text:
Crazy Taxi

Crazy Taxi is a series of racing games developed by Hitmaker and published by Sega. It was first available as an arcade video game in 1999, then released for the Dreamcast console in 2000. It is the third best-selling Dreamcast game in the United States, selling over a million copies. The game was later ported to the PlayStation 2, GameCube, and IBM PC compatibles with sequels also appearing on the Xbox, Game Boy Advance, and PlayStation Portable systems.

Each game has the player assume the role of a taxi driver who must accumulate money by delivering passengers to their destinations in the fastest time possible, earning tips by performing "crazy stunts" before the time runs out. The franchise has been recognized for its innovative gameplay design which is easy to learn but difficult to master, its use of in-game advertising, and its soundtrack music provided by the bands The Offspring and Bad Religion. The core gameplay mechanic was patented by Sega, leading to at least one lawsuit over similar gameplay in The Simpsons: Road Rage, which was settled out of court.

Gameplay
Crazy Taxi and its sequels are score attack games that all employ the same fundamental rules and mechanics. The player controls one of several taxi drivers in a fictional city, looking for fares and then taking them to their destination in the fastest time possible. The player must perform this while time still remains on an overall gameplay clock. Passengers looking for rides are indicated by an overhead marker that is colored to represent the distance to their intended destination. The color marker ranges from red indicating short trips, to yellow for intermediate distances, and to green indicating long ones. When a passenger is picked up, the player is awarded additional time on the countdown clock. Furthermore, a second countdown timer is started, representing how quickly the passenger needs to be at their destination. While a passenger is in the taxi, a large green arrow is shown on the player's HUD that points in the general direction of the passenger's destination to help guide the player through the map.

The player can use special "crazy stunt" moves such as drifts, jumps, and near-misses, and consecutive combos of these, to earn extra money from the passenger during the trip. If the destination is reached in time, the player is paid based on distance driven with a possible time bonus based on how quickly the destination was reached. If the passenger's countdown strikes zero, they will exit the taxi without paying and the player will be required to look for another fare. The game continues in this mode as long as time remains on the main clock. Once the main clock reaches zero, the game is over, and the player is ranked and rated based on the total earned.

Unlike other arcade games, the player cannot continue from where the previous game ended. The game cannot be played indefinitely; while there are hundreds of potential passengers to pick up and deliver, there are only a limited number of fares in the game. The various passengers scattered throughout the city will randomly appear and disappear throughout the game, but once one is picked up that passenger is unavailable for the rest of that game. The core gameplay in the series has been praised as being "deceptively complex"; as stated by the IGN staff for their review of the Dreamcast version of Crazy Taxi: "As you progress through the game's ratings scale by picking up and delivering passengers as quickly as possible, you will slowly but surely realize that there is much more to the game than getting from point a to b."

- IGN Staff

Starting with Crazy Taxi 2, the gameplay included the ability to pick up a party of passengers, each having a different destination. The number of passengers in the car multiplies the tip bonuses earned from stunt driving, while the total fare can only be earned once the last passenger is dropped off in time. Additionally, Crazy Taxi 2 introduced a new stunt move called the "Crazy Hop" that allowed the player to make the taxi jump to clear some obstacles or reach higher drivable surfaces.

The console games have also featured a set of mini-games that require the player to meet a certain objective using one or more of the various "crazy stunts" within the game. Some of these test the player's handling of a taxi, while others are more exaggerated, such as taxi bowling or pool. Some mini-games require the completion of others before they can be accessed.

Prior to each game session, the player can pick one of several drivers and their associated cars; each car/driver has slightly different performance relating to factors such as speed and turning, that impact the game.

Development
The original arcade game was developed by Hitmaker as a variation from then-current arcade titles. Crazy Taxi producer Kenji Kanno noted that the time extension on gameplay was a breakaway of the current "100 yen for 3 minutes" that persisted at the time for arcade games, and rewarded players with longer playing times by performing well in the game. In addition to providing a game that could be played in short sessions, Kanno wanted a game to explore the "daily life and routine" of a taxi driver. In the development of the Dreamcast version of the original arcade game, the developers included a larger map in addition to the arcade one, as to create a feeling of "being lost" and allowing home console players to have fun "learning the town". Mini-games were developed for this version as to "let the player play longer if he improved skill" by offering challenges that were both fun and educational. Over one hundred different ideas for mini-games were developed by the team but then pared down for the Crazy Box mini-game challenges for the game. The addition of the Crazy Hop in Crazy Taxi 2 came about because the development team noted that "...in New York – where the basic landscape is quite flat – we had to create 3D space by letting the player drive on the buildings" and "we added the Crazy Hop to let the player hop around the roofs of buildings to make short cuts".

Hitmaker had tried to develop an online version of Crazy Taxi, to be called Crazy Taxi Next exclusively for the Xbox, which, besides multiplayer game modes, would have included night and day cycles, each with a different set of passengers and destinations, while reusing and graphically updating the maps from Crazy Taxi and Crazy Taxi 2. Ultimately, both multiplayer and day/night cycles were dropped and work on Crazy Taxi Next was transferred to Crazy Taxi 3: High Roller, which included some of the nighttime driving concepts suggested by Next.

Kenji Kanno has noted that the gameplay in the Crazy Taxi series has otherwise not "evolved" with each new game "because basically the whole point of the game is to have a lot of fun in a short period of time, and it's a very concentrated game. So instead of trying to evolve the series necessarily, it's more like taking that concept and putting it in different places – seeing how it works". Kanno considered bringing the title to newer consoles, but wanted to include multiplayer features and having a time cycle within the game that would affect passengers' attitudes and the environment of the game.

Setting
Through the series, the cities used within the Crazy Taxi games have been influenced by real-world cities, including San Francisco, Los Angeles, New York City, and Las Vegas. Certain versions of the Crazy Taxi game include in-game counterparts of real-world businesses, including Pizza Hut, Kentucky Fried Chicken, FILA, and Tower Records; these were often destination targets for the passengers. Although this is one of the most prominent examples of product placement in video gaming history, it is generally looked upon relatively favorably amongst gamers, perhaps because it gives a sense of realism to the fictional cities in the game. These establishments have been replaced with generic businesses in later games due to licensing difficulties.

Soundtrack
The soundtrack of the Crazy Taxi series has typically been licensed hard rock and punk rock music. The arcade and initial home console versions include selections from punk rock bands The Offspring and Bad Religion, though these have been removed in both the Game Boy Advance and the PlayStation Portable remakes because of licensing issues. In the case of the Game Boy Advance Catch a Ride, the game uses instrumental music instead of recorded songs.

Legalities
Sega applied for and was awarded U.S. Patent 6,200,138 – "Game display method, moving direction indicating method, game apparatus and drive simulating apparatus" – in 2001. The mechanics in the "138 patent" describe an arcade cabinet similar to Sega's previous arcade game Harley-Davidson & L.A. Riders (1997), but also describe the arrow navigation system and pedestrian avoidance aspects that were used in Crazy Taxi.

During 2001, Electronic Arts and Fox Interactive released The Simpsons: Road Rage, which has been labeled a rip-off of the Crazy Taxi game engine by game reviewers. In this game, the player controlled one of The Simpsons characters as they drive around Springfield, bringing passengers to these destinations in a way like in Crazy Taxi. So therefore, Sega brought Fox Entertainment, Electronic Arts, and developer Radical Games Ltd. to court over this infringement of the 138 patent. The case, Sega of America, Inc. v. Fox Interactive, et al., was settled in private for an unknown amount. The 138 patent is considered to be one of the most important patents in video game development.

Crazy Taxi (arcade)
The arcade version of Crazy Taxi was released in February of 1999, and featured only the San Francisco-inspired map (known as "Arcade" in the first console game, and later as "West Coast" in sequels). The "Standard Version" arcade cabinet included a cockpit seat, steering wheel, a gear shift lever (for forward and reverse gear) and a brake and acceleration pedal; a more compact "Naomi Cabinet Version" also existed without the cockpit seat. The arcade game was one of the first to use the Sega NAOMI hardware processor, which is based on the Sega Dreamcast and was unveiled as part of Sega's exhibition at the 1999 Amusement Operators Union exposition in Japan.

Crazy Taxi (console)
The console/home version of Crazy Taxi was released for the Dreamcast on January 24, 2000. The Dreamcast and the cabinet arcade version share nearly identical processing hardware, and porting the game to the home console was only made difficult due to the limited internal memory size on the Dreamcast. Sega used Crazy Taxi to show the power of the Dreamcast's graphical processor, capable of maintaining 60 frame/s throughout play. In addition to the arcade map, this version included the San Francisco-themed city (entitled "Original"), as well as additional mini-games ("Crazy Box") that can be used to hone the player's taxi handling skills. The new map, much larger than the arcade version, was designed to let the player experience the feeling of "being lost" and allow for exploration, something that could not be done on the arcade version, as well as letting "the player enjoy all 3 dimensions".

Once Sega left the hardware market, other companies began to take up some of the franchises, including Crazy Taxi. Acclaim brought the game to the PlayStation 2 on May 17, 2001, and GameCube on November 18, while Activision and Strangelite ported the game to the PC in 2002; only the PlayStation 2 port was more successful than the Dreamcast version, and the rest didn't do as well. The Dreamcast version of Crazy Taxi was also playable through emulation via GameTap on PC systems.

