text:
Talk:Sid Meier's Pirates!

Game name
This used to be called "Pirates game". Putting Sid's name in front makes it identical to the forthcoming (2004) game. I suggest we either Robin Patterson 20:32, 16 Oct 2004 (UTC)
 * accept the new name to cover both and give the article two or three main headings accordingly; or
 * rename this one "Pirates! (computer game)" in the current style.

Down with IP!
I don't like the term intellectual property (its ok when lawyers use it but it glosses over problems and encourages a particular point-of-view in the rest of us). Exactly what is held by Firaxis Games? The trademark of "Pirates!"? copyright of the original game? Surely the game doesn't have any software patents!?. I suggest we change it to "Trademarks associated with the game are held|owned|whatever by Firaxis Games..." (I don't know much about these laws so I don't know if one holds, owns or licenses a Trademark.)

cbm 20:30, 3 Nov 2004 (UTC)

 * I'm sorry you don't like the term, but that's what it's called and there really is no better way to refer to it. In a nutshell, the IP means that they own the creative license associated with the earlier game.  This means they can extend or alter the storyline of the earlier game, use ideas or technology from the early game, etc.  It's sort of like a trademark, but encompasses much more.

 * This is a big deal. Earlier, Meier lost the IP for Civilization for a while and other developers got to use the name for their games, totally screwing up the lineage of the games.   — Frecklefoot | Talk 20:44, Nov 3, 2004 (UTC)

Princess Bride?
I don't think that's a reference to the movie, as the other pirates say the same thing ("fear the dread pirate William Kidd!"). That one is probably a coincidence. Dehumanizer 08:39, 14 Dec 2004 (UTC)

Sun sighting?
The Pirates Gold (1993) section mentions something called "Sun sighting." What the heck was that? Is it in the 2004 version? — Frecklefoot | Talk 21:39, Dec 16, 2004 (UTC)

 * It's an old sea navigation process, something to do with a sextant, probably. It was in the 1987 version, apparently, but it's not in any version since.  --Alexwcovington 21:44, 16 Dec 2004 (UTC)

 * In the 1987 version of Pirates, in order to locate your position at sea it was necessary to use "sun sighting", a subgame in which you would have to line up a sextant with an animated moving sun and take the reading at the sun's peak (noon) which would provide your latitude and longditude for you to look up on the paper map provided with the game. Anonymous 10:35, 10 Jul 2006 (GMT)

 * Even better, the "sun sighting" feature provided JUST your latitude. As an accurate simulation of the era, you had to rely on dead-reckoning for longitude. Unlike both it's descendants, the original 1987 game had NO online map showing your position. So it was great fun to set a course from Santiago to Cumana and pat yourself on the back by making landfall in just the right place, just from experience. And adjusting the sextant was not as simple as it sounds; it was sometimes hard to make out the sun's zenith as passing clouds would sometimes partially obscure your view. -Anonymous 130.156.3.34 23:00, 10 October 2006 (UTC)

Open ended
The article currently says, "Pirates! was a groundbreaking game in its era, widely considered the first open-ended game (i.e., one in which there is no specific goal, such as rescuing a princess, or defeating a gorilla)." I'm not at all sure that is accurate. Elite was released in 1984 and is probably more widely considered as the first open-ended game. There may very well be others. I'd like to edit this section of the article, therefore. Any comments?
 * I concur. Sign your name. -Joseph (Talk) 16:34, 2004 Dec 24 (UTC)

Sorry, I forgot to sign my name. Thanks for the vote of confidence. I'll maybe make the changes after life calms down a bit. But of course, this subject is still open for debate until then. --Yamla 06:11, 2004 Dec 25 (UTC)

Okay, I've made a change. I tried to keep much of the initial paragraph intact. It isn't quite as clean as I wanted to make it so I absolutely welcome other changes. Please feel free to totally rewrite the paragraph if you think you can say it better. Pirates was certainly not the first open-ended game but definitely influenced very many games since. --Yamla 15:50, 2004 Dec 25 (UTC)

Split
I propose that this be split into an article for each game, with this article being about the series as a whole. Dread Lord C y b e r S k u l l ✎☠ 23:46, 15 May 2006 (UTC)

 * You're suggesting that we create Sid Meier's Pirates! (1987 game), Sid Meier's Pirates! Gold Edition and Sid Meier's Pirates! (2004 game) as new articles? Should be easy enough.  Likely, it is possible that people would write more about each game. --14:06, 17 May 2006 (UTC)

 * I support this suggestion. — Frecklefoot | Talk 16:24, 17 May 2006 (UTC)

 * I disagree. The three games are fundamentally the same game and not different members of a series.  Breaking them out would be like, say, making a new page for every version of Final Fantasy IV that currently exists (the SNES version, the PSX port, and the GBA remake.)

-- Rothenberger, 17 May 2006, 17:33
 * Perhaps the Gold Edition and the original 1987 game could stay in the same article, but the 2004 game did bring a lot of changes, like new features and a storyline (I do not recall a storyline in the original game). So I think the new game deservs its own article.  Which was what I would have expected when I originally came to see this article.  Besides, we rarely consider "ports" into different versions.  Pirates! in 2004 was completely rewritten, and thus NOT a port, but a new and different game. --Svippong 22:39, 17 May 2006 (UTC)

--(McDonis) 5/23/2006
 * I agree with Rothensburger If the game is split perhaps only the 2004 version should be split off

 * Rothensburger said that he would not split it into anything. I suggested only splitting the 2004 version due to Rothensburger's comment.  I hope to see a split personally. -- [ Svippong - Talk ]  17:22, 24 May 2006 (UTC)

 * I definitely think a split for the 2004 game is in order here. Unlike different versions of Final Fantasy IV, which was the same game ported to different consoles with minor tweaks, the 2004 Pirates game was entirely new for the most part.  I think it's a little insulting to the developers who worked hundreds, even thousands of man hours on this game to be added as a foot note to the bottom of the 1987 game.

-BBUCK July 2006

 * I have played the Sid Meier's Pirates! 2004 edition and talking to many of the Pirates! fans who know the Gold Edition and the older ones, each one has the same theme behind it, but the mechanics and things are different in each. So in essence they are a bunch of seperate games, not just remakes. That's just my thoughts. :D - Lucky Foot - 7/28/06

 * I agree. Besides, look at other pages for remakes. They don't share a page, do they?

SuperCooper 7/30/06

 * I vote to keep it as one article. I happened upon this page looking for information on the newer version of the game and was pleasantly surprised to be able to easily read about the game's roots. --MikeBC 17:06, 6 August 2006 (UTC)

 * I vote to keep it as one article, because I prefer to read one medium-sized article than 5 stubs. It's neat to see the evolution side-by-side without having to click on anything.  If there were more information, I would agree with a split.  MisterSheik 11:40, 22 August 2006 (UTC)

 * I vote to split it based on the same reasoning as what Lucky Foot had stated above. 66.215.215.202 20:44, 30 August 2006 (UTC)

 * Oppose They are essentially the same game with updated mechanics and AI.   scope_creep Talk  18:04, 24 April 2021 (UTC)

"Seventeenth Century"
I played the 1987 version of the game for the Apple II as a kid. At the beginning of the game, you chose which historical time period you wished to play in. Many of these were in the seventeenth century, as the article states, but several (including the default scenario) were in the eighteenth and there were a couple sixteenth century century as well. I've made a minor alteration to this effect.

Overall, it's a solid article for an old favorite of mine. 67.165.49.173 00:34, 14 September 2006 (UTC)Tom Miller

Link to Pirates Gold!
The external link at the bottom of the page to download Pirates Gold! for Windows links to Pictionary. It cannot be corrected because it says the link it blacklisted, however. Tha*Lunat!k 04:42, 14 December 2006 (UTC)

 * Don't know what you're talking about (blacklisted?). The link took me to the correct article. — Frecklefoot | Talk 15:39, 14 December 2006 (UTC)

 * Oops, you mean the external link to download Pirates! Gold. Yeah, the URL was for Pictionary.  I just removed it, since it's illegal. — Frecklefoot | Talk 15:44, 14 December 2006 (UTC)

Pirates! been inspired by Seven Cities of Gold and Heart of Africa?
My memory might be fooling me but I seem to recall that there were similarities in the gameplay of Ozark Softscape's classics Seven Cities of Gold and Heart of Africa, e.g. the land map play. Now I read in the article on Ozark that Ozark did business with Microprose. Is there any evidence that would speak in favour of my conjecture? --Marc van Woerkom 02:37, 10 January 2007 (UTC)

 * Well, unless you can find a reference, it is just that, conjecture. And original research is banned in Wikipedia articles... — Frecklefoot | Talk 15:29, 10 January 2007 (UTC)

St. Augustine's origins
From what I've seen, all versions of the Pirates! game claim quite casually that St. Augustine was originally founded by the French. Even the most recent (2004) release describes it in the manual with: "Originally a French colony, in 1565 Spain captures St. Augustine, massacring the Frenchmen and establishing their own fortress and garrison in its place." Is this worth mentioning in the article as an enduring game error? Or, is every credible source I've looked through actually incorrect in asserting that St. Augustine was built by the Spanish in 1565, over the site of a Native American village, with no prior French presence? -BaronGrackle (69.149.179.197 14:31, 14 January 2007 (UTC))

 * It's somewhat complicated. There was a pre-existing French settlement near to St. Augustine, at Fort Caroline, but it was about 40 miles north.  When the Spanish arrived and established the St. Augustine settlement, they slaughtered the French at Ft. Caroline.  Further French forces were located about 15 miles south of St. Augustine, at Matanzas Inlet, and nearly all of them were also captured and executed by the Spanish.  http://www.nps.gov/foma/historyculture/the_massacre.htm  The specific details of the manual description are untrue, though broadly speaking it's kind of what happened.  I think if the game error is mentioned some of this would have to be accounted for. 69.237.198.66 16:10, 27 July 2007 (UTC)

open source Pirates
I've been playing an open source vesion of the game but I can't find it anymore. Does anybody know the open source version, I would love to play it again —Preceding unsigned comment added by 86.52.8.240 (talk) 13:23, 7 March 2010 (UTC)

