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Talk:Planck mass

Planck-sized black holes

 * The issue is that general relativity predicts that smaller black holes can exist within an event horizon of radius less than the Planck length, while quantum mechanics predicts that the mass would probably be outside the event horizon.

Sounds fascinating, but what does it mean?

It means that, at the high energy density limit, (maximum energy density), photon energy could produce gravitationally confined mass particles (black holes). If the electron is a gravitationally confined particle, it is expected to have a relationship to the Planck mass energy.

The electron mass is approximately equal to (h/ 4 pi c) times (c/ 3 pi hG) exponent 1/4. The mass energy of two electrons (2 m c squared) is approximately equal to the square root of the product of (2/3) exponent 1/2,(Planck mass energy) times the energy h/(2 pi) squared. When (if) this relationship is verified to be correct, rather than approximate, the gravitational constant value (G) must be very close to 6.6717456 x 10 exponent -11. This is slightly smaller than the current CODATA value (by the factor 0.9996323). DonJStevens (talk) 14:42, 19 December 2011 (UTC)

See Talk: Time dilation, See also Black hole electron.

Hmmm
"The Planck mass is the value for which the Schwarzschild radius and the Compton length are equal, and equal to the Planck length"

according to this sentence, and the sentence proceeding it, fleas are a planck length in diameter, and their Schwarzschild radius and Compton length are equal. Very strange indeed. I think the sentence should be like this:

"If an object with a mass equal to the Planck mass has a Schwarzschild radius and Compton length that are equal, its length is a Planck length"

However, I don't understand how such a sentence would fit in the structure of the article. We could add "On another note, if an object..." or "The Planck mass is such that if an object..."

Basically, could the author or someone else who feels competent change this sentence or delete it?ChadThomson 12:37, 20 September 2005 (UTC)

no, the sentence is quite right. You may read it as 'if you compress a flea to the size of the Planck length, it will become a black hole', or 'the energy required to resolve, by Heisenberg's uncertainty principle, a distance as small as the Planck length, will be sufficient to create a black hole within that length'. Maybe this article should be merged with Planck energy, since the distinction of mass and energy becomes really pointless at this scale. Baad 10:07, 31 October 2005 (UTC)

 * Note that the Planck Energy is already listed as a "derived natural unit" and it is stated in the energy article that it is equal to the Planck mass. I think they stand alone well enough, and if you merge them, you'd have to merge every natural unit.-- Rmrfstar 11:28, 31 October 2005 (UTC)

"naturally it is impossible to truly set either of these dimensionless numbers to zero." I believe the author intends to say "naturally it is impossible to truly set either of these dimensionless numbers to one."

There's no motivation or precedent for setting natural constants to zero (it's not even possible, in general). Setting constants "equal to" one is common practice. — Preceding unsigned comment added by 207.183.239.226 (talk • contribs) 2015-04-16T00:42:33

Schwarschild radius and Planck Length
I corrected what appeared to me to be an anomoly. As I understand it, the Planck length is half the Schwarzschild radius and it is equal to the Compton length divided by Pi. There are similar 'anomolies' on the Planck length page but I'll leave those until I see what reaction this change gets. Sorry if I stepped on any toes by this or if I've misunderstood some physical process in correcting the maths. Lucretius 04:54, 17 January 2006 (UTC)

I also made a small correction in the wording, it didn't seem right to talk about general relativity and use "simultaneous" in the same sentence. Jparrish88 (talk) 07:59, 8 May 2008 (UTC)

Back to the flea
I think the point is that to humans a Planck mass is small but not tiny, unlike Planck length or Planck time. Similarly Planck energy is fairly large but not huge, unlike Planck temperature or Planck density. There is nothing special about Planck mass (there are living things larger and smaller - I think including some kind of lesser flea) until you start looking at black holes. --Rumping 23:44, 11 November 2007 (UTC)

 * I have removed the statement that the body mass of some fleas is roughly 5000 Planck masses. The statement was unsourced, and the figure seems to be much too high; 5000 Planck masses is over 100mg, while sources that I have seen put the mass of a flea at 0.5mg or 0.25mg.

 * I have also removed the statement that the mass of a bacterium is roughly 0.0000001 Planck masses. The statement was sourced, but is practically meaningless since the mass of the largest bacteria exceeds the mass of the smallest by a factor of over 109.  In addition the statement, even if it is taken as true, does not serve its intended purpose of making the Planck mass conceivable to humans.

 * In place of those two statements, I have inserted the statement that the Planck mass is about the mass of a flea egg. A flea egg is oval, about 0.5mm long, and about 0.3mm wide .  If we take it as being a prolate spheroid with those dimensions and with the same density as water – a good approximation for a wide range of biological materials – then its mass comes out as 1.08 Planck masses.  Prim Ethics (talk) 00:53, 19 August 2010 (UTC)

Planck-mass black hole
The article states: "The Schwarzschild radius of a Planck mass black hole is the Planck length."

Is this actually correct?

The Schwarzchild radius is given by rs = 2GM/c2. Plugging in the numbers, rs = 2 x 6.67x10-11 x 2.176x10-8 / 8.99x1016, which works out as 3.23x10-35 metres, or around twice the Planck length of 1.62 × 10−35m. --Christopher White 1982 (talk) 22:59, 26 September 2008 (UTC)

Derivation
I have moved the following out of the article because it seems less clear than "$$m_P = \sqrt\tfrac{\hbar c}{G}$$ where c = speed of light in a vacuum and G = gravitational constant". --Rumping (talk) 11:39, 22 July 2009 (UTC)
 * There no original in this text. So, with additional references this text should be restored in the paper. 195.47.212.108 (talk) 06:54, 23 July 2009 (UTC)

The standard Newton gravitational law can be written as:
 * $$F_N = G\cdot \frac{m_x^2}{r^2}. \ $$

We can redifine gravitational constant in the form consistent with the Coulomb's law, written in the SI units:
 * $$G = \frac{1}{4\pi \kappa_0}, \ $$

where $$\kappa_0 - \ $$ is the "gravitational permittivity" of free space. Now we can rewrite the gravitational law in the form:
 * $$F_N = \frac{m_x^2}{2\kappa_0 hc}\cdot \frac{\hbar c}{r^2} = \gamma_x\cdot \frac{\hbar c}{r^2}, \ $$

where $$\gamma_x = \frac{m_x^2}{2\kappa_0 hc} \ $$ is dimensionless "gravitational fine structure constant". The standard Planck condition for this parameter
 * $$\gamma_P = \frac{m_P^2}{2\kappa_0 hc} = \frac{Gm_P^2a}{c\hbar} = 1 \ $$

defines the Planck mass. More natural is another approach to the gravitational fine structure constant, where it is equal to the electric fine structure constant ($$\alpha \ $$):
 * $$\gamma_{P\alpha} = \frac{m_{P\alpha}^2}{2\kappa_0 hc} = \frac{Gm_{P\alpha}^2a}{c\hbar} = \alpha = \frac{e^2}{2hc\epsilon_0}, \ $$

from which the "renormalized Planck mass" can be derived:
 * $$m_{P\alpha} = \sqrt{\alpha}\cdot m_P. \ $$

Here we have the same value for the electric Planck charge equal to the electron charge. Johnstone Stoney (1881) first proposed this mass.

Rubbish
The whole article contains more wrong sentences than correct ones. It should be removed. (August 2009) —Preceding unsigned comment added by 129.187.87.10 (talk) 12:55, 10 August 2009 (UTC)

 * If you have concerns with any specific statements, please state those concerns. --Christopher Thomas (talk) 17:32, 10 August 2009 (UTC)

Say it in words, not only in formulas
http://en.wikipedia.org/wiki/Planck_mass#Units_dimension_approach tells me in formulas what Planck mass ist but why don't you try to say it in words also? Again, what is a Planck mass? Why has the Plank mass the mass it has? --92.74.31.46 (talk) 13:07, 3 September 2009 (UTC)
 * In simple words the Planck mass is only the "maximum scale" for physical value "MASS", and nothing more. There are no any elementary particles connected with this value.195.47.212.108 (talk) 10:32, 4 September 2009 (UTC)

Would it be preferable to move the flea egg comparison to the top of the article, near the equation proper? I don't know about other readers who dislike math, but personally I cannot even try to comprehend the formula. In my opinion, having the flea egg comparison near the top would let readers who are not good at math understand how much a Planck mass is, give or take. Crisco 1492 (talk) 22:02, 22 December 2010 (UTC)

Name
The Planck mass gets its name because it is one of the Planck units, not because it is defined in relation to Planck's constant. --Humanist Geek (talk) 20:57, 11 November 2010 (UTC)

Not clear
It's not clear from the article whether the PLanck mass and reduced Planck mass utilize the same notation for different values. By way of contrast, the Planck constant has two forms, both of which are denoted differently: h and h-bar. — Preceding unsigned comment added by 70.247.160.87 (talk) 05:55, 3 April 2013 (UTC)

Schwarzschild radius and wavelengths appear to be incorrect.
The Schwarzschild radius, as I have just calculated, appears to be not 1 Planck length, but 2. I repeated the calculation many times, to no avail. Finally, I checked up with Wolfram and many forums, and many people appear to have gotten the same answer as me. The value of the Schwarzschild radius is 2 Planck lengths. Is there a reason for this apparent mistake?

Also, I haven't bothered calculating, but is it the Compton or the de Broglie wavelength we speak of here as equal to the Schwarzschild radius? As I can mentally picture it, the de Broglie would be infinite because the object is not moving. Can we have a check up on this? ReallyFat B. (talk) 18:03, 5 May 2014 (UTC)

Error with value of Planck mass?
I am surprise to spot it in first formula: 2.17651(13)×10−8 kg, (or 21.7651 µg) - if 2.17651 is in 10-8 order kg then it should be 217.651 in 10-6 order kg or µg (microgramm). Am I right?

