text:
Wikipedia talk:WikiProject Comics/Templates

We should think about templates. Proposals:
 * A project notice like template:philosophy, to be placed at the top of Talk pages. That will direct people here.
 * Done. See template:comicsproj.
 * Infoboxes (similar to those found on album pages {example})
 * "Comic book series" with picture, publisher, dates, notable creators, &c.
 * "Comic book character" with picture, publisher, dates, notable creators, first appearance, powers, group affiliations, real name, & all that trading-card stuff. (Template:Superherobox)
 * "Comic book character" which is not Superhero-specific. (Template:Comiccharacterbox)
 * "Comics creator" with picture (if legal?), dates, and most important works.
 * An infobox for graphic novels. I have been using the one for comic serieses (example: Watchmen), but I think a more standard one is needed. - Stephen Goldmeier, Columbus, Ohio 05:28, 23 February 2007 (UTC)

-leigh (φθόγγος) 01:57, Dec 7, 2004 (UTC)
 * Possibly a "comics" template, similar to template:The Beatles, which appears at the bottom of every Beatles-related page and contains links to top-level articles on the Beatles.

We should also develop an fair use image copyright tag for images that consist of a few comic panels. - Lifefeed 14:19, Dec 13, 2004 (UTC)

 * Perhaps it should look like (a shorter version of?) this. -leigh (φθόγγος) 08:27, Dec 20, 2004 (UTC)

"Marvel Comics" vs. "Marvel Comics universe"
One of the two terms above is used in most entries for Marvel Comics characters, which generally say either "so-and-so is a fictional Marvel Comics superhero" or "so-and-so is a fictional superhero in the Marvel Comics universe" (as it says, for instance, in entries for S.H.I.E.L.D. and Ego, The Living Planet)

The two terms each link to separate Wikipedia entries. They mean different things -- one entry is about a comic-book company, the other about an internally consistent fictional setting, ala Tolkein's Middle-earth -- yet they are used interchangeably.

For consistency and clarity, it might be good to establish some sort of standard language for these Marvel Comics entries and, by extension, those for DC, etc. -Tenebrae, Sept. 6, 2005, 8:34PM ET

Team-Up Titles
Just wondering if there should be a specific template for such titles, one that would allow the listing of the guest stars (appropriately linked, naturally) in any given issue.

I ask because I was thinking about putting together one for Ultimate Team Up, but the format could be more generally applicable. Lokicarbis 06:08, Jan 10, 2005 (UTC)

Template:Superherobox
I've created a superherobox template which should act as an infobox for comic-book characters. Because not all comic books deal with superheroes (eg Archie), this template was created and named specifically for them. See more info about this template on the main page.

Please make any suggestions here, but refrain from simply changing the template without posting about the changes here first. Feel free to add comic color codes to the list, but choose colors that are easy on the eyes.

Comic book covers might not work too well as images in the template, due to the large height, so the Wolverine example would have to be replaced with something less tall, as would all other images. Maybe this one could just be cropped. -- brian0918   01:30, 23 Feb 2005 (UTC)

 * A cover is probably fine. Just shrink the image.   — Gwalla | Talk 04:45, 23 Feb 2005 (UTC)

 * Alright, the instructions will read that the image can be at most 300px wide. -- brian0918   05:19, 23 Feb 2005 (UTC)

 * I don't really like that at all. It's huge, the colours are all wrong and there is far too much information there.  Keep it simple would be my opinion.--Hiding 22:28, 3 May 2005 (UTC)

 * What happened to the "Status" tadbit in the SH Boxes? Kanjilearner 11:42, 12 August 2006 (UTC)

Non-vertical lists and punctuation
Better to keep the discussion at: Template talk:Superherobox.

comics-stub
564 articles in here and counting. This really needs broken up into several sub-categories soon - looking through it, and from what I was talking about above with BTfromLA, Marvel-Comics-stub, DC-Comics-stub and comics-creators-stub are three I would make immediately, with a few others like DC-Thompson-comics-stub possible if there are still a lot left. I don't know how to make them into actual sub-categories of comics-stub though, so I'll leave it to someone who does. Any takers? SoM 20:13, 3 Mar 2005 (UTC)

Have added Comic Book Publisher stub, to help tidy up a bit more. Not sure if you want the DC and Marvel stubs moved there or not? --Hiding 01:29, 2 May 2005 (UTC)

Original, Moved Thread

 * 'The following was originally posted at Template talk:Marvel-Comics-stub. As it applies to more than that single template, it has been moved here & reformatted, for the sake of a coherant discussion. --Jerzy•t 22:03, 4 January 2006 (UTC)

I've just removed the text saying 'please consider joining WikiProject:Comics'. This does not need to be in a stub which is seen by everyone who visits the article, some of whom may not even know what a WikiProject is. Maybe it's useful to someone who edits the page, but otherwise, no. Please do not re-add it without explaining your reasoning on Template talk:Marvel-Comics-stub.  s p l i n t a x  (talk) 09:34, 13 November 2005 (UTC)
 * I've added it back, a lot of other projects do it and I fail to see what harm it does. If people do not know what a WikiProject os they will learn by clicking the link, part of the principle upon which both wikipedia and the web are based, I believe. The reasoning is that people may be more inclined to join wikipedia if they feel there is a community within which they would feel comforatble. If they are reading articles about comics, and feel inclined to edit it, it lets them know such a community exists and is full of like-minded people who can give them any help they need. Hiding  talk 23:38, 13 November 2005 (UTC)
 * Bravo, Splintax. Spam is rude. Spam is self-centered. Spam sucks. The article pages are for readers, and only seconarily for editors, and the stub-tag exception to that was controversial and based on the fact they serve as an apology for an inadequate article as much as they serve as a simple solicitation to edit; this is emphasized by the stub notice providing a lk to edit the stub in question (by which they can finish & return to reading the same article without even learning to look for the "edit this page" tab). People who are ready to join a project are already editing, and will find out abt projects by other, editor-specific, means. It doesn't appear that other projects do it, and if they do, name them so they can be stopped as well. (See Wikipedia talk:WikiProject Comics/templates.) Wiki-projects should not suck. Stop it. --Jerzy•t 20:24, 4 January 2006 (UTC)
 * I'm always a little unclear on the distinction between readers and editors in an encyclopedia anyone can edit. Please could you source your argument that consensus dictates these links are spam, I'd appreciate it.  As to other Wikiprojects doing it, see Australia-gov-stub, cricket-stub for starters.  There are probably others out there, but given I'm unclear as to the sourcing of your argument I'm not going looking for them. Hiding  talk 20:51, 4 January 2006 (UTC)
 * A separate question of civility was raised on the other page. I will respond to it on Hiding's user-talk page, in the belief it needs no attention by third parties (who of course may nevertheless want to monitor it there and/or comment). --Jerzy•t 22:03, 4 January 2006 (UTC)

Second Independent Thread
_ _ I looked here and Template talk:Comics-creator-stub and Template talk:Comics-stub for discussion to justify spamming, via the stub tag, abt the project. Nothing. I looked at history of Template:Comics-creator-stub and found that 6 different editors had left it there for 10 months. I Google searched and found (searching the result page) that the 39 hits included only the following instances of Template: pages: I conclude that this is a comics-only aberration, and that WP and the comics articles will be best helped by removing from these templates these invitations to regard comic-project editors as self-centered and rude. I have edited the two templates accordingly. _ _ At the last moment (before doing the template edits and saving this), i decided to be more thoro than i had when i was sure only that there were more than one and none outside this project, and checked Template talk:Marvel-Comics-stub, to which i am responding. --Jerzy•t 20:25, 4 January 2006 (UTC)
 * 1) Template:Comics-creator-stub
 * 2) Template:Marvel-Comics-stub
 * 3) a redirect to one of these, probably visible only when i retrieved the hundreds of Google-omitted dupes.
 * I have responded to these comments at Template talk:Marvel-Comics-stub, where all discussion would be best placed to follow. Hiding talk 20:56, 4 January 2006 (UTC)

Discussion in which Everyone Knows About Both Previous Threads

 * _ _ That is by no means the place to discuss this. This talk page, since the issue affects nearly all the templates for this project, would be the place to discuss it, if it were a problem of this project alone (as i explitly assumed when writing my comment above).  Hiding, contrary to my expectations, has indeed cited other projects that it affects, so this is the place to discuss only
 * what is the proper place to discuss project solicitations in templates as an any-stub issue.
 * _ _ I would suggest, off-hand, the stub-sorting Wiki-project, as the narrowest stub-only area i can think of, but someone may have a better idea. --Jerzy•t 21:37, 4 January 2006 (UTC)
 * Another option, if there isn't already an established consensus reagrding this matter, is Village pump (proposals), to get the broadest input possible. Thoughts? Hiding  talk 08:37, 5 January 2006 (UTC)
 * _ _ My next thot was also VP, but VP(prop) is (formally) for new proposals to do something other than address policies; in practice, VP(pol) includes policy matters that fall short of the statement of an explicit policy. IMO, even if you call for "adding WikiProject invitations to templates" (instead of arguing against my call to recognize your doing so as something we throroughly disapprove of), you are still looking for approval, rather than seeking ideas about, or organizing, an effort to do it.
 * _ _ In any case, i've pretty much worked up a statement of my position from scratch, with more civility as you suggested, and avoiding the red herring of any reference to spam. Would it make sense for me to put it on yr talk page, and you to post it somewhere on VP, along with your response to it when you're ready? --Jerzy•t 21:25, 5 January 2006 (UTC)
 * Actually, after a period of reflection, I've come to the conclusion it's not something I need to get so worked up over. I'm sure you'd agree we both have better things to do, and I apologise for wasting your time over this.  On reflection I see the merits on both sides, and so I can't summon the strength to prefer one position over the other. I can't speak for anyone else, but then again, no-one else has spoken up, so I'd reckon we could save a whole heap of bother.  Is that alright with you? Hiding  talk 21:42, 5 January 2006 (UTC)

_ _ The above, our user-talk-page discussion before and since, the continuing absence of the WikiProject solicitations from the comic-related templates, and the lack of any other defender of that practice here leave this discussion moot IMO. My view is not perfectly stated above, but not substantially changed; i expect to look into other instances, and can't know now whether the practice might still end up on Village pump (policy). _ _ I can't leave without acknowledging that i erred with regard to WP:CIVIL and was by far the worse offender; i also thank Hiding for the tone and substance of his guidance in that regard. --Jerzy•t 00:01, 6 January 2006 (UTC)

DC Thomson
Is there any template for DC Thomson comics like the Beano, The Dandy and their strips? --GingerM 15:58, 14 Mar 2005 (UTC)

Editor Publisher templates
There are numerous Comics Editor Publisher. A template could be useful with the following information:
 * Logo
 * Country
 * foundation year
 * end of activities year (if any)

What about a template for comics magazine (especially relrevant for EU comics ?) with:
 * Logo
 * Publisher
 * Starting date
 * Ending date (if any)
 * Periodicity
 * number of published issues

Lvr 16:53, 22 Mar 2005 (UTC)

 * By Comics Editor do you mean publisher? Also, I don't see the point of putting number of published issues on an ongoing publication, as it will constantly need updating.--Hiding 22:31, 3 May 2005 (UTC)
 * You're right. Corrected. Lvr 08:41, 6 May 2005 (UTC)

More Templates
Superherobox is great, and I think we should start looking at what other infoboxes would be useful. I personally would like to see boxes for the following categories (with a proposed list of fields) :

 * 1) Non-superhero comic book characters (for whom alliance, status, powers, aliases are not really relevant), i.e. Jimmy Olsen, Lois Lane
 * 2) * Name
 * 3) * Publisher
 * 4) * First appearance
 * 5) * Created by
 * 6) * Notable relatives

