the series was based on his 1966 novel Das Salz der Erde (The Salt of the Earth). The producer was Hans Preiner, who initiated the project in his series Impulse (Impulses), which centered on development of new program formats and training of new, young directors.

Ein echter Wiener geht nicht unter starred popular Austrian actor Karl Merkatz as the main character, Edmund "Mundl" Sackbauer. Mundl lives in a typical Vienna Gemeindebau (a working-class housing estate) at Hasengasse, in Vienna's 10th municipal district (Favoriten). The series used Viennese dialect and became successful after an initial campaign against it by the Krone newspaper as too "common."

Movies
In 1994 two episodes, Stille Nacht and Jahreswende, were combined into a movie that had success in theaters and was also available on VHS.

On December 19, 2008, the movie Echte Wiener - Die Sackbauer-Saga ("Real Viennese - The Sackbauer Saga"), set 30 years after the last episode of the TV series, opened in Austria. It was directed by Kurt Ockermüller and scripted by Ernst Hinterberger, and Karl Merkatz again played Mundl.

The sequel Echte Wiener II - Die Deppat'n und die Gspritzt'n is planned to open in December 2010.

Edmund "Mundl" Sackbauer
Edmund Sackbauer is the main character of the series. In the first 13 episodes he is shown as very tyrannical and angry. After a big quarrel with his wife and a serious accident at work, he changes, and the program lost something of its joke because Mundl's "fits" were really amusing.

Antonia Sackbauer
Antonia ("Toni") Sackbauer is Edmund Sackbauer's wife. Although a woman of few words, she generally has the last word and unlike her husband, always makes rational decisions. She is a housewife, but because of money problems gets a job as a janitor in a drugstore. She is warm and generous and a confidante to many of her friends and acquaintances.

In the course of the series we learn that the super, Kurt Blahovec, once thought about marrying her.

Karl Sackbauer
Karl ("Karli") is the Sackbauers' older child and takes after his father: like Mundl he likes drinking beer, shouts a lot, and uses a lot of obscenities that sometimes get him in trouble. Very early in the series he marries Irma Werner and by the end they have two children, René and Petra. He fights a lot with his sister and is extremely disrespectful to his parents. He drives a forklift but a promotion to supervisor enables him to afford his own apartment.

In the book on which the series is based, he turned his back on Vienna and went to Paris, where he did well as a wrestler; this had to be changed after the slightly built Klaus Rott was cast in the part, and also there was no money for filming out of the country.

Rott had a cabaret act as Karli in which he continued the story of the Sackbauers.

Johanna Sackbauer
"Hanni" is the Sackbauers' younger child and in the first episode becomes engaged to an avant garde writer, Franz Vejvoda, leading to big problems in the family. She is often envious and takes offense easily. Starting with the episode Jahreswende she is preoccupied with women's liberation, which also causes problems in her male-dominated family. To keep up with her fiancé she takes college courses in literature and typing.

Johann Sackbauer
Mundl's brother, known as "Schani," is sympathetic to the family and often talks Mundl down from his rages.

title: Ein echter Wiener geht nicht unter


text:
User talk:Henriques~enwiki

ClockworkTroll 14:25, 9 Oct 2004 (UTC)

File:Of silveira.JPG listed for deletion
An image or media file that you uploaded or altered, File:Of silveira.JPG, has been listed at Files for deletion. Please see the discussion to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Calliopejen1 (talk) 15:59, 24 April 2009 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Henriques. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Henriques~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 00:32, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 13:45, 22 April 2015 (UTC)

title: User talk:Henriques~enwiki


text:
Robert Walser

Robert Walser (15 April 1878 – 25 December 1956) was a German language Swiss writer. He additionally worked as a copyist, an inventor's assistant, a butler, and in various other low-paying trades. Despite marginal early success in his literary career, the popularity of his work gradually diminished over the second and third decades of the 20th century, making it increasingly difficult for him to support himself through writing. He eventually had a nervous breakdown and spent the remainder of his life in sanatoriums.

1878–1897
Walser was born into a family with many children. His brother Karl Walser became a well-known stage designer and painter. Walser grew up in Biel, Switzerland, on the language border between the German- and French-speaking regions of Switzerland, and grew up speaking both languages. He attended primary school and progymnasium, which he had to leave before the final exam when his family could no longer bear the cost. From his early years on, he was an enthusiastic theatre-goer; his favourite play was The Robbers by Friedrich Schiller. There is a watercolor painting that shows Walser as Karl Moor, the protagonist of that play.

From 1892 to 1895, Walser served an apprenticeship at the Bernischer Kantonalbank in Biel. Afterwards he worked for a short time in Basel. Walser's mother, who was "emotionally disturbed", died in 1894 after being under medical care for a long period. In 1895, Walser went to Stuttgart where his brother Karl lived. He was an office worker at the Deutsche Verlagsanstalt and at the Cotta'sche Verlagsbuchhandlung; he also tried, without success, to become an actor. On foot, he returned to Switzerland where he registered in 1896 as a Zürich resident. In the following years, he often worked as a "Kommis", an office clerk, but irregularly and in many different places. As a result, he was one of the first Swiss writers to introduce into literature a description of the life of a salaried employee.

1898–1912
In 1898, the influential critic Joseph Victor Widmann published a series of poems by Walser in the Bernese newspaper Der Bund. This came to the attention of Franz Blei, and he introduced Walser to the Art Nouveau people around the magazine Die Insel, including Frank Wedekind, Max Dauthendey and Otto Julius Bierbaum. Numerous short stories and poems by Walser appeared in Die Insel.

Until 1905, Walser lived mainly in Zürich, though he often changed lodgings and also lived for a time in Thun, Solothurn, Winterthur and Munich. In 1903, he fulfilled his military service obligation and, beginning that summer, was the "aide" of an engineer and inventor in Wädenswil near Zürich. This episode became the basis of his 1908 novel Der Gehülfe (The Assistant). In 1904, his first book, Fritz Kochers Aufsätze (Fritz Kocher's Essays), appeared in the Insel Verlag, with eleven illustrations by his brother Karl.

At the end of 1905 he attended a course in order to become a servant at the castle of Dambrau in Upper Silesia. The theme of serving would characterize his work in the following years, especially in the novel Jakob von Gunten (1909). In 1905, he went to live in Berlin, where his brother Karl Walser, who was working as a theater painter, introduced him to other figures in literature, publishing, and the theater. Occasionally, Walser worked as secretary for the artists' corporation Berliner Secession.

