text:
User talk:Notjim

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~ ~ ~. Four tildes (~ ~ ) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! --Lst27 ( t a l k )  21:47, 5 Dec 2004 (UTC)
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Painting copyright
From Copyright issues:

 * A photo of a painting on which the copyright of the painting has expired, cannot claim copyright. As such, virtually all, if not all, photos of paintings of the Kings of Europe etc. have no copyright protection. Rarely would anyone paint a new picture today of Henri IV etc. So, as I did earlier, inserting a picture of a painting taken from the Internet of Charles IX or Balzac, or Marie de Medici, is perfectly legitimate….DW

 * Sorry to use your page for the reproduction. Photographing art is a long time ago, and I sent many a letter to people asking for permission to reproduce famous people. Check the back of any book. All the photographs must be edited. Boggins 03:34 Jan 29, 2003 (UTC)

 * Quoth Public domain image resources: Accurate photographs of paintings lack expressive content and are automatically in the public domain once the painting's copyright has expired (95 years after initial publication). All other copyright notices can safely be ignored. - Montrealais

So I think considering that only the painting is shown, it should be fine if it's old enough.

zoney ♣ talk 18:16, 14 Feb 2005 (UTC)

ahoy!
please realize that my edits in wikipedia are always well-intended :) i never mean any harm - though sometimes with bold edits, it can seem that way. cheers, Kingturtle 23:04, 16 Feb 2005 (UTC)

Paul Henry
I like your contributions notjim. I'm an occasional anonymous Wiki contributor; I wrote most of the early Achill article and at the time I found it strange that Paul Henry had no entry to link to and created the stub. I'm also interested in rail transport in Ireland and think your Platform 11 entry is spot on. Keep up the good work.

 * Thanks for that, I'm pleased. Notjim 13:57, 8 Apr 2005 (UTC)
 * Also I have now looked at the Achill article and it is really excellant!

Would of
"Would of" might be heard in speech mistakenly used instead of "would've" and not just in Ireland, however it is bad grammer. If you can prove otherwise then fair enough but until then let's stick to proper grammer. Jooler

 * Pots and kettles, Jooler. The correct spelling is 'grammar'. Oldhamlet 13:54, 22 September 2005 (UTC)

Media Lab Europe
I hope you were not offended by my comments on "a greater conspiracy", these are directed solely at the anon user with some sarcaism, i think this person is a typical one-topic person who will soon get tired, leave and go somewhere else. Djegan 20:01, 11 Apr 2005 (UTC)

Sheila McClean
Thanks for the message! Not sure about adding others, that one was easy - she's my ma - thats how I was able to get the images... However I was thinking about trying to persuade her to write a bit about anyone she wants and adding it for her. We're in contact by email, you'll see if I have success. All the best.SeanMack 11:18, 15 Apr 2005 (UTC)

Fred Conlon
Thanks for the praise. The article really needs a public domain portrait of Conlon and public domain photos of some of his work. —Theo (Talk) 09:23, 15 July 2005 (UTC)

Berkus
Thanks for rving the csd on the above page! I've had a go at putting together something better & should have some further biog./notability info in a week or two, with possibly an artwork example. Thanks again - Pete C ✍ 21:44, 3 August 2005 (UTC)

Wikimedia UK/Wikimania 2006
Hi, this is a circular to Wikipedians in Ireland to draw your attention to Wikimedia UK, where the establishment of a local Wikimedia chapter for the United Kingdom (and possibly for the Republic of Ireland) is being discussed. See the talk page, as well as the mailing list; a meetup will take place to discuss matters in London in September, for anyone who can get there. On another topic, plans are being drawn up for a UK bid for Wikimania 2006, which would be conveniently close to Ireland. On the other hand, Dublin's bid was one of the final three last year - might we bid again? --Kwekubo 04:21, 31 August 2005 (UTC)

Molly Spotted Elk
Your Molly Spotted Elk was indeed sting. I had never had her. I have to think or I know of one male "Indian Chief" in film who was not an Indian at all, but be darned if I can remember his name. If we can find a few more, maybe we can come up with an article or category to link them. Thanks. Loogins 23:11, 21 September 2005 (UTC)

I just remembered the name: Iron Eyes Cody. Ted Wilkes 17:44, 25 September 2005 (UTC)

I'm not sure how one would set up such a category. I can see a "Category:Native American actors" for people like Jay Silverheels but that would preclude "white guys" like Iron Eyes Cody who only played Native American roles. - Ted Wilkes 00:21, 28 September 2005 (UTC)

Oldhamlet
That didn't take you long. The play, mostly. Oldhamlet 17:25, 24 September 2005 (UTC)

Timeline of Entomology
Would you be kind enough to fix a link for me? Can't get it right.It should go to French Wikpipedia Voyages but doesn't In return I could offer two Irish insct artists including illustation (Templeton and Donovan)Notafly in sunny but cold Belfast

That was quick Many thanks Notafly

Computer Game High Scores
Check out the high score for Dr. Mario - who (THE DUCKER) could be capable of getting such a whopping score? Oldhamlet 22:02, 10 October 2005 (UTC)

Re: William Orpen
No problem. I came across the article a couple of days ago while working on some other artists. It is one of my things that artists articles really ought to have illustrative material, so if I find one without images I try to find some. If there are any others you need images for I would be happy to help out. Cheers. -- Cactus.man  ✍  15:14, 17 January 2006 (UTC)

Re:Ulster Museum
Good idea. Many thanks. I did it this way though since I was writing quite a bit (I work in the museum) and felt it would unbalance the page unless someone (you perhaps?) is planning to write more about art and there is nothing on history. On the other hand it might encourage someone else and so I'll merge. In haste. Still adding to the Timeline of Entomology writing more about Leske for instance.Best wishes from Belfast.Notafly 10:40, 1 February 2006 (UTC)

Ulster Museum Rebalance
Art Paolozzi's 1964 sculpture Crash is my personal favourite. History Takabuti remains at No 1 for most visitors. I'll send further thoughts next week. I'm getting round to some Natural History of Ireland pages. Where woould these go? More good wishes from now dark Belfast.Notafly 17:20, 1 February 2006 (UTC)

Aoife and Eve
I see you remarked that Aoife is generally considered equivalent to Eve. This is news to me, and I'm an Irish speaker! As far as I know Eve is always referred to in Irish as Eabha, while Aoife is - to the best of my knowledge - always used in English as well as in Irish. I wonder what your basis for this view is? Palmiro | Talk 15:12, 13 February 2006 (UTC)

Irish Art
Hey, how are you? Perhaps we should make a wiki-project for Irish art? Check out my user page to see some of the Irish artist pages I've created. Hope to hear from you. RiverHockey 01:54, 2 February 2007 (UTC)