 * 1) Comic book titles, i.e. What If
 * 2) * Publisher
 * 3) * Created by
 * 4) * Duration (ongoing, limited)
 * 5) * Year of first publication
 * 6) * Publication frequency (monthly, bimonthly, intermittent)
 * 7) * Main character(s), team(s) (limit to maybe five)

Any ideas/suggestions? One interesting thing that will come about with the introduction of these other boxes is that we will have some overlap, for example, most titles are either also the name of a superhero or team. We could either establish a precedent in these cases (title loses), or we could create additional boxes for comics that meet both criteria (superherotitle, teamtitle). --DropDeadGorgias (talk) 20:15, Apr 27, 2005 (UTC)
 * 1) Superhero teams, i.e. X-Men, Top 10 (if a team is also a title, I think the team should take precedence)
 * 2) * Publisher
 * 3) * First appearance
 * 4) * Created by
 * 5) * Alliance
 * 6) * Status
 * 7) * Base of operation
 * 8) * Notable members (limit to maybe five)
 * If no one else has any suggestions for fields to add, I'll mockup these boxes this weekend. There is some ongoing discussion about the table width on Template talk:Superherobox so I'll wait for that discussion to figure out which template to use ultimately. --DropDeadGorgias (talk) 18:54, Apr 29, 2005 (UTC)
 * Just finished another infobox, one for Graphic Novels --Goanookie 14:47, 2 May 2005 (UTC)
 * OK, your template Template:ComicBookBox seems like it should cover my category #2. However, can we add a field saying if the title is ongoing, limited?  Also, can we put a "last issue" field in there somewhere?  --DropDeadGorgias (talk) 15:34, May 2, 2005 (UTC)

Superteambox
What do you think? Formatting wise, it's as straight an adaptation of (the new) superherobox as I could make. Colours are as-SHB.

General code:

 * This looks great, however I would add two things (and I'll change the template accordingly). I think that there should also be a field for a "base of operations", as most teams have a base of some kind (X-Mansion, 4 Freedoms Plaza, The Carrier, etc.).

Fair enow - although, for disbanded teams in particular, that may be... problematic. Not to mention teams that are in a different base from their historically IDed one (Avengers being an obvious example)

 * I would also say that the former members should be limited to maybe 10 characters max, as teams like the X-Men will have a ridiculous number of former members.

Maybe...

 * I also moved the fictional information all into the inner box, like in SHB, and retitled it from "Roster" to "Details". --DropDeadGorgias (talk) 18:16, May 6, 2005 (UTC)

BAD idea - the formatting doesn't work, with the centre-left/right-centre (and, given the size of the lists, left/righting the rosters like the others doesn't work. I tried it). Maybe if you put a statistics bar above the roster bar, and colour-coded the roster bar according to the status of the team... - SoM 18:49, 6 May 2005 (UTC)

 * Hmm, with SHB, there was a debate as the "real name" and "aliases" field were originally in the top part. They were later moved into "statistics" as it was decided it would be best to have the "real world" information (creators, title information) in the top section and then the "comic book world" information in the bottom section.  I still think it's useful to have that distinction, but you're right, the formatting is funky.  What if we were to abandon the center alignment altogether, and make it more like SHB?  --DropDeadGorgias (talk) 19:02, May 6, 2005 (UTC)
 * I tried (but didn't save) it. It looks awful - think about it: narrow box, with a huge list in only half the width. A SHB doesn't (well, shouldn't) have such a list- SoM 19:38, 6 May 2005 (UTC)

 * Well... we can try it like this for now. Also, another thing I would be worried about is that if a team has a large roster and a large number of former members (X-Men)?, it might be a good idea to have a policy about the total number of people that can be in the combined roster, so the boxes don't get unsightly huge.  I'm thinking max 15 or 20.  Sound good?  --DropDeadGorgias (talk) 16:11, May 9, 2005 (UTC)
 * Well, there are three sub-teams of X-Men right now (the AXM team, the UXM/XSE team, and the XM team. Of course, that requires mentioning Wolverine three times...). And even with that, there's only 15 or so members, plus, tops, another 4 or 5 that really need mentioning. I think we can shunt the Ultimate X-Men listing out to that article.

 * The one that really scares me (figuaratively speaking, oc), is Legion of Super-Heroes. Not only is the team huge, but there's two reboots to contend with on top of that, with according multiple versions of characters to bother with, and only one article. There, I'm all for giving in and just linking to the sections of the "List of Legion of Super-Heroes members" article, and not bothering with an actual list at all (which might be an option for replacing or appending to the "Former Members" list in other not-quite-so-long cases). - SoM 21:07, 9 May 2005 (UTC)

 * Well, I've been adding it to a few teams, but small ones (FF, Authority). I guess we'll discuss the problematic large teams as we get to them; Other than that, this template looks pretty good.  I was hoping to get some of the other templates done this weekend too, but I haven't had time.  What do you think is a good name for comic book characters with no powers or affiliations?  Template:Nonsuperherobox sounds overdone; maybe Template:Comiccharacterbox? --DropDeadGorgias (talk) 21:25, May 9, 2005 (UTC)

 * I just did what I suggested on LSH, but just had one block-listing for current X-Men members, although someone may want to rethink that. Other than LSH, I've been linking to "List of... members" articles at the base of the "Former members", where available.

 * A thought - do we need an infobox for fictional races (Inhumans, Eternals, et al), or even just non-team organisations in general? I don't think putting superteamboxes on them would be a good idea, since they don't have "rosters," per se, but if nothing's done, inevitably someone'll end up STBing them.

 * Oh, and I'd go for Template:Supersupportingbox myself, to keep the naming consistancy. - SoM 17:12, 12 May 2005 (UTC)

Supporting characters infobox (supersupportingbox)
What d'y'think? - SoM 15:39, 25 Jun 2005 (UTC)

Here's the code. If there are no objections, I'll start using it tomorrow.

General:

Specific:

SoM 28 June 2005 14:39 (UTC)

It is just for notable superhero supporting characters? Otherwise, some supporting characters the box is going to be longer than the entry, which would look silly to my eye. Hiding 28 June 2005 22:38 (UTC)
 * Frankly, I think every entry worth having should have a box of some sort. Interpret that as you will. - SoM 29 June 2005 00:20 (UTC)

 * Is this where I reply "frankly, I think any entry not worth having should be listed on WP:VfD. Interpret that as you will." Hiding 29 June 2005 07:09 (UTC)

 * Yes. - SoM 20:04, 11 July 2005 (UTC)

 * I like this box a lot. If you've already started using it, make sure to include it on the main WikiProject Comics page. --DropDeadGorgias (talk) July 6, 2005 15:41 (UTC)

 * Hmm, I was just looking at this box again, and something bothered me. It's fine if internally, we refer to this box as the "supporting character box", but what does that mean really?  Does it just mean that they don't have super powers?  For example, Mary Jane has had a comic book title in which (as I understand), Peter Parker was barely in at all.  I might suggest actually removing the "Supporting character of" field.  The "first appearance" should cover that topic enough without being incorrectly vague. --DropDeadGorgias (talk) 14:41, July 11, 2005 (UTC)
 * Nope. Look at Rick Jones (comics) for a possibly better example. He's been a supporting character of the Hulk, two Captain Marvels (all three for lengthy periods), ROM, Captain America the Avengers as a group, and possibly a couple of others I've forgotten. Plus the characters who debuted in titles like Strange Tales, Amazing Fantasy, Tales of Suspense or Tales to Astonish.

 * And of course it's not "no powers" - after all, by that definition Batman would be a supporting character :). It's "characters who aren't superheroes/villains/etc themselves but are recurring characters in superhero comics". And, while I haven't read it, as far as I know the Mary Jane comic is off in a continuity all of it's own (and is there anyone who would argue that Lois Lane isn't a a Superman supporting character, despite Superman's Girlfriend Lois Lane running for a couple of hundred issues?) - SoM 20:04, 11 July 2005 (UTC)

 * Hmm, it just seems like a vague distinction to make. Also, the shallow reason is that the linebreak makes "Supporting/Character Of" look kind of weird.  Is there any way we could change it to "Features in" or something along those lines?  I'm not really sure exactly how to do it either, just something seemed a little off.  If no one can think of a way to get around it, it can stay as is, it just kind of bothered me. --DropDeadGorgias (talk) 21:00, July 11, 2005 (UTC)

 * Yeah, that did bug me a bit. "Features in" goes with the comic though, whereas you'll often have supporting characters guesting with their "featured" character in other comics. - SoM 21:47, 11 July 2005 (UTC)

 * Oh, and now for the fun geeky semantics part: Doesn't the fact that Rick Jones had powers and was a superhero for a while make him qualify for the superherobox?  --DropDeadGorgias (talk) 21:02, July 11, 2005 (UTC)

 * Knew someone would point that out :)

 * There's no one, single, definition which works, more a combination of other definitions, where one "wrong" answer doesn't automatically disqualify it. In Rick's case, the powers were (a) strictly temporary and (b) revealed not to be specific to him - so, unless you want to list "Destiny Force" under Wasp, Cap, Hawkeye, Songbird, Hank Pym and Libra's profiles :). And as for his "disturbingly necrophiliac in retrospect" (quote from Captain Marvel v4 #14 :)) spell in Bucky's costume, that's to be measured against the huge period of time in which he hasn't used a costume or been an active superhero, and he never used the Bucky name - he's almost always been a supporting character. Unless you want to move Jimmy Olsen to Elastic Lad to give him a SHB... - SoM 21:47, 11 July 2005 (UTC)

Comics Creator
I would like to see an infobox for comics creators. It could have information like:

 * Name
 * Date of birth
 * First publication: Title #xxx (Year)
 * Field: (Writer, penciler, colorist, jack of all trades...)
 * Notable/Best known work:
 * Latest work: (for people like Ann Nocenti et al who haven't published anything in years it seems...)
 * Current status: (deceased, hospitalized, working for DC, working in sports...)