In Berlin, Walser wrote the novels Geschwister Tanner, Der Gehülfe and Jakob von Gunten. They were issued by the publishing house of Bruno Cassirer, where Christian Morgenstern worked as editor. Apart from the novels, he wrote many short stories, sketching popular bars from the point of view of a poor "flaneur" in a very playful and subjective language. There was a very positive echo to his writings. Robert Musil and Kurt Tucholsky, among others, stated their admiration for Walser's prose, and authors like Hermann Hesse and Franz Kafka counted him among their favorite writers.

Walser published numerous short stories in newspapers and magazines, many for instance in the Schaubühne. They became his trademark. The larger part of his work is composed of short stories – literary sketches that elude a ready categorization. Selections of these short stories were published in the volumes Aufsätze (1913) and Geschichten (1914).

1913–1929
In 1913, Walser returned to Switzerland. He lived for a short time with his sister Lisa in the mental home in Bellelay, where she worked as a teacher. There, he got to know Lisa Mermet, a washer-woman with whom he developed a close friendship. After a short stay with his father in Biel, he went to live in a mansard in the Biel hotel Blaues Kreuz. In 1914, his father died.

In Biel, Walser wrote a number of shorter stories that appeared in newspapers and magazines in Germany and Switzerland and selections of which were published in Der Spaziergang (1917), Prosastücke (1917), Poetenleben (1918), Seeland (1919) and Die Rose (1925). Walser, who had always been an enthusiastic wanderer, began to take extended walks, often by night. In his stories from that period, texts written from the point of view of a wanderer walking through unfamiliar neighborhoods alternate with playful essays on writers and artists.

During World War I, Walser repeatedly had to go into military service. At the end of 1916, his brother Ernst died after a time of mental illness in the Waldau mental home. In 1919, Walser's brother Hermann, geography professor in Bern, committed suicide. Walser himself became isolated in that time, when there was almost no communication with Germany because of the war. Even though he worked hard, he could barely support himself as a freelance writer. At the beginning of 1921, he moved to Bern in order to work at the public record office. He often changed lodgings and lived a very solitary life.

During his time in Bern, Walser's style became more radical. In a more and more condensed form, he wrote "micrograms" ("Mikrogramme"), called thus because of his minuscule pencil hand that is very difficult to decipher. He wrote poems, prose, dramolettes and novels, including The Robber (Der Räuber). In these texts, his playful, subjective style moved toward a higher abstraction. Many texts of that time work on multiple levels – they can be read as naive-playful feuilletons or as highly complex montages full of allusions. Walser absorbed influences from serious literature as well as from formula fiction and retold, for example, the plot of a pulp novel in a way that the original (the title of which he never revealed) was unrecognizable. Much of his work was written during these very productive years in Bern.

1929–1956
In the beginning of 1929, Walser, who had had anxieties and hallucinations for quite some time, went to the Bernese mental home Waldau, after a mental breakdown, at his sister Fani's urging. In his medical records it says: "The patient confessed hearing voices." Therefore, this can hardly be called a voluntary commitment. He was eventually diagnosed with catatonic schizophrenia. While he was in the mental home, his state of mind quickly returned to normal, and he went on writing and publishing. More and more, he used the way of writing he called the "pencil method": he wrote poems and prose in a diminutive Sütterlin hand, the letters of which measured about a millimeter of height by the end of that very productive phase. Werner Morlang and Bernhard Echte were the first ones who attempted to decipher these writings. In the 1990s, they published a six-volume edition, Aus dem Bleistiftgebiet ('From the Pencil Zone'). Only when Walser was, against his will, moved to the sanatorium of Herisau in his home canton of Appenzell Ausserrhoden, did he quit writing, later telling Carl Seelig, "I am not here to write, but to be mad."

In 1936, his admirer Carl Seelig began to visit him. He later wrote a book, Wanderungen mit Robert Walser, about their talks. Seelig tried to revive interest in Walser's work by re-issuing some of his writings. After the death of Walser's brother Karl in 1943 and of his sister Lisa in 1944, Seelig became Walser's legal guardian. Though free of outward signs of mental illness for a long time, Walser was crotchety and repeatedly refused to leave the sanatorium.

In 1955, Walser's Der Spaziergang (The Walk) was translated into English by Christopher Middleton; it was the first English translation of his writing and the only one that would appear during his lifetime. Upon learning of Middleton's translation, Walser, who had fallen out of the public eye, responded by musing "Well, look at that."

Walser enjoyed long walks alone. On 25 December 1956 he was found, dead of a heart attack, in a field of snow near the asylum. The photographs of the dead Walser in the snow are reminiscent of a similar image of a dead man in the snow in his first novel, Geschwister Tanner.

Writings and reception
Today, Walser's texts, completely re-edited since the 1970s, are regarded as among the most important writings of literary modernism. In his writing, he made use of elements of Swiss German in a charming and original manner, while very personal observations are interwoven with texts about texts; that is, with contemplations and variations of other literary works, in which Walser often mixes pulp fiction with high literature. Walser has been regarded as the missing link between Heinrich von Kleist and Franz Kafka. As writes Susan Sontag, "at the time [of Walser's writing], it was more likely to be Kafka [who was understood] through the prism of Walser." For example, Robert Musil once referred to Kafka's work as "a peculiar case of the Walser type."

Walser was admired early on by Kafka and writers such as Hermann Hesse, Stefan Zweig, and Walter Benjamin, and was in fact better known during his lifetime than Kafka or Benjamin were known in theirs. He never belonged to a literary school or group, perhaps with the exception of the circle around the magazine Die Insel in his youth, but was a notable and often published writer before World War I and into the 1920s. After the second half of the latter decade, he was rapidly forgotten, in spite of Carl Seelig's editions, which appeared almost exclusively in Switzerland but received little attention.

