text:
John Bartlett (publisher)

John Bartlett (June 14, 1820 – December 3, 1905) was an American writer and publisher and the editor of Bartlett's Familiar Quotations, which he revised continuously and published in several editions. Since Bartlett's death in 1905, the book has continued to be published in multiple editions, most recently in 2022.

Early life and education
Bartlett was born in Plymouth, Massachusetts, to William Bartlett and Susan Thacher.

His father was a descendant of Mayflower Pilgrims, including Love Brewster, a founder of Bridgewater, Massachusetts, William Brewster, the Pilgrim colonist leader and spiritual elder of the Plymouth Colony, and John Alden, who was a cooper in Southampton, England, and who along with the Brewsters was a signer of the Mayflower Compact.

His mother was a direct descendant of Anthony and Elizabeth Thacher, who were the sole survivors of a shipwreck on August 14, 1635, in which 21 passengers, including their four children, drowned. Thacher Island, a small island off Cape Ann off the Massachusetts coast in the United States is named after them.

Bartlett was able to read by age three. By age nine, he read the entire Bible.

Career
He finished school at age 16, and then moved to Cambridge, Massachusetts, where he worked for the University Bookstore that served Harvard University. By 29-years-old, he owned the store. Known for his memory for quotations and trivia, "Ask John Bartlett" became a byword in the community when someone was stumped.

Bartlett's Familiar Quotations
Bartlett began keeping a commonplace book of quotations to answer queries. In 1855, he privately printed the first edition of his Bartlett's Familiar Quotations, which was 258 pages long and included notable historical and current quotes from 169 people. One-third of the book was quotations from the Bible and the works of William Shakespeare, and most of the balance were quotes from the great English poets.

Bartlett sold the bookstore in 1862 to become a paymaster in the U.S. Navy during the Civil War. He served on the South Atlantic station, and returned to Boston in 1863, joining Little, Brown and Company, one of the nation's leading book publishers. Thet same year, Little, Brown issued the fourth edition of his quotation book. He rose to be the firm's senior partner in 1878 and retired in 1889. In addition to his work on quotations, overseeing nine editions of the book, he wrote on fishing and chess and compiled a massive concordance of Shakespeare, published in 1894, that is still the standard work of its kind.

The concordance, which Bartlett estimated consumed 16,000 hours of his time, was compiled with his wife Hannah, the daughter of Sidney Willard, a professor of Hebrew at Harvard University, and the granddaughter of Joseph Willard, president of Harvard.

Honors
In 1971, Bartlett was awarded an honorary degree from Harvard University. In 1892, he was elected a Fellow of the American Academy of Arts and Sciences.

In 2022, the 19th edition of his Familiar Quotations was published by Little, Brown and Company.

Death
Bartlett died in Cambridge, Massachusetts at age 85.

title: John Bartlett (publisher)


text:
Ronaldo Giovanelli

Ronaldo Soares Giovanelli (born 20 November 1967) is a Brazilian football pundit and retired footballer. Although as a child he was a forward, he spent his career as a goalkeeper.

Club career
Ronaldo begun his career in 1979, after making the cut during a Corinthians youth tryout. Originally a forward, he was intimidated by the large pool of children who were gunning for attacking positions that day and decided to try out for a goalkeeping position, as he had brought gloves to the try out. Earning a spot as a third goalkeeper with the junior team, Ronaldo was eventually brought to the main team to help out in training. He made his professional debut in a goalless friendly against São José EC in 1988. During that year's Campeonato Paulista he defended a penalty kick from Darío Pereyra in the derby against São Paulo FC, cementing his place as the starting goalkeeper for the team.

As a player, Ronaldo was notorious for his physicality and for not being afraid of charging an incoming attacker.

A fundamental player in the 1990 Corinthians' Campeonato Brasileiro title win, and in 1994's defeat in the finals against SE Palmeiras, Ronaldo earned the Bola de Plata award from Placar magazine for best goalkeeper in both of these years. He left the club in 1998, by the order of then coach Vanderlei Luxemburgo, who sought to "renew" the club after the near relegation in 1997. Ronaldo played 602 times for Corinthians, being the team's third most capped player.

After being released by Corinthians, he played for many other clubs with nowhere near the success he enjoyed with Corinthians. He was a part of the Fluminense squad that was relegated from Série B to Série C in 1998. He retired from professional football in 2005.

Music career
While still playing for Corinthians, Ronaldo was the lead singer of the band Ronaldo e os Impedidos ("Ronaldo and the Offsiders"). After releasing two records, the band broke up. They returned in 2010 for the Corinthians' 100th anniversary festivities, and have been active since, playing both original music and covering songs from bands such as Megadeth, and artists like Raul Seixas and Elvis Presley. Ronaldo is also a radio host for Kiss FM.

Personal life
Ronaldo is married and a father of two sons.

He suffers from alopecia areata, which caused him to lose most of his hair.

Club
Sport Club Corinthians Paulista
 * Campeonato Paulista: 1988, 1995, 1997
 * Campeonato Brasileiro: 1990
 * Supercopa do Brasil: 1991
 * Copa do Brasil: 1995

Individual

 * Bola de Prata: 1990, 1994

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

title: Ronaldo Giovanelli


text:
Wikipedia:Articles for deletion/Steven Curnow

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Following the delete, recreated as redirect. Rossami (talk) 03:45, 11 Feb 2005 (UTC)

Steven Curnow
Another Columbine victim. Wikipedia is not a memorial. -R. fiend 20:11, 1 Feb 2005 (UTC)
 * Delete, not notable, Wikipedia is not a memorial. Megan1967 02:17, 2 Feb 2005 (UTC)
 * Redirect to Columbine High School massacre to discourage re-creation. —Korath (Talk) 13:36, Feb 3, 2005 (UTC)
 * Delete. dbenbenn | talk 23:15, 7 Feb 2005 (UTC)

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


text: Category:Student sport in the United Kingdom


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Province of Brindisi

The province of Brindisi (provincia di Brindisi) is a province in the Apulia region of Italy. Its capital is the city of Brindisi. It has an area of 1839 km2 and a total population of 401,652 (2013).

Geography
The Province of Brindisi is situated in southeastern Italy, extending for 1839 km2, the second smallest province in the region after the Province of Barletta-Andria-Trani. It was established in 1927 from the ancient Terra d'Otranto. With the Adriatic Sea to the east, it is bordered to the north by the Province of Bari, on the west by the Province of Taranto and to the south-east by the Province of Lecce. The northern, central and western parts are hilly with much woodland, with the Murgia hills of particular note, while to the north-west, bordering on the provinces of Taranto and Bari, it is lower-lying, with the Itria Valley (Valle d'Itria). The maximum height reached within the province is 414 m above sea level, near Selva di Fasano. The other peaks are slightly lower and are all located in the north-central area. The coastline in the province is 80.606 km long, partly rocky, with many alternating stretches of sandy beaches, small harbours and bays. To the south it is essentially flat and widely used for crops.

The province, according to the Geological Map of Italy, prepared by the Geological Survey of Italy, is composed of various types of land: in the central-southern area there is a predominance of dolomitic limestone (present generally in the inhabited zone from the plateau of the Murgia), small eluvial deposits, sand, clay, grey silted marshes (around Francavilla Fontana, Oria and San Donaci), chalk and limestone, including firm bioclastic limestone and chalky sandstone. In the north-central part, particularly Bari and Mola, the limestone stems from the Late Cretaceous, and deposits of limestone and sandstone date back to the Pleistocene. There are no significant rivers, because of the karst terrain, but there are many springs that gush out producing little streams. As for waterways, the longest is the Canale Reale, which flows into the territory of Villa Castelli, bordering Francavilla Fontana, and flows into the Natural Reserve of Torre Guaceto. Along the coast, in addition, there are numerous ponds and small freshwater lakes, fed by underground aquifers.

Demography
In 1861, the province had a total population of 114,790 which grew steadily until 2001 when there were 402,422 inhabitants. It has been more or less static since 2002 when there were 401,534 inhabitants, rising to 403,163 in 2010 but falling again to 401,867 in 2011. In 2010, only 7,437 foreigners (1.8% of the total) resided in the province.

Main comuni
There are 20 comuni (: comune) in the province:

Economy
Surrounded by vineyards, artichoke and olive groves, the city of Brindisi is a major sailing port for the southern part of Italy. In modern times, the province has experienced a process of change in its economic structure, with a progressive decrease in the weight of industry and growth of the tertiary sector. A significant increase in tourism, due to a good infrastructure has been witnessed, as well as the growth of its artistic and culinary assets.

In 2011, the principal sectors of activity in the province were commerce (30%), agriculture (27%) and construction (13%), together representing 70% of the economy. The number of enterprises rose to a peak of 38,435 in 2005 but thereafter fell to 37,304 in 2011. Of these, 8,453 were active in agriculture, mainly in crop production with small percentages in the areas of livestock, agricultural support and mixed farming.

Tourism
From the beginning of the 1980s to the end of the 1990s the Port of Brindisi was the starting point for tourists who passed from Italy to Greece. Subsequently, the tourist demand became increasingly strong also in the rest of the province of Brindisi. Beaches include the Torre Guaceto and the Ostuni beaches. In addition to its beaches, Ostuni is noted for its citadel, city walls, cathedral, and numerous mansions and is one of the main tourist attractions in the province. Another city noted for its tourism is Oria, which includes a 13th-century castle built by Frederick II, cathedral, and Jewish history.

title: Province of Brindisi


text:
Wikipedia:Peer review/Pacific Street (BMT Fourth Avenue Line station)/archive1

Pacific Street (BMT Fourth Avenue Line station)
This isn't a standard peer review candidate; I'm looking for more comments on the infobox. Comments can go here or at Wikipedia talk:WikiProject New York City Subway. --SPUI 20:11, 1 Feb 2005 (UTC)
 * Shouldn't that be in the Template: namespace? - Ta bu shi da yu 00:05, 2 Feb 2005 (UTC)
 * Depending on what your question means (shouldn't the infobox be using a template, and shouldn't the peer review be for the template), here are my answers:
 * It would be if templates could be nested. The service templates are needed to make service changes propagate by just changing a handful of templates (like I did earlier today to reflect restoration of C service tomorrow). These cannot be inside another template, so I have to use subst; that's why I'm putting it through peer review, since it can't be changed once it's decided on.
 * If the peer review was for the template, none of the subtleties of use would be apparent, as can be seen by viewing an example. For all practical purposes, the peer review is for the template, but it seems better to have the actual link on the station page (which is linked from the wikiproject discussion as an example, rather than the template itself). --SPUI 01:00, 2 Feb 2005 (UTC)


text: User talk:207.102.176.15

title: User talk:207.102.176.15


text:
USS Deyo

USS Deyo (DD-989), a Spruance-class destroyer, was a ship of the United States Navy named for Vice Admiral Morton L. Deyo (1887–1973), a veteran destroyerman and distinguished naval gunfire support task force commander of World War II.