I remember hearing about one such project maybe ten years ago. Googling now I see two candidates: So there have been at least two attempts at cloning this much-beloved game. I can't tell how far those projects came though. Both seem dormant. JöG (talk) 19:45, 30 December 2010 (UTC)
 * Hunt for Gold
 * Freebooters

Slavery
Speaking of IP, that reminds me. Having not actually played the game, and not inclined to thoroughly explore every detail of every version of this game, I ask players, does the game even make any mention of slavery? Seems that at a glance, this historical fact, probably the most pervasive force of the time, is completely ignored by the game. --75.111.44.124 (talk) 01:34, 28 August 2013 (UTC)

This game has Inca temples in the Caribbean. Apparently it wasn't meant to have anything to do with history. lol — Preceding unsigned comment added by 100.34.46.136 (talk) 08:49, 12 December 2022 (UTC)

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Splitting proposal
I propose that portions of this article relating to the Pirates! Gold remake be split into a separate page called Pirates! Gold. This was once a separate article over a decade ago, unsourced and small and looking like this, so it was rightly merged into this article, and over time a few items about Gold were added to the Reception section here. In addition to that material, I found evidence of several other reviews in English, and even more non-English reviews so I restored the article with its previous text, added bits from this article, and added more pieces that I found from my own searches as seen in this version. Before arguing that remakes should not have their own articles, please be aware that Category:Video game remakes currently has 336 articles. Given that this remake was so widely reviewed that a sizeable article can be easily constructed using the reviews I found, I cannot imagine how anyone could argue that this fails the WP:GNG, so I feel that it is an unnecessary hoop to jump through to require a split discussion, but since this was reverted I am inviting people to comment on just what about this topic makes it unworthy of a split, especially when none of the new content or sources were merged into this article. 2601:249:8B80:4050:41C4:6D95:5D42:947E (talk) 18:38, 26 March 2021 (UTC)

Pinging still-active users who edited the original version of the Pirates! Gold article before it was redirected:
 * I would create a draft and submit it using the Articles for creation process. I have no sense for whether it should be split or not so creating a well-sourced draft that passes GNG would significantly help me and others decide either way. For what it's worth, reviews are not the only, or even primary way that a video game is determined to be notable. See WP:NME and WP:MOSVG for more info (WP:VG does not have its own notability guideline). Axem Titanium (talk) 18:46, 26 March 2021 (UTC)
 * Oof, sorry, I don't remember the discussion. I do see that this has 13kb of text (more if you count differently, and WP:ARTICLESIZE has <40kb as "Length alone does not justify division". But the article seem long enough to split, to me. I guess it depends on how different "Pirates! Gold" is from "Sid Meier's Pirates!". If someone interested in one is likely to interested in the other, maybe you don't want to split. It looks so, as it seems to be the same game but with a different name? We don't have separate articles for "Oakland–Alameda County Coliseum" and "RingCentral Coliseum"; they're the same thing. But maybe this case is different; I don't want to make a strong suggestion, I haven't studied the matter. Herostratus (talk) 19:57, 26 March 2021 (UTC)
 * I'm not having all the free time I'd like to have so I won't participate in this, but if others make this "Pirates! Gold" article comes back with all the necessary sources, then there shouldn't be any problem. Kintaro (talk) 17:04, 29 March 2021 (UTC)
 * If there is a lengthy article about the remake then I guess it would be okay. But who is going to write this article? Alternatively, if the remake is more notable then why not have an article for it and merge this article's content into the new article? (Or just rename/repurpose this one.) I am not very invested in what happens, either way. ➧ datumizer   ☎  02:44, 31 March 2021 (UTC)
 * Thanks for your input, everybody! Since there was no objection to working on this as a draft so that a proper split could potentially happen, I will be requesting a move of the edit history to a draft page. 2601:249:8B80:4050:FDCF:44F6:2142:124C (talk) 16:14, 31 March 2021 (UTC)
 * AfC reviewer here: The draft looks good, I tagged the redirect with G6. Noah  💬 18:24, 31 March 2021 (UTC)
 * It isn't a case for G6. G6 is non-contentious housekeeping when there is a minor history associated with the redirect.  The history isn't minor if there was previously an article that was cut down.  I also see that there were recent attempts to expand the redirect back into an article, but that they have been reverted by User:Onel5969, so pinging User:Onel5969 into this discussion.  Robert McClenon (talk) 06:36, 1 April 2021 (UTC)
 * At any rate, and anyway, in the future this redirect might become an article on its own. I created a draft in one of my sandboxes, over there: User:Kintaro/Kintaro sandbox. Dear Wikipedians, feel free to edit my sandbox until it is accepted this draft becomes an article that simply replaces the redirect. Please note the colon immediately before the word "Category" in the categories source code. This prevents the draft from appearing in the categories. Those colons should be removed only if the draft becomes an article on its own. Kintaro (talk) 06:59, 1 April 2021 (UTC)
 * Thanks Kintaro. There are a number of non-English sources noted there, and someone else might have an easier time interpreting some of them then I would. 2601:249:8B80:4050:61F9:B39F:FE63:9EBF (talk) 12:22, 1 April 2021 (UTC)

 * Comment - there are two issues here. First, does this meet the requirements of WP:SPLIT, and second how are readers of WP best served?  SPLIT has two components, the first being WP:SIZESPLIT, which states that articles below 40,000 characters do not qualify for splitting.  The current article has 2138 characters (13 kB), while this draft has 407 characters (2600 B).  Even if every word in the draft were added to the current article, the size parameters for splitting would not be met. The second component is WP:CONTENTSPLIT, which this clearly doesn't meet, since this is a remake of the earlier game. So as per wp:split, this does not qualify. So the second issue is how are WP readers best served?  Is it better to have all the information about this series of games in one place?  Or split out a very tiny portion into a standalone article?  The information regarding Gold is all integrated into the current article, in fact it is done in quite a good manner, and I think splitting this information out would actually be a disservice to WP readers. I understand 's rationale for approving the draft, has the game does pass notability criteria.  I just don't think that breaking the information out is necessary.  In fact, I think it is detrimental.  It would be one thing, if the draft were 35,000 words and went into great depth about the game, but it doesn't.   Onel 5969  TT me 12:31, 1 April 2021 (UTC)

title: Talk:Sid Meier's Pirates!


text:
Irma, Lombardy

Irma (Ìrma) is a village and comune in the province of Brescia, in Lombardy.

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

title: Irma, Lombardy


text: Talk:Mormon folk music

title: Talk:Mormon folk music


text:
Four Seasons Hotel Miami

The Four Seasons Hotel and Tower, also known as the Four Seasons Hotel Miami, is a 70-story, 781 ft skyscraper in Miami, Florida. Located in downtown Miami's Brickell Financial District, it is the third tallest building in Miami as well as in Florida. The tower contains a Four Seasons Hotel property, office space and several residential condominium units on the upper floors.

The building was planned by Gary Edward Handel & Associates and Bermello Ajamil & Partners, Inc. Post-tensioning reinforcement of the structure was supplied and engineered by Suncoast Post-Tension. The building was constructed with dense steel reinforcing and silica-fume concrete, and is designed to sustain hurricane-force winds. Construction began in 2000, and the building was completed in 2003. The Four Seasons held the title of the tallest building in Miami and Florida until the Panorama Tower surpassed it in 2017.

Specifications

 * It surpassed Southeast Financial Center as the tallest building in Miami and Florida.
 * The tower has 230,000 square feet (21,000 m2) of Class A office space from floors 8 to 17. They are mostly occupied by HSBC Bank USA.
 * There are three lobbies. Two separate lobbies on the first floor and one on the seventh floor. The separate first floor lobbies are for the office/health club portion of the tower and the residences. The seventh floor lobby is for the hotel and conference areas.
 * Part of the seventh floor lobby is a two-acre (8,000 m2) outdoor pool terrace, situated atop the six floor, 934 spaces parking garage.
 * The Four Seasons Hotel occupies floors 7 to 36. It contains 221 rooms and 84 condo/hotel units. The condo/hotel units range from 611 to 2,062 square feet (57 to 192 m2).
 * A total of 186 luxury condominiums occupy floors 40 to 70. They range from 1,114 to 6,499 square feet (103 to 604 m2).
 * The tower contains 10,600 square feet (985 m2) of retail space.
 * Total construction costs were US$379 million.
 * The tower has a total floor area of 1.8 million square feet (167,000 m2).
 * A 40,000 square foot (3,700 m2) Sports Club/LA Miami also occupies the tower.
 * The building's total building area stands at 690000 sqft.

title: Four Seasons Hotel Miami


text:
User:Webluke

WebSites
http://www.webluke.net

http://mapping.webluke.net

http://www.grandjunctioncomputers.com

Other Names
WebLuke

Geek (_!_)

title: User:Webluke


text:
Iseo, Lombardy

Iseo (Brescian: Izé) is a town and comune in the province of Brescia, in Lombardy, Italy, on the south shore of Lake Iseo. It is bounded by the communes of Provaglio d'Iseo, Sulzano, Polaveno and Paratico.

It has the first monument ever built of Giuseppe Garibaldi, erected in 1883.