Walser was rediscovered only in the 1970s, even though famous German writers such as Christian Morgenstern, Franz Kafka, Walter Benjamin, Thomas Bernhard and Hermann Hesse were among his great admirers. Since then, almost all his writings have become accessible through an extensive republication of his entire body of work. He has exerted a considerable influence on various contemporary German writers, including Ror Wolf, Peter Handke, W. G. Sebald, and Max Goldt. In 1967, Walser's piece 'Kleist in Thun' was published in 0 to 9 magazine. A revival of interest in his work arose when, in the late 20th century and early 2000s, his writings from "the Pencil Zone", also known as Bleistiftgebiet or "the Microscripts", which had been written in a coded, microscopically tiny hand on scraps of paper collected while in a Waldau sanatorium, were finally deciphered, translated, and published.

In 2004, Spanish writer Enrique Vila-Matas published a novel entitled Doctor Pasavento about Walser, his stay on Herisau and the wish to disappear. In 2007, Serbian writer Vojislav V. Jovanović published a book of prose named Story for Robert Walser inspired by the life and work of Robert Walser. In 2012, A Little Ramble: In the Spirit of Robert Walser, a series of artistic responses to Walser's work was published, including work by Moyra Davey, Thomas Schütte, Tacita Dean and Mark Wallinger.

Robert Walser Center
The Robert Walser Center, which was officially established in Bern, Switzerland, in 2009, is dedicated to Robert Walser and the first patron of Walser's work and legacy, Carl Seelig. Its purpose is to promulgate Walser's life and work as well as to facilitate scholarly research. The center is open to both experts and the general public and includes an extensive archive, a research library, temporary exhibition space, and two rooms with several workstations are also available. The Center furthermore develops and organizes exhibitions, events, conferences, workshops, publications, and special editions. The translation of Robert Walser's works, which the Center both encourages and supports, also represents a key focus. In order to fully meet its objectives and responsibilities as a center of excellence, it often collaborates on certain projects with local, national, and international partners as well as universities, schools, theaters, museums, archives, translators, editors, and publishers.

German

 * Der Teich, 1902, verse drama
 * Schneewittchen, 1901, verse drama
 * Fritz Kochers Aufsätze, 1904 ISBN 3-518-37601-2
 * Geschwister Tanner, 1907 ISBN 3-518-39982-9
 * Der Gehülfe, 1908 ISBN 3-518-37610-1
 * Poetenleben, 1908 ISBN 3-518-01986-4
 * Jakob von Gunten, 1909 ISBN 3-518-37611-X
 * Gedichte, 1909
 * Aufsätze, 1913
 * Geschichten, 1914
 * Kleine Dichtungen, 1915 ISBN 3-518-37604-7
 * Prosastücke, 1917
 * Der Spaziergang, 1917 ISBN 3-518-37605-5
 * Kleine Prosa, 1917
 * Poetenleben, 1917 ISBN 3-518-01986-4
 * Tobold-Roman, 1918
 * Komödie, 1919
 * Seeland, 1920 ISBN 3-518-37607-1
 * Theodor-Roman, 1921
 * Die Rose, 1925 ISBN 3-518-37608-X
 * Der Räuber, 1925 (veröffentlicht 1978) ISBN 3-518-37612-8
 * Felix-Szenen, 1925
 * Große Welt, kleine Welt, 1937
 * Dichterbildnisse, 1947
 * Dichtungen in Prosa, 1953
 * Robert Walser – Briefe, 1979
 * Sämtliche Werke in Einzelausgaben. 20 Bde. Hg. v. Jochen Greven. Zürich, Frankfurt am Main: Suhrkamp Verlag 1985-1986
 * Geschichten, 1985 ISBN 3-518-37602-0
 * Der Spaziergang. Prosastücke und Kleine Prosa., 1985 ISBN 3-518-37605-5
 * Aufsätze, 1985 ISBN 3-518-37603-9
 * Bedenkliche Geschichten. Prosa aus der Berliner Zeit 1906–1912, 1985 ISBN 3-518-37615-2
 * Träumen. Prosa aus der Bieler Zeit 1913–1920, 1985 ISBN 3-518-37616-0
 * Die Gedichte, 1986 ISBN 3-518-37613-6
 * Komödie. Märchenspiele und szenische Dichtung, 1986 ISBN 3-518-37614-4
 * Wenn Schwache sich für stark halten. Prosa aus der Berner Zeit 1921–1925, 1986 ISBN 3-518-37617-9
 * Zarte Zeilen. Prosa aus der Berner Zeit 1926, 1986 ISBN 3-518-37618-7
 * Es war einmal. Prosa aus der Berner Zeit 1927–1928, 1986 ISBN 3-518-37619-5
 * Für die Katz. Prosa aus der Berner Zeit 1928–1933, 1986 ISBN 3-518-37620-9
 * Aus dem Bleistiftgebiet Band 1. Mikrogramme 1924/25. Hg. v. Bernhard Echte u. Werner Morlang i. A. des Robert Walser-Archivs der Carl Seelig-Stiftung, Zürich. Frankfurt am Main: Suhrkamp Verlag 1985–2000 ISBN 3-518-03234-8
 * Aus dem Bleistiftgebiet Band 2. Mikrogramme 1924/25. Hg. v. Bernhard Echte u. Werner Morlang i. A. des Robert Walser-Archivs der Carl Seelig-Stiftung, Zürich. Frankfurt am Main: Suhrkamp Verlag 1985–2000 ISBN 3-518-03234-8
 * Aus dem Bleistiftgebiet Band 3. Räuber-Roman, Felix-Szenen. Hg. v. Bernhard Echte u. Werner Morlang i. A. des Robert Walser-Archivs der Carl Seelig-Stiftung, Zürich. Frankfurt am Main: Suhrkamp Verlag 1985–2000 ISBN 3-518-03085-X
 * Aus dem Bleistiftgebiet Band 4. Mikrogramme 1926/27. Hg. v. Bernhard Echte u. Werner Morlang i. A. des Robert Walser-Archivs der Carl Seelig-Stiftung, Zürich. Frankfurt am Main: Suhrkamp Verlag 1985–2000 ISBN 3-518-40224-2
 * Aus dem Bleistiftgebiet Band 5. Mikrogramme 1925/33. Hg. v. Bernhard Echte u. Werner Morlang i. A. des Robert Walser-Archivs der Carl Seelig-Stiftung, Zürich. Frankfurt am Main: Suhrkamp Verlag 1985–2000 ISBN 3-518-40851-8
 * Aus dem Bleistiftgebiet Band 6. Mikrogramme 1925/33. Hg. v. Bernhard Echte u. Werner Morlang i. A. des Robert Walser-Archivs der Carl Seelig-Stiftung, Zürich. Frankfurt am Main: Suhrkamp Verlag 1985–2000 ISBN 3-518-40851-8
 * Unsere Stadt. Texte über Biel. 2002 ISBN 3-907142-04-7
 * Feuer. Unbekannte Prosa und Gedichte. 2003 ISBN 3-518-41356-2
 * Tiefer Winter. Geschichten von der Weihnacht und vom Schneien. Hg. v. Margit Gigerl, Livia Knüsel u. Reto Sorg. Frankfurt: Insel Taschenbuch Verlag 2007 (it; 3326), ISBN 978-3-458-35026-2
 * Kritische Robert Walser-Ausgabe. Kritische Ausgabe sämtlicher Drucke und Manuskripte. Hg. v. Wolfram Groddeck, Barbara von Reibnitz u.a. Basel, Frankfurt am Main: Stroemfeld, Schwabe 2008
 * Briefe. Berner Ausgabe. Hg. v. Lucas Marco Gisi, Reto Sorg, Peter Stocker u. Peter Utz. Berlin: Suhrkamp Verlag 2018