Hi. I'm working on the article for the Ulster Museum at http://belfast.wikia.com/wiki/Belfast_Wiki and am trying to find out who designed the original building. You wrote when you created the original article on wikipedia that it was someone called James Cumming Wynne who designed the building, but you didn't provide a reference, and I can't find anywhere else on the internet that credits him with the design. So, I'd really appreciate if you could tell me where you got this information, not just for Belfast Wiki but also for the Ulster Museum article on Wikipedia. —Preceding unsigned comment added by Derkrankemond2 (talk • contribs) 19:20, 29 September 2008 (UTC)

Categories for discussion nomination of Category:Sligo
Category:Sligo, which you created, has been nominated for discussion. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the Categories for discussion page. Thank you. Pichpich (talk) 11:53, 25 March 2011 (UTC)

Categories for discussion nomination of Category:Irish art world figures
Category:Irish art world figures, which you created, has been nominated for discussion. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the Categories for discussion page. Thank you. Mike Selinker (talk) 15:23, 26 November 2011 (UTC)

Category:Galleries and art centres in Ireland
Category:Galleries and art centres in Ireland, which you created, has been nominated for merging to Category:Art museums and galleries in Ireland. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the Categories for discussion page. Thank you. -- Black Falcon (talk) 03:17, 18 June 2012 (UTC)

Proposed deletion of Hamilton Mathematics Institute

The article Hamilton Mathematics Institute has been proposed for deletion  because of the following concern:
 * Couldn't establish WP:NOTABILITY

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Nomination of Hamilton Mathematics Institute for deletion
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Speedy deletion nomination of Turing (software)

A tag has been placed on Turing (software) requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about web content that does not credibly indicate how or why the subject is important or significant: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, such articles may be deleted at any time. Please read more about what is generally accepted as notable.

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Turing (software) moved to draftspace
Your article has been moved to draftspace. You can submit or move it back when ready. – AssumeGoodWraith  (talk | contribs) 10:06, 27 January 2022 (UTC)

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In accordance with our policy that Wikipedia is not for the indefinite hosting of material deemed unsuitable for the encyclopedia mainspace, the draft has been nominated for deletion. If you plan on working on it further, or editing it to address the issues raised if it was declined, simply and remove the, , or  code.

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Category:Pubs in County Dublin has been nominated for merging
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title: User talk:Notjim


text:
User talk:Dermar130

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~ ~ ~. Four tildes (~ ~ ) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! --Lst27 ( t a l k )  21:47, 5 Dec 2004 (UTC)
 * How to edit a page
 * Editing tutorial
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 * How to write a great article
 * Naming conventions
 * Manual of Style

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

title: User talk:Dermar130


text:
Jan Puzyna de Kosielsko

Prince Jan Duklan Maurycy Paweł Puzyna de Kosielsko (13 September 1842 – 8 September 1911) was a Polish Roman Catholic Cardinal who was auxiliary bishop of Lwów (now Lviv, Ukraine) from 1886 to 1895, and the bishop of Kraków from 1895 until his death in 1911. Named a Cardinal in 1901, he was known for his conservative views and authoritarianism.

Biography
Puzyna was born in 1842 in what was then a part of the Austrian Empire and former part of the Kingdom of Poland, in the diocese of Lwów. He earned a doctorate in law from the University of Lwów on 24 June 1870. He began a career in civil administration, but decided to embrace an ecclesiastical career. Ordained a priest on 1 December 1878, he was a vicar (assistant pastor) at Przeworsk, and then became a Canon of the Cathedral of Przemyśl. He was named auxiliary bishop of the Latin-rite Archbishop of Lwów and titular bishop of Memphis on 26 February 1886. He was consecrated a bishop on 25 March of that same year by Mieczysław Halka-Ledóchowski, with Archbishop Franziskus von Paula Graf von Schönborn of Prague and Archbishop Joseph Sembratovych of Ukrainian rite Lwów. He was translated to the Archdiocese of Kraków on 22 January 1895.

On 15 April 1901, Puzyna was created a cardinal-priest, with the title of Santi Vitale, Valeria, Gervasio e Protasio by Pope Leo XIII. He received his red hat on 9 June 1902.

During the conclave of 1903, acting on behalf of his Sovereign, Emperor Franz Joseph I of Austria, he presented a veto against the election of Cardinal Mariano Rampolla. Puzyna wanted to avoid the election of Rampolla, who was sympathetic to Russia and Germany. Among other things, Rampolla sought to curry favor with Russia by abolishing the Polish language and instituting Russian in the Russian partition's Catholic churches. These were ethnic and linguistic considerations.

Emperor Franz Joseph I of Austria, too, did not wish to see Rampolla elected to the Chair of Peter. He held a grudge against Rampolla for opposing a proper burial for his son Rudolf, Crown Prince of Austria, upon Rudolf's suicide. Rampolla also openly supported political forces in Austria that were hostile to the Emperor. The Emperor therefore authorized the Cardinal to present the veto in his name.

On his way to the conclave, Puzyna met in Vienna with the Emperor and proposed that the Emperor present his veto, jus exclusivae, against Cardinal Rampolla. The Emperor subscribed to the idea, and Puzyna presented the veto on the third day of the conclave, in the name of His Apostolic Majesty Francis Joseph, Emperor of Austria and King of Hungary. When the veto was read, Cardinal Luigi Oreglia di Santo Stefano, the Dean of the College of Cardinals, replied, "This communication cannot be received officially or unofficially. No cardinal is to give any consideration to this 'veto' and all are to continue to vote according to their conscience." In other words, the attempt at a veto was rejected. It was the last time such a veto was used. The veto, although not recognized by canon law, and as such non-binding, still carried much political weight, as the cardinals feared opposing the manifest will of one of the Christian monarchs.

The veto, once conceded by tradition to the Emperor, the King of France and the King of Spain, was abolished by the newly elected Pope Pius X, who imposed the penalty of excommunication upon anyone who would dare to introduce a veto, or otherwise interfere in the election of the Roman Pontiff. Pope Pius X further decreed that all cardinals should take an oath at the beginning of the conclave, promising not to aid any civil power in an attempt to influence the election of the pope.

Puzyna was decorated with the Grand Cross of the Order of Saint Stephen of Hungary in 1904. He was a member of the Sacred Congregation Consistorial, the SC of Bishops and Regulars, the SC of the Index, the SC of Indulgences and Relics, and the SC of Studies.

Jan Cardinal Puzyna de Kosielsko died in Kraków in 1911, five days before his 69th birthday.