Main sights

 * Oldofredi Castle, built between the end of the 11th century and the beginning of the 12th century, on the site of the Torrazzo, a rock at the edge of the city. It is one of the best preserved fortified complexes of early medieval military history. This fortress has square corner towers, screened by quadrangular crossbars on an inclined base. It was named after the Ghibelline Oldofredi family from Iseo. The large tower of the southern wing is the eldest part. It has a square base of 10 metres, a height of 12 metres. Its walls are 2 metres thick. The castle was set afire by the troops of Frederick Barbarossa during his Italian war in the mid-12th century. It was restored by Giacomo Oldofredi in 1161. During the 13th and 14th century, a rectangular castle was added to the fortified building. The castle was then surrounded by a deep moat, carved out of the solid rock. In the 14th century the castle belonged to the Scaliger family of Verona. The castle lost much of its importance when the political control of the Republic of Venice became stronger. It was then bought by the Celeri family. Its upkeep became so expensive that in 1586 the castle was transformed into a monastery for Franciscan friars. The frescoes on some walls of the building date from the 17th-18th centuries. The friars were forced to leave the building in 1797 during the Napoleonic occupation. It became a private property and changed into a block of flats (some are still inhabited) and a spinning mill. The building was bought by the municipality of Iseo and restored in the 1960s. It is now used as a public library, a war museum and can be used for civil wedding services.
 * Sanctuary of Our Lady of the Snow (Santuario Madonna della Neve) was built on the remains of the ancient church of St. Stephen, for popular devotion during the plague. On 15 April 1655 the foundation stone was laid for a new sanctuary after the miraculous healing of a man who crawled on all fours and suddenly could walk normally. He ascribed it his prayer to the fresco of the Holy Family in an aedicule on the wall surrounding the ancient church.
 * Pieve di St. Andrea. It is believed that the church was founded in the 6th century by Bishop San Vigilio on the site of a Roman temple. It was subsequently reconstructed in the 12th century in Lombard style. Over the centuries the parish church was renovated several times. At the beginning of the 19th century Rodolfo Vantini renovated the interior in neo-classical style. The church is characterised by an unusual Romanesque bell tower incorporated into the centre of the façade. The church is so ornate and is regularly used for weddings. It is just a couple of minutes walk to the lake shore and also Garibaldi square, with the Garibaldi monument and "Vantini" Palace, the Town Hall. On the right-hand side of the portal there is a 14th-century Gothic arch by Giacomo Oldofredi. Inside there are frescoes by Angelo Inganni and one St Michael Archangel by Francesco Hayez. In the presbytery there are frescoes by Ponziano Loverini and Giuseppe Teosa.
 * Garibaldi square, with the Garibaldi monument and "Vantini Palace", the Town Hall.

Transportation
The railway station of Iseo is served by regional trains to Brescia and Edolo. Iseo is connected to several other towns on Lake Iseo by ferry.

Twin towns
Iseo is twinned with:

 * 🇦🇹 Tamsweg, Austria

title: Iseo, Lombardy


text:
Barry Commoner

Barry Commoner (May 28, 1917 – September 30, 2012) was an American cellular biologist, college professor, and politician. He was a leading ecologist and among the founders of the modern environmental movement. He was the director of the Center for Biology of Natural Systems and its Critical Genetics Project. He ran as the Citizens Party candidate in the 1980 U.S. presidential election. His work studying the radioactive fallout from nuclear weapons testing led to the Nuclear Test Ban Treaty of 1963.

Early life
Commoner was born in Brooklyn, New York, on May 28, 1917, the son of Jewish immigrants from Russia. He received his bachelor's degree in zoology from Columbia University in 1937 and his master's and doctoral degrees from Harvard University in 1938 and 1941, respectively.

Career in academia
After serving as a lieutenant in the US Navy during World War II, Commoner moved to St. Louis, Missouri, and he became an associate editor for Science Illustrated from 1946 to 1947. He became a professor of plant physiology at Washington University in St. Louis in 1947 and taught there for 34 years. During this period, in 1966, he founded the Center for the Biology of Natural Systems to study "the science of the total environment". Commoner was on the founding editorial board of the Journal of Theoretical Biology in 1961.

In the late 1950s, Commoner became known for his opposition to nuclear weapons testing, becoming part of the team which conducted the Baby Tooth Survey, demonstrating the presence of Strontium 90 in children's teeth as a direct result of nuclear fallout. In 1958, he helped found the Greater St. Louis Committee on Nuclear Information. Shortly thereafter, he established Nuclear Information, a mimeographed newsletter published in his office, which later went on to become Environment magazine. Commoner went on to write several books about the negative ecological effects of atmospheric (i.e., above-ground) nuclear testing. In 1970, he received the International Humanist Award from the International Humanist and Ethical Union.

The Closing Circle
In his 1971 bestselling book The Closing Circle, Commoner suggested that the US economy should be restructured to conform to the unbending laws of ecology. For example, he argued that polluting products (like detergents or synthetic textiles) should be replaced with natural products (like soap or cotton and wool). This book was one of the first to bring the idea of sustainability to a mass audience. Commoner suggested a left-wing, eco-socialist response to the limits to growth thesis, postulating that capitalist technologies were chiefly responsible for environmental degradation, as opposed to population pressures. He had a long-running debate with Paul R. Ehrlich, author of The Population Bomb and his followers, arguing that they were too focused on overpopulation as the source of environmental problems, and that their proposed solutions were politically unacceptable because of the coercion that they implied, and because the cost would fall disproportionately on the poor. He believed that technological, and above all, social, development would lead to a natural decrease in both population growth and environmental damage.

One of Commoner's lasting legacies is his four laws of ecology, as written in The Closing Circle in 1971. The four laws are:

 * 1) Everything is connected to everything else. There is one ecosphere for all living organisms and what affects one, affects all.
 * 2) Everything must go somewhere. There is no "waste" in nature and there is no "away" to which things can be thrown.
 * 3) Nature knows best. Humankind has fashioned technology to improve upon nature, but such change in a natural system is, says Commoner, "likely to be detrimental to that system"
 * 4) There is no such thing as a free lunch. Exploitation of nature will inevitably involve the conversion of resources from useful to useless forms.

The Poverty of Power
Commoner published another bestseller in 1976, The Poverty of Power. In that book, he addressed the "three e's" that were plaguing the United States in the 1970s, the three e's being the environment, energy, and the economy. "First there was the threat to environmental survival; then there was the apparent shortage of energy; and now there is the unexpected decline of the economy." He argued that the three issues were interconnected: the industries that used the most energy had the highest negative impact on the environment. The focus on non-renewable resources as sources of energy meant that those resources were growing scarce, thus pushing up the price of energy and hurting the economy. Towards the book's end, Commoner suggested that the problem of the three e's is caused by the capitalistic system and can only be solved by replacing it with some sort of socialism.

[[File:Barry Commoner Time Magazine February 2, 1970 Vol 95 No 5.jpg|thumbnail|left|

Time reported in its February 1970 issue that "the national concern over the environment has reached an unprecedented level of intensity." On the cover, the visage of Barry Commoner projected a powerful image of ecology, which took the stage for the first time in the public eye. ]]

Making Peace with the Planet
In 1990, Commoner published Making Peace With the Planet, an analysis of the ongoing environmental crisis in which he argues that the way we produce goods needs to be reconstrued.

Poverty and population
Commoner examined the relationship between poverty and population growth, disagreeing with the way that relationship is often formulated. He argued that rapid population growth of the developing world is the result of it not having adequate living standards, observing that it is poverty that "initiates the rise in population" before leveling off, not the other way around. Developing countries were introduced to the living standards of developed nations, but were never able to fully adopt them, thus preventing these countries from advancing and thereby decreasing the rate of their population growth.

Commoner maintained that developing countries are still "forgotten" to colonialism. These developing countries were, and economically remain, "colonies of more developed countries". Because Western nations introduced infrastructure developments such as roads, communications, engineering, and agricultural and medical services as a significant part of their exploitation of the developing nations' labor force and natural resources, the first step towards a "demographic transition" was met, but other stages were not achieved because the wealth created in developing countries was "shipped out", so to speak, to the colonizer nations, enabling the latter to achieve the more advanced "levels of demographic transition", while the colonies continued on without achieving the second stage, which is population balancing.

"Thus colonialism involves a kind of demographic parasitism: the second population-balancing phase of the demographic transition in the advanced country is fed by suppression of that same phase in the colony". "As the wealth of the exploited nations was diverted to the more powerful ones, their power, and with it their capacity to exploit increased. The gap between the wealth of nations grew, as the rich were fed by the poor". This exploitation of resources extracted from developing nations, aside from its legality, led to an unforeseen problem: rapid population growth. The demographer, Nathan Keyfitz, concluded that, "the growth of industrial capitalism in the Western nations during the period 1800–1950 resulted in the development of a one-billion excess in the world population, largely in the tropics".

This is evident in the study of India and contraceptives, in which family planning failed to reduce the birth rate because people felt that "in order to advance their economic situation", children were an economic necessity. The studies show that "population control in a country like India depends on the economically motivated desire to limit fertility".

Commoner's solution is that wealthier nations need to help exploited or colonized countries develop and "achieve the level of welfare" that developed nations have. This is the only path to a balanced population in these developing countries. Commoner states that the only remedy for the world population crisis, which is the outcome of the abuse of poor nations by rich ones, is "returning to the poor countries enough of the wealth taken from them to give their peoples both the reason and the resources voluntarily to limit their own fertility".

His conclusion is that poverty is the main cause of the population crisis. If the reason behind overpopulation in poor nations is the exploitation by rich nations made rich by that very exploitation, then the only way to end it is to "redistribute [the wealth], among nations and within them".

2000 Dioxin Arctic study
In September 2000, a study published by the North American Commission on Environmental Cooperation, led by Commoner, found that Inuit women in the Arctic in Nunavut, Canada were found to have high levels of dioxin in their breast milk. The study tracked the origin of the dioxins using computer models from the sources that produced it and found that the dioxin pollution in the Arctic originated from the United States. Out of 44,000 sources of dioxin polluters in the United States, they found that only 19 were contributing to greater than a third of the dioxin pollution in Nunavut. Out of these 19, Harrisburg's incinerator was found to be the top source of dioxin pollution. He was a recipient of the 2002 Joe A. Callaway Award for Civic Courage.

Influence
Time magazine introduced a section on the environment in their February 1970 issue, featuring articles on the "environmental crisis", and a quote from Richard Nixon's State of the Union address, calling it, "The great question of the '70s". Nixon said, "Shall we surrender to our surroundings or shall we make our peace with nature and begin to make reparations for the damage we have done to our air, to our land and to our water?"