Any viability to the idea? --Samy Merchi (Talk) 2 July 2005 01:21 (UTC)
 * All of this information should be presented in the article, and almost all of it within the first paragraph, which makes an info box entirely redundant. Hiding 3 July 2005 04:30 (UTC)
 * Same thing with superherobox. --Samy Merchi (Talk) 3 July 2005 10:54 (UTC)
 * Actually, no, there is a difference. If you look at the Superman article, which is a featured article and in my mind the standard we should strive for in superhero character articles, most of the information is scattered throughout the article.  Wikipedia's Manual of Style dictates, however, that a person's name, their date of birth, their occupation and their reason for notability be defined within the opening paragraph, along with their living status. However, I'd be quite happy to deprecate the superherobox myself, although I think the consensus here is that most people like them, as evinced by the discussion at Template talk:Superherobox.  Hiding 3 July 2005 20:56 (UTC)

--AjaxSerix 20:14, 1 August 2005 (UTC)
 * I think the comics creator box could be located in the article about that character myself. Say your in Batman there could be a box for Bob Kane and Bill Finger. In that use I don't see it as redundant at all, That kind of information about the creator will not likely be repeated in the article but, would be of interest to someone researching the character.  The short listing of other notable creations could act as a good way for the viewer to browse similar characters.
 * That would make the creator entries somewhat redundant and actually stop people clicking on the links to the creator's own articles and learning more. Information should be placed where it is most relevant.  To view similar characters one should use the category feature, and your idea could be implemented via the category structure. Hiding  talk 07:42, 2 August 2005 (UTC)

 * An info box is too narrow in scope to accomodate the monthly staff changes that can occur with these books. Articles on specific titles should accomodate a Current Creators section and attempt to maintain sufficient information about current and past creative teams, allowing for better cross-article linking between comic titles and their current and past creators. Tiredgamer 12:36, 19 September 2007 (UTC)

Which Template to Use
I just made my first ever Wiki Article (well stub) for Miss X (Comics) I am wondering if --AjaxSerix 15:24, 3 August 2005 (UTC)
 * A. I did this right for the most part.
 * B. If I should have used the comicproj template instead of comics-stub?
 * C. If I spelled anything wrong?
 * Looks OK, you just need to categorize it. Dread Lord C y b e r S k u l l ✎☠ 12:40, 30 November 2005 (UTC)

Aliens
I'd like to see a template for alien races, like Kree, Kryptonians, Shi'ar, etc. Maybe something similar to the Klingon page. Ideas?--StAkAr Karnak 22:59, 3 August 2005 (UTC) [Moved from main templates page by SoM 23:07, 3 August 2005 (UTC)]

Locations
I was wondering is there a template, for locations? I've been contributing to Asteroid M, these past couple of days. And I don't like the way it looks. - -- LEC20 22:31, 19 November 2005 (UTC)
 * Err, well among other things, the section titles of that article don't look very standard. Instead of "First one" and "Second one", I'd recommend "First version", etc., or mention the story arcs to which they were pertinent.  I'd also stop referring to the asteroid as "it"; the pronoun is used excessively in that article and makes it difficult to read.  As for a location box, I don't think it would be a bad idea.  There are a couple other location articles that could use them, such as Baxter building. --DDG 16:22, 5 December 2005 (UTC)
 * Thanks, for your thoughts, on the subject. - -- LEC20 16:25, 10 December 2005 (UTC)

Supercbbox
I see several major problems Template:ComicBookBox as it stands:
 * 1) It's too wide. Superherobox is already too wide, probably the widest infobox on Wikipedia, and needs to be cut down. Adding another TWO of the same width isn't the best of ideas.
 * 2) What does "Scenarist" mean? Rename or remove.
 * 3) Authors - is this a complete listing of writers and artists to have worked on the book (the box might get scarily long) or current listing in the case of ongoing books? And if the latter, what about cancelled/completed comics that have had multiple writers/artists?
 * 4) Leading on from that, is this ONLY for ongoing comics?
 * 5) ISBNs - no, comics don't have them.
 * 6) Publication frequency is often variable, between writer/artist lateness and occasional fortnightly issues of monthly comics.

I think this needs some serious rethinking. - SoM 17:54, 2 May 2005 (UTC)

I think it needs serious rethinking too. If I'm honest, it's ugly. I agree that it's too wide, and the information seems wrong. --Hiding 22:25, 3 May 2005 (UTC)

 * For the Comic book titles a Series status ex. Active, Cancelled, Finish.

 * 1) Comic book titles, i.e. What If
 * 2) * Publisher
 * 3) * Created by
 * 4) * Duration (ongoing, limited)
 * 5) * Series status (Active, Cancelled, Finish, Hiatus)
 * 6) * Year of first and last publication
 * 7) * Publication frequency (monthly, bimonthly, intermittent)
 * 8) * Main character(s), team(s) (limit to maybe five)
 * 9) * Graphic Novels,

1st time making a box !--Brown Shoes22 18:06, 4 November 2005 (UTC)

 * "Creators" would be filled in as "[name] (script) [name] (pencils) [name] inks [name] (colours) [name] letering"? Anke 07:20, 11 November 2005 (UTC)

Breakdown of parameters:
 * image=
 * caption=
 * comic_color=
 * Series Name=
 * publisher(s)=
 * creators=
 * Duration=(ongoing, limited, oneshot, maxiseries, hiatus)
 * alliance_color=
 * year of debut=
 * last year=
 * schedule=(monthly, bimonthly, intermittent)
 * Main character(s), team(s)=

Dread Lord C y b e r S k u l l ✎☠ 06:20, 15 November 2005 (UTC)
 * There should NOT be spaces, let alone commas, in the parameters. And don't list members of a team, just the team itself (that's what the STB is for). It's a mess- SoM 21:45, 5 December 2005 (UTC)

 * I've just had another look, and this is as fatally flawed as Template:ComicBookBox. Let's try thinking it over rather than charging blindly ahead, no? For one thing - how many articles will this actually be used on? - SoM 00:42, 6 December 2005 (UTC)

 * So what do people like it !--Brown Shoes22 04:45, 8 December 2005 (UTC)
 * Dear SoM you heed example and instructions for your BOX--Brown Shoes22 20:46, 10 December 2005 (UTC)
 * You misunderstand - (1) It's not my box (2) It was discontinued from use because of all the reasons listed a couple of sections above. Your version shares most of the same problems, plus additional ones I listed below Cyberskull's post. - SoM 21:20, 10 December 2005 (UTC)

Is there even any need for this box? The way I see it it is filled with information that generally is covered in the article's lead section anyway. --Fritz S. (Talk) 17:26, 11 December 2005 (UTC)
 * I now put this up at Templates for deletion.--Fritz S. (Talk) 13:00, 15 December 2005 (UTC)
 * Okay, since it was voted to keep and improve the template, I did some changes to it. Let me know what you think. --Fritz S. (Talk) 21:10, 24 December 2005 (UTC)

 * I Like what Iam seening, Good Work !--Brown Shoes22 23:18, 24 December 2005 (UTC)

Re: Fritz's redesign
Ummmm... yeah. I see the rationale behind a lot of the changes, but it adds up to an unholy mess in a lot of ways.

Let's take a look at the box as it appeared on Spider-Man/Black Cat: The Evil That Men Do under the redesign.

We have six lines in total, notwithstanding a couple spilling over. Of that:
 * 1) Three are bold in their entirety and have dark-pink backgrounds. As a one-line highlight on an open box, as on Superherobox and Superteambox, that's fine. When half a claustrophobic box is that way, it's not.
 * 2) Of the remaining, cramped, lines, half of each line is bold and the other half are links. This means well over half the box is bolded. Bad.
 * 3) There is no consistancy with WP:CMC's other boxen, Superherobox (973 pages), Superteambox (103 pages) and Supersupportingbox (51 pages), all of which are used on far, far more pages than the 27 of this one, hence this one is the one which must fall into line.

(Crossposted with Template talk:Supercbbox) - SoM 23:04, 27 December 2005 (UTC)

 * It was mostly designed to match templates such as the album, film or tv series infoboxes (which are even more widespread)... The many colored lines are pretty much identical to those of the album infobox (used on ~6000 articles), and I think they look fine. I also think the other comic boxes are too wide in contrast with most other templates on Wikipedia... But if there's consent to change this, I don't mind. --Fritz S. (Talk) 10:45, 28 December 2005 (UTC)

 * Well, the album template you linked to below has the same problem for the simple reason that you clearly cloned this one from that, and thus looks similarly amateurish. The film box doesn't though, although consistancy would have to be weighed up. If you had to clone one of the two though, clone the frelling film box... - SoM 01:40, 29 December 2005 (UTC)

++--=More templates needed=--++
Ones for non-superpowered comic book characters, anti-heroes, villains etc --Chaosfeary 10:01, 30 November 2005 (UTC)
 * What do you mean "non-superpowered" characters? And why separate templates for anti-heroes and villains? If you could clarify your position that would be great. Dread Lord C y b e r S k u l l ✎☠ 12:39, 30 November 2005 (UTC)

Templates' widths
All these infobox templates seem a little wide to me in contrast to other infoboxes like Template: Album infobox, Template: Infobox Film, etc. Shouldn't we reduce the width on these to 20ems? (And the suggested image size to 225px or 200px?) --Fritz S. (Talk) 21:30, 18 December 2005 (UTC)

2000 AD
I started a little to do list on the 2000 AD talk page but was wondering if there were specific things for it (or at least the general class of anthology publications): (Emperor 20:47, 26 February 2006 (UTC))
 * I was wodnering if 2000 AD could have it own colour for info boxes as part of WikiProject Comics/Color scheme
 * As it is an anthology the Comics Book Title infobox doesn't seem to quite work - I think this was also what someone mentioned above about the DC Thomson titles. That infobox could be used or slightly changed for the needs of an anthology - the publication it appears in, etc.

New spoiler warning template
When adding sales information for a yet-to-be-published comic, you may wish to precede it with Spoiler-solicitation. This expands to:

'Spoiler warning: Promotional information about upcoming comic book storylines follow. Details and publication status subject to change prior to publication.'

References info section?
I'm not sure I understand why this section is here. Can anyone enlighten me? --Chris Griswold 15:13, 23 May 2006 (UTC)

 * It seems to me that the References info ought to be on the main WP:COMIC page, not here on the templates page. GentlemanGhost 06:48, 15 June 2006 (UTC)

Crossover
We totally need a crossover box Exvicious 17:06, 10 June 2006 (UTC)
 * I totally agree. At first, I was all like, "What?" And then I was all like, "Yeah!"--Chris Griswold 10:24, 11 June 2006 (UTC)

Equipment
Can we add equipment to the Heroboxes? A number of heroes have notable equipment, but there's no way to document it in the current system outside of the 'powers' box, as I found when I tried to add it to Ex Machina. Given that unlike powers, equipment can easily be taken away, or a hero caught without it.ThuranX 03:27, 23 June 2006 (UTC)
 * That seems like overkill. Why can't it just be part of the article? --Chris Griswold 05:15, 23 June 2006 (UTC)

Uniform artwork crediting convention
Throughout all of the articles I've seen, I keep seeing different styles for listing whoever drew a piece of art, where it's from and when it's from. Y'all need a style convention for these captions so that all of them list things the same way. These are hypothetical examples:
 * Magneto manifests his powers in Magneto #0 (January 1993), art by Chris Bachalo.
 * JLA #12 (Feb. 1997): Batman throws a batarang; artist, Howard Porter
 * Beta Ray Bill, depowered, eats some hay. Pencils: Mike Allred.

Can we propose some sort of convention. For example...? I leave it up to a consensus to decide what to use, but from my POV, I did like the more formal/specific designation of "pencils" being used as a credit rather than "art" or "artist" and think that should stay no matter what. I also think the "pencils" credit should always be a seperate sentence after the description of the picture, and not joined to the description by a comma. Anybody that can point to broad Wiki conventions to assist in this would be appreciated. I just see that a lot of work has been done to improve the art captions in WikiProject Comics, yet there's no convention in place. - Liontamer 02:13, 14 June 2006 (UTC)
 * Wolverine, from a cover of New Avengers #3 (Feb. 2005). Pencils by Oliver Coipel.

 * There's a fairly uniform de facto style in place. At its most basic, it seems to include:

 * For covers in a comics-company or comics-character article such as All-American Publications:
 * All-American Comics #16 (July 1940), cover art by Sheldon Moldoff.

==I
 * For covers in a comics artist article such as Sheldon Moldoff:
 * All-American Comics #16 (July 1940), cover art by Moldoff.
 * For a cover representing a major character change or important event, such as in Al Hartley:
 * The teen-humor heroine gets serious in Patsy Walker #116 (Aug. 1964). Cover art by Hartley
 * For a cover illustrating a style or historical element, such as in George Tuska:
 * Tuska's cover of Iron Man #18 (Oct. 1969) displays a panoply of character faces, as well both old and new Iron Man armors.
 * And in what I think is established ComicsProject style for promotional art including covers without text treatment and trade dress, such as in Spider-Man:
 * Promotional art for The Amazing Spider-Man #500 cover, featuring Spider-Man's wife, Mary Jane Watson-Parker, and many of his antagonists. Art by J. Scott Campbell.
 * ...which, in similar entries without the descriptors, would be:
 * Promotional art for The Amazing Spider-Man #500 cover, by J. Scott Campbell.