Crazy Taxi 2
Crazy Taxi 2 was released for the Dreamcast on May 28, 2001. The game introduced four cab drivers as well as two new maps based on NYC (called "Around Apple" and "Small Apple"), and added two gameplay features: the mechanics of collecting multiple passengers from a single spot, and the "Crazy Hop", allowing the taxi to clear traffic and certain obstacles with short jumps. Additionally, the "Crazy Box" mode in the first game was expanded into a "Crazy Pyramid" mode.

Crazy Taxi 3: High Roller
Crazy Taxi 3: High Roller was released for the Xbox on July 23, 2002, and later released as a PC title in 2004. The game reuses the original arcade map modified to allow the use of the "Crazy Hop" introduced in Crazy Taxi 2, one of the maps from Crazy Taxi 2, and a new map based on Las Vegas ("Glitter Oasis"). The game adds an additional four characters to select from. The game allows the player to unlock other modes of transport besides the taxi, including a stroller, a pedal bike and a carriage. The mini-games in Crazy Taxi 3 are featured in a "Crazy X" arrangement. An arcade version, entitled Crazy Taxi: High Roller was created in 2003 using the same three maps as the home console version.

Crazy Taxi: Catch a Ride
Crazy Taxi: Catch a Ride was ported to the Game Boy Advance by Graphics State and distributed by THQ, and released on April 8, 2003. This version is fundamentally the same as the Crazy Taxi console versions, featuring the San Francisco and Los Angeles-themed maps but with a smaller selection of mini-games, adapted to play on the portable device using the Graphics State "Rush" engine. Specifically, while the city and streets are rendered using 3D graphics, the taxi, passengers, and other traffic are represented by sprites to work on the limited GBA hardware. Richard Whittall, creative director for Graphics State, noted that Catch A Ride was "about the most technically challenging game you could do on a handheld machine" at the time of its release.

Crazy Taxi: Fare Wars
Crazy Taxi: Fare Wars was developed by Sniper Studios with support from members of the original Hitmaker Crazy Taxi design team in Japan and released for the PlayStation Portable on August 7, 2007. The game effectively is a port of both Crazy Taxi and Crazy Taxi 2 to this system without any changes to the gameplay, but lacking the in-game advertising and the original soundtracks. While the game includes its own soundtrack, the player can use their own music stored on the PSP; as noted by Jeff Hasson of Sniper Studios, "for those hard core fans that must have The Offspring playing, they have that option with the Custom Music Player". The player can also record up to a minute of gameplay footage that can then be shared with friends. The game includes a multiplayer feature over the PSP's ad-hoc wireless system, allowing players to vie for fares within the same map, including the ability to steal passengers from another player. Multiplayer games such as time trials or "C-R-A-Z-Y" runs (a variation of the game "Horse") can also be played sharing a common PSP, with each player taking turns within the game.

Crazy Taxi City Rush
Crazy Taxi: City Rush was announced by Sega in March 2014 as a free-to-play mobile title for iOS and Android systems. City Rush is a mission-based runner similar in concept to Temple Run, where the player does not have direct control of the speed of the taxi but can use touch motions to swerve in traffic and make turns.

Crazy Taxi Tycoon
Crazy Taxi Tycoon, previously known as Crazy Taxi Gazillionaire, was another mobile spin-off game developed by Demiurge Studios and released in 2017 for iOS and Android. Unlike other games, this is a top-down endless business management simulator and idle clicker where players run a taxi business and hire drivers to defeat a ridesharing megacorporation called Prestige Mega Corp. The game was delisted from both app stores in April 2020, with servers going offline the following month.

Untitled Crazy Taxi game
During The Game Awards 2023, Sega released a trailer featuring many upcoming games based on dormant franchises, one of which being a work-in-progress Crazy Taxi game. It is set to be the first major game since 2002's Crazy Taxi 3: High Roller. Series producer Kenji Kanno referred to it as a “large-scale, open-world, massively multiplayer driving game." Sega is building the game in Unreal Engine.

Reception
The original Dreamcast version of Crazy Taxi was one of the best-selling games for the console. The game was the second largest selling Dreamcast game in the United States in 2000, selling nearly 750,000 units, and is the third bestselling Dreamcast game in the United States with over a million units sold. The game was praised for capturing the arcade flavor, and possibly exceeding it by making the controls and execution of the crazy stunts easier to perform. The game did suffer from "pop-up" due to limited draw distances, and loss of frame rate when a large number of cars were on the screen. Critics noted the lack of depth given that it was a port of an arcade game, some difficulties with the destination arrow, and the poor "Wolfman Jack" impersonation of the in-game announcer.

Crazy Taxi 2 was well received by reviewers with the new features helping to expand play from the original game, though some thought that more drastic changes could have been made in the sequel. Despite the addition of new maps, the lack of new gameplay elements caused Crazy Taxi 3 to be panned by reviewers. IGN noted in its review for Crazy Taxi 3 that "it's clear that the creative vibrancy that first imagined the Taxi series has waned considerably".

The ports of the original game to the PS2 and GameCube platforms are not considered as strong as the Dreamcast game. Both were noted to suffer from more "pop-up" than the Dreamcast version, as well as poorer controls, despite having the same gameplay features. Graphic problems plagued the Crazy Taxi: Catch a Ride port to the Game Boy Advance; as IGN stated, "it's painfully obvious that the hardware just was never meant to push so much". Both PC ports for Crazy Taxi and Crazy Taxi 3 also suffered from graphics problems.

The PSP ports of Crazy Taxi: Fare Wars have had a somewhat better reception than other ports. Reviews have complimented the game on the multiplayer additions and the ability to add a custom soundtrack – which led IGN to comment that "including this should be a no-brainer, but many PSP titles don't" – but have noted some graphical glitches, the long loading times, and the lack of the original soundtracks for the games. The reviews of the controls of the game have mixed, with some praising the scheme on the PSP, while others have stated that the controls feel stiff and inconsistent. GameSpot's review noted that the gameplay in Crazy Taxi does not hold up well compared to more recent racing games across various platforms.

A Crazy Taxi segment is featured in the "Sega Carnival" track in Sonic Riders, including a hidden shortcut allowing racers to receive a ride from taxi driver Axel; a Crazy Taxi extreme gear can be unlocked as well. There is also a minigame based on Crazy Taxi in the EyeToy game, Sega Superstars, in which players move around and shout to call one of the taxi drivers. B.D. Joe, who has appeared in most games in the series, appears as a playable character in the cross-series racing game, Sonic & Sega All-Stars Racing. Sumo Digital's Steve "S0L" Lycett had to get approval from SEGA AM3 to use B.D. Joe in the game. He also appeared in the sequel, Sonic & All-Stars Racing Transformed.

Beyond video games
Sega has attempted to branch the Crazy Taxi franchise beyond the realm of video games, with mixed results.

In addition to the video arcade games, Sega Enterprises, Inc. (USA) created a Crazy Taxi themed redemption game which was released in 2003. The player had to roll their coin or token down the sloped playing surface past a moving taxi model in the center of the playing field to hit one of eight targets (representing passengers) at the far end. Passengers were worth different points, from which the operator would then set the number of tickets to be won. The game incorporated music and sounds from the video games.

There have been two attempts to create a movie based on the Crazy Taxi franchise. In 2001, Goodman-Rosen Productions acquired the rights for the movie, with Richard Donner lined up to direct the film. Donner said that he loved playing Crazy Taxi and thought it had the potential to be a big summer event movie. The movie would have been tied with other merchandise items such as T-shirts and toys, according to Jane Thompson, director of licensing for Sega of America. However, this initial attempt stalled due to an "absence of plot elements" according to Movie Insider. After this option expired, Mindfire Entertainment acquired the rights to a Crazy Taxi movie based on the game franchise in 2002, with an then-expected release date in mid-2003. No further news on the film has been forthcoming afterwards.

In 2003, Sega entered a contract with DSI Toys to produce a remote controlled car in their "GearHead" line based on the Crazy Taxi franchise, but DSI filed for chapter 7 bankruptcy later that year. Sega has formed the production company Stories International and teamed up with Evan Cholfin for film and TV projects based on their Crazy Taxi games.

title: Crazy Taxi


text:
Brenda Marshall

Brenda Marshall (born Ardis Ankerson; September 29, 1915 – July 30, 1992) was an American film actress.

Career
Marshall made her first film appearance as Ardis Gaines in Wives of Tomorrow (1937). Her initial billing as Brenda Marshall came in Espionage Agent (1939). The following year, she played the leading lady to Errol Flynn in The Sea Hawk. After divorcing actor Richard Gaines in 1940, she married William Holden in 1941, and her own career soon slowed. She starred opposite James Cagney in Captains of the Clouds (1942).

Marshall appeared in The Constant Nymph (1943), but she virtually retired after this, appearing in only four more films, including the Western Whispering Smith (1948). She also played scientist Nora Goodrich in the B picture cult film Strange Impersonation (1946). In 1955, five years after her last film role, she made an appearance as herself (billed as Mrs. William Holden) in the fourth-season episode of I Love Lucy titled "The Fashion Show".

Personal life
Marshall was born as Ardis Ankerson in the island of Negros, in the Philippines to Swedish parents. She did not use her stage name off set. She was one of two daughters of Otto Peter Ankerson, overseer of a large sugar plantation near Bacolod. Her mother died in 1925 when she was young, so Ardis, along with her older sister Ruth, attended grammar school and began high school studies as boarding students at the Brent School in Baguio. In the early 1930s, the girls were sent to San Antonio, Texas to complete high school. She attended Texas State College for Women in her freshman and sophomore years, 1933–1935, and was named the Freshman Class Beauty in 1934, chosen by modern dancer Ted Shawn.

