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Illustrated fiction

Illustrated fiction is a hybrid narrative medium in which images and text work together to tell a story. It can take various forms, including fiction written for adults or children, magazine fiction, comic strips, and picture books.

Illustrated fiction in the 18th century
Apart from an occasional portrait or map, 18th century fiction was not usually illustrated, as publishers did not commission illustrations for new novels. In the novel The History of Tom Jones, a Foundling, the author Henry Fielding refers to paintings by William Hogarth in order to explain what some of his characters look like. Illustrations were commissioned for already successful books. These illustrated versions were usually published as limited editions and sold through prior subscription. Henry Fuseli created a single frontispiece for the fourth edition of Tobias Smollett's The Adventures of Peregrine Pickle. Thomas Stothard provided several illustrations for an edition of The Vicar of Wakefield published 30 years after its first publication in 1766.

Near the end of the 18th century, new mechanical techniques allowed pictures to be printed cheaply. Illustrated classics became cheaply available, and were strongly remembered by their readers. John Ruskin was moved by illustrations of Robinson Crusoe crashing into rocks and escaping his wreck. Charles Dickens remembered the illustrations in many books more than the prose itself.

Illustrated fiction in the 19th century
At the beginning of the 19th century, illustration increased the sales of previously published fiction. In 1836, the publication of Charles Dickens's The Pickwick Papers in an illustrated serialized format revolutionised the publication of new fiction. The popularity of the original illustrations in Dickens's novels was unprecedented, and helped to popularize the use of illustrations in serious fiction. This revolution lasted until 1870, as other authors and published attempted to emulate Dickens's success. Illustrations became common in the period. For publishers, new fiction with illustrations published serially was less of a commercial risk than the traditional unillustrated three-volume sets. Illustrations attracted readers and increased advertising revenue. Illustrations were used as advertisement's in booksellers windows. During the 19th century, the use of photomechanical techniques decreased the cost of reproducing illustrations. Both colour and black and white illustrations were increasingly used in daily, weekly, and monthly publications. Publishers sold a great deal of one-volume hardcovers and periodical serials.

Dickens's novels were well-suited to graphic representation. Dickens believed that the drawings that illustrated his fiction were valuable, despite some critics urging him not to use them. Most of his major works were originally published with illustrations. He was intensely involved in the creation of most of the 900 original illustrations of his writing. These illustrations were produced by 18 artists, including George Cruikshank and Robert Seymour.

Most of William Ainsworth's, Charles Lever's, William Thackeray's, and Anthony Trollope's major works were initially published in illustrated monthly parts. Later, novelists preferred to publish their writing in illustrated magazines. Thomas Hardy often did this. George Meredith did this twice, and George Eliot once. 19th century author artists included William Makepeace Thackeray and George du Maurier.

Many artists began their careers illustrating fiction. Illustrating was a difficult and badly paid job. Hablot Knight Browne was one of the few very talented artists to pursue illustrating full-time. Most artists, such as Marcus Stone and Luke Fildes, used illustrating as a stepping-stone to a career in painting. Other artists like George Cattermole and Daniel Maclise supplemented their income by providing illustrations.

The popularity of illustrated fiction began to decline in the late 19th century, as illustrations lost their novelty and no longer guaranteed that a novel would sell well. Technological improvements in printing flooded the market with affordable novels with illustrations of high quality. Prestigious artists including John Everett Millais, Dante Gabriel Rossetti, Edward Burne-Jones, and Frederick Leighton started to illustrate books. Illustrations challenged the novel's prose, implying a failure in prose's self-sufficiency. Prose frequently took second place to illustration.

Illustrated fiction in the 20th century
The amount of illustrated fiction that was published declined from the beginning of the 20th century to the 1930s. By the 1930s, illustrations were rarely used in adult's novels. Illustrated serious fiction was not popular over the rest of the century. The decline in the publication of serials, rise in labour costs, and competition from film, television, and photojournalism contributed to its decline. There was also less demand from readers. Historians of Western illustrated fiction mostly agree that film replaced the illustrated book. A review of the 1915 film adaptation of Vanity Fair said that "the reels make a set of illustrations superior to the conventional pen-pictures of a deluxe edition."

Modern literary fiction was often not well-suited to illustration, for example the introspective novels of E. M. Forster and Virginia Woolf. Illustrations were used on book covers to attract buyers, but not used within the novel. Similar to the period before 1836, illustrations were not commissioned for new books, but were commissioned for established classics, usually for a limited luxury edition. Serious novels are not illustrated, and illustrated fiction is generally associated with serialized or short fiction that is published in popular but not intellectually prestigious magazines. Children and comics readers became the only fiction readers whose fiction was generally illustrated.

Some authors were concerned that illustrations would date or misinterpret their prose. Henry James disliked illustrations, claiming that illustrations were not needed because prose was sufficiently pictorial. He thought that illustrations and prose were in competition with one another. He permitted his travel books, but not his mature fiction, to be illustrated. Alvin Langdon Coburn's photographs were used in the New York edition of his works only as frontispieces, and only after James reassured himself that they did not compete or make a reference to his prose. Similar to James, Thomas Hardy increasingly excluded illustrations from the collected editions of his novels, with the exception of maps that he had drawn and photographic frontispieces.

None of the first or standard editions of James Joyce's novels were illustrated during his lifetime, except for an edition of Ulysses published by the Limited Editions Club in 1935, which included drawings and etchings by Henri Matisse. Pearl Buck's husband Richard J. Walsh, as editor of Asia, included illustrations with Buck's work that was published there in serial or complete form. However, as editor and later president of the John Day Company, he did not include illustrations in the subsequent hardcover editions of these novels. When Ernest Hemingway's novella The Old Man and the Sea was first published in Life magazine in 1952, it was illustrated with blue-tinted drawings by Noel Sickles. These illustrations were not included in its first publication in volume form, published by Charles Scribner's Sons. In the middle of the 20th century, the comic strip used visual images to convey action and had a great influence on children and young people. Comic books have unique storytelling potential.

title: Illustrated fiction


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Alan Helffrich

Alan Boone Helffrich (August 7, 1900 – February 3, 1994) was an American athlete, winner of gold medal in 4 × 400 m relay at the 1924 Summer Olympics.

Born in Yonkers, New York, Alan Helffrich was one of America's greatest middle-distance runners in the 1920s. Helffrich won the AAU titles in 880 yd in 1921, 1922 and 1925. As a Pennsylvania State University student, he won the NCAA championships in 880 yd in 1922 and 1923 and IC4A championships in 880 yd in 1923 and in 440 yd in 1924.

At the Paris Olympics, Helffrich ran the final leg in the American 4 × 400 m relay team, which won the gold medal with a new world record of 3.16.0. Helffrich was the only runner to defeat Paavo Nurmi when the Finn toured the United States in 1925, scoring a victory in the half-mile run at the Yankee Stadium. He ended Nurmi's 121-race win streak that had started in 1921.

After his running career, Helffrich officiated at athletics meets in New York City from 1930 to 1955 and served, until his death at age 93, as president of the New York Chapter of the United States Olympians.

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

title: Alan Helffrich


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Wikipedia talk:Naming conventions (definite or indefinite article at beginning of name)

"Wikipedia:NCT" listed at Redirects for discussion
The redirect [//en.wikipedia.org/w/index.php?title=Wikipedia:NCT&redirect=no Wikipedia:NCT] has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at  until a consensus is reached. Jay 💬 07:38, 15 June 2023 (UTC)

Article for company names that end with "Corporation"
Should companies whose full name end with "Corporation" be written with an article (at least in the first sentence of the lead section)?

This is true for IBM ("The International Business Machines Corporation [...]"), but not so for Nvidia or Microsoft ("Nvidia Corporation [...]" and "Microsoft Corporation [...]"), for example.-- Maxeto0910 (talk) 00:48, 18 February 2024 (UTC)
 * I don't think we could make a general rule; usage is too varied. I'd look at reliable independent sources and follow them. SchreiberBike | ⌨ 11:31, 18 February 2024 (UTC)
 * Think of it like country names. Basic descriptions (like International Business Machines or United Kingdom) get "the", specific names (like Nvidia or China) don't. --User:Khajidha (talk) (contributions) 16:25, 30 March 2024 (UTC)
 * That's a good general rule, but there are so many exceptions. Follow the majority of reliable independent sources. SchreiberBike | ⌨ 23:26, 30 March 2024 (UTC)
 * True, but for a first approximation it's pretty good. User:Khajidha (talk) (contributions) 15:10, 1 April 2024 (UTC)

'The' dispute
I'm fine if my position about this is wrong, but if anyone would like to bring their thoughts to a discussion on how someone's nickname that starts with 'the' or 'The' should be handled in the midst of a sentence, it would be helpful. See Talk:Sonny Liston. Stefen Towers among the rest!  Gab • Gruntwerk 21:53, 12 April 2024 (UTC)
 * The clear answer is at MOS:THENAME, where an example given is:
 * "*Use Dwayne 'the Rock' Johnson not Dwayne 'The Rock' Johnson"
 * Hope that helps. SchreiberBike | ⌨ 23:07, 12 April 2024 (UTC)
 * It does help. Thank you. It helped me zero in on a more concise argument. At any rate, the issue at Sonny Liston is the other editor thinks they understand basic grammar better than me, and that therefore "The Big Bear" must have 'The' capitalized in the midst of a sentence. Stefen Towers among the rest!   Gab • Gruntwerk 23:25, 12 April 2024 (UTC)


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Echo and Narcissus

Echo and Narcissus is a myth from Ovid's Metamorphoses, a Roman mythological epic from the Augustan Age. The introduction of the myth of the mountain nymph Echo into the story of Narcissus, the beautiful youth who rejected Echo and fell in love with his own reflection, appears to have been Ovid's invention. Ovid's version influenced the presentation of the myth in later Western art and literature.

Story
The myth of the goddess is told in Book III of the Metamorphoses, and tells the story of a "talkative nymph", or Echo, whom the goddess Venus admires for her magnificent voice and song. When Echo tricks Juno into believing that her husband, Jupiter, was in the city, Juno curses Echo by making her unable to initiate a spoken sentence on her own, and instead able only to, in speech, finish a sentence started by someone else. "Yet a chatterbox, had no other use of speech than she has now, that she could repeat only the last words out of many." This is the explanation of the aural effect which was named after her.

