text:
User:Tabib/Nagorno-Karabakh

Nagorno-Karabakh (Azerbaijani: Dağlıq Qarabağ or Yuxarı Qarabağ, literally "mountainous black garden" or "upper black garden"; Russian: Нагорный Карабах, translit. Nagornyy Karabakh; Armenian: Լեռնային Ղարաբաղ, translit. Lernayin Gharabagh), often referred to by Armenians as Artsakh (Armenian: Արցախ), is a region of Azerbaijan, in southern Caucasia, located about 270 km (about 170 mi) west of the Azerbaijani capital of Baku. The region is predominantly ethnic Armenian, and is under Armenian military control. The local Armenian population declared independence from Azerbaijan on December 10, 1991 and declared the Nagorno-Karabakh Republic (NKR). The NKR's sovereign status is not recognized by any country in the world.

Geography
The region has a total area of 4,400 km², and in 1989 it had a population of 192,000. The population at that time was mainly Armenian (76%) and Azeri (23%), with Russian and Kurdish minorities. The capital is Stepanakert (Xankəndi in Azeri). Its other major city, today lying in ruins, is Shusha.

Origins
Nagorno-Karabakh was one of the historical parts of Aghbania, or Caucasian Albania. In ancient times, the region was called by various names including Arran, Ardan, Urtehini, and Artsakh. In 95 BC it was conquered by Tigranes II, ruler of the Kingdom of Armenia. Following the defeat of Tigranes II at the hands of the Romans in 66 BC, Albanians regained Artsakh. Ancient Albanians and Armenians alternated control over the territory until the early 4th century, when the Albanians managed to reclaim Artsakh; eventually, in 387, it became a part of Aghbania again.

Christianity first came to Aghbania with the mission of St Eliseus in the 1st century. Christianity was widely accepted in the 5th century, after St Gregory the Illuminator converted and baptized Albanian king Urnayr. In 488, following a church assembly near Aluan (situated in present-day Karabakh), Christianity become the official religion in Aghbania.

In the 7th and 8th centuries, the region was invaded by Arabs, who pillaged it and converted a portion of the population to Islam. Under the Arabs, the Albanian church was subordinated to the Armenian Church, resulting in the local Albanian population gradually becoming more like Armenians in terms of religion, culture, and language. After the 8th century, Albania diminished in size, and came to exist only as the Khachin principality in Artsakh.

In the 15th century, the territory of Karabakh was part of the states of Kara Koyunlu and then Ak Koyunlu. In the early 16th century, after the fall of the Ak-Koyunlu state, control of the region passed to the Safavid dynasty of Iran, that created a Ganje-Karabakh province (beglarbekdom, bəylərbəyliyi); and in the mid-18th century, the Karabakh khanate was formed. Karabakh passed to Imperial Russia by the Treaty of Gulistan in 1813, before the rest of Russian-controlled Armenian territories were incorporated into the Empire in 1828. In 1822, the Karabakh khanate was dissolved, and the area became part of the Russian province that later formed Azerbaijan.

Soviet era
After the Russian Revolution in 1917, Karabakh became part of the Transcaucasian Federation, but this soon dissolved into separate Armenian, Azeri, and Georgian states. Azerbaijan claimed sovereignty over the province, and sought to secure its claims with help from the Ottoman Empire. Despite the fact that the Ottomans were defeated in the course of World War I, Karabakh's de facto ownership by Azerbaijan was provisionally recognized in 1919 by the Allies, who recognized Khosrov-bey Sultanov (appointed by the Azerbaijan government) as general-governor of Karabakh. The Allies decided that the ultimate status of Karabakh was not determined and was pending final decision in Paris Peace Conference. Whereas Azerbaijan commended this decision as a recognition of its rights to the territory, the Armenian side criticized it, arguing that this decision was made because of the Allies' economic interests in the oil fields near Azerbaijan's capital, Baku.

In 1920, Transcaucasia was taken over by the Bolsheviks who, in order to attract public support, promised that they would allot Karabakh to Armenia, along with Nakhchivan, and Zangezur (separating Nakhichevan from Azerbaijan proper). However, Moscow also had far-reaching plans concerning Turkey, hoping that it would, with a little help from Russia, develop along Communist lines. Needing to appease Turkey, Moscow agreed to a division that left Zangezur to Armenia, while leaving Karabakh and Nakhchivan in Azerbaijan. As a result, the Nagorno-Karabakh Autonomous Region was established within the Azerbaijan SSR in 1923. Most of the decisions on the transfer of the territories, and the establishment of new autonomous entities, were made under pressure from Stalin, who is still blamed by both Azeris and Armenians for arbitrary decisions made against their national interests.

With the beginning of the dissolution of the Soviet Union in the late 1980's and early 1990's, the question of Nagorno-Karabakh reemerged. Complaining about "forced Azerification" of the region, the majority Armenian population, with ideological and material support from Armenia, started a movement to transfer it to Armenia. In November 1991, following the Karabakh Armenians' declaration of secession from Azerbaijan, the Azerbaijan Parliament retaliated by removing the autonomous status of the region. In response, the Nagorno-Karabakh Armenians held a referendum on December 10 1991, with the overwhelming majority of the population voting for outright independence. The minority Azeri community of Nagorno-Karabakh boycotted the referendum, however.

The spiralling conflict led to violent actions against Armenians living in Sumgait, Baku, and elsewhere in Azerbaijan, and against Azerbaijanis living in Vardenis, Masis, Ghukark, and other regions of Armenia. As a result, a vast number of Azerbaijanis in Armenia, and Armenians in Azerbaijan (except for Nagorno-Karabakh) were displaced. A land war between Armenia and Azerbaijan followed this civil violence. Military action was heavily influenced by the Russian military, who inspired and manipulated the rivalry between the two neighbouring nations in order to keep both under control.

Extensive Russian military support was exposed by the Head of the Standing Commission of the Russian Duma, General Lev Rokhlin, who was subsequently killed in unknown circumstances. He had claimed that munitions (worth 1 bn US dollars) had been illegally transferred to Armenia during 1992-1994.

Post-Soviet era
Azerbaijanis were driven out of Nagorno-Karabakh, as well as territories adjacent to Nagorno-Karabakh that had been populated by Azerbaijanis; and these are still under control of the Armenian military. An unofficial cease-fire was reached on May 12 1994 through Russian negotiation, and continues today. Armenians remain in control of the Soviet-era autonomous region, and a strip of land called the Lachin corridor linking it with the Republic of Armenia, as well as the so-called 'security zone' — strips of territory along the region's borders that had been used by Azerbaijani artillery during the war.

Today, Nagorno-Karabakh is a de facto independent state, calling itself the Nagorno-Karabakh Republic. It is closely tied to the Republic of Armenia and uses its currency, the dram. Successive Armenian governments have resisted internal pressure to unite the two, fearing reprisals from Azerbaijan and the international community, that still considers Nagorno-Karabakh part of Azerbaijan. The politics of Armenia and Nagorno-Karabakh are so intermingled that a former president of the Nagorno-Karabakh Republic, Robert Kocharian, became first the prime minister (1997) and then the president of Armenia (1998 to the present).

At present, the mediation process is stalled, as both sides are equally intransigent. Azerbaijan insists that Armenian troops withdraw from all areas of Azerbaijan outside Nagorno-Karabakh, and that all displaced persons be allowed to return to their homes, before the status of Karabakh can be discussed. Armenia does not admit that Nagorno-Karabakh is legally part of Azerbaijan, arguing that because the region declared independence at the same time that Azerbaijan became an independent state, both of them are equally successor states of the Soviet Union. The Armenian government insists that the government of Nagorno-Karabakh be part of any discussions on the region's future, and rejects ceding occupied territory or allowing refugees to return prior to talks on the region's status.

Representatives of Armenia, Azerbaijan, France, Russia and the United States met in Paris and Key West, Florida in the Spring of 2001. The details of the talks have remained largely secret, but the parties are reported to have discussed non-hierarchical relationships between the central Azerbaijani government and the Karabakh Armenian authorities. Despite rumours that the parties were again close to a solution, the Azerbaijani authorities, both during Heydar Aliyev's period of office, and after the accession of his son Ilham Aliyev in the October 2003 elections, have firmly denied that any agreement was reached in Paris or Key West.

Further talks between the Azerbaijani and Armenian presidents, Ilham Aliyev and Robert Kocharyan, were held in September 2004 in Astana, Kazakhstan, on the sidelines of the Commonwealth of Independent States (CIS) summit. Reportedly, one of the suggestions put forward was the withdrawal of the occupying forces from the Azeri territories adjacent to Nagorno-Karabakh, and holding referenda (plebiscites) in Nagorno-Karabakh and Azerbaijan proper regarding the future status of the region.

title: User:Tabib/Nagorno-Karabakh


text:
Lingga Regency

The Lingga Regency (Kabupaten Lingga) is a group of islands in Indonesia, located south of Singapore, along both sides of the equator, off the eastern coast of Riau Province on Sumatra island. They are south of the populated Riau Archipelago, known for the industrial island of Batam and the tourist-frequented island of Bintan, although the Lingga Islands themselves are rarely visited due to the infrequent local transportation. The equator goes through the northern tip of Lingga Island, the main island in the archipelago.

Administratively they form a Regency of the Riau Islands Province with a land area of 2,120.69 km2 and a population of 86,244 people at the 2010 census and 98,633 at the 2020 census; the official estimate as at mid 2023 was 101,030 (comprising 52,260 males and 48,770 females). The regency seat lies at Daik on Lingga Island.

The population are mainly Malay, Bugis and Chinese (predominantly Hakka, Teochew and Hokkien).

Name
Lingga derives its name from the profile of Mount Daik which is shaped like the Hindu lingam, often interpreted as a phallic symbol. This mountain has three sharp teeth at its peak; one of them seems to have broken off at its base, and it was immortalised by Malay poets as the symbol of durability. The poem is

Pulau Pandan jauh ke tengah,

Gunung Daik bercabang tiga,

Hancur badan dikandung tanah,

Budi yang baik dikenang juga.

Nearby are the remains of the fort of Benteng Bukit Cening, overlooking the sea. The cannons are still lined up, as if they were awaiting another enemy attack.

Islands
By size and population the most important islands in the archipelago are Lingga and Singkep, then Sebangka and Bakung.
 * Lingga with smaller Pulau Alut.
 * Pulau Selayar of Riau Islands between Lingga and Singkep.
 * Singkep with Pulau Posek to the west, Pulau Serak to the southwest, and Pulau Lalang to the south.
 * Sebangka and Bakung to the northwest of Lingga, with town of Limas, and the islets Senayang, Kapas, Kentar and Mowang.
 * Pulau Lobam and Cempah to the west of Sebangka.
 * Temiang and Mesawak in the north.