Deyo was laid down on 14 October 1977 by Ingalls Shipbuilding, Pascagoula, Miss.; launched on 20 January 1979; and commissioned on 22 March 1980.

History
Deyo took part in operations in the Atlantic and Eastern Pacific Oceans, Caribbean and Mediterranean Seas, and the Persian Gulf. The ship first deployed in May 1981, when it was ordered to the Persian Gulf in response to rising tensions in the Middle East.

In July 1987, Deyo deployed to the Mediterranean, North Arabian Sea and the Indian Ocean as part of the Iowa Battleship battle group. The ship returned to the Persian Gulf in July 1989 to support tanker escort duties during Operation Earnest Will.

After completing counter-drug operations in the Caribbean Sea in August 1990, Deyo deployed to the Mediterranean Sea in May 1991 as part of the Forrestal Carrier Battle Group. The ship visited Liverpool, England in 1993, and represented the US during the 50th Anniversary Celebrations of "The Battle of the Atlantic." The destroyer returned to the Mediterranean Sea in 1994 as a member of the George Washington Carrier Battle Group.

In June 1996, Deyo was struck by the Military Sealift Command vehicle cargo ship USNS Gilliland (T-AKR-298) while moored in port at Newport News. A sudden windstorm caused Gilliland to break free of her moorings and cross the harbor, colliding with Deyo and the submarine USS Tucson (SSN-770), moored ahead of Deyo. Deyo suffered the most damage, while Tucson suffered only minor damage.

In June 1998, Deyo again deployed for the Mediterranean Sea, becoming the first American ship to serve as flagship for Standing Naval Force Mediterranean.

During its final deployment in December 2002 with the Harry S Truman Carrier Battle Group, Deyo was one of the first ships to fire Tomahawk cruise missiles on Iraqi targets during Operation Iraqi Freedom.

Deyo is unique for being the only Spruance-class destroyer armed with armored box launchers that were later upgraded to the Mk 41 VLS.

Fate
Deyo was decommissioned on 6 November 2003 at NS Norfolk, Virginia. She was stricken from the Navy list on 6 April 2004, and was sunk as a target in a fleet training exercise, 25 August 2005.

title: USS Deyo


text:
Talk:Foreign relations of the Soviet Union

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 15 January 2019 and 2 May 2019. Further details are available on the course page. Student editor(s): Lilbambam55.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 21:39, 16 January 2022 (UTC)

Much to be desired
A lot of the info on this page is verifiably untrue. I don't know much about wikipedia flagging but I'd consider calling this a stub or whatever

Untitled
Please do some genuine research before accusing copyvio; this is a public domain country study from the United State's Library of Congress. 119 20:13, 1 Feb 2005 (UTC)

China
Where's china? This is a huge part of Soviet relations, no?

The Vietnam War, The Korean War, Cuban Missile Crisis, Sino-Soviet Relations
Sorry, it just seems you missed out a fair bit of Soviet Foreign Policy. This is a real summary or starting point. I'm sure they're mentioned in other sections to a fuller extent but maybe you could mention that these were part of SFP so they can be explored?

Vietnam War --> aided Ho Chi minh and sent supplies to Vietnam until even after the war that helped the Vietnamese economy to survive

Korean War

--> walked out of secutiry council of UN, of which they were co-founders

--> sent troops to Korea as well

Cuban Missile Crisis

--> Castro didn't really even play an important role in the crisis, Khrushchev helped bring the Cold War to the brink of hot war

Sino-Soviet Realtions Shattered unity of Communist Bloc

Cause:

•	1956: Khrushchev denounced Stalinism without Mao

•	1958: Mao bombs islands without Khrushchev

•	1960: China attacks ‘peaceful co-existence’ saying it undermines world revolution

Results:

•	Soviet experts withdraw from China

•	USSR doesn’t help during 1961 famine

•	In a border dispute between China and India, USSR backs India

•	Almost a war between China and USSR, to the extent that troops lined up at the borders, as the Chinese claimed land the Tsars had taken.

•	Can see that USSR was not dominating the world through this example

•	1962: Mao criticises Khrushchev for Cuban Missile crisis

•	Moscow began to pursue a policy of containment of China, isolating it by improving relations with Laos, Cambodia, Japan, etc.

This article is so positive. "The Soviets no longer sought collective but individual security, and the Pact with Hitler was signed, giving Soviets protection from the most aggressive European power and increasing Soviet sphere of influence." So increasing your sphere of influence and later occupying other states is not agression? —Preceding unsigned comment added by 88.135.136.67 (talk) 16:32, 4 June 2010 (UTC)

More information available
This article has good information on the relations in the middle east, seriously very detailed and very informative. However, this article doesn't mention anything about Soviet-African relations (Angola, Libya would be strong topics) or Soviet-South American relations (Cuba, el Salvador, Venezuela). I'm not very good at doing research and editing so I just want to propose that someone with the skills and the time try to find some good encyclopaedic articles and maybe start a topic on some of these. Udachi, ¬¬¬¬ — Preceding unsigned comment added by JJ5788 (talk • contribs) 16:56, 31 August 2016 (UTC)

External links modified
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I have just modified one external link on Foreign relations of the Soviet Union. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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Soviet apologetics in full force
Since I'm getting attacked by apparent Soviet apologists who want to conceal Soviet crimes and expunge them from the lead despite the fact that they are very, very well sourced, I just want to ask one question: why?

First rvt

Second rvt

First editor seemed to demand sources, disregarding the fact that all listed events were linked to their respective articles which in turn contain all the necessary sources. But I made a decision to comply and added tons of sources that support my argument. Then the second editor came and again simply reverted because he didn't like the truth about Soviet crimes. If Wikipedia wants to become a platform for all sorts of Soviet/totalitarian communist apologetics, then go ahead, tell that openly, don't hide under the mask of reliability and fairness. 185.213.212.250 (talk) 22:48, 5 September 2020 (UTC)
 * Just wanted to add that I decided to create an account because unregistered IP editors are routinely abused on this platform and, generally, their contributions and opinions are utterly disrespected. To be clear, 185.213.212.250 (talk) is my IP. Vesorax1939 (talk) 22:53, 5 September 2020 (UTC)

 * Reply: If a change is objected to, the onus is on the editor who wishes to make a change to show how their changes improve the article and gain a consensus from other editors before making the change. Two editors have objected to your edits based on WP:NPOV not supported by sources.  // Timothy ::  talk  22:58, 5 September 2020 (UTC)
 * The secret protocol is not supported by sources? Soviet invasion of Finland and Poland, occupation of the Baltics is not supported by sources? Maybe you read the articles about those events first? Vesorax1939 (talk) 23:00, 5 September 2020 (UTC)
 * Two editors objected because they of their pro-Soviet, pro-totalitarian bias. And to be honest with you, the second editor Bcoto is really suspicious and might turn out to be someone's sock puppet. Vesorax1939 (talk) 23:01, 5 September 2020 (UTC)

Article lead section rewrite
I think the lead section of this article is far too long and should be rewritten to be more concise and better conform to MOS:LEAD. I suggest the following for discussion:
 * The first paragraph should summarize the main phases of Soviet foreign policy as outlined in the article: 1917-1939, World War II, and Cold War. Eliminate detail that is covered in the article.
 * Next three paragraphs can summarize the main points in each of the three phases above.
 * The information is correct, but it needs to be more concise with less unneeded detail. Remove statements such as "However, the Soviet Union proved strong enough to defeat Nazi Germany, with help from its key allies.", and information best covered in the article body such as "By signing a treaty with Germany in 1939 the Soviet Union hoped to create a buffer zone between them and Germany."

If there is a consensus that the lead could be rewritten in a more concise way that conforms to MOS:LEAD, I'll put some time into it and propose the changes for review.

If there is a consensus to leave it alone or another proposal, please comment.  // Timothy ::  talk  00:43, 6 September 2020 (UTC)


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Béla Tarr

Béla Tarr (born 21 July 1955) is a Hungarian filmmaker. Debuting with the film Family Nest (1979), Tarr began his directorial career with a brief period of what he refers to as "social cinema", aimed at telling everyday stories about ordinary people, often in the style of cinema vérité. Over the next decade, he changed the cinematic style and thematic elements of his films. Tarr has been interpreted as having a pessimistic view of humanity; the characters in his works are often cynical, and have tumultuous relationships with one another in ways critics have found to be darkly comic. Almanac of Fall (1984) follows the inhabitants of a run-down apartment as they struggle to live together while sharing their hostilities. The drama Damnation (1988) was lauded for its languid and controlled camera movement, which Tarr would become known for internationally. Sátántangó (1994) and Werckmeister Harmonies (2000) continued his bleak and desolate representations of reality, while incorporating apocalyptic overtones. The former sometimes appears in scholarly polls of the greatest films ever made, and the latter received wide acclaim from critics. Tarr would later compete at the 2007 Cannes Film Festival with his film The Man from London, which opened to moderately positive reviews.

Tarr frequently collaborated with novelist László Krasznahorkai, film composer Mihály Víg, cinematographer Fred Kelemen, actress Erika Bók, and Ágnes Hranitzky (then his partner). She is sometimes credited as a co-director of his last three works.

After the release of his film The Turin Horse (2011), which made many year-end "best-of" critics' lists, Tarr announced his retirement from feature-length film direction. In February 2013 he started a film school in Sarajevo, known as "film.factory", and moved in 2016. He has since created an installation that features newly shot film sequences, presented in a 2017 Amsterdam exhibition called Till the End of the World.