Related article

 * List of Roman Catholic bishops of Kraków

title: Jan Puzyna de Kosielsko


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Vítor Constâncio

Vítor Manuel Ribeiro Constâncio (born 12 October 1943) is a Portuguese economist and academic who most recently served as Vice President of the European Central Bank, from 2010 to 2018. He previously served as Minister of Finance in 1978 and Governor of the Bank of Portugal from 1985 to 1986 and from 2000 to 2010.

Constâncio graduated in economics from the University of Lisbon, and obtained a master's degree at the University of Bristol. Since June 2018 he has been a professor at the School of Economics & Business Administration of the University of Navarra.

Career
Constâncio was Secretary of State for Planning in the I and II Provisional Government of Portugal from 1974 to 1975, and Secretary of State for Budget and Planning in 1976 in the IV Provisional Government. He then became Minister of Finance from January to August 1978 in the II Constitutional Government of Portugal, and is therefore until now the youngest Portuguese Finance Minister since the revolution.

Constâncio was secretary-general of the Socialist Party from 1986 to 1989. He lost the legislative elections of 19 July 1987, but remained in office. He resigned the following year, being replaced by Jorge Sampaio.

Constâncio was governor of the Banco de Portugal, the Portuguese central bank, for the first time in 1985–86, having been appointed vice-governor in 1977, in 1979, and in the period from 1981 to 1984.

From 1993 to 1994, Constâncio served as chairman of Lisboa 94, the entity in charge of organizing the commemorative events of Lisbon as European Capital of Culture.

Between 1995 and 1999, Constâncio was a member of the Portuguese Council of State. During the same period, he served as Member of the Board (Executive Director) of Banco Português de Investimento (BPI), a leading private Portuguese banking group, with responsibility for Budget, Accounting and Control of Financial Market Risks. In this capacity, he represented BPI as non-executive member of the board of Portugal Telecom and subsequently as non-executive member of the Board of Energias de Portugal.

Constâncio served once more as governor of the Banco de Portugal from 2000 to 2010, having been re-appointed in 2006. Under his presidency the Bank of Portugal spent one third of its original holdings of 600 tons of gold to 400 tons, approximately.

While in office, he advocated salaries stagnation or increases below inflation, as a way to increase the Portuguese economy's competitiveness. In 2005, Constâncio enraged right-wing politicians when he reviewed the previous conservative government's figures and revised the deficit up from around 3% to 6.8%. Two Portuguese banks (Banco Português de Negócios (BPN) and Banco Privado Português (BPP) had been accumulating losses for years due to bad investments, embezzlement and accounting fraud. The Portuguese Central Bank, led by Constâncio, was criticized for having allowed this situation for years.

European Central Bank, 2010–2018
Constâncio was first mentioned as a potential vice president of the European Central Bank in 2002, to replace Christian Noyer. At the time, he cited family reasons for refusing to run for the post.

Constâncio was eventually appointed vice president of European Central Bank in 2010, for an eight-year mandate. At the time, he was chosen by Eurozone finance ministers ahead of Peter Praet, director of the National Bank of Belgium, and Yves Mersch, the governor of the Bank of Luxembourg, to replace Lucas Papademos of Greece. During his time at the ECB, he developed a reputation as an inflation dove who often emphasised the need for economic growth.

Shortly after, on 6 April 2011, the Portuguese Government, facing increasing difficulties in securing its financing needs in the international financial markets, formally requested international financial assistance leading to a €78 billion program with equal participation of the European Financial Stabilisation Mechanism, European Financial Stability Facility and International Monetary Fund.

Personal life
In 1968 he married with Maria José Pardana. They have one son and one daughter.

Other activities

 * Center for Economic and Policy Research (CEPR), Distinguished Fellow (since 2019)
 * Financial Stability Board (FSB), Ex-Officio Member of the Standing Committee on Supervisory and Regulatory Cooperation
 * Banco de Portugal, Member of the Advisory Board

title: Vítor Constâncio


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Maxima Caesariensis

Maxima Caesariensis (Latin for "The Caesarian province of Maximus"), also known as Britannia Maxima, was one of the provinces of the Diocese of "the Britains" created during the Diocletian Reforms at the end of the 3rd century. It was probably created after the defeat of the usurper Allectus by Constantius Chlorus in AD 296 and was mentioned in the c. 312 Verona List of the Roman provinces. Its position and capital remain uncertain, although it was probably adjacent to Flavia Caesariensis. On the basis of its governor's eventual consular rank, it is now usually considered to have consisted of Augusta or Londinium (London) and southeastern England.

History
Following the Roman conquest of Britain, Britain was administered as a single province from Camulodunum (Colchester) and then Londinium (London) until the Severan Reforms following the revolt of its governor Clodius Albinus. These divided the territory into Upper and Lower Britain (Britannia Superior and Inferior), whose respective capitals were at Londinium and Eboracum (York). During the first phases of the Diocletian Reforms, Britain was under the control of the Allectus's Britannic Empire as part of the Carausian Revolt. At some point after the territory was retaken by Constantius Chlorus in AD 296, the Diocese of the Britains (with its vicar at Londinium) was formed and made a part of Prefecture of Gaul. The Britains were divided among three, four, or five provinces, which seem to have borne the names Prima, Secunda, Maxima Caesariensis, and (possibly) Flavia Caesariensis and Valentia.

The placement and capitals of these late British provinces are uncertain, although the Notitia Dignitatum lists the governor of Maxima (originally an equestrian praeses) as having been elevated to consular rank. Scholars usually associate this with the administration at Londinium, which was also the capital of the diocesan vicar.

Describing the metropolitan sees of the early British church established by SS Fagan and "Duvian", Gerald of Wales placed "Maximia" in Eboracum (York) and Londinium in Flavia, saying the former was named for the emperor Maximus. William Camden followed him and this placement was generally accepted after the appearance of Charles Bertram's highly-influential 1740s forgery The Description of Britain, which gave Maxima borders from the Humber and Mersey to Hadrian's Wall; this work was debunked over the course of the mid-19th century.

Modern scholars are uncertain whether the province was named for the western senior emperor Valerius Maximian or the eastern junior emperor Galerius Maximian. Birley has argued that Maxima and Flavia originally consisted of a single province, which received the name Britannia Caesariensis as a mark of favour for support against the rebel Allectus in 296. Although Flavia is usually thought to have been formed from the old province of Lower Britain, Birley proposes that Upper Britain was divided in two (between Prima and Caesariensis) and then three (Prima, Maxima, and Flavia). This repeats Camden's earlier theory (relying on Sextus Rufus) that Maxima was formed first and Flavia followed sometime after.

title: Maxima Caesariensis


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White Carniola

White Carniola (Bela krajina; Bela krajina; Weißkrain or Weiße Mark) is a traditional region in southeastern Slovenia on the border with Croatia. Due to its smallness, it is often considered a subunit of the broader Lower Carniola region, although with distinctive cultural, linguistic, and historical features.