Administrative districts
At the time of the 2010 census, the regency was divided into five districts (kecamatan), but four additional districts were created in 2012 (Singkep Selatan and Singkep Pesisir from parts of Singkep District, and Selayar and Lingga Timur from parts of Lingga District), another in 2018 (Kepulauan Posek - from part of Singkep Selatan District) and three more in 2019 (Bakung Serumpun, Temiang Pesisir and Katang Bidare - all out of Senayang District).

The thirteen districts are tabulated below with their areas and their populations at the 2010 census and the 2020 census, together with the official estimates as at mid 2023. The table also includes the location of the district administrative centres, the number of villages in each district (totaling 75 rural desa and 9 urban kelurahan), and their post codes. Altogether the archipelago contains 509 islands.

Notes: (a) Singkep Barat District comprises 47 islands. (b) including one kelurahan (the district centre). (c) The 2010 population of the new Kepulauan Posek District is included with the figure for Singkep Barat District, from which it was cut out in 2018. (d) Singkep District comprises 32 islands. (e) comprising 3 kelurahan (Dabo, Dabo Lama and Sungailumpur) and 3 desa. (f) The 2010 populations of the new Singkep Selatan District and Singkep Pesisir District are included with the figure for Singkep District, from which they were cut out in 2012. (g) including one kelurahan (Berlian). (h) Lingga District comprises 71 islands. (i) including 2 kelurahan - Daik and Daik Sepincan. (j) The 2010 populations of the new Selayar District and Lingga Timur District are included with the figure for Lingga District, from which they were cut out in 2012. (k) Lingga Utara District comprises 12 islands. (l) Senayang District (including the three new districts cut from it in 2019) comprises 324 islands. (m) The 2010 populations of the new Bakung Serumpun District, Tamiang Pesisir District and Katang Bidare District are included with the figure for Senayang District, from which they were cut out in 2019.

Religion
Islam is the dominant religion in the Lingga Islands regency, with 91.40% of the total population identifying themselves as Muslim. Other religions are Buddhism, which forms 5.89% of the total population, Christianity, which forms 2.63% of the total population, Hinduism, which forms 0.02% of the total population and Confucianism, which forms 0.03% of the total population.

Transport
Ferry services to the islands from outside the archipelago come from the provincial capital to the north, Tanjung Pinang on Bintan, including from Singapore. These days the main industry is fishing. There are a number of fine beaches with some coral around the Archipelago but there is very little tourism on account of the poor transport links with the outside world.
 * Singkep has two ports, Dabo near Dabosingkep and Jago near Sungaibuluh. Service to the port of Muntok on Bangka Island of Sumatera Selatan ceased operating regularly with the demise of the tin mining industry.  However, a high-speed ferry continues to connect Tanjung Pinang to Singkep, from where local boats may be chartered to Lingga.
 * For Lingga, Daik is the major town and port. It can be reached in a day from Singapore transferring at Tanjung Pinang.

Lingga Roads
Lingga Roads is an anchorage in the Lingga Islands, south of Lingga Island and northeast of Singkep. During World War II, Lingga Roads was used as a fleet anchorage by major units of the Imperial Japanese Navy, in order that these ships be near a source of fuel. It was from Lingga Roads that the main Japanese southern striking force deployed for the Battle of Leyte Gulf.

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

title: Lingga Regency


text:
Talk:Les Liaisons dangereuses

Comment
. Changed 'give the story it's body' to the correct 'its body.'

Title capitalization question
I don't think this article's capitalization is correct. It's my understanding that French (and many other European languages) use sentence case for titles, which would render this Les liaisons dangereuses. English-style title capitalization would make it Les Liaisons Dangereuses. The current title, Les Liaisons dangereuses, fits neither. It does reflect German practice, but that is irrelevant. I suspect someone may have used this form because it happens to be exactly how IMDb capitalizes the titles of films based on the novel, which is an artifact of the way they place leading articles at the end of titles. IMDb capitalizes the first significant word as well as the leading article (trailing in their form), but no other words, in non-English titles. (Consider Buono, il brutto, il cattivo, Il, which looks similarly odd when reconstructed as Il Buono, il brutto, il cattivo). Unless I'm wrong about French capitalization practice, we should move this article either to the French (my vote) or English form. Any comments? ~ Jeff Q (talk) 05:05, 4 August 2005 (UTC)

 * Good point. Indeed my paper copy of the book has Les liaisons dangereuses (and the blurb refers to the film as such too) - but otoh the French Wikipedia page has Les Liaisons dangereuses.  Not sure what to make of that. --Zeborah 10:14, 6 August 2005 (UTC)

 * Thanks for the pointer. I didn't even think of checking Les Liaisons dangereuses. I was going to ask there for advice, but then I dusted off my rusty French (with a little help from Altavista Babel Fish) and read their pages on capitalization and typographical conventions, which said that if the title is a phrase beginning with an article, the first significant word is capitalized. They seem to disagree whether the article is capitalized, but (for now) that's irrelevant on en:Wikipedia, which requires first-word capitalization for article titles. (The whole thing looks a little odd to me, but then again, how very weird must English capitalization rules must seem to others. ☺) I did notice, however, that the website cited in w:fr:Talk:Les Liaisons dangereuses, Gallica, which includes an online text for Liaisons and other works, listed its contents in the same sentence case that English libraries use; i.e., capitalizing first word and proper nouns only. ~ Jeff Q (talk) 14:24, 6 August 2005 (UTC)

 * Surely we should not be using French titles in the English wiki? How about moving this to Dangerous Liaisons (novel)? Bastie 20:14, 14 October 2005 (UTC)

 * I could be mistaken, but I think that even in the English-speaking world the book is known largely by its French-language title. FWIW, I have within arms reach Wayland Young's Eros Denied; he calls it by its French-language title. -- Jmabel | Talk 06:05, 16 October 2005 (UTC)

 * There doesn't seem to be agreement among publishers, either:
 * The Oxford's World Classics English translation lists it as Les Liaisons dangereuses (see Amazon.com, Oxford University Press, USA; New Ed edition (March 18, 1999) ISBN 0192838679)
 * Penguin titles it as Les Liaisons Dangereuses (see Amazon.com, Penguin Classics; Reprint edition (November 30, 1961) ISBN 0140441166)
 * Amazon and Barnes & Noble list the Everyman's Library edition as Les Liaisons Dangereuses; the cover of the book is in all upper-case, so it's not really clear how the publisher titled it (see Amazon.com, Everyman's Library; Reprint edition (June 30, 1992) ISBN 0679413251 or Barnes & Noble)
 * The title is also in all upper-case for the Barnes & Noble Classics Series edition, ISBN 1593082401; their website lists it as Les Liaisons Dangereuses.
 * A mass-market textbook French edition published by Garnier-Flammarion (ISBN 2080707582, Pub. Date: January 1996) uses Les Liaisons dangereuses.
 * As for other novel titles in French rather than English, I've yet to see Les Miserables rendered in English; on the other hand however, in the English-speaking world, Alexandre Dumas's The Count of Monte Cristo, The Man in the Iron Mask, and The Three Musketeers use their English title equivalents, not the original French. Just more evidence that there seems to be a lack of consistency.
 * It would seem Wikipedia may use either "Les Liaisons dangereuses" or "Les Liaisons Dangereuses" with impunity, as both versions have been used extensively by others. (I didn't find a reference to an edition using "Les liaisons dangereuses", however.) The easiest thing to do would be to leave it as is to avoid redirects. — Chidom   talk   19:44, 21 September 2006 (UTC)

The French rules of capitalization for titles are a bit subtle. Here they are:

1) The very first letter in the title is always capitalized 2) Names of people and places are always capitalized 3) The first letter of the first word in the title which is neither an article nor a pronoun is to be capitalized (that word may not be the first in the title. If it is, Rule 1 matches Rule 3). 4) No accents on capital letters

In particular: "Les Liaisons dangereuses". —Preceding unsigned comment added by 217.22.201.130 (talk) 22:54, 11 June 2009 (UTC)

Cecile
What happens to her?

Jackiespeel 17:32, 15 August 2005 (UTC)

 * I've just rewritten large chunks of the plot (intended to just add a bit at the end, but it kind of grew on me) - hopefully that helps. --Zeborah 08:42, 17 August 2005 (UTC)

Mme de Tourvel's fate
An anonymous edit changed my "also dies" to "commits suicide" so I've checked my copy of the book again. I can't find any mention of suicide there: in letter CXLVII she's said to have a fever, and in letter CLXV her final hours are described in great detail, again with no signs of suicide. In fact Father Anselme is described as having much wept -- which I take as being a sign that he finds her Christian resignation moving. When suicide was considered a sin, I don't think he'd have wept so for someone who willingly killed themself. This seems to also be the attitude of Mme de Volanges, and the expected attitude of Mme de Rosemond. There being no evidence for suicide, I'm changing the phrase in question to "succumbs to a fever". —The preceding unsigned comment was added by Zeborah (talk • contribs) 7 Sept 2005.

"Revenge is a dish best served cold"
It is often wrongly attributed as the the origin of the saying "Revenge is a dish best served cold", a paraphrased translation of Laclos's "La vengeance est un plat qui se mange froid.". OK. I'll bite. What then is the earlier source? - Jmabel | Talk 01:39, 24 February 2006 (UTC)

 * I haven't found anything earlier, but probably the person who changed that sentence was thinking that the Star Trek saying was created independently of the Dangerous Liaisons saying. I'm not so sure:  IIRC the speaker, Khan, was familiar with Shakespeare, so why not with Laclos as well? :-)  But without being sure I don't like to revert the change, and I haven't yet figured out an alternate phrasing to keep the ambiguity clear... --Zeborah 18:43, 24 February 2006 (UTC)

 * Star Trek??? Pretty silly. I've always been pretty confident it was Laclos. I am restoring: it sounds like, insofar as there is any basis to say he didn't originate it, it is that he wasn't writing in English. Duh. - Jmabel | Talk 03:28, 4 March 2006 (UTC)

 * I have searched for the phrase in both English and French online versions of "Les Liaisons dangereuses" but so far have failed to find it, leading me to doubt that it actually appears in the novel. --Primatebuddy 14:14, 29 May 2006 (UTC)

 * According to wikipedia's Revenge article, the quote in its current English form is generally attributed to Dorothy Parker. The attribution of the French form to Laclos as the first attributed instance of the quote seems fairly widespread. john k 16:28, 29 May 2006 (UTC)

 * It does seem widespread and mistakenly so. Having searched not only for the phrase itself but also the word "vengeance" yields nothing even related to the spirit of the phrase much less the phrase itself. --Primatebuddy 12:26, 19 June 2006 (UTC)

 * Indeed it isn't there. I'm fixing the article.--82.93.10.238 16:52, 24 October 2006 (UTC)
 * "Revenge is a dish that can be eaten cold"
 * Proverb, late 19th century
 * and
 * "Proverbs
 * Dates given are generally for a first written appearance...in English...may well have been in spoken use much earlier"
 * Oxford Dictionary of Quotations 6th ed OUP 2004 119.18.1.107 (talk) 04:59, 8 July 2024 (UTC)