She married the actor Richard Huston Gaines in 1936, and they had one daughter, Virginia Gaines (born November 17, 1937); the couple divorced in 1940.

In 1941, Marshall married actor William Holden, who adopted Virginia, and Marshall and Holden had two sons together, Peter Westfield "West" Holden (1943–2014) and Scott Porter Holden (1946–2005). After several separations, Marshall and Holden were divorced in 1971. Marshall moved to Palm Springs, California in 1971. She died in 1992 from throat cancer in Palm Springs, aged 76.

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

title: Brenda Marshall


text:
John Ashburnham (Royalist)

John Ashburnham (1603 – 15 June 1671) was an English courtier, diplomat and politician who sat in the House of Commons at various times between 1640 and 1667. He supported the Royalist cause in the English Civil War and was an attendant on the King.

Background
Ashburnham was the eldest son of Sir John Ashburnham by Elizabeth, daughter of Sir Thomas Beaumont. His father was a wastrel and died in 1620, but his mother was related to Lady Villiers, mother of George Villiers, 1st Duke of Buckingham. Under Buckingham's patronage Ashburnham became well known to the king Charles I, who styled him "Jack Ashburnham" in his letters. In 1628 Ashburnham became groom of the bedchamber.

Ashburnham became wealthy and lent money to the king: in 1638 the Star-chamber fine on Sir Walter Long, 1st Baronet and his brother, was assigned to Ashburnham. The next year a warrant under the privy seal enabled him to regain his ancestral estate of Ashburnham. He sat as a member of parliament for Hastings in the Long Parliament in 1640. As a partisan of the king, he began to absent himself, and he was proceeded against for contempt (6 May 1642). The king wrote a letter to the Commons in his justification but the house maintained its prior right to the obedience of its member. Ashburnham was 'discharged and disabled' (5 February 1643), and his estate was sequestrated (14 September).

Civil War
Ashburnham was a faithful adherent and attendant to Charles I in the First English Civil War, and became the treasurer and paymaster of the king's army. His name occurs in seven negotiations for peace. He was one of the commissioners at the Treaty of Uxbridge (1644), and one of the four appointed to lay the king's proposals before parliament (December 1645). When Thomas Fairfax prepared to besiege Oxford, and Charles determined upon flight, Ashburnham and Michael Hudson were the sole attendants to the king in his journey from Oxford to the Scottish camp outside Newark-on-Trent. Hudson was released, and Ashburnham was positively commanded by the king to flee before confirmation of the order to send him up to London as a delinquent could be received. He made his way safely to Holland, and thence to Queen Henrietta Maria at Paris.

In 1647 the army had the king in custody at Holmby, and allowed him his choice of servants. Ashburnham resumed his attendance on his master at Hampton Court, where Charles was in constant fear of assassination. At Ashburnham's suggestion he made proposals to the Scottish commissioners for his sudden journey to London and personal treaty with the parliament. But the arrangement fell through. Charles was then impatient to be gone, commanded Ashburnham and his other confidants, Sir John Berkeley and William Legge, to propose some place for him to go to. Ashburnham mentioned Sir John Oglander's house in the Isle of Wight as a place where the king might be concealed. The plan was to sound out the governor of the island, Colonel Robert Hammond. If Hammond were not to be trusted, the fugitive Charles could secretly take ship for France. In the end Berkeley revealed the hiding-place to Hammond; Charles refused the desperate offer of Ashburnham to kill Hammond, and again became virtually a prisoner.

Commonwealth period
Subsequently, the Commonwealth authorities detained Ashburnham in the Tower of London and three times banished him to the Channel Islands. Ashburnham was parted from his master Charles by order of the parliament, 1 January 1648, was imprisoned in Windsor Castle (May), and when the Second English Civil War broke out was exchanged for Sir William Masham. He was not allowed to attend the king during the Treaty of Newport (August), and was included among the delinquents who were to expect no pardon (13 October). He was constantly harassed. He had acquired an estate by his second marriage with the Dowager Lady Poulett (1649) (Widow of John Poulett, 1st Baron Poulett), and Charles II gave him permission to stay in England to preserve it. Royalists, however, suspected his fidelity, and (March 1650) in a memorial to the king asked whether they might trust him. He was sued for debts contracted for the late Charles I. He was forced to compound for one half of his estate, was bound in heavy securities to appear, when required, before the council of state, and his private journeys were licensed by a pass from the council. For three years he was asked by committees to discover who had lent the king money during the wars. His three banishments to Guernsey Castle were for sending money to the king.

1660 Restoration
After the Restoration Ashburnham served Charles II as a diplomat; and he was member of parliament for Sussex between 1661 and 1667 in the Cavalier Parliament. In September 1661, he was the head of a commission to inquire into the abuses in the post office. His house at Chiswick, with its contents, was purchased by the king for the Duke of Monmouth, of whom (January 1665) he was made one of the guardians. His loans to Charles I were paid by grants of crown leases. He and his brother William Ashburnham shared in an enterprise for reviving the manufacture of tapestry at the Mortlake Tapestry Works (March and April 1667).

His large memorial tomb by Thomas Burman stands in St Peter's Church in Ashburnham, East Sussex.

Family
Ashburnham's daughter Elizabeth married Sir Hugh Smith, 1st Baronet of Long Ashton. His grandson John was ennobled as Baron Ashburnham in 1689, and his great-grandson as Earl of Ashburnham, a title that became extinct in 1924.

title: John Ashburnham (Royalist)


text:
Talk:Prevenient grace

Opening Paragraph has Problems
The opening paragraph seems to have received too much cut & paste, and not enough proofreading. Too much is implied, and it's very sloppy with history: Augustin never said anything about Prevenient grace. At most Prevenient grace has very distant roots in some of what Augustin wrote about, in Augustin's early days, which he later recanted. Next, Arminian Christians were not influenced by the theology of John Wesley, it's the other way around--Arminius was 200 years before Wesley...and Wesley didn't teach Arminianism, Wesley modified Arminianism.--LanceHaverkamp 11:20, 9 May 2010 (UTC) —Preceding unsigned comment added by Lance W. Haverkamp (talk • contribs)

 * bump! "too much cut & paste, and not enough proofreading. Too much is implied" still accurate.  it looks like apologetics/proselytizing shoehorned into what should be a nutshell.  TheNuszAbides (talk) 14:23, 4 September 2018 (UTC)

Opposition
The section on Opposition is at least a bit misleading. It seems to suggest that the Calvinists disagree with total depravity, when in fact their doctrine of total depravity is stronger than that of Wesley. Rholton
 * It was not my intention to imply that Calvinism is weak when it comes to the idea of total depravity. I meant only to record that Wesley tied his doctrine of prevenient grace tightly to total depravity, in an effort to alleviate the concerns of Calvinists.  Feel free to edit the article if you feel it needs clarification! KHM03 19:17, 10 Apr 2005 (UTC)

KHM03, I input some new objection material. I also put back the first paragraph which you just eliminated. It is a necessary part of the overall explanation. I tried to reword it a little to make that evident. Concise is good assuming the point is clear. :-) Regards, Jim Ellis 12:31, July 26, 2005 (UTC)

 * Jim - I edited your first paragraph under "Opposition" to make it a bit more NPOV; hopefully, we can agree on that compromise. I ask that you look at the next two paragraphs and try and make them a bit more NPOV
 * For example, one sentence reads, "Calvinists object to this doctrine maintaining that when the Bible speaks of humanity's condition of spiritual death, it speaks realistically and matter-of-factly, not hypothetically." Well, gosh, Wesleyans, also maintain that the Bible speaks realistically regarding these issues...and are committed to prevenient grace doctrine.  The current wording just sort of suggests that (1) Calvinist doctrine is "the norm" (which, obviously, most of Christendom would deny...right or wrong), and (2) that Calvinism is "more Biblical" than prevenient grace doctrine, which, obviously, many Christians, Wesleyans included, would strongly disagree with.
 * It could use some NPOV polish, and I figured I'd let you give it a start. Thanks...KHM03 12:06, 27 July 2005 (UTC)

 * And, BTW, do you really want to include the sentence, "Calvinists understand the Bible to teach that no one seeks God...", in the light of Isaiah 55:6 and verses such as these? That line is way too easy to refute; maybe you could clarify your meaning a bit! KHM03 12:13, 27 July 2005 (UTC)

Keith, I don't want to get into a tiff over this. The section on opposition is to be just that. I have made a few more efforts at clarification and NPOV. See what you think. It's not like it's hard to see the inherent weakness in the prevenient grace doctrine. :-) Jim Ellis 12:59, July 27, 2005 (UTC)

 * KHM, could you explain how Calvinists misunderstand the Methodist doctrine?

 * Regarding your "BTW": we do understand the Bible to teach that no one seeks God, as per Romans 3:9ff; 8:7f; etc. The verses you cite are (1) Largely directed to the covenant community, not the heathen, and (2) in any case, ultimately unrequited without grace drawing. His invitation in Is. 55 will always "achieve the purpose for which he sent it" (Is. 55:11), but that purpose may be to demonstrate his justice and wrath when his gracious invitation is spurned (cf. Rom. 9:22f; Prov. 16:4; 1 Pet. 2:8).