It can be 10-7 kg from the start through. KOT-TOK (talk) 21:47, 30 July 2014 (UTC)

 * I think not: it is possible that you have made a mistake in calculation. The formula SQRT(hbar*c/G) yields a value of 21.765 micrograms, which would be 2.1765e-8 kilograms. There are other ways to check: using the Planck Length as a starting point, you can divide c by it to find a frequency. Then use the Planck relation, multiplying by hbar, to find a value for energy. This value divided by c^2 is also equal to 2.1765e-8 kilograms. Perhaps you made an error in calculation? — Preceding unsigned comment added by ReallyFat B. (talk • contribs) 22:04, 30 July 2014 (UTC)

The value given may be the 2010 CODATA value, but reference [1] points to the (slightly different) 2014 CODATA value. I think it should be changed to reflect the updated value.Kdpw (talk) 11:42, 17 August 2016 (UTC)
 * ✅ I changed the value to the 2016 value. I also changed the citation label in the source code, so as to avoid confusion. Isambard Kingdom (talk) 13:13, 17 August 2016 (UTC)

Main article could simply use standard character for h-bar
ℏ — see H with stroke — Preceding unsigned comment added by 50.79.227.209 (talk) 15:18, 30 April 2015 (UTC)

Dimensional analysis section is pretty dopey
Sure, given c, h-bar and G you can figure out the Planck mass from dimensional analysis alone, but it sidesteps the question of /why/ you'd pick those three constants in the first place. In particular, if someone asked me to find the "Planck mass" from scratch, and told me it was the smallest mass capable of holding an elementary charge, I'd probably at least expect there to be a variable with units of charge in there somewhere (like the electron charge). The fact that it's not there is surprising and unexplained. The whole thing is begging the question. 143.167.76.27 (talk) 14:48, 30 May 2016 (UTC)

Math needs checking
How can the Planck mass be "approximately 0.02 milligrams" and also be "4.341×10−9 kg"? Michael McGinnis (talk) 22:18, 9 November 2018 (UTC)

title: Talk:Planck mass


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Talk:Crust (music)

This should be a subcat of noise article IMHO --Smooth Henry 03:22, Feb 14, 2005 (UTC)

title: Talk:Crust (music)


text:
Talk:Parkgate, County Antrim

Untitled
Coied from article by --Jirate 03:23, 2005 Feb 14 (UTC)
 * (This is not an advertisement for the book. It is a reference to material available to the web, about a historical incident.)

title: Talk:Parkgate, County Antrim


text:
Two of Us (Beatles song)

"Two of Us" is a 1969 song written by Paul McCartney and credited to the Lennon–McCartney partnership. The song was recorded by the Beatles on 31 January 1969.

"Two of Us" was originally released as the opening track on Let It Be (1970) and a remix of that recording was later included on Let It Be... Naked (2003). An outtake of the song, recorded on 24 January 1969, was released on Anthology 3 (1996).

The song's title was used for the 2000 TV movie Two of Us, which depicts a fictionalized version of a 1976 reunion between McCartney and Lennon.

History
McCartney wrote this song about his travel adventures with his wife Linda. As The Beatles were breaking up, it took on new meaning as a gesture of affection to John Lennon.

The song was originally titled "On Our Way Home". Ian MacDonald suggested that the lyrics (e.g.: "you and I have memories/longer than the road that stretches out ahead" or "you and me chasing paper/getting nowhere") sounded like McCartney was probably addressing Lennon and contractual troubles. "You Never Give Me Your Money", a different composition by McCartney from the previously released album, but recorded after Let It Be, Abbey Road, also refers to the Beatles' contract with Allen Klein as "funny paper".

The song is also an ode to one of Lennon and McCartney's influences, the harmonies of the Everly Brothers.

An early performance of the song, in a guitar-driven rock style, can be seen in the Let It Be film and later in the documentary series The Beatles: Get Back. Unsatisfied with this style, which McCartney described as "chunky", the band reworked the song around acoustic guitars. The Beatles performed a finished version of the song live at Apple Studios on 31 January 1969; this performance was included in both the Let It Be film and album. The clip was also broadcast on The Ed Sullivan Show on 1 March 1970 as the final appearance by the Beatles on the program.

In between several takes of the song on 24 January 1969, the band spontaneously started playing a hammed-up version of traditional Liverpudlian song "Maggie Mae". The 38-second song would also end up on the Let It Be album, but is omitted in Let It Be... Naked. A version of Two of Us from that day is released on Anthology 3.

In May 1969, McCartney produced a recording of the song using this title by the group Mortimer, a New York City trio that briefly recorded for Apple, but this recording was never released.

On the Let It Be album, producer Phil Spector added, as a spoken introduction to the song, a remark by Lennon, who says: "'I Dig A Pygmy' by Charles Hawtrey and the Deaf-Aids! Phase one, in which Doris gets her oats!" This intro was removed in the Let It Be... Naked version, but it can still be found in the Get Back documentary.

Personnel
According to Ian MacDonald:
 * Paul McCartney – lead vocal, acoustic guitar
 * John Lennon – co-lead vocal, acoustic guitar
 * George Harrison – lead guitar (bass part on a six-string Fender Telecaster)
 * Ringo Starr – drums

Covers

 * Boney M. covered the song on their 1979 album Oceans of Fantasy.
 * Aimee Mann and Michael Penn covered "Two of Us" as part of the soundtrack for the 2001 film, I Am Sam. On some releases of this soundtrack "Two of Us" appeared also in a version by Neil Finn with his son Liam Finn.
 * Guster covered "Two of Us" on their 2007 EP Satellite.
 * Slovenian martial industrial group Laibach covered "Two of Us" on their 1988 album Let It Be, their cover of the Beatles' album of the same name.
 * Kenny Loggins covered it on his 2009 album All Join In.
 * The April Maze covered the song on their 2012 album Two.
 * Darren Criss covered the song with his brother, Chuck Criss, on his 2013 "Listen Up" Tour.

In popular culture

 * Two of Us is the title of a 2000 VH1 television drama which offers a fictionalised account of 24 April 1976, the day Lorne Michaels of Saturday Night Live offered the Beatles $3,000 to appear on the program, when by coincidence McCartney was visiting Lennon at his New York apartment and watching the program.
 * The song was part of the soundtrack for the 2011 film Restless by Gus Van Sant.
 * At D5 Conference in 2007, Steve Jobs got emotional with Bill Gates about their friendship. He described their friendship with the song: "You and I have memories longer than the road that stretches out ahead."

title: Two of Us (Beatles song)


text: Talk:Vancouver, British Columbia

title: Talk:Vancouver, British Columbia


text:
Talk:Morpheus

Comments

 * The drug morphine derives its name from Morpheus based on its similar dream-inducing power.

Is morphine dream-inducing, or sleep-inducing? —This unsigned comment was added by 68.67.108.80 (talk • contribs) 2005-02-14 05:26:17 UTC.

It makes you sleep in a deep sleep and it takes away your pain This unsigned comment was added by User:63.193.184.2

"Icelus assisted with those aspects of dreams that reflected reality. Phobetor made fearsome dreams (hence "phobia"). Phantasus produced tricky and unreal dreams (hence "fantasy", "phantasmagoria", etc.)." Just wondering, where did this information come from? I haven't seen it anywhere but here.

Yumecosmos 14:26, 20 July 2006 (UTC)

Actually, the etymological part is at best misleading. The words "phobia" and "fantasy" were not derived from the names of the Oneiroi, they just share a common root. "Phantos" is "visible" in Greek, "phantasi" is "vision", and "Phantasus" is something akin to "the one who brings visions". Similarly, "phobos" is simply Greek for "fear"; "Phobetor" is probably something like "the bringer of fright" - the classical version of the Bogeyman.

Brother
There's a picture to the right of this article which says that Thanatos is Morpheus' half-brother. Yet the article insisted that Thanatos was his uncle. So i changed it.

Hypno is Morpheus' father/half-brother, so Thanatos is actually Morpheus' uncle/half-brother... It's a wonky Oedipus-esque kind of thing. I'm not going to make any changes, just explaining the confusion. :) 204.52.215.113 07:45, 27 April 2007 (UTC)

I'm confused. On the Hypnos page it says Morpheus is his son. On this page Morpheus is both brother and son. Is there evidence to support both or either? Maybe this discrepancy could be acknowledged in the text or in the footnote. 5-11-08

According to Hesiod's Theogony; Morpheus, Phobetor and Phantasos are the sons of Nyx via parthenogenesis or with Erebos. This makes them full brothers to Hypnos, not sons or half-brothers. Hesiod's Theogony is the principle source of the modern understanding of Greek Mythology.

However, according to the Roman author Ovid in his Metamorphoses; Morpheus, Phobetor and Phantasos are just three of a vast multitude of Hypnos' sons. It should be remembered that this genealogy is not common in Hellenistic belief, but a later Roman adoption.

Furthermore, much of this article appears not to hold true to classical accounts:

- There are no texts which mention Morpheus as living in a realm whose gates are guarded by nightmare beasts. Ancient writings instead reference the gates of Horn and Ivory in the Underworld, with false dreams passing through the Ivory gate and prophetic dreams passing through the gate of Horn.

- It is unlikely that Hypnos was not winged like his twin Thanatos, as in pottery he is usually portrayed either with wings on his brow or on his back.

- It's highly unlikely that Iris was Morpheus' wife. Depictions of the two deities together are not implying a relationship, but rather portraying a scene common in myth, where Hera sends her messenger Iris to request the aid of Hypnos or Morpheus, and finds him reclining in repose. Iris is usually described as being married to Zephyros, the west wind.

- Morpheus' family were never banished from Mount Olympus. The children of Night had resided in the underworld since long before the Olympians came to power. And none of the Olympians visit the Underworld, except for Hermes in his roles as Messenger and Psychopomp.

- The river of forgetfulness and the river of oblivion are the same thing; the River Lethe.

Somebody needs to address this article. —Preceding unsigned comment added by 121.73.123.35 (talk) 02:59, 10 September 2009 (UTC)

Mother
Whereas the main text affirms Morpheus' mother is Pasithea, leaving Nyx the role of grandmother, the sidebox affirms Nyx *is* his mother. Which is correct? I don't know. Anyone? Bruno Unna (talk) 15:59, 12 July 2009 (UTC)

Redirects
There's some wikitext [|here] about the Matrix character, and the character also features in the Sandman series. Actually, the more I hunt for wikilinks, the messier my tab bar gets. A clean-up is in order, or perhaps a more judicious redirect. When I get time (if it's not already been done by then) I will do it. Drjon 00:58, 22 September 2006 (UTC)

No Citation?
"Morpheus is also the name of a musical piece that can be played by a range of instruments, including the clarinet, piano and viola. The piece gives the impressions of nightmares which was obviously inspired by the name of the Greek god of the same name." I removed this as a courtesy, since it seemed to be more like an opinion than a fact of any kind, and was almost unrelated to the article as a whole. —Preceding unsigned comment added by 167.86.1.61 (talk) 02:27, 16 November 2007 (UTC)

mythology
it's not a wonky oedipus-esque type thing, it's mythology, and there are different versions of any myth. this article is terrible and i'm redoing it.

--Harlequence 04:03, 10 June 2007 (UTC)

Greek or Roman
Ovid was a Roman poet. I am not sure that Morpheus was Greek, perhaps a Roman myth?

No, I'm pretty sure Morpheus is a Greek god, Morpheus name implies the greek word Morphe (what means form) And his father Hypnos is a Greek god Hermes13 (talk) 20:33, 6 April 2010 (UTC) Hermes13

The Matrix
How could you guys forget to mention the role of the name Morpheus in The Matrix? Anyhow, could anybody word my addition better? Tomer M (talk) 21:50, 17 November 2007 (UTC)

Morpheus in the Matrix is an influential figure in a community that has escaped the dream world of the Matrix. He goes back into this world to try to help free the others caught there. Hope that helps explain a bit.