Fools that phrase is from Shakespeare's MacBeth... —The preceding unsigned comment was added by Special:Contributions/ (talk)
 * Have removed that uncited claim from the lead, and see no appropriate place to put it. Awien (talk) 00:52, 25 July 2017 (UTC)

Another adaptation
I seem to be watching a version of Les Liaisons dangereuses on the "Artes" channel in France. This is an English version (they're showing it with French titles), and apparently American (maybe) - there certainly aren't too many clear British accents. It is not the Malkovich/Glenn Close version, and it's obviously more recent than the 1959 version. The 1980 version is apparently in French, and the 2003 miniseries has Rupert Everett, which this version also, clearly, does not. The only actor I recognize is a minor character who looks distinctly like Jeffrey Jones. Anyone have any idea what this version is? john k 19:56, 18 May 2006 (UTC)

Wow, it appears to be Valmont, already listed here, so never mind. Odd that two adaptations of the book showed up within a year of each other. Odd also that I didn't immediately recognize Colin Firth or Annette Bening. john k 20:08, 18 May 2006 (UTC)

Infobox
Why do we have an Infobox picking out one translation of this much-translated work? - Jmabel | Talk 06:56, 25 September 2006 (UTC)

 * We shouldn't in fact the emphasis in the infobox should be on the first edition and it's initial or "major" English translation. :: Kevinalewis  :  (Talk Page) / (Desk)  10:15, 25 September 2006 (UTC)

 * The infobox as of 27 December 2013 featured a claimed "English release date" in 1961. While this fits the image of the swinging sixties, actually an English translation had appeared in 1784.  Moreover, the pages for "Candide" and "War and Peace" do *not* put "English release date" in their infoboxes.  So I took this piece of nonsense out of this one.
 * If it's that important, don't take my word for it. The final chapter of "A la recherche des Liaisons dangereuses" by Andre Albert Delmas and Yvette Mialon Delmas is my source for the 1784 date.  The following Google Books page is probably the book in question.
 * Joe Bernstein joe@sfbooks.com  not a registered Wikipedian
 * 69.91.163.13 (talk) 00:43, 28 December 2013 (UTC)

terms and conditions 2603:8081:6E04:9200:8062:F471:B992:3F25 (talk) 17:54, 17 September 2021 (UTC)

Translations
"The novel has been translated into English many times, with Douglas Parmée's recent translation (Oxford: OUP, 1995) receiving favourable reviews." Have we any evidence of this? Any comments on other translations? Sits69 12:27, 10 September 2007 (UTC)

 * re "translated into English many times", see WorldCat (this is a list of books with Laclos as author, format as book, language as English). WorldCat doesn't seem to have translator details for all, but I see at least PWK Stone, Richard Aldington, and someone in 1784, and given the dates I suspect at least one more.  Then of course there's the Parmée one as well.  Re "favourable review"... let me get back to you, it's currently late at night but I know where to look tomorrow.  --Zeborah 09:48, 12 September 2007 (UTC)

WikiProject class rating
This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 07:09, 27 August 2007 (UTC)

Ballets
There appear to exist at least three more ballets based on the novel: Reviews for secondary sourcing can probably be found. --Hegvald (talk) 18:54, 30 July 2016 (UTC)
 * For Staatsoper Hannover with choreography by Jörg Mannes and music by Händel, Vivaldi und Mark Polscher;
 * For the Latvian National Ballet with choreography by Krzysztof Pastor and music by Arturs Maskats.
 * For Ballet du Capitole de Toulouse with choreography by Davide Bombana and music by Rameau and Walter Fähndrich.

Recorded Media: TV
Suggest: 3RD ROCK FROM THE SUN: SEASON 6, EPISODE 1 - LES LIAISONS DICKGEREUSES. A thematic adaptation is the plot of the episode, and the title makes it clear. Drsruli (talk) 08:24, 22 September 2020 (UTC)

title: Talk:Les Liaisons dangereuses


text:
Yakovlev Yak-54

The Yakovlev Yak-54 is a 1990s Russian aerobatic and sports competition aircraft designed by the Yakovlev Aircraft Corporation.

Design and development
Part of a new generation of acrobatic aircraft from the Yakovlev design bureau which has a long line of aircraft designs since 1937 with the UT-2/AIR-10, the Yak-54 is a development of the single-seat Yak-55M, designed by Chief Constructor Dmitry Drach and Lead Engineer Vladimir Popov. It first flew 23 December 1993.

It was produced by Saratov Aviation Facility in cooperation with JSV "Gorky U-2" up to 2005, when the production moved to the Arsenyev Aviation Company "Progress" facility in Arsenyev.

title: Yakovlev Yak-54


text:
Wikipedia:Collaboration of the week/Removed/2004

This page lists the archives containing nominations from the main collaboration of the week page which were removed due to lack of votes or because they're unsuitable nominations in 2004. Successful nominations are listed at the history page.

 * Archive 1 - from May 5 to June 30, 2004
 * Archive 2 - from July 1 to July 16, 2004
 * Archive 3 - from July 17 to August 6, 2004
 * Archive 4 - from August 7 to September 4, 2004
 * Archive 5 - from September 5 to September 21, 2004
 * Archive 6 - from September 22 to October 3, 2004
 * Archive 7 - from October 4 to October 15, 2004
 * Archive 8 - from October 16 to October 31, 2004
 * Archive 9 - from November 1 to November 9, 2004
 * Archive 10 - from November 10 to November 30, 2004
 * Archive 11 - from December 1 to December 15, 2004
 * Archive 12 - from December 16 to December 31, 2004


text:
Wikipedia:Collaboration of the week/Removed/2005

This page lists the archives containing nominations from the main collaboration of the week page which were removed due to lack of votes or because they're unsuitable nominations in 2005. Successful nominations are listed at the history page.

 * Archive 1 - from January 1 to January 15, 2005
 * Archive 2 - from January 16 to January 31, 2005
 * Archive 3 - from February 1 to February 28, 2005
 * Archive 4 - from March 1 to March 28, 2005
 * Archive 5 - from March 28 to April 24, 2005
 * Archive 6 - from April 25 to June 17,2005
 * Archive 7 - from June 18 to July 23, 2005
 * Archive 8 - from July 24 to December 31, 2005


text: Category:Ukrainian models

title: Category:Ukrainian models


text:
Grand Slam (professional wrestling)

The Grand Slam is an accomplishment recognized by various professional wrestling promotions in the United States and Japan. It is a distinction given to a professional wrestler who has either won four specific championships within a promotion throughout their career, or all available championships. Promotions that recognize this include WWE (since 1997), Total Nonstop Action Wrestling (since 2009), Ring of Honor (since 2018), and New Japan Pro-Wrestling (since 2021). The four titles typically include three singles championships, one of them usually being a world title, plus a tag team championship.

WWE
In WWE (formerly WWF), the term "Grand Slam" was originally used by Shawn Michaels to describe himself upon winning the European Championship on September 20, 1997. Michaels previously held the WWF Championship, Intercontinental Championship, and the World Tag Team Championship—the titles that composed the Triple Crown.

In May 2001, the promotion's website indicated that the Hardcore Championship was an acceptable substitute for the European Championship in the Grand Slam. Kane, who had defeated Triple H for the Intercontinental Championship at Judgment Day on May 20, 2001, was acknowledged as a Grand Slam winner as he had "become the only superstar in World Wrestling Federation history that has held the Intercontinental title as well as the Hardcore, Tag Team and WWF titles".

In April 2006, Kurt Angle was noted as being a former Grand Slam winner on WWE.com, having won the WWE, WWE Tag Team, Intercontinental, and European Championship, indicating that WWE considered the WWE Tag Team Championship to be an acceptable substitute for the World Tag Team Championship. In August 2007, WWE.com published an article listing Shawn Michaels' championship reigns that completed the Grand Slam. They included the WWE, World Heavyweight, World Tag Team, Intercontinental, and European Championship. The inclusion of the World Heavyweight Championship indicated that WWE considered the title to be an acceptable substitute for the WWE Championship in completing the Grand Slam.

At ECW One Night Stand in June 2006, Rob Van Dam became the first superstar acquired by WWE after the purchase of World Championship Wrestling and Extreme Championship Wrestling in 2001 to complete the Grand Slam when he defeated John Cena for the WWE Championship. Booker T became the second star acquired by the purchase to complete the Grand Slam when he defeated Rey Mysterio for the World Heavyweight Championship at The Great American Bash in July 2006. Booker has held the World Tag Team, Intercontinental, and Hardcore titles.

Following WrestleMania 31 in 2015, WWE (which four years earlier ended the brand extension and unified several titles before that) established an updated version of the Grand Slam consisting of the four then-active men's titles in WWE: the WWE World, Intercontinental, United States, and WWE Tag Team Championships. Thirteen wrestlers have been recognized as Grand Slam winners under these new parameters (including five who were already recognized as Grand Slam winners under the original guidelines). The brand extension was re-established in 2016 and WWE indicated that two new championships that had been introduced, the Universal Championship and the SmackDown Tag Team Championship, count as acceptable substitutes for their counterpart titles (WWE Championship and WWE Tag Team, now World Tag Team, respectively) as part of the Grand Slam.

Chris Jericho completed the original format the fastest, completing it in 728 days between December 1999 and December 2001, while Kurt Angle completed the modern format the fastest, completing it in 966 days between February 2000 and October 2002.

On February 21, 2021, WWE acknowledged The Miz as the first wrestler to complete the Grand Slam twice under the revised 2015 format after winning his second WWE Championship. Seth Rollins would become the second two-time Grand Slam Champion by winning the WWE United States Championship a second time in October 2022.

In May 2023, WWE added a third world championship with a new version of the World Heavyweight Championship. It is unclear if this title would be added as an acceptable substitute for the Grand Slam.

List of WWE Grand Slam winners
As of July 29, 2024, there have been 22 individual Grand Slam Champions. 17 wrestlers have only achieved it once, seven under the original format and 10 under the modern format, while five wrestlers have achieved the Grand Slam under both formats, three of whom automatically became modern Grand Slam champions at the introduction of the modern format (with the same titles they won while becoming original Grand Slam champions), and two who became modern Grand Slam champions after the modern format was introduced (with different titles won to complete both formats).

Revised format (established 2015)
The modern WWE Grand Slam consists of the WWE, Intercontinental, United States, and World Tag Team (formerly WWE/Raw Tag Team) Championships. Two other championships—the Universal and WWE Tag Team (formerly SmackDown Tag Team) Championships—were added in 2016 as alternative titles to the WWE title and Tag Team Championships respectively following the reintroduction of the brand extension. In regards to the United States Champion, due to its lineage, WWE only counts United States Championship reigns that took place in WWE, whether it bore the WCW or WWE moniker. Edge and Kurt Angle held the title when it was the WCW United States Championship. Eddie Guerrero’s first reign does not count as a result of this rule, since it took place in WCW.