Due to its proximity with Croatia, White Carniola shares many cultural and linguistic features with the neighboring Kajkavian Croatian areas. It is generally considered the Slovenian region with the closest cultural affinity with other South Slavic territories. It was part of Slavonia until the 12th century, after which it shared the historical fate with the Windic March and Lower Carniola to the north. During the 19th century, it was one of the regions with the highest emigration rate in the Slovene Lands, and the Austrian Empire in general. During World War II, it was an important center of anti-Fascist resistance in Slovenia.

Geography
The area is confined by the Gorjanci and Kočevski Rog mountain ranges in the north and west and the Kolpa River in the south and east, which also forms part of the border between Slovenia and Croatia. As the area could only be reached from northern Lower Carniola by mountain passes, the inhabitants cultivate a certain distinctness.

The region corresponds to the present-day municipalities of Metlika, Črnomelj and Semič. The terrain is characterised by low karst hills and extensive birch forests. The main river is the Kolpa with its Lahinja, Dobličica and Krupa tributaries.

White Carniola is known for Grič and Kanižarica pottery from clay with a distinct calcite content, as well as for high-quality wines, such as metliška črnina (a dark red wine), belokranjec (a white wine), and modra frankinja (i.e. Blaufränkisch).

Tradition

A distinguishing part of White Carniola is its folk heritage. It still has many folklore events, which show traditional local costumes, music, played on a regionally known instrument called tamburica, and a circle dance, called belokranjsko kolo. A distinctive feature is also the pisanica, a coloured Easter egg decorated in a characteristic manner using beeswax that is found nowhere else in Slovenia. Belokranjska pogača (White Carniola flatbread) has recently been granted the European Union's Traditional Speciality Guaranteed designation.

Name
The name Bela krajina literally means 'White March'. The noun krajina or 'march' refers to a border territory organized for military defense. The adjective bela 'white' may refer to the deciduous trees (especially birch trees) in the area in comparison to "black" (i.e. coniferous) trees in the neighboring Kočevje area. It may also be an old designation for 'west', referring to the western location of the region in comparison to the Croatian Military Frontier (Vojna krajina). Non-linguistic explanations connect the designation bela with the traditional white linen clothing of the population. The English name "White Carniola" derives from the German designation Weißkrain, which is the result of a hypercorrection based on the adjective belokrajnski (understood as a dialect metathesis of *belokranjski) (cf. also German Dürrenkrain, English: Dry Carniola,   for Slovene Suha krajina, literally 'dry region').

Middle Ages
In the early 12th century, the area was part of the disputed border region between the March of Carniola, established by the Holy Roman Empire in the northwest, and the Kingdom of Hungary in the east and southeast. From about 1127 the local counts of Višnja Gora (Weichselberg) backed by the Spanheim margraves and the Salzburg archbishops crossed the Gorjanci Mountains and marched against the Hungarian and Croatian forces, which they pushed beyond the Kolpa River down to Bregana.

The Counts of Weichselberg, who traced their lineage to Saint Hemma of Gurk, established their residence at Metlika (Möttling), and therefore in contemporary sources their lands were also referred to as the County of Möttling (Metlika). After the line became extinct in 1209, the possessions passed to the Carniolan margraves from the House of Andechs, the self-styled Dukes of Merania. In 1229, the area was passed as a dowry of Agnes of Merania to Frederick II of Austria, the last Babenberg ruler, and after his death to Agnes's second husband Ulrich of Spanheim, lord of Carniola and duke of Carinthia. After Ulrich's death in 1269, all of his possessions were inherited by his cousin Ottokar II of Bohemia, who was however defeated by Holy Roman Emperor Rudolf of Habsburg and his allies in 1278. Rudolf gave the County of Metlika as a feif to his ally Albert I of Gorizia, together with the eastern portion of the neighboring Windic March. Under his descendant Albert III of Gorizia, these two adjacent areas were united in what became known as the County in the (Windic) March and in Metlika, and became officially a separate estate of the Holy Roman Empire in 1368. After Albert's death in 1374, the county was acquired by Archduke Rudolf IV of Austria for the House of Habsburg, who confirmed its privileges, thus maintaining it separate from the Duchy of Carniola. The county was soon leased out to the House of Celje, which acquired full rights of the lords of the land in 1443. It remained part of the Celje domains until their extinction in 1457, whereafter it reverted to the Habsburgs, who gradually incorporated it into Carniola.

Early modern period
With the Ottoman conquest of the Balkans, groups of Serbs and Croats fled to the north or west; of the western migrational groups, some settled in White Carniola and Žumberak. Vlachs and Uskoks, including both ethnic Croats and Serbs, came to White Carniola and Žumberak from Croatia and Bosnia. The Habsburg commanders brought from Bosnia, later and from parts of Croatia and Dalmatia hundreds or thousands of families and settled them in area which covers White Carniola, across the Žumberak Mountains all the way to Vinica. In September 1597, with the fall of Slatina, some 1,700 Uskoks with their wives and children settled in Carniola, bringing some 4,000 sheep with them. The following year, with the conquest of Cernik, some 500 Uskok families settled in Carniola.

In his 1689 work The Glory of the Duchy of Carniola, the historian Johann Weikhard von Valvasor described the language, clothing, and customs of the people of White Carniola region as Croatian. The self-identification of students on the university registers in Graz and Vienna between 1643 and 1712 shows that as many as 88% of students from White Carniola identified as Croats, and only 12% as Carniolans. The provincial designation 'Croats' (Crovathen/Crobathen) was used for White Carniola in 1709, and the name 'Croats' for the inhabitants of White Carniola is found in 1725 in a report by a doctor named Zalokar from Novo Mesto. The dialect of the parish of Vinica in far southern White Carniola was marked as Croatian in 1795.

Castles
Several castles were built in the border region, especially during the Ottoman Wars from the 15th century onwards, as in Črnomelj, Gradac and Vinica. The remains of the large fortress in Pobrežje were destroyed in World War II.

Culture
Based on surnames found in White Carniola, it may be concluded that their ancestors were Serbs and Croats. In old folk poetry of White Carniola, Serbian hero Prince Marko is often mentioned, sung in "clean Shtokavian". A small Serb community exists in White Carniola.