English translations

 * Jakob von Gunten (University of Texas Press, 1970; New York Review Books Classics, 1999), translated by Christopher Middleton, ISBN 0-940322-21-8
 * Selected Stories (Farrar, Straus, Giroux, 1982; New York Review Books Classics, 2002), translated by Christopher Middleton, ISBN 0-940322-98-6
 * Robert Walser Rediscovered: Stories, Fairy-Tale Plays, & Critical Response Including the Anti-Fairy Tales, Cinderella & Snow White (University Press of New England, 1985) ISBN 0-87451-334-0
 * Masquerade and Other Stories (The Johns Hopkins University Press, 1990), translated by Susan Bernofsky, ISBN 0-8018-3977-7
 * The Robber (University of Nebraska Press, 2000), translated by Susan Bernofsky, ISBN 0-8032-9809-9
 * Speaking to the Rose: Writings, 1912–1932 (University of Nebraska Press, 2005), translated by Christopher Middleton, ISBN 0-8032-9833-1
 * The Assistant (New Directions, 2007), translated by Susan Bernofsky, ISBN 978-0-8112-1590-9
 * The Tanners (New Directions, 2009), translated by Susan Bernofsky, ISBN 978-0-8112-1589-3
 * Microscripts (New Directions, 2010), translated by Susan Bernofsky, ISBN 978-0-8112-1880-1
 * Answer to an Inquiry (Ugly Duckling Presse, 2010), translated by Paul North, with drawings by Friese Undine, ISBN 978-1933254746
 * Berlin Stories (New York Review Books Classics, 2012), translated by Susan Bernofsky, ISBN 978-1-59017-454-8
 * The Walk (New Directions, 2012), translated by Christopher Middleton with Susan Bernofsky, ISBN 9780811219921
 * Thirty Poems (New Directions, 2012), translated by Christopher Middleton, ISBN 978-0811220019
 * Oppressive Light: Selected Poems by Robert Walser (Black Lawrence Press/Dzanc Books, New York, 2012), edited and translated by Daniele Pantano, ISBN 978-1-93687-318-0
 * A Little Ramble: In the Spirit of Robert Walser (New Directions, 2012), translated by Susan Bernofsky with Christopher Middleton and Tom Whalen ISBN 978-0811220996
 * A Schoolboy's Diary (New York Review Books Classics, 2013), translated by Damion Searls, introduction by Ben Lerner, ISBN 9781590176726
 * Looking at Pictures (Christine Burgin / New Directions, 2015), translated by Susan Bernofsky with Lydia Davis and Christopher Middleton, ISBN 9780811224246
 * Girlfriends, Ghosts, and Other Stories (New York Review Books Classics, 2016), translated by Tom Whalen, with Nicole Kongeter and Annette Wiesner, afterword by Tom Whalen, ISBN 978-1681370163
 * Little Snow Landscape (New York Review Books, 2021), trans. Tom Whalen
 * Robert Walser: The Poems (Seagull Books, 2022), translated by Daniele Pantano
 * My Heart Has So Many Flaws: Early Poems (Sublunary Editions, 2024), translated by Kristofor Minta

Plays

 * Robert Walser – mikrogramme – das kleine welttheater, director: Christian Bertram, stage: Max Dudler, music: Hans Peter Kuhn, début performance 14 April 2005 Berlin; readings, films and podium discussion with corollary program www.mikrogramme.de
 * Institute Benjamenta, director: Gökçen Ergene
 * Fairy Tales: Dramolettes (New Directions, 2015), translated by James Reidel and Daniele Pantano, with a preface by Reto Sorg, ISBN 978-0-8112-2398-0
 * Comedies (Seagull Books, 2018), translated by Daniele Pantano and James Reidel, with a preface by Reto Sorg, ISBN 978-0857424693

Movies

 * Jakob von Gunten, director: Peter Lilienthal, script: Ror Wolf and Peter Lilienthal, 1971
 * Der Gehülfe, director: Thomas Koerfer, 1975
 * Der Vormund und sein Dichter, direction and script: Percy Adlon, 1978 (free picturization of Seelig's Wanderungen mit Robert Walser)
 * Robert Walser (1974–1978), direction and script: HHK Schoenherr
 * Waldi, direction and script: Reinhard Kahn, Michael Leiner (after the story Der Wald), 1980
 * The Comb, directors: Stephen Quay, Timothy Quay (i.e. Brothers Quay), 1990
 * Brentano, director: Romeo Castellucci, with Paolo Tonti as Brentano, 1995
 * Institute Benjamenta, or This Dream People Call Human Life, directors: Stephen Quay, Timothy Quay (i.e. Brothers Quay) with Mark Rylance as Jakob von Gunten, 1995
 * Blanche Neige, directed by Rudolph Straub, music by Giovanna Marini, 1999
 * de Neve'', director: João César Monteiro, 2000
 * All This Can Happen, directors: Siobhan Davies, David Hinton, 2012