 * Jim, I think it's important to note in the opposition section that Reformed people (e.g. Hodge) use the term "prevenient" or "preventing" grace, too. The term simply means "grace that comes before [faith]." Methodists and Calvinists agree that this grace is necessary, but the details of its application (extent and efficacy) differ greatly. --Flex 14:22, July 27, 2005 (UTC)
 * Good point, Flex. I agree.  Please feel free to add appropriate wording (perhaps as intro to the Opposition section).  It may be a while before I can get to it.  Jim Ellis 15:46, July 27, 2005 (UTC)

Jim & Flex (& any other Calvinists who may be listening in...Mkmcconn can't be too far away!):

I am all for a strong opposition section. Though I confess that it is difficult for me to imagine why anyone would oppose this doctrine, I understand that opposition exists...primarily from the Calvinist camp, and that's fine; heck, we oppose four of the five TULIP points...you're entitled to oppose this!

My issues, with all due respect (seriously, now), have been more with the way you've been writing rather than the actual content. For example, the sentence I cited..."Calvinists understand the Bible to teach that no one seeks God..." ... I understand completely what you meant and the position of Calvinists regarding this. But, the way you worded it was, as I said, way too easy to refute; the argument just wasn't very "tight". So, I suggested a re-wording.

I will be glad to explain my own POV re:how Calvinists misunderstand prevenient grace, but that will have to wait. I am on vacation and am trying to spend more time with my lovely wife and our four wee Methodists, so maybe I can get to it over the weekend.

Just look over the article when you have time - esp. the opposition section - and try to get it as NPOV as possible. Read it as if you were a Methodist...then read it as an agnostic...then as a Calvinist...a Buddhist, etc. I just want it to be accurate and NPOV. Grace & peace! KHM03 00:13, 28 July 2005 (UTC)

Peer Review?
IMHO, the Peer Review should involve more than beefing up the Opposition section. The whole article seems a little POV to me rather than encyclopedic. I mean, what does an obscure quote from a C. S. Lewis novel have to do with a factual presentation? I have also seen recommendations on other articles to limit "lengthy quotes". Is that something that should be looked at here too?

And regarding Flex's comment (above) about the use of the term "prevenient" in different senses by Reformed and Wesleyan, that should be part of the NPOV presentation of the subject, not relegated to the Opposition section as I recently suggested. Jim Ellis 15:55, July 27, 2005 (UTC)

 * You make good points. I think, however, that it is safe to keep the Reformed use of prevenient grace in the opposition section since it's uncommon (but not unheard of) among us, but very common among Methodists. Perhaps that's because the Reformed want to avoid confusing their doctrine with that of the Wesleyans by using the same term for a different concept. --Flex 16:01, July 27, 2005 (UTC)

 * The peer review has (to date) resulted in several suggestions, which I hope to get to at some point in the coming weeks (I'm on vacation right now, and will be going camping in a few days, so my "wiki-time" will be infrequent until Aug. 8 or so). Among the suggestions were to add more to "The Doctrine in other sources" (one isn't a lot) and to add to the opposing views quotes from notable theologians, "firming it up" a bit.  KHM03 23:50, 27 July 2005 (UTC)

Common grace
(moved from Opposition discussion)

Question: How does Calvinistic common grace differ from Wesleyan prevenient grace? Does common grace enable a sinner to repent and believe? Or is it simply Calvinism's way of talking about natural theology? Curious. KHM03 20:38, 30 July 2005 (UTC)

 * Common grace enables a regenerate person to repent and believe. All grace to those who are being saved, is saving grace.  — Mark (Mkmcconn) ** 21:20, 30 July 2005 (UTC)

So, then, according to (traditional) Calvinist doctrine, regeneration precedes penitence and belief...is that right? That would certainly match well with Calvinist predestination. Though I graduated from a Presbyterian seminary, I never really studied the "proper salvific order" in the Calvinist system. I guess I could never get past the TULIP stuff!

At any rate, is this accurate?
 * Election -> Birth as a sinner -> Regeneration -> Justification -> Common grace -> Penitence & Belief -> Sanctification

I think in the Wesleyan system, it's more like...
 * Birth as a sinner -> Prevenient grace -> Penitence & Belief -> Justification & Election -> Regeneration -> Sanctification -> Perfection

KHM03 22:28, 30 July 2005 (UTC)

 * I realize that this evades your comparison, but I don't like the ordo salutis, much; and would be more comfortable putting any Christian's story of redemption in terms of redemptive history, if I can get away with it:

 * Election: Common grace (Creation -> Fall/Promise of the seed -> Noahic covenant -> Abrahamic covenant -> Mosaic covenant -> Davidic covenant -> New covenant) -> Saving grace - the salvation of God's enemies (Regeneration, Repentance and Justifying faith -> Sanctification -> Glorification)

 * Compared to this, which describes his natural course:
 * Reprobation: Common grace (Creation -> Fall/Promise of the seed -> Noahic covenant -> witness of Israel -> witness of the Church) -> Wrath - the destruction of God's enemies( Hardening of heart -> Judgment -> Eternal damnation)

 * Quirky? or helpful? — Mark (Mkmcconn) ** 23:12, 30 July 2005 (UTC)

No, I get it...but it does evade my comparison (which is OK!)! KHM03 23:14, 30 July 2005 (UTC)

This is not the right place to put the comment, but I have to put it somewhere: it is _bizarre_ to claim the idea of "prevenient grace" is based on Augustinian theology, and then give no references to Augustine's works or to Augustinians! And it is just as bizarre to pretend that the Wesleyans are the primary proponents of "prevenient grace" when it is still so prominent in Roman Catholic theology. Even Aquinas, who was no Augustinian, discusses it, but not under that term.

Later comments
Close, but not quite. Natural theology is theology found in nature and reason. Calvinistic common grace is the grace that God gives to the earth in general. The rain, the sun, civil government, etc. Wesley extended this grace into the ability to chose the gospel. Calvinists disagree here that there is such a common grace. Common grace is just the blessings common to everyone (like life itself). Prevenient grace is not Augustinian it is Thomasian. It is from Aquinas. 99% sure. I can check and change if needed ==Newchasm

Nope, it is. No common grace and switch Justification. Newchasm
 * Election-> Birth as a sinner -> Regeneration-> Penitence & Belief -> Justification -> Sanctification

More on the "Opposition" section
(moved from Opposition discussion)

Jim & Flex:

I made some additional edits under objections. Most of what I did were for NPOV reasons (beginning statements with things like "Calvinists believe..." or "Wesleyans maintain...", so as to not favor one side or the other), inclusivity reasons (changing "man" to "humanity" or something similar, unless it was part of a quote), or clarifying both an objection and/or a response.

I suppose my primary concern with the misunderstanding of prevenient grace by Calvinists (not all, probably, but likely most) is summed up in an earlier version of this section (edited by you, Flex?), which said...

 * Some Christians, particularly those who adhere to some form of Calvinism, have been critical of the Wesleyan idea of prevenient grace, which they believe to be a modified form of Semi-Pelagianism. Wesleyans and Calvinists agree that man is totally depraved and that grace must come before any person will choose to follow God's call. The disagreement over prevenient grace is centered around its recipients (Calvinists claim it is given only to the elect, whereas Wesleyans believe it is given to all) and its efficacy (Calvinists believe this grace is irresistible, meaning its recipients necessarily "repent and believe," whereas Wesleyans argue that this grace enables but does not compel a person to believe).

Now, that statement can still use some tweaking & perfecting, but that's a summary. Wesleyans still believe (as Wesley strongly maintained) that salvation is from God through Christ alone...it's just that God, in his wisdom and self-limiting love, has given human beings a certain measure of free will to play a role in the divine plan by allowing an individual response to God's initiating move(s). In short, God makes the first move and the final move, but allows us to make a few moves in between.

Calvinism, conversely, denies any measure of human freedom, thus being somewhat more fatalistic. Incidentally, I think this is more true of Calvinism than it is of Calvin himself (as an aside, I'm reading James Michener's book The Covenant right now, while on vacation, a fictional account of South African history, and Michener in one chapter about the Hugenots had a wonderfully clear and concise summary of Calvin vs. Calvinism, particularly the Dutch varieties...I commend the book to you).

I was particularly intrigued by your sentence, Jim: "On this logic, it would appear useless to pray to God for the salvation of others, for God is now waiting on individuals to make their choice." The funny thing is that Wesleyans often question the point of Calvinist prayer, since, if it has already been determined how a person will spend eternity, why bother praying? Personally, I think the most important response we should have as Calvinists and Wesleyans is to pray together, and let God worry about the specifics.

Obviously, Wesleyans do not feel that prevenient grace voids the absolute sinfulness of humankind. Humanity's fallen nature is a reality Wesley proclaimed one of the greatest, most important doctrines of the Church, inherently Biblical; he just disagreed with some Calvinists take on it (Wesley viewed himself here as more faithful to Calvin than most Calvinists).