List of WWE Women's Grand Slam winners
In May 2019, Bayley (above) was announced as WWE's first-ever Women's Grand Slam champion, having won (from left to right) the Raw (now Women's Championship), SmackDown (now Women's World Championship), and NXT singles championships, and the WWE Women's Tag Team Championship.

As of July 29, 2024, there have been six individual Women's Grand Slam champions. Rhea Ripley has completed the Grand Slam the fastest, completing it in 1,200 days between December 2019 and April 2023, while Becky Lynch took the longest time to complete the Grand Slam, doing so in 2,257 days between September 2016 and September 2023.

TNA Wrestling (2009)
The first Total Nonstop Action Wrestling (TNA - known as Impact Wrestling from 2017–2023) Grand Slam winner was crowned on March 15, 2009, at TNA's Destination X pay-per-view event. At said event, then three-time TNA Triple Crown champion A.J. Styles defeated Booker T for the TNA Legends Championship. On the March 19 episode of TNA's primary television program, TNA Impact!, announcer Mike Tenay stated that Styles had become the first TNA Grand Slam winner by capturing the World Heavyweight (NWA or TNA), World Tag Team (NWA or TNA), X Division, and Legends Championships (The Legends Championship was subsequently renamed the Global, Television, and King of the Mountain Championship, before being fully retired).

Under TNA's definition of the Grand Slam, wrestlers are eligible to be a multiple Grand Slam winner each time they complete a new circuit. Thus far, only A.J. Styles has won the Grand Slam on more than one occasion. On August 15, 2016, the TNA King of the Mountain Championship was once again retired when Lashley unified the title into his TNA World Heavyweight Championship. In a March 26, 2018, article on the Impact Wrestling website, the eligibility of the Impact Grand Championship, which replaced the King of the Mountain Championship, as a Grand Slam title was confirmed. Since 2018, any future Grand Slam winners are limited to those who had already held either the Legends/Global/TV/King of the Mountain title or Grand Championship, as during a press conference on June 4, 2018, Austin Aries unified the Impact Grand Championship with the Impact world title.

Ring of Honor (2018)
In 2018, Ring of Honor (ROH) established its own version of the Grand Slam, which consists of the ROH World Championship, ROH World Television Championship, ROH World Tag Team Championship, and ROH World Six-Man Tag Team Championship. Christopher Daniels was the first wrestler to achieve this feat, doing so at the ROH 16th Anniversary Show, when he won the Six-Man titles to complete the Grand Slam. After Jay Lethal won the ROH World Tag Team Championship, he was announced as a Grand Slam Champion since he had won the ROH Pure Championship in the past, indicating that the Pure and Six-Man Tag Team Titles are interchangeable as the fourth component to the ROH Grand Slam.

Florida Championship Wrestling (2012)

In Florida Championship Wrestling (FCW), WWE's former developmental territory, a Grand Slam winner was a wrestler who had won every championship that was available in FCW. All FCW titles were retired when FCW changed its name to NXT.

Explosive Pro Wrestling (2018)
In Explosive Pro Wrestling (EPW), the Grand Slam consists of the EPW Heavyweight Championship, the EPW Tag Team Championship, the EPW Coastal Championship and the EPW Hardcore Championship.

New Japan Pro-Wrestling (2021)
In 2021, New Japan Pro-Wrestling retroactively established its own version of the Grand Slam, occasionally also referred to as the Quadruple Crown, consisting of the IWGP Heavyweight Championship, the IWGP United States Heavyweight Championship, the IWGP Intercontinental Championship and the NEVER Openweight Championship. The NJPW Grand Slam is unique in Grand Slams as it consists of four singles championships. Jay White was the first to achieve this feat, completing the circuit on May 3, 2021 at Wrestling Dontaku 2021. It is currently unknown if another NJPW Grand Slam will be established, as both the IWGP Heavyweight and Intercontinental titles were retired in 2021 in favor of the IWGP World Heavyweight Championship, and the United States Championship in 2023 in favor of the IWGP Global Heavyweight Championship.

Ice Ribbon (2012)
In the joshi puroresu (women's professional wrestling) promotion Ice Ribbon, the Grand Slam consists of the ICE×60/ICE×∞ Championship, the International Ribbon Tag Team Championship, the Triangle Ribbon Championship and the IW19 Championship.

Tokyo Joshi Pro Wrestling (2023–present)
In TJPW, the Grand Slam consists of all the available titles promoted by the company. They are the Princess of Princess Championship, the Princess Tag Team Championship, and the International Princess Championship. On March 18, 2023, during the Grand Princess event, Rika Tatsumi became the first Grand Slam champion in TJPW's history.

World Wonder Ring Stardom (2022)
In the joshi puroresu (women's professional wrestling) promotion World Wonder Ring Stardom, the Grand Slam consists of all the available titles promoted by the company except the Future of Stardom Championship. They are the World of Stardom Championship, the Wonder of Stardom Championship, the Goddesses of Stardom Championship, the Artist of Stardom Championship, the High Speed Championship and the SWA World Championship. The notion of "grand slam" was first officially mentioned on May 5, 2022, when Mayu Iwatani became the second wrestler in the company to achieve the feat, after Io Shirai.

title: Grand Slam (professional wrestling)


text:
Grosse Fuge

The Grosse Fuge (German spelling: Große Fuge, also known in English as the Great Fugue or Grand Fugue), Op. 133, is a single-movement composition for string quartet by Ludwig van Beethoven. An immense double fugue, it was universally condemned by contemporary music critics. A reviewer writing for the Allgemeine musikalische Zeitung in 1826 described the fugue as "incomprehensible, like Chinese" and "a confusion of Babel". However, critical opinion of the work has risen steadily since the early 20th century and it is now considered among Beethoven's greatest achievements. Igor Stravinsky described it as "an absolutely contemporary piece of music that will be contemporary forever".

The Grosse Fuge was originally composed as the final movement of Beethoven's Quartet No. 13 in B♭ major, Op. 130, written in 1825; but Beethoven's publisher was concerned about the dismal commercial prospects of the piece and wanted the composer to replace the fugue with a new finale. Beethoven complied, and the Grosse Fuge was published as a separate work in 1827 as Op. 133. The work was composed when Beethoven was nearly totally deaf, and is considered to be part of his set of late quartets. The  Grosse Fuge was first performed in 1826, as the finale of the B♭ quartet, by the Schuppanzigh Quartet.

Music analysts and critics have described the Grosse Fuge as "inaccessible", "eccentric", "filled with paradoxes", and "Armageddon". Critic and musicologist Joseph Kerman calls it "the most problematic single work in Beethoven's output and ... doubtless in the entire literature of music", and violinist David Matthews describes it as "fiendishly difficult to play".

History of the composition
Beethoven originally wrote the fugue as the closing movement of his String Quartet No. 13, Op. 130, composed in late 1825. His choice of a fugal form for the final movement was well grounded in tradition: Haydn, Mozart, and Beethoven himself had previously written fugues as final movements of quartets. But in recent years, Beethoven had become increasingly concerned with the challenge of integrating this Baroque form into the Classical structure. "In my student days I wrote dozens of [fugues] ... but [imagination] also wishes to exert its privileges ... and a new and really poetic element must be introduced into the traditional form," Beethoven wrote. The resulting movement was a mammoth work, 741 measures long; the total number of measures in the other movements is 643. The fugue is dedicated to the Archduke Rudolf of Austria, his student and patron.

At the premiere performance of the Op. 130 quartet, the other movements were received enthusiastically, but the fugue was not a success. Many musicians and critics in Vienna's music periodicals denounced the fugue. Composer and violinist Louis Spohr called it, and the other late quartets, "an indecipherable, uncorrected horror".

Despite the contemporary criticism, Beethoven himself never doubted the value of the fugue. Karl Holz, Beethoven's secretary, confidant and second violinist of the Schuppanzigh Quartet that first performed the work, brought Beethoven the news that the audience had demanded encores of two middle movements. Beethoven, enraged, was reported to have growled, "And why didn't they encore the Fugue? That alone should have been repeated! Cattle! Asses!"

However, the fugue was so roundly condemned by critics and audience alike that Beethoven's publisher, Matthias Artaria (1793–1835), decided to try to convince Beethoven to publish it separately. Artaria tasked Holz with persuading Beethoven to separate the fugue from the rest of the quartet. Holz wrote:

Artaria ... charged me with the terrible and difficult task of convincing Beethoven to compose a new finale, which would be more accessible to the listeners as well as the instrumentalists, to substitute for the fugue which was so difficult to understand. I maintained to Beethoven that this fugue, which departed from the ordinary and surpassed even the last quartets in originality, should be published as a separate work and that it merited a designation as a separate opus. I communicated to him that Artaria was disposed to pay him a supplementary honorarium for the new finale. Beethoven told me he would reflect on it, but already on the next day I received a letter giving his agreement.

Why the notoriously stubborn Beethoven apparently agreed so readily to replace the fugue is an enigma in the history of this quintessentially enigmatic piece. Some historians have speculated that he likely did it for the money (Beethoven was extremely bad at managing his personal finances and was often broke), while others believe it was to satisfy his critics, or simply because Beethoven came to feel the fugue stood best on its own. The fugue is connected to the other movements of Op. 130 by various hints of motifs, and by a tonal link to the preceding Cavatina movement (the Cavatina ends on a G, and the fugue begins with the same G). The lively final movement which replaced the fugue is in the form of a contredanse and is completely uncontroversial. Beethoven composed this replacement finale while staying at the estate of his brother Johann in Gneixendorf during the late autumn of 1826, and is the last complete piece of music he was to write. In May 1827, about two months after Beethoven's death, Matthias Artaria published the first edition of Op. 130 with the new finale, the Grosse Fuge separately (under the French title Grande Fugue) as Op. 133, and a four-hand piano arrangement of the fugue as Op. 134.

General analysis
Dozens of analyses have attempted to delve into the structure of the Grosse Fuge, with conflicting results. The work has been described as an expansion of the formal Baroque grand fugue, as a multi-movement work rolled into a single piece, and as a symphonic poem in sonata form. Stephen Husarik has suggested that the relationships between the keys of the different sections of the fugue mirror what he describes as the wedge-like structure of the eight-note motif that is the main fugal subject, the "contour [that] is a driving force behind the Grosse Fuge". But Leah Gayle Weinberg writes: "The Grosse Fuge has been and continues to be a problematic subject of scholarly discussion for many reasons; the most basic is that its very form defies categorization."

Beethoven himself subtitled the fugue "tantôt libre, tantôt recherchée" (sometimes free, sometimes learned). Some sections of the work follow the strict formal structure of Baroque grand fugues, while others are more freely constructed. Regardless of how closely Beethoven follows Baroque tradition, the use of contrapuntal techniques is ubiquitous throughout the work.