Sometime after being cursed, Echo spied a young man, Narcissus, while he was out hunting deer with his companions. She immediately fell in love with him and, infatuated, followed quietly. The more she looked at the young man, the more she longed for him. Though she wished with all her heart to call out to Narcissus, Juno's curse prevented her.

During the hunt, Narcissus became separated from his companions and called out, ‘is anyone there,’ and heard the nymph repeat his words. Startled, Narcissus answered the voice, ‘come here,’ only to be told the same. When Narcissus saw that nobody had emerged from the glade, he concluded that the owner of the voice must be running away from him and called out again. Finally, he shouted, "This way, we must come together." Taking this to be a reciprocation of her love, Echo concurred ecstatically, "We must come together!"

In her delight, Echo rushed to Narcissus ready to throw her arms around her beloved. Narcissus, however, was appalled and, spurning her, exclaimed, ‘Hands off! May I die before you enjoy my body.’ All Echo could whisper in reply was, ‘enjoy my body’ and having done so she fled, scorned, humiliated, and shamed.

Despite the harshness of his rejection, Echo's love for Narcissus only grew. Echo's fellow nymphs prayed to Nemesis to punish Narcissus with a love that was equally not reciprocated. Nemesis caused him to fall in love with his own reflection in a pool of water where he wasted away and died, unable to take his eyes away from the beautiful youth he did not recognise as himself. Narcissus, looking one last time into the pool uttered, "Oh marvellous boy, I loved you in vain, farewell", Echo too chorused, "Farewell." When the time came for Narcissus's funeral, people came to where he lay, but found no body. All that was left of Narcissus was a six-petalled white flower arranged around a golden centre.

As the other nymphs took Narcissus into the afterlife, they wailed a sorrowful song, and Echo repeated the last syllabic wails back, in sadness. When the river master of death brought Narcissus on the boat across the Styx into the afterlife, Narcissus stared at his reflection, in unrequited desire.

Eventually, Echo, too, began to waste away. Though she was immortal, her body faded and her bones turned to stone until all that remained of Echo was the sound of her voice.

title: Echo and Narcissus


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Oliver Macdonald

J. Oliver Macdonald (February 20, 1904 in Paterson, New Jersey - April 14, 1973 in Flemington, New Jersey) was an American athlete, winner of gold medal in 4 × 400 m relay at the 1924 Summer Olympics.

At the Paris Olympics, John Oliver Macdonald ran the third leg in the American 4 × 400 m relay team, which won the gold medal with a new world record of 3.16.0.

John Oliver MacDonald graduated from the University of Pennsylvania in 1927. During his HS and college career he won 91 medals. He was known as Mac during his racing career and later JO by family and friends. He had two children, Judith L. Macdonald and Jay Oliver Macdonald, deceased. He had a successful dental career. He owned purebred Beagles and use to run his dogs in sanctioned field trials. He retired in 1960 and moved to Flemington, NJ and sold real estate.

title: Oliver Macdonald


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Australian Government

The Australian Government, also known as the Commonwealth Government or the Federal Government, is the national executive government of the Commonwealth of Australia, a federal parliamentary constitutional monarchy. The executive government consists of the prime minister and other ministers that currently have the support of a majority of members of the House of Representatives (the lower house) and in some contexts also includes the departments and other executive bodies that ministers oversee. The current executive government consists of Anthony Albanese and other Australian Labor Party ministers, in place since the 2022 federal election.

The prime minister is the head of the government and is appointed to the role by the governor-general (the King's representative). The governor-general normally appoints the parliamentary leader who has the support of a majority of members in the House of Representatives. By convention, the prime minister is a member of the lower house.

The prime minister and cabinet ministers form the cabinet, the key decision-making organ of the government that forms policy and decides the agenda of the government. Members of the government can exercise both legislative power (through their control of the parliament) and executive power (as ministers on behalf of the governor-general and the King). However, in accordance with responsible government, this also requires the actions of the government in its executive capacity to be subject to scrutiny from parliament.

The government is based in the nation's capital, Canberra, in the Australian Capital Territory. The head offices of all sixteen federal departments lie in Canberra, along with Parliament House and the High Court. The government must act in accordance with law and the Australian Constitution.

Name
The name of the government in the Constitution of Australia is the "Government of the Commonwealth". This was the name used in many early federal government publications.

However, in 1965 Robert Menzies indicated his preference for the name "Australian Government" in order to prevent confusion with the new Commonwealth of Nations. The Whitlam government legislated the use of "Government of Australia" in 1973 in line with its policy of promoting national goals and aspirations. However, academic Anne Twomey argues that the government was also motivated by a desire to blur the differences between the Commonwealth and the states in an attempt to increase federal power. The Parliament of Australia website also notes that the name "Australian Government" is preferable in order to avoid confusion with the Commonwealth of Nations and the US federal government by those not familiar with Australia's system of government. This terminology remains preferred by the government. However, the terms Commonwealth Government and federal government are also common.

In some contexts, the term "government" refers to all public agencies that exercise the power of the State, whether legislative, executive or judicial.

Executive power
The government's primary role, in its executive capacity, is to implement the laws passed by the Parliament. However, laws are frequently drafted according to the interests of the executive branch as the government often also controls the legislative branch.

Unlike the other two branches of government, however, membership of the executive is not clearly defined. One definition describes the executive as a pyramid, consisting of three layers. At the top stands The King, as the symbolic apex and formal repository of executive power. Below him lies a second layer made up of the prime minister, cabinet and other ministers who in practice lead the executive. Finally, the bottom layer includes public servants, police, government departments and independent statutory bodies who directly implement policy and laws.

Executive power is also difficult to clearly define. In the British context, it was defined by John Locke as all government power not legislative or judicial in nature. The key distinction is that while legislative power involves setting down rules of general application, executive power involves applying those rules to specific situations. In practice, however, this definition is difficult to apply as many actions by executive agencies are wide-ranging, binding and conducted independently of Parliament. The executive can also be delegated legislative power through provisions allowing for statutory instruments and Henry VIII clauses. Ultimately whether power is executive or legislative is determined on a case-by-case basis, and involves the weighing up of various factors, rather than the application of a strict test.

As most executive power is granted by statute, the executive power of the government is similarly limited to those areas in which the Commonwealth is granted the power to legislate under the Constitution (primarily under section 51). They also retain certain powers traditionally part of the royal prerogative, such as the power to declare war and enter into treaties. Finally, there exists certain "nationhood powers", implied from section 61 of the Constitution. These were defined by High Court Justice Anthony Mason, as powers "peculiarly adapted to the government of a nation and which cannot otherwise be carried on for the benefit of the nation". They have been found to include the power to provide financial stimulus payments to households during a financial crisis and the power to prevent "unlawful non-citizens" from entering the country.

There are times when the government acts in a caretaker capacity, principally in the period before and immediately following a general election.

The role of the King and the governor-general
The King is not involved with the day-to-day operations of the government, belonging (according to the Bagehot formulation) to the "dignified" rather than the "efficient" part of government. While the executive power of the Commonwealth is formally vested in the monarch, the Constitution requires those powers to be exercisable by a governor-general, appointed by the monarch as their representative (but since the appointing of Sir Isaac Isaacs in 1931, always appointed according to the advice of federal ministers, rather than British ministers). Members of the government do not exercise executive power of their own accord but are instead appointed by the governor-general as ministers, formally as the "Queen's [or King's] Ministers of State". As such, while government ministers make most major decisions in cabinet, those decisions do not have legal force until approved by the Federal Executive Council, which is presided over by the governor-general.

Similarly, laws passed by both houses of parliament require royal assent before being enacted, as the monarch is a constituent part of the Parliament.

However, in all these cases, except for certain reserve powers, the King and the governor-general must follow the advice of the prime minister or other ministers in the exercise of his powers. Reserve powers are rarely exercised, with the most notable example of their use occurring in the Dismissal of 1975. In that case, the Governor-General Sir John Kerr dismissed the prime minister and government due to his conclusion that the government had failed to secure supply. The validity of the use of the powers during that event remain highly contested.

Federal Executive council
The Federal Executive Council is the body that formally advises the governor-general in the exercise of executive power. Decisions of the body give legal effect to decisions already deliberated at cabinet. All current and formers ministers are members of the council, although only current ministers are summoned to meetings. The governor-general usually presides at council meetings, but in his or her absence another minister nominated as the vice-president of the Executive Council presides at the meeting of the council. Since 1 June 2022, the vice-president has been senator Katy Gallagher.

Cabinet
The cabinet of Australia is the de facto highest executive body of the government. It consists of the prime minister and senior ministers and makes most of the important policy decisions of the government. Members of the cabinet are selected by the prime minister and may be added or removed at any time, usually through a cabinet reshuffle. Cabinet meetings are strictly private and occur once a week where vital issues are discussed and policy formulated. Ministers not part of cabinet belong to the outer ministry. Additionally, there are also assistant ministers (formally parliamentary secretaries ), responsible for a specific policy area, reporting directly to a cabinet minister.

The Constitution of Australia does not recognise the cabinet as a legal entity; it exists solely by convention. Its decisions do not in and of themselves have legal force. However, it serves as the practical expression of the Federal Executive Council, which is Australia's highest formal governmental body. In practice, the Federal Executive Council meets solely to endorse and give legal force to decisions already made by the cabinet. All members of the cabinet are members of the Executive Council. A senior member of the cabinet holds the office of vice-president of the Executive Council and acts as presiding officer of the Executive Council in the absence of the governor-general.

Until 1956 all members of the ministry were members of the cabinet. The growth of the ministry in the 1940s and 1950s made this increasingly impractical, and in 1956 Robert Menzies created a two-tier ministry, with only senior ministers holding cabinet rank, also known within parliament as the front bench. This practice has been continued by all governments except the Whitlam government.

The prime minister makes all cabinet and ministerial appointments at his or her discretion, although in practice the prime minister consults with senior colleagues in making appointments. When the Liberal Party and its predecessors (the Nationalist Party and the United Australia Party) have been in coalition with the National Party or its predecessor the Country Party, the leader of the junior Coalition party has had the right to nominate their party's members of the Coalition ministry, and to be consulted by the prime minister on the allocation of their portfolios.