At any rate, hope this helps. I'll be going on a wiki-holiday from 8/1 - 8/5, so don't expect any responses during that time. Just keep going on to perfection in love in and for Christ Jesus! KHM03 16:56, 30 July 2005 (UTC)

 * I'm trying my hand at working on the opposition section. I don't know if I've been helpful or not. I'm spending most of my effort trying to clear away the idea that Calvinists don't see God seeking, persuading, and convincing people to turn away from disobedience in order to live.  Also, speaking for most but not all Calvinists, I'll try to compare prevenient grace to Calvinists notions of God's mercy toward all people.  — Mark (Mkmcconn) ** 19:14, 30 July 2005 (UTC)

Mkmcconn: Not a bad edit...but read it through once or twice without the first two paragraphs, which may not be necessary to the section (I say this more as a writer than as a Wesleyan). There may be a sentence or two in the first two paragraphs which can be inserted elsewhere to keep context, but I'm not sure that in their entirety, they are necessary. Just a suggestion. KHM03 19:59, 30 July 2005 (UTC)

 * Go ahead and make the changes that you are thinking of; it's a lot more fun, interesting and informative working that way, in my opinion (until one or the other of us loses trust). I trust you; I trust everyone; even though unlike you I am still an appalling sinner. — Mark (Mkmcconn) ** 20:05, 30 July 2005 (UTC)

I assure you that I am still, appallingly, an appalling sinner...I am only going on to perfection...I have not been blessed with perfection yet (to which my wife says a strong "Amen!")! KHM03 20:15, 30 July 2005 (UTC)

Removed first paragraph of Mkmcconn's edit; moved second paragraph to the end. Also made a few "touch up" type edits. The deleted paragraph was more about Calvinism than prevenient grace, it seemed to me, and the section can work just as well (if not better) without it. Want to try and keep all sections focused on this (all important) doctrine in as NPOV a manner as possible without going too far afield. Incidentally, isn't the basic gripe of Calvinists re:this doctrine that it seems too Pelagian to them, and not Augsutinian enough? Just wondering. That's why I liked Flex's initial edits, which pointed to Semi-Pelagianism and left it more concise. KHM03 20:31, 30 July 2005 (UTC)

 * I've decided to let the world call me "mark". The gripe about everyone is that they are either, semi-pelagian, or semi-augustinian.  We would that you would be either hot or cold. — Mark (Mkmcconn) ** 21:20, 30 July 2005 (UTC)

My earlier take on this section attempted to bring total depravity to the forefront since that is the supposed common ground. Then I wanted to show that what the Wesleyans give with one hand they take away with the other -- for universal prevenient grace has removed the pertinent effects of total depravity. This is not a Calvinitic "belief," it is what the Wesleyans say with their own words.

And how about these statements: "[Calvinists] characterize the Wesleyan view as teaching that, God has restored to every individual the ability to seek after God and choose salvation. Because this grace is supposedly given to everyone,. . ." KHM03, why do you add words like characterize and supposedly when these are facts?? I know its hard to face the weakness of your own doctrine, but if they are not facts then tell me where they are not true and I will change it. Let me ask you about this one: "It is a person's willingness to cooperate that saves according to the Calvinist understanding of Wesleyan prevenient grace." That's not true. What is true is that the determining factor is "man's choice" or "man's response". That's a fact of Wesleyan prevenient grace, why do you not admit it or at least let me say it.

And I'm curious what you mean, KHM03, when you say "Prayer is also effective as one prays for another person's response to grace"? The response is precisely what Wesleyans say God has left to man's free will. So who are you praying to and for what?? Calvinists pray to God for the salvation of others because it is God who brings his elect to faith, now that is a Calvinist belief.

Finally, it looks like the whole section has become sufficiently garbled and emasculated that it should be acceptable to you, so I may just leave it to you other guys for a while. Jim Ellis 21:56, July 30, 2005 (UTC)

 * Hm. Not a good review, from Jim.  Don't give up. I don't want to leave out mention of semi-pelagianism, or of total depravity, if you think it can be done in an effective contrast.  But apparently, Wesleyans do not think the contrast is real - and so it ends up being confusing.  Like you, I was aiming at getting to the heart of the Calvinist objection - which is that Wesleyans say that Man is totally corrupted and disabled; and yet also say that prevenient grace renews everyone's ablility.  I don't understand the role that "total depravity" plays in their view - whereas in Calvinism it is the explanation for why "no one seeks God", Wesleyanism seems to replace this with "why not?" Furthermore, as you say, I would like to see every relativising qualifier removed, wherever Calvinists have correctly described the Wesleyan position (albeit, in critical terms). — Mark (Mkmcconn) ** 22:22, 30 July 2005 (UTC)

Let me back up...
 * 1) My only purpose in adding qualifiers like "characterize" or "supposedly" was to keep the article NPOV, to keep it from a POV which implied that Calvinism is any kind of norm or standard for Christian doctrine, which it cearly is not (for good or ill).  I also don't want to imply that Wesleyanism or Arminianism is the norm.  In drafting the first parts of the article, where the doctrine is defined and supported (by hymnody, etc.), I tried to use the same kind of tone...maybe not the exact words, but the same tone.  That's been my only intent, despite the fact that I am someone who believes absolutely in the glory of God's prevenient grace.
 * 2) The "common ground" you seek probably isn't total depravity, which, though both Calvinists and Wesleyans (and others) affirm this, they have a slightly different take on how it works.  Wesleyans, for example, see no problem with God's grace "undo-ing" some of the effects of humanity's fallen nature in order to enable free will, since it is ultimately God's grace which will "undo" all of sin's effects in order to get a sinner justified, sanctified, and perfected.  I would suggest we look for other common ground...like Jesus Christ or justification itself...if any common ground is really needed in order to provide a concise & accurate "opposition" section.  Wesleyans & Calvinists agree on the end of all this...it's the order that we argue about, I think.
 * 3) Yes, Jim, a person's choice is vital in the salvation process...no question.  It's very important.  Crucial.  But to say it's the "determining factor" is not true.  God's grace, in Wesley's system, is always the determining factor.  Now, a Calvinist (or whomever) can read Wesley differently, of course, and maintain that their read of Wesleyan thought makes human decision the "determining factor", but that's just an opinion, and we need to note it as such.  A Wesleyan would obviously disagree.
 * 4) Wesleyans pray to God because they love God and, in God's bountiful grace, he permits and encourages prayer.  That's foremost (my guess is that Calvinists would agree).  We pray that a person will respond to God's prevenient grace, turn, repent, and know salvation.  A criticism of Calvinists (not just from Wesleyans) has been that things like prayer for someone's salvation (or even evangelism of any kind) is a pointless exercise, since God has apparently pre-determined a person's fate.  My own view is that this criticism stems from a misunderstanding of Calvinist predestination...at least the traditional Calvinist view. Does that help clarify?
 * 5) Mark (good to have a name...I'm Keith) - - the beauty of prevenient grace, and the key to the doctrine, isn't that it enables us to respond to God (which it does!), but that it is God seeking us!  That's the most important point...I think you guys have been going after the results of prevenient grace (enabling our response) rather than the "meat" of the doctrine, which is God's initiative.  Just an observation.
 * 6) Mark, you also wrote: "I would like to see every relativising qualifier removed, wherever Calvinists have correctly described the Wesleyan position (albeit, in critical terms)."  But perhaps you haven't done so yet.  The qualifiers - regarding both positions - keep it NPOV.  At least that's my POV.
 * 7) Finally, and most importantly, Calvinism is Satanic Jim, you sound so upset and angry and frustrated.  That was certainly never my intent.  I would rather hand the article over to the Calvinists 100% than cause a brother anguish.  If I've done so, it was unintentional, and I'm sorry.  My Wesleyan views are obviously quite important to me, but not at the expense of upsetting a brother with whom I've developed a solid "wiki" relationship.  Please accept my apologies.

On to perfection, gentlemen! KHM03 23:02, 30 July 2005 (UTC)

Opposition - needs shortening
Visiting the article a couple of times to review it, I'm bothered by how lengthy the opposition section turns out to be, especially in comparison to the positive description. The key to shortening it would be to get a pin-point accurate description, to which both parties agree, about what exactly the issue is in the doctrine of prevenient grace, that divides them. Pardon my clumsy attempts to summarize

I've suggested that they are exactly the same issues that divide us over the issues of the atonement: With regard to extent and efficacy, a moral influence is in view, not an irresistible will. The idea is so similar that, in some of its forms, the Calvinist idea of common grace would be difficult to tell apart without a pretty thorough understanding of both. The issue for us, Keith, is that we believe particular and irresistible grace is necessary; and we don't see where Wesleyans believe this.

And this is where Jim Ellis has suggested that the difference is just what Calvinists have always said that it is: the extent of depravity. Universal atonement, a governmental theory, resistible prevenient grace, all make sense in a Wesleyan system, Calvinists have always held, because they have a semi-pelagian view of the Fall. I don't know if that's the most helpful way of saying it, only because I think that a Wesleyan will certainly deny it.

And finally, KHM03 argues that Calvinists want to find differences where there are commonalities; they just have the order of things out of whack. "Wesleyans & Calvinists agree on the end of all this...it's the order that we argue about, I think."

Somewhere in here, or elsewhere in the discussion above, is the point upon which we can gather the issues of difference. — Mark (Mkmcconn) ** 02:14, 31 July 2005 (UTC)

 * I agree with your analysis re: extent & efficacy. You are also 100% correct in that Wesleyans (including myself) do not believe in irresistible grace; that is a big point of difference.

 * I also don't mind the criticism that Wesleyans are semi-Pelagian. I disagree with it, of course, but the criticism is as old as Methodism, really.  Flex had it in an earlier edit and I didn't delete it or anything...it's a criticism that has been made by many Calvinists through the years.

 * As far as the extent of sin's corrupting influence, Wesleyans have always held that humans are entirely corrupt because of sin, and without the intervention of God, can do no good, make no good decisions. That's a pretty complete doctrine of depravity.  But, prevenient grace - which is God making the first move toward us - makes it possible for humans to seek God, penitence, etc.  So, God enables us, and without that enabling, any good decisions or acts are impossible.  God also seeks all people, so prevenient grace is present even where it is not recognized.