Main motif
The central motif of the fugue is an eight-note subject that climbs chromatically upward:

A similar motif appears in act 2, measures 44–47, of the "Dance of the Blessed Spirits" from Gluck's opera Orfeo ed Euridice (1774), and also in Haydn's String Quartet in G, Op. 33, No. 5. ii, mm. 27–29. Another similar subject, with syncopated or gapped rhythm (called Unterbrechung in German), appears in a treatise on counterpoint by Johann Georg Albrechtsberger, who taught Beethoven composition. Joseph Kerman suggests that Beethoven modeled the motif after J. S. Bach's fugue in B minor from The Well-Tempered Clavier. Its subject is shown below:

Whatever the origin of the motif, Beethoven was fascinated by it. He used it, or fragments of it, in a number of places in the late quartets, most notably in the first movement of his Op. 132 string quartet. The opening is shown below:

In the course of the Grosse Fuge, Beethoven plays this motif in every possible variation: fortissimo and pianissimo, in different rhythms, upside down and backwards. The usual practice in a traditional fugue is to make a simple, unadorned statement of the subject at the outset, but Beethoven from the very beginning presents the subject in a host of variations.

Other motifs
In stark contrast to this simple chromatic motif is the second subject of the fugue, which leaps dramatically in huge intervals – tenths and twelfths:

The third motif is a lilting melody that serves as the theme of the andante section of the fugue:

A fourth element – not so much a motif as an effect – is the trill. Beethoven also uses trills extensively, simultaneously creating a sense of disintegration of the motifs, leading to a climax.

Overtura
The fugue opens with a 24-bar overture, which starts with a dramatic fortissimo unison G, and statement of the main fugal subject in the key of G major:

This statement of the subject disintegrates into a trill, and silence. Beethoven then repeats the subject, but in a completely different rhythm, in diminution (meaning at double the tempo), twice, climbing up the scale; and then, again silence, and again the subject, this time unadorned, in a dramatic drop to pianissimo in the key of F major.

This leads to a statement of the third fugal subject, with the first subject in the bass:

Thus, Beethoven, in this brief introduction, presents not only the material that will make up the entire piece but also the spirit: violent shifts of mood, melodies disintegrating into chaos, dramatic silences, instability, and struggle.

First fugue
Following the overture is a strictly formal double fugue in the key of B♭ major that follows all the rules of a Baroque fugue: an exposition and three variations, showcasing different contrapuntal devices. But this is anything but a tame Baroque fugue: it is violent and dissonant, pitting awkward leaps of the second subject in iambic rhythm against the main subject in syncopation, at a constant dynamic that never falls below forte. The resulting angular rhythmic confusion and displaced dissonances last almost five minutes.

First, Beethoven restates the main subject, broken up by rests between each note.

Then begins a double fugue, two subjects, played one against the other. The second subject in the first violin, and the first subject, syncopated, in the viola. Then the second violin and cello take up the same thing.

The first variation, following the rules of fugue, opens in the subdominant key of E♭. Beethoven adds to the chaos with a triplet figure in the first violin, played against the quaternary rhythm of the second subject in the second violin and the syncopated main subject in the viola.

The second variation, back in the key of B♭, is a stretto section, meaning that the fugal voices enter one right after the other. To this, Beethoven adds a countersubject in dactylic rhythm (shown in red below).

 * [[File:FG First Fugue Second Variation.ogg]]
 * [[File:FG First Fugue Second Variation.ogg]]

In the third variation, Beethoven presents a variation of the second subject in the triplet rhythm of the countersubject of the first variation, with the main subject syncopated in eighth notes, in diminution (that is, the subject is played at twice the speed).

This last variation grows increasingly chaotic, with triplets breaking out in the inner voices, until it ultimately collapses – each instrument finishing on a different part of the measure and ending inconclusively on a final fermata, leading to the next section in the key of G♭.

Meno mosso e moderato
This section ("slower and at a moderate pace") is a complete change of character from the formal fugue that preceded it and the one that follows it. It is a fugato, a section that combines contrapuntal writing with homophony. "After the strenuousness of the B♭ Fugue [first section], the effect is of an almost blinding innocence," writes Joseph Kerman. Analysts who see the fugue as a multi-movement work rolled into one view this as the traditional Andante movement. It opens with a statement of the third subject, against a pedal tone in the viola, and continues with the third subject in the second violin, against the main subject cantus firmus in the viola.

The counterpoint becomes more complex, with the cello and first violin playing the main subject in canon while the second violin and viola pass the third subject between them.

 * [[File:Grosse fuge Fugato development.ogg]]
 * [[File:Grosse fuge Fugato development.ogg]]

Despite the growing complexity of the fugal writing, Beethoven instructs the players sempre piano – always quiet. Leonard Ratner writes of this section, "[This] comes as a wonderful change of color, offered with the silkiest of textures, and with exquisite moments of glowing diatonism."

The polyphony gradually dissipates into homophony, and from there into unison, finally tapering into a dying, measured sixteenth-note tremolo, when the next section bursts out in the key of B♭.

Interlude and second fugue
Beethoven shifts gears: from G♭ to B♭, from to, from pianissimo to fortissimo. The fortissimo descends immediately to piano, for a short interlude before the second fugue. This interlude is based on the main subject in diminution, meaning in double time. On top of this, Beethoven adds a lilting, slightly comic melody; analysts who see the fugue as a multi-movement work consider this section the equivalent of a scherzo.

In this interlude, Beethoven introduces the use of trill (hinted at, at the end of the Meno mosso section). The music grows in intensity and shifts into A♭ major, for a new learned fugue.

In this fugue, Beethoven puts together three versions of the main subject: (1) the subject in its simple form, but in augmentation (meaning half the speed); (2) the same subject, abbreviated, in retrograde (that is, played backwards); and (3) a variation of the first half of the subject in diminution (that is, double time). Together, they sound like this:

 * [[File:Grosse Fuge Second Fuge exposition.ogg]]
 * [[File:Grosse Fuge Second Fuge exposition.ogg]]

Here Beethoven starts to use trills intensely. This adds to the extremely dense texture and rhythmic complexity. Kerman writes of this fugal section, "The piece seems to be in danger of cracking under the tension of its own rhythmic fury."

In the second episode of this fugue, Beethoven adds in the triplet figure from the first variation of the first fugue:

The trills become more intense. In the third episode, in the dominant key of E♭ major, Beethoven uses a leaping motif that recalls the second subject of the first fugue:

The fourth episode returns to the key of A♭. The cello plays the main subject in a way that harks back to the overtura. More elements of the first fugue return: the syncopation used for the main subject, the tenth leaps from the second subject, the diminuted main subject in the viola.

Thematic convergence and coda
This leads back to a restatement of the meno mosso e moderato section. This time, though, instead of a silky pianissimo, the fugato is played forte, heavily accented (Beethoven writes on every sixteenth-note group), march-like. Analysts who see the fugue as a variation of sonata-allegro form consider this to be part of the recapitulation section. In this section, Beethoven uses another complex contrapuntal device: the second violin plays the theme, the first violin plays the main subject in a high register, and the viola plays the main subject in inversion – that is, upside down.

 * [[File:Grosse Fuge recap 1.ogg]]
 * [[File:Grosse Fuge recap 1.ogg]]

A series of trills leads back to the home key of B♭, and a restatement of the scherzo section.

There follows a section that analysts have described as "uneasy hesitation" or "puzzling" and "diffused". Fragments of the various subjects appear and disappear, and the music seems to lose energy. A silence, and then a fragmentary burst of the opening of the first fugue. Another silence. A snippet of the meno mosso. Another silence. And then a fortissimo restatement of the very opening of the piece, leading to the coda.

From here the music moves forward, at first haltingly, but then with more and more energy, to the final passage, where the first subject is played in triplets below the soaring violin line playing a variant of the second subject.

Understanding the Grosse Fuge
Analyses of the Grosse Fuge help to understand the structure and contrapuntal devices of this mammoth piece. But, writes musicologist David B. Levy, "Regardless of how one hears the piece structurally, the composition remains filled with paradoxes that leave the listener ultimately dissatisfied with an exegesis derived solely from a structural perspective." Since its composition, musicians, critics and listeners have tried to explain the tremendous impact this piece has.

"[It] is one of the great artistic testaments to the human capacity for meaning in the face of the threat of chaos. Abiding faith in the relevance of visionary struggle in our lives powerfully informs the structure and character of the music," writes Mark Steinberg, violinist of the Brentano String Quartet. "More than anything else in music ... it justifies the ways of God to men," writes musicologist Leonard Ratner.

But beyond a recognition of the hugeness and almost mystical impact of the music, critics fail to agree on its character. Robert S. Kahn says "it presents a titanic struggle overcome." Daniel Chua, on the contrary, writes, "The work speaks of failure, the very opposite of the triumphant synthesis associated with Beethovenian recapitulations." Stephen Husarik, in his essay "Musical direction and the wedge in Beethoven's high comedy, Grosse Fuge op. 133", contends that in the fugue, Beethoven is actually writing a parody of Baroque formalism. "The B♭ Fuga of op. 133 stumbles forward in what is probably the most relentless and humorous assertion of modal rhythms since 12th century Notre Dame organum." Kahn disagrees: "... the comparison to comic music is surprising. There is nothing comic about the Grosse Fuge ...".

In many discussions of the piece, the issue of struggle is central. Sara Bitloch, violinist of the Elias String Quartet, says this sense of struggle informs her group's interpretation of the fugue. "Every part has to feel like it's a huge struggle ... You need to finish the Grosse Fuge absolutely exhausted." She calls the piece "apocalyptic". Arnold Steinhardt of the Guarneri String Quartet calls it "Armageddon ... the chaos out of which life itself evolved".

One way to express the impact of the fugue is through poetry. In her poem "Little Fugue", Sylvia Plath associates the fugue with death, in a melange of hazy associations with the yew tree (a symbol of death in Celtic Britain), the Holocaust, and the death of her own father:

"He could hear Beethoven: Black yew, white cloud, The horrific complications. Finger-traps—a tumult of keys.

Empty and silly as plates, So the blind smile. I envy big noises, The yew hedge of the Grosse Fuge. Deafness is something else. Such a dark funnel, my father! I see your voice Black and leafy, as in my childhood."

The poet Mark Doty wrote of his feelings on listening to the Grosse Fuge:

"What does it mean, chaos gathered into a sudden bronze sweetness, an October flourish, and then that moment denied, turned acid, disassembling, questioned, rephrased?"

Reception and musical influence
After the first performance in 1826 by the Schuppanzigh Quartet as the original finale to the op. 130 quartet, the fugue is not known to have been publicly performed again until 1853 in Paris by the Maurin Quartet. A century after its publication, the fugue still had not entered the standard quartet repertoire. "The attitude of mind in which most people listen to chamber music must undergo a radical change" to understand this piece, wrote Joseph de Marliave in 1928. "This fugue is one of the two works by Beethoven—the other being the fugue from the piano sonata, Op. 106—which should be excluded from performance." As late as 1947, Daniel Gregory Mason called the fugue "repellent".