There really needs to be some kind of reference in the article to Morpheus in The Matrix series. —Preceding unsigned comment added by 66.254.229.40 (talk) 19:53, 29 January 2010 (UTC)

Glen or Glenda
The article criticizes the work for "incorrectly" referring to Morpheus as "God of dreams" yet the very first line in this article reads "Morpheus is the Greek God of dreams." Either the explanation to Glen or Glenda's error needs to be rewritten or this point is flat out wrong. D Boland (talk) 22:21, 22 January 2008 (UTC)

I'm removing the entire line since it also claims that the film was a "masterpiece."Derekbd (talk) 15:53, 2 February 2008 (UTC)

I have to say that this article is written at a weak weak 3rd grade level or so. It's horribly uninformative and poorly worded, poorly punctuated, etc. PLEASE UPDATE AND MAKE THIS A RESPECTABLE ARTICLE, IT'S A FASCINATING SUBJECT! —Preceding unsigned comment added by Jakobbattick (talk • contribs) 14:50, 10 June 2009 (UTC)

Requested move 8 April 2018

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

The result of the move request was: consensus to move the pages as requested, per the discussion below. Dekimasu よ! 05:20, 15 April 2018 (UTC)

– Clear primary topic in terms of historical significance. Everything else in the disambiguation, including the Matrix character, etc. were named after the god. ZXCVBNM (TALK) 05:47, 8 April 2018 (UTC)
 * Morpheus (mythology) → Morpheus
 * Morpheus → Morpheus (disambiguation)
 * Support. The mythology article gets |Morpheus_(mythology)|Morpheus_(software)|Morpheus_(DC_comics)|Morpheus_(Marvel_Comics)|Morpheus_(software) 67 percent of relevant pageviews, much to my surprise. Nine Zulu queens (talk) 09:18, 8 April 2018 (UTC)
 * Support per nom. Iazyges   Consermonor   Opus meum  10:41, 8 April 2018 (UTC)
 * Support The Greek god of sleep is obviously the primary topic; all the other articles listed on the page are named after him, and none of them has exceeded him in relevance. --Katolophyromai (talk) 19:26, 8 April 2018 (UTC)
 * Support per nom. Macedonian (talk) 09:58, 9 April 2018 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Editing / session glitch
My apologies as I inadvertently overwrote. I was traveling by ferry & temporarily lost connectivity on my cellular hot spot. I refreshed my browser a couple of times because it was failing to display my changed code. I was then able to get back my changed code before the preview. Doing this must have mucked up the session data, as when I submitted, I did not get an edit conflict that I would normally would see in such situations. Peaceray (talk) 16:51, 30 November 2021 (UTC)
 * Not a problem ;-) Paul August ☎ 16:54, 30 November 2021 (UTC)

Wiki Education assignment: HUM 202 - Introduction to Mythology
— Assignment last updated by Rockethound (talk) 21:50, 20 March 2023 (UTC)

Recent new additions
Thanks for providing these sources, however both the sources and proposed new content are problematic. Let's discuss the three new sentences you've added to the lead:

1. "However, other sources refer to Morpheus as the son of Hypnos and Pasithea. His father, Hypnos, is known as the God of Sleep, whereas his mother, Pasithea, is referred to as the Goddess of Relaxation and Rest. "

 * The earliest mention of a god named Morpheus occurs in Ovid's Metamorphoses (Griffin, p. 249). Griffin goes on to say that "Ovid may have invented the [name Morphesus] or taken [it] from some lost Hellenistic source". So if Morpheus is an Ovidian invention then Greek mythology never had Hypnos, the Greek god of sleep, having a son named Morpheus. And even if Ovid took this from some lost source, it seems it would still only have come from a Hellenistic source. The ancient Greeks, did not generally personify dreams (Grimal, s.v. Oneiros, p. 328). However, in the few examples inwhich such personifications do exist, the name used was either Oneiros (Dream) or the Oneiroi (Dreams) (see Oneiros). Certainly Homer does not mention Morpheus, even though he had occasion to in both the Iliad and the Odyssey. Saying that Morpheus is the son of Hypnos, relies on the logic that, since Morpheus was, according to Ovid, the son of Somnus (Sleep), and since the Roman Somnus is "equivalent" to the Greek Hypnos, then Morpheus must also have been the son of the Greek god Hypnos. Which might be thought of, in a very loose sense, as true, and so you will find this assertion repeated by people like Goodman, who is an MD, and so not a high quality source on classical mythology. I don't think asserting this parentage for Morpheus is appropriate. Paul August ☎ 15:29, 20 April 2023 (UTC)

2. "He is often credited with the ability to shape dreams and take on any human form in order to appear in someone's dreams, which is reflected by his name, "the fashioner" or "the molder." "
 * In my edition of Graves (1988), I find no mention of Morpheus on p. 162, nor in the index. Can you tell me what section of Graves work this this mention of Morpheus occurs? Also Graves's book is not particularly reliable, since much of it is highly speculative. In any case, while this might certainly be true, I would like to see some examples of the "often" times Morpheus has been "credited" with this ability, before asserting this in Wikipedia's voice. (As for the meaning of the name, that is already covered, with better sourcing in the lead sentence.) Paul August ☎ 15:46, 20 April 2023 (UTC)

3. Morpheus was also the subject of many art forms, especially during the Renaissance and Baroque periods, when his influence was widespread.
 * I can find no mention of Morpheus on page 302, nor any mention of Morpheus in art, in Grimal's entry on Morpheus on p. 296. Paul August ☎ 15:51, 20 April 2023 (UTC)

title: Talk:Morpheus


text: User talk:203.56.0.2

title: User talk:203.56.0.2


text:
Talk:Lia Menna Barreto

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Mdladams.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 02:32, 17 January 2022 (UTC)

Untitled
This page was voted on for deletion at Votes for deletion/Lia Menna Barreto. The consensus was to keep it. dbenbenn | talk 03:30, 14 Feb 2005 (UTC)

Cleanup
I've tried to make this page actually informative, based upon the information already contained in it. I'm the first to note that I have no way of fact-checking any of the information, since I do not speak Brazilian Portugese. Someone who does will be better equipped to further the article. I've also omitted a large amount of what looked to me like triviality from the article; if you feel that I have mistepped here, please go back through the history and turn the reams of information there into encylopedic prose.

Also, there's no pictures of Lia Menna Barreto's artwork here, but wow: pretty perverse stuff. Puts me in mind of Sid from Toy Story. Philip (Respond?) 07:16, 21 November 2005 (UTC)

Linkage?
This links to transmogrification which is a redirect to shapeshifting. I am not sure either link is appropriate. --Jim Henry 16:01, 1 June 2006 (UTC)

title: Talk:Lia Menna Barreto


text:
Tedd Pierce

Edward Stacey "Tedd" Pierce III (August 12, 1906 – February 19, 1972) was an American screenwriter and voice actor of animated cartoons, principally from the mid-1930s to the late 1950s.

Biography
Pierce was the son of a stockbroker, Samuel Cuppels Pierce, who in turn was the son of Edward S. Pierce, a long-serving treasurer of the St. Louis-based Samuel Cuppels Woodenware Company. Pierce completed his education through the fourth year of high school, according to the 1940 census records.

Pierce spent the majority of his career as a writer for the Warner Bros. "Termite Terrace" animation studio, whose other notable alumni include Chuck Jones and Michael Maltese, contributing storylines and gags for numerous shorts from 1935 until his departure in 1959. Pierce also worked as a writer at Fleischer Studios from 1939 to 1941. Jones credited Pierce in his autobiography Chuck Amuck: The Life and Times of an Animated Cartoonist (1989) as being the inspiration for the character Pepé Le Pew, the haplessly romantic French skunk due to Pierce's self-proclamation that he was a ladies' man. He had one son, named Geoffrey Pierce, from a formal marriage.

In early credits, his name was spelled "T-E-D". He was said to have added an extra "D" to his name as a way of lampooning puppeteer Bil Baird when he dropped one of the "L"s from his first name.

He contributed (with Bill Danch) the story of the Tom and Jerry short Tall in the Trap (1962), directed by Gene Deitch.

In his Warners career, Pierce worked with three of the best-known Warner animation directors (Jones, McKimson and Friz Freleng). While rotating between Jones and Freleng (often in collaboration with Michael Maltese) for much of the 1940s, the dissolution of their partnership in 1946 left Pierce reassigned solely to Freleng's unit. Freleng would, however, replace Pierce with Warren Foster (then McKimson's primary storyman) in 1949 owing to his dissatisfaction with Pierce's output, reassigning Pierce to McKimson's unit for much of his remaining tenure at Warner's. Pierce's credited output includes Freleng's Hare Do (1949), Bad Ol' Putty Tat (1949), Bunker Hill Bunny (1950) and Big House Bunny (1950); Jones' Hare Tonic (1945, an early success for both of them) and Broom-Stick Bunny (1956); and McKimson's Hillbilly Hare (1950), Lovelorn Leghorn (1951) and Cat-Tails for Two (1953), the last of which was Speedy Gonzales' first appearance. Because much of Pierce's Termite Terrace career was spent with McKimson's unit, however, it would follow that Pierce was generally overshadowed by his contemporaries Maltese and Foster.

Pierce also got occasional voice work in the shorts: he gave voice to the tough guy in Into Your Dance (1935), Jack Bunny in I Love to Singa (1936), King Bombo in Gulliver's Travels (1939), and the villainous C. Bagley Beetle in Mr. Bug Goes to Town (1941), in addition to writing on those films.

He imitated Bud Abbott in one Warner short casting Abbott and Costello as alley cats Babbit and Catstello (A Tale of Two Kitties) and two Warner shorts casting them as mice (Tale of Two Mice and The Mouse-Merized Cat). Pierce also voiced Tom Dover in The Dover Boys, the "tall, thin" character in Wackiki Wabbit, and the French chef Louis in French Rarebit. In addition, in a few shorts containing Jones' Hubie and Bertie characters, Pierce voiced Hubie, and Maltese played Bertie. Thereafter they were voiced by the principal voice actor, Mel Blanc, and Stan Freberg, who had also voiced secondary Looney Tunes/Merrie Melodies duos such as the Goofy Gophers and Spike the Bulldog and Chester the Terrier.

While it has been speculated that Pierce did voice-work for coming-attractions trailers for Universal Studios, experts in the voice acting field such as Keith Scott have disputed this point.

title: Tedd Pierce


text:
Hristo Bonev

Hristo Atanasov Bonev (Христо Aтанасов Бонев; born 3 February 1947), also known as Zuma (Зума), is a Bulgarian footballer manager and former player who last managed Lokomotiv Plovdiv in the Bulgarian A PFG. One of the greatest Bulgarian men's footballers, Bonev was renowned for his vision and technique.