-- Tenebrae 16:01, 15 June 2006 (UTC)

 * I moved this over from the project's main talk page, as I think it's more relevant here for infoxboxes and most other art captions.

Even the art captions of the example infoboxes on this talk page don't have a uniform style. I propose the following conventions when providing an art caption in character pages (other pages might need to be modified for some reason):
 * The description must give the name/issue of the art, followed by the month (not abbreviated) and year of the street date (i.e. the release date, not the cover date; use the cover date only if you can't reasonably find a street date).
 * Rather than "Art by...", whomever pencilled the art is then given credits with "Pencils by XYZ." in a seperate sentence. Using "Pencils by" rather than "Art by" is in keeping with the notion that the penciller has specifically handled only one aspect of the art, and serves to not imply that the entire process of creation was done by only one person. If inkers/colorists are to be credited (or if the penciller also inked/colored the piece), then "Art by ABC and XYZ." is fine.
 * If available, relevant details/info on the art's content should come before the comic book name and date when describing something at length, and after when merely providing a picture featuring a character.

 * Some examples:
 * Cover to Batman #608 (October 2002). Pencils by Jim Lee.
 * Cover to Superman #204 (April 2004). Pencils by Jim Lee.
 * Cover to Teen Titans #33 (March 2006), featuring Nightwing and Superboy. Pencils by Tony Daniel.
 * The various incarnations of Dick Grayson, from Nightwing #57 (May 2001). Pencils by Rick Leonardi.
 * Lois and Lana Lang acquire super powers and fight each other for Superman's love in Superman's Girl Friend, Lois Lane #21 (November 1960). Pencils by Kurt Schaffenberger.

I'm open to anything that provides further streamlining of this potential standard, but would like to see something a lot more consistant in use. I will be continuing to edit articles with these standards in mind in the effort to be bold. --Liontamer 18:45, 23 June 2006 (UTC)

 * I agree that it would be nice if the comics-related articles had a consistent look and feel. To that end, standardizing captions would be a good thing. I don't agree with all of your conventions, however. Although it seems to be the norm for the articles of the most popular characters, I don't like to merely credit the penciller. I think that if the inker is a different person, we ought to credit that person in the caption. (I can live without the colorist; I imagine that they're used to getting the short shrift anyhow.) At the very least, the full credits should be listed on the image page.

 * Also, I don't think that the "street date" is the right date to use for the image caption. For one thing, determining the street date for a comic book more than 20 years old is an arduous, sometimes impossible task. ("Let's see, they published the Christmas story in the March issue, and the Halloween story in the January issue, so the street date for the August issue must have been May.") Moreover, the cover date is what appears on the indica and that is about as close to "official" as we are going to get. To my mind, using the street date instead of the cover date is counter-intuitive, likely to cause confusion, and adds nothing of value. If there is an instance where it is important that the comic book was actually published before cover date, that can be addressed in the article. (For example, "Although it may seem like the writer was commenting on current events, this issue was actually published three months prior to its cover date; thus the writer would not have known about the assassination attempt.") So, those are my two qualms – credit the inker and use the cover date. Other than that, it sounds good to me. --GentlemanGhost 04:55, 24 June 2006 (UTC)

 * A related discussion on cover dates took place here. --GentlemanGhost 05:02, 24 June 2006 (UTC)

 * Cool. Thanks for the link to the cover date discussion, Ghost. I specifically used street/ship date because most of the date information on major characters (at least that I myself saw) were done the same way; thus I felt I was following a de facto standard of sorts. I ultimately don't mind deferring to cover date. But at the same time, for most stuff released after around 2000-2001, their street dates are fairly easy to find via web search, whereas cover dates are harder to find since you either have to find a good scan of the cover with trade dress or need to actually have the comic in question. For more recent stuff from the past 5-6 years, which is where most of the art in the project's articles seems to come from (especially for infobox art), I'd argue on some level that cover date is actually more cumbersome and less practical. I'm down with either way provided there's consensus for this project, but would love to hear more discussion/debate on the matter. Personally, I'm in favor on ship date because post-2000 that particular information is more accessible on demand.
 * As for Pencils credits, honestly the reasons why I don't cite inkers are many. Not to bash inkers, but the general fan doesn't seek out art according to inker, and inkers simply aren't as prolific, regarded or known as pencillers. There are thousands of covers and other art used that would need to be updated with that kind of information, and most casual goers honestly don't need to know anything beyond the penciller. If you started adding inkers to the captions, it would bloat the captions with little meaningful informational gain. --Liontamer 05:58, 24 June 2006 (UTC)

I need an infobox for a single issue
Don't worry I'm not impliying that every single issue should have one. But there are some exepcional cases. You't now, like graphic novels or extemely popular sagas. Right now I'm working on For the Man Who Has Everything. It needs a lot of improvement, since I'm foreign, but it'd really look better with an infobox.

Navboxes
Please join the discussion at Wikipedia talk:WikiProject Comics/templates/navboxes. We're discussing the need, use, and style of navbox templates with the goal of creating a WP:CMC guideline. --Chris Griswold 05:25, 7 August 2006 (UTC)

Relatives section in superhero template
The relatives section on the John Constantine page doesn't seem to work anymore. Has that been taken off of the superhero templates? It doesn't seem to be on the Susan Storm example on the project page either. --Mister Six 18:21, 27 August 2006 (UTC)
 * Yes, that was removed a month or so ago. See the talk page for that template for details. --Chris Griswold (  ☏  )  03:26, 28 August 2006 (UTC)

WikiProject Comics/templates page
I updated the example templates, but now the page display is all funky, any way to fix that? --Basique 11:35, 21 October 2006 (UTC)

marvel stub template
check it out; the word wikipedia links to some russian site (i haven't clicked it and i wouldn't advise anyone else to try). anyone know how to fix that?
 * no worries - sorted it out myself in the end 212.139.211.44 21:15, 27 March 2007 (UTC)

Template:Non-free comic
I recently became aware of Non-free comic. It's not listed on this page, although it looks like some project members have helped to shape it. Is there currently a plan to incorporate it into WikiProject Comics? --GentlemanGhost 21:27, 17 May 2007 (UTC)

DCAU Wiki
I requested an external link template to the DCAU Wiki unaware of the Reliable sources/Examples WikiProject Comics policy. I suppose it needed consensus to before taking such course of action; for that I apologize. I proposed it wasn't a big deal because there were already a few links to that Wiki on article that tackled those subjects. So I figured that a template would confer tidy consistency.

I think those links are useful for potential fans looking for more details on the subjects, which Wikipedia doesn't necessarily offer, per What Wikipedia is not. A simple link like this would avoid and confine fancruft to that wiki alone. --217.129.169.136 14:46, 8 September 2007 (UTC)

 * You are the one who unilaterally added all these links without consensus. First, I would like to know if you contribute to or are connected to this outside open wiki. Second, please see WP:EL — the policy against linking to open wikis, except in narrow, consensus-agreed-upon circumstances, applies to External Links. Please read the External links policy page. You cannot, personally, by yourself, decide that any particular outside open wiki meets the high criteria stated. --Tenebrae 15:34, 9 September 2007 (UTC)

 * I think I already recognized that I shouldn't have requested a template without concensus, but I already explained I didn't add all those links.

 * "we're TALKING about External links"

 * Indeed, but you're the one who removed dozens of External links while quoting Reliable sources/Examples. --217.129.169.136 16:00, 9 September 2007 (UTC)


text:
Category talk:Organic compounds

please help me with this

(from post to Azazell0(talk)) Hello, are you sure it is useful or necessary to fill this category with individual compounds? You want to put there every organic compound ? Maybe we should then consider creating new categories like "things" or so. I think it would be better if category "Organic compounds" would contain subcategories like hydrodarbons, esters, alkaloids, ... and the individual compounds would be sorted by these subcategories only. What do you think about it? Mykhal 02:14, 15 July 2005 (UTC)

If people want to write monographs for individual compounds, why stop them? I think we should concentrate on placing the existing monographs in the relevant chemical families. I will contribute a bit for that right away. J. Rosa 22/Oct/2005

helpme
why has this template been placed in the category? the category has become a sub of Wikipedians looking for help. Thinboy00 talk/contribs 17:34, 26 August 2007 (UTC)
 * No idea. Removed. GDonato (talk) 19:23, 26 August 2007 (UTC)

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

title: Category talk:Organic compounds


text:
Sergio Ramírez

Sergio Ramírez Mercado (born 5 August 1942 in Masatepe, Nicaragua) is a Nicaraguan writer and intellectual who was a key figure in 1979 revolution, served in the leftist Government Junta of National Reconstruction and as vice president of the country 1985–1990 under the presidency of Daniel Ortega. He has been described as Nicaragua's "best-known living writer". Since the 1990s, he has been involved in the left-wing opposition to the Nicaraguan government, in particular in the Movimiento de Renovación Sandinista. He was exiled from the country in 2021 and stripped of his nationality by the government in 2023.

Life and career
Born in Masatepe in 1942, he published his first book, Cuentos, in 1963. He received his law degree from the Universidad Nacional Autónoma de Nicaragua of León in 1964, where he obtained the Gold Medal for being the best student.

In 1977 Ramírez became head of the "Group of Twelve", a group of prominent intellectuals, priests, businesspeople, and members of civil society who publicly stated their support for the Frente Sandinista de Liberación Nacional (FSLN) in its struggle to topple the Presidency of Anastasio Somoza Debayle. The Group were forced into exile in Costa Rica, but their return was one of the key events heralding the end of the Somoza government. With the triumph of the Revolution in 1979, he became part of the Junta of the Government of National Reconstruction, where he presided over the National Council of Education. He was elected vice-president of Nicaragua in 1984 and was sworn in 1985.

Though the FSLN lost power to the UNO coalition headed by Violeta Barrios de Chamorro in 1990, Ramírez continued to serve as the leader of the Sandinista block in the National Assembly until 1995, when he founded the Movimiento de Renovación Sandinista (MRS) because of his differences with other leaders of the FSLN, such as former president Daniel Ortega, on issues of democratic reform. He has since become retrospectively critical of certain Sandinista policies that he views as having turned the country against the FSLN.

He made an unsuccessful bid for president on the MRS ticket in 1996. Since then, Ramírez has retired definitively from politics and his literary work has gained international recognition and his novels have been translated into several languages. He recently won the "Carlos Fuentes" prize, awarded by Mexico, in recognition of his life long work. During this period, he lived in Managua but traveled extensively. He married his wife, Gertrudis "Tulita" Guerrero Mayorga, in 1964. He has three children: Sergio, María, and Dorel and eight grandchildren.In June 2021, he was forced into exile during repression of the opposition in the lead-up to the 2021 Nicaraguan general election; the government issued a warrant for his arrest in September. In February 2023, the Nicaraguan government stripped him, along with 93 other people, of his nationality. The United Nations Refugee Agency called the move "arbitrary" and said "[t]he exercise of fundamental rights, including freedom of expression, freedom of assembly or other rights associated with a person’s political views, can never justify the deprivation of nationality."

His home in Masatepe was seized by Nicaraguan authorities on July 1, 2023.

Writings
Ramírez began his literary career as a short story writer. His first story, "The student", was published in 1960 in Ventana, a magazine in León. His first book, published three years later, was a collection of stories, but the following, published in 1970, was a full-length novel. Since then, he has alternated these genres with essays and journalism. His international breakthrough came in 1998 when he won the Alfaguara Prize with his novel Margarita, How Beautiful the Sea.