When Labor first held office under Chris Watson, Watson assumed the right to choose members of his cabinet. In 1907, however, the party decided that future Labor cabinets would be elected by the members of the Parliamentary Labor Party, the Caucus, and the prime minister would retain the right to allocate portfolios. This practice was followed until 2007. Between 1907 and 2007, Labor prime ministers exercised a predominant influence over who was elected to Labor ministries, although the leaders of the party factions also exercised considerable influence. Prior to the 2007 general election, the then Leader of the Opposition, Kevin Rudd, said that he and he alone would choose the ministry should he become prime minister. His party won the election and he chose the ministry, as he said he would.

The cabinet meets not only in Canberra but also in state capitals, most frequently Sydney and Melbourne. Kevin Rudd was in favour of the Cabinet meeting in other places, such as major regional cities. There are Commonwealth Parliament Offices in each state capital, with those in Sydney located in 1 Bligh Street.

Departments
, there are 16 departments of the Australian Government.

 * Department of Agriculture, Fisheries and Forestry
 * Attorney-General's Department
 * Department of Climate Change, Energy, the Environment and Water
 * Department of Defence
 * Department of Education
 * Department of Employment and Workplace Relations
 * Department of Finance
 * Department of Foreign Affairs and Trade
 * Department of Health and Aged Care
 * Department of Home Affairs
 * Department of Industry, Science and Resources
 * Department of Infrastructure, Transport, Regional Development, Communications and the Arts
 * Department of the Prime Minister and Cabinet
 * Department of Social Services
 * Department of the Treasury
 * Department of Veterans' Affairs

Additionally, there are four departments which support the Parliament of Australia:
 * Department of Parliamentary Services
 * Department of the House of Representatives
 * Department of the Senate
 * Parliamentary Budget Office

Corporations prescribed by acts of parliament
The following corporations are prescribed by Acts of Parliament:

 * Australian Broadcasting Corporation
 * Clean Energy Finance Corporation
 * Special Broadcasting Service

Government Business Enterprises
, the following Corporate Commonwealth entities are prescribed as Government Business Enterprises (GBEs):

 * Australia Post
 * Defence Housing Australia

The following Commonwealth companies are prescribed as GBEs:
 * Australian Submarine Corporation
 * Australian Naval Infrastructure
 * Australian Rail Track Corporation
 * National Intermodal Corporation
 * NBN Co
 * Snowy Hydro
 * Western Sydney Airport

Other public non-financial corporations

 * Airservices Australia

title: Australian Government


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Talk:Australian Government

Name
Hello all I have tried to rewrite this section from a more neutral POV. I have replaced the following sentence: "This and terms such as "Commonwealth Government" were used by the government itself until the Whitlam government implemented a policy of using the term "Government of Australia" as a means of blurring the distinctions between state and Commonwealth governments in an attempt to increase federal power" with the more neutral and factual sentence: "The term "Australian Government" was preferred by Robert Menzies in the 1960s and was officially introduced by the Whitlam government in 1973." The problem with the original sentence was that it was a political interpretation of the reason for the change in name sourced to one writer Anne Twomey. Moreover, the cited page of this source is referring specifically to the use of the term "Queen of Australia" in the Royal Styles and Titles Act. Other sources note that the Menzies government in the 1960s used the term Australian Government frequently and that the term was adopted to avoid confusion with the British Commonwealth. Happy to discuss. Aemilius Adolphin (talk) 07:04, 28 February 2024 (UTC)

 * I disagree with your summary of Twomey's argument. Under "Confusion and Reality" she firstly discusses the confusion about whether the the Royal Styles and Titles Act applied to the states due to the use of the ambiguous term "Australia". She then states "The Whitlam government, however, had a policy of using the term 'Australia' rather than 'Commonwealth' as a means of glossing over the differences between the Commonwealth and the States and attempting to aggregate power to the Commonwealth. Thus it was later argued that the 'Queen of Australia' must be advised by her 'Australian' Ministers..."
 * She does not state that the government had this policy "so that" the Queen would only consult Commonwealth ministers in relation to the states. She states the government had this policy and "thus it was later argued" that the Queen should only consult Commonwealth ministers. Your wording implies that the government had this policy in order to support arguments in relation to the Queen, where that was only part of a broader desire to increase Commonwealth power. This is seen in the first sentence, where the glossing of the terms "Commonwealth" and "Australia" in relation to the Royal Titles Act is an assertion of that Act's applicability to the states in a way that doesn't involve the issue of whether the Queen is to consult with British ministers regarding the states. Safes007 (talk) 06:36, 2 March 2024 (UTC)
 * The problem is that whoever first wrote this sentence has taken an isolated sentence of Twomey out of context to imply that the Whitlam government's decision to adopt the term Government of Australia was a crude attempt to increase Cth power at the expense of the states. One needs to read the whole book and Justice McHughs introduction. Remember, we are talking about 1973. The question was whether when acting in relation to Australia (the Cth and states) the Queen should act on the advice of her British ministers or Australian ministers (Cth and State). Many state governments were lobbying the Queen to say that she should act on the advice of State Ministers in relation to state matters. The British Foreign Office was of the view that the Queen should act on the advice of her British Ministers and that British interests should override the interests of the Australian states. Buckingham Palace didn't want to be put in the situation where they were given conflicting advice from the Cth government and state governments so were happy to agree with the FO that the Queen should receive advice from the British FO. Whitlam argued that the Queen should be advised by the GG (who was in turn advised by the PM) on matters concerning the Cth and the states but that the GG would act on the advice of the states in matters concerning the states. The issue was only resolved by the Australia Acts of 1986. My preferred solution would be to drop the whole discussion because it is too technical and complicated for a  high level article like this. All that needs to be said is that the Whitlam government officially adopted the term Government of Australia in 1973. Aemilius Adolphin (talk) 10:22, 2 March 2024 (UTC)
 * I think you are adding too much of your own analysis. I think the the plain reading is the page is that Twomey is suggesting that the policy of the government was to use the term Government of Australia, at least in part in an attempt to increase federal power over the states. The page cited belongs to chapter 9, which discusses the Royal Styles and Titles Act, not the dispute you are talking about conflicting sources of advice to the Queen. There is nothing in the surrounding chapter that suggests that the policy change was made in relation to the dispute as to which ministers the Queen should seek advice from as the sentence currently suggests. I think we only risk getting too technical and complicated if we attempt to artificially seek to limit what Twomey is suggesting in the source. Safes007 (talk) 12:50, 2 March 2024 (UTC)
 * I doubt that Anne Twomey is so ingorant to think that the Cth government can increase its power over the states simply by rebranding itself the Australian Government: to do that it would have to gain a new head of power by referendum or convince the HCA to interpret an existing head of power more widely. Indeed Twomey doesn't mention the term "Government of Australia" or "Australian Government". Her examples are of "Queen of Australia" and "Australian ministers" and refer to the government's attempts to persuade Buckingham Palace to rely on the advice of the Australian government as opposed to the British Government in matters pertaining to the Australian states. You will note that I changed the page reference to pp 113-14 in which Twomey gives the examples of the seabed petitions and the Royal Styles and Titles Act and covers the broader point of British/Australin relations. The Whitlam government introduced the term "Government of Australia" in order to promote an Australian national identity in contradistinction to a British one. Aemilius Adolphin (talk) 08:18, 3 March 2024 (UTC)
 * What do you therefore suggest Twomey means in her paragraph on pg 113?. It begins with explaining that the application of the Royal Styles and Titles Act to the states is confusing, as the government used the term "Australia" instead of "Commonwealth of Australia and its territories". Directly following this, she states: "The Whitlam government, however, had a policy of using the term 'Australia' rather than 'Commonwealth' as a means of glossing over the differences between the Commonwealth and the States and attempting to aggregate power to the Commonwealth. Thus it was later argued that the 'Queen of Australia' must be advised by her 'Australian' Ministers..." It seems very unlikely that Twomey is suggesting that the phrase "Australia" was used in the Royal Styles and Titles Act solely in order to convince the British to transfer authority to the Commonwealth as that act had nothing to do with them. It seems far more likely that Twomey is referring to a general policy of the government that was also used in relation to the British.
 * Also, I think your identification of the High Court interpreting powers more broadly is exactly how the use of the phrase "Australian Government" could increase the power of the federal government. Whitlam was relying on the newly interpreted "nationhood" power for the Royal Styles Act and was instrumental in popularising the expansive view of s 51 powers that was ultimately taken up by the court. An assertion of the federal government with the whole of Australia and not just the "Commonwealth" could lead to a more expansive interpretation of powers. Twomey could also be simply referring to a non-legal assertion of the importance and authority of the government to act in areas not traditionally seen as a federal responsibility.
 * Additionally, if a source states that the Whitlam government introduced the term "Government of Australia" in order to promote a distinct Australian identity, that should be added to the page to avoid NPOV, but it shouldn't be used to give a restricted view of the Twomey source. That would involving favouring one source over another. Safes007 (talk) 09:58, 3 March 2024 (UTC)
 * I think we are getting into constitutional matters rather than sources. I have reworded the sentence to focus on the actual use of the term "Government of Australia". I have added a source, John Curran's The Power of Speech. Entrenching the term Australian Government in legislation was inextricably linked to the whole "new nationalism" policy of the Whitlam government which was aimed at getting rid of "colonial relics" and forging a new Australian identity which wasn't based on race or subservience to Britain. But it's a long story which doesn't really belong here. Let me know if you have problems with the wording. Aemilius Adolphin (talk) 10:36, 4 March 2024 (UTC)
 * Thanks for your edit. I’m happy with it. Safes007 (talk) 02:44, 6 March 2024 (UTC)

Hello all, apologies for the abrupt changes I am new to Wikipedia. I added the formal "HM Government in the Commonwealth of Australia" due to the Commonwealth Government being the Government of a Commonwealth realm, so I believe it is appropriate for it to be addressed in its formal style. Although it is used sparsely, I see no good reason why it shouldn't be addressed as such (see Government of Canada, Government of New Zealand). It is addressed as such in documents such as: Agreement between His Majesty's Government in the Commonwealth of Australia and the German government regarding the release of property, rights and interests of German nationals (1944)

Trade Agreement between Australia and the United Kingdom of Great Britain and Northern Ireland (1932)

Australian - New Zealand Agreement (1944)

I believe it would be appropriate to add in the lead or the section regarding GG and Royal information.