Opera

 * Schneewittchen, 1998, by Heinz Holliger

In English

 * Robert Walser Center (official site of the Robert Walser archive and society in Bern, with information, documentation, and resources about the writer's life and work)
 * "A Celebration of the Work of Swiss Writer Robert Walser on KCRW's Bookworm
 * Swiss Literary Archive
 * "The Lightest Touch" review of A Schoolboy's Diary at The Millions
 * "A Prose Piece for Your Gaps" Review of A Schoolboy's Diary at Open Letters Monthly
 * Swiss Literary Archive
 * "The Lightest Touch" review of A Schoolboy's Diary at The Millions
 * "A Prose Piece for Your Gaps" Review of A Schoolboy's Diary at Open Letters Monthly

In German

 * Robert Walser Center
 * Robert Walser-Pfad, Herisau
 * Kritische Walser Ausgabe
 * Robert Walser Preis

title: Robert Walser


text:
Dadeland South station

Dadeland South station is a transfer station on the Metrorail rapid transit system in the Dadeland district of Kendall, Florida. It is the southern terminus of the Metrorail system and the northern terminus of the South Dade TransitWay (a BRT corridor). It is the southernmost passenger rail station in the Continental United States. This station is located near the intersection of Dadeland Boulevard and Datran Boulevard, adjacent to South Dixie Highway (US 1), three blocks southwest of Kendall Drive and Dadeland Mall, and just east of the US 1–Palmetto Expressway (SR 826) junction. It opened to service May 20, 1984.

The station serves Downtown Dadeland as well as local shopping centers Dadeland Mall and Town Center One.

Station layout
The station has two tracks served by an island platform.

title: Dadeland South station


text:
Freer Gallery of Art

The Freer Gallery of Art is an art museum of the Smithsonian Institution in Washington, D.C. focusing on Asian art. The Freer and the Arthur M. Sackler Gallery together form the National Museum of Asian Art in the United States. The Freer and Sackler galleries house the largest Asian art research library in the country and contain art from East Asia, South Asia, Southeast Asia, the Islamic world, the ancient Near East, and ancient Egypt, as well as a significant collection of American art.

The gallery is located on the south side of the National Mall in Washington, D.C., contiguous with the Sackler Gallery. The museum is open 364 days a year (being closed on Christmas), and is administered by a single staff with the Sackler Gallery. The galleries were among the most visited art museums in the world.

The Freer houses over 26,000 objects spanning 6,000 years of history from the Neolithic to modern eras. The collections include ancient Egyptian stone sculpture and wooden objects, ancient Near Eastern ceramics and metalware, Chinese paintings and ceramics, Korean pottery and porcelain, Japanese folding screens, Persian manuscripts, and Buddhist sculpture. In addition to Asian art, the Freer also contains the famous Harmony in Blue and Gold: The Peacock Room (better known as The Peacock Room) by American artist James McNeill Whistler which serves as the centerpiece to the Freer's American art collection.

The museum offers free tours to the public and presents a full schedule events for the public including films, lectures, symposia, concerts, performances, and discussions. Over 11,000 objects from the Freer|Sackler collections are fully searchable and available online. The Freer was also featured in the Google Art Project, which offers online viewers close-up views of selected items from the Freer.

Founding
The gallery was founded by Detroit railroad-car manufacturer and self-taught connoisseur Charles Lang Freer. He owned the largest collection of works by American artist James McNeill Whistler (1834-1903) and became a patron and friend of the famously irascible artist. Whistler made it very clear to Freer that if he helped him to build the premier Whistler collection, then that collection would have to be displayed in a city where tourists went.

In 1908, Charles Moore, a former aide to Michigan United States Senator, James McMillin and the chairman of the United States Commission of Fine Arts, moved from Washington, D.C., to Detroit. Moore became friends with Freer, who was director of the Michigan Car Company, and persuaded Freer to permanently exhibit his 8,000-piece collection of Oriental art in Washington, D.C. Before then, Freer informally proposed to President Theodore Roosevelt that he give to the nation his art collection, funds to construct a building, and an endowment fund to provide for the study and acquisition of "very fine examples of Oriental, Egyptian, and Near Eastern fine arts."

The Freer gift was accepted on behalf of the government by the Smithsonian Board of Regents in 1906. Freer's will, however, contained certain requirements that only objects from the permanent collection could be exhibited in the gallery, and that none of the art could be exhibited elsewhere. Freer felt strongly that all of the museum's holding should be readily accessible to scholars at all times. In addition, Freer's bequest to the Smithsonian came with the proviso that he would execute full curatorial control over the collection until his death. The Smithsonian initially hesitated at the requirements but the intercession of President Theodore Roosevelt allowed for the project to proceed. The Freer Gallery possesses an autographed letter from Roosevelt inviting Freer to visit him at the White House, reflecting the personal interest Roosevelt showed in the development of the museum. Freer died before the art gallery was completed.

Construction and architecture
Construction of the gallery began in 1916 and was completed in 1921, after a delay due to World War I. On May 9, 1923, the Freer Gallery of Art was opened to the public. Designed by American architect and landscape planner Charles A. Platt, the Freer is an Italian Renaissance-style building inspired by Freer's visits to palazzos in Italy. It is reported that in a meeting with architect Charles Platt at the Plaza Hotel in New York City, Freer jotted down his ideas for a classical, well-proportioned building on a napkin. The gallery is constructed primarily of granite: the exterior of the Freer is pink granite quarried in Milford, Massachusetts, the courtyard has a carnelian granite fountain and walls of unpolished Tennessee white marble. The gallery's interior walls are Indiana limestone, and the floors are polished Tennessee marble.

A major renovation of the building, which culminated in a grand reopening in 1993, greatly expanded storage and exhibition space by connecting the Freer and the Arthur M. Sackler Gallery. With the addition of the connecting gallery, the Freer has 39039 sqft of public space. The original structure designed by Platt remains intact, including the Eugene and Agnes E. Meyer Auditorium which serves as the venue for many public programs.

Current
After opening in 1923, the Freer served as the Smithsonian's first museum dedicated to the fine arts. The Freer was also the first Smithsonian museum created from a private collector's bequest. Through the years, the collections have grown through gifts and purchases to nearly triple the size of Freer's original donation: nearly 18,000 works of Asian art have been added since Freer's death in 1919.

The Freer is now connected by an underground exhibition space to the neighboring Arthur M. Sackler Gallery. Although their collections are stored and exhibited separately, the two museums share a director, administration, and staff. The Freer closed for extensive renovations in January 2016 and reopened in October 2017.