By the 1920s, some string quartets were beginning to include the fugue in their programs. Since then, the fugue has steadily gained admiration and greatness in the eyes of musicians, performers and audiences. "The Great Fugue ... now seems to me the most perfect miracle in music," said Igor Stravinsky. "It is also the most absolutely contemporary piece of music I know, and contemporary forever ... Hardly birthmarked by its age, the Great Fugue is, in rhythm alone, more subtle than any music of my own century ... I love it beyond everything." Pianist Glenn Gould said, "For me, the 'Grosse Fuge' is not only the greatest work Beethoven ever wrote but just about the most astonishing piece in musical literature."

Some analysts and musicians see the fugue as a pioneering assault on the diatonic tonal system that prevailed in Classical music. Robert Kahn sees the main subject of the fugue as a precursor of the tone row, the basis of the twelve-tone system developed by Arnold Schoenberg. "Your cradle was Beethoven's Grosse Fuge," artist Oskar Kokoschka wrote to Schoenberg in a letter. Composer Alfred Schnittke quotes the subject in his third string quartet (1983). There have also been numerous orchestral arrangements of the fugue, including by conductors Wilhelm Furtwängler and Felix Weingartner.

Performance challenges
Performers approaching the Grosse Fuge face a host of technical and musical challenges. Among the technical difficulties of the piece are difficult passagework, complex cross-rhythms that require exact synchronization, and problems of intonation, where the harmonies pass from dissonance to resolution.

Once mastering the technical difficulties, there are many interpretive issues to resolve. One of these is whether the fugue should be played as the finale of Op. 130, as originally written, or as a separate piece. Playing the fugue as the final movement of Op. 130, rather than the light, Haydnesque replacement movement, completely changes the character of the quartet, analysts Robert Winter and Robert Martin note. Played with the new finale, the preceding movement, the "Cavatina", a heartfelt and intense aria, is the emotional center of the piece. Played with the fugue as the finale, the Cavatina is a prelude to the massive and compelling fugue. On the other hand, the fugue stands alone well. "Current taste is decisively in favor of the fugal finale," conclude Winter and Martin. A number of quartets have recorded Op. 130 with the fugue and the replacement finale on separate disks.

A second issue facing performers is whether to choose a "learned" interpretation – one that clarifies the complex contrapuntal structure of the piece – or one that focuses primarily on the dramatic impulses of the music. "Beethoven had taken a form that is basically an intellectual form, where the emotions take second place, compared to the structure, and he has completely turned that around, writing one of the most emotionally charged pieces ever," says Sara Bitloch of the Elias Quartet. "As a performer that's a particularly difficult balance to find ... Our first approach was to find a kind of hierarchy in the themes ... but we found that when we do that we're really missing the point of the piece."

Tied eighth notes
After deciding on the overall approach to the music, there are numerous local decisions to be made about how to play particular passages. One issue concerns the peculiar notation that Beethoven uses in the syncopated presentation of the main subject – first in the overtura but later throughout the piece. Rather than writing this as a series of quarter notes, he writes two tied eighth notes.

Musicologists have tried to explain what Beethoven meant by this: David Levy has written an entire article on the notation, and Stephen Husarik looked to the history of Baroque ornamentation for an explanation. Performers have interpreted it in various ways. The Alban Berg Quartett plays the notes almost as a single note, but with an emphasis on the first eighth note to create a subtle differentiation. Eugene Drucker of the Emerson String Quartet plays this as two distinct eighth notes. Mark Steinberg of the Brentano String Quartet sometimes joins the eighth notes, and sometimes separates them, marking the difference by playing the first eighth without vibrato, then adding vibrato for the second.

Arrangement for piano four hands
In early 1826, the publisher of the Op. 130 String Quartet, Matthias Artaria, told Beethoven there were "many requests" for a piano four-hand arrangement of the Grosse Fuge. This was well before any known discussion of publishing the fugue independently of the quartet; considering the generally negative reaction to the fugue, Solomon speculates this may have been Artaria's initial ploy to persuade Beethoven to separate the fugue from the Op. 130 quartet. When Artaria asked Beethoven to prepare the piano arrangement he was not interested, so Artaria instead engaged composer Anton Halm to arrange the piece. When Beethoven was shown Halm's work, he was not satisfied and immediately began writing his own note-for-note arrangement of the fugue. Beethoven's arrangement was completed subsequent to the C♯ minor String Quartet, Op. 131, and was published by Artaria as Op. 134. Among Beethoven’s objections to Halm’s arrangement was that it tried to make it easier for the players. “Halm enclosed a note saying that for the sake of convenience he had to break up some of the lines among the hands. Beethoven wasn’t interested in convenience.”

Rediscovery of manuscript
In 2005, Beethoven's 1826 autograph of his piano four-hands transcription of the Grosse Fuge resurfaced at Palmer Theological Seminary (then Eastern Baptist Theological Seminary) in Pennsylvania. The manuscript was authenticated by Dr. Jeffrey Kallberg at the University of Pennsylvania and Dr. Stephen Roe, head of Sotheby's Manuscript Department. The manuscript had been missing for 115 years. It was auctioned by Sotheby's on 1 December 2005, and bought for GBP 1.12 million (US$1.95 million) by a then-unknown purchaser, who has since revealed himself to be Bruce Kovner, a publicity-shy multi-billionaire who donated the manuscript – along with 139 other original and rare pieces of music – to the Juilliard School of Music in February 2006. It has since become available in Juilliard's online manuscript collection. The manuscript's known provenance is that it was listed in an 1890 catalogue and sold at an auction in Berlin to a Cincinnati, Ohio, industrialist, whose daughter gave it and other manuscripts including a Mozart Fantasia to a church in Philadelphia, Pennsylvania, in 1952. It is not known how the Beethoven manuscript came to be in the possession of the library.

The most striking change in the piano duet version occurs at the start. "Beethoven had tampered in an interesting way with the first bars of the Fugue's introductory section. The quartet version begins with loud unison G's, spread over three octaves and one and a half bars. In his initial draft of the piano arrangement, Beethoven replicated the original. Then, apparently, he decided that the Gs needed more strength and weight. The manuscript shows that he squeezed in two extra tremolando bars, expanding the moment in time. He also added octaves above and below, expanding it in space."

According to pianist Peter Hill, Beethoven transferred the Fugue from string quartet to piano "with obvious care. Revisiting the Fugue in this way may well have caused Beethoven to rethink the possibilities of what he had composed, to conclude that the Fugue could (and perhaps should) stand alone." Hill concludes, "What Beethoven created for the Grosse Fuge transcended the immediate purpose. Instead, he re-imagined a masterpiece in another medium, different from the original, but equally valid because equally characteristic of its creator."

In theatre

 * 1992: Die grosse Fuge, dance piece for 8 dancers by Anne Teresa De Keersmaeker, Rosas (dance ensemble)
 * 2001: Grosse Fugue, dance piece for 4 dancers by Maguy Marin, Compagnie Maguy Marin
 * 2016: Grosse Fugue, dance piece for 12 dancers by Lucinda Childs, Opéra National de Lyon

title: Grosse Fuge


text:
User:Anoopalias01~enwiki

i am a human being born on 6 september 1982, and this is my idendity on the internet

title: User:Anoopalias01~enwiki


text: User talk:24.168.190.138

title: User talk:24.168.190.138


text:
Charles Croswell

Charles Miller Croswell (October 31, 1825 – December 13, 1886) was the 17th governor of Michigan from 1877 to 1881.

Early life in New York
Croswell was born in Newburgh, New York, the only son of John and Sallie (née Hicks) Croswell. His father, who was of Scots-Irish extraction, was a paper maker, and carried on business in New York City. His ancestors on his mother's side were of Knickerbocker descent. Some members of the Croswell family were connected with notable events in New York and Connecticut, including Harry Croswell, a pro-Federalist newspaper editor, convicted of libel against President Thomas Jefferson in a landmark case in New York. When Croswell was seven years old his mother and younger sister died of fever. A few months later his father accidentally drowned in the Hudson River. Charles was taken in to live with the family of his mother's brother, Daniel Hicks.

Early life in Michigan
In 1837, when Croswell was 12, the Hicks family moved to Adrian, Michigan. At 16, he began studying to be a carpenter—his uncle's trade—and pursued that vocation for four years. According to one biography, he "worked at it very diligently ... maintaining himself, and devoting his spare time to reading and the acquirement of knowledge."

Croswell began to study the law in 1846. That same year, he was appointed Deputy Clerk of Lenawee County. His uncle, Daniel, had been the first Register of Deeds for Lenawee County. In 1847, Hicks went to fight in the Mexican–American War. After returning from the war, Hicks went to Sault Ste. Marie to be a collector of the port there and soon after died from yellow fever, which he had contracted in Mexico. After this, Charles bought the house in Adrian that he had helped to build from his aunt for $1,700.

Early political career
In 1848, Croswell ran on the Whig ticket for the position of County Clerk, but was defeated. In 1850, he was elected as a Whig to be Register of Deeds for the county in 1850 and was re-elected in 1852. In 1854, he took part in the formation of the Republican Party, where he was a member and Secretary of the convention held at Jackson, Michigan.

In 1855 he formed a law partnership with Thomas M. Cooley, who later became Chief Justice of the Michigan Supreme Court. This partnership continued until 1859, when Cooley moved to Ann Arbor. In 1862, Croswell was appointed the City Attorney of Adrian, and in the same year was elected mayor. In the general election in the fall of 1862, he was elected from the 10th District to the Michigan Senate. He was re-elected from the 10th District in 1864 and from the 8th District in 1866. During this whole period he was president pro tempore and Chairman of the Judiciary Committee.

In 1867, Croswell was elected a member of the Constitutional Convention to revise the Michigan Constitution, and selected as the presiding officer. In 1868, he was chosen an elector on the Republican presidential ticket, casting, with his associates, the vote of the State of Michigan for Grant and Colfax. In 1872 he was elected from the Lenawee County 4th District to the Michigan House of Representatives, and made Speaker of the House. He also, for several years, served as Secretary of the State Board of Corrections and Charities, repeatedly visiting nearly all the poor-houses and jails of the state.

Governorship
In 1876 he was nominated by the Republican Party, for Governor of Michigan, and was elected by a majority of 23,434 over his Democratic competitor. He was re-nominated in 1878, and succeeded by a majority of 47,777 over his highest opponent. During his administration the public debt was greatly reduced; a policy adopted requiring the state institutions to keep within the limit of appropriations; laws enacted to provide more effectually for the punishment of corruption and bribery in elections; the State House of Correction at Ionia and the Eastern Asylum for the Insane at Pontiac were opened, and the new capitol building at Lansing was completed and occupied. During his second term, he presided at the dedication of the capitol building and helped prevent great destruction of a riot in Jackson. In 1887, Davisville, a small town in Michigan's Thumb, was renamed Croswell in his honor.