Life
Tarr was born in Pécs, but grew up in Budapest. His parents were in both the theatre and film industry: his father designed scenery, while his mother worked as a prompter at a theatre for more than 50 years. At the age of 10, Tarr was taken to a casting session run by Hungarian National Television (MTV) by his mother, and he ultimately won the role of the protagonist's son in a TV drama adaptation of Tolstoy's The Death of Ivan Ilyich. Other than a small role in Miklós Jancsó's film Szörnyek évadja (Season of Monsters, 1986) and few one-glimpse cameos (such as in Gábor Bódy's Dog's Night Song [1983]), Tarr has sought no other acting roles. By his own account, initially he sought to become a philosopher, and considered film-making as something of a hobby. However, after making his 8mm short films, the Hungarian government would not allow Tarr to attend university so he instead chose to pursue film production.

Early work
Tarr began to realize his interest in film making at the age of 16 by making amateur films and later working as a caretaker at a national House for Culture and Recreation. Most of his amateur works were documentaries, mostly about the life of workers or poor people in urban Hungary. His amateur work brought him to the attention of the Béla Balázs Studios (named in honor of the Hungarian cinema theorist) which helped fund Tarr's 1977 feature debut, Családi tűzfészek, which Tarr began filming at age 22. He shot the film with little budget and using non-professional actors in six days. The film was faithful to the "Budapest school" or "documentarist" style popular at the time within Béla Balázs Studios, maintaining absolute social realism on screen. Critics found the film to suggest the influence of the American director John Cassavetes, although Tarr denied having seen any of Cassavetes's films prior to shooting Családi tűzfészek, which was released in 1979.

After completing "Családi tűzfészek," Tarr began his studies in the Hungarian School of Theatrical and Cinematic Arts. The 1980 film Szabadgyalog (The Outsider) and the following year's Panelkapcsolat (The Prefab People) continued in much the same vein, with small changes in style. The latter was the first film by Tarr to feature professional actors in the leading roles. With a 1982 television adaptation of Macbeth, his work began to change dramatically. The film is composed of only two shots: the first shot (before the main title) is five minutes long, the second 67 minutes long.

Later work
After 1984's Őszi almanach (Almanac of Fall), Tarr (who had written his first four features alone) began collaborating with Hungarian novelist László Krasznahorkai for 1988's Kárhozat (Damnation). A planned adaptation of Krasznahorkai's epic novel Sátántangó took over seven years to realize; the 415-minute film was finally released to international acclaim in 1994. After this epic he released the 35-minute Journey on the Plain in 1995, but fell into silence until 2000's Werckmeister Harmóniák (Werckmeister Harmonies). It was acclaimed by critics and the Festival circuit in general.

Many, if not most, of the shots in these later films are around six to eleven minutes long. It is possible that for some, a month was spent on a single shot. In many of these shots the camera swoops, glides, pans, and/or cranes. Often it circles the characters, and sometimes even spans multiple scenes. A shot may, as in the opening of Sátántangó, travel with a herd of cows around a village, or follow the nocturnal peregrinations of a drunkard who is forced to leave his house because he's run out of alcohol. American writer and critic Susan Sontag championed Tarr as one of the saviors of modern cinema, saying she would gladly watch Sátántangó once a year.

After Werckmeister Harmonies he began filming A Londoni férfi (The Man From London) an adaptation of a Georges Simenon novel. It was scheduled to be released at the 2005 Cannes Film Festival in May, but production was postponed because of the February suicide of producer Humbert Balsan. Additionally, there were disputes with other producers regarding a possible change in the film's financing. It premiered at the 2007 Cannes Film Festival and was released worldwide in 2008. Tarr then began working on a film called A torinói ló (The Turin Horse) which he has said will be his last.

For many years, none of his work was available on DVD (except in Japan), but Werckmeister Harmonies and Damnation have been made available on a two-disc DVD in Europe, courtesy of Artificial Eye (who have also issued The Man From London) and both films are now available in North America on separate DVDs from Facets Video. Tarr's early works; Family Nest, The Outsider, and The Prefab People are also available on DVD in the US, courtesy of Facets. Facets was supposed to release Sátántangó on DVD on 28 November 2006 but was delayed until 22 July 2008. Artificial Eye released the film on 14 November 2006. A comparison of the two DVD editions has been posted at DVD Beaver. In 2020, a 4K restoration of Sátántangó was released on Blu-ray by Curzon Artificial Eye and was made available for online streaming by the Criterion Channel.

In September 2012, he received the BIAFF special award for lifetime achievement.

In June 2017, he received the lifetime achievement at Sardinia Film Festival, XII edition.

In July 2021, he executive-produced the Icelandic-Swedish-Polish horror-drama film Lamb, directed by his former student at film.factory, Valdimar Jóhannsson. It is due to be released on 8 October 2021 by A24.

In December 2022, he received the lifetime achievement award at International Film Festival of Kerala, IFFK, 27th edition.

Influence

Gus Van Sant often cites Tarr as a huge influence on his later work, beginning with Gerry when Van Sant began using very long uninterrupted takes.

Cine Foundation International
In January 2011, Tarr joined the Board of Directors of the recently formed cinema foundation and NGO for human rights Cine Foundation International. In a press release dated 24 January 2011 Tarr made the following statement regarding the imprisonment of filmmakers Jafar Panahi and Mohammad Rasoulof:
 * Cinematography is an integral part of universal human culture! An attack against cinematography is desecrating universal human culture! This cannot be justified by any notion, ideology or religious conviction! Our friend, brother and esteemed colleague Jafar Panahi is in prison today, based on conjured and fictional accusations! Jafar did not do anything else than what is the duty of all of us; to talk honestly, fairly about our own country and loved ones, to show everything that surrounds us with tender tolerance and harsh austerity! Jafar’s real crime is that he did just that; gracefully, elegantly and with a roguish smile in his eyes! Jafar made us love his heroes, the people of Iran; he achieved that they have become members of our families! WE CANNOT LOSE HIM! This is our common responsibility, as despite all appearances we belong together.

Personal views
In his later high school years, Tarr became more and more radical in his anarchist and far-leftist views. About his last years of high school Tarr said "I didn't even take my schoolbag, I had Mao's Bible in my pocket, and that was more than enough for me." In an interview in 2023 Tarr said "I still consider myself an anarchist".

Tarr is a critic of nationalism. In a 2016 interview said, "Trump is the shame of the United States. Mr. Orbán is the shame of Hungary. Marine Le Pen is the shame of France. Et cetera." In a letter hung near the entrance to a pro-migration exhibition in front of the Hungarian Parliament, Tarr wrote, "We have brought the planet to the brink of catastrophe with our greediness and our unlimited ignorance. With the horrible wars we waged with the goal of robbing the people there. [...] Now we are confronted with the victims of our acts. We must ask the question: who are we, and what morality do we represent when we build a fence to keep out these people?"

Tarr is an atheist.

In December 2023, alongside 50 other filmmakers, Tarr signed an open letter published in Libération demanding a ceasefire and an end to the killing of civilians amid the 2023 Israeli invasion of the Gaza Strip, and for a humanitarian corridor into Gaza to be established for humanitarian aid, and the release of hostages.

Feature films

 * Családi tűzfészek / Family Nest (1979)
 * Szabadgyalog / The Outsider (1981)
 * Panelkapcsolat / The Prefab People (1982)
 * Őszi almanach / Almanac of Fall (1984)
 * Kárhozat / Damnation (1988)
 * Sátántangó / Satan's Tango (1994)
 * Werckmeister harmóniák / Werckmeister Harmonies (2000)
 * A londoni férfi / The Man from London (2007)
 * A torinói ló / The Turin Horse (2011)

Television films

 * Macbeth (1982)

Short films

 * Hotel Magnezit (1978)
 * Cinemarxisme (1979)
 * Utazás az alföldön / Journey on the Plain (1995)
 * Visions of Europe (film) (2004)
 * segment: Prologue

Documentary films

 * Az utolsó hajó / The Last Boat (1990, 31 min), segment from City Life
 * Muhamed (2017, 10 min)
 * Missing People (2019, 95 min)

title: Béla Tarr


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Province of Foggia

The province of Foggia (provincia di Foggia, ; Foggiano: provìnge de Fogge) is a province in the Apulia region of Italy.

This province is also known as Daunia, after the Daunians, an Iapygian pre-Roman tribe living in Tavoliere plain, and as Capitanata, derived from Catapanata, since the area was governed by a catepan as part of the Catepanate of Italy during the High Middle Ages. Its capital is the city of Foggia.

Geography
The province of Foggia can be divided in three parts: one centered on its capital called Tavoliere, another along the Apennines named Daunian Mountains and the third on the spur of the boot-shaped Italian peninsula called Gargano.

The Tavoliere is an important agricultural area: grapefruit, olives, durum wheat and tomato are the chief products. It is called "the granary of Italy" because of its significant wheat production.

Daunian Mountains lie along the border with Molise and Campania. Scattered with small villages, the mountains are covered by forests and pastures, with the main produce being hams and caciocavallo cheese. Faetar, a language descended from Franco-Provençal, is spoken in two villages: Faeto and Celle di San Vito.

The Gargano peninsula is partially mountainous and partially forested, Foresta Umbra with vegetation typical of Central Europe, the only part of the ancient black forest remaining in Italy. Its name comes from the word ombra (shadow) because of its density that prevents light from entering. The coast of Gargano has many beaches and tourist facilities. In the north are two major salt lakes Lesina and Varano. It produces olives, olive oil and typical mountain and seafood items.

Population
It has an area of 7007 km2 and a total population of 627,102 (2012). There are currently 61 comuni (singular: comune) in the province, see Comuni of the Province of Foggia.

Population centers

Main centers in the province are:
 * Foggia, the capital and native city of opera composer Umberto Giordano. Favourite residence in Apulia of Frederick II at the beginning of the 13th century. During his reign it was the most important town of the province and to alternate periods of the Empire.
 * San Severo, the old capital and city of comics artist Andrea Pazienza.
 * San Giovanni Rotondo, home of Padre Pio and place of the church devoted to him.
 * Manfredonia and Vieste archiepiscopal see of Apulia.
 * Vieste, Mattinata and Peschici, notable sea-side resorts.
 * Lucera, one of the residence of Frederick II.