In 1990, he founded La Quincena, a political journal based in Managua that would be published for ten years. He is presently a columnist for La Prensa as well as several newspapers around the world, including El País, La Jornada, El Nacional, El Tiempo and La Opinión. He is also the Director of Carátula, a Central American cultural e-magazine.

In January 2000, he was awarded the first "José María Arguedas Narrative Prize" from the Casa de las Américas. He has taught at the University of Maryland from 1999 to 2000 and again in 2001, and has been visiting professor at various major universities in the United States and Europe. He is also the President of Centroamérica cuenta, the most important literary festival in the region.

On 16 November 2017, Ramírez won the Spanish Ministry of Culture's Cervantes Prize, the most prestigious literary prize in the Spanish-speaking world.

In 2018, the Council of Ministers of Spain granted Spanish citizenship to Ramírez.

In February 2023, Ramírez was stripped of Nicaraguan citizenship by the Nicaraguan authorities.

His 2021 novel, Tongolele no sabía bailar (Tongolele Didn’t Know How to Dance) is a detective novel examining the 2018 protests. Copies of the book were seized by Nicaraguan customs officials.

Awards and honors

 * Latin American Short Story Award 1971 from Imagen magazine, Caracas, for his short story collection "De tropeles y tropelias".
 * Dashiell Hammett International Prize 1990, for Divine Punishment
 * Order Carlos Fonseca, the highest honor conferred by the FSLN (1990)
 * Knight of the Order of Arts and Letters (France, 1993)
 * Alfaguara Prize 1998 to Margarita, how beautiful the sea
 * Prix Laure Bataillon 1998 for Best Foreign Novel published in France for Un ballo in maschera (Le bal des masques, Éditions Rivages, 1997)
 * Casa de las Américas Novel Prize 2000 José María Arguedas for Margarita, how beautiful the sea.
 * Presidential Honor Medal, Pablo Neruda´s Centennial (Chile, 2004)
 * Masatepe´s Favorite Son, awarded by the Municipal Council (2005 Nicaragua)
 * Jose Donoso Award (Chile, 2011).
 * Officer of France´s Arts and Letters (France, 2013)
 * Carlos Fuentes International Award for Literary Creation in Spanish Language granted by the Government of Mexico, through the National Council for Culture and Arts (Mexico, 2014)
 * Miguel de Cervantes Prize (2017)

Novels and short stories
Ramírez participated in the Stock Exchange of Visions project in 2007.
 * Cuentos (1963)
 * Tiempo de fulgor (1970)
 * De Tropeles y Tropelías (1971)
 * El Pensamiento vivo de Sandino (1975)
 * Charles Atlas también muere (1976)
 * ¿Te dio miedo la sangre? (1978)
 * Castigo Divino (1988) (Divine Punishment, 2015)
 * Clave de Sol (1993)
 * Un baile de máscaras (1995)
 * Cuentos Completos (1998)
 * Margarita, está linda la mar (1998; Premio Alfaguara de Novela)
 * Adiós muchachos (1999)
 * Mentiras Verdaderas (2001)
 * Catalina y Catalina (2001)
 * Sombras nada más (2002)
 * Mil y una muertes (2004)
 * El Reino Animal (2006)
 * Catalina y Catalina, Alfaguara México, 2001. Contiene 11 cuentos:
 * La herencia del bohemio, El pibe Cabriola, La partida de caza, Aparición en la fábrica de ladrillos, Perdón y olvido, Gran Hotel, Un bosque oscuro, Ya todo está en calma, La viuda Carlota, Vallejo y Catalina y Catalina
 * Ómnibus, antología personal, cuentos, Editorial Universidad de Puerto Rico, San Juan, 2008
 * Juego perfecto, Editorial Piedra Santa / Amanuense Editorial, Guatemala, 2008; 11 cuentos
 * El cielo llora por mí, novel, Alfaguara, 2009 (The sky weeps for me, McPherson & Company, 2020)
 * Perdón y olvido, antología de cuentos: 1960 - 2009 (2009)
 * La fugitiva, novel, Alfaguara, 2011
 * La girafa embarazada, children's short story (2013)
 * Flores oscuras, Alfaguara, 2013. Contiene 12 relatos:
 * Adán y Eva, La puerta falsa, La cueva del trono de la calavera, Ya no estás más a mi lado corazón, Las alas de la gloria, La colina 155, No me vayan a haber dejado solo, Ángela, el petimetre y el diablo, El mudo de Truro, Iowa, El autobús amarillo, Abbott y Costello y Flores oscuras
 * Lo que sabe el paladar. Diccionario de los alimentos de Nicaragua, compendio en comidas y recetas, 2014
 * Juan de Juanes, relatos, Alfaguara México, 2014
 * Sara: sus páginas beben del mito bíblico de Abraham y Sara 6
 * A la mesa con Rubén Darío, short stoaries, 2016
 * Ya nadie llora por mí, crime novel, Alfaguara, 2017
 * Tongolele no sabía bailar, Alfaguara, 2021
 * El caballo dorado, Alfaguara, 2024

Essays and testimonies

 * Mis días con el rector, Ediciones Ventana, León, Nicaragua, 1965; artículos publicados en el diario La Noticia a raíz del fallecimiento del rector de la Universidad Nacional Autónoma de Nicaragua, Mariano Fiallos Gil
 * Hombre del Caribe, Editorial EDUCA, Costa Rica, 1977 (biografía de Abelardo Cuadra)
 * El muchacho de Niquinohomo, ensayo biográfico sobre Sandino, Unidad Editorial "Juan de Dios Muñoz", Departamento de Propaganda y Educación Política del FSLN, 1981 (reeditado en 1988 por la editorial Vanguardia, Managua)
 * Pensamiento vivo de Sandino, 2 tomos, Editorial Nueva Nicaragua, Managua, 1981
 * Balcanes y volcanes, Editorial Nueva América, Buenos Aires, 1983
 * El alba de oro. La historia viva de Nicaragua, Editorial Siglo XXI, México, 1983
 * Estás en Nicaragua, Munhnik Editores, Barcelona, 1985
 * Las armas del futuro, Editorial Nueva Nicaragua, Managua, 1987
 * La marca del Zorro, Editorial Nueva Nicaragua, Managua, 1989; 17 horas de conversación con el comandante guerrillero Francisco Rivera
 * Quintero en septiembre de 1988
 * Confesión de amor, con prólogo de Ernesto Cardenal; Ediciones Nicarao, Managua, 1991
 * Oficios compartidos, Editorial Siglo XXI, México, 1994
 * Biografía Mariano Fiallos, Editorial Universitaria, León, Nicaragua, 1997
 * Adiós muchachos, Alfaguara 1999; una memoria de la revolución sandinista
 * Mentiras verdaderas, Alfaguara México, 2001
 * El viejo arte de mentir, Fondo de Cultura Económica, México, 2004
 * El señor de los tristes, ensayos literarios, Editorial de la Universidad de Puerto Rico, San Juan, 2006
 * Tambor olvidado, Aguilar, San José, Costa Rica, 2007
 * Cuando todos hablamos, Alfaguara, 2008; contiene más de 200 artículos publicados en su blog en el portal literario El Boomeran(g)

title: Sergio Ramírez


text:
Sangju National University

Sangju National University was a public university in Gajang-dong, in the city of Sangju, North Gyeongsang province. In 2008 it merged with Kyungpook National University, becoming its Sangju Campus. It has an enrollment of about 4,350 students, and employs about 105 professors. The university places a heavy emphasis on agricultural studies. It is home to a graduate school, library, museum, and various technical research institutes.

Sangju National University opened on April 25, 1921, as Sangju Public School for Agriculture and Sericulture (상주공립농잠학교). The name changed at various times thereafter, but the school did not gain college status until much later. It was redesignated as Sangju Technical College in 1982, and became a university in 1999.

The school's current president is Kim Jong-ho. The school carries out "sister school" relationships with Ball State University in the United States, and Benguet State University in the Philippines.

title: Sangju National University


text:
User:Metron4

Hello there. My purpose here is to function much like the mechanical mice of Ray Bradbury's "There Will Come Soft Rains" chapter in The Martian Chronicles.

You'll find my "handle" in various places around the web since my interests are quite diverse.

me•tron - Greek metron dimension :outdated word for measure.

4th•di•men•sion :a theoretical extension of space into an unproven direction perpendicular to all three known dimensions (3rd dimensional space).

Noteworthy contributions

 * Albuquerque, New Mexico
 * Alex Theatre (Glendale, California)
 * Bait car
 * Boomtown and Boomtown (disambiguation)
 * Chocolate
 * Coconut
 * Color reversal internegative
 * The Great Brain
 * Greg Travis
 * Jerry Dewayne Williams
 * John Pinette
 * List of programs broadcast by Fox (all in the 'Formerly broadcast' section)
 * List of trackball arcade games
 * New urbanism
 * Potboiler
 * Pup 'N' Taco
 * RFID
 * Slowly I Turned
 * U.S. Navy slang)
 * Xuxa (don't ask me how I got started with THAT one)

 * Plus a slew of external links to web pages for small towns in the Great Plains.

title: User:Metron4


text:
User:Kerry7374

Personal collections
fr:User:Kerry7374 ja:User:Kerry7374 ko:User:Kerry7374 zh:User:Kerry7374 zh-min-nan:User:Kerry7374

title: User:Kerry7374


text: Talk:Purchasing power

title: Talk:Purchasing power


text:
Robert Doisneau

Robert Doisneau (14 April 1912 – 1 April 1994) was a French photographer. From the 1930s, he photographed the streets of Paris. He was a champion of humanist photography and, with Henri Cartier-Bresson, a pioneer of photojournalism.

Doisneau is known for his 1950 image Le baiser de l'hôtel de ville (The Kiss by the City Hall), a photograph of a couple kissing on a busy Parisian street.

He was appointed a Chevalier (Knight) of the Legion of Honour in 1984 by then French president, François Mitterrand.

Photographic career
Doisneau is remembered for his modest, playful, and ironic images of amusing juxtapositions, mingling social classes, and eccentrics in contemporary Paris streets and cafes. Influenced by the work of André Kertész, Eugène Atget, and Henri Cartier-Bresson, in more than twenty books of photography, he presented a charming vision of human frailty and life as a series of quiet, incongruous moments. "The marvels of daily life are so exciting; no movie director can arrange the unexpected that you find in the street."

Doisneau's work gives unusual prominence and dignity to children's street culture; returning again and again to the theme of children at play in the city, unfettered by parents. His work treats their play with seriousness and respect.

Early life
Doisneau's father, a plumber, died on active service in World War I, when his son was about four. His mother died when he was seven. He then was raised by an aunt. At thirteen, he enrolled at the École Estienne, a craft school from which he graduated in 1929 with diplomas in engraving and lithography. There he had his first contact with the arts, taking classes in figure drawing and still life.

When he was 16, he took up amateur photography, but was reportedly so shy that he started by photographing cobble-stones before progressing to children and then adults.

At the end of the 1920s, Doisneau found work as a draughtsman (lettering artist) in the advertising industry at Atelier Ullmann (Ullmann Studio), a creative graphics studio that specialised in the pharmaceutical industry. Here he took an opportunity to change career by also acting as camera assistant in the studio and then becoming a staff photographer.

Photography in the 1930s
In 1931, he left both the studio and advertising, taking a job as an assistant with the modernist photographer André Vigneau. In 1932, he sold his first photographic story to Excelsior magazine.