Exhibitions

Because one of the main conditions of Charles Lang Freer donation stated that only items from his collection may be exhibited at the gallery, the Freer does not borrow from or lend out items to other institutions. However, due to the 26,000 objects in the gallery's collections, they are still able to present exhibitions internationally recognized for both depth and quality.

The Freer also has a number of rotating/temporary exhibits.

American art at the Freer
Freer began collecting American art in the 1880s. In 1890, after meeting James Abbott McNeill Whistler, an American artist influenced by Japanese prints and Chinese ceramics, Freer began to expand his collections to include Asian art. He maintained his interest in American art, however, amassing a collection of over 1,300 works by Whistler, which is considered the world's finest.

One of the most well-known exhibits at the Freer is The Peacock Room, an opulent London dining room painted by Whistler in 1876–77. The room was designed for British shipping magnate F. R. Leyland and is lavishly decorated with green and gold peacock motifs. Purchased by Freer in 1904 and installed in the Freer Gallery after his death, The Peacock Room is on permanent display. During its time in the Freer Gallery, the Peacock Room underwent large-scale conservation projects in the 1940s and the early 1990s, and a major restoration in the summer of 2022.

The Freer also has works by Thomas Dewing (1851–1938), Dwight Tryon (1849–1925), Abbott Handerson Thayer (1849–1921), Childe Hassam (1859–1935), Winslow Homer (1836–1910), Augustus Saint-Gaudens (1848–1907), Willard Metcalf (1858–1925), John Singer Sargent (1856–1925), and John Twachtman (1853–1902).

F|S Online
The Freer|Sackler provides several online resources for exploring the art and culture of Asia and its American art collections. Besides the collections objects viewable online, thousands of photographs, archeological diaries, maps, and archaeological squeezes (impressions of carvings) have been digitized and are used by researchers from around the world.

F|S Archives and Library

The Freer Sackler Archives houses over 120 important manuscripts collections relevant to the study of America's encounter with Asian art and culture. The core collection is the personal papers of gallery founder Charles Lang Freer, which includes his purchase records, diaries, and personal correspondence with public figures such as artists, dealers and collectors. Freer's extensive correspondence with James McNeill Whistler forms one of the largest sources of primary documents about the American artist. Other significant collections in the Archives includes the papers (notebooks, letters, photography, squeezes) and personal objects of the German archaeologist Ernst Herzfeld (1879–1946), documenting his research at Samarra, Persepolis and Pasargadae. The papers of Carl Whiting Bishop Dwight William Tryon, Myron Bement Smith, Benjamin March and Henri Vever are also located at the Archives. The Archives also holds over 125,000 photographs of Asia dating from the 19th and early 20th centuries. Highlights of photographic holdings include the Henry and Nancy Rosin Collection of 19th century photography of Japan, the 1903-1904 photographs of the Chinese Empress Dowager Cixi, and photographs of Iran by Antoin Sevruguin.

The Freer|Sackler Library is the largest Asian art research library in the United States. Open to the public five days a week (except federal holidays) without appointment, the library collection consists of more than 86,000 volumes, including nearly 2,000 rare books. Half the volumes are written and catalogued in Asian languages. Originating from the collection of four thousand monographs, periodical issues, offprints, and sales catalogues that Charles Lang Freer donated to the Smithsonian Institution as part of his gift to the nation, the F|S Library maintains the highest standards for collecting materials an active program of purchases, gifts, and exchanges.

In July 1987 the library moved to its new home in the Arthur M. Sackler Gallery. Today it supports activities of both museums, such as collection development, exhibition planning, publications, and other scholarly and educational projects. Its published and unpublished resources—in the fields of Asian art and archaeology, conservation, painting, sculpture, architecture, drawings, prints, manuscripts, books, and photography—are available to museum staff, outside researchers, and the visiting public.

Public programs
The Eugene and Agnes E. Meyer Auditorium, named after American financier and publisher Eugene Meyer and journalist/social activist Agnes E. Meyer, is located in the Freer and provides a venue for a broad variety of free public programs. These programs include concerts of music and dance, lectures, chamber music, and dramatic presentations. It is also known for its film series, highlighting a wide variety of Asian cultures (including a Korean Film Festival and Iranian Film Festival).

Most recently, the museums began the series Asia After Dark, opening up the space for musicians, dancing, Asian cuisine, and other after-work adventures. The Freer and Sackler's 'We Stand With Japan' in 2011 hosted Steve Aoki.

Free drop-in tours are available daily and guide visitors through both featured exhibitions and specific themes in both the Freer and Sackler galleries, and a wide range of public lectures provide in-depth experiences with prominent artists and scholars.

Conservation
Care of the collections began before the museum came into existence as Charles Lang Freer, the founder of the Freer Gallery of Art, hired Japanese painting restorers to care for his works and to prepare them for their eventual home as part of the Smithsonian Institution. In 1932, the Freer Gallery of Art hired a full-time Japanese restorer and established what was to become the East Asian Painting Conservation Studio. This facility remains one of the few in the United States that specializes in the conservation of Asian paintings. The Technical Laboratory was established in 1951 when chemist Rutherford J. Gettens moved from the Fogg Museum at Harvard University to the Freer. The laboratory was the first Smithsonian facility devoted to the use of scientific methods for the study of works of art. Over the years, the work of the Technical Laboratory expanded to include objects, paper, and exhibits conservation. The Technical Laboratory and the East Asian Painting Conservation Studio merged in 1990 to create the Department of Conservation and Scientific Research for both the Freer and Sackler Galleries.

The conservators in the Department of Conservation and Scientific Research care for and treat works of art in the collection and prepare them for exhibition. The department works to ensure long-term preservation and storage, safe handling, exhibition, and transport of artworks in the permanent collection, as well as those on loan. In addition, conservators are responsible for conducting technical examinations of objects already in the collection and those under consideration for acquisition. They also collaborate frequently with the department's scientists on technical and applied research. Training and professional outreach efforts are an integral part of the department's commitment to educating future conservators, museum professionals, and the public about conservation.

Scholarship
The Freer has had a long tradition in serving as a center for inquiry and advanced scholarship about Asia. The Freer not only presents lectures and symposia to the public, but it also copublishes the Ars Orientalis with the University of Michigan Department of History of Art. Ars Orientalis is a peer-reviewed annual volume of scholarly articles and occasional reviews of books on the art and archaeology of Asia, the ancient Near East, and the Islamic world.