The magazine called Commoner, the "Paul Revere of ecology" for his work on the threats to life from the environmental consequences of fallout from nuclear tests and other pollutants of the water, soil, and air. Time's cover represented a "call to arms", to mobilize public opinion by appeals to conscience. The following month, the first Earth Day took place, which saw 20 million Americans demonstrating peacefully in favor of environmental reform, accompanied by several events held at university campuses across the US. The publications of Commoner are also considered influential in the decision of the Nixon administration in the following June to announce the formation of the Environmental Protection Agency (EPA) and the Clean Air Act of 1970.

Environmental activism
In 1969, Commoner was one of the founders of the Missouri Coalition for the Environment, an independent citizens environmental advocacy organization. His early guidance for this nonprofit led to multiple lawsuits that were won to protect the environment.

In 1980, Commoner founded the Citizens Party to serve as a vehicle for his ecological message, and he ran for president of the United States in the 1980 US election. His vice presidential running mate was La Donna Harris, the Native-American wife of Fred Harris, a former Democratic senator from Oklahoma, although she was replaced on the ballot in Ohio by Wretha Hanson. His candidacy for president on the Citizens Party ticket won 233,052 votes (0.27 percent of the total).

After his presidential bid, Commoner returned to New York City and moved the Center for the Biology of Natural Systems to Queens College. He stepped down from that post in 2000. At the time of his death, Commoner was a senior scientist at Queens College.

Personal life
After serving in World War II, Commoner married the former Gloria Gordon, a St. Louis psychologist. They had two children, Frederic and Lucy Commoner, and one granddaughter. Following a divorce, in 1980 he married Lisa Feiner, whom he had met in the course of her work as a public-TV producer.

Death and legacy
Commoner died on September 30, 2012, in Manhattan, New York.

He was a member of the American Association for the Advancement of Science and has a star on the St. Louis Walk of Fame.

In 2014, the Center for Biology of Natural Systems at Queens College was renamed The Barry Commoner Center for Health and the Environment.

Works

 * Books
 * Science and Survival (1966), New York: Viking - on "the uses of science and technology in relation to environmental hazards"
 * The Closing Circle: Nature, Man, and Technology (1971), New York: Knopf ISBN 978-0-394-42350-0.
 * The Poverty of Power: Energy and the Economic Crisis (1976), New York: Random House ISBN 978-0-394-40371-7.
 * The Politics of Energy (1979), New York: Knopf ISBN 978-0-394-50800-9.
 * Making Peace With the Planet (1990), New York: Pantheon ISBN 978-0-394-56598-9.

 * Reports
 * "Long-range Air Transport of Dioxin from North American Sources to Ecologically Vulnerable Receptors in Nunavut, Arctic Canada", (2000), Commoner, Barry; Bartlett, Paul Woods; Eisl, Holger; Couchot, Kim; Center for the Biology of Natural Systems, Queens College, City University of New York, published by the North American Commission for Environmental Cooperation, Montréal, Québec, Canada.

title: Barry Commoner


text:
Talk:Oa (comics)

Maltus
Since there have been no more references to Malthus (that I know of) in decades, and Crisis in Infinite Earths showed Oa as the place where Krona's experiment took place, it seems official for the current version of the DC Universe that Oa IS the birthplace of the Guardians of the Universe, the Controllers and Zamarons.

—Preceding unsigned comment added by Wilfredo Martinez (talk • contribs) 15:37, 16 October 2004

Center of the universe
I must disagree with the statement about space being infinite and therefore Oa can't be at the center of the universe. As far as current physics states, especially in the Big Bang theory, there is a limit to the universe we live in. Plus, since this is a fictional universe, the real universe's rules may not apply. Regardless of which is true, Green Lantern comics over the years have made it explicitly clear that Oa is at or near the center of the DC Universe, not just the galaxy. [User: Oknazevad]

 * Actually, according to current physics, no place in the universe can be any more the "center" of the universe than any other place, so the center of the universe is either everywhere or nowhere. See metric expansion of space for details.

 * That said, you are correct that Oa is indeed stated clearly in the comics to be at the center of the universe. As you say, this is a fictional universe, and the rules of physics obviously are different in the DC Universe (where, for instance, there are "metahumans" with superhuman strength and speed, flight, x-ray vision, and other superpowers) than in the real universe.

 * —Lowellian (reply) 04:10, 30 October 2007 (UTC)

 * Obviously, as far as Oa and the Green Lantern Corps are concerned, their system is the center of the universe, expansion of space aside.--Auric (talk) 20:24, 4 March 2009 (UTC)

Questions On A Weird Planet
1) Didn't Oa used to feature this weird book that detailed the history of all Green Lanterns?

2) How did Tom Kalmaku restore the planet?

3) Would it be noteable to note who -died- on the planet? Ch'p, Sinestro, Kilowog, to name a few. Lots42 15:08, 4 August 2007 (UTC)

A Note
I removed the bit that speculates on that one dude maybe being imprisoned on Oa after a fight in Wayne Manor. Speculation is frowned upon. Lots42 (talk) 02:38, 10 April 2008 (UTC)

Prime Duty
Wouldnt it be prudent to add Prime Duty and its description? I know this may be a redundant fact but it was a probation at one point, and a somewhat significant one.(Skullguardian (talk) 11:38, 29 October 2008 (UTC))

Depiction of Oa
With all the fuzz around the upcoming Green Lantern movie, it could be a good time to update the image of Oa. In regards of that there is some wonderful concept art going over the internet, and you can find it on this page for example: http://screenrant.com/green-lantern-concept-art-oa-sandy-84115/
 * Is there an accepted image? We're not talking Mogo here, it's a planet filled with reality-altering smurfs. Lots42 (talk) 06:38, 12 November 2010 (UTC)

External links modified
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Requested move 1 December 2023

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

The result of the move request was: moved. (closed by non-admin page mover) NmWTfs85lXusaybq (talk) 03:35, 8 December 2023 (UTC)

Oa → Oa (comics) – (and redirect Oa to OA) This title is a simple two-letter combination, lowercase second letter notwithstanding. There would be need to be a strong significance argument to keep this here, which I'm not seeing. A search for oa -"the oa" does not indicate there's a primary topic for this digram. Hameltion (talk | contribs) 17:11, 1 December 2023 (UTC) The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * support per nom—blindlynx 16:18, 2 December 2023 (UTC)
 * Support The OA has 87,653 views and The Oa has 278 compared with only 1,259[] for the comics.  Crouch, Swale  ( talk ) 18:32, 3 December 2023 (UTC)
 * Support per nom. -- Necrothesp (talk) 14:38, 5 December 2023 (UTC)
 * Support - It's reasonable that someone would use Oa when looking things like The Oa or even things that are typically/officially OA; people often only capitalize the first letter of an acronym or initialism (like Fbi), and this article's subject isn't the WP:PRIMARYTOPIC by usage or long-term significance. - Aoidh (talk) 14:50, 5 December 2023 (UTC)

title: Talk:Oa (comics)


text:
Wikipedia talk:WikiProject Latter Day Saint movement

Help with sources for M. Wells Jakeman
Hello all! I am looking at expanding M. Wells Jakeman but am having a hard time finding good secondary and tertiary sources other than obits. Any ideas? Horse Eye's Back (talk) 00:00, 20 December 2023 (UTC)

 * There are four sources listed but not cited to in the Sources section of that page. Those look like a good place to start. Hydrangeans (she/her | talk | edits) 09:16, 3 January 2024 (UTC)

Looking for parallelism
The article on Laban has this at the end of the section on the the Brass Plates.

"James Strang's alleged translation of the Book of the Law of the Lord asserts that it largely consists of the Brass Plates of Laban."

I see no reason that James Strang and the Brass Plates should be treated any differently than Joseph Smith and the Golden ones. Suggestions for how to give parallelism there (specifically avoiding alleged)?Naraht (talk) 23:56, 30 January 2024 (UTC)

 * oooh that's my bad. I can rewrite that. Thanks for catching that, I was trying so hard to avoid making it take a side that I accidentally made it antagonistic to Strang. BenBeckstromBYU (talk) 23:20, 1 February 2024 (UTC)
 * If you wouldn't mind taking a look, I think I made it better. Got rid of "alleged," and added "claimed" for both Strang and Smith as well as about what the Book of the Law of the Lord says that it is. I'm open to further suggestions on improvement. BenBeckstromBYU (talk) 23:28, 1 February 2024 (UTC)

Christians prior to Christ
I was editing Ammonihah and the image is captioned with "The Martyrdoms at Ammonihah (John Held Sr., 1888), depicting Alma 14:8, in which members of the city's Christian minority are 'cast into the fire'.".

Given that Alma is prior to 3 Nephi and Alma 14:8 doesn't contain the work Christian, suggestion for a better caption? "And they brought their wives and children together, and whosoever believed or had been taught to believe in the word of God they caused that they should be cast into the fire; and they also brought forth their records which contained the holy scriptures, and cast them into the fire also, that they might be burned and destroyed by fire" Naraht (talk) 15:05, 5 February 2024 (UTC)