Notable people
Notable people that were born or lived in White Carniola include:
 * Juro Adlešič (1884–1968), lawyer and politician, mayor of Ljubljana from 1935 to 1942
 * Draga Ahačič (1924–2022), actress, film director, translator, and journalist
 * Andrej Bajuk (1943–2011), politician and economist
 * Joe Cerne (born 1942), American football player
 * Oton Gliha (1914–1999), Croatian painter
 * Miran Jarc (1900–1942), writer, poet, playwright, and essayist
 * Lojze Krakar (1926–1995), poet, translator, editor, literary historian, and essayist
 * Radko Polič (1942–2022), actor
 * John Stariha (1845–1915), first Bishop of Lead, South Dakota, serving from 1902 to 1909
 * John Vertin (1844–1899), Catholic priest, Bishop of Marquette in the US state of Michigan from 1879 to 1899
 * Oton Župančič (1878–1949), poet, playwright, and translator

title: White Carniola


text:
Stephen Hillenburg

Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, director, voice actor, and marine biology educator. He is best known for creating the animated television series SpongeBob SquarePants for Nickelodeon in 1999. Serving as the showrunner for its first three seasons, and again from season nine until his death, the show has become the fifth-longest-running American animated series. He also provided the original voice of Patchy's pet, Potty the Parrot.

Born in Lawton, Oklahoma and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology at the Orange County Marine Institute, where he wrote and illustrated The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. After two years of teaching, he enrolled at California Institute of the Arts in 1989 to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (1993–1996) following the success of his 1992 short films The Green Beret and Wormholes, which were made as part of his studies.

In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants, which has aired continuously since 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. He then resigned as showrunner, but remained credited as executive producer on subsequent seasons (even after his death). He later resumed creating short films with Hollywood Blvd., USA (2013). He co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water (2015), and received a posthumous executive producer credit for the third film, The SpongeBob Movie: Sponge on the Run (2020).

Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognitions, such as an accolade from Heal the Bay for his efforts in elevating marine life awareness and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue working on SpongeBob for as long as possible. He died from the disease on November 26, 2018, at the age of 57.

Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill,   a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr. (1936–2006), worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.

When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by Jacques Cousteau, a French oceanographer, made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."

Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War ] . She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.

He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994. )

Hillenburg went to Humboldt State University in Arcata, California, as a marine-science major. He minored in art, and said that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."

Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, he realized he was more interested in art than his chosen profession.

While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters – including "Bob the Sponge", the comic's co-host, who resembled a realistic sea sponge, as opposed to his later SpongeBob SquarePants character, a sea sponge whose stylized square shape resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.

During this time, Hillenburg also started attending animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation, where student films from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. He had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.

Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Impressed by The Intertidal Zone, Engel accepted him into the program. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.

Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot," he said in 2003. "They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs." Wormholes was shown at several international animation festivals, including the Annecy International Animated Film Festival, the Hiroshima International Animation Festival, the Los Angeles International Animation Celebration, the International Short Film Festival Oberhausen, and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly called the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times called it "inventive".

Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "by filming piles of sand changing". He made at least one other short film as an animation student, but its title is unspecified.

Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (1993–1996),  Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it back—I had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.

Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In particular, the third season episode "Fish-N-Chumps" was co-written and directed by Hillenburg, and involved Rocko, Heffer, and Filburt going on a fishing trip, oblivious to the fact that a pair of anthropomorphic sea creatures are attempting to catch them from underwater; this would foreshadow his later work with SpongeBob. In 1995, during the fourth and final season of Rocko, Hillenburg was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.

Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (1987–1988) and Pee-wee's Playhouse (1986–1991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."

During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He said that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.

As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (1991–1995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge, who resembles a realistic sea sponge; at first, Hillenburg continued this design  because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. While Hillenburg "retained the idea of a living sea sponge," he soon considered giving the character a square shape (like a kitchen sponge), and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking for—a somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his role in Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.

While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.

Broadcast
SpongeBob SquarePants is Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevails—which I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to match—conscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest [...].Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."

SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997–) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that [...].I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $25 billion in merchandising revenue.

Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."

After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.

In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).

Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.

According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon.

In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."

Personal life
In 1998, Hillenburg married Karen Jean Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City. He deemed her the funniest person he knew, and the character of Karen Plankton was named after her. Also in 1998, their son was born. Hillenburg formerly resided in Hollywood and Pasadena,  and lived with his family in San Marino, California until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".

He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, he was "a perfectionist workaholic", and was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She said: "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself: "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."

Hillenburg's graphic influences were George Herriman, E. C. Segar, Bill Watterson, Dr. Seuss, Max Fleischer, Chuck Jones, Tex Avery, Bob Clampett, Jay Ward, Jules Engel, Matt Groening, Joe Murray and John Kricfalusi; the latter was inspired to have many close-up shots in several SpongeBob episodes to have grotesque and extremely detailed drawings. He had also cited Charlie Chaplin, Buster Keaton, Laurel & Hardy, The Three Stooges, W.C. Fields, Jerry Lewis, Jacques Cousteau, Jim Henson's The Muppets and Paul Reubens' Pee-wee Herman.

Philanthropy
Hillenburg, with his wife Karen endowed numerous projects and organizations through the United Plankton Charitable Trust, which they established in 2005, naming after Hillenburg's United Plankton Pictures. It supports areas of their personal interest, giving under $500,000 annually. Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted Planned Parenthood (where Karen has been on the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.

In education, they have donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.

Illness and death
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS, also known as Lou Gehrig's disease), though he continued to work on SpongeBob SquarePants for as long as he was able. He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it ultimately got to the point where he stopped going to his office due to the progression of the illness.

Hillenburg died on November 26, 2018, at the age of 57. According to his death certificate, he died at his home in San Marino, California. It also states that his body was cremated, and that his ashes were scattered in the Pacific Ocean off the coast of California the next day.

Legacy
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS's Paramount+ streaming service during Super Bowl LV. A full, all-CGI version was broadcast before Nickelodeon's broadcast of Super Bowl LVIII.

The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run which he worked on, are dedicated to his memory.

In 2019, a spin-off of SpongeBob SquarePants, Kamp Koral, began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here. Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.

Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.

In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."

The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.

On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of SpongeBob SquarePants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.

title: Stephen Hillenburg


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House of Puzyna

The House of Puzyna is a Rurikid princely house, now already living in Poland for several centuries. Originally they were from Ruthenia and the region of Smolensk. Their most prominent members lived in the early 20th century.

During the Polish-Lithuanian Commonwealth, they were counted as Litvin princes, the highest nobility of Lithuania. Of Ruthenian origin.

History
Mostly because the archival documentation of the 14th century is weak, thanks to Mongol depredations, their precise lineage from Rurik is under shroud. Their tradition, as well as that of the family of Oginskis, refer to them being descended from rulers of the principality of Kozelsk. Several versions of their precise Rurikid origins have been presented.