Other centers of interest are:
 * Cerignola, native town of philologist Nicola Zingarelli founder of the Zingarelli Italian dictionary and syndicalist Giuseppe Di Vittorio
 * Torremaggiore, and the native town of Nicola Sacco
 * Troia, site of a 10th-century cathedral, refounded by Byzantine Katepan Basil Boioannes in the early 11th Century.
 * Celle di San Vito and Faeto, two towns where an extremely rare daughter language of the Franco-Provençal language has been spoken since the 14th century. The dialect, Faetar-Cigliàje, is only spoken by less than 1,400 people in the world.

Economy
Although less important today, the agricultural sector remains the mainstay of Foggia's economy; it is nicknamed the "granary of Italy". The few industries present are mostly devoted to food processing.

Most peeled tomatoes in Europe come from Foggia. Every year, two million tons of tomatoes are produced but farmers receive only eight cents per kilo. To survive in the free market, most tomato farmers recruit illegal immigrants.

Tourism
Foggia receives many Catholic pilgrims each year to locations such as the Sanctuary of Saint Michael the Archangel in Monte Sant'Angelo, which was visited by Pope John Paul II in 1987, and to nearby San Giovanni Rotondo, the home of Saint Pio of Pietrelcina from 1916 until his death in 1968. As the number of pilgrims to San Giovanni Rotondo kept increasing over the years, in 2004 a new shrine near the church was built. The sanctuary has a capacity of around 6,000 people and its parvis has a 30,000 people capacity.

title: Province of Foggia


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Wikipedia:Articles for deletion/Kelly Fleming

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Following deletion, recreated as a redirect. Rossami (talk) 03:46, 11 Feb 2005 (UTC)

Kelly Fleming
Older, longer, and more wikipfied than the Columbine victim stubs submitted above, but still much the same. We can't really keep this and delete the others, and wikipedia is not a memorial. -R. fiend 20:17, 1 Feb 2005 (UTC) Redirect to Columbine High School Massacre. Danielle0386
 * Delete, not notable enough, Wikipedia is not a memorial. Megan1967 02:18, 2 Feb 2005 (UTC)
 * Redirect to Columbine High School massacre to discourage re-creation. —Korath (Talk) 13:36, Feb 3, 2005 (UTC)
 * Delete, then make a redirect if you want. dbenbenn | talk 23:14, 7 Feb 2005 (UTC)
 * Keep, some of us (that would be me) came here today specifically to learn about the victims. Anela 16:36, 8 Feb 2005 (UTC)

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


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Province of Lecce

The province of Lecce (provincia di Lecce; Salentino: provincia te Lècce) is a province in the Apulia region of Italy. Its capital is the city of Lecce. The province is called the "Heel of Italy". Located on the Salento peninsula, it is the second most-populous province in Apulia and the 21st most-populous province in Italy.

The province occupies an area of 2799.07 km2 and has a total population of 802,807 (2016). There are 97 comuni (: comune) in the province. It is surrounded by the provinces Taranto and Brindisi in the northwest, the Ionian Sea in the west, and the Adriatic Sea in the east. This location has established it as a popular tourist destination. It has been ruled by the Romans, Byzantine Greeks, Carolingians, Lombards, and Normans. The important towns are Lecce, Gallipoli, Nardò, Maglie, and Otranto. Its important agricultural products are wheat and corn.

History
The province of Lecce has its origins in the medieval Giustizierato, known then as the province of Terra d'Otranto. Since the eleventh century the Terra d'Otranto included the territories of the provinces of Lecce, Taranto and Brindisi, with the exception of Fasano and Cisternino. During this time Lecce was severely affected by poverty despite the production of olive oil. People from Lecce migrated to the Province of Bari, where they worked in the wine industry. Up to 1663, the province of Terra d'Otranto also included the territory of Matera (Basilicata). Its first capital was Otranto but in the Norman period (twelfth century), Lecce city was made the capital. After the unification of Italy, the name Terra d'Otranto was changed to province of Lecce and its territory was divided into the four districts; Lecce, Gallipoli, Brindisi and Taranto. Its break-up began in 1923 when the district of Taranto was transformed into the new province of the Ionian.

After the first world war economic conditions worsened and unemployment peaked. These factors, coupled with the negligence of the weak government, prompted farm workers to revolt against their employers. Farm owners were captured and paraded in public places. During the medieval era, Muslim slaves were transported from the province's ports and the practice of keeping slaves was common. Lecce stone extracted from the province has been used to decorate several historical monuments and is widely used for interior decoration.

Tourism
The San Cataldo Nature Reserve is located in the province. It is a 28 ha protected area that was set up in 1977 along the Adriatic coast near Leccce. The Reserve is home to a large number of animals such as foxes, hedgehogs, badgers, weasels, reptiles and birds. A variety of Mediterranean plants species is also found here. Lakes Alimini Grande and Alimini Piccolo are also located in the province. Lake Alimini Grande is surrounded by a rocky area covered with pine woods and Mediterranean vegetation; also, its depth does not exceed four meters, and the water is rich with shellfish. Lake Alimini Piccolo is found further inland and consists of freshwater; this water comes from the groundwater channel of the Rio Grande. Alimini Piccolo's depth does not exceed half a meter.

Another tourist destination is the Ciolo, which is a canyon and includes also many caves. It is a natural habitat for many species of vagile meiofauna and ferns.

Communes
Lecce has several ethnic and linguistic minority groups. A Griko community of around 40,000 lives in the Grecia Salentina region in the central area of the province, and there is an Arbëreshe community in Soleto.

title: Province of Lecce


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Districts of the Lutheran Church – Missouri Synod

The Lutheran Church – Missouri Synod (LCMS) is organized into 35 districts, 33 of which are defined along geographic lines. Each district has a president who oversees the congregations in his district, which are further subdivided into local circuits. The position of president is analogous to the role of bishop in many church bodies, but the LCMS supports a synodical polity, which combines congregationalist polity and episcopal polity, as opposed to an exclusively hierarchical governance.

Each district chooses its own president from among the pastors in the district at its triennial convention. In some districts the district president occupies a full-time position, while in others he continues to serve as pastor in a congregation.

The 35 district presidents plus the synod president form the Council of Presidents (COP), one of whose duties is to place graduates from the two LCMS seminaries as pastors in congregations that have requested such a candidate. If a congregation desires an experienced pastor to fill a vacancy, the district president may suggest a list of possible candidates (gleaned from interactions with the COP as well as other sources), but the district president does not assign pastors in this case; the congregation extends a "call" directly to the pastor.

History
From the time of its founding in 1847 until 1854, the LCMS held annual synod-wide conventions. However, given the growth in number of congregations and the large geographic area covered by the synod (Iowa to western New York and Minnesota to Louisiana), a new constitution was adopted in the latter year splitting the synod into four geographical districts (Eastern, Western, Northern, and Central) that would take over some of the responsibilities of the general synod. The original districts were further divided over the years to create the current 33 geographical districts.

List of districts
The following is a chronological list of former and current districts of the LCMS. Former district names are in italics.


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WAXN-TV

WAXN-TV (channel 64) is an independent television station licensed to Kannapolis, North Carolina, United States, serving the Charlotte area. It is owned by Cox Media Group alongside dual ABC/Telemundo affiliate WSOC-TV (channel 9). The two stations share studios on West 23rd Street north of uptown Charlotte; WAXN-TV's transmitter is located near Reedy Creek Park in the Newell section of the city.

History
The station first signed on the air on October 15, 1994, as WKAY-TV. It was originally owned by Kannapolis Television Company, a subsidiary of Truth Temple in Kannapolis. It had originally received a construction permit as WDZH, but changed the call letters to WKAY on November 15, 1989. The pastor of Truth Temple, Garland Faw, named the station WKAY after his wife Kay. The station aired a mix of religious programming, older movies, and barter syndicated programs, as well as the locally produced special Magic or Something in 1995. Kannapolis Television entered into a joint sales agreement (JSA) with WSOC-TV owner Cox Enterprises, and formally changed the call letters to WAXN-TV in August 1996.

Under the agreement, channel 9 took over channel 64's operations and re-branded the station as "Action 64". The "Action" branding had also been used at the time on Cox's two other independent stations, WRDQ in Orlando and KICU-TV in San Jose, California, the latter of which is now owned by Fox Television Stations since 2014. Cox invested over $3 million toward relaunching the station and making other improvements. The station moved its operations to WSOC-TV's facilities and underwent a significant technical overhaul, boosting its transmitting power to a level comparable with other Charlotte area stations. Previously, it could only be seen on cable television in most of the market, as its over-the-air analog signal barely made it out of Cabarrus County.

WSOC-TV owned the rights to a large amount of syndicated programming, but increased local news commitments left channel 9 without nearly enough time in its broadcast day to air it all. Under the JSA, WSOC-TV bought WAXN's entire broadcast day and placed much of this surplus programming on WAXN, giving channel 64 a much stronger schedule. One of these shows was The Andy Griffith Show, which had aired on channel 9 for many years. From 2001 to 2012, WAXN had also been the Charlotte home of the Jerry Lewis MDA Labor Day Telethon, which had aired on WSOC-TV since 1974; Cox's overall local rights to the telethon ended with the 2012 edition, as the Muscular Dystrophy Association decided to move the telethon from syndication to ABC for the final two years of its existence (by then known as the MDA Show of Strength), effectively returning it to WSOC.

From 1998 to 2000, WAXN aired many programs from Pax TV (later i: Independent Television, now Ion Television), although the station was never formally affiliated with the network. Until WJZY (channel 46) added Ion as a digital subchannel in 2016, Charlotte was the largest market in the United States that never had an owned-and-operated station or affiliate of Pax/i/Ion. WAXN later began airing repeated episodes of Dr. Phil and The Oprah Winfrey Show that were seen earlier in the day on WSOC in prime time.

On August 5, 1999, the Federal Communications Commission (FCC) reversed its long standing regulations against duopoly ownerships in the same television market. As stipulated in the original joint sales agreement, Cox was now able to acquire the station outright, doing so for the purchase price of $3 million. The sale was officially approved by the FCC in 2000. In 2007, WAXN dropped the "Action" moniker and rebranded as "TV64".