 * I'm by far not the expert with this, but maybe instead of Christian, use "believers of the word of god" to keep it in context to what it says. Thanks! Dmm1169 (talk) 01:18, 6 February 2024 (UTC)
 * Hi; as a major contributor to the Ammonihah page, I'm happy to explain. Referring to figures in the Book of Mormon as "Christians" is following how reliable sources in religious studies interpret the story and setting of the Book of Mormon. For examples, see the following (bolding added):
 * "pre-Christian Christians, who "talk of Christ, ... reojice in Christ, ... prophesy of Christ" centuries before his coming (2 Nephi 25:26).
 * Terryl Givens, By the Hand of Mormon: The American Scripture that Launched a New World Religion (Oxford University Press, 2002), 47.
 * John Turner, The Mormon Jesus: A Biography (Harvard University Press, 2016), 29 cites Givens and also describes Book of Mormon figures as "pre-Christian Christians".
 * In the New World, the migrants build a temple and follow the law of Moses much like the society they left in Palestine, but their religion is explicitly Christian.
 * Richard Lyman Bushman, Joseph Smith: Rough Stone Rolling (Alfred A. Knopf, 2005), 85.
 * the Book of Mormon asserts that long before the birth of Jesus there were Christians, who were taught by prophets to believe in a redeemer who would one day come into the world
 * Grant Hardy, Understanding the Book of Mormon: A Reader's Guide (Oxford University Press, 2010), 7.
 * Within The Book of Mormon, Christianity takes root in the Americas not only before the arrival of Europeans but also, more radically, before the birth of Jesus. In moments of prolepsis similar to those appearances of Pauline language that predate Paul, the Nephites embrace the teachings of Jesus and assume the title of "Christians" in advance of the gospels. [...] in the Book of Alma, supposedly produced around 73 BCE, Moroni prays "that the cause of the Christians, and the freedom of the land might be favored" (351). This is Christianity before Christ; the prophecies of The Book of Mormon, unlike those of the Hebrew Bible, are explicit in their designations of the Messiah to come.
 * Elizabeth Fenton, "Open Canons: Sacred History and American History in The Book of Mormon", J19: The Journal of Nineteenth-century Americanists 1, no. 2 (Fall 2013) 339–361, here 354.
 * Alma coming to preach his "new" belief in a Christian faith
 * Kylie Nielson Turley, "Alma's Hell: Repentance, Consequence, and the Lake of Fire and Brimstone", Journal of Book of Mormon Studies 28 (2019): 1–45, here 26.
 * the chief judge of Ammonihah makes it clear that the punishment given to the Christian converts was based on Alma's and Amulek's words
 * Michael Austin, The Testimony of Two Nations: How the Book of Mormon Reads, and Rereads, the Bible (University of Illinois Press, 2024), 133.
 * To the extent that having a setting with a Christian religion and worshipers of Jesus before his advent is time-bending, that is, if anything, part of the Book of Mormon's structure, plot, and point. As literary critics Elizabeth Fenton and Jared Hickman summarize, the Book of Mormon narrative's temporality is never anything but extravagantly nonlinear (their introduction to Americanist Approaches to the Book of Mormon [Oxford Unviersity Press, 2019], 1–20, here 7). Hydrangeans (she/her | talk | edits) 02:01, 6 February 2024 (UTC)
 * Not exactly. These guys believed in Jesus, but knew him as Yehowah or Yaweh. Yes, I am LDS, no, don't get into an edit war with me about this. Wikipedia has seen to much of those. 38.43.22.44 (talk) 05:47, 2 April 2024 (UTC)
 * In many respects, my case in point: to insist that Jesus-believing Nephites and Lamanites can't be Christians because that would be anachronistic is to advance not an academic, neutral assessment of the Book of Mormon's plot but an apologetic, historicist assessment of it. Hydrangeans (she/her | talk | edits) 07:51, 2 April 2024 (UTC)
 * I think you have it backwards, both the idea that the Nephites and Lamanites existed and that they were Christian are apologist positions. The neutral academic assessment is that the Nephites and Lamanites did not exist outside of the BoM. Horse Eye's Back (talk) 21:01, 2 April 2024 (UTC)
 * Characters don't have to exist in reality for scholars to identify them as being Christian in the story. To use another example, Les Misérables's Bishop Myriel is, of course, entirely fictitious, and he is nevertheless a Christian character. Hydrangeans (she/her | talk | edits) 06:18, 4 April 2024 (UTC)
 * The IP is treating them as historical people, if you aren't I apologize. Horse Eye's Back (talk) 06:30, 4 April 2024 (UTC)
 * ok. I understand. 38.43.22.44 (talk) 18:06, 4 April 2024 (UTC)

Discussion about Template:Book of Mormon
There is a discussion at Template talk:Book of Mormon that may interest participants in this Wikiproject. Hydrangeans (she/her | talk | edits) 18:31, 8 March 2024 (UTC)

Using the term "advent" for birth of Jesus in LDS articles
I have been going through a lot of articles related to Mormonism and I am finding a peculiar turn of phrase "advent of Jesus" showing up a lot. It's a completely intelligible phrase, of course, and famously in many Christian liturgical calendars refers to a season prior to Christmas, but in the context of certain historical claims it reads pretty unusual and I believe it may be a Mormonism that has crept in to articles mentioning such things. Is this a thing in Mormon circles? Does anyone recognize what I'm talking about?

I think we should avoid this phraseology and just refer to things like "birth of Jesus" or "life of Jesus of Nazareth" etc. as those seem to be more typical in non-Mormon literature and our own articles.

jps (talk) 11:04, 13 March 2024 (UTC)

 * Advent is more a Christian-ism than a Mormon-ism. The LDS Church doesn't institutionally observe the Advent season (it's possible some Mormons privately do so, on their own). If you see "advent of Jesus" on a Mormon studies article, I bet I added it to de-Mormon-ize the language (a more Mormon turn of phrase would be "coming of Jesus" or "birth of Jesus") and express "a temporal setting that would have been before there was a Jesus and before there historically speaking would have been the idea of a Jesus". Hydrangeans (she/her | talk | edits) 15:39, 13 March 2024 (UTC)
 * "Birth of Jesus" is far preferable to "advent of Jesus". I don't think "advent" is really a thing in Mormonism, and we shouldn't be using Christian jargon like that anyway for a broad audience. ~Awilley (talk) 02:13, 14 March 2024 (UTC)
 * "Advent of Jesus" would be a pretty obscure usage in Christian literature as well. Maybe in liturgies, but that is certainly not a style choice we would typically adopt at Wikipedia. jps (talk) 02:50, 14 March 2024 (UTC)

==Discussion at Wikipedia:Reliable sources/Noticeboard § Foundation for Ancient Research and Mormon Studies (FARMS)== You are invited to join the discussion at Wikipedia:Reliable sources/Noticeboard § Foundation for Ancient Research and Mormon Studies (FARMS). Levivich (talk) 17:45, 13 March 2024 (UTC)

Book of Mormon as Literature
At Talk:Ammonihah, the main author has made an argument that topics related to the Book of Mormon are properly handled as literature since Mormon Studies seem to be moving in that direction. I'm pretty sure this is not an okay approach, but before I get into that on this page, I want to know whether this is more widespread. Do y'all think that reliable sources force primarily a "literature" treatment onto articles about the Book of Mormon? Do the social/religious/cultural/historical/etc. treatments all have to play second fiddle because Mormon Studies people haven't gotten to that approach/don't want to look into such approaches? jps (talk) 11:44, 14 March 2024 (UTC)

 * Well, WP:SILENCE, I guess. Here's the thing, friends, this approach also has an obvious proselytization angle as many Mormons are so enthralled by their holy book that they think it stands as great literature along side many other great works. I guess the thought is that even unbelievers will be amazed by its literary genius? Well, we know that most non-Mormon critics have consistently panned the work as something like bad Second Great Awakening fan fiction, but no matter. The Book of Mormon is important literature. It certainly can be read through a literary criticism lens, but to treat it primarily as literature in an encyclopedia setting is a profound subversion of WP:ENC. jps (talk) 14:11, 15 March 2024 (UTC)