The Rurikid dynasty's branch of Kozelsk flourished in the 14th century. As one of the Oka principalities in the region of Upper Oka, near Smolensk. These princes were said to be descended from Saint Michael of Chernihiv who was martyred in 1246. (It is generally in published family trees that their one forefather was St.Michael's descendant prince Tit - but nothing more is actually known of this Tit than merely his name, without even explicit attestation of his patronymic, and names of one or more of his historically attested sons, and that in those generations his family -branch- held Kozelsk and Karachev. We can be relatively certain of this Tit's existence because at least one son of his in mid-14th century carried the patronymic 'Titovich' in his near-contemporary documentation.) Better historical sources know the early forefathers of the Puzyna and Oginskis, princes bynamed Hlazyna and Gluszonek who were magnates in the region of Smolensk in the late 15th century. These princes Hlazyna would thus have been descendants of some branch of Dukes of Kozelsk.

In 1408 the Duke of Kozelsk held Rzhev, had the town built. He was possibly merely a kinsman of the Oginski and Puzyna ancestors, and not their direct forefather, as the Kozelsk family seems to have developed several branches already prior to that date.

 * There are historically weak beliefs that the Puzyna were branched from the Oginskis by the somewhat unhistorical brothers Grigor 'the fire' (for his hot temper) and Valadimir 'the bubble' (for being obese), allegedly respectively forefathers of the Oginski and the Puzyna, who would have been sons of a prince Tit or a prince Juri or a prince Tit-Juri, of Kozelsk, one allegedly in the 15th generation from Rurik. However, sources contemporary to those centuries do not mention such things (source: Rodoslovtsah). These still have found their way to a lot of genealogies (compare for example the publications of Peter V Dolgorukov). Quite possibly, this another, later Tit is just a genealogically invented ghost of the real Tit whose existence is known from his son's patronymic.

In 1486, boyar Dmitrijus Ivanovicius Hlushonokas received the manor and fief of Oginty in Zhizhmorski, Lithuania proper. His descendants became known as Oginskis, the Lithuanian branch of the Hlazyna. Prince Teodoras Bogdanaitis appears as the first of this lineage with the byname Oginski.

In the early 16th century, Dmitrijus' younger brother, the Belarusian prince Ivan Ivanovich Hluszonak was contemporary of king Sigismund I of Poland as well as his official, and his son prince Timofej Ivanovich was known with byname 'puzyna'. It was this branch which developed to the lineage of Puzyna. Vasilij Ivanovich received from king in 1516 the estate of Nosov in Melnitski (Археографический сборник документов, относящихся к истории Северо-Западной Руси, t. 3, №4, p. 4-5). It seems that these persons are present in later generations of Puzyna in the works of Dolgorukov, as well as in the findings of the Polish Jesuit Andrzej Pezharski, in his book 'Annibal ad Portas'. The name of Puzyna appears to have been found in chronicles in the 16th century.

So, the two bynames (Oginskis and Puzyna) actually formed only in later generations of the two brothers, and not yet to the two brothers themselves. But it has been easy although mistaken to try to make already two brothers to carry the nicknames. Since bynames of the real historically attested brothers Dimitrijus and Ivan were actually not such, this has presumably led to confusions about what were the first names of the two brothers who started the branches, some thus picking up the unhistorical names Grigor and Valadimir, as well as the 'mythical' forefather name Tit (who was real person in the ancestry but farther back) as their father.

These two brothers (Dimitrijus, Ivan) were sons of prince Ivan Vasilievich, son of one Vasili Hlazyna, a Ruthenian princely magnate in region of Smolensk. All in all, prince Ivan Vasilievich had five sons: Dmitri, Ivan, Leo, Michael and Andrew, according to Ptashitski.

Vasili Hlazyna's other son (according to S L Ptashitski) was prince Olehno Vasilievich, who fled to Moscow and thus left Belarusia-Lithuania.

The princes of Puzyna have as their earliest historically attested patrilineal forefather the said Vasili Hlazyna in the mid-15th century - just as the record-harmed Mongol-domination epoch was over. In light of strict research, there is not an attested lineage back to Rurikids. They just appear from post-Mongol mists of history. However, the princely title which was accorded to the family, speaks for a Rurikid patriline. The Rurikid DNA project by Y DNA evidence has proven that the Puzyna belong to the patriline of the Rurikids. The tradition being Rurikid is correct.

Material: Russian Wikipedia

Notable members

 * Jan Puzyna de Kosielsko

Literature
Ptaš'ickij, S.L., Knâz'â Puzyny - istoriko-genealogičesk'i.e. mater'ialy

title: House of Puzyna


text: User talk:68.233.39.230

title: User talk:68.233.39.230


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Wikipedia:WikiProject Comics

Welcome to WikiProject Comics, a project formed by Wikipedians to increase, expand, improve, and better organize articles related to comics in Wikipedia, the largest encyclopedia in the world. We rely on comics enthusiasts worldwide to make this the best comics encyclopaedia on the web. If you are interested in participating, why not see how you can get involved.

If you would like to help, please inquire on the talk page and see the to-do list there.

For more information on WikiProjects, please see WikiProjects and WikiProject best practices.

Scope
The scope of WikiProject Comics is improve the vast expanse of knowledge that comics have become. This WikiProject will attempt to cover all comics-related information included on Wikipedia. We will do this through volunteer contributors and editors. If you are interested in joining the WikiProject, please feel free to add your name to the Participants list below, and find yourself an article to adopt.

Mission statement
This WikiProject aims to provide a centralized home for work done on Wikipedia articles about comics and sequential art and to coordinate members' efforts to prevent redundancy and resolve disputes.

Goals
The project aims primarily to:
 * 1) Provide a forum to discuss the editing and organization of comics-related articles.
 * 2) Promote collaboration toward the development of comics-related articles into authoritative, high-quality material.
 * 3) Create a standard for the interpretation of copyright and fair use as it applies to the comic book articles (see  Wikipedia's comics-related view on copyright material for more information).
 * 4) Maintain the portal.

Participants
WikiProject Comics now has over 600 participants! See WikiProject Comics/Participants for the full list.

How to join
Add yourself to the list of members by [//en.wikipedia.org/w/wiki.phtml?title=Wikipedia:WikiProject_Comics/Participants&action=edit going to the list here].

Once you've done that, you can also place on your user page; this displays one of the following userboxes:

This templates will add your user page to Category:WikiProject Comics participants.

Finally, please add the project page to watchlist.

Talking to other participants
You can use the project's talk page to talk to other members.

Members are welcome to join our project chat on the unofficial Wikimedia Discord server. Please see WP:Discord for more information.