Happy to discuss — Preceding unsigned comment added by Royalaustraliannerd (talk • contribs) 04:40, 23 March 2024 (UTC)

 * You are talking about antiquated usages from the 1930s and 1940s which even then were rarely used. The official name of the Australian Government is the Government of the Commonwealth of Australia. This is the name in the Australin constitution. However, Wikipedia favours common usage which is the Australian Government or Federal Government or Commonwealth Government. The policy is WP:COMMON NAME. Another editor has added your suggested alternative name to the Name section of the article where it logically belongs. However, I still think we need reliable secondary sources to establish that this was ever the official name of the government. WP:VERIFY Aemilius Adolphin (talk) 04:53, 23 March 2024 (UTC)

title: Talk:Australian Government


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G. Wilson Knight

George Richard Wilson Knight (1897–1985) was an English literary critic and academic, known particularly for his interpretation of mythic content in literature, and The Wheel of Fire, a collection of essays on Shakespeare's plays. He was also an actor and theatrical director, and considered an outstanding lecturer.

Early life and education
Knight was educated at Dean Close School, Dulwich College and, after serving as a dispatch rider in World War I in Iraq, India and Persia, he went up to St Edmund Hall, Oxford, where he read English. He graduated with second-class honours. After Oxford, he went into teaching. From 1923 to 1931 he taught at Hawtreys, Westgate-on-Sea and at Dean Close School, Cheltenham.

The classical scholar William Francis Jackson Knight (1895–1964), of whom he wrote a biography, was his brother.

Academic career
Knight's first academic post was at Trinity College, Toronto in 1931. He taught at Stowe School from 1941 to 1946. In 1946 he became a Reader in English Literature at the University of Leeds. He remained at Leeds as a Professor of English Literature from 1956 until his retirement in 1962.

At Toronto, he produced and acted in the main Shakespearian tragedies at Hart House Theatre. Among his other productions are Hamlet at the Rudolf Steiner Theatre, London in 1935; This Sceptred Isle at the Westminster Theatre London in 1941; and at Leeds the Agamemnon of Aeschylus in 1946; Racine's Athalie in 1947; and Timon of Athens in 1948.

Spiritualism
Knight was a believer in spiritualism and was a vice-president for the Spiritualist Association of Great Britain.

Works

 * Myth and Miracle: an Essay on the Mystic Symbolism of Shakespeare (1929)
 * The Wheel of Fire, Interpretations of Shakespearian Tragedy (1930)
 * The Imperial Theme (1931)
 * The Shakespearian Tempest (1932)
 * The Christian Renaissance, with interpretations of Dante, Shakespeare, and Goethe, and a note on T. S. Eliot (1933)
 * Shakespeare and Tolstoy (1934)
 * Principles of Shakespeare's Production (1936)
 * Atlantic Crossing: an Autobiographical Design (1936)
 * The Burning Oracle, Studies in the Poetry of Action (1939)
 * The Sceptred Isle: Shakespeare's Message for England at War (1940)
 * The Starlit Dome: Studies in the Poetry of Vision (1941)
 * Chariot of Wrath: the Message of John Milton to Democracy at War (1942)
 * The Olive and the Sword: a Study of England's Shakespeare (1944)
 * The Dynasty of Stowe (1945)
 * Hiroshima, on Prophecy and the sun-bomb (1946)
 * The Crown of Life: Essays in Interpretation of Shakespeare's Final Plays (1947)
 * Christ and Nietzsche: an Essay in Poetic Wisdom (1948)
 * The Imperial Theme: Further Interpretations of Shakespeare's Tragedies, including the Roman Plays (1951)
 * Lord Byron: Christian Virtues (1952)
 * Byron's Dramatic Prose (1953)
 * The Last of the Incas, a Play on the Conquest of Peru (1954)
 * Laureate of Peace: on the Genius of Alexander Pope (1954)
 * The Mutual Flame: on Shakespeare's Sonnets and The Phoenix and the Turtle (1955)
 * Lord Byron's Marriage: The Evidence of Asterisks (1957)
 * The Sovereign Flower: on Shakespeare as the poet of Royalism (1958)
 * Ibsen (1962)
 * The Golden Labyrinth: a Study of British Drama (1962)
 * Byron and Hamlet (1962)
 * The Saturnian Quest: a Chart of the Prose Works of John Cowper Powys (1964)
 * Byron and Shakespeare (1966)
 * Gold-Dust, with Other Poetry (1968)
 * Shakespeare and Religion: Essays of Forty Years
 * Neglected Powers: Essays on 19th and 20th Century Literature (1971)
 * Jackson Knight: a Biography (1975)
 * Virgil and Shakespeare (1977)
 * Shakespeare's Dramatic Challenge: on the Rise of Shakespeare's Tragic Heroes (1977)
 * Symbol of Man: on Body-soul for Stage and Studio (1979)
 * Shakespearian Dimensions (1984)
 * Visions and Vices: Essays on John Cowper Powys (1989)

title: G. Wilson Knight


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Steve Kipner

Stephen Alan Kipner (born  1950) is an American-born Australian songwriter and record producer, with hits spanning a 40-year period, including chart-topping songs such as Olivia Newton-John's "Physical", Natasha Bedingfield's "These Words", and Christina Aguilera's "Genie in a Bottle", for which he won an Ivor Novello Award for International Hit of the Year. Other hits he has writing credits on include Chicago's "Hard Habit to Break", 98 Degrees' "The Hardest Thing", Dream's "He Loves U Not", Kelly Rowland's "Stole", The Script's "Breakeven" and "The Man Who Can't Be Moved", American Idol Kris Allen's top 5 debut "Live Like We're Dying", Cheryl Cole's "Fight for This Love", Camila Cabello's "Crying in the Club" and James Arthur's "Say You Won't Let Go".

Early life
Born in Cincinnati, Ohio, United States, Kipner began his music career in Brisbane, Queensland, Australia, where he grew up.

Steve & the Board
His first band, Steve & the Board achieved Australian chart success with the song "Giggle Eyed Goo", co-written by his father Nat Kipner and released on Spin Records in 1966. As a result of his father's A&R involvement in Spin Records, the members of Steve & the Board became good friends with the Bee Gees, who were also on the label. Nat Kipner, interviewed in 2001, said that Steve Kipner sang backing vocals on some songs on the Bee Gees album Spicks and Specks which was produced by Nat Kipner (Colin Petersen, the drummer of Steve & the Board, also played on some songs on that album).

Tin Tin and the Fut
Steve & the Board broke up in early 1967. Kipner then formed a duo with Steve Groves and relocated to England in 1968, where they recorded an unsuccessful LP as Steve & Stevie on Toast Records. After Kipner ran into Barry Gibb in 1969, Kipner and Groves were signed to Robert Stigwood with Maurice Gibb as their producer. Under the name Tin Tin, the group scored an international hit, "Toast and Marmalade for Tea", including an American top 20 placing in 1971. The next year Tin Tin, with additional member John Vallins, supported the Bee Gees on their American tour.

In August 1969, Kipner, Groves, Gibb, and Billy Lawrie recorded the song "Have You Heard the Word" in a Tin Tin session, with Kipner on piano and participating on the lead vocals with Groves and Gibb. Maurice Gibb's vocal impersonation of John Lennon led to the song appearing on Beatles bootleg albums as supposedly a lost Beatles recording.

Other bands
Kipner moved from London to California in 1974 and was a member of the bands "Friends" (MGM), "Skyband" (RCA), and "Think out Loud" (A&M). He then recorded the solo album Knock the Walls Down in 1979. While writing and recording for his own album, Kipner came into contact with other artists who developed an interest in his songs for their albums, and accidentally fell into a song-writing career as more and more opportunities arose.

At that time he met Australian manager Roger Davies, who in the late 1970s was working for Olivia Newton-John's manager Lee Kramer. Kipner had co-written a song with English songwriter Terry Shaddick titled "Let's Get Physical," and played the demo to Davies, imagining the song would be suited to a male singer such as Rod Stewart. Kramer overheard the song from the next room and thought it would be a way to promote another one of his clients, Mr. Universe, by having him appear with Newton-John on her album cover. Retitled "Physical", the song spent ten weeks at number 1 on the American Billboard Hot 100 chart and was a worldwide hit.

Songwriting career
"Fight for This Love" reached number 1 on the UK Singles Chart, and was the fastest-selling single of 2009 with 292,846 sales in its first week.

"Catch 22 (2 Steps Forward, 3 Steps Back)" is Track 4 on the Two Of A Kind soundtrack and performed by Kipner. Two Of A Kind was the second movie John Travolta and Olivia Newton-John co-starred in after Grease.

"Physical" was ranked by Billboard in 2017 as the No. 8 song among all those which charted during the 50+ year history of the Hot 100.

In 1999, Christina Aguilera released "Genie in a Bottle", written by Kipner, David Frank, and Pam Sheyne, which reached No. 1 on the Billboard Hot 100.

Over the years, Kipner has written songs for some of the music industry's biggest artists including Olly Murs, Doug Parkinson, Heart, Janet Jackson, Cher, Matsuda Seiko, Diana Ross, Neil Diamond, Laura Branigan, The Temptations, America, Cheap Trick, LFO, Westlife, Huey Lewis & the News, Joe Cocker, Al Jarreau, Rod Stewart, and American Idol's David Archuleta from Season 7. Other Billboard charting songs include "20/20" by George Benson, "Invisible Man" by 98 Degrees, "Potential New Boyfriend" by Dolly Parton, "Moonlight on Water" by Laura Branigan, "Heart Attack", "Twist of Fate" and "I Need Love" by Olivia Newton-John, and "Impulsive" by Wilson Phillips. "Nothin' You Can Do About It" by The Manhattan Transfer (Extensions) written by David Foster, Jay Graydon, Steve Kipner (1979).