The Freer and Sackler, along with the Metropolitan Center for Far Eastern Art Studies in Kyoto, Japan, presents the Shimada Prize for distinguished scholarship in the history of East Asian art. The award was established in 1992 in honor of Professor Shimada Shujiro, by the Freer Gallery of Art and Arthur M. Sackler Gallery and by The Metropolitan Center for Far Eastern Art Studies in Kyoto, Japan. Several fellowships are also available to support graduate students and visiting scholars, including the Andrew W. Mellon Fellowship, Anne Van Biema Fellowship (Japanese Visual Arts), Iran Heritage Foundation (IHF) Fellowship (Persian art), Lunder Fellowship, J. S. Lee Memorial Fellowship (Chinese Art), Smithsonian Institution Fellowship, and the Freer Fellowship.

Freer and Sackler curators are also involved in dozens of ongoing research projects, often with colleagues from institutions around the world. The results of their work can be seen in a variety of published formats, including exhibition catalogues, scholarly publications, and online publications.

title: Freer Gallery of Art


text:
User talk:Thomas Ihle~enwiki

ClockworkTroll 14:34, 9 Oct 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Thomas Ihle. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Thomas Ihle~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 03:05, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 19:39, 22 April 2015 (UTC)

title: User talk:Thomas Ihle~enwiki


text:
2 Esdras

2 Esdras is an apocalyptic book in some English versions of the Bible. Tradition ascribes it to Ezra, a scribe and priest of the fifth century BC, whom the book identifies with the sixth-century figure Shealtiel.

2 Esdras forms a part of the canon of Scripture in the Ethiopian Orthodox Church (an Oriental Orthodoxy body), though it is reckoned among the apocrypha by Roman Catholics, Protestants, and most Eastern Orthodox Christians. 2 Esdras was excluded by Jerome from his Vulgate version of the Old Testament, but from the 9th century onwards, the Latin text is sporadically found as an appendix to the Vulgate, inclusion becoming more general after the 13th century.

Naming conventions
As with 1 Esdras, some confusion exists about the numbering of this book. The Vulgate of Jerome includes only a single book of Ezra, but in the Clementine Vulgate 1, 2, 3 and 4 Esdras are separate books. Protestant writers, after the Geneva Bible, called 1 and 2 Esdras of the Vulgate, Ezra and Nehemiah; and called 3 and 4 Esdras of the Vulgate, 1 Esdras and 2 Esdras respectively. These then became the common names for these books in English Bibles.

Medieval Latin manuscripts denoted it 4 Esdras, which to this day is the name used for chapters 3–14 in modern critical editions, which are typically in Latin, the language of its most complete exemplars.

It appears in the Appendix to the Old Testament in the Slavonic Bible, where it is called 3 Esdras, and the Georgian Orthodox Bible numbers it 3 Ezra. This text is sometimes also known as Apocalypse of Ezra (chapters 3–14 known as the Jewish Apocalypse of Ezra or 4 Ezra. In modern critical editions, chapters 1–2 are named as 5 Ezra, and chapters 15–16 as 6 Ezra). Bogaert speculates that the "fourth book of Ezra" referred to by Jerome most likely corresponds to modern 5 Ezra and 6 Ezra combined – and notes a number of Latin manuscripts where these chapters are together in an appendix.

5 Ezra
The first two chapters of 2 Esdras are found only in the Latin version of the book, and are called 5 Ezra by scholars. They are considered by most scholars to be Christian in origin; they assert God's rejection of the Jews and describe a vision of the Son of God. These are generally considered to be late additions (possibly third century) to the work.

4 Ezra
Chapters 3–14, or the great bulk of 2 Esdras, is a Jewish apocalypse, also sometimes known as 4 Ezra or the Jewish Apocalypse of Ezra. The latter name should not be confused with a later work called the Greek Apocalypse of Ezra.

The Ethiopian Church considers 4 Ezra to be canonical, written during the Babylonian captivity, and calls it Izra Sutuel (ዕዝራ ሱቱኤል). It was also often cited by the Fathers of the Church. In the Eastern Armenian tradition, it is called 3 Ezra. It was written in the late following the destruction of the Second Temple.

Among Greek Fathers of the Church, 4 Ezra is generally cited as Προφήτης Ἔσδρας Prophetes Esdras ("The Prophet Ezra") or Ἀποκάλυψις Ἔσδρα Apokalupsis Esdra ("Apocalypse of Ezra"). Most scholars agree that 4 Ezra was composed in Hebrew, which was translated into Greek, and then to Latin, Armenian, Ethiopian, and Georgian, but the Hebrew and Greek editions have been lost.

Slightly differing Latin, Syriac, Arabic, Ethiopic, Georgian, and Armenian translations have survived in their entirety; the Greek version can be reconstructed, though without absolute certainty, from these different translations, while the Hebrew text remains more elusive. The modern Slavonic version is translated from the Latin.

4 Ezra consists of seven visions of Ezra the scribe. The first vision takes place as Ezra is still in Babylon. He asks God how Israel can be kept in misery if God is just. The archangel Uriel is sent to answer the question, responding that God's ways cannot be understood by the human mind. Soon, however, the end would come, and God's justice would be made manifest. Similarly, in the second vision, Ezra asks why Israel was delivered up to the Babylonians, and is again told that man cannot understand this and that the end is near. In the third vision, Ezra asks why Israel does not possess the world. Uriel responds that the current state is a period of transition. Here follows a description of the fate of evil-doers and the righteous. Ezra asks whether the righteous may intercede for the unrighteous on Judgment Day, but is told that "Judgment Day is final".

The next three visions are more symbolic in nature. The fourth is of a woman mourning for her only son. She is transformed into a city when she hears of the desolation of Zion. Uriel says that the woman is a symbol of Zion. The fifth vision concerns an eagle with three heads and 20 wings (12 large wings and eight smaller wings "over against them"). The eagle is rebuked by a lion and then burned. The explanation of this vision is that the eagle refers to the fourth kingdom of the vision of Daniel, with the wings and heads as rulers. The final scene is the triumph of the Messiah over the empire. The sixth vision is of a man, representing the Messiah, who breathes fire on a crowd that is attacking him. This man then turns to another peaceful multitude, which accepts him. Finally, a vision of the restoration of scripture is related. God appears to Ezra in a bush and commands him to restore the Law. Ezra gathers five scribes and begins to dictate. After 40 days, he has produced 204 books, including 70 works to be published last. 2 Esdras 14:44–48 KJV:

44 In forty days they wrote two hundred and four books.

45 And it came to pass, when the forty days were filled, that the Highest spake, saying, The first that thou hast written publish openly, that the worthy and unworthy may read it:

46 But keep the seventy last, that thou mayest deliver them only to such as be wise among the people:

47 For in them is the spring of understanding, the fountain of wisdom, and the stream of knowledge.

48 And I did so.

The "seventy" might refer to the Septuagint, most of the apocrypha, or the lost books that are described in the Bible. But it is more probable that the number is just symbolic.