Hierarchy definition

 * Literature: Comics
 * Visual and Performing Arts: Visual arts: Comics

Overview

 * Getting Involved – A good place to start. Learn more about how you can be a part of this WikiProject.
 * General discussion forum – Post your questions, comments, and concerns to this helpful and friendly talk page. This is the central page to visit for general discussion of the project. You can see what other editors are working on, ask questions, and keep track of the project's progress.
 * The Notice Board keeps editors apprised of comics articles whose talk pages are involved in ongoing debates; merge, move, and delete proposals involving WikiProject articles; and other discussions of interest. Editors of articles can also announce new articles and projects and request comment from uninvolved editors. Updating help is also always needed and appreciated.
 * Manual of Style (comics) explains proper grammar and formatting for comics articles.
 * Exemplars shows the standard format for comics-related articles, and gives some examples of accepted article structure.
 * Naming conventions describes the best ways to name new articles.
 * References – This page lists some comics-related references to aid in sourcing your edits of comics-related articles.
 * WikiProject Comics Templates make constructing and editing a comics article easier.
 * Copyright (important) informs editors which images are appropriate for uploading and use in comics articles and how best to use them. WikiProject Comics has policies on copyright for Wikipedia comics articles either based on our consensus interpretation of Fair use or agreements made with individual publishers. Unless stated otherwise, these are based on the interpretation of United States copyright law.

Related WikiProjects

 * WikiProject Anime and Manga
 * WikiProject Animation
 * WikiProject Film
 * WikiProject G.I. Joe
 * WikiProject Media franchises
 * WikiProject Transformers

title: Wikipedia:WikiProject Comics


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Greater Oslo Region

Greater Oslo Region ("Stor-Oslo-regionen" in Norwegian) is a statistical metropolitan region surrounding the Norwegian capital of Oslo, with a total number of inhabitants of 1,546,706 as of 1 January 2023.

The region includes the city proper of Oslo (population: 709,037), Akershus and Østfold county, parts of the county of Buskerud, as well as Holmestrand Municipality in the county of Vestfold.

There is also another definition of the Greater Oslo Region, which excludes the Moss and Drammen regions. This definition has 34 municipalities and had a population of 1,323,244 on 1 January 2015.

Economy
In 2020 Oslo gross metropolitan product was €64.5 billion.

title: Greater Oslo Region


text:
User:Dave2

Oh hey, this machine still has my Wikipedia login. I don't tend to do much on Wikipedia any more.

title: User:Dave2


text:
Council circle

A council circle is a distinctive feature at the center of some tribal communities in North America. The historical function of the council circles is debated. Some suggest that the talking circles are ceremonial, and others support a hypothesis that they were places for political discussion that suggest aboriginal democracy.

In current use, the council circle is often synonymous with the talking circle, and is a means of group communication that promotes input from all the members. The practice has been adopted by people of many cultures. A talking stick, or other significant or impromptu object, is passed around the circle, and only the circle member holding the stick is allowed to speak, though he or she may allow others to interject.

Talking sticks in the context of the council circle may have been used pre-historically by indigenous peoples to create egalitarian forums. Photographs show that some talking sticks were very tall, suggesting that circle participants would have stood when speaking.

title: Council circle


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Dead time

For detection systems that record discrete events, such as particle and nuclear detectors, the dead time is the time after each event during which the system is not able to record another event. An everyday life example of this is what happens when someone takes a photo using a flash - another picture cannot be taken immediately afterward because the flash needs a few seconds to recharge. In addition to lowering the detection efficiency, dead times can have other effects, such as creating possible exploits in quantum cryptography.

Overview
The total dead time of a detection system is usually due to the contributions of the intrinsic dead time of the detector (for example the ion drift time in a gaseous ionization detector), of the analog front end (for example the shaping time of a spectroscopy amplifier) and of the data acquisition (the conversion time of the analog-to-digital converters and the readout and storage times).

The intrinsic dead time of a detector is often due to its physical characteristics; for example a spark chamber is "dead" until the potential between the plates recovers above a high enough value. In other cases the detector, after a first event, is still "live" and does produce a signal for the successive event, but the signal is such that the detector readout is unable to discriminate and separate them, resulting in an event loss or in a so-called "pile-up" event where, for example, a (possibly partial) sum of the deposited energies from the two events is recorded instead. In some cases this can be minimised by an appropriate design, but often only at the expense of other properties like energy resolution.

The analog electronics can also introduce dead time; in particular a shaping spectroscopy amplifier needs to integrate a fast rise, slow fall signal over the longest possible time (usually from .5 up to 10 microseconds) to attain the best possible resolution, such that the user needs to choose a compromise between event rate and resolution.

Trigger logic is another possible source of dead time; beyond the proper time of the signal processing, spurious triggers caused by noise need to be taken into account.

Finally, digitisation, readout and storage of the event, especially in detection systems with large number of channels like those used in modern High Energy Physics experiments, also contribute to the total dead time. To alleviate the issue, medium and large experiments use sophisticated pipelining and multi-level trigger logic to reduce the readout rates.

From the total time a detection system is running, the dead time must be subtracted to obtain the live time.

Paralyzable and non-paralyzable behaviour
A detector, or detection system, can be characterized by a paralyzable or non-paralyzable behaviour. In a non-paralyzable detector, an event happening during the dead time is simply lost, so that with an increasing event rate the detector will reach a saturation rate equal to the inverse of the dead time. In a paralyzable detector, an event happening during the dead time will not just be missed, but will restart the dead time, so that with increasing rate the detector will reach a saturation point where it will be incapable of recording any event at all. A semi-paralyzable detector exhibits an intermediate behaviour, in which the event arriving during dead time does extend it, but not by the full amount, resulting in a detection rate that decreases when the event rate approaches saturation.