"Murphy's Law" by Al Jarreau (High Crime) written by Steve Kipner, Paul Bliss (1984).

title: Steve Kipner


text:
Wikipedia:Articles for deletion/Entropy (linguistics)

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

Entropy (linguistics)
Article consists of one line that defines the wrong thing (thermodynamic entropy). But aside from being a redundant dictionary definition in its current shape, I'm concerned about whether this should exist at all: is entropy even a real concept in linguistics? The word is used with this link in two places in Wikipedia: Malayo-Polynesian languages and Austronesian languages, both defined on those pages with "the text is quite repetitive in terms of the frequency of sounds". This sounds more like information entropy to me, and dictionary.com gives no more specific definition for entropy that is related to linguistics. Fredrik | talk 13:15, 29 Nov 2004 (UTC)
 * It's computational linguistics, natural language processing, etc. They use Shannon's entropy, Sigma pi log2 pi.  There may be more to say about it in the context of linguistics, but if the present entry is rubbish I think it's a good enough reason to delete.  Entropy is when the transactional nature of the universe ceases due to the "equality" of everything. Bloody Norah, just delete the crap.  --[[User:Tony Sidaway|Tony Sidaway Talk]] 14:13, 29 Nov 2004 (UTC)
 * I can testify that statistical linguistics makes heavy use of entropy in the information-theoretic sense. Wikipedia could probably do with an article on it, but this is definitely not that article. Delete unless someone wipes it and makes a decent stub on linguistic entropy before the voting period is over. Pnot 01:01, 30 Nov 2004 (UTC)
 * merge to information entropy -- WhiteDragon 01:25, 30 Nov 2004 (UTC)
 * Delete wrong kind of entropy Kappa 01:09, 1 Dec 2004 (UTC)
 * Delete --Regebro 11:49, 4 Dec 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Dunkirk (1958 film)

Dunkirk is a 1958 British war film directed by Leslie Norman that depicts the Dunkirk evacuation of World War II, and starring John Mills, Richard Attenborough, and Bernard Lee. The film is based on the novels The Big Pick-Up by Elleston Trevor and Dunkirk co-authored by Lt Col Ewan Butler and Major J. S. Bradford.

Plot
In 1940, English journalist Charles Foreman, in search of propaganda, strives to warn his complacent readers of the dangers posed by the build-up of German forces in western Europe. He rails against the Ministry of Information for suppressing the truth. Most of his compatriots, including his neighbour John Holden, have been lulled by the lack of significant fighting during the "Phoney War". Holden owns a garage, with a profitable side-line manufacturing belt buckles for the British Army.

The Battle of France begins, and the Germans advance rapidly, trapping Allied forces along the Channel coast. Lieutenant Lumpkin, Corporal "Tubby" Binns and a handful of men of the British Expeditionary Force return from blowing up a bridge to find their division has withdrawn. The lieutenant speaks to a driver left behind for them, but both are killed in a Luftwaffe aerial attack before Binns can be apprised of the situation, leaving him in charge of four men, Privates Barlow, Bellman, Fraser and Russell, with no idea where their unit has gone. They witness an aerial attack on refugees and reach a Royal Artillery battery camp. Fraser is killed when the battery repulses a German tank force. The officer commanding the battery orders Binns to head north with his men and two stragglers, Privates Harper and Miles, and try to find their unit. Just after they leave, the battery is wiped out by Stuka dive bombers.

Meanwhile, the situation has become so desperate that BEF commander General Gort ignores orders to counterattack and instead positions his units for evacuation from Dunkirk. In England, Vice-Admiral Ramsay directs Operation Dynamo; the Admiralty begins commandeering all suitable civilian boats, including those owned by Foreman and Holden, to sail to Dunkirk to help evacuate troops from the beaches. The boats are marshalled at Sheerness. Foreman insists on taking his motorboat Vanity to Dunkirk himself, despite warnings of the danger. Other boat owners follow his example. After initial reluctance, Holden decides to take his boat Heron too, assisted by his teenage apprentice Frankie.

Binns and his men spend the night in an abandoned farmhouse, but at dawn, a German unit arrives; in the ensuing firefight, Bellman is badly wounded. The men escape, but Binns is forced to leave Bellman behind. Later, after slipping past a German camp under cover of darkness, they stumble upon an RAF lorry, manned by Airmen Froome and Pannet, and go with them to Dunkirk, where Allied troops are being subjected to regular aerial bombing and strafing. Binns and his men manage to board a ship, only for it to be bombed as it departs, and they are forced to jump overboard as it sinks. Their prospects of rescue are made worse by the Admiralty's decision to withdraw its destroyers. Ramsay argues against the withdrawal, and the Admiralty reluctantly agrees to send them back.

Foreman and Holden ferry many soldiers to the larger vessels, but Foreman's boat is sunk by a bomber, killing Joe. Foreman is picked up by Holden. With harbour operations no longer possible, thousands of Allied troops gather on the beaches. In the next attack, Barlow is wounded and taken to an aid station. Heron's engine breaks down just off the beach. While Russell, a motor mechanic in civilian life, effects repairs, Foreman and Frankie go ashore to survey the scene. Next day, during church parade, Foreman is killed in an aerial attack. Russell completes his repairs, and Binns' group and six more soldiers board. Holden sets sail for home. At sea, the engine breaks down again and the boat drifts towards the German-held port of Calais. Fortunately, they are spotted by a destroyer and taken back to England.

Cast

 * John Mills as Cpl "Tubby" Binns
 * Richard Attenborough as John Holden
 * Bernard Lee as Charles Foreman
 * Robert Urquhart as Pte Mike Russell
 * Ray Jackson as Pte Barlow
 * Ronald Hines as Pte Miles
 * Sean Barrett as Frankie, Holden's apprentice
 * Roland Curram as Pte Harper
 * Meredith Edwards as Pte Dave Bellman
 * Michael Bates as Airman Froome
 * Rodney Diak as Airman Pannet
 * Michael Shillo as Jouvet, a French reporter
 * Eddie Byrne as commander (Tough's Yard)
 * Maxine Audley as Diana Foreman, Charles's wife
 * Lionel Jeffries as colonel (medical officer)
 * Victor Maddern as merchant navy seaman in pub (Maddern was a wartime merchant navy seaman.)
 * Anthony Nicholls as military spokesman
 * Bud Flanagan and Chesney Allen as themselves (Flanagan and Allen)
 * Kenneth Cope as Lt Lumpkin
 * Denys Graham as Pte Fraser
 * Barry Foster as the despatch rider who directs Tubby to the artillery battery
 * Warwick Ashton as battery sergeant major
 * Peter Halliday as battery major
 * John Welsh as staff colonel
 * Lloyd Lamble as staff colonel
 * Cyril Raymond as General Viscount Gort, VC
 * Nicholas Hannen as Vice-Admiral Ramsay at Dover
 * Patricia Plunkett as Grace Holden, John's wife
 * Michael Gwynn as commander at Sheerness
 * Fred Griffiths as Old Sweat
 * Dan Cressy as Joe
 * Christopher Rhodes as sergeant on the beaches
 * Harry Landis as Dr Levy, a military doctor working on the beach
 * John Horsley as padre
 * Patrick Allen as sergeant on parade ground
 * Bernard Cribbins as thirsty sailor (uncredited)
 * William Squire as captain of minesweeper (uncredited)
 * Bud Tingwell as sergeant in cookhouse (uncredited)

Production
Owners of small boats were tracked down for production and the cast featured genuine army officers. Approximately twenty minutes was cut for the U.S. release. Popular wartime British music hall performers Bud Flanagan and Chesney Allen portray themselves, performing "We’re Going to Hang Out the Washing on the Siegfried Line." The film was shot on location in France and at M-G-M's British Studios. Stock footage is used from The Cruel Sea (1953) to show a destroyer being sunk at the mole. Beach sequences were shot at Camber Sands near Rye, East Sussex, and Dunkirk town centre was recreated using part of Rye Harbour. A canal-type bridge was temporarily constructed over the upper harbour, leading on to the quayside. It was over this bridge that the refugees and troops poured into the "town centre". Several scenes take place at this location, particularly a tracking shot following two British Army officers as they discuss the situation. In the background, the viewer can make out Rye Church and some old warehouses, still extant, albeit in much restored condition. One of the warehouses was used as the interior for the "Barn Scene". The scene where the bridge was blown during the early part of the film was on the River Medway at Teston Bridge, Teston in Kent.

Director Leslie Norman later recalled:

"Dunkirk was bloody difficult to make from a logistics point of view. Yet it was made for £400,000 and came in under budget... I was the council school boy who became a major in the war, and that had a lot to do with the way I felt about Dunkirk. I didn't think that Dunkirk was a defeat; I always thought it was a very gallant effort but not a victory."

The musical score is by Malcolm Arnold, which may account for the fact that many of its segments sound very much like his Academy Award-winning theme from The Bridge on the River Kwai, made the previous year (1957).

Reception
The world premiere was at the Empire, Leicester Square, in London on 20 March 1958.

Box office
The film was the third most popular production at the British box office in 1958, after Bridge on the River Kwai and The Vikings. (Other accounts say it was the second, making $1,750,000. )

According to MGM records it earned only $310,000 in the US and Canada but $1,750,000 elsewhere; after distribution costs were deducted MGM earned a profit of $371,000.

Critical
Bosley Crowther, in his New York Times review, praised the performances of the leads and supporting cast.

Later reviews give positive to mixed feelings on the film. A review for "The Movie Scene" gave the film three out of five stars, praising the performances of the leads, and the effects. Nerdly.co.uk notes the film has "a level of authenticity that is surprisingly truthful, even about the mishandling of events by the British". The critic Derek Winnert noted that the film was "long, ambitious, engrossing, intelligent and informative film, and not nearly as celebrated as it should be."

A review for The Spinning Image noted that "while it was a hit in its day and went onto be a staple of television broadcasts for many years, you can't but mention it was overshadowed by Christopher Nolan's Dunkirk in 2017 which applied twenty-first century techniques to a nineteen-forties plot and was one of the biggest movies of the twenty-tens, but the '58 version had a power of its own, and should not be dismissed." Another reviewer said that the film "pales beside Nolan’s film, but in many respects, it more accurately reflects the British attitude in the immediate post-World War II period and is a good complement to it."

title: Dunkirk (1958 film)


text: User talk:68.157.167.139

title: User talk:68.157.167.139


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Category talk:Conquistadors

Why is this Conquistadores in English, rather than Conquistadors? --Henrygb 13:23, 29 Nov 2004 (UTC)

title: Category talk:Conquistadors


text:
User:KayEss/Notes

These are just notes, so don't expect them to make any sense to anybody else - normally even to me.

=Buddhist weddings in Thailand=

=Chiang Mai Zoo=
 * Houses Thailand's Giant Pandas loaned by China.