In 1934, he began working as an industrial advertising photographer for the Renault car factory at Boulogne-Billancourt. Working at Renault increased Doisneau's interest in working with photography and people. Five years later, in 1939, he was dismissed because he was constantly late. He was forced to try freelance advertising, engraving, and postcard photography to earn his living. At that time, the French postcard industry was the largest in Europe, postcards served as greetings cards as well as vacation souvenirs. In 1991, he said that the years at the Renault car factory marked "the beginning of his career as a photographer and the end of his youth."

In 1939, he was later hired by Charles Rado of the Rapho photographic agency and traveled throughout France in search of picture stories. This is where he took his first professional street photographs.

War service and resistance
Doisneau worked at the Rapho agency until the outbreak of World War II, whereupon he was drafted into the French army as both a soldier and photographer. He was in the army until 1940 and, from then until the end of the war in 1945, used his draughtsmanship, lettering artistry, and engraving skills to forge passports and identification papers for the French Resistance.

Post-war photography
Some of Doisneau's most memorable photographs were taken after the war. He returned to freelance photography and sold photographs to Life and other international magazines. He briefly joined the Alliance Photo Agency but rejoined the Rapho agency in 1946 and remained with them throughout his working life, despite receiving an invitation from Henri Cartier-Bresson to join Magnum Photos.

His photographs never ridiculed the subjects; thus he refused to photograph women whose heads had been shaved as punishment for sleeping with Germans. "I don't photograph life as it is, but life as I would like it to be." In 1948, he was contracted by Vogue to work as a fashion photographer. The editors believed he would bring a fresh and more casual look the magazine but Doisneau did not enjoy photographing beautiful women in elegant surroundings; he preferred street photography. When he could escape from the studio, he photographed in the Paris streets.

Le Groupe des XV was established in 1946 in Paris to promote photography as art and drawing attention to the preservation of French photographic heritage, and Doisneau joined in 1950 and participated alongside Rene-Jacques, Willy Ronis, and Pierre Jahan. After the group was disbanded, he joined the less exclusive and more militant Les 30 x 40, the Club Photographique de Paris.

The 1950s were Doisneau's peak, but the 1960s were his wilderness years. In the 1970s, Europe began to change and editors looked for new reportage that would show the sense of a new social era. All over Europe, the old-style picture magazines were closing as television gained the public's attention. Doisneau continued to work, producing children's books, advertising photography, and celebrity portraits including Alberto Giacometti, Jean Cocteau, Fernand Léger, Georges Braque, and Pablo Picasso.

Doisneau worked with writers and poets such as Blaise Cendrars and Jacques Prévert, and he credited Prevert with giving him the confidence to photograph the everyday street scenes that most people simply ignored.

The photography of Doisneau has had a revival since his death in 1994. Many of his portraits and photographs of Paris from the end of World War II through the 1950s have been turned into calendars and postcards, and have become icons of French life.

Le Baiser de l'hôtel de ville (The Kiss)
In 1950 Doisneau created his most recognizable work for Life – Le Baiser de l'hôtel de ville (Kiss by the Hôtel de Ville), a photograph of a couple kissing in the busy streets of Paris, which became an internationally recognised symbol of young love in Paris. It was published on June 12, 1950, part of a photo-essay on couples kissing in Paris. The identity of the couple remained a mystery until 1992.

Jean and Denise Lavergne erroneously believed themselves to be the couple in The Kiss, and when Robert and Annette Doisneau (his older daughter and also his assistant at the time) met them for lunch in the 1980s he "did not want to shatter their dream" so he said nothing. This resulted in them taking him to court for "taking their picture without their knowledge", because under French law an individual owns the rights to their own likeness. The court action forced Doisneau to reveal that he posed the shot using Françoise Delbart and Jacques Carteaud, lovers whom he had just seen kissing, but had not photographed initially because of his natural reserve; he approached them and asked if they would repeat the kiss. He won the court case against the Lavergnes. Doisneau said in 1992: "I would never have dared to photograph people like that. Lovers kissing in the street, those couples are rarely legitimate." The couple in Le baiser were Françoise Delbart, 20, and Jacques Carteaud, 23, both aspiring actors. In 2005, Françoise Bornet (née Delbart) stated: "He told us we were charming, and asked if we could kiss again for the camera. We didn't mind. We were used to kissing. We were doing it all the time then, it was delicious. Monsieur Doisneau was adorable, very low key, very relaxed." They posed at the Place de la Concorde, the Rue de Rivoli and finally the Hôtel de Ville. The photograph was published on 12 June 1950, issue of Life. The relationship between Delbart and Carteaud only lasted for nine months. Delbart continued her acting career, but Carteaud gave up acting to become a wine producer.

In 1950, Françoise Bornet was given an original print of the photograph, bearing Doisneau's signature and stamp, as part of the payment for her "work". In April 2005, she sold the print at auction for €155,000 to an unidentified Swiss collector via the Paris auctioneers Artcurial Briest-Poulain-Le Fur.

Carteaud died in 2006, and Bornet died on Christmas Day 2023, aged 93.

Personal life
In 1936, Doisneau married Pierrette Chaumaison whom he had met in 1934 when she was cycling through a village where he was on holiday. The couple had two daughters, Annette (b. 1942) and Francine (b. 1947). From 1979 until his death, Annette worked as his assistant.

His wife died in 1993 suffering from Alzheimer's disease and Parkinson's disease. Doisneau died six months later in 1994, having had a triple heart bypass and was suffering from acute pancreatitis. Annette said: "We won in the courts (re: The Kiss), but my father was deeply shocked. He discovered a world of lies, and it hurt him. The Kiss ruined the last years of his life. Add that to my mother suffering from Alzheimer's and Parkinson's, and I think it's fair to say he died of sadness."

Doisneau was in many ways a shy and humble man, similar to his photography, still delivering his own work at the height of his fame. He chastised Francine for charging an "indecent" daily fee of £2,000 for his work on a beer advertising campaign – he wanted only the rate of an "artisan photographer". "Maybe if I were 20, success would change me. But now I'm a dinosaur of photography."

He lived in southern Paris (Gentilly, Val-de-Marne, Montrouge, and the 13th arrondissement) throughout his life. He is buried in the cemetery at Raizeux beside his wife.

Awards and commemoration

 * Kodak Prize, 1947
 * Niépce Prize, 1956 (Nicéphore Niépce)
 * Grand Prix National de la Photographie, 1983
 * Balzac Prize, 1986 (Honoré de Balzac)
 * Chevalier of the Order of the Legion of Honour, 1984.
 * Honorary Fellowship (HonFRPS) from the Royal Photographic Society, 1991.
 * The Maison de la photographie Robert Doisneau in Gentilly, Val-de-Marne, is a photography gallery named in his honour.
 * Several Ecole Primaire (primary schools) are named after him. Ecole élémentaire Robert Doisneau is at Véretz (Indre-et-Loire).
 * The Allée Robert Doisneau is named in his honour at the 'Parc de Billancourt' on the site of the old Renault factory at Boulogne-Billancourt.
 * On 14 April 2012, Google celebrated his 100th birthday with a Google Doodle.

Publications

 * Paris délivré par son peuple. (From the People of Paris). Paris: Braun: c.1944.
 * La Banlieue de Paris. (The Suburbs of Paris). Text by Blaise Cendrars. Paris: Éditions Pierre Seghers, 1949.
 * L'Enfant de Paris. (The Children of Paris). Text by Claude Roy. Neuchâtel: La Baconnière, 1951.
 * Sortilèges de Paris. (The magic of Paris). Text by François Cali. Paris: Arthaud, 1952.
 * Les Parisiens tels qu’ils sont. (The Parisians as they are.). Text by Robert Giraud and Michel Ragon. Paris: Delpire, 1954.
 * Instantanés de Paris. (Snapshots of Paris). Preface by Blaise Cendrars. Paris: Arthaud, 1955.
 * 1, 2, 3, 4, 5, Compter en s’amusant. (Fun Counting). Lausanne: La Guilde du Livre, 1955.
 * 1, 2, 3, 4, 5.. Text by Arthur Gregor. Philadelphia: Lippincott, 1956.
 * 1, 2, 3, 4, 5.. Text by Elsie May Harris. London: Nelson, 1962.
 * Pour que Paris soit. (This is Paris). Text by Elsa Triolet. Paris: Éditions Cercle d’Art, 1956.
 * Gosses de Paris. (Children of Paris). Text by Jean Dongués. Paris: Éditions Jeheber, 1956.
 * Robert Doisneau's Paris: 148 Photographs. Text by Blaise Cendrars. New York: Simon & Schuster, 1956.
 * Paris Parade: 148 Photographs. London: Thames & Hudson, 1956.
 * Le ballet contre l'opéra. (The Ballet and The Opera). Souillac, Lot: Mulhouse, 1956.
 * A.B.C. du dépannage.. N.p.: Société des pétroles Shell Berre, 1958.
 * Bistrots. (Bistros). Text by Robert Giraud. Le Point: Revue artistique et littéraire, 57. Souillac, Lot: Mulhouse, 1960.
 * Arabie, carrefour des siècles: Album. (Arabia, crossroads of the centuries. An album). Text by Jacques Benoist-Méchin. Lausanne: La Guilde du livre, 1961.
 * Nicolas Schöffer.. Text by Guy Habasque and Jacques Ménétrier. Neuchâtel: Éditions du Griffon, 1962.
 * Cognac.. Text by Georges Vial. Cognac: Rémy Martin, 1960 (?).
 * Cognac.. Text by Louise de Vilmorin. Paris: Rémy Martin, 1962.
 * Marius, le forestier. (Marius, the forester. The working men). Text by Dominique Halévy. Les hommes travaillent. Paris: Éditions Fernand Nathan, 1964.
 * Henri Cartier-Bresson, Robert Doisneau, André Vigneau: Trois photographes français. Arles: Musée Réattu, 1965.
 * Catalogue of an exhibition at Musée Réattu of Doisneau, Henri Cartier-Bresson, and André Vigneau.
 * Épouvantables Épouvantails. (Appalling Scarecrows). Paris: Éditions Hors Mesure, 1965.
 * Le Royaume d’argot. (The Kingdom of slang). Text by Robert Giraud. Paris: Denoël, 1966.
 * Catherine la danseuse. (Catherine. the dancer). Text by Michèle Manceaux. Paris: Éditions Fernand Nathan, 1966.
 * L'École polytechnique. (The Polytechnic). Loos-lez-Lille: L. Danel, 1967.
 * L'Oeil objectif. (The eye is a lens). Marseille: Musée Cantini, 1968.
 * Catalogue of an exhibition at Musée Cantini by Doisneau, Denis Brihat, Lucien Clergue, and Jean-Pierre Sudre.
 * Le Royaume secret du milieu. (The secret of the middle kingdom). Text by Robert Giraud. Paris: Éditions Planète, 1969.
 * My Paris. Text by Chevalier, Maurice. Macmillan Publishers. New York. 1972
 * Le Paris de Robert Doisneau et Max-Pol Fouchet. Les éditeurs français réunis. France. 1974
 * L’Enfant à la Colombe. (The Child of the Dove). Text by Sage, James. Editions of the Oak. Paris. La Loire. Denoël. Paris. 1978
 * Le Mal de Paris. (The Evil of Paris). Text by Lépidis, Clément. Arthaud Publications. Paris. Trois Secondes d’éternité. Contrejour. Paris. 1979
 * Ballade pour Violoncelle et Chambre Noir. (A Song for a Cello and a dark room). co-author: Baquet, Maurice. Herscher Editions. Paris. 1980
 * Robert Doisneau. Text by Chevrier, Jean-François. Belfond Editions. Paris. 1981
 * Passages et Galeries du 19ème Siècle. (Passages and Galleries of the 19th Century). Text by Delvaille, Bernard. Éditions Balland. Paris. 1982
 * Doisneau. Photopoche, Centre national de la photographie. France. 1983
 * Paysages, Photographies. (Landscapes). (mission photography for DATAR) Éditions Hazan. Paris. 1985
 * Un Certain Robert Doisneau. Editions of the Oak. Paris. 1986
 * Pour saluer Cendrars. (In honour of Cendrars). Text by Camilly, J. Actes Sud. Arles, France. 1987
 * 60 portraits d/artists. (60 portraits of artists). Text by Petit, Jean. Hans Grieshaber Publications. Zürich. 1988
 * Doisneau. Quotations by Doisneau collected by Maisonneuve Andre. Éditions Hazan. Paris, France. 1988
 * Bonjour Monsieur Le Corbusier. (Hello Mr Le Corbusier). Text by Petit, Jean. Hans Grieshaber Publications. Zürich. 1988
 * A l’imparfait de l’objectif. (The imperfect object). Belfond Editions. Paris. 1989
 * Les Doigts Pleins d’encre. (Fingers full of ink). Text by Cavanna. Hoëbeke Editions. Paris. 1989
 * La Science de Doisneau. (The Science of Robert Doisneau). Hoëbeke Editions. Paris. 1990
 * Les Auvergnats. (People of the Auvergne). With Dubois, Jaques. Nathan Images. Paris. 1990
 * Lettres à un Aveugle sur des Photographies de Robert Doisneau. (Letters to a blind man about the Photographs of Robert Doisneau). Text by Roumette, Sylvain. 1990
 * Le Tout sur le tout/Le Temps qu’il fait. (All about the weather). Paris. 1990
 * Le Vin des rues. Text by Robert Giraud. Paris: Denoël, 1990.
 * Rue Jacques Prévert. Hoëbeke Editions. Paris, France. 1991
 * La Compagnie des Zincs. Text by Carradec, François Carradec. Seghers. Paris. 1991
 * Les Grandes Vacances. (Summer vacation). Text by Pennac, Daniel. Hoëbeke Editions. Paris. 1992
 * Mes gens de Plume. Writings by Doisneau collected by Dubois, Y. Éditions La Martinière. France. 1992
 * Les Enfants de Germinal. (The children of Germinal). Text by Cavanna. Hoëbeke Editions. Paris. 1993 (See also Germinal (month). the downfall)
 * Doisneau 40/44. Text by Ory, Pascal. Hoëbeke Editions. Paris. 1994
 * La Vie de Famille. (Family life). Text by Ory, Pascal. Hoëbeke Editions. Paris. 1994
 * Robert Doisneau ou la Vie d’un photographie. (Robert Doisneau. the life of a photographer. Text by Hamilton, Peter. Hoëbeke Editions. Paris. 1995
 * Mes Parisiens. (My Parisians). Nathan Publications. Paris. 1997
 * Palm Springs 1960. Paris: Flammarion, 2010. ISBN 978-2-08-030129-1. With a foreword by Jean-Paul Dubois.
 * Robert Doisneau, comme un barbare. Text by André Pozner. Paris: Lux Editions, 2012. ISBN 978-2895961475.