Analysis
It will be assumed that the events are occurring randomly with an average frequency of f. That is, they constitute a Poisson process. The probability that an event will occur in an infinitesimal time interval dt is then f dt. It follows that the probability P(t) that an event will occur at time t to t+dt with no events occurring between t=0 and time t  is given by the exponential distribution (Lucke 1974, Meeks 2008):

 * $$P(t)dt=fe^{-ft}dt\,$$

The expected time between events is then

 * $$\langle t \rangle = \int_0^\infty tP(t)dt = 1/f$$

Non-paralyzable analysis
For the non-paralyzable case, with a dead time of $$\tau$$, the probability of measuring an event between $$t=0$$ and $$t=\tau$$ is zero. Otherwise the probabilities of measurement are the same as the event probabilities. The probability of measuring an event at time t with no intervening measurements is then given by an exponential distribution shifted by $$\tau$$:

 * $$P_m(t)dt=0\,$$ for $$t\le\tau\,$$

 * $$P_m(t)dt=\frac{fe^{-ft}dt}{\int_\tau^\infty fe^{-ft}dt} = fe^{-f(t-\tau)}dt$$ for $$t>\tau\,$$

The expected time between measurements is then

 * $$\langle t_m \rangle = \int_\tau^\infty tP_m(t)dt = \langle t \rangle+\tau$$

In other words, if $$N_m$$ counts are recorded during a particular time interval $$T$$ and the dead time is known, the actual number of events (N) may be estimated by

 * $$N \approx \frac{N_m}{1 - N_m \frac{\tau}{T}}$$

If the dead time is not known, a statistical analysis can yield the correct count. For example, (Meeks 2008), if $$t_i$$ are a set of intervals between measurements, then the $$t_i$$ will have a shifted exponential distribution, but if a fixed value D is subtracted from each interval, with negative values discarded, the distribution will be exponential as long as D is greater than the dead time $$\tau$$. For an exponential distribution, the following relationship holds:

 * $$\frac{\langle t^n \rangle}{\langle t \rangle^n} = n!$$

where n is any integer. If the above function is estimated for many measured intervals with various values of D subtracted (and for various values of n) it should be found that for values of D above a certain threshold, the above equation will be nearly true, and the count rate derived from these modified intervals will be equal to the true count rate.

Time-To-Count
With a modern microprocessor based ratemeter one technique for measuring field strength with detectors (e.g., Geiger–Müller tubes) with a recovery time is Time-To-Count. In this technique, the detector is armed at the same time a counter is started. When a strike occurs, the counter is stopped. If this happens many times in a certain time period (e.g., two seconds), then the mean time between strikes can be determined, and thus the count rate. Live time, dead time, and total time are thus measured, not estimated. This technique is used quite widely in radiation monitoring systems used in nuclear power generating stations.

title: Dead time


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Talk:Evil eye

African American mooshoo
Seeing as though Africans taken to America were in some instances Muslims, and African Americans have been involved in Islam for a long time, why is it an occultist is credited with introducing the evil eye into African American circles? Unless there is some factual basis for this that I (in ignorance) have missed this seems to be a patronising passage that should be removed or at least verified.

Still don't understand what it is
I read most of the article and still don't understand. Is it a fae-like floating eye? Is it some invisible demon flashing looks at people? Is it just when one person looks at another with scorn? I have no clue if it is a person, thing, or idea. Is it a living thing in and of itself? Is it the way something expresses? The article is so very unclear. I have seen the talismans, but am not sure if they are the evil eye or not—and if not, how are they thought to work? Why an eye to guard against an eye?

It reminds me of "the game." As soon as you have thought about the game, you've lost the game. When you see one of those talismans you think about the evil eye, whatever that is, and otherwise, no one thinks about it. Which means the talisman rather than protecting people from a thing keep it fresh in mind all the time. Or maybe people were tricked by someone who wanted the evil eye to be everywhere and the talisman is the evil eye. Or does the talisman just stare back at the eye? Os ot like a weeping angel where you suffer if you blink while the eye is watching; so the talisman watches for you?

I just don't understand it at all because I never grew up with this folklore. So, those who do understand, please explain it as if you area talking to someone who has no clue. Because I don't have any.2604:2D80:DE11:1300:ED2A:9572:F1A4:6B7C (talk) 06:04, 2 March 2021 (UTC)

 * The book "The Poor, the Crippled, the Blind, and the Lame: Physical and Sensory Disability in the Gospels of the New Testament" (https://books.google.com/books?id=_hVnDwAAQBAJ, p. 105) explain it well:

 * It refers to the power possessed by a person to bring harm or injury (I would also add and misfortune) to others simply through one's gaze. Such powers are wrought through the feelings of envy or jealously at the happiness, beauty and prosperity of others. Gre regiment (talk) 22:27, 29 September 2022 (UTC)

Eye of Horus
I think that the Eye of Horus from ancient Egypt (https://en.wikipedia.org/wiki/Eye_of_Horus) would be an earlier precedent than eye-cups. — Preceding unsigned comment added by Shanaoc (talk • contribs) 21:35, 17 October 2021 (UTC)

The evil eye in Christianity
Neither of the examples cited in Protective Talismans and Cures > By Religion > In Christianity purporting to indicate Christianity's beliefs on the evil eye have anything to do with the subject. Luke 11:34 is not talking about the evil eye in the mythological/paranormal sense; it is essentially talking about the effects of turning one's "eye" towards things Jesus considered wicked. (See Pulpit Commentary on Luke 11:34 - "If they gave way to passion, jealousy, prejudice, impurity, lawlessness in its hundred forms, then for them the spiritual eye of the soul would become diseased, and therefore incapable of rightly discerning any heavenly sign. It was this danger that the Master was pointing out to the crowd.") Mark 7:22 is cited, because the Greek words ὀφθαλμὸς πονηρός literally translate "eye evil", but this is translated "envy" in most modern translations (https://biblehub.com/mark/7-22.htm). Even if this were to be translated differently, the verse is a list of sins and is not talking about "the evil eye" in the sense of the supposed supernatural phenomenon. Zomwolf (talk) 06:25, 8 February 2023 (UTC)

 * Exactly. The proposed bits in "In Christianity" are of Hollywood and hearsay. I recently edited out said bits, leaving in place a sentence of the "evil eye" not having any significant meaning or value in Christianity. I also wrote that even if some translation could possibly come to the word pair of "evil eye" somewhere in the Bible it doesn't mean it would still be of the "evil eye" as per the article.
 * All my edits were reverted. How does this work - how do we replace the current sham with facts?
 * Thanks. Jaakko.pontinen (talk) 20:17, 6 June 2023 (UTC)
 * I feel obliged to agree with you @Jaakko.pontinen; the section you originally axed is a disgrace. "Original research" doesn't even begin to cover it; whoever wrote it extrapolated very obviously false information from primary sources, if you can even call the 1897 novel Dracula a primary source on christian beliefs.
 * The user who reverted your edit didn't justify or explain their revert in any way, which by itself straddles the line of acceptable conduct. I can only assume they mistook your contribution for vandalism. I invite you to re-submit your changes, citing this discussion thread and any wikipedia policies you find fit to support it. If they still find your contribution unacceptable, they're welcome to explain their concerns here.
 * Heck, I'd do it myself, but I'm too lazy to log in :P 83.5.139.163 (talk) 05:41, 30 August 2023 (UTC)

Wiki Education assignment: Introduction to Mythology
— Assignment last updated by Kendra.Moreno (talk) 21:52, 21 April 2024 (UTC)

title: Talk:Evil eye