Rare and endangered animals

 * The zoo has many endangered animals (Siamese crocodiles, Giant Burmese Turtoises)

Giant Pandas

 * The Pandas are to be returned if the female becomes pregnant (to check).
 * They sometimes fall down the gap between their space and the visitor's gallery whilst walking along the edge of the wall.

=Davey Graham=

 * An early pioneer of Britain's folk rock movement.

=Kinnaree=

From Kinnaree magazine

 * Kinnaree are humans from 'Himmawatpradhes'
 * Kinnaree are females, Kinnon are males.
 * These are Thai names, but the legends originate in India.
 * The Thai Kinnaree is a very beautiful woman with an angelic costume.
 * Her lower body is that of a bird (including wings) so she can fly. She can even fly between the mythical and real worlds.
 * She can also swim, in which case she loses her lower bird form and looks like a beautiful woman.
 * The most famous Thai Kinnaree is 'Manorah' (in Thai 'Panyasachadok'). The dance 'Manorah-Bachayan' featured in the literature (?) is one of the most esoteric (?) Thai classical dances.
 * Kinarree are appear in the Vaalmeeki Raamaayan

From Himmapan.com

 * They are inhabitants of Himaphan Forest/Himmapan Forest.
 * The upper part is female and the lower part is that of a swan.
 * Thep Kinnaree (thep means angel or holy spirit)
 * The male equivilant is the Kinnara or Kinna Norn . These have the lower body of a Hongsa.

Buddha

 * Did the Buddha tell a story about a Kinnaree giving a different form to it? That of a half bird, half snake.
 * Buddha was 'born as a Hongsa'

Stories

 * To find

Other uses of Kinnaree

 * The Golden Kinnaree is the name for the Bangkok International Film Festival film awards
 * Kinnaree Magazine is the in-flight magazine for Thai Airways International's domestic flights.

=Nang Nak= A Thai film of an old ghost story.

It is an old ghost story remade giving much more sympathy to the female ghost then traditional tellings of the story.

The male star is also the face of Coca-Cola in Thailand.

=Wiang Kum Kam=

Wiang Kum Kam (Thai: meaning ) is an old city near to and pre-dating Chiang Mai. Soon after the founding of Chiang Mai by King Mengrai the city was lost to flooding and until its recent re-discovery was assumed to be legendary. In 2000 it was designated a Thai historical park.

Excavations by the 4th Regional Office of Thailand's Fine Arts Department started in 1974 CE first found ten wats at twenty locations together with

'Addition by Garry Harbottle-Johnson, Author, "Wieng Kum Kam - Atlantis of Lan Na"'' - Oct 2005'''

Mengrai’s tenure at Wiang Kum Kam, and the site’s history in the shaping of the current kingdom’s forerunners is little understood by non-scholars. Tourist Authority announcements, tour guide training, and the Formal Education Department tend to dismiss it as a temporary encampment of little significance compared to the older Lamphun and younger Chiang Mai. Enshrined in this is the ongoing mythology that Phaya Mengrai abandoned his wooden-walled city due to its destruction by flood – a story that has been thoroughly disproven by archaeologists, archival researchers, and historians.

Wiang Kum Kam existed long before the Tai king arrived in this area, originally a Mon outpost, adopted and expanded by the Khmer, then a frontier town of Lampang’s medieval Mon-Khmer-Tai cross-bred royal line, Mengrai took the wiang as his royal seat in 1286 AD. Medieval writings that translate into the Chiang Mai Chronicle make it clear that the king, having awarded Lamphun to his spy Khun Ai Fa, moved north-east to Chiang Rua and built a new city, which he abandoned three years later due to flooding so bad that, “''the elephants, horses, cattle, and buffalo had no place to go…. Therefore in the rwai set year (1286/87), King Mengrai moved to build Wiang Kum Kam. He built a moat around the city on all four sides, channelling the flowing waters of the Mae Raming. He built a palisade on all four sides of the city, and he had a great many dwellings and buildings constructed. King Mengrai built his extensive royal dwelling palace, and halls, spreading all around that site, and it has been called the New Village (Baan Mai) to the present day”'' [extract from The Chiang Mai Chronicle translated by David K Wyatt & Wichienkeeo]. This passage goes on to imply that the flooding was so bad, he moved to Wiang Kum Kam in the middle of 1286’s monsoon season.

Mengrai’s time at both Wiang Kum Kam and Chiangmai was full of auspicious events and great victories, yet at the southern site he suffered none of the tragedies and heartaches that beset him in the larger and later city, which may be why he returned to Baan Mai, in 1311, when he believed he was dying of an illness. He survived and returned to rule from Chiang Mai until he died in the city marketplace in late 1317 or early 1318 – the exact date is not given in chronicles.

Between his establishment of Wiang Kum Kam in 1286 and moving to Wiang Nopburi on 27 March 1292 (the pre-existing settlement that became Chiang Mai), Mengrai’s achievements are often overlooked, yet they were vitally important in the establishment and growth of both Lan Na and more southerly Tai and Thai kingdoms. Additionally, during his time there, he established two of the regions oldest surviving, and still active temples – Wat’s Chedi Liam, and Kan Thom (the latter now called Wat Chiang Kham) – both of which predate the more famous temples of Phra Singh, Doi Suthep, and Chedi Luang in Chiang Mai.

During the six years at the wiang, Mengrai undertook several military campaigns that enlarged his Tai Alliance designed to deny the Mongols access to Souvannaphoum (the Golden Land) of SE Asia. The first, in 1288-89, was to Burma’s Martaban Coast and the Mon capital of Pegu, from where he acquired another wife, captives and treasure, and an alliance with the usurper king, a Shan by the name of Wareru who is reputed to have eloped with a daughter of Sukhothai’s King Ramkhamhaeng in 1281. Later, in 1289-90, Mengrai also mounted an expedition to the central Irrawaddy region to a Tai-Shan town named as Phukam, in the region of the later Ava. On the return march from the Phukam expedition he despatched a force that successfully relieved the siege and capture of Chiang Hung (in the SipSongPanNa) by the Mongols – a feat he had to repeat in Chiang Mai’s founding year of 1296. The following year, rebel Tai-Shan forces, allied to the Mongols, attacked and sacked Pagan – Burma’s greatest medieval city.

During his two Burmese expeditions, Mengrai gained alliances that expanded his federation of Tai-led kingdoms resisting Mongol incursions, and provided for the success of Siamese kingdoms in the central plains. Because of his Tai-Alliance, the Yuan Dynasty forces took easier routes to the southern coastlands, frequently passing west of the Shan Plateau to pass down the Irrawaddy valley, or down the Tai-held Black and Red Rivers’ valleys in northern Vietnam. Rarely did they try to march directly south through upper Laos, the SipSongPanNa and Lan Na, or along the Salween Valley. In fact, the Annamese and Tonkin Bay cities, of upper Vietnam, had long been Beijing’s allies and vassal states, it was only because of the Tai resistance to their west that they were finally able to throw off the yoke and achieve lasting independence.

Following Mengrai’s death, Wiang Kum Kam went on to become a major centre of religion in Lan Na. Dozens of temples and monasteries were founded there, and there was frequent discourse between the wiang’s monks and those of Sri Langka (the pre-Ceylonese name). Field and archival archaeology has shown that new temple buildings were being constructed right up to the near-consecutive events of destruction by flood and capture by the Burmese in the 16th century AD. It appears that the town was destroyed sometime around the end of that century’s first quarter, yet the Burmese invasion did not occur until the end of its third quarter. Anecdotal evidence, in chronicles, indicates it was lost by the time of a southern king’s royal visit (to Lamphun) in the middle of the century.

Yet, despite the cultural and military importance of Wiang Kum Kam under the Mengrai Dynasty in the establishment and nurturing of Lan Na, why is it that little, if any, preparation appears to have been made regarding its upcoming auspicious anniversary?

HM Queen Sirikit’s visit in 2003, celebrating the opening of the new visitor’s centre and museum, launched international awareness of the site. A number of local historians and authors have called for it to have World Heritage status, and senior academics have called for a halt to uncontrolled construction on and beside it.

During 2002-3, it featured regularly in national media, and a few times it appeared on international TV – the landmark ruins of Wat Pu Pia becoming the flag-waving image for it. Unlike other major ruined cities in Thailand, it has not yet appeared on a set of postage stamps, despite being a more complete city than even Sukhothai or Ayutthaya.

Wats
So far over forty wats have been discovered that are associated with the old city. New temple ruins are continually being discovered.

Wat Chang Kham
It was the discovery of Haripunchai style Buddha statues at Wat Chang Kham that first alerted the Thai authorities to the existence of ruins that might be associated with Wiang Kum Kam.

Wat Chedi Liem
Wat Chedi Liem has been known for some time due to its distinctive chedi.

Wat Tard Khao
The temple is still in ruins with only the Buddha statue restored.

Categories

 * Historical parks of Thailand

title: User:KayEss/Notes


text:
Talk:Voiceless retroflex fricative

"Puʂʂy. Puʂʂy galore." -"Sean Connery" on Late Night with Conan O'Brien lysdexia 13:24, 29 Nov 2004 (UTC)
 * That would rather be, with the voiceless alveolar retracted sibilant. --Ahls23 (talk) 08:14, 6 August 2013 (UTC)

Castillian Spanish Example
Is "s" really a voiceless retroflex fricative? I've always thought it was a voiceless apico-alveolar sibilant, but I may be misinformed. Also, the example [dɔʐ], has ʐ, doesn't that mean it should be in the ʐ article instead? I didn't want to edit anything without being sure of anything. -- Sergio Á.(nodoubt9203)   ' '' 15:59, 15 August 2006 (UTC)
 * Actually you're right. The tongue doesn't usually go back that far, but it can serve as an allophone in some regions. —The preceding unsigned comment was added by Nimic86 (talk • contribs) 04:50, 13 September 2006 (UTC).
 * That's what I thought! :D Thanks -- Sergiusz Szczebrzeszyński    '  ' ' '' 02:24, 13 September 2006 (UTC)