Almost all Latin editions of the text have a large lacuna of 70 verses between 7:35 and 7:36 that is missing because they trace their common origin to one early manuscript, Codex Sangermanensis I, from which an entire page had been cut out very early in its history. In 1875 Robert Lubbock Bensly published the lost verses and in 1895 M.R. James oversaw a critical edition from Bensly's notes restoring the lost verses from the complete text found in the Codex Colbertinus; this edition is used in the Stuttgart edition of the Vulgate. The restored verses are numbered 7:35 to 7:105, with the former verses 7:36–7:70 renumbered to 7:106–7:140. For more information, see the article Codex Sangermanensis I.

Second Esdras turns around a radical spiritual conversion of Ezra in a vision, where he stops to comfort a sobbing woman who turns instantly into a great city (2 Esd. 10:25–27). On this pivotal event, one scholar writes that Ezra:

"is badly frightened, he loses consciousness and calls for his angelic guide. The experience described is unique, not just in 4 Ezra, but in the whole Jewish apocalyptic literature. Its intensity complements the pressure of unrelieved stress evident in the first part of the vision, and it resembles the major orientation of personality usually connected with religious conversion."

The following verses (10:28–59) reveal that Ezra had a vision of the heavenly Jerusalem, the true city of Zion, which the angel of the Lord invites him to explore. As the angel tells Ezra at the end of Chapter 10 in the Authorised Version:

And therefore fear not, let not thine heart be affrighted, but go thy way in, and see the beauty and greatness of the building, as much as thine eyes be able to see; and then shalt thou hear as much as thine ears may comprehend. For thou art blessed above many other and art called with the Highest and so are but few.

But tomorrow at night thou shalt remain here and so shall the Highest show thee visions of the high things which the Most High will do unto them that dwell upon earth in the last days.

So I slept that night and another like as he commanded me (2 Esd. 10:55–59).

6 Ezra
The last two chapters, also called 6 Ezra by scholars, and found in the Latin, but not in the Eastern texts, predict wars and rebuke sinners. Many assume that they probably date from a much later period (perhaps late third century) and may be Christian in origin; though not certain,  they possibly were added at the same time as the first two chapters of the Latin version. They likely are Jewish in origin, however; 15:57–59 have been found in Greek, which most scholars agree was translated from a Hebrew original.

Author and criticism
The main body of the book appears to be written for consolation in a period of great distress (one scholarly hypothesis is that it dates to Titus' destruction of the Second Temple in ). The author seeks answers, similar to Job's quest for understanding the meaning of suffering, but the author does not like or desire only the answer that was given to Job.

Critics question whether even the main body of the book, not counting the chapters that exist only in the Latin version and in Greek fragments, has a single author. Kalisch, De Faye, and Charles hold that no fewer than five people worked on the text. However, Gunkel points to the unity in character and holds that the book is written by a single author; the author of 2 Esdras has also been suggested to have written the Syriac Apocalypse of Baruch. In any case, the two texts may date from about the same time, and one almost certainly depends on the other.

Critics have widely debated the origin of the book. Hidden under two layers of translation, determining whether the author was Roman, Alexandrian, or Palestinian is impossible.

The scholarly interpretation of the eagle being the Roman Empire (the eagle in the fifth vision, whose heads might be Vespasian, Titus, and Domitian if such is the case) and the destruction of the temple would indicate that the probable date of composition lies toward the end of the first century, perhaps 90–96, though some suggest a date as late as 218.

Usage
The book is found in the Orthodox Slavonic Bible (Ostrog Bible, Elizabeth Bible, and later consequently Russian Synodal Bible). 2 Esdras is in the Apocrypha of the King James Version, and Pope Clement VIII placed it in an appendix to the Vulgate along with 3 Esdras and the Prayer of Manasseh "lest they perish entirely". The chapters corresponding to 4 Ezra, i.e. 2 Esdras 3–14, make up the Book of II Izra, aka Izra Sutuel, canonical in the Ethiopian Orthodox Church; it was also widely cited by early Fathers of the Church, particularly Ambrose of Milan, as the 'third book of Esdras'. Jerome states that it is apocryphal. It may also be found in many larger English Bibles included as part of the Biblical apocrypha, as they exist in the King James Version, the Revised Version, the Revised Standard Version, and the earliest editions of the Catholic Douay–Rheims Bible, among others.

The introitus of the traditional Requiem Mass of the Extraordinary Form of the 1962 Missal in the Catholic Church is loosely based on 2:34–35: "Eternal rest grant unto them, O Lord, and let perpetual light shine upon them." Several other liturgical prayers are taken from the book. The same chapter, verses 36 and 37, is cited in the Introit of Pentecost Tuesday, "Accipite jucunditatem gloriae vestrae, alleluia: gratias agentes Deo, alleluia: qui vos ad caelestia regna vocavit, alleluia, alleluia, alleluia. Ps. 77 Attendite, popule meus, legem meam: inclinate aurem vestram in verba oris mei. Gloria Patri. Accipite. – Receive the delight of your glory, alleluia, giving thanks to God, alleluia, Who hath called ye to the heavenly kingdoms, alleluia, alleluia, alleluia. Psalm 77 Attend, O my people, to my law: incline your ears to the words of my mouth. Glory be. Receive.” The Alleluia verse Crastina die for the Vigil Mass of Christmas in the Roman Missal is taken from chapter 16, verse 52.

Christopher Columbus quoted verse 6:42, which describes the Earth as being created with six parts land and one part water, in his appeal to the Catholic Monarchs for financial support for his first voyage of exploration.

The book is appointed as a scripture reading in the Ordinariate’s Evensong service for All Hallows' Eve.

title: 2 Esdras