Exhibitions

 * 1947 Salon de la Photo, Bibliothèque, Paris
 * 1951 Exhibition with Brassaї, Willy Ronis, and Izis, Museum of Modern Art, New York
 * 1960 Solo exhibition, Museum of Modern Art, Chicago.
 * 1965 Exhibition with Daniel Frasnay, Jean Lattès, Jeanine Niépce, Roger Pic, and Willy Ronis, Six Photographes et Paris, Musée des Arts Decoratifs, Paris; Exhibition with Henri Cartier-Bresson and André Vigneau, Musée Réattu, Arles; Solo Exhibition, Bibliothèque Nationale, Paris; Exhibition with D. Brihat, J. P. Sudre, and L. Clergue, Musée Cantini de Marseilles
 * 1972 Solo Exhibition, International Museum of Photography at George Eastman House, Rochester, New York
 * 1972 Exhibition with Edouard Boubat, Brassaї, Henri Cartier-Bresson, Izis, and Willy Ronis, French Embassy, Moscow
 * 1974 Solo Exhibition, University of California at Davis. Solo exhibition, Galerie du Château d’Eau, Toulouse
 * 1975 Solo Exhibition, Witkin Gallery, New York; Musée Réattu Arts Décoratifs, Nantes; Musée Réattu, Arles
 * 1975 Solo exhibition, Galerie et Fils, Brussels. Solo exhibition, fnac, Lyons; Group exhibition, Expression de l’humor, Boulogne Billancourt; Solo exhibition, Galerie Neugebauer, Basel
 * 1976 Exhibition with Brassaї, Cartier-Bresson, Jean-Philippe Charbonnier, Izis, and Marc Riboud, Kraków
 * 1977 Solo Exhibition, Brussels; Exhibition with Guy la Querrec, Carlos Freire, Claude Raimond-Dityvon, Bernard Descamps, and Jean Lattès, Six Photographes en quête de banlieue, Centre Georges Pompidou, Paris
 * 1978 Solo Exhibition, Ne Bougeons plus, Galerie Agathe Gaillard, Paris; Solo exhibition, Witkin Gallery, New York; Solo exhibition, Musée Nicéphore Niépce, Charlon-sur-Saône
 * 1979 Solo Exhibition, Paris, les passants qui passent, Musée d’Art Moderne de la Ville de Paris
 * 1980 Solo Exhibition, Amsterdam
 * 1981 Solo Exhibition, Witkin Gallery, New York
 * 1982 Solo Exhibition, Portraits, Foundation Nationale de la Photographie, Lyons; Solo exhibition, French Embassy, New York; Solo exhibition, Robert Doisneau, Photographe de banlieue, Town Hall, Gentilly
 * 1982 Solo exhibition of 120 photographs, Palace of Fine Arts, Beijing, Exhibition of portraits, Tokyo; Solo exhibition, Robert Doisneau, Photographie du dimanche, Institut Lumière, Lyon
 * 1986 Group Exhibition, De Vogue à femme, Rencontres Internationales de la Photographie d’Arles
 * 1987 Solo Exhibition, St.-Denis, Musée de St.-Denis; Solo exhibition, The National Museum of Modern Art, Kyoto
 * 1988 Solo Exhibition, A Homage to Robert Doisneau, Villa Medicis, Rome
 * 1989 Solo Exhibition, Doisneau-Renault, Grande Halle de la Villette, Paris
 * 1990 Solo Exhibition, La Science de Doisneau, Jardin des Plantes, Paris
 * 1992 Solo Exhibition, Robert Doisneau: A Retrospective, Modern Art Oxford
 * 1993 The Summerlee Heritage Trust, Coatbridge, Scotland; Royal Festival Hall, London; Manchester City Art Gallery; O Mes da Fotografie Festival, Convento do Beato, Lisbon, Portugal; Musée Carnavalet, Paris
 * 1994 "Hommage à Robert Doisneau", festival des Rencontres d'Arles, France
 * 1994 Musée d’Art Contemporain de Montréal, Canada; Galway Arts Centre, Ireland; Solo exhibition, A Homage to Robert Doisneau, Galerie du Château d’Eau à Toulouse; Solo exhibition, Doisneau 40/44, Centre d’Histoire de la Résistance et de la Déportation de Lyon, Lyon, France; Solo exhibition, Robert Doisneau ou la désobéissance, Ecomusée de Fresnais
 * 1995 Museum of Modern Art, Oxford, England; Aberdeen Art Gallery, Scotland; The Mead Gallery, Warwick Arts Centre, Coventry
 * 1996 Solo Exhibition, Montpellier Photo-Visions, Galerie Municipale de la Photographie; Isetan Museum of Art, Tokyo; Daimaru Museum, Osaka, Japan
 * 2000 Exhibition, Gravités, Paris
 * 2000 Exhibition, Galerie Claude Bernard, Paris
 * 2002 Exhibition, Museo Nacional de Bellas Artes, Santiago, Chile
 * 2003 Exhibition, Budapest, Hungary; Exhibition, Bucarest, Romania
 * 2003 Exhibition, Galerie Claude Bernard, Paris
 * 2005 Solo Exhibition, Robert Doisneau from the Fictional to the Real, Bruce Silverstein Gallery, New York
 * 2005 Solo Exhibition, Robert Doisneau, Galerie Claude Bernard, Paris
 * 2010 Solo Exhibitions, Robert Doisneau, Du metier a l'oeuvre, Fondation Henri Cartier-Bresson, 2, Impasse Lebouis, 75014 Paris
 * 2010 Group Exhibition, Discoveries, Robert Doisneau, Bruce Silverstein Gallery, New York
 * 2010 Solo Exhibition, Robert Doisneau, the fisherman of images, the Space for Art of Caja Madrid Zaragoza, Aranjuez, Madrid
 * 2011 Group exhibition: Night, Robert Doisneau Bruce Silverstein Gallery, New York
 * 2014 exhibition : The moments that he loved, sangsangmadang, Seoul
 * 2015 exhibition : Robert Doisneau, a photographer at the museum, Grande Galerie de l'Évolution, Paris

Films about Doisneau
A short film, Le Paris de Robert Doisneau, was made in 1973.

In 1992 the French actress and producer Sabine Azéma made the film Bonjour Monsieur Doisneau.

title: Robert Doisneau


text:
Yeni language

The Yeni language is an extinct language of Cameroon, formerly spoken around Djeni Mountain in the Nyalang area. All that remains of the language, apparently, is a song remembered by some Sandani speakers. However, according to Bruce Connell (the first linguist to report its existence, in 1995), comparison of the song's words to neighboring languages suggests that "it was closely related to [the Mambiloid languages] Cambap, Njerep, and Kasabe."

title: Yeni language


text:
Wikipedia talk:WikiProject Comics/organization

Suggestion
Maybe even before we work on templates (aside from the project notice, which will be quick, easy, and uncontroversial), we should think seriously about organization. I'm thinking it should be structured somewhat similarly to United States. Let me summarize:

United States example
United States The United States of America is a federal republic...
 * History
 * Main article: History of the United States
 * Brief summary of US History

 * Politics
 * Main article: Politics of the United States
 * Brief summary of US Politics

 * Geography

And so on. So each of those second-tier articles (History, Politics, Geography) has its own page, which is structured in much the same way:

History of the United States
 * Pre-Colonial America
 * For details, see the main Pre-Colonial America article.
 * One-sentence summary of this period

 * Colonial America
 * For details, see the main Colonial America article.
 * One-sentence summary of this period

 * History of the United States (1776-1789)
 * For details...

And so on.

Science Fiction example
Science Fiction, to use a more relevant example, has a similar structure, although it relegates History of Science Fiction to "Related Articles," instead of incorporating it bit-by-bit into the main article, which is what I would prefer. It also points to the Genres, subcategories and related topics to science fiction, which is the kind of indiscriminate list-making we should strive to avoid. United States, meanwhile, has a well-organized template of related topics at the very bottom which I think is great, and should be emulated.