Usage in German
For some reason everyone recognizes that there are two "hard ch" sounds in German ([χ] and [x]) but there is no acknowledgment that the "soft ch" [ç] is often reduced to [ʂ] or even [ʃ] in many dialects in NRW and in almost every German's fast-speech. The reason being is that [ç] is not always comfortable to pronounce quickly and effectively with an every-day tempo. It's much the same idea with American English reducing the [t] sound in words like "butter" to a flap or tap. Sorry I didn't put this in the notes when I changed it today. ·:RedAugust 19:49, 4 August 2007 (UTC)
 * What about the "sch" sound in general? From my own observations it seems like some pronunciations of "sch" (such as in the oft-heard word "Scheiße) border more on a voiceless retroflex fricative, rather than a voiceless postalveolar fricative.  Can anyone confirm or debunk this observation of mine?--Witan 20:49, 25 February 2009 (UTC)
 * You are right, first sound in English SHELL sounds light (postalveolar), first sound in German STIMMT sounds dark (somewhat retroflex). In no way they are the same sound, using German SCH in English will be heard as '-German accent-' --Linda Martens (talk) 23:00, 1 December 2012 (UTC)

"and in almost every German's fast-speech." Are you sure about that? "first sound in German STIMMT sounds dark (somewhat retroflex)." I agree, if the so-called "laminal retroflexes" (Polish and Russian post-alveolars) are here then German should definitely be in retroflex articles as well. There's nothing palatal about them for many or most speakers. --Ahls23 (talk) 08:14, 6 August 2013 (UTC)
 * German "sch" is certainly not this. If you're saying "somewhat retroflex", of course it's difficult to rule that out, but actually I don't think it's retroflex at all. German "sch" is usually labialised though: . Maybe your observation has something to do with that? 2.207.102.134 (talk) 23:06, 27 May 2020 (UTC)

diacritics
Several of the examples had a retraction sign. Not sure what that's supposed to mean - retracted [s] would make more sense. I suppose it was supposed to be an apical or laminal sign. Whoever did it might want to check I didn't screw things up. kwami (talk) 03:55, 5 September 2009 (UTC)
 * Hmm. Old versions of this article (up to here) distinguish'd explicitly between the subapical, apical and laminal retroflexes. The "retracted" diacritics seem to stem from the list of laminals.

 * Too bad there isn't a "subapical" diacritic, because with newer additions we can't really tell if they're to be taken as explicitly subapical (the canonical definition of 'retroflex'), or as "generic" retroflexes. -- Trɔpʏliʊm • blah 10:16, 8 September 2009 (UTC)

[ʂ] = [ʃˠ]?
Is it possible to view this sound as a velarized [ʃ], i.e. [ʃˠ] or [ʃ̴], just like the way [ɕ] is equal to [ʃʲ]? — Preceding unsigned comment added by 88.240.56.129 (talk) 13:23, 10 November 2011 (UTC)
 * No it's quite distinct from that. [ʃˠ] would have a secondary narrowing (articulation) in the velar area, while [ʂ] is made using the tip of the tongue curled up and without any secondary articulations (and it could, technically, be velarized: [ʂˠ]). --JorisvS (talk) 14:21, 10 November 2011 (UTC)

Spectrograms
I have some spectrograms of voiceless retroflex sibilants. Is this page a good place to upload them? TheNyleve (talk) 00:48, 12 December 2013 (UTC)
 * This seems the place to discuss them. You'd preferably upload them to Wikimedia Commons. --JorisvS (talk) 09:06, 12 December 2013 (UTC)

Any info on retroflex non-sibilant fricatives?
at all? Edralis (talk) 15:27, 16 July 2014 (UTC)
 * Certain speakers of South African English use the voiced one - see voiced retroflex fricative. Mr KEBAB (talk) 11:12, 31 October 2017 (UTC)

What about the voiceless equivalent? Could that also exist too? Fdom5997 (talk) 15:23, 31 May 2019 (UTC)

Some English dialects?
I think this sound is in some English dialects for [s], for instance some speakers from Texas. Is this true? — Preceding unsigned comment added by R4d1ati0n (talk • contribs) 13:25, 13 March 2018 (UTC)

A voiceless retroflex non-sibilant fricative?
Is it possible that there can be a voiceless retroflex non-sibilant fricative [ɻ̊˔], as well as a voiced one [ɻ˔]? If so where? Any information? Fdom5997 (talk) 15:33, 31 May 2019 (UTC)

 * @Fdom5997 Yes - I've found evidence that it's used in Ormuri, and have added it to the page. The reference is someone's PhD thesis, but it uses the expected symbol and this exact name for it (page 59, footnote 99). Theknightwho (talk) 07:12, 18 November 2022 (UTC)

title: Talk:Voiceless retroflex fricative


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Curdled (film)

Curdled is a 1996 black comedy crime film written and directed by Reb Braddock. The film stars Angela Jones as a Colombian immigrant who takes a crime scene cleanup job and discovers evidence about a local serial killer dubbed the "Blue Blood Killer" for his targeting of socialites. The film is a remake of a 1991 short film of the same name, which was also directed by Braddock and starred Jones.

Plot
Gabriela is a Colombian immigrant living in Miami who has been fascinated with violent death ever since she saw a falling corpse pass by her mother's bakery window as a child. With many television shows and films feeding her obsession, she believes that after someone is decapitated, they still talk for a short while afterwards.

Having quit her job at a bakery, she begins work for a cleaning service, after she sees a television commercial advertising it. The service is headed by a man named Lodger, who specializes in mopping up what is left behind at crime scenes. She goes to the office, inquires about a job and later is (to the dismay of Elena, her cleaning partner) offered the opportunity to clean up after an execution by her favorite at-large serial killer, The Blue Blood Killer (so named because his victims are all wealthy women).

The two women go to the scene of the crime and begin cleaning up the mess. Elena diligently works away, trying to get out of there as soon as possible; meanwhile Gabriela discovers what she believes to be the name of the serial killer - "Paul Guell" - beneath a pool of blood, but covers it up so that Elena won't see and think she is weird. Due to the amount of blood, they have to leave and come back the next day.

While out on a date with ex-colleague Eduardo, Gabriela reveals to him what she found out and after failing to clearly explain, convinces him to go to the house that same night, before it all gets cleaned up.

Unbeknown to Gabriela and Eduardo, the killer is still in the building after accidentally locking himself in the wine cellar while trying to escape. Gabriela opens the door to the cellar, when Eduardo freaks out and decides he wants to go, leaving the door ajar and the killer an escape route. Eduardo leaves when Gabriela refuses to go with him, and she picks up a knife, dancing around the house where the blood is, acting out what she thinks happened - all while the killer watches.

When Eduardo returns after a second thought, the killer hits him over the head and hides him in the wine cellar. He soon stops Gabriela and forces her to walk him through what happened, checking that she knows the full story, and when they come to the end, they briefly argue about Gabriela's theory of heads talking after decapitation. The killer then decides it's time for Gabriela to die, but in a struggle, he slips and is knocked out on the tiled floor.

When he begins to come to, Gabriela, out of sheer curiosity, picks up the knife and cuts his head off. She slowly lifts up his head and he mumbles her name, to which Gabriela smiles with satisfaction.

In a post-credits scene, Gabriela and Eduardo are driving in a car and Gabriela plays the tape which recorded the killer's last word after beheading.

Connection to From Dusk Till Dawn
Curdled would appear to be set in the same universe as the vampire action film From Dusk Till Dawn. Kelly Preston reprises the character of newscaster Kelly Hogue, giving a news report about the "missing" Gecko brothers. Tarantino, who wrote and co-starred in From Dusk Till Dawn, executive produced this film and briefly appears as Richie Gecko in archive footage.

Critical reception
The film received generally negative reviews. On Rotten Tomatoes, it has an approval rating of 17% based on reviews from 12 critics, and average rating of 4.70/10.

Roger Ebert of the Chicago Sun-Times gave the film two out of four stars, saying that the film "is not very interesting", but praised Jones' ability to play "a tricky role with the right note of deadpan delight". Todd McCarthy of Variety, said that Jones "manages to hold viewer interest throughout with a devilishly witty turn... despite having desperately little to work with".

title: Curdled (film)


text:
Luis Palau

Luis Palau Jr. (November 27, 1934 – March 11, 2021) was an Argentine-American international Christian evangelist. He was born in Argentina but moved to Portland in his mid-twenties to enroll in a graduate program in Biblical studies.

Palau had a long and close relationship with evangelist Billy Graham, and was characterized by many as Graham's successor. "One of the world’s leading evangelical Christian figures," he was known for his strong appeal to young people, and for his efforts to reach out to secular leaders to address issues like homelessness.

In 2007, Palau was estimated to have shared the message of Jesus Christ with 25 million people in 70 nations. Palau's ministry employs 70 people in their headquarters in Beaverton, Oregon, and another 25 around the world which include offices in Buenos Aires, Argentina and London.

In 2018, Palau shared on Facebook and YouTube that he had stage-four lung cancer; he died in March 2021.

Early life
Luis Palau Jr. was born November 27, 1934, in Maschwitz, Buenos Aires, Argentina. He has five younger sisters and one brother. His father, a construction executive, died when Palau was 10. Within a matter of years after his father's death, because of poor financial management by relatives, Palau, his siblings, and his widowed mother were left nearly destitute. Palau was forced to leave his education at a British-run boarding school and began working as the sole provider for the family at a bank in Córdoba, Argentina.

Palau says that he was born again at the age of 12, devoting his life to Christ. He first heard Billy Graham on a radio broadcast from Portland, Oregon, while still living in Argentina in 1950, and drew inspiration from him. He later worked for Graham as a Spanish translator and as an evangelist. In 1970, Graham contributed the seed money for Palau to start his own ministry, which he modeled after Graham's.

Since then, Palau held many large-scale evangelistic festivals and gatherings around the world.

Settling in Oregon
Palau arrived in Portland in 1960 to attend a graduate program at Multnomah Bible College, from which he graduated in 1961. His travel and tuition was paid by U.S. benefactors. There he met his wife, Pat, a Beaverton kindergarten teacher, who was a fellow student. They married in 1961 and settled in Cedar Mill, an unincorporated area of the Portland metropolitan area just north of Beaverton. They would go on to have four children: Kevin, Keith, Andrew, and Stephen Palau. He became a U.S. citizen in 1962. The Palaus spent the next eight years serving as missionaries in Mexico and Colombia, before returning to Oregon. After receiving $100,000 as seed money in 1970 from Billy Graham, in quarterly payments of $25,000, Palau worked to build up his ministry in Oregon through the 1970s.