Club career

Bonev started his career at Lokomotiv Plovdiv in 1964 where he played until 1981 with a brief spell at CSKA Sofia in 1967. During his spell at Lokomotiv Plovdiv, he became their star player, while also was called to play for the national team.

In 1981 he moved to Greece to play for AEK Athens. In AEK, his offer was meager, due to his knee injury, which, among other things, cost him his career. He stayed at AEK for 1 and a half years completing 10 official appearances. He left in the summer of 1982 suffering from a knee injury, although events proved that he wanted to try his luck in England and Oxford United offered him a trial but with a better-paying contract option. In order to obtain his freedom then, he convinced the president of the club Zafiropoulos by proposing his compatriot Angel Kolev with a small amount of money, but just like Bonev, he didn't help the team. The experiment in England did not catch on, as Bonev was betrayed by his knee and so he left Oxford with just 3 appearances in pre-season friendlies.

He returned to Lokomotiv Plovdiv to end his career in 1984 at the age of 37. Bonev has played in 404 games and has scored 180 goals in the A group for Lokomotiv Plovdiv. He has played also 14 games and has scored 6 goals in the UEFA Cup with the smurfs. Bonev won the Cup of the Soviet Army in 1983, he is also vice-champion of Bulgaria for 1973, with two more bronze medals won - in 1969 and 1974.

International career
Bonev played for the Bulgaria national team 96 times, scoring a record 48 goals, between 1967 and 1979. He played for his country at the 1970 and 1974 World Cups.

Managerial career

Before ending his career at Lokomotiv Plovdiv Bonev played as a player-coach for a season. After his retirement he became a manager and initially went to Greece and became coach of Panathinaikos in 1988, where he won the Greek Championship in 1990 and he is chosen for the Manager of the season in Greece.

Then he managed AEL for three seasons following a year at Ionikos, where he won the second division league and got his club promoted to the first division. After Greece, he became manager of the Cypriot team APOEL in 1995 and until 1996 when he quit from his team, he won the Cypriot Cup in his first year in Cyprus in 1995 and the Double the following season.

He went back to his home country to become manager of Lokomotiv Sofia and then he was appointed as head coach to his country's national team for the 1998 FIFA World Cup. Despite a disappointing showing in France, with only one point achieved from three games, he continued as national coach, but after a 3–0 defeat to Poland in the first qualifying match for Euro 2000 in September 1998, he decided to resign from his post, stating "I believe I have taken the team as far as I am able, and now it is time for the players to respond to someone else who, I hope, can improve our results."

As a player
Lokomotiv Plovdiv
 * Cup of the Soviet Army: 1983

As a manager
Panathinaikos
 * Alpha Ethniki: 1989–90

Ionikos
 * Beta Ethniki: 1993–94

APOEL
 * Cypriot First Division: 1995–96
 * Cypriot Cup: 1995–96, 1994–95

Individual Source:
 * Bulgarian Footballer of the Year: 1969, 1972, 1973
 * Best Bulgarian Footballer of 20th century: Third place
 * Best Footballer of Plovdiv for 20th century
 * Stara Planina Orden – 1st Class
 * Honorary citizen of Plovdiv
 * Manager of the year in Greece: 1989–90

International goals

 * Scores and results list Bulgaria's goal tally first, score column indicates score after each Bonev goal.

 * Notes:
 * Some sources credit Bonev's second goal as an own-goal by Nikos Kovis.

title: Hristo Bonev


text:
Prince Edward Theatre

The Prince Edward Theatre is a West End theatre situated on Old Compton Street, just north of Leicester Square, in the City of Westminster, London.

History
The theatre was designed in 1930 by Edward A. Stone, with an interior designed by Marc-Henri Levy and Gaston Laverdet. Named after Prince Edward (at the time Prince of Wales, briefly Edward VIII and later Duke of Windsor), it opened on 3 April 1930 with a performance of the musical Rio Rita. Other notable events in its opening years included the London debut of famed cabaret artiste Josephine Baker, who performed her famous 'Bananas Dance'.

In 1935, Stone converted the theatre to a dance and cabaret hall, being renamed the "London Casino".

As the London Casino, it was badly damaged and all its windows lost on 10 May 1941, in London's worst air raid of the Second World War. All neighbouring buildings directly across Greek Street were destroyed.

Stage alterations were undertaken by Thomas Braddock in 1942, and that year the building re-opened as the "Queensberry All Services Club"—a club for servicemen where the shows were broadcast on the BBC. After the war, the architects T. and E. Braddock restored the building to theatrical use, becoming the "London Casino" once again — where the 'King of Yiddish Music', Leo Fuld, was a major attraction. The last production before Cinerama took over the building was Wish You Were Here, which included a full-size swimming pool on stage.

Cinerama
The three-projector, very-wide-screen Cinerama process had made its debut in New York in September 1952 with This Is Cinerama, a spectacular travelogue designed to make the most of the process, and an enormous box office success. The Cinerama Corporation chose the Casino Theatre for the UK debut of the system, and in 1954 architects Frank Baessler and T. and E. Braddock drew up plans for the conversion. This required the installation of three separate projection boxes at stalls level, and a deeply curved screen in front of the proscenium that was 65 ft wide and 26 ft high. Five speakers behind the screen and others around the auditorium supported the system's seven-track stereophonic sound. Many front stall's seats were removed, and others were lost by the installation of the projection boxes. The sightlines from the upper circle were too poor, and it was taken out of use. Seating capacity was reduced to 1,337.

The premiere of This Is Cinerama took place on 30 September 1954. Like all subsequent presentations, the film was shown on a roadshow theatrical basis, with reserved seats and an intermission, which was required to load the spools for the second half onto the single projectors in each box. Unlike future 'roadshow' practice, there were three shows a day and the film ran until 28 January 1956. From 3 February 1956, the second Cinerama film, Cinerama Holiday was presented, running until 22 February 1958. From 25 February 1958, the third Cinerama travelogue, Seven Wonders of the World played, running until 31 October 1959 before being replaced by South Seas Adventure from 3 November 1959 to 4 March 1961. The final Cinerama travelogue presentation was Search for Paradise from 8 March 1961 to 4 November 1961. The theatre showed the first four films again during 1962. Over the eight years, the theatre grossed $9.5 million from the films.

The Casino was chosen for the world premiere of How the West Was Won, the second (and final) narrative film in the three-strip Cinerama process. The premiere took place on 1 November 1962, and the film ran for 123 weeks, closing on 13 March 1965. This was the final three-strip presentation at the Casino, for the Cinerama corporation had in 1963 adopted 70mm "single lens" Cinerama as the future standard. The two outer projection boxes at the Casino were taken out of use, and the centre box enlarged to take two Philips DP70 projectors capable of 35mm and 70mm projection. The single-strip system had made its debut in the UK at the Coliseum Cinerama at the end of 1963, and the first film in the process at the Casino was The Greatest Story Ever Told, which ran from 8 April to 28 July 1965.

The Casino now entered into a period of large-scale 70mm "presented in Cinerama" roadshow runs:- For the next two years the Casino found the going increasingly tough, with revivals of old films and premieres of not-very-good new ones. The final presentation "in Cinerama" was the feeble Run, Run, Joe! and Cinerama vacated the Casino in May 1974.
 * The Hallelujah Trail (29 July – 15 December 1965)
 * Battle of the Bulge (17 December 1965 – 8 June 1966)
 * Khartoum (9 June 1966 – 8 March 1967), a Royal World Premiere in the presence of HRH Princess Margaret
 * Grand Prix (9 March 1967 – 8 November 1967)
 * Custer of the West (9 November 1967 – 30 April 1968)
 * 2001 A Space Odyssey (1 May 1968 – 25 March 1969)
 * Ice Station Zebra (27 March – 8 October 1969)
 * Winning (9 October – 1 December 1969), a 35mm blow-up
 * Ben-Hur (26 December 1969 – 6 May 1970)
 * Patton (7 May – 14 October 1970)
 * Two Mules for Sister Sara (15 October – 9 December 1970), a 35mm blow-up
 * Song of Norway (10 December 1970 – 2 February 1972), a Royal Premiere in the presence of HRH Princess Alexandra

Return to theatrical use
The theatre was acquired by EMI, and refurbished at a cost of £150,000. The Cinerama screen was removed and replaced with a conventional one within the proscenium and the 70mm projectors were removed and replaced with a single 35mm projector and non-rewind system. The Casino Theatre continued in use as a cinema showing films, including the remake of King Kong. It also staged occasional theatre productions such as Dean (a musical about James Dean) in 1976, and the following year a Christmas production of Peter Pan with Ron Moody as Captain Hook. The final film run was a revival of Lady Sings the Blues and Mahogany which ended on 8 April 1978. The building was then converted back into a full-time theatre by RHWL Architects and given its original name, reopening with the world première of the musical Evita on 21 June 1978. Further renovations were undertaken by RHWL in 1992–93, increasing the size of the stage, reopening 3 March 1993 with a revival of Crazy for You. The ABBA musical Mamma Mia! premièred here on 6 April 1999, transferring to the Prince of Wales Theatre after a five-year run.

Owned by the Delfont Mackintosh Group, and with a capacity of 1,716, it formerly hosted Mary Poppins until 12 January 2008, before the show toured the UK. Jersey Boys opened on 18 March 2008 and moved to the Piccadilly Theatre in March 2014, A revival of Miss Saigon opened at the Prince Edward Theatre in May 2014.

Disney's production of Aladdin opened in June 2016 at the theatre and continued performances until August 2019.

Disney's production of Mary Poppins returned to the theatre in 2019 and was scheduled to close on 8 January 2023.

Ain’t Too Proud: The Life and Times of The Temptations was scheduled to open on 31 March 2023 and closed on 17 September 2023.

MJ the Musical, based on the life of Michael Jackson, is scheduled to open in March 2024.