 * Hi. You wrote "we know that most non-Mormon critics have consistently panned the work as something like bad Second Great Awakening fan fiction". I do not believe that the perceived literary quality of a work determines if it is notable or worthy of literary criticism. I think we can agree that the Book of Mormon, including its narrative, is significant to American history, and more generally to the religious history of churches in the Latter Day Saint movement. In my work as a literary scholar, I have studied works not for their aesthetic qualities, but for their importance in history. That said, I believe that the Book of Mormon is worthy of study as a literary work in its own right. I believe that even if you (meaning any reader of Wikipedia) do not believe in a supernatural origin for the Book of Mormon, that its narrative and interpretation is still important. The interpretation of the Book of Mormon by both Mormon and non-Mormon scholars is important enough to include on Wikipedia, and we can summarize reliable sources to show that. I know that my opinion is not sufficient to persuade you. We both believe that our way is consistent with Wikipedia's guidelines. What would be helpful here? I can provide multiple examples of non-Mormon scholars who use the "bracketing" approach to literary criticism of the Book of Mormon. But it feels like we cannot agree that this scholarship is legitimate. I could ask a Wikipedia acquaintance of mine (who is not LDS, has edited in book spaces, but I do not know IRL) for a third opinion. We could take Richard Bushman's work to the reliable sources noticeboard. We could ask at Wikiproject Christianity what they think we should do with BoM scholarship. We could go to the fringe theories noticeboard! I'm sure there are other options. What do you think would help us come to a consensus? Rachel Helps (BYU) (talk) 15:22, 15 March 2024 (UTC)
 * Studying works for the importance in history is, crucially, not the kind of literary analysis I was describing. It's a way to provide historical context, I would even call it "historical analysis". Would love more sources like that, so if that's what you would like to focus on we are actually in agreement. What I do not appreciate as a primary approach in our articles is leaning mostly on works that don't try to contextualize the story at all and instead explore it on its own terms textually. For example, sources that try to interpret the thoughts and feelings of the characters on the terms of the text or in the context of a person's connection to dogma. jps (talk) 16:10, 15 March 2024 (UTC)
 * I am chiming in here. I think at Talk:Ammonihah there is the suggestion that something like "Book of Mormon as Literature" be created as a separate article. And it could be any title deemed appropriate. In any case, the BoM seems to have developed a track record as worthy of literary criticism, at least since 2012.
 * But, as .jps points out, contextualizing these BoM articles by immersing them into their relationship with 19th century culture, folk beliefs, surrounding circumstances and societal concerns matters for encyclopedic articles. I came across an article on JSTOR that discussed the oratory techniques that were widely used in the nineteenth century and maybe or probably employed by Joseph Smith. I didn't realize the value of this piece at the time. I didn't realize we Wikipediaes would be engaged in extensive discussions about the BoM and ancillary topics. I am trying to find that article again. In the meantime, here is the results of an arbitrary JSTOR search for "Historical accuracy Book of Mormon" . ---Steve Quinn (talk) 18:38, 15 March 2024 (UTC)
 * Here what might be a couple of interesting scholarly views found in that set of articles:
 * Barlow, Philip L. “Joseph Smith’s Revision of the Bible: Fraudulent, Pathologic, or Prophetic?” The Harvard Theological Review, vol. 83, no. 1, 1990, pp. 45–64.
 * Duffy, John-Charles. “Just How ‘Scandalous’ Is the Golden Plates Story? Academic Discourse on the Origin of the Book of Mormon.” The John Whitmer Historical Association Journal, vol. 26, 2006, pp. 142–65.
 * Regards, ---Steve Quinn (talk) 18:57, 15 March 2024 (UTC)
 * Hi. I'm the main contributor to the Ammonihah article as it currently exists. I'm a little surprised I wasn't pinged, since I was a participant in the conversation. I've disclosed a past connection to BYU as a student and student employee.
 * Wikipedia summarizes a consensus that appears in secondary sources. If that's mostly literary, we mostly summarize literary analysis; if that's mostly reception history, we mostly summarize reception history; if that's mostly anthropological, we mostly summarize anthropology. It isn't for us to force an interpretation or perspective into an article if scholars haven't made that interpretation about the topic. To do so would be original research.
 * For the convenience of others on this project talk page, I list a handful of sources from the last ten years that ground my sense that the literary approach to the Book of Mormon is a major one, listed chronologically:
 * Laurie Maffly-Kipp, introduction to The Book of Mormon, Penguin Classics (Penguin, 2008)
 * Maffly-Kipp is the Washington University in St. Louis, John C. Danforth Center on Religion and Politics' Archer Alexander Distinguished Professor.
 * Jared Hickman, "The Book of Mormon as Amerindian Apocalypse", American Literature 86, no. 3 (Duke University, 2014): 429–461.
 * Hickman is an professor of English at Johns Hopkins University.
 * Laura T. Scales, "A New 'Mormon Moment'? The Book of Mormon in Literary Studies", Literature Compass 13, no. 11 (John Wiley & Sons, November 2016): 735–743
 * Scales is an professor of English at Stonehill College.
 * John Christopher Thomas, A Pentecostal Reads the Book of Mormon: A Theological and Literary Introduction (CPT Press, 2016)
 * Thomas is director of the Centre for Pentecostal and Charismatic Studies at Bangor University.
 * Grant Shreve, "The Book of Mormon Gets the Literary Treatment", Religion & Politics (Washington University in St. Louis's John C. Danforth Center on Religion & Politics, May 23, 2017).
 * Shreve received a PhD in American literature from Johns Hopkins University
 * Elizabeth Fenton and Jared Hickman, eds., Americanist Approaches to the Book of Mormon (Oxford University Press, 2019).
 * Hickman is described above; Fenton is a professor of English at the University of Vermont. The book is a collection of Americanist (academic term for American literary criticism) essays.
 * Peter Coviello, Make Yourselves Gods: Mormons and the Unfinished Business of American Secularism, Class 200 (University of Chicago Press, 2019)
 * Coviello is a professor of English at the of Illinois, Chicago. Since this one isn't as apparent from the title, I'll point out that Coviello's book deploys his tools of literary criticism and includes interpretations of the Book of Mormon via such.
 * All this to say that dismissing out of hand literary criticism of the Book of Mormon seems short-sighted. What the right approach at a given Book of Mormon topic is a more specific question, probably better decided at each article. Different aspects of the Book of Mormon have received different kinds of treatment. There's less literary criticism of, say, Zarahemla as a setting in the Book of Mormon, and a lot more reception history about Mormons naming things after it and unsuccessfully trying to discover ruins. And there's less of that for Ammonihah, which has apparently prompted different sorts of coverage. Hydrangeans (she/her | talk | edits) 19:07, 15 March 2024 (UTC)
 * I'm replying to jps's comment about literary criticism on Wikipedia. I'm trying to say that historical or authorial analysis is just one way to do literary criticism. After looking at a couple of novel FAs, I see that it's common on Wikipedia to include analysis of the author's intent and personal philosophy in the analysis sections. That is more difficult to do with the Book of Mormon, because Joseph Smith doesn't present himself as the author (nor does he discuss its contents conveniently in interview form as do many contemporary authors). However, we run into a similar problem with the Qu'ran, which Muslims believe was dictated by the angel Gabriel to Muhammad. When I look at pages for Surahs (chapters in the Quran), like An-Nisa, I see lengthy summary of the verses and analysis of the text as received by believers. Are you saying that pages on chapters in the Qu'ran suffer from the same problem? Rachel Helps (BYU) (talk) 19:20, 15 March 2024 (UTC)
 * I think the difference with the Quran is that its genre is basically poetry which lends itself to a bit more of a relaxed time. It makes it a bit easier to separate out things like Isra' and Mi'raj and other impossible miracles to pages where the precise issues with their impossibilities can in principle if not in practice be dealt with separate from the article on the text. It's an unfortunate accident of history that the Book of Mormon is told mostly in prose so it's harder to separate the events, places, names, and ideas from the text just from a style standpoint. jps (talk) 20:07, 15 March 2024 (UTC)
 * @Rachel Helps (BYU) I think that’s a real problem with those articles. Doug Weller  talk 20:08, 15 March 2024 (UTC)
 * It's definitely something to tackle, though I'm not sure exactly how. Splitting of the Moon is another fun article to watch. jps (talk) 20:12, 15 March 2024 (UTC)
 * I'm not sure that this is at odds with what I'm saying. I think an over-emphasis on literary criticism can be a problem given that there is an obvious context of the text as a foundational religious text and that is how most people interact with it, no? Of course, we could have sections of an article or spin-offs of the article about the literary critiques/treatments, but i am seeing something more going on here: an adoption of literary criticism/treatment as the primary means to discuss the specific topic to the detriment of things like the historical import or social impact of the ideas. jps (talk) 20:02, 15 March 2024 (UTC)
 * In cases where I've found secondary sources from other disciplines like reception history, I've added material about that, like in the Zarahemla article (the searches for ruins) or the stripling warriors article (the popularity of stripling warrior and Helaman action figures). In cases where I've found literary criticism, I've added material about that, like in the Ammonihah article (the plot with Alma and the fire and brimstone imagery).
 * By way of aside, I don't consider either the Zarahemla or stripling warrior articles as they currently exist to be good examples of articles. My contributions came recently, and mostly in the reception sections; the articles were created as pretty POV scripture-sourced messes some 20 years ago, in the early 2000s way before I had anything to do with Wikipedia, and way before Rachel Helps (BYU) did either, as far as I know. Hydrangeans (she/her | talk | edits) 20:34, 15 March 2024 (UTC)
 * I want to commend you for adding secondary sources of that sort. More of that, please! jps (talk) 21:11, 15 March 2024 (UTC)
 * This would be more meaningful if your posts didn't leave the impression of using it as a kind of cudgel to justify excluding material from other disciplines, like literary criticism. Hydrangeans (she/her | talk | edits) 21:54, 15 March 2024 (UTC)
 * I think you haven't appreciated the fact that right now a lot of our Book of Mormon pages read as though the only discipline that exists is literary criticism. jps (talk) 22:18, 15 March 2024 (UTC)

Discussion at RSN
Reliable_sources/Noticeboard

I don't know what the solution is for this, but I think this is probably in violation of WP:LOCALCONSENSUS. Or maybe not. Anyway, there is the discussion started.

jps (talk) 23:37, 15 March 2024 (UTC)

Requested move at Talk:Capital punishment
There is a requested move discussion at Talk:Capital punishment that may be of interest to members of this WikiProject. RodRabelo7 (talk) 01:58, 13 April 2024 (UTC)


text:
Isorella

Isorella is a town and comune in the province of Brescia, in Lombardy, Italy.

title: Isorella


text:
Peter Grimes

Peter Grimes, Op. 33, is an opera in three acts by Benjamin Britten, with a libretto by Montagu Slater based on the section "Peter Grimes", in George Crabbe's long narrative poem The Borough. The "borough" of the opera is a fictional small town that bears some resemblance to Crabbe's – and later Britten's – home of Aldeburgh, Suffolk, on England's east coast.

The work was conceived while Britten was living in the US in the early years of the Second World War and completed when he returned to Britain in 1943. It was first performed at Sadler's Wells in London on 7 June 1945, conducted by Reginald Goodall, and was a critical and popular success. It is still widely performed, both in Britain and internationally, and has become part of the standard repertoire. Among the tenors who have performed the title role in the opera house, or on record, or both are Britten's partner Peter Pears, who sang the part at the premiere, and Allan Clayton, Ben Heppner, Anthony Rolfe Johnson, Jonas Kaufmann, Philip Langridge, Stuart Skelton, Set Svanholm and Jon Vickers.

Four Sea Interludes, consisting of purely orchestral music from the opera, were published separately and are frequently performed as an orchestral suite. Another interlude, a passacaglia, was published separately and is also often performed, either together with the Sea Interludes or by itself.

US: 1941–1943
In the early years of the Second World War, Benjamin Britten and his partner Peter Pears were living in the US. Britten's compositions from his years there include the song cycle Les Illuminations (1940), the Sinfonia da Requiem (1940) and his operetta, Paul Bunyan (1941). In 1941 Britten came across a transcript in the BBC's magazine The Listener of a talk by E.M.Forster about the 18th-century Suffolk poet George Crabbe. It began, "To talk about Crabbe is to talk about England". Britten was filled with nostalgic feelings about his native Suffolk. Pears found a copy of Crabbe's works in a second-hand bookshop and Britten read the poem The Borough, which contained the tragic story of the Aldeburgh fisherman Peter Grimes. He said later, "In a flash I realised two things: that I must write an opera, and where I belonged". He and Pears began sketching an operatic scenario drawing on The Borough. From the outset the characters and story of the libretto were only loosely based on Crabbe's work. The Grimes of Crabbe's poem is an outright bully, "untouched by pity, unstung by remorse and uncorrected by shame". Three of his apprentices in succession have died before he is summoned to the Town Hall to account for his conduct, after which he is forbidden to employ another. He works alone until the ghosts of his victims begin to terrorise him and he sinks into madness and dies in bed. In Crabbe's poem, Ellen Orford's tale is completely separate from Grimes's and they are not mentioned as meeting each other. The Rector, Swallow, and the proprietress of the Boar inn, "Auntie", and her nieces derive from other sections of The Borough, but other characters in the opera, including Balstrode, Boles and Ned Keene, are not in Crabbe's original.