 * Now, I would suggest that the opposition section mentions the semi-Pelagian criticism, with a link to Semi-Pelagianism, which means you can mention it and why, but a reader can go to that article to read more. You'll also want to include how Wesleyans respond to that criticism...maybe in just a sentence or two.

 * You can also probably mention that Calvinists disagree because prevenient grace is resistible, and they don't believe that grace can be resistible. I wouldn't belabor that too much, though...just a paragraph maybe...since the subjectb of the article is prevenient grace and not irresistible grace; just make sure there'a a link to Irresistible grace, so the reader can look for more.

 * I think the section grew larger because you guys were trying not onlt to refute prevenient grace but also trying to explain Calvinist belief; it would be much better to be brief and include links to other pages, like semi-Pelagianism and irresistible grace.

 * FINALLY, who else criticizes prevenient grace other than Calvinists? I can't think of anyone else, but they may exist.  Actually, prevenient grace has a lot more allies in Christendom than several Calvinist doctrines, like the "ULIP" in "TULIP"; but if you can find any non-Calvinists who refute this doctrine, give them a paragraph, too.

 * By my count, that's three or four paragraphs....which I think is very reasonable. At any rate, those are my suggestions.  Peace...KHM03 12:40, 31 July 2005 (UTC)

Keith, as you detected, my previous post was a result of some frustration. I took your advice, took a deep breath, and slept on it. I feel better now. :-) I too was/am willing to bow out of the editing process in the Opposition section for the sake of peace.  I agree with your latest overall reasons for trying to get it shortened and concise.  I also appreciate Mark's involvement, especially as a kind of mediator. :-)  Three heads are better than two. My goal is to have a concise fair objection section that makes a reader say "Hmmmm," and gives him appropriate wiki-links, not a refutation of prevenient grace. I would expect the same in Calvinist article (like in irresistible grace, or others). Grace and Peace, Jim Ellis 13:08, July 31, 2005 (UTC)

 * I think that the section grew because it is easier to present things positively than negatively. That's also my concern about using terms that have ambiguous meanings - like "semi-pelagianism".  False comparison adds to length (in order to undo initial confusion).  This is also a problem in comparing prevenient grace to irresistible grace: many (most) Calvinists believe that the Father has shown love to all the peoples of the world through his Son, from the foundation of the world.  We believe that his goodness, gentleness, and patience are on display for all to see.  He is vindicated by his acts, from the accusation that he has not been just, or has left himself without a witness in the earth.  But men love darkness rather than light; and they draw darkness out of themselves to choose darkness, freely and without compulsion (quite the contrary - because they resist God's urgings, evident all around them).  But there is more than a universal aspect to God's love.  There is also a particularity.  It is confusing to compare grace in the universal sense (which men resist), to grace in the particular sense (which destroys resistance).   — Mark (Mkmcconn) ** 16:17, 31 July 2005 (UTC)

 * What I'm trying to say is, I guess, the section cannot be complete. I don't like seeing Calvinism's criticisms misrepresented by oversimplification, or by arbitrary choice of representative arguments; but if we select a single central comparison carefully, we can be focused and still imply the broader issues that radiate from it.  We should try to find a source that can be quoted as doing precisely that.  — Mark (Mkmcconn) ** 20:14, 31 July 2005 (UTC)

 * You might try looking at the relatively recent book Encountering God by Andrew Purves & Charles Partee, which is a concise summary of Calvinism written in a "friendly" tone, and does debunk some Wesleyan thought (though I don't agree with them!). Just a suggestion.  KHM03 21:22, 31 July 2005 (UTC)

Resistible grace
This is just a note that resistible grace redirects here. I don't know if it's the same thing as prevenient grace, but someone who knows the subject might want to include the term in the article. Wmahan. 05:01, 5 June 2006 (UTC)

 * I would guess that the two terms are not truly synonymous (at least outside of Wesleyan circles), but I would defer to anyone more knowledgable. --Flex 12:54, 5 June 2006 (UTC)

Methodist and Protestant ideas?
The whole article is written from an incredibly narrow Methodist perspective. The idea of prevenient grace is also classically Catholic! I've no idea if Wesley coined the phrase, but the concept predates him by centuries. (See Methodists and papists : John Wesley and the Catholic Church in the eighteenth century by David Butler)

I also have problems with "Wesley insisted on prevenient grace as a solution to two great problems in Christianity: the reality of original sin and the Protestant doctrine of salvation by grace alone." Grace alone is a Scriptural formation, which is affirmed by the Council of Trent, the classical Protestant formula is Justification by Faith alone. It is worth noting that Wesley was accused of preaching Catholicism, again see the above volume by David Butler.

out of place CS Lewis quote
I disagree with the section "The Doctrine in Other Sources", that the C.S. Lewis quote teaches prevenient grace. It could just as easily be interpreted as teaching irresistible grace. I suggest the section be deleted. -KE

 * I agree with KE and would also like to point out that this quote is taken out of context and also from a work of fiction; even if the quote is viewed allegorically it can still be viewed either way. — James.S ( talk • contribs  • count ) 04:03, 27 January 2007 (UTC)

Definition
The intro section was too long and detailed. Much of this section was about defining the term. I've therefore created a new first section called "Definition" and moved the defining statements here, keeping in the intro the first paragraph, and another paragraph from the intro which describes basically what the term means.

I haven't changed any of the actual text, so the flow may benefit from minor changes...? Bernard S. Jansen 04:24, 19 June 2007 (UTC)

Numerous controversial moves without consensus

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the move request was: page moved. Anthony Appleyard (talk) 23:00, 15 March 2010 (UTC)

Grace (Prevenient) → Prevenient grace — User:Gregbard 03:49, 15 March 2010 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Huge side by side boxes
Could we get some more boxes on this page? There's still too much room for the actual article. hahaha --Victoria h (talk) 06:19, 11 May 2010 (UTC)

Augustine
I think there should be a section about Augustine's theology on prevenient grace. JSilvanus (talk) 11:33, 19 September 2011 (UTC)

Or at least a reference for the notion that Augustine taught that prevenint grace is irresistable. That sounds fishy to me. 43hellokitty21 (talk) 18:56, 10 October 2011 (UTC)

Scripture Quotations
I'm not quite sure on the Scripture quotes used in the "In Scriptures" section. Some of these are actually commonly-used Scriptures used to support Calvinistic theology, as opposed to Arminianism. I am an Arminian who was going to use some Scriptures to back up my belief of prevenient grace to a Calvinist friend... but I can't really see the direction of some of these passages.

It would be great if there were some Scriptures that Jacobus Arminius and John Wesley used in their writings. Both of these produced a great deal of work, and I am sure that they used Scriptural backing for this doctrine. As of right now, I am not sure why some of these passages were chosen and others were not. ... ... and I almost wonder if some insidious Calvinist joke has been played on us all... :) Sir Ian (talk) 04:35, 2 April 2013 (UTC)
 * The problem here is that the article is simply asserting that these passages support the doctrine. This is a improper synthesis, a form of original research, which is contrary to Wikipedia policy. This section MUST cite sources that claim these passages as supporting the doctrine. Hairy Dude (talk) 16:42, 9 December 2018 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 5 external links on Prevenient grace. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20130302214359/http://media.premierstudios.com/nazarene/docs/Manual2005_09.pdf to http://media.premierstudios.com/nazarene/docs/Manual2005_09.pdf
 * Added tag to http://www.victorianweb.org/religion/39articles.
 * Added archive https://archive.is/20121220212159/http://gbgm-umc.org/umhistory/wesley/sermons/serm-044.stm to http://gbgm-umc.org/umhistory/wesley/sermons/serm-044.stm
 * Added archive http://webarchive.loc.gov/all/20011201011843/http://gbgm-umc.org/umhistory/wesley/sermons/serm-085.stm to http://gbgm-umc.org/umhistory/wesley/sermons/serm-085.stm
 * Added archive http://webarchive.loc.gov/all/20011116100053/http://gbgm-umc.org/umhistory/wesley/sermons/serm-105.stm to http://gbgm-umc.org/umhistory/wesley/sermons/serm-105.stm
 * Added archive https://web.archive.org/web/20141126125213/http://gbgm-umc.org/UMhistory/Wesley/sermons/serm-128.stm to http://gbgm-umc.org/umhistory/wesley/sermons/serm-128.stm

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 08:50, 27 December 2017 (UTC)

title: Talk:Prevenient grace


text:
User talk:Neiltc13

Welcome!

'''Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my New-Users' Talk Page.'''

Additional tips:
 * Here are some extra tips to help you get around Wikipedia:
 * If you want to play around with your new Wiki skills, try the Sandbox.
 * Click on the Edit button on a page, and look at how other editors did what they did.
 * You can sign your name using three tildes, like this: ~~~. If you use four, you can add a datestamp too. Always sign comments on Talk pages, never sign Articles.
 * You might want to add yourself to the New User Log
 * If your first language isn't English, try Contributing to articles outside your native language

Happy editing! Mel Etitis ( Μελ Ετητης ) 13:17, 10 Apr 2005 (UTC)

Image Tagging Image:Farmfoods.jpg
Thanks for uploading Image:Farmfoods.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL-self to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. SteinbDJ 15:52, 21 February 2006 (UTC)

Fair use rationale for Image:Uadlogo.jpg
Thanks for uploading or contributing to Image:Uadlogo.jpg. I notice the image page specifies that the image is being used under fair use but there is not a suitable explanation or rationale as to why each specific use in Wikipedia constitutes fair use. Please go to the image description page and edit it to include a fair use rationale.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any non-free media lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. NOTE: once you correct this, please remove the tag from the image's page. STBotI (talk) 22:13, 1 January 2008 (UTC)

Speedy deletion of James Foote
A tag has been placed on James Foote requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about a person or group of people, but it does not indicate how or why the subject is notable: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, articles that do not indicate the subject's importance or significance may be deleted at any time. Please see the guidelines for what is generally accepted as notable, as well as our subject-specific notability guideline for biographies.