Recent and present productions

 * Evita (21 June 1978 – 8 February 1986) by Andrew Lloyd Webber and Tim Rice, starring Elaine Paige and David Essex
 * Chess (14 May 1986 – 8 April 1989) by Tim Rice, Björn Ulvaeus and Benny Andersson, starring Elaine Paige, Tommy Körberg and Murray Head
 * Anything Goes (4 July 1989 – 25 August 1990) by Cole Porter, starring Elaine Paige, John Barrowman and Louise Gold
 * Children of Eden (8 January 1991 – 6 April 1991) by Stephen Schwartz and John Caird
 * The Music of Andrew Lloyd Webber (14 May 1991 – 25 May 1991), starring Sarah Brightman
 * The Hunting of the Snark (24 October 1991 – 14 December 1991) by Mike Batt
 * Sugar (19 March 1992 – 20 June 1992) by Jule Styne and Bob Merrill, starring Tommy Steele
 * Crazy for You (3 March 1993 – 24 February 1996) by George and Ira Gershwin and Ken Ludwig, starring Ruthie Henshall and Kirby Ward
 * Martin Guerre (10 July 1996 – 28 February 1998) by Claude-Michel Schönberg, Alain Boublil and Stephen Clarke
 * Show Boat (28 April 1998 – 19 September 1998) by Jerome Kern and Oscar Hammerstein II
 * West Side Story (6 October 1998 – 9 January 1999) by Stephen Sondheim, Leonard Bernstein and Arthur Laurents
 * Mamma Mia! (6 April 1999 – 27 May 2004) by Catherine Johnson and Björn Ulvaeus and Benny Andersson, starring Siobhán McCarthy, Louise Plowright and Jenny Galloway
 * Mary Poppins (15 December 2004 – 12 January 2008) by Richard M. Sherman, Robert B. Sherman, George Stiles, Anthony Drewe and Julian Fellowes, starring Laura Michelle Kelly, Scarlett Strallen, Gavin Lee and Gavin Creel
 * Jersey Boys (18 March 2008 – 9 March 2014) by Bob Gaudio based on the music of Frankie Valli and The Four Seasons
 * Miss Saigon (21 May 2014 – 27 February 2016) by Alain Boublil and Claude-Michel Schönberg
 * Aladdin (9 June 2016 – 24 August 2019) by Alan Menken, Chad Beguelin, Tim Rice and Howard Ashman
 * Mary Poppins (23 October 2019 – 8 January 2023) by Richard M. Sherman, Robert B. Sherman, George Stiles, Anthony Drewe and Julian Fellowes, starring Zizi Strallen, Charlie Stemp and Petula Clark.
 * Ain't Too Proud (31 March 2023 - 17 September 2023) by The Temptations and Dominique Morisseau
 * Dear England (9 October 2023 - 13 January 2024) by James Graham, starring Joseph Fiennes
 * MJ the Musical (6 March 2024 - ) by Michael Jackson and Lynn Nottage

title: Prince Edward Theatre


text: User talk:12.215.216.155

title: User talk:12.215.216.155


text:
User talk:Bob lol

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you were just trying to experiment, then use the sandbox instead. Thank you.

This is your last warning. The next time you vandalize a page you will be blocked from editing.Geni

title: User talk:Bob lol


text:
Category:Zoos in the United Kingdom

This category is for articles about zoos in the United Kingdom.

title: Category:Zoos in the United Kingdom


text:
Venus on the Half-Shell

Venus on the Half-Shell is a science fiction novel by American writer Philip José Farmer, writing pseudonymously as "Kilgore Trout", a fictional recurring character in many of the novels of Kurt Vonnegut. This book first appeared as a fictitious "excerpt"—attributed to Trout (though written by Vonnegut)—in the ninth chapter of Vonnegut's God Bless You, Mr. Rosewater (1965). With Vonnegut's permission, Farmer expanded the fragment into an entire standalone novel (including, as an in-joke, a scene that incorporates all of Vonnegut's original text). Farmer's story was first published in two parts beginning in the December 1974 issue of The Magazine of Fantasy and Science Fiction. The plot, in which Earth is destroyed by cosmic bureaucrats doing routine maintenance and the sole human survivor goes on a quest to find the "Definitive Answer to the Ultimate Question", was an inspiration for the plot of the later Hitchhiker's Guide to the Galaxy series.

According to Farmer's introduction in Venus on the Half-Shell and Others, Vonnegut was initially reluctant to allow the project, but finally relented. After publication, a poorly worded magazine article gave Vonnegut the impression that Farmer had planned to write the story regardless of his permission, which angered Vonnegut. Also, it was popularly assumed that Vonnegut wrote the book. This problem was solved by reprinting the book with Farmer's name as author.

A common element to this novel is the origin of many of the characters' and locations' names. Farmer "put in a lot of references to literature and fictional authors... Most of the alien names in Venus were formed by transposing the letters of English or non-English words."

The title and paperback cover art are a reference to an Italian Renaissance tempera painting by Sandro Botticelli, The Birth of Venus, which depicts the birth of the goddess Venus as her rising from the sea on a scallop shell. The phrase "on the half-shell" commonly refers to a method of serving oysters.

In 2013, Titan Books reprinted Venus on the Half-Shell with new cover art referencing The Birth of Venus.

General sources

 * Farmer, Philip José (2008), Venus on the Half-Shell and Others, Subterranean Press.

title: Venus on the Half-Shell


text:
Derzelas

Derzelas (Darzalas) was a Dacian or Thracian chthonic god of abundance and the underworld, health and human spirit's vitality.

Darzalas was the god of Hellenistic period Odessos (modern Varna) and was frequently depicted on its coinage from the third century BCE to the third century CE and portrayed in numerous terracotta figurines, as well as in a rare 4th century BC lead one found in the city. Darzalas was often depicted in himation, holding cornucopiae with altars by his side. There was a temple dedicated to him with a cult statue, and games (Darzaleia) were held in his honor every five years, possibly attended by Gordian III in 238 CE. Another temple dedicated to Derzelas was built at Histria - a Greek colony on the shore of the Black Sea in the third century BC.

Darzalas Peak on Trinity Peninsula in Antarctica is named after the god.

title: Derzelas


text:
Koronowo

Koronowo ( Polish pronunciation: ;, archaic Polnisch Krone) is a town on the Brda River in Poland, located in the Kuyavian-Pomeranian Voivodeship, 25 km from Bydgoszcz, with 11,029 inhabitants (2010). It is located in the historic region of Kuyavia.

The town of Koronowo has an area of 2,818 ha and this makes it one of the largest towns in Bydgoszcz County. The Koronowo municipality has an area of 41,170 ha and 23,052 inhabitants.

History
In the Early Middle Ages, a Slavic stronghold was built in present-day Koronowo. It was included into the emerging Polish state in the 10th century and finally integrated with it in the 12th century. In 1288 the Cistercians from nearby Byszewo founded an abbey in Koronowo. The settlement prospered due to its location at the intersection of trade routes from Kuyavia and Greater Poland to Gdańsk, and from the Chełmno Land to Western Pomerania. In 1359 King Casimir III the Great vested it with town privileges, which however were not implemented until 1370. The name Koronowo comes from the word korona ("crown"). Administratively it was located within the Inowrocław Voivodeship in the Greater Poland Province of the Polish Crown. A significant battle took place nearby in 1410 during the Polish–Lithuanian–Teutonic War, in which Poland defeated the Teutonic Knights.

King Casimir IV of Poland by virtue of privileges of 1476 and 1484, established two annual fairs and a weekly market. Among the main activities of the population were crafts, pottery, brewing and agriculture. In the 17th and early 18th century Koronowo suffered due to Swedish invasions, the Great Northern War and epidemics. King Augustus III of Poland established two more annual fairs to help revive the town.

As part of the First Partition of Poland, Koronowo became part of Prussia in 1772. The town of Koronowo was the administrative seat of the Koronowo district in the newly formed province of West Prussia. To distinguish it from the city of Deutsch Krone (Wałcz), it was called Polnisch Krone. From 1807 to 1815, during the Napoleonic era it was part of the Polish Duchy of Warsaw and in 1815, after the duchy's dissolution, it fell back to Prussia.

In 1871, the town became part of Germany. Until the end of World War I, it was part of the Bromberg district in the Prussian Province of Posen. The narrow-gauge railway from Bydgoszcz (Bromberg) was opened in 1895, followed by the standard-gauge railway from Tuchola (Tuchel) in 1909–1914. Due to the provisions of the Versailles Treaty, the town along with the entire Bromberg district had to be ceded by Germany to the Second Polish Republic in 1919. It was part of the Poznań Voivodeship from 1919 to 1938 and of the Pomeranian Voivodeship from 1938 to 1939.

13 Polish soldiers were killed on September 2, 1939, during the German invasion of Poland, which started World War II. In mid-September 1939, the German Einsatzgruppe IV entered the town to commit atrocities against the population. During the German occupation, the Polish population was subject to mass arrests, expulsions and massacres. The Germans established a prison for Poles, in which 606 people died. Many Polish inhabitants of Koronowo and nearby villages were murdered by the Germans in nearby Buszkowo on 5–6 October 1939 and in the forest near Koronowo on 26 October 1939. Among the victims were local merchants, craftsmen and pre-war mayor Maksymilian Talaśka. The Germans burned the bodies of the victims in attempt to cover up the crime. Koronowo was captured by the Soviets in January 1945 and restored to Poland.

620 Jews lived in Koronowo in 1871, and 40 in 1933.

Sport

 * Victoria Koronowo - football club

title: Koronowo


text:
Cobbett

Cobbett is a surname. Notable people with the surname include:

 * Hilary Dulcie Cobbett (1885–1976), British artist
 * William Cobbett (1763–1835), British radical agriculturist and prolific journalist.
 * Walter Willson Cobbett (1847–1937), British author of Cobbett's Cyclopedic Survey of Chamber Music.

title: Cobbett


text:
Talk:Kandalaksha

Old talk
I believe that a settlement at this site was known to the Vikings; someone please confirm.

It would be nice to see how it is spelled in the Cyrillic.

title: Talk:Kandalaksha


text:
Broadway Comics

Broadway Comics was a short-lived comic book publishing company started by Jim Shooter in 1995, after his former company, Defiant Comics, had folded. The company was a division of Broadway Video Entertainment with Shooter as co-owner of the characters.

History
Broadway Comics debuted with the preview comic Powers That Be, followed by the series Star Seed, Fatale, and Shadow State. Other series were to follow, though only Knights on Broadway was launched before the company abruptly closed, leaving unfinished story arcs in all series but Fatale.

The Broadway continuity, like Shooter's two previous attempts, took place in real time and the characters rarely wore superhero uniforms. Shadow State included a comic-within-a-comic called Blood S.C.R.E.A.M.

In 1996, Broadway Video Entertainment was sold to Golden Books, which then promptly went bankrupt. Broadway Comics didn't have the infrastructure or the means to continue.

Shadow State
Shadow State was a comic book published by short-lived Broadway Comics. The issues generally had two stories, one of which featured the character Fatale. It was written by Jim Shooter. Only five issues were published before the abrupt demise of Broadway Comics, leaving the storyarc unfinished.

Fatale
Fatale was published by Broadway Comics in 1996. It was a spin-off of Broadway's flagship series Powers That Be, in which the lead character had first appeared in 1995.

Created by former Marvel Comics editor Jim Shooter, Fatale follows the adventures of Desirée Hopewell, a woman who has the ability to leech memories and energy from people by kissing them, and her battles with an evil organization called The Brotherhood.

The series ran for six issues, published between January and October 1996 (with an "ashcan" preview issue published in September 1995). The title's end coincided with the demise of Shooter's Broadway Comics venture.

According to The Standard Catalog of Comic Books (Krause, 2002), the comic was promoted in a distributor's catalog with a "life-size" image of Fatale's clothed bust, which the book labelled "one of the biggest advertising missteps in recent memory."