While Britten and Pears were waiting for a passage back to England, the conductor Serge Koussevitzky asked the composer why he had not written an opera. Britten explained that doing so would necessitate putting all other work aside, which he could not afford to do. Koussevitzky arranged for the commissioning of the opera by the musical foundation he had recently set up. The fee was $1,000, and the opera was to be dedicated to the memory of Koussevitzky's wife, who had recently died. Britten approached his friend the writer Christopher Isherwood, inviting him to write the libretto. Pleading pressure of work and some reservations about the effectiveness of the subject, Isherwood declined.

London: 1943–1945
During the voyage back to England, Pears continued to work on the scenario of the opera while Britten composed A Ceremony of Carols and Hymn to St Cecilia. The story, and Grimes's character, underwent substantial changes in the early stages of drafting. For a long time during the gestation of the work Britten conceived Grimes as a baritone role. Pears persuaded Britten to play down any emotional tie Grimes might feel to the apprentice, and play up his position as an outsider in an intolerant society. At first, Britten had Grimes murdering his apprentices rather than being at worst negligent. For some time the dénouement had Grimes on the marshes, going mad and dying there. An episode with smugglers was dropped and several characters were gradually eliminated as work progressed on the story. By the time Britten and Pears returned home in April 1943 the shape of the work was not greatly different from the final version, and to turn the scenario into a libretto Britten recruited an old friend, the writer Montagu Slater. Slater was a journalist, novelist and playwright. Before the war Britten had composed incidental music for two short verse-plays of his. Eric Crozier, who worked closely with Britten, comments that the whole of the original text of the libretto – "apart from six quatrains by Crabbe and the small phrase 'Grimes is at his exercise'" – is Slater's work. He abandoned Crabbe's rhyming couplets and allowed his text "to reflect the diverse speech-rhythms of the individual Borough characters":

In Crozier's view, Slater's "short interjectory sentences" in the recitatives and the "more expansive phrases" of the arias are ideal for musical setting. In Slater's hands the character of Grimes was further developed. In Pears's words, Grimes is "neither a hero nor a villain", but "an ordinary, weak person who, being at odds with the society in which he finds himself, tries to overcome it and, in doing so, offends against the conventional code, is classed by society as a criminal, and destroyed as such. There are plenty of Grimeses around still, I think!"

Discussions between composer and librettist, revisions and corrections took nearly eighteen months. In January 1944 Britten started writing the music and just over a year later it was complete. The premiere had been planned for Koussevitzky's Tanglewood Festival, but the festival had been suspended for the duration of the war, and Koussevitzky waived his contractual rights and gave his blessing to Sadler's Wells Opera to stage the first performances, saying that the opera – which he thought the greatest since Carmen – belonged not to him but to the world.

Tyrone Guthrie, the general administrator of the Sadler's Wells company, appointed his assistant Eric Crozier to stage the piece, and the latter, together with Britten, made adjustments to the libretto during rehearsals when Slater's text proved unsuitable for singability or clarity. Slater resented this, and insisted on publishing his original version in 1946, as Peter Grimes and Other Poems. Crozier brought in Kenneth Green to design the costumes and sets, the latter being naturalistic and based on Aldeburgh.

Premiere
Sadler's Wells had been closed during the war, and the premiere of Peter Grimes, on 7 June 1945, marked the reopening of the theatre. When Joan Cross, director of the company, announced the plan to reopen the house with Peter Grimes − herself and Pears in the leading roles − there were complaints from company members about supposed favouritism and the "cacophony" of Britten's score. Yet when Peter Grimes opened it was hailed by public and critics; its box-office takings matched or exceeded those for La bohème and Madame Butterfly, which were being staged concurrently by the company.

Original cast

 * Source: Libretto.

Later London productions
Sadler's Wells and its successor, English National Opera, staged new productions in 1963, 1990 and 2009. Grimes was played by, respectively, Ronald Dowd, Philip Langridge and Stuart Skelton; the conductors were Charles Mackerras, David Atherton and Edward Gardner.

Peter Grimes was staged at the Royal Opera House in 1947, in a production by Guthrie, conducted by Karl Rankl, with Pears, Cross and Edith Coates reprising their roles from the Sadler's Wells premiere. There have been four new productions at Covent Garden since then, directed by John Cranko (1953), Elijah Moshinsky (1975), Willy Decker (2004, a co-production with the Théâtre Royal de la Monnaie, Brussels) and Deborah Warner (2022, a co-production with the Teatro Real, Madrid, the Teatro dell'Opera, Rome, and the Opéra National de Paris). The conductors were, respectively, Goodall, Colin Davis, Antonio Pappano and Mark Elder, and the title role was sung by Pears, Jon Vickers, Ben Heppner and Allan Clayton. In revivals of the earlier productions, Grimes was played by tenors including Richard Lewis, Richard Cassilly, Robert Tear, Langridge, and Anthony Rolfe Johnson.

Regional British productions
Productions by other British opera companies include Colin Graham's 1968 staging for Scottish Opera, conducted by Alexander Gibson with Nigel Douglas as Grimes; Glyndebourne Festival's first production of the work in 1992, directed by Trevor Nunn and conducted by Andrew Davis and, in revivals, Franz Welser-Most and Mark Wigglesworth; a 1999 version by Welsh National Opera, directed by Peter Stein and conducted by Carlo Rizzi with John Daszak as Grimes; and Opera North's 2006 production, directed by Phyllida Lloyd and conducted by Richard Farnes with Jeffrey Lloyd-Roberts as Grimes. In the summer of 2013, to mark the centenary of Britten's birth, the Aldeburgh Festival staged its first performance of Peter Grimes. It was played in its natural setting on the beach at Aldeburgh. Steuart Bedford conducted, and Alan Oke sang Grimes.

American productions
The American premiere of the work was given in August 1946 at Tanglewood, conducted by Koussevitzky's protégé Leonard Bernstein, with William Horne in the title role. The Metropolitan Opera first staged the piece in 1948 with Frederick Jagel as Grimes. The house staged a new production in 1967, directed by Guthrie and conducted by Colin Davis, with Vickers as Grimes. A subsequent production, by John Doyle, was presented in 2008, conducted by Donald Runnicles, with Anthony Dean Griffey in the title role.

Continental Europe
One of the first productions of the work outside Britain was at the Royal Swedish Opera in March 1946, conducted by Herbert Sandberg, with Set Svanholm as Grimes. Productions in Basel, Antwerp and Zurich followed within weeks. The opera was given in Paris at the Opéra in 1981 directed by Moshinsky and conducted by John Pritchard, with Vickers in the title role and a largely Franco-British cast. A production by Graham Vick was staged at the Opéra Bastille in 2001, conducted by James Conlon, with Heppner as Grimes. A production by Richard Jones at La Scala, Milan in 2012 was conducted by Robin Ticciati, with John Graham-Hall as Grimes. In addition to the co-productions, above, between the Royal Opera and the Monnaie in Brussels, the Teatro Real in Madrid, the Teatro dell'Opera in Rome, and the Paris Opéra, productions included two in 2022: at the Vienna State Opera in a production directed by Christine Mielitz and conducted by Simone Young, with Jonas Kaufmann as Grimes, Lise Davidsen as Ellen Orford and Bryn Terfel as Balstrode; and the Bavarian State Opera in a production by Stefan Herheim, conducted by Gardner, with Skelton as Grimes, Rachel Willis-Sørensen as Ellen and Iain Paterson as Balstrode.

Prologue
A Suffolk coastal village, "towards 1830".

Peter Grimes is questioned at an inquest over the death at sea of his apprentice. The townsfolk make it clear that they think Grimes is guilty and deserves punishment. The coroner, Mr Swallow, determines the boy's death to be accidental so Grimes avoids a criminal trial. The Coroner advises Grimes not to get another apprentice – a proposal against which Grimes vigorously protests. As the court is cleared, Ellen Orford, the schoolmistress whom Grimes wishes to marry as soon as he gains the Borough's respect, attempts to comfort Grimes as he rages against what he sees as the community's unwillingness to give him a true second chance.

Act 1
The same, some days later

After the first orchestral Interlude (titled, in the Four Sea Interludes concert version, "Dawn"), the chorus, who constitute "the Borough", sing of their weary daily round and their relationship with the sea and the seasons. Grimes calls for help to haul his boat ashore, but is shunned by most of the community. Belatedly, retired skipper Balstrode and the apothecary, Ned Keene, assist Grimes by turning the capstan. Keene tells Grimes that he has found him a new apprentice (named John) from the workhouse. Nobody will volunteer to fetch the boy, until Ellen offers ("Let her among you without fault...").

As a storm approaches, most of the community – after securing windows and equipment – take shelter in the pub. Grimes stays out, and alone with Balstrode confesses his ambitions: to make his fortune with a "good catch", buy a good home and marry Ellen Orford. Balstrode suggests "without your booty [Ellen] will have you now", only to provoke Grimes's furious "No, not for pity!" Balstrode abandons Grimes to the storm, as the latter ruminates "What harbour shelters peace?" The storm then breaks with a vengeance (second orchestral Interlude).

In the pub, tensions are rising due both to the storm and to the fiery Methodist fisherman, Bob Boles, getting increasingly drunk and lecherous after the pub's main attraction, the two "nieces". Grimes suddenly enters ("Now the Great Bear and Pleiades..."), and his wild appearance unites almost the entire community in their fear and mistrust of his "temper". Ned Keene saves the situation by starting a round ("Old Joe has gone fishing"). Just as the round reaches a climax, Ellen arrives with the apprentice, both drenched. Grimes immediately sets off with the apprentice to his hut, despite the terrible storm.