If you think that this notice was placed here in error, you may contest the deletion by adding  to the top of the page (just below the existing speedy deletion or "db" tag), coupled with adding a note on the talk page explaining your position, but be aware that once tagged for speedy deletion, if the article meets the criterion it may be deleted without delay. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the article that would would render it more in conformance with Wikipedia's policies and guidelines. Dethme0w (talk) 19:36, 5 March 2008 (UTC)

Talk:Georgia
Hey, you recently voted an oppose for option four in this discussion. Could I suggest that you move this vote to a support for option one, which is the proposal that Georgia (country) be moved to Georgia, in line with your comment that you "instantly think of the country, not a small region of the USA". Thanks!

title: User talk:Neiltc13


text:
User talk:Master Justin

Welcome!

'''Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my New-Users' Talk Page.'''

Additional tips:
 * Here are some extra tips to help you get around Wikipedia:
 * If you want to play around with your new Wiki skills, try the Sandbox.
 * Click on the Edit button on a page, and look at how other editors did what they did.
 * You can sign your name using three tildes, like this: ~~~. If you use four, you can add a datestamp too. Always sign comments on Talk pages, never sign Articles.
 * You might want to add yourself to the New User Log
 * If your first language isn't English, try Contributing to articles outside your native language

Happy editing! Mel Etitis ( Μελ Ετητης ) 13:18, 10 Apr 2005 (UTC)

My pleasure (but whatever you do, don't try editing with your eyes closed; Wikipedia's a lot more complicated than a light-sabre, or even an X-wing, and the dark side can be very strong here...). Mel Etitis ( Μελ Ετητης ) 21:26, 13 Apr 2005 (UTC)

title: User talk:Master Justin


text:
Korean painting

Korean painting includes paintings made in Korea or by overseas Koreans on all surfaces. The earliest surviving Korean paintings are murals in the Goguryeo tombs, of which considerable numbers survive, the oldest from some 2,000 years ago (mostly now in North Korea), with varied scenes including dancers, hunting and spirits. It has been hypothesized the Takamatsuzuka Tomb in Japan, from the 7th-century end of the Goguryeo period, has paintings with Goguryeo influence, either done by Goguryeo artists, or Japanese one trained by Goguryeo people. Since a lot of influences came into the Korean peninsula from China during the Three Kingdoms period. Until the Joseon dynasty the primary influences came from Chinese painting though done with Korean landscapes, facial features, Buddhist topics, and an emphasis on celestial observation in keeping with the rapid development of Korean astronomy.

Painting in the Goryeo period (918–1392) was dominated by Buddhist scroll paintings, adapting Chinese styles; about 160 survive from the period. In this period the royal artist's school or academy, the Dohwaseo was established, with examinations for artists and run by bureaucrats of the court. Around the start of the Joseon period (1392–1897), the largely monochrome ink-wash painting tradition already long-established in China was introduced, and has remained an important strand in Korean and Japanese painting, with the local version of the shan shui style of mountain landscape painting as important as in China.

Thereafter Korean painting including different traditions, of monochromatic works of black brushwork, sometimes by amateurs, professional works with colour, including many genre scenes, and animal and bird-and-flower painting, and colourful folk art called minhwa, as well as a continuing tradition of Buddhist devotional scrolls called taenghwa, ritual arts, tomb paintings, and festival arts which had extensive use of colour. This distinction was often class-based: scholars, particularly in Confucian art felt that one could see colour in monochromatic paintings within the gradations and felt that the actual use of colour coarsened the paintings, and restricted the imagination. Korean folk art, and painting of architectural frames was seen as brightening certain outside wood frames, and again within the tradition of Chinese architecture, and the early Buddhist influences of profuse rich halos and primary colours inspired by Indian art.

Korean painters in the post-1945 period have assimilated some of the approaches of the west. Certain European artists with thick impasto technique and foregrounded brushstrokes captured the Korean interest first. Such artists as Gauguin, Monticelli, Van Gogh, Cézanne, Pissarro, and Braque have been highly influential as they have been the most taught in art schools, with books both readily available and translated into Korean early. And from these have been drawn the tonal palettes of modern Korean artists: yellow ochre, cadmium yellow, Naples yellow, red earth, and sienna. All thickly painted, roughly stroked, and often showing heavily textured canvases or thick pebbled handmade papers.

Genre subjects
The expected genres of Buddhist art showing the Buddha, or Buddhist monks, and Confucian art of scholars in repose, or studying in quiet often mountainous surroundings follows general East Asian art trends. Nimbus colours are not necessarily gold, and may be suggested by lighter colours. Faces tend to realism and show humanity and age. Drapery is done with some to great care. The face is generally two-dimensional, the drapery three-dimensional. As in medieval and renaissance western art, drapery and faces are done often by two or three artists who specialize in one particular painterly skill. Iconography follows Buddhist iconography.

Scholars tend to have the traditional stove-pipe hats, or other rank hats, and scholar's monochromatic robes. Typically they are at rest in teahouses near mountains or at mountain lodges, or will be pictured with their teachers or mentors.

Hunting scenes, familiar throughout the entire world, are often seen in Korean courtly art, and are reminiscent of Mongolian and Persian hunting scenes. Wild boar, deer, and stags, and Siberian tigers as well were hunted. Particularly lethal spears and spear-handled maces were used by horsemen within hunting grounds after archers on the ground led the initial provocation of the animals as beaters. Buddhas tend to have Korean facial features, and are in easy resting positions.

Daoist Paintings

 * Longevity symbols: Pictures of the ten longevity symbol figure most prominently among folk paintings of this category. The ten longevity symbols (Shipjangsaengdo), including the sun, clouds, mountains, water, bamboo, pine, crane, deer, turtle and the mushroom of immortality are the often presented all together in a single picture.
 * Tiger: The tiger was among the most popular motifs in Korea folk painting. Likely originating from the mythical "White tiger" guardian spirit of the east, a notable characteristic about the tiger as featured in Korea folk traditions is how it is seldom portrayed as a ferocious beast but as a friendly and sometimes even funny and stupid animal.
 * The mountain spirit and dragon king: The popular mountain spirit and dragon king motifs have their origins in two famous figures in Korean history, Dangun and Munmu. Dangun is the legendary progenitor of the Korean people who is said to have turned into a mountain spirit. The dragon king is usually depicted as a mighty animal flying amidst the clouds over a sea of high waves.
 * The Naewat-dang shamanic paintings are among the oldest shamanic paintings known in Korea.

Buddhist Paintings
Buddhist temples and hermitages across the country are rich archives of folk paintings, ranging from large icon images for ritual use to illustrations for sutras and anecdotes about famous monks and their portraits. These temple painting are noted for simple compositions and bright colors.

Confucian Paintings
Folk paintings in this category included character designs of the popular themes of loyalty and filial piety, pictures depicting the life stories of renowned scholars and depictions of a carp jumping up from the river to transform into a dragon symbolizing the aspiration for distinguished academic achievement and a successful career in officialdom.

Decorative Painting
The vast majority of ancient folk painting were used for decorative purposes. These paintings generally repeat popular motifs with relatively poor techniques, but attest to the nation's religious tradition harmonizing various faiths such as shamanism, Taoism, Buddhism and Confucianism.

Goguryeo painters
Goguryeo art, preserved largely in tomb paintings, is noted for the vigour of its imagery. Finely detailed art can be seen in Goguryeo tombs and other murals. Many of the art pieces has an original style of painting.

Goguryeo tomb murals date from around AD 500 during the Goguryeo period, 37 BC-AD 668. These magnificent, still strongly colored murals show daily life and Korean mythologies of the time. By 2005, 70 murals had been found, mostly in the Taedong river basin near Pyongyang, the Anak area in South Hwanghae Province.

Goryeo Dynasty

During the Goryeo dynasty exceptionally beautiful paintings were produced in the service of Buddhism; paintings of the bodhisattva Avalokiteshvara (Korean: Gwaneum Bosal) are especially noted for their elegance and spirituality. The patronage of the Goryeo's leading families resulted in the production of the high quality Buddhist paintings like refined and detailed paintings of Buddhist saints or monks.

King Gongmin of Goryeo (1330–1374) was a significant painter of the period. Yi Nyeong, a court painter, and Yi Che-hyŏn, a scholar-painter, are considered significant Goryeo artists outside of the Buddhist tradition.

Joseon Dynasty
The influence of Confucianism superseded that of Buddhism in this period, however Buddhist elements remained and it is not true that Buddhist art declined, it continued, and was encouraged but not by the royal centres of art, or the accepted taste of the Joseon Dynasty publicly; however in private homes, and indeed in the summer palaces of the Joseon Dynasty kings, the simplicity of Buddhist art was given great appreciation – but it was not seen as citified art.