Babes of Broadway
Babes of Broadway was a pin ups book featuring Fatale and other female Broadway characters. It was written by Jim Shooter with art work by J. G. Jones and many others. The only issue published was issue #1.

Other titles

 * Powers That Be (preview and multiple issues that would drop Fatale and eventually become Star Seed only)
 * Knights on Broadway
 * Star Seed

title: Broadway Comics


text:
Two-square cipher

The Two-square cipher, also called double Playfair, is a manual symmetric encryption technique. It was developed to ease the cumbersome nature of the large encryption/decryption matrix used in the four-square cipher while still being slightly stronger than the single-square Playfair cipher.

The technique encrypts pairs of letters (digraphs), and thus falls into a category of ciphers known as polygraphic substitution ciphers. This adds significant strength to the encryption when compared with monographic substitution ciphers, which operate on single characters. The use of digraphs makes the two-square technique less susceptible to frequency analysis attacks, as the analysis must be done on 676 possible digraphs rather than just 26 for monographic substitution. The frequency analysis of digraphs is possible, but considerably more difficult, and it generally requires a much larger ciphertext in order to be useful.

History
Félix Delastelle described the cipher in his 1901 book Traité élémentaire de cryptographie under the name damiers bigrammatiques réduits (reduced digraphic checkerboard), with both horizontal and vertical types.

The two-alphabet checkerboard was described by William F. Friedman in his book Advanced Military Cryptography (1931) and in the later Military Cryptanalysis and Military Cryptanalytics series.

Friedman's co-author on Military Cryptanalytics, Lambros D. Callimahos described the cipher in Collier's Encyclopedia in the Cryptography article.

The encyclopedia description was then adapted into an article in The Cryptogram of the American Cryptogram Association in 1972. After this, the cipher became a regular cipher type in ACA puzzles. In 1987, Noel Currer‐Briggs described the double Playfair cipher used by Germans in World War II. In this case, double Playfair refers to a method using two Polybius squares plus seriation.

Even variants of Double Playfair that encipher each pair of letters twice are considered weaker than the double transposition cipher.

"... by the middle of 1915, the Germans had completely broken down British Playfair. At the same time they recognised its flexibility and simplicity, and decided they could make it more secure and adapt it for their own use. Instead of using one 5 x 5 square and dividing the clear text into bigrams in the way I have just described, they used two squares and wrote the whole message out in key-lengths on specially prepared squared message forms arranged in double lines of a given length."

- Noel Currer-Briggs

Other slight variants, also incorporating seriation, are described in Schick (1987) and David (1996).

The two-square cipher is not described in some other 20th century popular cryptography books e.g. by Helen Fouché Gaines (1939) or William Maxwell Bowers (1959), although both describe the Playfair cipher and four-square cipher.

Using two-square
The two-square cipher uses two 5x5 matrices and comes in two varieties, horizontal and vertical. The horizontal two-square has the two matrices side by side. The vertical two-square has one below the other. Each of the 5x5 matrices contains the letters of the alphabet (usually omitting "Q" or putting both "I" and "J" in the same location to reduce the alphabet to fit). The alphabets in both squares are generally mixed alphabets, each based on some keyword or phrase.

To generate the 5x5 matrices, one would first fill in the spaces in the matrix with the letters of a keyword or phrase (dropping any duplicate letters), then fill the remaining spaces with the rest of the letters of the alphabet in order (again omitting "Q" to reduce the alphabet to fit). The key can be written in the top rows of the table, from left to right, or in some other pattern, such as a spiral beginning in the upper-left-hand corner and ending in the center. The keyword together with the conventions for filling in the 5x5 table constitute the cipher key. The two-square algorithm allows for two separate keys, one for each matrix.

As an example, here are the vertical two-square matrices for the keywords "example" and "keyword":

E X A M P L B C D F G H I J K N O R S T U V W Y Z K E Y W O R D A B C F G H I J L M N P S T U V X Z

Algorithm
Encryption using two-square is basically the same as the system used in four-square, except that the plaintext and ciphertext digraphs use the same matrixes.

To encrypt a message, one would Follow these steps:

E X A M P L B C D F G H I J K N O R S T U V W Y Z K E Y W O R D A B C F G H I J L M N P S T U V X Z
 * Split the payload message into digraphs. (help me obi wan kenobi becomes he lp me ob iw an ke no bi)
 * For a vertical two-square, the first character of both plaintext and ciphertext digraphs uses the top matrix, while the second character uses the bottom.
 * For a horizontal two-square, the first character of both digraphs uses the left matrix, while the second character uses the right.
 * Find the first letter in the digraph in the upper/left text matrix.

E X A M P L B C D F G H I J K N O R S T U V W Y Z K E Y W O R D A B C F G H I J L M N P S T U V X Z
 * Find the second letter in the digraph in the lower/right plaintext matrix.

E X A M P L B C D F G H I J K N O R S T U V W Y Z K E Y W O R D A B C F G H I J L M N P S T U V X Z
 * A rectangle is defined by the two plaintext characters and the opposite corners define the ciphertext digraph.

Using the vertical two-square example given above, we can encrypt the following plaintext:

Plaintext: he lp me ob iw an ke no bi Ciphertext: HE DL XW SD JY AN HO TK DG

Here is the same two-square written out again but blanking all of the values that aren't used for encrypting the digraph "LP" into "DL"

- - - - - L - - D - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - L - - P - - - - - -

The rectangle rule used to encrypt and decrypt can be seen clearly in this diagram. The method for decrypting is identical to the method for encryption.

Just like Playfair (and unlike four-square), there are special circumstances when the two letters in a digraph are in the same column for vertical two-square or in the same row for horizontal two-square. For vertical two-square, a plaintext digraph that ends up with both characters in the same column gives the same digraph in the ciphertext. For horizontal two-square, a plaintext digraph with both characters in the same row gives (by convention) that digraph with the characters reversed in the ciphertext. In cryptography this is referred to as a transparency. (The horizontal version is sometimes called a reverse transparency.) Notice in the above example how the digraphs "HE" and "AN" mapped to themselves. A weakness of two-square is that about 20% of digraphs will be transparencies.

E X A M P L B C D F G H I J K N O R S T U V W Y Z K E Y W O R D A B C F G H I J L M N P S T U V X Z

Two-square cryptanalysis
Like most pre-modern era ciphers, the two-square cipher can be easily cracked if there is enough text. Obtaining the key is relatively straightforward if both plaintext and ciphertext are known. When only the ciphertext is known, brute force cryptanalysis of the cipher involves searching through the key space for matches between the frequency of occurrence of digraphs (pairs of letters) and the known frequency of occurrence of digraphs in the assumed language of the original message.

Cryptanalysis of two-square almost always revolves around the transparency weakness. Depending on whether vertical or horizontal two-square was used, either the ciphertext or the reverse of the ciphertext should show a significant number of plaintext fragments. In a large enough ciphertext sample, there are likely to be several transparent digraphs in a row, revealing possible word fragments. From these word fragments the analyst can generate candidate plaintext strings and work backwards to the keyword.

A good tutorial on reconstructing the key for a two-square cipher can be found in chapter 7, "Solution to Polygraphic Substitution Systems," of Field Manual 34-40-2, produced by the United States Army.

title: Two-square cipher


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User talk:Dungbuster~enwiki

I blocked Doombumper when I saw the vandalism, then unblocked it again a few minutes later after I saw your message on Vandalism in progress. Since you prefer Dungbuster, I reblocked Doombumper just now.

"Pelican shit" and "bugger"... are you Australian? -- Curps 03:48, 14 Feb 2005 (UTC)
 * Is likely, s/he uses very british kind of terminology. Mathmo Talk 22:09, 22 January 2007 (UTC)

Your account will be renamed
Hello,

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Renamed
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title: User talk:Dungbuster~enwiki


text: User talk:69.158.98.129

title: User talk:69.158.98.129


text: User talk:69.210.186.134

title: User talk:69.210.186.134


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Greek mathematics

Greek mathematics refers to mathematics texts and ideas stemming from the Archaic through the Hellenistic and Roman periods, mostly from the 5th century BC to the 6th century AD, around the shores of the Mediterranean. Greek mathematicians lived in cities spread over the entire region, from Anatolia to Italy and North Africa, but were united by Greek culture and the Greek language. The development of mathematics as a theoretical discipline and the use of deductive reasoning in proofs is an important difference between Greek mathematics and those of preceding civilizations.

Origins and etymology
Greek mathēmatikē ("mathematics") derives from the máthēma,, from the verb manthanein, "to learn". Strictly speaking, a máthēma could be any branch of learning, or anything learnt; however, since antiquity certain mathēmata (mainly arithmetic, geometry, astronomy, and harmonics) were granted special status.

The origins of Greek mathematics are not well documented. The earliest advanced civilizations in Greece and Europe were the Minoan and later Mycenaean civilizations, both of which flourished during the 2nd millennium BC. While these civilizations possessed writing and were capable of advanced engineering, including four-story palaces with drainage and beehive tombs, they left behind no mathematical documents.

Though no direct evidence is available, it is generally thought that the neighboring Babylonian and Egyptian civilizations had an influence on the younger Greek tradition. Unlike the flourishing of Greek literature in the span of 800 to 600 BC, not much is known about Greek mathematics in this early period—nearly all of the information was passed down through later authors, beginning in the mid-4th century BC.

Archaic and Classical periods
Greek mathematics allegedly began with Thales of Miletus (c. 624–548 BC). Very little is known about his life, although it is generally agreed that he was one of the Seven Wise Men of Greece. According to Proclus, he traveled to Babylon from where he learned mathematics and other subjects, coming up with the proof of what is now called Thales' Theorem.

An equally enigmatic figure is Pythagoras of Samos (c. 580–500 BC), who supposedly visited Egypt and Babylon, and ultimately settled in Croton, Magna Graecia, where he started a kind of brotherhood. Pythagoreans supposedly believed that "all is number" and were keen in looking for mathematical relations between numbers and things. Pythagoras himself was given credit for many later discoveries, including the construction of the five regular solids. However, Aristotle refused to attribute anything specifically to Pythagoras and only discussed the work of the Pythagoreans as a group.

Almost half of the material in Euclid's Elements is customarily attributed to the Pythagoreans, including the discovery of irrationals, attributed to Hippasus (c. 530–450 BC) and Theodorus (fl. 450 BC). The greatest mathematician associated with the group, however, may have been Archytas (c. 435-360 BC), who solved the problem of doubling the cube, identified the harmonic mean, and possibly contributed to optics and mechanics. Other mathematicians active in this period, not fully affiliated with any school, include Hippocrates of Chios (c. 470–410 BC), Theaetetus (c. 417–369 BC), and Eudoxus (c. 408–355 BC).