Comics prototype
Here's my current idea (levels of bulleted-ness imply a heading in the parent article, and often a complete article of its own [if so, a short description should still be included in the parent article, as in the example above]):
 * comics (topmost level)
 * History of comics
 * Pre-literate
 * Pre-newspaper combine these two?
 * Early newspaper comics
 * The Golden Age
 * The Silver Age
 * The Modern Age
 * Unsure how to handle this one, frankly (that is, the hierarchy of history). Split up Eastern and Western comics, with "Western" containing "European" and "American"? Mainstream and Independent? Comic strips and comic books?
 * Comics Formats
 * comic strip
 * webcomic
 * newspaper comic strip
 * comic book
 * serial comic book
 * graphic novel
 * minicomic
 * trade paperback
 * other formats
 * cartoon
 * non-verbal instructions (e.g. airplane safety guide)
 * storyboard
 * formal conventions of comics
 * formal conventions of Eastern comics
 * formal conventions of Western comics
 * genres of comics
 * a whole slew of genres
 * comics community
 * comics criticism
 * comics conventions
 * comics awards

I've spent too long on this already today, so I'll have to stop there. Responses? -leigh (φθόγγος) 02:01, Dec 7, 2004 (UTC)

Responses
That's a good start! The history is very U.S. comicbook centric, though. I'm the guy that made that big edit vis. Comic Book and American comic book a few months ago. I looked at Dance, Painting, Writing and Fiction for some guidance, which ended up supporting that "momentous" edit. Rand 20:53, 15 Dec 2004 (UTC)

 * I know it is, and I appreciate your efforts to de-bias things. I'm just not sure where to fork things, if you know what I mean. The "prehistory" of comics, if you will, is necessarily international and multiformat, just because of the paucity of data (thinking here things like cave paintings, Egyptian mummy diagrams, the Bayeux tapestry, perhaps Trajan's column. You know, the "some critics have suggested X is an early example of sequential art, or comics" kind of stuff. After that, Eastern and Western sequential art differs pretty distinctly; does that mean they should be seperate articles? But European comics become quite distinct from American comics pretty quickly, don't they? History of American comic books is pretty easy to organize; you do the standard "ages" breakdown and figure out how to cover both mainstream and indy comics. History of American comics is also pretty easy; it's History of American comic books plus History of American comic strips and History of American Webcomics. It's integrating that with the bigger picture that's giving me trouble. -leigh (φθόγγος) 01:31, Dec 16, 2004 (UTC)

I don't thing we can so easily integrate all these things. If course there is a common early history, of course nowadays we have a mix of genres and influences ("comics globalisation" ?), wbut comics is something deeply interlaced in the local popular culture. For exemple, are Comics criticism the same in US, EU, Asia, ... ? History should be split up geographically, at least. Lvr 12:09, 21 Jan 2005 (UTC)
 * Well, there is a History of the World article... I agree that geographic subdivision is necessary, but:
 * we should have a broad overview, like History of the World, in a history of comics article (and then a one-paragraph summary of that in the comics article)
 * The structure of the geographic/temporal-based subpages needs to be decided. Shall we have a history of Asian comics, history of American comics, history of European comics trifecta?
 * Thanks for responding. -leigh (φθόγγος) 19:40, Jan 22, 2005 (UTC)

The Victorian Age and The Platinum Age are the two eras that scholars are debating as coming between pre newspaper and golden age, I believe. Will do some more digging another time. I think anything before this like tapestries or columns should go on a sequential art page that I'm working up in rough at the moment and then will put up for debate at some point. It's very sketchy at the moment though.Hiding 21:43, 12 May 2005 (UTC)

Written up
I've been bold and codified what was here to move the conversation along and also to have something more concrete to hand. Hiding talk 22:25, 13 November 2005 (UTC)
 * Can't place it yet, but something seems very... off... about a lot of it.
 * Probably mostly me finding McCloud insufferably pretensious, and you stating explicitly that it's based on his stuff, but still... - SoM 22:56, 13 November 2005 (UTC)
 * Well, we do base the article at comics rather than sequential art, so I thought it best to lay out why. As to the rest of it being off, see if you can work out why, it's mainly meant to be a loose structural outline of the big concept articles.  It became apparent to me recently that we need some sort of structure we can point to as an indicator of the structure.  The page names and so on are pretty much just placeholders rather than set in stone, I just thought it best to mark out comics as the top page, and note all the formats and so on and how it all ties together. Hiding  talk 23:25, 13 November 2005 (UTC)


text:
Vernaccia di San Gimignano

Vernaccia di San Gimignano is a white Italian wine, made from the Vernaccia grape, produced in and around the Italian hill town of San Gimignano, in Tuscany. It was the first Italian wine to be awarded denominazione di origine controllata (DOC) status in 1966; on July 9, 1993, it was upgraded to denominazione di origine controllata e garantita (DOCG).

History
The earliest recorded mention of the wine appears in the archives of record of San Gimignano from 1276. Due to the difficulties in cultivating the Vernaccia grape, the wine fell out of favor in the early 20th century as the more prolific Trebbiano and Malvasia grapes were planted. By the 1960s, Vernaccia di San Gimignano experienced a resurgence as its distinctive, crisp qualities established it as a popular alternative to the blander wines produced from Trebbiano and Malvasia blends.

Viticulture and winemaking
The name "Vernaccia" is applied to several different Italian grapes, such as the Sardinian grape used in Vernaccia di Oristano and the Marche grape used in the sparkling red wine Vernaccia di Serrapetrona. Ampelographers have determined that the variety grown in San Gimignano is different and distinct from the other Italian Vernaccias and is probably not related. The Tuscan variety is believed to be the oldest grape variety but its origins are not clear with ampelographers disagreeing if it originally came from Eastern Europe, Greece or is indigenous to the Italian peninsula.

In San Gimignano, the Vernaccia grapes planted in sandstone based vineyards tend to produce the best examples of Vernaccia di San Gimignano. The medium altitude of the vines is approximately 280 meters and the earth is pliocene, made up of jellow sand and sandy clay. The time in which the grape harvest takes place is roughly from September 15 to October 15, with a yield of 90 quintals of grapes per hectare.

The wine is characteristically dry with crisp acidity and a slightly bitter and somewhat metallic finish. Most consider Vernaccia di San Gimignano to be a simple, everyday white; its popularity being owed less to what is in the glass and more to it being the local wine of San Gimignano, one of Tuscany's most touristy towns. Despite this reputation, modern winemaking has introduced the use of oak aging to give the wine another layer of complexity and roundness. While very different from the historic style of Vernaccia di San Gimignano, the success of these more modern and international styles has not yet been established.

These are the characteristics for Vernaccia di San Gimignano:
 * Color: yellow straw-like hue, tending towards a golden color with age
 * Scent: light and penetrating
 * Taste: dry, with a slightly bitter after taste
 * Sugar: max. residue 4 g/l
 * Total acidity: min. 5 g/l
 * Dry extract: net min. 15 g/l
 * Alcoholic grade: min. 11%. For the "Riserva" 11.50%.

According to DOC regulations, Vernaccia di San Gimignano must contain 90% Vernaccia, with up to 10% other nonaromatic approved white varieties. In order to meet "riserva" status, ageing must be a minimum of twelve months, including four months in bottle.

Vernaccia in literature
Vernaccia is mentioned by Dante Alighieri (Purgatorio XXIV) as leading to Pope Martin IV's gluttony. He ate Bolsena eels pickled in the wine.
 * ebbe la Santa Chiesa in le sue braccia:
 * dal Torso fu, e purga per digiuno
 * l’anguille di Bolsena e la vernaccia.

Vernaccia was also praised by Francesco Redi in his work, "Baccio in Toscana" (1685)..

Vernaccia is mentioned by Cecco Angiolieri in an untitled poem: "--S'i' gli avvessi chèsto di vernaccia!--".

title: Vernaccia di San Gimignano


text:
Wikipedia:Articles for deletion/Inclusive classroom (0th nomination)

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

The result of the debate was - kept

Inclusive classroom
Unencylopedic, POV, research paper. Delete this and all associated images. [[User:Neutrality|Neutrality/talk]] 02:04, Dec 7, 2004 (UTC)
 * Keep, badly formatted but there is some good content. - SimonP 02:40, Dec 7, 2004 (UTC)
 * Delete: Parts of the existing article are probably copyvios. If the article is cleaned up, I would change to keep. DCEdwards1966 03:34, Dec 7, 2004 (UTC)
 * Delete: It's a massive c&p from other sites. I don't have a problem with discussing mainstreaming in general or even the concept by this particular name, but it's entirely unencyclopedic now -- written very much in EdSpeak with EdCadence.  It's an advocacy page.  If it is radically cleaned up by the end of voting, I would change my vote, but the clean up would be severe. Geogre 03:57, 7 Dec 2004 (UTC)
 * Keep, send to cleanup. [[User:Rhymeless|Rhymeless | (Methyl Remiss)]] 06:06, 7 Dec 2004 (UTC)
 * Keep--and cleanup. Article addresses a significant topic in education. Needs NPOVing, however. Jacob1207 21:26, 7 Dec 2004 (UTC)
 * Keep and send to cleanup. Valid topic. Let's try to get it cleaned up before we rush into deletion. [[User:MacGyverMagic|Mgm|(talk)]] 21:45, Dec 7, 2004 (UTC)
 * Delete this codswallop . Good example of why north American education majors shouldn't be allowed to teach innocent children. Wyss 21:53, 7 Dec 2004 (UTC)
 * Please avoid personal attacks. We're voting on the article, not the author or the profession.  Joyous 23:42, Dec 7, 2004 (UTC)

 * Where is the personal attack? I was attacking the author's article ( codswallop ), and the current state of public education in the states (brilliant in some places but largely dismal): The article is clear evidence the author has been let down by her teachers (whom I guess I'm attacking, but still not personally)... too bad she can't demand a refund on her tuition. Wyss 00:00, 8 Dec 2004 (UTC)
 * Keep, obviously encyclopedic topic, not even an awful article (at least now). -- Jmabel | Talk 00:36, Dec 8, 2004 (UTC)
 * Keep Ok, I've corrected around a dozen remaining grammar/syntax errors, tightened up the language and generally made the article more encyclopedic. I guess I was distracted by the abysmal writing (I hope the original author won't be teaching English anytime soon... sorry if that sounds like a personal attack but my remark is sincere). Wyss 01:15, 8 Dec 2004 (UTC)
 * Keep. Obviously encyco enclyco suitable. [[User:GeorgeStepanek|GeorgeStepanek\talk  ]] 01:56, 8 Dec 2004 (UTC)

 * Keep it. —[[en:RaD Man|RaD Man (talk)]] 15:45, 8 Dec 2004 (UTC)

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


text:
Vernaccia

Vernaccia is a white wine grape that is found in many Italian wines but is most commonly associated the Tuscan wine Vernaccia di San Gimignano. Ampelographers have determined that the Vernaccia vine has many clonal varieties but is unrelated to some Italian vines known as "Vernaccia" such as the Sardinian varieties used in the Sherry-like wine Vernaccia di Oristano, the Trentino-Alto Adige/Südtirol red wine grape known as Vernatsch or the black grape used in the red sparkling wine of the Marche Vernaccia di Serrapetrona. A possible reason for this is that the root of the name Vernaccia translates to different Italian vernaculars and other languages (such as German and Sardinian) and can apply to any local grape.

History
The Tuscan variety of Vernaccia appears to be an ancient variety but ampelographers disagree as to whether the grape's origins are Eastern European, Greek or Roman. In the Middle Ages, a Vernaccia wine known as Vernage was popular in London.

Wine style
The white wine grape of Vernaccia di San Gimignano is the most well known variety of Vernaccia and produces crisp wine with good acidity and citrus fruit. It is sometimes blended with Trebbiano but is also seen as a varietal wine.

Other varieties
The Sardinian Vernaccia of Vernaccia di Oristano is known as Vernaccia di Oristano. Two other wines that were available in Sardinia in the 1960s were Sardinian Gold and Sardinian Silver. The Marche grape of Vernaccia di Serrapetrona is Vernaccia Nera.

title: Vernaccia


text: Talk:Sangju National University

title: Talk:Sangju National University