Personal life
Croswell married Lucy M. Eddy, the daughter of Adrian pioneer Morton Eddy, on February 4, 1852. They had five children, only three of whom survived past childhood. Lucy Croswell died of spinal apoplexy on March 19, 1868, while her husband was at the state Republican convention in Detroit. She left behind one son and two daughters: Charles Morton, Harriet (Hattie), and Lucy Elizabeth.

In 1880, Croswell married Elizabeth Musgrave, who was twenty-five years his junior. A daughter by his second wife was born three months after his death.

Retirement and death
Croswell returned to Adrian in 1881 after two terms as governor. He was active in retirement, serving as president of the Lenawee County Savings Bank. He also began buying shares in the Adrian Union Hall Company, which operated the town's largest event hall; he eventually became its majority owner and in 1883 installed his son, C.M. Croswell Jr., as its manager. The theater is still in operation and now known as the Croswell Opera House.

One afternoon in December 1886, he sat down by the stove in the offices of the Lenawee County Savings Bank and complained of a chill. This was the beginning of an illness that was to claim his life. He died on December 13, 1886, at the age of 61.

Croswell was buried at Oakwood Cemetery in Adrian. Three months after Croswell's death, his widow gave birth to a daughter, who was named Sallie Hicks Croswell, after Croswell's mother.

Elizabeth later remarried to become Elizabeth Merrill and donated the Croswell home in Adrian to the local chapter of the Daughters of the American Revolution. The home serves as the chapter offices.

The house in Adrian, Michigan where he lived before his governorship was listed as a Michigan State Historic Site in 1958 and later listed on the National Register of Historic Places as the Governor Charles Croswell House in 1972.

Memorials
A painting of Croswell now hangs in the Michigan State Capitol.

title: Charles Croswell


text:
Wikipedia talk:Untagged images/Archive 1

There are lists of untagged images at Untagged Images. These need to be tagged and tagged ones need to be removed from the lists. All images that are not tagged will not be included in the planned Mandrakelinux distribution (see Wikimedia and Mandrakesoft). Please see Image copyright tags for details of how to tag images. Based on a sample of 277 untagged images, at least 1 in 5 should have been tagged GFDL. Therefore, there are 10,000 GFDL images that won't be distributed unless they are tagged.

You can tag an image even if you don't know where it came from because the uploader has often written something on the page like "my own photo" or GFDL, but hasn't added the GFDL tag. If it's their own photo and they clicked the box to say "I affirm that the copyright holder of this file agrees to license it under the terms of the Wikipedia copyright", you can assume it's GFDL. Other images have a link to a source. If this source is the work of the U.S. federal government, you can add. If it's a logo or album cover, you can generally assume it's. If the date is on the image description page, and it is before 1923, you can add. A lot of the time the image description page tells you what the licence is, but doesn't use a tag. To allow automatic filtering, we need the tags. If you're really keen, you can also drop a few notes on user_talk pages to find locations for specific - remember there will be a lot of people around who uploaded images before tags existed, and have forgotten that they uploaded those images - and thus haven't gone back to tag them. User_talk messages might help jog the memory.

Please be careful about liberally slapping fair use notices on things.

The deadline for this is currently the end of October 2004. However, there will also be later releases, so work done after that deadline will still be useful.

 * What I would find extremely useful is a list of untagged images by who uploaded them. People could quickly find and deal with their own images while those from known copyright violators could be more easily found and deleted. - SimonP 22:56, Sep 6, 2004 (UTC)

Money images?
What would images of money, such as Image:1000TRLira.jpg, be tagged as? --Sparky the Seventh Chaos 00:08, Dec 9, 2004 (UTC)
 * user:Grinner has been adding  to a bunch of these without much by the way of justification:"Money image, seems like Pub. Dom. to me" I suspect there might be a little more work required on those, so I've pulled them into separate section. --Phil | Talk 13:23, Dec 9, 2004 (UTC)

 * U.S. currency is Public Domain, as U.S. law doesn't allow government-created works to be copyrighted. The currency of other countries is probably public domain, but I don't know for sure.   – Quadell (talk) (help)   21:49, Dec 9, 2004 (UTC)

I added a tag. Right now, it says money designs are public domain. If that turns out to be incorrect, I can just change the tag. For now, you can tag all official money images with the tag. (Note that if it's a big of a hand holding a dollar bill, this doesn't count. It has to be just a picture of the money design.)   – Quadell (talk) (help)   23:53, Dec 9, 2004 (UTC)

 * Euro banknote design is clearly copyright (the notice on the notes kind of gives it away!). As such, taking photos of euro notes can presumably be classed as fair use, but certainly images of only the design are not public domain, and even photos of the notes should acknowledge the design copyright.
 * While we clearly should be able to use photos of euro notes on Wikipedia, there is no way we can apply the tag to them.
 * zoney ♣ talk 17:07, 10 Dec 2004 (UTC)

Discussion contiued at Wikipedia talk:Image copyright tags. – Quadell (talk) (help)  20:43, Dec 10, 2004 (UTC)

Move out of user space?
There is a taboo about changing pages in the User: space. I wonder if it is inhibiting progress on this project to some degree. Is a move to the Wikipedia: space merited? --Ben Brockert 05:08, Dec 9, 2004 (UTC)
 * Taboo? Hah, there is no such taboo, just be bold and get started! Although I do feel this could go into Wikipedia namespace, if we hurry up we will not need it :) -- [[User:Solitude|Solitude\talk]] 09:04, Dec 9, 2004 (UTC)

It's out of user space now. But you probably noticed that already. :)

Should be finished by Xmas
Looking at the current trend we could be finished this by Christmas - a nice present to the Wikipedia community. Of course there are now 3600 images in the Unverified category .... Evil Monkey → Talk 05:31, Dec 14, 2004 (UTC)
 * That'll be the next project. But let's not get ahead of ourselves. :)   – Quadell (talk) (help)   14:18, Dec 14, 2004 (UTC)
 * Hmm. That might be a bit ambitious.  But ambition is good.  I'm off work next week and should find time to knock of quite a bit. --Kbh3rd 03:40, 17 Dec 2004 (UTC)
 * Well it looks like we missed my prediction. But the trend is good. Currrently we are tagging an image a minute. However having a browse through the unverified category it seems to me that people are just slapping an unverified tag on images that with about five minutes googling a copyright can be found.Evil Monkey → Talk 04:00, Dec 27, 2004 (UTC)

NASA flight patches
I haven't come across these as of yet but have just remembered something about them. On http://spaceflight.nasa.gov it states that:

The NASA insignia design for Space Shuttle flights is reserved for use by the astronauts and for other official use as the NASA Administrator may authorize. Public availability has been approved only in the form of illustrations by the various news media. When and if there is any change in this policy, which we do not anticipate, it will be publicly announced.

What does that mean for Wikipedia. I know that images and basically everything else from NASA are PD but what about the NASA emblem and these flight patches. Evil Monkey → Talk 21:42, Dec 19, 2004 (UTC)

 * Those restrictions aren't copyright issues, I believe. They are separate restrictions to prevent a private group from donning the NASA emblems to pass themselves off as NASA employees. So they aren't copyrighted, but there are restrictions on how they can be used. I would say the tag is still accurate.    – Quadell (talk) (help)   14:18, Dec 20, 2004 (UTC)

Additional SQL help required
Has anyone answered the call for regenerating the list from a copy of the database? It's something I might be able to do so long as I can grok the schema and have enough disk/memory space to work with it. But don't let me stop someone else who feels they have the resource and skills to do this. Kbh3rd 17:04, 12 Jan 2005 (UTC)
 * I don't think anyone has volunteered yet. It would be very helpful. – Quadell (talk) (help) 21:49, Jan 12, 2005 (UTC)

Just out of curiosity, aren't the original SQL statements available as a start? Or has the schema changed so drastically since then? RedWolf 06:18, Jan 13, 2005 (UTC)

 * I'm not even really sure who ran the original SQL queries. Does anyone know? – Quadell (talk) (help) 21:42, Jan 13, 2005 (UTC)

 * Is it not User:Yann who ran the first query. Zeimusu 00:42, 2005 Jan 15 (UTC)

 * I asked User:Yann, who replied: "I asked this list to be created but I didn't participate much to tagging since I mainly work on fr: and other projects and languages. I moved the page to Wikipedia:Untagged Images. If an update is needed, it should be asked to Looxix who has the status to do that. Yann 18:08, 9 Dec 2004 (UTC)", and so I asked User:Looxix but got no reply. So I think we probably have to start from scratch. --Tagishsimon (talk) 22:14, 18 Jan 2005 (UTC)

Re-generating the list
I have spent a bit of time seeing if I can re-generate a new list. What I have done so far is download the latest database dump (Jan 7/05), imported it into a local mysql database (~2 hours) and then ran the following SQL: The result from mysql: 19903 rows in set (1 min 40.96 sec)

Using "vi", I converted the output to wiki link list format and then split the file into 1,000 line chunks. I have uploaded the first chunk to User:RedWolf/untaggedImages-xaa for now. Keep in mind that the latest database dump is two weeks behind so the list would contain a lot of images that have been tagged since then. This is my first cut at the sql and it is probably not totally correct but at least it's a start. Note that Images is namespace 6 in the cur table. RedWolf 19:49, Jan 21, 2005 (UTC)
 * Awesome. Already removed one that had been tagged. Evil Monkey → Talk 20:44, Jan 21, 2005 (UTC)
 * Yes, that look fantastic RedWolf. (Fantastic, except for the fact that there are now 20,000 more images to tag.) Since we're so close to being done with the old batch, and since so many images are being tagged right now, I'd suggest you get the first dump you can get after the current batch is done. Then post the pages from here as the new batch. – Quadell (talk) (help) 20:58, Jan 21, 2005 (UTC)