Greek mathematics also drew the attention of philosophers during the Classical period. Plato (c. 428–348 BC), the founder of the Platonic Academy, mentions mathematics in several of his dialogues. While not considered a mathematician, Plato seems to have been influenced by Pythagorean ideas about number and believed that the elements of matter could be broken down into geometric solids. He also believed that geometrical proportions bound the cosmos together rather than physical or mechanical forces. Aristotle (c. 384–322 BC), the founder of the Peripatetic school, often used mathematics to illustrate many of his theories, as when he used geometry in his theory of the rainbow and the theory of proportions in his analysis of motion. Much of the knowledge about ancient Greek mathematics in this period is thanks to records referenced by Aristotle in his own works.

Hellenistic and Roman periods
The Hellenistic era began in the late 4th century BC, following Alexander the Great's conquest of the Eastern Mediterranean, Egypt, Mesopotamia, the Iranian plateau, Central Asia, and parts of India, leading to the spread of the Greek language and culture across these regions. Greek became the lingua franca of scholarship throughout the Hellenistic world, and the mathematics of the Classical period merged with Egyptian and Babylonian mathematics to give rise to Hellenistic mathematics.

Greek mathematics and astronomy reached its acme during the Hellenistic and early Roman periods, and much of the work represented by authors such as Euclid (fl. 300 BC), Archimedes (c. 287–212 BC), Apollonius (c. 240–190 BC), Hipparchus (c. 190–120 BC), and Ptolemy (c. 100–170 AD) was of a very advanced level and rarely mastered outside a small circle. Examples of applied mathematics around this time include the construction of analogue computers like the Antikythera mechanism, the accurate measurement of the circumference of the Earth by Eratosthenes (276–194 BC), and the mechanical works of Heron (c. 10–70 AD).

Several centers of learning appeared during the Hellenistic period, of which the most important one was the Mouseion in Alexandria, Egypt, which attracted scholars from across the Hellenistic world (mostly Greek, but also Egyptian, Jewish, Persian, among others). Although few in number, Hellenistic mathematicians actively communicated with each other; publication consisted of passing and copying someone's work among colleagues.

Later mathematicians in the Roman era include Diophantus (c. 214–298 AD), who wrote on polygonal numbers and a work in pre-modern algebra (Arithmetica), Pappus of Alexandria (c. 290–350 AD), who compiled many important results in the Collection, Theon of Alexandria (c. 335–405 AD) and his daughter Hypatia (c. 370–415 AD), who edited Ptolemy's Almagest and other works,  and Eutocius of Ascalon ( c. 480–540 AD), who wrote commentaries on treatises by Archimedes and Apollonius. Although none of these mathematicians, save perhaps Diophantus, had notable original works, they are distinguished for their commentaries and expositions. These commentaries have preserved valuable extracts from works which have perished, or historical allusions which, in the absence of original documents, are precious because of their rarity.

Most of the mathematical texts written in Greek survived through the copying of manuscripts over the centuries. While some fragments dating from antiquity have been found above all in Egypt, as a rule they do not add anything significant to our knowledge of Greek mathematics preserved in the manuscript tradition.

Achievements
Greek mathematics constitutes an important period in the history of mathematics: fundamental in respect of geometry and for the idea of formal proof. Greek mathematicians also contributed to number theory, mathematical astronomy, combinatorics, mathematical physics, and, at times, approached ideas close to the integral calculus.

Eudoxus of Cnidus developed a theory of proportion that bears resemblance to the modern theory of real numbers using the Dedekind cut, developed by Richard Dedekind, who acknowledged Eudoxus as inspiration.

Euclid, who presumably wrote on optics, astronomy, and harmonics, collected many previous mathematical results and theorems in the Elements, a canon of geometry and elementary number theory for many centuries. Menelaus, a later geometer and astronomer, wrote a standard work on spherical geometry in the style of the Elements, the Spherics, arguably considered the first treatise in non-Euclidean geometry.

Archimedes made use of a technique dependent on a form of proof by contradiction to reach answers to problems with an arbitrary degree of accuracy, while specifying the limits within which the answers lay. Known as the method of exhaustion, Archimedes employed it in several of his works, including an approximation to π (Measurement of the Circle), and a proof that the area enclosed by a parabola and a straight line is 4/3 times the area of a triangle with equal base and height (Quadrature of the Parabola). Archimedes also showed that the number of grains of sand filling the universe was not uncountable, devising his own counting scheme based on the myriad, which denoted 10,000 (The Sand-Reckoner).

The most characteristic product of Greek mathematics may be the theory of conic sections, which was largely developed in the Hellenistic period, starting with the work of Menaechmus and perfected primarily under Apollonius in his work Conics. The methods employed in these works made no explicit use of algebra, nor trigonometry, the latter appearing around the time of Hipparchus.

Ancient Greek mathematics was not limited to theoretical works but was also used in other activities, such as business transactions and in land mensuration, as evidenced by extant texts where computational procedures and practical considerations took more of a central role.

Transmission and the manuscript tradition
Although the earliest Greek language texts on mathematics that have been found were written after the Hellenistic period, many of these are considered to be copies of works written during and before the Hellenistic period. The two major sources are
 * Byzantine codices, written some 500 to 1500 years after their originals, and
 * Syriac or Arabic translations of Greek works and Latin translations of the Arabic versions.

Nevertheless, despite the lack of original manuscripts, the dates of Greek mathematics are more certain than the dates of surviving Babylonian or Egyptian sources because a large number of overlapping chronologies exist. Even so, many dates are uncertain; but the doubt is a matter of decades rather than centuries.

Netz (2011) has counted 144 ancient authors in the mathematical or exact sciences, from whom only 29 works are extant in Greek: Aristarchus, Autolycus, Philo of Byzantium, Biton, Apollonius, Archimedes, Euclid, Theodosius, Hypsicles, Athenaeus, Geminus, Hero, Apollodorus, Theon of Smyrna, Cleomedes, Nicomachus, Ptolemy, Gaudentius, Anatolius, Aristides Quintilian, Porphyry, Diophantus, Alypius, Damianus, Pappus, Serenus, Theon of Alexandria, Anthemius, and Eutocius.

The following works are extant only in Arabic translations:
 * Apollonius, Conics books V to VII
 * Apollonius, Cutting Off of a Ratio
 * Archimedes, Book of Lemmas
 * Archimedes, Construction of the Regular Heptagon
 * Diocles, On Burning Mirrors
 * Diophantus, Arithmetica books IV to VII
 * Euclid, On Divisions of Figures
 * Euclid, On Weights
 * Hero, Catoptrica
 * Hero, Mechanica
 * Menelaus, Sphaerica
 * Pappus, Commentary on Euclid's Elements book X
 * Ptolemy, Optics (extant in Latin from an Arabic translation of the Greek)
 * Ptolemy, Planisphaerium

title: Greek mathematics


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Zână

Zână (plural zâne; zînă and zîne, ingrid and d̦âne in old spellings) is the Romanian equivalent of the Greek Charites or the fairy godmother. They are the opposite of monsters such as Muma Pădurii. These characters make positive appearances in fairy tales and mostly reside in the woods. They can also be considered the Romanian equivalent of fairies and the Germanic elf. They vary in size and appearance and can transform to blend into their surroundings for protection and cover. They can appear openly in the woods and coax travelers to follow them in order to help them find their way. They can also hide in the woods and quietly guide those who need help through signs and "breadcrumbs" through the forest.

Mythological role
They give life to fetuses in utero and bestow upon them great gifts like the art of dancing, beauty, kindness, and luck. In folk tales, it is told not to upset them because they also have the power to do bad things or put a curse on the wrongdoer. They also act like guardian angels, especially for children who enter the woods or other good people.

Etymology
The word zână comes from the Roman goddess Diana (as does Astur-Leonese xana). She is the one who has all the beauty, and is the one that gives it away.

In culture
Zână is also used in current Romanian slang to refer to an attractive girl.

General references

Zână

title: Zână


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Talk:Greek mathematics

Numerals?
I came to this page because I wondered what numerals the Greeks used; presumably not Roman or Arabic. The article really should start by saying what the Greeks actually wrote mathematics in.Dean1954 (talk) 10:33, 12 October 2018 (UTC)
 * Hi, you might be interested in this article: Greek numerals. I'll take a second look at this page and make sure it's linked in an appropriate spot. - - mathmitch7 (talk/contribs) 13:47, 12 October 2018 (UTC)

Thanks a lot, mathmitch. It does need a link.Dean1954 (talk) 10:56, 14 October 2018 (UTC)

Arithmētikḗ vs. logistikós
The Logistic function article describes "λογῐστῐκός, translit. logistikós" as "a traditional division of Greek mathematics" and provides a brief note contrasting it with ἀριθμητική (arithmētikḗ). Finding this an interesting distinction, I came here looking for more information, but there's nothing here. So maybe a subject matter expert could add a section on this topic? Thanks. 64.125.50.162 (talk) 16:24, 1 November 2018 (UTC)

Potential changes
I am going to make a few additions under the achievements header. Austinroberts3567 (talk) 17:47, 5 March 2021 (UTC)

I also added an addition under achievements about the Sector theorem. — Preceding unsigned comment added by SouryaMo (talk • contribs) 18:03, 5 March 2021 (UTC)
 * , this section is devoted to seminal achievements, that is to achievements that have influenced mathematics for centuries. Menelaus theorem is not among them, and there are hundreds Greek theorems of a similar importance. As it is not reasonable to list them, Menelaus theorem has not its place here. So, I have reverted your addition. D.Lazard (talk) 18:44, 5 March 2021 (UTC)

I plan on adding some minor changes to the article under the Archaic and classical periods. After doing some research I found that the majority of the first paragraph was plagiarized from "A History of Mathematics" by Carl B. Boyer. I plan on rewriting most of that paragraph and adding the proper references to his work. Austinroberts3567 (talk) 15:46, 9 April 2021 (UTC)

Added some stuff to the Hellenistic and roman period section — Preceding unsigned comment added by SouryaMo (talk • contribs) 21:11, 9 April 2021 (UTC)

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 20 January 2021 and 7 May 2021. Further details are available on the course page. Student editor(s): SouryaMo, Austinroberts3567. Peer reviewers: Aewmnw, CarricoHayden08.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 22:42, 16 January 2022 (UTC)

title: Talk:Greek mathematics


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Pavlos Sidiropoulos

Pavlos Sidiropoulos (Παύλος Σιδηρόπουλος; 27 July 1948 – 6 December 1990) was a Greek musician noted for combining rock music with Greek music. He is considered one of the pillars of Greek rock due to his involvement so early in its foundation. In particular, Flou (1976), an album produced with his band Spyridoula, had a major impact on the rock scene in Greece.