WAXN had been Charlotte's home to Southeastern Conference football and basketball games from Jefferson-Pilot/Raycom Sports from the SEC's addition of the University of South Carolina in 1991 until 2009, and SEC games syndicated through ESPN Plus-oriented SEC TV from 2009 to the end of the 2013–14 basketball season. This ended in 2014 due to those games being moved to the new SEC Network that launched on August 14, 2014, as a result of a new contract between the Southeastern Conference and ESPN to launch that new network.

In February 2019, it was announced that Apollo Global Management would acquire Cox Media Group and Northwest Broadcasting's stations. Although the group planned to operate under the name Terrier Media, it was later announced in June 2019 that Apollo would also acquire Cox's radio and advertising businesses, and retain the Cox Media Group name. The sale was completed on December 17, 2019.

Newscasts
WSOC-TV produces 22 hours of locally produced newscasts each week for WAXN-TV (with four hours each weekday and a half-hour each on Saturdays and Sundays). Although WSOC had operated WAXN since the station's inception, it did not produce a newscast for channel 64 until 1999, when it began producing a nightly 10 p.m. newscast. The program launched shortly after WSOC ended a news share agreement with then-Fox affiliate WCCB (channel 18), not long after that station announced plans to take over production responsibilities of its 10 p.m. newscast through the formation of its own news department (the second in that station's history). The prime time newscast on WAXN currently places first in the 10 o'clock timeslot, beating rival news programs airing on CW affiliate WCCB and Fox affiliate WJZY, which are both produced respectively by those stations. The strong lead-ins from rebroadcasts of Dr. Phil and The Dr. Oz Show have been cited as a contributing factor for the program's success.

In October 2008, WAXN began broadcasting the 10 p.m. newscast in high definition, becoming the first prime time news broadcast in the Charlotte market to be televised in HD; WSOC had been producing its own newscasts in HD since it upgraded to the format on April 22, 2007, however the prime time newscast on WAXN was downconverted to standard definition in the stations' shared master control facility for the next year and a half. In September 2010, WAXN added a two-hour-long extension of WSOC's weekday morning newscast, running from 7 to 9 a.m. On December 2, 2013, WSOC expanded the weeknight edition of the WAXN 10 p.m. newscast to one hour, citing the program's high ratings and viewership increases as the reason for the expansion. In January 2020, WAXN debuted an hour-long 7 p.m. newscast.

Subchannels
The station's ATSC 1.0 channels using WAXN-TV's physical channel 32 prior to June 29, 2021, are now carried on the multiplexed signals of three other Charlotte television stations. However, they retain their virtual channel 64 identities.

On February 14, 2014, WAXN-TV began testing of a new second digital subchannel, which initially displayed color bars. On April 1, 2014, at 4 a.m., WAXN began carrying programming from GetTV on the subchannel. WAXN-TV added a third subchannel carrying Escape (now Ion Mystery) at 12 noon on August 18, 2014. On March 9, 2017, WSOC-TV announced that they would launch Telemundo on its DT2 subchannel effective June 1. WSOC-DT2's former Laff affiliation, which had been in place since April 15, 2015, would be moved to WAXN. On May 31, 2017, Laff was officially added to WAXN's new DT4 subchannel. On May 2, 2022, GetTV switched channels from WAXN-TV to WSOC-TV; subchannel 2 became Laff, while subchannel 4 was removed.

Analog-to-digital conversion
WAXN-TV shut down its analog signal, over UHF channel 64, on February 17, 2009, the original date on which full-power television stations in the United States were to transition from analog to digital broadcasts under federal mandate. The station's digital signal remained on its pre-transition UHF channel 50, using virtual channel 64.

On May 10, 2009, WAXN installed a larger digital transmitter and increased its effective radiated power from 50 to 91 kilowatts. On July 13, 2011, WAXN saw a further power increase to 150 kW, with the installation of a new directional antenna designed to reduce interference to WFMY-TV in Greensboro.

ATSC 3.0 lighthouse service
On June 29, 2021, WAXN-TV converted the digital channel 32 to ATSC 3.0, hosting simulcasts from WBTV, WSOC-TV, WCNC-TV and WJZY. Existing ATSC 1.0 channels from WAXN-TV previously on channel 32 are hosted by WBTV, WSOC-TV and WCNC-TV, but retain their virtual channel 64 identities as part of the arrangement.

{{legend|#ffe8d0|Subchannel broadcast with digital rights management}}

title: WAXN-TV


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Wikipedia:Articles for deletion/One-hit wonders in classical music

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was NO CONSENSUS. dbenbenn | talk 23:25, 7 Feb 2005 (UTC)

The votes were 9 keep, 1 merge, 8 delete.

One-hit wonders in classical music
Delete. Basically it's what some editors feel are one-hit wonder composers. While I think some discussion of popularity (or lack there of) of some composers or works could be a developed article, I don't think it's with this content or title. While I agree with some of the POVs on the page, it's just not verifiable. It comes down to original research. See Talk:One-hit wonders in classical music for the full discussion. --Sketchee 20:19, Feb 1, 2005 (UTC)
 * Delete. Before I looked at it, I was going to vote for keeping, but the idea of calling people like Elgar and Rimsky-Korsakov "one-hit wonders" is ludicrous. Deb 20:43, 1 Feb 2005 (UTC)
 * Delete Merge, see comments below (way below). I skimmed through the talk page and there are certainly problems with the page that would be difficult to overcome. Are we talking about "hits" in their lifetimes or presently? At least the one-hit wonder page can be verifiable based on radio play and chart position (though even that is somewhat subjective, as they mention in cases like the Grateful Dead and Hendrix, who had one "hit" but surely don't qualify). You can buy multiple works by nearly anyone mentioned on this page very easily at any music store with a half decent classical section. Try doing that with Baltimora or Toni Basil. It's applying modern terms to a different situation. -R. fiend 21:08, 1 Feb 2005 (UTC)
 * Delete. You can just imagine what Wetman might say... --Wetman 21:25, 1 Feb 2005 (UTC)
 * Keep and mark for cleanup. Sketchee's remarks are absolutely correct, but I'm voting to "keep" this pleasant piece of classical fancruft anyway. (Yes, I'm one of the editors. No, the article wasn't my idea). My comments follow, indented. Dpbsmith (talk) 23:24, 1 Feb 2005 (UTC)
 * What we have here is a page of utterly unsourced, reasonably factual, reasonably NPOV, reasonably accurate information.
 * Try this experiment. Play this MIDI file: (Eeeewwww... it's much too slow...) Sound familiar? I'll bet you recognize it; it's unquestionably a classical "hit." It's Narcissus, by Ethelbert Nevin. I challenge you to name one single solitary other piece by Nevin without clicking on the link. Nevin is a one-hit wonder in classical music, and that's just about as objective and NPOV as any statement you can possibly make about music. The same is true for most of the composers listed in the article. (Yes, Elgar and Rimsky-Korsakov must go... and Bizet, chuck Bizet...)
 * So, the article is factual, it's just unsourced. Now, in point of fact, this is regrettably true of quite a lot of Wikipedia. Very few of us take the trouble to provide proper citations for information if we are sure it is uncontroversial and reasonably well-known. Our article on Beethoven begins: "Ludwig van Beethoven (baptized December 17, 1770 – March 26, 1827) was a German composer of Classical music, the predominant musical figure in the transitional period between the Classical and Romantic eras. He is widely regarded as one of the greatest of composers, and his reputation both inspired and, in some cases, intimidated, composers, musicians and audience members who were to come after him." All of this is factual. None of it, not even his dates, are sourced. Our article on Jupiter (planet) says that i's orbit has a semimajor axis of 778,412,027 km. That statement is not sourced. One could multiply examples.
 * The fact that other article fail to cite sources is not a reason why this one doesn't need to. In fact, I feel that the less encyclopedic the topic, the higher the quality of the article should be. On this article, my judgement is cleanup, not deletion.
 * If R. fiend can actually find an entire CD of music by Ethelbert Nevin at his local music store, I'll change my vote to "delete." Dpbsmith (talk) 23:24, 1 Feb 2005 (UTC)
 * P. S. And Amazon doesn't count. I'll accept this CD and won't even complain about three of the pieces being by Arthur Nevin. But somebody has to find it in a store. (It will probably be much easier to find votes to delete than to find this CD in a store.) Dpbsmith (talk) 23:37, 1 Feb 2005 (UTC)
 * My problem was never so much the lack of citations, but the fact that there's a huge grey area in what is a "hit", particularly when we're talking about music spanning centuries (personally I think there are some people who put too much emphasis on citing sources; a good deal of the information on WP is so widely known that attributing to a single source is silly). I agree this article could have some potential. I was considering voting "weak delete", but after seeing a fuss created when some people's "weak keeps" weren't counted as mcuh as "keep" votes (as if their addition of "weak" wasn't their own choice), I decided to avoid neutering my vote. Okay, so Nevin qualifies (though I'm not entirely sure I recognized that tune), but there are plenty of names who have a "hit" that they're known for more than the others, but still have an output of widely available music. I'm not a classical music buff but I'm pretty sure I own two CDs by Boccherini, to name but one. And why do I think Gorecki had a string quartet or two that were well-known? I think all the ones on the list with an asterisk should go, then I may be tempted to change my vote. I am also tempted to agree BM below. It seems like an anarchronism, but I'm a little closer to the fence now. -R. fiend 01:34, 2 Feb 2005 (UTC)
 * I agree, and I've taken the liberty of adding some asterisks of my own. Deb 18:26, 2 Feb 2005 (UTC)