 * Considering there were about 9,000 untagged images left from the "old" list as of January 7, one might hope the actual number would drop to about 12,000 (although that in itself is still a rather large number to be tagged). Once a new database dump is available after the current list is done (which appears to be less than a day now), I'll re-generate a list from it and we can decide how to get it setup for round 2. RedWolf 21:59, Jan 21, 2005 (UTC)
 * One question is when will we start on the unverified. This currently has probably 10000 images (I can't tell now due to the way images are displayed in categories). And a cursory glance through shows that a lot of these can be tagged properly either because they have enough info in the description or after a quick google search for the source. Evil Monkey → Talk  22:12, Jan 21, 2005 (UTC)
 * I think that could be another project on its own. Some policies need to be created on how to deal with all the unverified images, especially those from absent wikipedians. RedWolf 02:22, Jan 22, 2005 (UTC)
 * Tip of the hat to RedWolf for SQLing; thank you. Can I remind you of a posting from a way back made at the top of this page, by SimonP, and reprinted in italic below. I can see pros & cons in his idea, but though it worth drawing attention to it new that new lists are contemplated --~
 * What I would find extremely useful is a list of untagged images by who uploaded them. People could quickly find and deal with their own images while those from known copyright violators could be more easily found and deleted. - SimonP 22:56, Sep 6, 2004 (UTC)
 * Wow. Yes, that would be very useful. – Quadell (talk) (help) 14:10, Jan 22, 2005 (UTC)
 * Yes, I have seen SimonP's request but the first problem is getting the user table. The regular database dump only contains the "cur" table which only has a user id, so I need the user table for mapping to a name. I have not been able to locate the user table as yet. RedWolf 19:16, Jan 22, 2005 (UTC)
 * if it is not available, a list of images grouped by user_id would allow us to drill into an image file to find the user; small hardship. If you'd be willing, I think some static pages of links to images by type of tag would assist: it's reasonable to suppose that we want to go through the images to QA the tagging that has been done. Using the category browse - cf. [Category:GFDL images] - is very slow presumably because of the query being executed. To be honest, a whole set of static pages /with/ thumbnail images a la [Category:GFDL images] might be best ... east to spot mis-tagged images such as coins, flags &c... but that'd be to take things to the point where you'd need a bot to upload that many new pages. --Tagishsimon (talk)

 * Another thing would be to generate hypotheses about the likely tag of the image. What I mean is this: often an image description page will say "GFDL" or "Wikipedia licen[sc]e" or "{taken,drawn,created} by {me,myself}", but not "  ".  Those could be put into a list of potential GFDL candidates.  Similarly for "PD" or "fair use" on the image description page, or with "coa" or "flag" in the file name.  That way I'd have to keep essentially just one set of criteria in mind and one tag in the clipboard when I go through a list of possible GFDL or PD candidates.  Yet another thing would be to special-case certain contributors who generally license all of their images under a free license or place them into the public domain, like for example Arpingstone does for his own pictures. --MarkSweep 15:39, 22 Jan 2005 (UTC)

 * I've had an initial try at that, and it looks very promising. See User:Kbh3rd/Tagging queries for a sample query and truncated results.  That query could be improved, and I can think of lots of other potentially useful approaches.

 * Uh, do we want to open a new page for discussing phase two of the project? This subthread on this page is getting rather unwieldy.
 * -- Kbh3rd

Dream
This project was in my dream last night...a large room with fifty or so professional image taggers, and a counter at the front of the number of images remaining untagged. It was down to 200 at that time and everyone was getting pretty exited... Does this get me wikiholic points? Zeimusu 02:41, 2005 Jan 13 (UTC)

 * Um, yes. Yes it does. What did I look like? – Quadell (talk) (help) 21:42, Jan 13, 2005 (UTC)

Wow, we are now at that point, Zeimusu. Is it just like you dreamed? (I have to admit: with about 300 left to tag, I'm feeling mighty excited. But don't tell any of my non-Wiki friends. They wouldn't understand.) – Quadell (talk) (help) 21:00, Jan 21, 2005 (UTC)

Zero
We are at zero. And its just like my dream! Time to open up the coffee house. Zeimusu 01:20, 2005 Jan 22 (UTC)

 * Is there some reason not to trumpet the completion of round 1? The list

is now empty!! Stan 04:19, 22 Jan 2005 (UTC)

Image Statistics
For some statistics on images in the database dump of January 7, 2005, see User:RedWolf/Image Statistics. Once I can get a db dump after today, I can update the stats to better reflect the completion of round 1. RedWolf 02:26, Jan 22, 2005 (UTC)

Woo-hoo!
It's done! Cigars for everybody! Drinks on the house! I love each and every one of you buggers! – Quadell (talk) (help) 04:40, Jan 22, 2005 (UTC)

 * I don't mean to rain on your parade, but there is still work to do. For example, Category:Images with unknown source contains plenty of images that could have received proper tags.  Fortunately, it's much easier to go through this now in gallery mode, which makes it easy to spot album covers, crests and coats of arms, logos, etc. --MarkSweep 06:01, 22 Jan 2005 (UTC)

 * You say that is if it was a bad thing. Since this project's initial list reached zero, I hardly know what to do with myself.  Bring 'em on! -- Kbh3rd 15:53, 22 Jan 2005 (UTC)

Congratulations to everyone who helped with this -- an amazing effort! Thank you very much for doing this vital work. Catherine\talk 07:27, 29 Jan 2005 (UTC)

 * And "WOO-HOO" again! As some Uruk-Hai said, "Meat's back on the menu, boys!" – Quadell (talk) (sleuth) 20:45, Feb 13, 2005 (UTC)


text:
Malcolm Kendall-Smith

Malcolm Kendall-Smith (born 1968/1969) is a former medical officer in the British Royal Air Force. He was born in Australia, was raised in New Zealand and has dual British-New Zealand citizenship.

He was the first British officer to face criminal charges for disobedience after challenging the legality of the war against Iraq. On 5 October 2005, he was charged with five counts of disobeying a lawful command between 1 June and 12 July 2005. Four of these relate to his refusal to carry out preparatory training with the final charge relating to his refusal to deploy to Iraq.

In October 2005 his solicitor, Justin Hugheston-Roberts, told the Sunday Times "He is not arguing that he is a conscientious objector. He is arguing that the war is manifestly unlawful."

Kendall-Smith was found guilty on all five charges of disobeying orders, sentenced to a penalty of eight months in prison and ordered to pay £20,000 costs.

Pre-trial hearing
In a statement to the court martial at a pre-trial hearing in Aldershot, on 15 March 2006, Kendall-Smith said: "I am a leader. I am not a mere follower to whom no moral responsibility can be attached."

Philip Sapsford, QC, defending, told the court martial: "The flight lieutenant is entitled to advance before this tribunal that the use of force in Iraq was unlawful in international law," essentially reasoning that Kendall-Smith should be allowed to argue that any participation in the war effort was therefore unlawful. Sapsford added that the defence team was prepared to produce expert evidence to show that UN Resolution 1546, relied upon by the UK and US governments to justify the 2003 Invasion of Iraq, was no defence in international law. Sapsford also said he was considering calling former SAS soldier Ben Griffin, who recently resigned because of his objections to the war, to give evidence.

Prosecutors argued that the legal questions surrounding the invasion of Iraq were irrelevant and that the case should centre only around the official orders given to Kendall-Smith. Prosecutor David Perry argued that at the time Kendall-Smith refused to deploy, the invasion itself was over and British forces were in Iraq with the authority of U.N. Security Council resolutions passed after Saddam's fall. A ruling on 22 March 2006, by the judge advocate Jack Bayliss, concurred.

Court-martial
A court-martial in Aldershot sat from 11 to 13 April 2006. Kendall-Smith was found guilty on all five charges of disobeying orders, and sentenced to a penalty of eight months in prison and ordered to pay £20,000 costs.

title: Malcolm Kendall-Smith


text:
Talk:Action for Blind People

Email from Action for Blind People
Part of the e-mail that i've received from Action for Blind People
 * Hello
 * Your email was passed to me by a colleague and I have looked at the text that you want to include about Action for Blind People.
 * I have made amends as some of it was wrong and this has now been approved by our Head of Marketing so please could you replace it on your website. Please can you make sure that you always refer to us as Action for Blind People and not AFBP.
 * [ the current version ]
 * Please also find attached our logo and guidelines for usage.
 * Regards

[ the current version ] represents that the changes were made to the article that i've implemented in the current version. Article still needs expansion though. Beta m (talk)

Wikify
I added some wikilinks to this page and removed the wikify tag, the lead summarizes the article well, it is sectioned off and now contains relevant internal links. MilkStraw532 (talk) 18:25, 8 February 2012 (UTC)

title: Talk:Action for Blind People


text: User talk:63.243.64.2

title: User talk:63.243.64.2


text:
Wikipedia:Articles for deletion/Compton County, Quebec

 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 keep. Joyous 20:46, Feb 26, 2005 (UTC)

Compton_County,_Quebec
This page is composed of geographical banter. I didn't see that it could be cleaned up, as the interesting bits belong in other topics. What is written here could be shown with a single .jpg of a map, which would leave no content at all. Jok2000 14:54, 16 Feb 2005 (UTC)
 * Keep. Terrible article in dire need of cleanup, but it exists and is notable. Trilobite (Talk) 15:27, 16 Feb 2005 (UTC)
 * Strong keep. Needs a fair bit of trimming and cleanup, but content and article are perfectly valid. -- sjorford →•← 15:58, 16 Feb 2005 (UTC)
 * Keep and hope someone will provide a map which would replace about 80% of the article. -- RWH 17:12, 2005 Feb 16 (UTC)
 * Keep, I cleaned it up, it'll grow. Wyss 18:48, 16 Feb 2005 (UTC)
 * Keep all real places. RickK 00:03, Feb 17, 2005 (UTC)
 * Keep and Expand. Thanks to Wyss for his efforts. Capitalistroadster 09:41, 17 Feb 2005 (UTC)
 * Keep You're kidding, right? Earl Andrew 03:21, 18 Feb 2005 (UTC)
 * Keep --Spinboy 20:19, 18 Feb 2005 (UTC)
 * Keep. Even historic counties which no longer exist in their old form merit articles; it's not at all difficult to imagine somebody needing information about the former Compton County (eg. genealogical or political research, etc.) who would be very well-served by even a short article explaining how the county was redistributed among Quebec's modern MRCs. Bearcat 00:40, 19 Feb 2005 (UTC)
 * Keep, obviously. I thought the Karygiannis listing was silly, but this tops it.  CJCurrie 00:49, 19 Feb 2005 (UTC)
 * Duh, keep. —RaD Man (talk) 11:28, 19 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 talk:Keane India

Hello and welcome to Wikipedia. Thank you for your contributions.

You might find these pages useful:

 * How to edit a page

 * How to write a great article

 * Article naming conventions

 * Wikipedia's Manual of Style

You can always experiment in the sandbox.

If you like, you can introduce yourself at the new user log, or write something about yourself on your user page.

One more thing: if you leave a note on any kind of discussion page it's always helpful to sign your post with four tildes ( ~ ), which is automatically converted to your username and the date and time. Don't do this in articles themselves though as they are not 'owned' by any particular contributor.

If you have any questions, see help, leave a question at the help desk, or feel free to drop me a line on my talk page.

Thanks again and happy editing!

— Trilobite (Talk) 14:55, 16 Feb 2005 (UTC)

P.S. I'd like to draw your attention to the message that appears above the edit box when you create an article:

 * Please do not create an article to promote yourself, a website, a product, or a business (see What Wikipedia is not).

P.P.S. You need to provide an image copyright tag for Image:Keaneindia gurgaon.jpg.

title: User talk:Keane India