Early life
Pavlos Sidiropoulos was born on 27 July 1948 in Athens, Greece to Konstantinos and Ioanna "Jenny" Sidiropoulos. His father was born in Sokhumi, Russia (present-day Abkhazia) into a wealthy Pontic family that cultivated and sold tobacco. He later established ELFOT, which at the time was the only company selling photography paper in Greece. Pavlos' mother Jenny was from Heraklion, Crete. Through her, he was the great-grandson of George Zorbas, the inspiration for the 1946 novel Zorba the Greek and nephew of Elli Alexiou. His maternal aunt Galatea was an author and was married to Nikos Kazantzakis, author of Zorba the Greek, and later to poet Markos Avgeris.

Sidiropoulos lived with his family in the Kypseli and Patisia neighborhoods and in the suburb Galatsi of Athens. He had a younger sister, Melina. He completed three years of mathematics studies at Aristotle University in Thessaloniki starting in 1967 but left to pursue music and because he felt his education was stymied by the strict censorship introduced by the Greek junta. While at university, he lived with songwriter Vangelis Germanos and played percussion in a band.

Career
Sidiropoulos' music career began in 1970 in Thessaloniki when he and Pantelis Delleyannidis formed Damon and Phintias, which took its name from the Greek legend exemplifying friendship. They merged with the band Bourboulia in 1972 and it was here that Sidiropoulos began experimenting by combining rock and Greek music. Bourboulia disbanded in 1974 due to issues with censorship; Delleyannidis left for England afterwards, thus dissolving Damon and Phintias as well. Sidiropoulos worked at his dad's paper factory for a few years and variously studied solfeggio, counterpoint, and harmony. He also collaborated with Yannis Markopoulos on one of the three albums they worked on together throughout Sidiropoulos' career: Thessalikos Kyklos (Thessalian Circle), 1974; Oropedio (Plateau), 1976; and Tolmiri Epikinonia (Daring Communication), 1987.

In 1976, he formed Spyridoula with brothers Vassilis and Niko Spyropoulos. Though the band had dissolved by the end of the 1970s, they released the album Flou (1978), still considered a foundational work within Greek rock. In 1979, he and other Greek rock musicians established the Artist's Company but never released an album. One of the songs produced during this time, Clown, Sidiropoulos' first song in English, later appeared on his 1985 album Zorba the Freak. In 1982, he again ran into trouble with censorship, this time with his album En Lefko, in which three of his songs ("I", "Adergraoud Me Stras", and "Istati Stigmi") were heavily censored due to references to drug use and other behaviors Minos EMI deemed anti-social. In 1980, he helped establish Oi Aprosarmostoi, who he continued to play with until his death in 1990.

Posthumous releases
In 1991, Oi Aprosarmostoi released Ante ke kali tichi maghes, an album with the same name as one of Sidiropoulos' earlier songs. It featured unreleased recordings of Sidiropoulos as well as tracks by other artists. The title could be interpreted as "so long, folks." The following year, Ta blues tou prigipa (The Blues of the Prince) was released, containing Sidiropoulos' experimental combinations of blues and rebetiko recorded between 1979 and 1981. En Archí in o Lógos (1994) had recordings from 1978 to 1989, spoken word, and fragments of an interview with ET2. The EP Day After Day (2001) was released by Minos EMI in collaboration with composer Michael Karras, who stumbled upon recordings of Sidiropoulos, Bourboulia, and bouzouki player Thanassis Polykandriotis from 1973.

Acting
Sidiropoulos had a brief acting career, with appearances including writer and director Andreas Thomopoulos' films Aldevaran (1975) and O Asymvivastos (1979); director Eugenia Fakinou's play In Kurdistan (1977) at Theatro Kava in Athens; and in the TV show Oikogeneia Zardi (The Zardis Family; 1983). Aldevaran was screened only at the Thessaloniki International Film Festival. He performed the songs in O Asymvivastos.

Personal life and death
In 1990, Sidiropoulos began experiencing paralysis in his arm, which doctors diagnosed as left plexus arm paralysis. He took a break from live performances after the diagnosis and the death of his mother. That summer, he went to rehab in Naxos for his prolonged heroin use, a topic he touched on many times in his music. On 6 December, he fell into a heroin-induced coma at a friend's house in Neos Kosmos and died in transit to the hospital  after suffering a heart attack caused by the overdose. He is buried in the Kokkinos Milos Cemetery in Nea Filadelfeia.

Sidiropoulos collaborated and was romantically involved with poet Giola Anagnostopoulou between 1977 and 1980. As she was also a known heroin user, she was accused by tabloids after his death of introducing the drug to Sidiropoulos. His friends denied the claims, saying that he did heroin prior to meeting Anagnostopoulou.

Sidiropoulos was openly leftist and habitually voted for the Communist Party of Greece (KKE). Many of his songs criticize Greek politics.

title: Pavlos Sidiropoulos


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Total Eclipse

A total eclipse is an eclipse where the eclipsed body is completely obscured. Total eclipse may also refer to:

People

 * Total Eclipse, a DJ from The X-Ecutioners

Groups

 * Total Eclipse (American band), a power metal band from San Francisco
 * Total Eclipse (French band), a Goa trance music group

Albums

 * Total Eclipse (Billy Cobham album), 1974
 * Total Eclipse (Black Moon album), 2003
 * Total Eclipse (Bobby Hutcherson album), 1969

Songs

 * "Total Eclipse", a song by Alan Parsons Project from the album, I Robot
 * "Total Eclipse", an aria from George Frideric Handel's oratorio Samson
 * "Total Eclipse", a song by Iron Maiden from the album, The Number of the Beast
 * "Total Eclipse", a song written by Kristian Hoffman and recorded by Klaus Nomi
 * "Total Eclipse" / "Die schwarze Witwe", a double A-side single by Rosenstolz featuring Marc Almond and Nina Hagen

Games

 * Total Eclipse (1988 video game), a first-person adventure game
 * Total Eclipse (1994 video game), a space shooter
 * Total Eclipse (role-playing game), 2011

Literature

 * Muv-Luv Alternative: Total Eclipse, a Japanese novel series, spin-off of the Muv-Luv franchise
 * Total Eclipse, a novel by John Brunner

Other arts, entertainment, and media

 * Total Eclipse (comics), a comic book published by Eclipse Comics
 * Total Eclipse (film), a film about Arthur Rimbaud, starring Leonardo DiCaprio
 * "Total Eclipse" (Robin Hood), 2009 BBC television series episode
 * Total Eclipse (web series), 2018 web series produced by Brat

Other uses

 * Total Eclipse, the manufacturer designation for an upgraded Eclipse 500 aircraft; cf. Eclipse Aerospace

title: Total Eclipse


text:
Blanche Stuart Scott

Blanche Stuart Scott (April 8, 1884 – January 12, 1970), also known as Betty Scott, was possibly the first American woman aviator. For her automobile journey across the United States she won the attention and admiration of pioneer aviator Glenn Curtiss who gave her flying lessons at the Curtiss flying school, in Hammondsport, New York, America's first flying school.

Early life
Blanche Stuart Scott was born on April 8, 1884, in Rochester, New York, to Belle and John Scott. Her father was a successful businessman who manufactured and sold patent medicine. Scott became an early enthusiast of the automobile. Her father bought a car and she drove it about the city in a time before there were minimum age restrictions on driving. In 1900 the family, still in Rochester, lived at 116 Weld Avenue. Scott's family considered her a tomboy and sent her to a finishing school.

Automobile adventure
In 1910 Scott became the second woman, after Alice Huyler Ramsey, to drive an automobile across the United States and the first driving westwards from New York City to San Francisco, California. The trip was sponsored by the Willys-Overland Company and the car was named the "Lady Overland". Gertrude Buffington Phillips, a reporter, was her passenger. They left New York on May 16, 1910, and reached San Francisco on July 23, 1910. The New York Times wrote on May 17, 1910: "Miss Scott, with Miss Phillips as only companion, starts on long trip with the object of demonstrating the possibility of a woman driving a motor car across the country and making all the necessary repairs en route. Miss Blanche Stuart Scott yesterday started in an Overland automobile on a transcontinental journey which will end in San Francisco."

Achievements in aviation

The publicity surrounding the automobile journey brought her to the attention of Jerome Fanciulli and Glenn Curtiss who agreed to provide her with flying lessons in Hammondsport, New York. In 1911 Curtiss founded the first flying school in America at Hammondsport, New York. Here he taught Blanche Scott how to operate an airplane, where she subsequently became America's first female pilot. During this time Scott resided in Hammondsport at the home of Curtiss and his family. where Scott received her flying lessons. She was the only woman to receive instruction directly from Curtiss. He fitted a limiter on the throttle of Scott's airplane to prevent it gaining enough speed to become airborne while she practiced taxiing on her own. On September 6 either the limiter moved or a gust of wind lifted the biplane and she flew to an altitude of forty feet before executing a gentle landing. Her flight was short and possibly unintentional but Scott is credited by the Early Birds of Aviation as the first woman to pilot and solo in an airplane in the United States, although Bessica Medlar Raiche's flight on September 16 was accredited as first by the Aeronautical Society of America at the time.

Scott subsequently became a professional pilot. On October 24, 1910, she made her debut as a member of the Curtiss exhibition team at an air meet in Fort Wayne, Indiana. Upon her arrival at Fort Wayne, she found what she expected to be an adequate airfield, but instead found a race track at some fair grounds with much of the surface dug up and roughly flattened. After being advised not to take a chance in such conditions, she insisted. After enduring bumps and jolts, she managed to take off, flew eight revolutions around the grounds and landed safely. She became the first woman to fly at a public event in America. Her exhibition flying earned her the nickname "Tomboy of the Air". She became an accomplished stunt pilot known for flying upside down and performing "death dives", diving from an altitude of 4000 feet and suddenly pulling up only 200 feet from the ground. In 1911 she became the first woman in America to fly long distance when she flew 60 miles non-stop from Mineola, New York. In 1912 Scott contracted to fly for Glenn Martin and became the first female test pilot when she flew Martin prototypes before the final blueprints for the aircraft had been made. In 1913 she joined the Ward exhibition team.

Scriptwriting and museum work
In the 1930s Scott worked as a scriptwriter for RKO, Universal Studios and Warner Brothers in California. She also wrote, produced and performed on radio shows aired in California and Rochester. On September 6, 1948, Scott became the first American woman to fly in a jet when she was the passenger in a TF-80C piloted by Chuck Yeager. Knowing Scott's history as a stunt pilot, Yeager treated her to some snap rolls and a 14,000 foot dive. In 1954 Scott began working for what was originally known as the United States Air Force Museum, helping to acquire early aviation materials.

Death and legacy
Scott died on Monday, January 12, 1970, at Genesee Hospital in Rochester, New York, at age 84. She was cremated at Mount Hope Cemetery. Her grave is at Rochester's Riverside Cemetery.

On December 30, 1980, the United States Postal Service issued an air mail stamp commemorating Scott's achievements in aviation. In 2005, Scott was inducted into the National Women's Hall of Fame.

title: Blanche Stuart Scott