 * I don't think this is entirely unsourced: The source was that Wikipedians picked out pieces they feel are one hit wonders and created a poll (in place of research) on wikipedia so that others could agree or disagree. As it stands, it's original research. It's verifiable in that we can look at the talk page and see that a dozen random people hold the opinion. If we can corroborate the popular opinion with information, it may work but I personally still wouldn't call the works "one-hit wonders". I'd support a move (to a title about works in classical that have become mainstream) and starting over with outside sources, but that would be the same as a deletion IMHO. :)
 * And you're right. The Beethoven article has problems that should be fixed, however it would be hard to argue that Beethoven isn't notable or a small internet poll is. All the items you cite on other articles are a major criticism of wikipedia.  I don't question that you and the other people who edited the articles hold the opinions that you give above about Nevin and others.  However, Wikipedia is not the place to create a criteria and then fill it (original research) as is happening with this page.  If someone else has presented the idea of a one-hit wonder in classical music then we should start by using their criteria and their examples, not our POV.--Sketchee 01:59, Feb 2, 2005 (UTC)

 * Keep. --Xadai 23:36, 1 Feb 2005 (UTC)
 * Keep. I love this!  In fact, Pachelbel was the first name to come to mind.  Agree that certain names aren't really deserving.  Elgar and Rimsky-Korsakov were already mentioned.  Add to the list Lehar, Bizet, Khachaturian and Holst in my opinion.  In fact, Khachaturian just plain hated being associated with "Sabre Dance."  Otherwise, bravo! - Lucky 6.9 23:49, 1 Feb 2005 (UTC)
 * Comment. I'd vote delete, and I might still, but I have a great deal of respect for Dpbsmith. However, d, (can we be on a first-initials basis? --- just call me B), I think maybe you are letting your enthusiasm for this idea get the better of you.   Do you really think this is an encyclopedia topic?   Its more like, you know, a cool article idea for a magazine.  --BM 00:01, 2 Feb 2005 (UTC)
 * B, I think the article is in some kind of grey area. Borderline. Marginal. Iffy. The ideal VfD nomination, in fact. As I write this, virtually every comment made in this discussion has been sensible. I won't have any hard feelings if the article is deleted. The fact that Wikipedia has other amusing trivia lists is not a reason to keep this one. My own belief is that "one-hit wonders in classical music" is a concept that has some objective meaning, will probably become fairly well defined if the article evolves, and is Wikipedic. Others' mileage will vary. I personally want to keep the article because I happen to like it. It would not damage the foundations of Wikipedia to delete it. Dpbsmith (talk) 11:00, 2 Feb 2005 (UTC)
 * It doesn't seem very borderline to me: heretofore, that "original research" should be deleted is one of the very few things on which there is consensus amongst regular participants on the VfD page.  In this article, we have a group of Wikipedia editors having fun carrying out a personal research project.   D, are you planning to continue participating on the VfD page and voting "delete" on original research?    What general principle would you advance that makes this original research project OK which would still allow us to delete original research/personal essays when they come from other people whom we don't like?   You seem  to be indulging in special pleading to me.    --B 12:02, 2 Feb 2005 (UTC)
 * Keep. Useful, interesting, notable and encyclopedic. --Centauri 00:16, 2 Feb 2005 (UTC)
 * Delete, POV original research. Megan1967 02:16, 2 Feb 2005 (UTC)
 * Keep. Well, well, well.  I'm not surprised this thing finally showed up on VfD.  Although I passionately hate most of the listings on the page, since they are often my least favorite works by the respective composers, they often are perceived as the one-hit wonders they are because of their disproportionate popularity compared to the rest of the composer's work. And some of the listings are just wrong (Elgar?  Rimsky-Korsakoff?  Scriabin?  Gimme a break.)  What you are really looking at is a statistical problem:  locating cases where one composition has received recordings and performances an order of magnitude, or so, greater than the rest of the composer's work.  While compiling statistics to prove one-hit-wonderness would be exceedingly time-consuming and difficult, the article needs to be cleaned up, not deleted.  Antandrus 02:58, 2 Feb 2005 (UTC)
 * My question still is still perceived by who? And what was their criteria for a Classical One-hit wonder? To me it still reads like the proposed thesis statement of this article is that certain pieces are one-hit wonders and then the statistics are trying to back up the thesis.  Still original research in that case.--Sketchee 04:00, Feb 2, 2005 (UTC)
 * No, ideally you'd 1) establish a threshold, 2) run statistics on ALL pieces, and then determine by a strict numerical criteria which pieces were one-hit wonders. The part to haggle over would be: what is the threshold value (i.e. a piece would need to have five times the sales, or ten times, or whatever, the next nearest piece by the same composer).  It's impossibly impractical, but that IS s a way you could actually do it.  I'd need a really big database of record sales, for example, and I could write the query. Antandrus
 * Well, a good article starts with a definition and I'm personally uncomfortable with us making up our own definition for this concept/new term. If it's a common idea, wouldn't there be several publications out there providing their definitions which we could explore? Like I said on the talk page, I'd really like to save the concept but the title and contents seem too made-up. Taking statistics and drawing a conclusion from them? Based on our own fan created definition?--Sketchee 04:51, Feb 2, 2005 (UTC)
 * I think basing it entire on sales doesn't solve the problem of past renown that has faded, or current popularity that didn't exist at the time. Also, shifting through thousands of files of data on all sorts of recordings seem entirely unpractical. This isn't tracking sales of Ashlee Simpson's Autobiography, but looking at hundreds of recordings by different ensembles. Think of Pachelbel's canon, for example. No one buys a recording of just that one piece (that would be one very short CD). It's going to be on a "Baroque Hits" album which will have recordings of guys like Albinoni, Manfredini, Locatelli, and all sorts of others who may or may not be known for one piece. Who does the sale of such a CD count in favor of? Everyone on it? And it also ignores performances, which make up a lot of the classical repertoire (ensembles love to throw little known pieces into their performances all the time). I guess you might have to track the sales of sheet music too. No, if it's to be kept we won't be able to write such a simple mathematical formula. Perhaps this could be trimmed severely and moved to a section of the current one-hit wonders article (where Pachelbel is already mentioned), more as a sort of side-note that doesn't get the prominence of having its own article. I'm not sure if that would really solve anything, but it might. -R. fiend 04:53, 2 Feb 2005 (UTC)
 * LOL, as I said, impossibly impractical. I just wanted to get across that you could quantify this, if you really wanted to.  Anyway it's an amusing article and I don't care that much, certainly not enough to go chasing after the data myself.  :-) Antandrus 05:02, 2 Feb 2005 (UTC)
 * So are you then saying that this should be kept because it's theortically possible to verify this, even though it's so impractical that it will not be done? If it's to be kept it needs to be very clearly defined, and again, that would make it just about impossible to verify. And bear in mind even if its cleaned up and Elgar, Bizet, Boccherini, and such are removed, it's only a matter of time before someone else stumbles on this page adds them again or says "I think Mussorgsky belongs" and throws him on the list, and we have to deal with additions and removals happening. And a final point, The article now references its Talk page, which I think qualifies as self-reference, and should be taken care of. -R. fiend 18:21, 2 Feb 2005 (UTC)
 * Yes, of course. Wikipedia is full of things that are incomplete.  It is also full of lists that have gray boundaries around them, and people argue all the time about whether so-and-so belongs on the list or not.  The phenomenon of one-hit-wonderness exists--see Dpbsmith's comment below--and we have here an article that begins to address it.  Not in an optimal way, perhaps, but it does begin to address it.  Antandrus 18:59, 2 Feb 2005 (UTC)
 * FWIW there is what purports to be a sales-based classical Top 100 llist. Dpbsmith (talk) 20:23, 2 Feb 2005 (UTC)
 * I note, as mentioned on the talk page of the article, that there *is* a recording of just the canon, and in fact it is the most prominent hit if you search for "Pachelbel" on Amazon. (All recorded by different artists, naturally.) Mindspillage (spill yours?) 05:06, 2 Feb 2005 (UTC)
 * Man, that must be one tedious record. -R. fiend 05:28, 2 Feb 2005 (UTC)
 * Even if we can get the statistics to back up the idea, is the idea itself our own? "A wikipedia entry (including a part of an article) counts as original research if it proposes ideas, that is: It introduces a theory or method of solution, or It introduces original ideas, or It defines new terms, or It provides new definitions of old terms..." It seem to me as if we're doing all of the above with this one. We have a thesis/hypothesis/theory/whichever and now we're trying to find the data to support it. If there is an external publication (or better yet multiple publications) which has presented the term (or idea) of one-hit wonders to apply to classical music, it would be so much simpler to take cite criteria and examples. If not then I'll still feel the reasoning for the VfD (original research) remains. Such an analysis might be interesting for Wikisource in that case. --Sketchee 05:40, Feb 2, 2005 (UTC)
 * Keep but rename as the title is anachronistic. Tuf-Kat 03:02, Feb 2, 2005 (UTC)
 * Keep please Danny 03:11, 2 Feb 2005 (UTC)
 * Keep. Can't think of anything to add that Antandrus and Dpbsmith haven't already said. Mindspillage (spill yours?) 03:50, 2 Feb 2005 (UTC)
 * Delete. This discussion has convinced me. This is another moronic list with extremely vague criteria for inclusion.  People are not going to agree on what constitutes a "one hit" wonder in classics. It sounds like one of those cheesy classics CD's that they sell on late night TV: "Greatest Classics Hits of All Time".   Not something that you would expect to find in a serious encyclopedia. It sounds like the subject for an idle, entertaining. conversation between classics fans before the concert starts.   But from an encyclopedic standpoint: the whole concept is anachronistic and dumb:  "Hit" is a modern concept and whether a song is a hit is determined by sales charts compiled by commonly recognized agencies.  A "one-hit wonder" is a performer or composer who only has one hit according to that data followed by some reasonable lapse of time in which there have been no further hits. The concept only makes sense for composers and performers who have worked since the idea of "hits" and "charts" have existed.    You can't apply "one-hit wonder" to classical pieces because there aren't any charts, unless you go by current sales of recordings of the pieces by countless artists and orchestras, on countless recording labels.  You would have to decide how many current sales are enough to constitute a "hit".   A lot of classical composers are "zero hit wonders" based on contemporary sales. Who is a "one hit wonder" is going to be defined completely by how many current sales are defined as a "hit".   Set it high, and everybody is a one hit wonder except for Beethoven.  For that matter, a lot of "multi-hit" contemporary popular artists are "one hit" or "zero hit" wonders based on recent sales.  Even if you could decide all this in some kind of sensible way, who is actually going to compile the data, process it, and produce the results?  Is that the business the Wikipedia is in?   It sounds like a big original research project.  And finally, so what? There might be only one piece from a composer that is currently popular, but that does not mean that the composer only composed one thing or that only one piece was regarded by his contemporaries or by scholars as good or significant. This is nonsense, and I am very disappointed in some of the people voting to keep it, who should know better. These kind of articles invite people to think of Wikipedia as a fun forum for swapping opinions, not as a serious encyclopedia. --BM 06:01, 2 Feb 2005 (UTC)
 * Delete. The discussion has shown that the concept of one-hit wonders is very real in classical music, but the article itself has wandered hopelessly astray. What it has shown that it is impossible to come up with a canonical list of composers who have written only one piece that would be recognized by the layman, because we don't have an ur-layman to make the list. We should clear the article and simply discuss the phenomenon - that so many composers seem to produce one work that has the ability or good luck to "pop" into wider consciousness. Still, I think its contributors have made a genuine attempt. David Brooks 06:32, 2 Feb 2005 (UTC)
 * Comment: Another problem with this is not only is it difficult to define a "hit" in terms of what single piece is popular enough, but also in what constitutes a single piece. We have "Flight of the Bumblebee", a piece that can't take more than a couple minutes to perform, alongside a full opera like "Carmen". If you divide the opera into separate arias you suddenly have a slew of hits (though admittedly Les Torreadors or whatever is clearly the most popular). These aren't exactly even compaisons. -R. fiend 07:19, 2 Feb 2005 (UTC)
 * Oh, Carmen has got to go. Given that Hammerstein's Carmen Jones was a great big Broadway hit and movie, it's quite possible that more than one song from Carmen actually made the pop charts. Your point is well taken, but I don't think it's a big problem, as I doubt there are many examples of real "one-hit wonders" where there are multiple clear "hits" that are all from a single work. It doesn't matter whether you list Grofé for "Grand Canyon Suite" or "On the Trail," as none of the other parts of it can be called "hits. Dpbsmith (talk) 18:41, 2 Feb 2005 (UTC)
 * Delete. Unavoidably POV; original research.  Adding anyone to the list will involve three personal judgement calls: that the person had one hit, that none of their other works have been hits, and that at no time in the future will any of the other works be hits.  Remember, classical music is a genre where fame may come centuries after your death. --Carnildo 09:25, 2 Feb 2005 (UTC)
 * Comment Deutsche Gramophon offers a CD, #472700, entitled One Hit Wonders This has never been mentioned in the Talk page of the article and I think it represents an independent list of classical "one hit wonders." Their list is: "Johann Pachelbel, Samuel Barber,  Carl Orff,   Tomaso Albinoni,   Jean Joseph Mouret,   Luigi Boccherini,   Jeremiah Clarke,   Jules Massenet,   Pietro Mascagni,   Richard Addinsell,   Léo Delibes,   Paul Dukas,   Marc-Antoine Charpentier,   Joseph Canteloube,   Heitor Villa-Lobos,   Peter Warlock,   Edward MacDowell,   Emil Waldteufel,   Mikhail Ippolitov-Ivanov,   Amilcare Ponchielli,   Ferde Grofé,   Reinhold Gliere,   Dmitri Kabalevsky,   Charles-Marie Widor,   Hugo Alfvén,  Aram Khachaturian." By my count, of the 26 composers selected by Deutsche Gramophon, and the 36 we list, exactly 13 are included in both lists. In 12 cases, the "hit" is the same; in one, very embarrassingly (particularly since I'm the one that added it), DG cites the Russian Sailors' Dance as Glière's one hit, while we cite Ilya Murametz. O dear. This album is an existence proof that the phrase "one hit wonder" has been applied to classical music. The degree of overlap, assuming the lists are independent, is some kind of measure of the degree of subjectivity/objectivity in making such a list. My personal feeling is that the lists are not wildly discordant and the differences are more in the nature of "Oops! how could we have forgotten Waldteufel than any indication of hopeless subjectivity in judgement. Dpbsmith (talk) 18:41, 2 Feb 2005 (UTC)
 * Comment  This just shows that the "one-hit wonder" notion has no objective meaning and is at best a marketing concept.    You see some confirmation in the overlap; I see that only one-third of your choices are "confirmed" by the Deutsche Gramophon record producer, and that only one half of his choices are "confirmed" by the Wikipedia editors' selection.   This shows that this concept is highly arbitrary, subjective, and error-prone.   And none of this addresses the original research issue.  If you want to change the article to be a report on "One Hit Wonder" selections by classical recording companies, journalists, scholars, a la DG (assuming there are any more), that at least would not be original research.   But I still maintain that a group of Wikipedia editors has no business playing at being "One Hit Classical Wonders" record producers and foisting their unsourced track list on the world as an encyclopedia article.  Wikipedia editors are all anonymous nobodies, registered or not, including me.  Who cares what nobodies think?  --BM 18:59, 2 Feb 2005 (UTC)
 * I agree that this datum can be interpreted either way. I wasn't presenting it as a knockdown argument, I just thought it was germane. Dpbsmith (talk) 20:23, 2 Feb 2005 (UTC)
 * Delete. Too subjective. -Willmcw 00:39, 3 Feb 2005 (UTC)