Act 2
The same, some weeks later

On a sunny Sunday morning (the Third Orchestral Interlude), while most Borough townspeople are at church, Ellen talks with John the apprentice. She is horrified to find a bruise on his neck. When she confronts Grimes about it, he brusquely dismisses it as an accident. Growing angry at her concern and interference, he strikes her and runs off with the boy. This does not go unseen: first Keene, Auntie, and Bob Boles, then the chorus comment on what has happened, the latter developing into a mob which sets off to investigate at Grimes's fisherman's hut. As they march off, Ellen, Auntie, and the nieces sing despairingly of the town's menfolk. The Fourth Orchestral Interlude (Passacaglia) follows as the scene changes.

At the hut, Grimes impatiently demands John change out of his Sunday clothes and into fisherman's gear. Though it is a Sunday he hastily prepares to set out to fish as he has seen a large school of herring. Grimes becomes lost in his memories of his previous apprentice, reliving the boy's death of thirst. When he hears the mob of townspeople approaching, he quickly snaps back to reality. He is angry and defiant, stirred by a paranoid belief that John has been gossiping with Ellen, so provoking the anger of the town against him. He warns John to be careful as they climb down the cliff to the boat, but in their haste the boy slips to his death below. When the mob reaches the hut, Grimes and the apprentice are not to be found, so they disperse, curious and suspicious.

Act 3
The same, two days later, night in the Borough ("Moonlight" in the Sea Interludes).

At a town dance, Mrs Sedley tries to convince the authorities that Grimes is a murderer. Ellen and Captain Balstrode confide in each other: Grimes has disappeared, and Balstrode has discovered a jersey washed ashore. Ellen recognises it as one she had knitted for John. Mrs Sedley overhears this and, with the knowledge that Grimes has returned, whips up another vigilante mob. Singing "Him who despises us we'll destroy", the villagers march off in search of Grimes. (The sixth interlude, not included in the concert version of the Sea Interludes, covers the change of scene.)

While the townspeople can be heard off-stage hunting for him, Grimes appears onstage singing a monologue, interspersed by cries from the mob and by a mournful fog horn (a solo tuba). The death of his second apprentice has shattered Grimes who sounds panicked, distracted and unfocused. Ellen and Balstrode discover him before the furious townspeople get there, and the sea captain advises Grimes that the best thing he can do is sail out to sea and drown himself by scuppering his boat. Silently, Grimes walks out. The next morning life in the Borough begins as usual as if nothing has happened, though there is a report from the coastguard of a boat seen sinking far off the coast. This is dismissed by Auntie as "one of these rum-ours".

Sea Interludes
To cover the scene changes during the opera Britten wrote six orchestral interludes. Five of them have been published separately. The Four Sea Interludes, Op 33a, is a suite of about 17 minutes' duration, comprising the first, third, fifth and second interludes from the opera, with the titles "Dawn", "Sunday Morning", "Moonlight" and "Storm". The fourth interlude, a passacaglia, has been published separately as Op 33b, and is sometimes appended to the Four Sea Interludes in concert and recordings. Britten conducted the London Philharmonic Orchestra in the first performance of the suite at the Cheltenham Festival, a week after the opera's premiere; the London premiere was at the Proms, in August 1945, and the five interludes were conducted by Sir Thomas Beecham in October 1945.

First productions
In The Observer, William Glock rated the first act less convincing than the other two, but found the opera as a whole "a most thrilling work", displaying Britten's "genius". The Manchester Guardian's critic, William McNaught, considered the music "full of vivid suggestion and action, sometimes rising to a kind of white-hot poetry", but thought the libretto insufficiently "operatic" – "overloaded with scrappy and not always telling incident". The Scotsman's critic took a different view, calling the work "that rare thing – a piece of perfect collaboration between librettist and composer". The reviewer in The Times found the use of a single spoken line for Balstrode at a key point intrusive in an otherwise through-composed score, but praised Britten's "effortless originality" and "orchestral music of diabolical cunning".

After the American premiere, the critic Douglas Watt opened his review "Peter Grimes has greatness", and called the work "an opera for our time, brilliantly conceived and executed", with the "breathtaking pleasure" of the music matched by "the strong and lovely libretto", though he predicted that if an impresario succeeded in staging the piece on Broadway "it will be met with much intolerance and displeasure by audiences unprepared for its surprising magnificences". In The Boston Globe, Cyrus Durgin praised the young Bernstein for bringing out "the drive and dissonance of an opera which is far from 'tuneful' in the conventional sense" and rated the work "a step forward for opera in this country, and anywhere for that matter".

Later assessments
Grove's Dictionary of Music and Musicians describes Peter Grimes as "a powerful allegory of homosexual oppression", and The New York Times has called it one of "the true operatic masterpieces of the 20th century"; the composer's own contemporary (1948) summation of the work was "a subject very close to my heart – the struggle of the individual against the masses. The more vicious the society, the more vicious the individual". In a 1963 analysis of the opera in Music & Letters, J. W. Garbutt contended that Britten's "inventive genius" and the richness of the score led the listener to suspend disbelief, but that Slater's libretto failed to reconcile the violent and the visionary in Grimes's character and conduct. In a retrospective consideration of the opera in 1972, Peter Garvie argued in Tempo that although it had seemed uniquely new when it first appeared, it was in fact "a great but final reincarnation of more or less traditional opera", and that it holds no promise of redemption for the characters, unlike Britten's later operas.

In The University of Toronto Quarterly in 2005, Allan Hepburn considered the various views of previous commentators on the extent to which homosexuality is relevant to the plot of the opera. He notes that in Peter Conrad's analysis, "Grimes the boy-killer is the homosexual outcast, looking to Ellen Orford to effect his redemption, even his cure", and that for Philip Brett Britten's operas are "preoccupied with the social experience of homosexuality", but Hepburn concludes that Grimes can be seen in several different ways:

In 2020 Rupert Christiansen wrote that Peter Grimes can be labelled a "folk" opera, to the extent that:

Christiansen also remarks on "the sharp, Dickensian characterisations" of the various inhabitants of the Borough, showing the composer's exceptional gift for setting the English language to music.

title: Peter Grimes


text:
Thành Thái

Thành Thái (, 成泰; 14 March 1879 – 20 March 1954) born Nguyễn Phúc Bửu Lân (阮福寶嶙), was the son of Emperor Dục Đức and Empress Dowager Từ Minh. He reigned as emperor for 18 years, from 1889 to 1907. Thành Thái was one of the three "patriotic emperors" in Vietnamese history, along with Hàm Nghi and Duy Tân (his son), for their actions and views against French colonial rule in Vietnam.

Early life
While the emperor Tự Đức was alive, Prince Quang Thái was placed under house arrest with his family for having connections with those who opposed him. When the emperor Đồng Khánh died, however, the French colonial authorities and the high-ranking mandarins decided that Quang Thái was the ideal successor and enthroned him as the new Vietnamese emperor, Emperor Thành Thái.

At the age of 10, Thành Thái was recognized as being very intelligent and was already realizing that the French were keeping watch over him through palace spies. Whereas Đồng Khánh had tried to be friendly with the French, Emperor Thành Thái took a course of passive-resistance. Although he refrained from outright rebellion (which would have been political suicide), he made his feelings clear in other ways, symbolic gestures and biting remarks. He was also a man of the people, and a monarch who cared deeply for his country. The emperor would often slip out of the Forbidden City dressed in the clothes of a commoner to talk with his people directly and see how they were being affected by government policies.

Opposing French authority
To show that he was friendly with Western civilization, Thành Thái was the first Vietnamese monarch to cut his hair in the French style and learn to drive a car. He encouraged French-style education, but maintained bitter feelings over their control of his country. He also supported numerous building projects and took an interest in the everyday lives of his subjects. When traveling among his people, he would hold impromptu "town hall meetings" where the Emperor sat on a mat with his subjects in a circle around him, discussing the issues of the day and hearing their point of view. Slowly, as the emperor began to realize how thoroughly his palace had been infiltrated with French spies, he had to feign insanity to escape their constant scrutiny. With his enemies believing he was a harmless lunatic, Thành Thái was able to push more forcefully for Vietnamese autonomy while waiting for the right time to overthrow the French colonial rule. He was on his way to join a resistance movement in China when he was arrested by French forces who declared him insane and forced the Emperor to abdicate.

In 1907, his son was installed as Emperor Duy Tân. Thành Thái was exiled first to Vũng Tàu in South Vietnam and when Duy Tân rebelled against the French they were both exiled to Réunion Island in 1916.

Unlike Hàm Nghi, the lives of Thành Thái and Duy Tân were tough. They even had no money to pay for rent. In 1925, Emperor Khải Định knew his situation and sent 1,000 piastres to him. Khải Định later occasionally gave him money.

He never gave up hope for the liberation of his country. In May 1947, he was allowed to return home, but was kept under house arrest in Vũng Tàu. He died in Saigon on 24 March 1954 and was buried on the grounds of An Lang (Tomb of Duc Duc) in an old commune, Hương Thủy district, Thừa Thiên Huế Province, at the age of 75.

There are now roads in Vietnam named in his honour.

Honours

 * Grand Cross of the Legion of Honour of France – 1883
 * Grand Cross of the Royal Order of Cambodia – 1889

title: Thành Thái


text:
Leno (disambiguation)

Jay Leno (born 1950) is an American comedian and talk show host.

Leno may also refer to:

 * Leno (surname)
 * Leno, Lombardy, Italy, a town and comune
 * Leno (stream), a stream in Italy
 * Leno weave, a pattern in weaving
 * Leño, a Spanish hard rock band from 1978 to 1983
 * Leño (album) (1979)
 * Leno, a stock character in theatre of ancient Rome who is a slave dealer or pimp

title: Leno (disambiguation)


text:
User:SafaiaRyuujin

Hi! I've noticed you just created an article Safaia Ryuujin - you'll also noticed I've put it up for speedy deletion...let me exaplain why. You're more than welcome to post information about yourself on Wikipedia, but it really should belong in your user page (to access it, just click your username at the top of the screen). Hope you enjoy your time at Wikipedia,

Nick04

title: User:SafaiaRyuujin