In 1975, Palau shared the Bible Expositor post at Eurofest '75 with Bishop Festo Kivengere. Eurofest '75 was co-sponsored by the Billy Graham organisation and was held in Brussels, Belgium, at the Palais du Centenaire and the Heysel Stadium from July 24 until August 2, 1975. In October 1978, the Luis Palau Evangelistic Association, based in Beaverton, was incorporated.

Growing local popularity and secular service
In 1999, a writeup in a Portland weekly newspaper noted that Palau had assembled an 80,000-member audience in "the nation's least-churched major city." It also noted the contrast with the previous large revival, led by an aging Graham, which drew larger numbers but not as many young people as Palau's. Media coverage of Palau's event mentioned Palau as a potential successor to Graham. The annual budget of his ministry was estimated that year at $6 million.

His ministry, the Luis Palau Evangelical Association, continued to be based in nearby Beaverton as of 2003. Three of his four sons were working for his ministry at that time.

As of 2003, Palau hosted three daily radio programs: an English show carried by 900 stations in 23 countries, and two Spanish programs carried by 880 stations in 25 countries. In that year he was noted for being "at the forefront of efforts to make evangelism more active, contemporary and accessible to a younger audience," and his ministry's annual budget was estimated at $11 million.

In August 2003, Palau mobilized several thousand volunteers from numerous churches to "spruce up" local public schools.

In November 2005, Palau visited China, wrapping up a week-long visit by attending a Beijing church service along with U.S. President George W. Bush. He launched a book venture after holding a conversation with a former government Chinese official during his trip to Beijing; Palau launched a book venture based on the transcribed work. The book, now published by Zondervan, is entitled A Friendly Dialogue Between An Atheist and a Christian.

Palau made a point of staying out of politics, refusing to endorse ballot measures or candidates. Recently he has partnered with secular leaders as well. Portland Mayor Vera Katz did not attend his first big Portland event in 1999, but her successor, Tom Potter, who is not a churchgoer, approached Palau at a 2005 Portland appearance by First Lady Laura Bush. Potter asked for Palau's assistance in getting other evangelical leaders to address Portland's homelessness problems.

Palau got in touch with fellow evangelicals, and cooperated with Portland Commissioner Erik Sten, Potter, Beaverton Mayor Rob Drake, and Gresham Mayor Shane Bemis in 2008 in planning his August 22–23 festival, which focused on volunteerism in support of the homeless. Palau's last Portland event drew about 140,000 people over two days. Palau addressed 500 Christian pastors in March 2008, joined by Portland City Commissioner Sam Adams, in the buildup to the August event. He calls the effort the "Season of Service".

In 2013, Palau was residing in Cedar Mill, but in late 2018 was residing in nearby Bethany, another unincorporated area also north of Beaverton and immediately west of Cedar Mill. A November 2018 article in the Beaverton Valley Times referred to the Cedar Mill Bible Church as Palau's "home base".

In 2015, Palau hosted CityFest, an evangelistic event in New York City that drew 60,000 people to Central Park. This was a year-long effort that involved over 1,700 churches.

Illness and death
On January 17, 2018, Palau shared on Facebook and YouTube that he had stage-four lung cancer. In late November 2018, he told a reporter for the Beaverton Valley Times that his cancer had "stabilized for now". His health worsened in early 2021, however, leading to hospitalization in February and a subsequent decision to discontinue treatment.

On March 11, 2021, Palau died of lung cancer, in his home, surrounded by family. He was 86.

Works
Palau wrote numerous books including:
 * Where Is God When Bad Things Happen? ISBN 978-0385492645
 * Calling America and the Nations to Christ ISBN 978-0785279846
 * God is Relevant ISBN 978-0385486798
 * High Definition Life ISBN 978-0800718657
 * A Friendly Dialogue between an Atheist and a Christian ISBN 978-0-310-28533-5

Movie
A film entitled Palau the Movie was released in 2019. It tells the story of Palau's life and ministry. Starring Gastón Pauls and Alexia Moyano, the film is in color and is 117 minutes long.

title: Luis Palau


text:
Girl 6

Girl 6 is a 1996 American black comedy film produced and directed by Spike Lee. The film stars Theresa Randle, Isaiah Washington, and Lee. Suzan-Lori Parks wrote the screenplay, making it the first film directed by Lee that he did not also write. Directors Quentin Tarantino and Ron Silver make cameo appearances as film directors at a pair of auditions.

The accompanying soundtrack is composed entirely of songs written by Prince. The film was screened in the Un Certain Regard section of the 1996 Cannes Film Festival.

Plot
Judy, a young and timid African-American aspiring actress living in New York City, attends an audition with Quentin Tarantino for what he describes as "the greatest romantic, African-American film ever made". Judy grows apprehensive when asked to expose her breasts, as the role requires nudity. She reluctantly complies, but feeling uneasy, she storms out of the audition.

Afterwards, Judy's agent Murray, having worked hard to get her an audition with such a prestigious director, furiously drops her from his roster of clients. Her melodramatic acting coach also criticizes her apathy towards her acting art and the entertainment industry overall, insisting that Judy should have simply followed Tarantino's directions. This, coupled with Judy's financial issues preventing her from paying her coach for her services, results in Judy being dropped from her roster of clients as well.

Now unable to secure regular acting work, Judy tries various jobs. She comes across newspaper classified advertisements for a "friendly phone line" and another with the headline "mo' money, mo' money, mo' money", circling both. At a call center specializing in customer service and phone sex, Judy has an interview with Lil, who is assertive but friendly. Judy then attends interviews with other phone sex companies, including one run by a stripper, who offers her the opportunity to work unrestricted in her own home. However, the job would require her to have own private telephone line, which she currently does not have. She decides to keep this opportunity in mind for future reference.

Ultimately, Lil hires Judy as a phone sex operator at the call center. During orientation, Lil explains that although most girls on the team are African-American, they should always pretend to be Caucasian, unless the caller requests otherwise. Under the moniker "Girl 6", Judy immediately settles into her new job. Her sports memorabilia-obsessed cousin and best friend Jimmy, who lives in the same apartment complex as her, worries that her new job might distract her from her acting career. While running errands, Judy occasionally sees her kleptomaniac ex-husband, explaining her current occupation.

Thanks to her new job, Judy has become more confident and uninhibited. She bonds with "Bob Regular", a caller from Arizona who requests her specifically; Judy adopts the nickname "Lovely" especially for him. Unlike other callers, Bob has friendly, platonic conversations with her, mostly about his ailing mother. When Bob tells Judy he is visiting New York on business, they agree to meet in person at Coney Island during her lunch break. As Judy anxiously waits for Bob, a man walks past her; believing the man to be Bob, she calls out to him, but he does not respond. Despondent, Judy leaves.

Shortly after returning to work, Judy receives a disturbing call from a verbally abusive man. Lil, monitoring her call, disconnects him and reminds her to be more careful with the men that call in. Nevertheless, the man reconnects to Judy's line, further harassing her. Judy's job gradually begins to affect her mental health. Noticing Judy's exhaustion, Lil places her on leave so she can rest. Judy, however, now able to obtain a private line, decides to continue her phone sex career at home. She devotes herself fully to her job, ignoring Jimmy's and her ex-husband's attempts to contact her.

One night, Judy engages in a conversation with a sadistic caller who discusses his fantasy of strangling her, soon realizing he is the same abusive man who harassed her earlier. As he reveals that he knows her address, she suffers a breakdown and lashes out at him, much to his delight. Terrified, she runs upstairs to Jimmy's apartment for protection. Judy tells Jimmy she has decided to abandon her phone sex career and move to Los Angeles to resume her acting career. Before leaving, she makes amends with her ex-husband.

In Los Angeles, Judy attends an audition with Ron Silver who, like Tarantino, asks her to bare her breasts. This time, however, she stands up for herself and leaves the audition. Walking down the Hollywood Walk of Fame, she crosses the street towards Grauman's Chinese Theatre, which is showing the film Girl 6.

Home media
The film was released on VHS on August 6, 1996, and on DVD on March 7, 2006.

Box office
The film grossed $4,939,939 domestically.

Critical response
Girl 6 received mixed reviews. On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 39% based on 36 reviews, with an average rating of 4.8/10. The website's critics consensus reads, "Girl 6 has a compelling star, a Prince soundtrack, and Spike Lee's vivid style – and, unfortunately, a story that's never as compelling or insightful as it needs to be."

Roger Ebert gave the film two out of four stars and said, "Even though Spike Lee's Girl 6 was written by a woman, it seems conceived from the point of view of a male caller, who would like to believe that the woman he's hiring by the minute is enjoying their conversation just as much as he is." He added the film's central problem is, "It's about a woman exposing herself for male entertainment, even though it pretends to be about men exposing themselves for female employment." Janet Maslin of The New York Times was more positive, writing, "Spike Lee's Girl 6 doesn't reveal much about its title character, but it does make this clear: Mr. Lee adores her. He shows his fondness for this beautiful heroine (Theresa Randle) by surrounding her with every bit of fun and flattery in his considerable arsenal. Bold colors, a dance track of Prince songs, a parade of wild costumes, good-humored sexual teasing and warmly inviting cinematography by Malik Sayeed all contribute to this comedy's high-energy party mood." Todd McCarthy of Variety said the film lacks "meaningful insight into Girl 6's character", and Rolling Stone Peter Travers commented Lee has "sucked the fun out of call-in sex and replaced it with sanctimonious prattle".

title: Girl 6


text:
Helmholtz machine

The Helmholtz machine (named after Hermann von Helmholtz and his concept of Helmholtz free energy) is a type of artificial neural network that can account for the hidden structure of a set of data by being trained to create a generative model of the original set of data. The hope is that by learning economical representations of the data, the underlying structure of the generative model should reasonably approximate the hidden structure of the data set. A Helmholtz machine contains two networks, a bottom-up recognition network that takes the data as input and produces a distribution over hidden variables, and a top-down "generative" network that generates values of the hidden variables and the data itself. At the time, Helmholtz machines were one of a handful of learning architectures that used feedback as well as feedforward to ensure quality of learned models.

Helmholtz machines are usually trained using an unsupervised learning algorithm, such as the wake-sleep algorithm. They are a precursor to variational autoencoders, which are instead trained using backpropagation. Helmholtz machines may also be used in applications requiring a supervised learning algorithm (e.g. character recognition, or position-invariant recognition of an object within a field).

title: Helmholtz machine