arbitrary break, as this page is getting long

 * This is becoming much more of a discussion than a vote, but that tends to happen at times. I'd be doing this on the talk page, but this seems to be where the discussion is now, and I'm not sure who'd follow me if I tried to move it. Anyway, I'll make a proposition at the end of this, so it will be relevent to this page. Dbpsmith's example of a "Classical one hit wonder CD" does show that we are not the only one's having this conversation, but it hardly qualifies as a scholarly work. It's a marketing ploy, like so many others, and no one's going to hold them accountable as to whether Albinoni's "adagio" was his only hit, or if he even wrote it. Now there is something to be said for some composers having a single piece that they are known for, but the question is whether it's worthy enough and substantiated enough to support an encyclopedia article. Take Mouret, for example, (who was listed by Deutch Gramophon and would probably qualify for this article as it stands), his "fanfare" probably doesn't sell well (and it can really only be sold as part of a compilation), and I have no idea if it was popular in his lifetime, any more so than his other works, but it is recognized universally today solely because it is the theme to "Masterpiece Theatre". Is it a "hit", or just a recognizable piece of music? I doubt it's performed very often, as it's so closely associated with a TV show (like Sousa's "Liberty Bell March") that you can't hear it without thinking of that show, spoiling appreciation for it.
 * I also think D (if I may call you D), is a little premature in dismissing multiple "hits" from a single work. I think "The Planets" has more than one hit in there (though I suppose Mars is the most popular), and while "O Fortuna" from Carmina Burana is clearly the biggest hit, some of the later movements get their share of play. I imagine any opera that's performed somewhat regularly has to have more than one hit, as no one is going to sit through 3 hours of music to hear a a five minute piece, but I may be getting a little off topic there.
 * So I have a proposal. It seems to me that a rather subjective, somewhat unencyclopedic subject should not carry an article on its own, but as a coda to a more encyclopedic article it could perhaps stand. So I brought it up before, but now I formally propose trimming this article to the examples that can be most agreed on and merging it to a section at the end of one-hit wonder. The Deutch Gramophone recording (and there are probably others too) allows us to write a paragraph where we can say that the term "one hit wonder" has been used for classical music as well, followed by a brief synopsis of the problems in doing so. Then a few examples can be listed of composers who fit the bill, in some sense, perhaps with a few notes on it. Does this get us out of the original research field altogether? Probably not really, but saying that Pachelbel is known for one piece of music is hardly a controversial statement; I bet it even says that in his article. I think this is the best compromise we are likely to get, and it lets us address this quite interesting topic without stating or giving the impression that these composers are the one hit wonders of classical music. -R. fiend 23:38, 2 Feb 2005 (UTC)

 * I like this; it sounds promising. But I can also see a danger of it going astray like this one. Also - I have hinted at this before - I think the OHW's are showing up in two distinct classes: those that have become recognizable to the broader public because they have been co-opted for a use outside the concert hall (the Elgar, the Flightle-Bee) and those where even the fairly well-educated musician is hard pressed to name another work (d'Indy hits the spot for me). I can see this isn't a hard and fast line, but it might help clarify the thinking. David Brooks 23:46, 2 Feb 2005 (UTC)
 * You certainly have a point. I think if presented in the right way it may be less likely to "go astray" in that it will not be presented as a "complete" list, so the temptation for people to say "OH! They forgot Gluck!" and add his name will not be as great. I hope. Certainly some of us can keep a watch on it. As to your second point, I do think we need to decide. I think a "hit" would have to be something that is recognizable to the layman, to an extent. I consider myself more well versed in classical music than the average person, and I have not heard of several of the composers mentioned in the wiki-list and the Deutch Gramophone list. I think calling those "hits" might be an overstatement. I think as a general guideline, if it is very easy to find one recording by an artist, and it is reasonably well known, but quite difficult to find another, they might well be a "one hit wonder". That would rule out Elgar, Rimsky-Korsakof, Delibes, Bizet, Scriabin, and many others. But also, I imagine, d'Indy, because whatever his piece is (I have no idea, I am not ashamed to say) I would likely be hesitant to call it a "hit" (though I could be wrong). I also think ruling out any reasonably contemporary composers is a good idea, as they have to be given time. -R. fiend 03:28, 3 Feb 2005 (UTC)
 * That would certainly be fine with me. Dpbsmith (talk) 23:54, 2 Feb 2005 (UTC)
 * I think this is an excellent compromise, and is fine with me; see my comment below. Antandrus 01:50, 3 Feb 2005 (UTC)
 * Concur. Mindspillage (spill yours?) 04:07, 3 Feb 2005 (UTC)
 * Extraneous side comments re R. fiend's remarks. 1) It is quite likely that you might recognize several of the "hits" even if you do not know the name of the composer or the piece. This is a characteristic of several of them. Some of them have short fragments quoted all the time in animated cartoon music or movie music, for example... if a comedy sketch has a middle-eastern bazaar or a snake charmer or anything like that, it is unlikely that they will resist the temptation to play a few bars of "In a Persion Market." 2) d'Indy's "Symphony on a French Mountain Air" (or "Symphonie sur un chant montagnard français") falls in the category of "things which a lot of people who like classical music have not heard but which you probably can find in a good record store." It's a very pleasant piece but you can live a perfectly complete life without ever hearing it. I think d'Indy may have a slightly spurious fame due to the relative lack of great French classical composers, so he tends to make it onto lists of French composers. Dpbsmith (talk) 18:36, 3 Feb 2005 (UTC)
 * I'm still somewhat skeptical although if it survives the VfD, this kind of change would probably be necessary to get somewhat less pov. :) I think we could do better in doing more general article on the Popularity of classical music (or similar) where we could discuss these kind of pieces freely in referenced prose without the (hard to define) "one-hit wonder" label.  It'd then be harder to go astray.  That's just my opinion of course.  I'll be happy to help no matter which direction we decide to go. --Sketchee 18:24, Feb 3, 2005 (UTC)
 * I like that or something close to it as an article title... I'm not that interested in trying to get a clean definition of "one-hit wonder." There could be sections on pieces became famous because of being used as theme songs (even the William Tell Overture must have gotten a significant boost from its Lone Ranger associations)... pieces that are frequently quoted in animated cartoons and comedy sketches... etc. etc. I wish I could remember the name of a book I read that had all sorts of charts on the frequency with which various pieces of music appeared on symphony orchestra programmes. Does anyone remember just how the Pachelbel Canon became famous? Do I vaguely recall that some pop disk jockey took it under his wing and gave it air time? Dpbsmith (talk) 18:36, 3 Feb 2005 (UTC)

Comment: I've never been crazy about this page because of its subjectivity. But the phenomenon of a one-piece composer is well known, often discussed, and well documented; it's one of the things music grad students blather on and on about over pitchers of beer, myself included. Why did Roy Harris score so well with his Third Symphony, while none of his other works rose into the light? Why is that Schwanda the Bagpiper opera so well known, and no one can name a single other piece by Weinberger? So I think the discussion, and documentation of the phenomenon, belongs somewhere on Wikipedia--maybe not in this page though. By the way, we never called them "one-hit-wonders in classical music" --we called them One piece composers. If people want to delete the page it won't hurt my feelings; I'm fine with the consensus view; but again, the phenomenon itself is encyclopedic and deserves a home on Wikipedia somewhere. Antandrus 01:50, 3 Feb 2005 (UTC)
 * Keep, it's charming, there's a source (the CD referenced above). dbenbenn | talk 23:24, 7 Feb 2005 (UTC)

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


text:
User:Jubash

Juliano Barreto, a.k.a JuBash is the brazilian geek responsable to feed www.geek.com.br with news and write the column "Mundo Estranho" (Weird World). Born at 10/15/1982 in São Paulo, Brazil, Juliano Barreto wrote for the Geek magazine of Digerati Editorial from 2001 to 2005. He also contribute with the newspaper Folha de S.Paulo as a regular free-lance reporter.

title: User:Jubash


text:
Talk:Captain Corelli's Mandolin

Image
Is there not a better picture of the front cover? The colours are really strange and it's a bit pixellated (I'm a bit of a newbie and haven't worked out pictures yet!) Rocket71048576 22:25, 10 November 2006 (UTC)

Vandalism
The 'referenced' section was vandalised with 'that is a poo poo'. It's been removed.

Neutrality
I dispute the neutrality of 'beautiful love story'. The neutrality of this article is hereby under dispute.

 * I dispute your not being pompous. Your being pompous is hereby under dispute.

 * Er... I just removed the word 'beautiful'. I think it's safe to undispute the neutrality of this article... :) --Bookandcoffee 22:02, 2 Feb 2005 (UTC)

 * I dispute that it's a love story. There is a love story there, but to categorise it so narrowly denies the greater themes of the book. Corelli himself is but a minor character in many ways.--Alun 13:12, 12 May 2005 (UTC)

 * I dispute that its a story. As Aristotle says, a story has a beginning a middle and and end.  This story only has a middle.  Don't call it a story, call it a vignette.

 * How about Captain Corelli's mandolin is an historical novel (or vignette).--Alun 15:50, 12 May 2005 (UTC)

 * A love story is simply a story dealing with love, which this book is, albeit amongst other sings, so why not 'Captain Corelli's Mandolin is, amongst other things, a love story.' Personally I would say it is beautiful, but I can understand why that is not neutral! --Silex 06:28, 6 June 2006 (UTC)

 * Evidently there is some confusion as to what this narrative can be effectively described as. I think the best thing would be to rename it a 'story' with a major theme of romance with other themes surrounding it. Although I do take exception at the idea that this story is a 'vignette' - the story has a beginning and an end as most people would agree. The fact that the beginning deals with the life before the occupation (setting the scene) and Pelagia's early life and that the end brings things up to the time (a rough denouement, despite its nature of continuum) of writing should suggest, by Aristotle's definition, that this is a story.

129.234.4.1 13:40, 11 June 2006 (UTC)

This reads like a (not particularly good) school book review.

I am no expert, but having just read the book, it seems obvious that the story first of all has a beginning, middle and end. Beginning with the Dr starting a history of the Island, little knowing the Island is about to undertake the most turbulent period in it's history, and ends with the lovers being reunited and the discovery of the original document started by the Doctor in conclusion to the personal history. But why would we take Aristotle's definition of a story anyway? By that the Iliad is not... Also Bernieres is writing a 'personal history' of the Island mirroring that of the Dr. And a theme I saw was of free will (or lack of), the only people in the story who had true freedoms were Hitler and the DUCE, the rest seemed to have the courses of their lives dictated by events beyond their control.

Love
Why isn't Carlo's love for Francisco and Corelli mentioned? Sophy's Duckling 06:06, 23 August 2006 (UTC)

My best guess is that people are uncomfortable with it... Still i have contributed a little on that section, if anyone would care to eloborate further be my guest. The Minion Reunortis. 13:32, 3 December 2006 (CAT)

Fair use rationale for Image:Captain Corellis Mandolin book.jpg
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Title
My book is just called Corelli's Mandolin, not Captain. What is the correct name? Shouldn't we mention the alternate name? Benjamin Scrīptum est  -   Fecī 02:54, 1 February 2008 (UTC)
 * The title was shortened for the U.S. edition; I don't know why. --anon.70.23.178.7 (talk) 04:30, 8 February 2008 (UTC)
 * In the Granta from 1993 with de Bernières in, he says that he's tired of giving his novels such long titles and plans to call his next one just "Corelli's Mandolin". I don't know how this fits in, but I'm sure it's relevant :) Skittle (talk) 20:50, 22 April 2008 (UTC)

 * My understanding was that the book was originally published in hardback (by Secker and Warburg) as "Corelli's Mandolin" and that subsequent editions added "Captain" to match the film title. But maybe I'm wrong. Kirker (talk) 18:52, 31 May 2008 (UTC)
 * Apparently both titles were used. Could someone please sort otu which title was used when?  Thanks, Maikel (talk) 09:34, 19 August 2009 (UTC)
 * OK, I had a look around through various book-searches and libraries. The Secker and Warburg first edition (1994) cover shows "Captain Corelli's Mandolin". Various other editions over succeeding years also show "Captain Corelli's Mandolin", and many of these also pre-date the film. A Pantheon edition which claims to be the first US edition (1994) cover shows "Corelli's Mandolin", and a Vintage edition (1995) cover shows "Corelli's Mandolin: A novel". On the basis that the first edition title, and also the title by which the book is almost universally known today (2010) both in popular awareness and in reference sources, is "Captain Corelli's Mandolin", I'll adjust the article to describe the book as having this title, noting that in the US it was originally published as "Corelli's Mandolin". I think this summarises the situation fairly. If anyone can improve on this or further enlighten, please do so. Mooncow (talk) 04:05, 28 November 2010 (UTC)
 * PS -- I've also updated the release year to 1994, rather than 1993 as previously shown. The first edition is dated 1994, and various sources including the author's own web site give the book as 1994. I've included references. Mooncow (talk) 04:15, 28 November 2010 (UTC)

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Plot
I don't know if this standard practice on articles about novels but at no point in this article is there really a description of the plot beyond a discussion of the main themes and characters. While those are obviously very relevant, without a plot they would only really make sense to people who have read the book. 23.15, 17 July 2010 (BST) —Preceding unsigned comment added by 86.181.208.127 (talk) 22:16, 17 July 2010 (UTC)

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Dr Iannis
Louis de Bernières book "So Much Life Left Over" features a Dr Iannis from Cephalonia who has a daughter called Pelagia. Dr Iannis works as a ship's doctor and is entirely self-taught. We are informed that he was so competent that nobody ever challenged his competence in all the years prior to his death in an earthquake. Everybody got to be somewhere! (talk) 19:28, 22 September 2019 (UTC)

title: Talk:Captain Corelli's Mandolin


text:
Province of Taranto

The province of Taranto (provincia di Taranto; Tarantino: provìgne de Tarde; Salentino: provincia ti Tàrantu), previously known as the province of the Ionian, is a province in the Apulia region of Italy. Its capital is the city of Taranto. It has an area of 2437 km2, and a total population of 581,092 (2017). The province contains 29 comuni (: comune). The coat of arms of the province contains a scorpion, which Pyrrhus is thought to have seen when looking down at Taranto.

History
When Italy was unified, the province of Lecce was formed; the western section of this later became the current province of Taranto. On 23 September 1923, Taranto became the capital of a new province based on the ancient Terra d'Otranto, in recognition of the important role the city had served since ancient times. Until 1951, the new province was called the "Province of the Ionian".

The scorpion on the city's coat of arms may have been used as its emblem in ancient times, on the suggestion of Pyrrhus of Epirus, who was an ally of Taranto in a war against Rome: the scorpion is shown lying on its back with three lilies, holding the crown of the Principality of Taranto between its claws. Pyrrhus, who was king of Epirus, looked down on the city from the hills that surround it and had the idea that its shape was like the figure of a scorpion. This emblem has also been seen as a psychological deterrent to the city's enemies, who came to look on Magna Graecia as being as dangerous as a scorpion. The earliest verified use of a scorpion on the coat of arms of Taranto is from 400 AD.

title: Province of Taranto