During the transitional period leading into the Joseon dynasty some Korean buddhist painters left for Japan. Yi Su-mun (1400?–1450?) who is considered the founder of Soga school of Japan, was a boat-companion of the older priest-painter, Shubun of Shokokuji when he returned from Korea to Japan in 1424. Japanese tradition declared that Yi was so skilled after his "Catfish and Gourd" painting that Shogun Yoshimochi claimed him to be a son of the legendary Josetsu, as an adoptive honorific. Yi painted alongside and influenced the originals of Japanese zen art; and was known in Japan by his Japanese name Ri Shubun or the Korean Shubun. The entire tradition of needle points in Japanese art began with Yi, and continued through his students, known as the Soga School, a more natural group of artists than the courtly school patronized by the Ashikaga shoguns.

While the Joseon Dynasty began under military auspices, Goryeo styles were let to evolve, and Buddhist iconography (bamboo, orchid, plum and chrysanthemum; and the familiar knotted goodluck symbols) were still a part of genre paintings. Neither colours nor forms had any real change, and rulers stood aside from edicts on art. Ming ideals and imported techniques continued in early dynasty idealized works. Early dynasty painters include An Gyeon, a 15th century painter.

Mid-dynasty painting styles moved towards increased realism. A national painting style of landscapes called "true view" began – moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered. While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting. Mid-dynasty painters include Hwang Jipjung (born 1533).

The mid to late Joseon dynasty is considered the golden age of Korean painting. It coincides with the shock of the collapse of Ming dynasty links with the Manchu emperors accession in China, and the forcing of Korean artists to build new artistic models based on nationalism and an inner search for particular Korean subjects. At this time China ceased to have pre-eminent influence, Korean art took its own course, and became increasingly distinctive.

Genre paintings of the late Joseon Dynasty Era and true-view landscape paintings have become celebrated and emblematic, but it also shows the unassuming reality of Korean people and their past, not just those that hold high positions of power but those who work under them, the commoners or lower classes and seemingly even women (Park J.P., 2018). In modern Korea, these paintings are held up and preserved as mementos that show the heart-warming and harmonious late Joseon Dynasty's thriving society. With these paintings, it is also believed to have brought a projection of an uncomplicated and nostalgic-producing past into the eyes of the viewer, these nothing short of masterpiece works created by Kim Hong-do (1745 – c. 1810) and Sin Yun-Bok (1758 – ?) are promoted as a splendid collection of art that describe the state, people, and history of Korea. The work put into these paintings show the academic attention invested towards understanding the past of Korea, and that motivation could extend to the viewer as the art of Korea has become an integral part to pursuing the studies and knowledge of Korea and its history.

Some modern studies relate the historical particularities of the time such as the cultural and ideological landscape to the Korean artists’ motivation and inspiration, as the attention that was put into their artwork nurtured the popularization of these paintings. Those include the different viewpoints on how they became popular at the time, one viewpoint being the analysis of Korean genre paintings being a product of the past Koreans pride and confidence after they began treating their own culture as a legitimate heir to Chinas High Civilization (Park J.P., 2018). The disappearance of the late Confucian civilization and the fall of the Ming in mainland China under Manchu Qing, these events led to the late Joseon era artists to recapture and redefine the values of Joseon Koreas landscape and their society in these new paintings (Park J.P., 2018). Another viewpoint would be an interpretive approach towards the escalating interest of learning at the time, which provided the Joseon era artists the motivation and inspiration needed to view the scenes of daily life in Korea and the changes in the social landscape from a new perspective, as Joseon artists put much time in their pursuit of academic practical studies, the people and their lives were a key factor in contributing to their artwork, as well as their determination to depict and observe the people they encountered around them.

Among many of the artists of the mid to late Joseon era that painted quotidian scenes of the people of Korea, one yangban artist stood out and was described as a founding father of this genre, and that artist is Yun Duseo(1668 – 1715). Yun Duseo would go on to paint many drawings that were based on the labors, behaviors, leisure and emotions of the common people that he observed around him. This would begin to stir the people as it was unprecedented in that time period, and the topic of these artworks would become primary motifs rather than decorative additions as in previous eras.

The list of major painters is long, but the most notable names include:

 * Jeong Seon (1676–1759), a literati painter influenced by the Wu school of the Ming dynasty in China; much taken by the Diamond mountain landscape.
 * Yun Duseo (1668–1715), a portraitist.
 * Kim Hong-do (1745–c. 1806) aka Danwon in his pen name, did highly coloured crowded scenes of common and working-class people in many natural work activities – his paintings have a post-card or photographic realism in a palette of whites, blues, and greens. There is little if any calligraphy in his works; but they have a sense of humour and variety of gestures and movement that make them highly imitated to this day.
 * Shin Yun-bok (1758–?) aka Hyewon in his pen name, a court painter who did paintings often of the scholarly or yangban classes in motion through stylized natural settings; he is famous for his strong reds and blues, and grayish mountainscapes.
 * Jang Seung-eop (1843–1897) aka Owon in his pen name, was a painter of the late Joseon Dynasty in Korea and one of three great wons of Joseon Korea.

What calligraphy used is often discreetly done.

Other important artists of the "literati school" include:

 * Yi Kyong-yun
 * Kang Se-hwang

Chaekgeori is a genre of still-life painting from the Joseon period of Korea that features books as the dominant subject. Chaekgeori flourished from the second half of the 18th century to the first half of the 20th century and was enjoyed by all members of the population, from the king to the commoners, revealing the infatuation with books and learning in Korean culture.

Artists during the Japanese occupation
Korean artists from the middle 1880s until 1945 had a very difficult time before Korea was freed by the allies after the unconditional surrender of Japan.

From the 1880s onward, the emerging popularity of western art in Japan lead to a low opinion of traditional Korean art. Nevertheless, the formation of the Korean crafts museum in 1924 by Japanese philosopher Yanagi Sōetsu is a strong example of Japanese aesthetes who still appreciated Korean art.

Japan also held an exhibition of Korean art that produced many young Korean artists such as Park Su-geun. To this date there has not been a retrospective show of the hidden art under Japanese occupation, or a discussion of the conflicts between those who were forced into compromise under Japanese artistic demands. It is a sensitive issue, with artists who studied and worked in Japan and painted in the Japanese style forced into self-defense and justification of compromise without other alternatives.

Bridging the late Joseon dynasty and the Japanese occupation period were noteworthy artists such as Chi Un-Yeong (1853–1936).

Major 20th-century Korean artists
Colour theory has been used over formal perspective, and there has yet to be an overlap between painterly art and pop-graphics, since the primary influence on painters is Korean pottery.

 * Kim Tschang-yeul
 * Park Su-geun
 * Nam June Paik
 * Chang Ucchin
 * Seund Ja Rhee
 * Lee Jung-seob
 * Lee Ufan

New wave

 * Lee Dong Youb
 * Suh Yongsun

21st-century Korean artists

 * Haegue Yang
 * Choi Jeong Hwa
 * Amy Sol
 * David Choe
 * Seonna Hong
 * Tschoon Su Kim
 * Junggeun Oh
 * Kim Sang-soon

title: Korean painting


text:
Dennis J. Hutchinson

Dennis J. Hutchinson (born 1946) is an American legal scholar. After beginning his teaching career at the Georgetown University Law Center, Hutchinson joined the University of Chicago Law School in 1981. Currently, he is the William Rainey Harper Professor at the University of Chicago, a senior lecturer in law, and master of the undergraduate college's New Collegiate Division where he directs the Law, Letters, and Society program. His interests primarily lie in the field constitutional law, paying special attention to issues of race. He is best known within the legal community at large for his work as editor of the Law School's Supreme Court Review.

Early life and career
Hutchinson graduated summa cum laude from Bowdoin College, studying briefly as a JD candidate at the University of Chicago Law School before attending Magdalen College, Oxford, as a Rhodes Scholar in Jurisprudence, where he graduated with a B.A. and M.A. Upon returning to the United States, he completed his formal studies at the University of Texas Law School, where he received an LLM. Hutchinson then served as a law clerk to Justice William O. Douglas and Justice Byron White of the Supreme Court of the United States. His biography of Byron "Whizzer" White was a New York Times 'Notable Book' for 1998. Hutchinson co-edited The Forgotten Memoir of John Knox: A Year in the Life of a Supreme Court Clerk in FDR's Washington in 2002, with David J. Garrow. He was once married to Judge Diane Pamela Wood, who sits on the United States Court of Appeals for the Seventh Circuit, and who remains an academic colleague.

Hutchinson was one of several law faculty members who were called upon by various media sources to provide commentary about President Barack Obama's tenure teaching constitutional law at the school, and was largely supportive.

title: Dennis J. Hutchinson


text:
Luca

Luca or LUCA may refer to:

People

 * Luca (masculine given name), including a list of people with the given name
 * Luca (feminine given name), including a list of people with the given name
 * Luca (surname), including a list of people with the surname

Places

 * The ancient name of Lucca, an Etruscan city of Roman Italy

Fictional characters

 * Luca Tsukino, a character in the 2019 film Doraemon: Nobita's Chronicle of the Moon Exploration
 * Luca Paguro, a character in the 2021 film Luca

Arts and entertainment

 * Luca (Final Fantasy character), character from Final Fantasy IV
 * Luca (Final Fantasy setting), setting of the video games Final Fantasy X and Final Fantasy X-2
 * Luca (Yu-Gi-Oh! 5D's), a fictional character from the Yu-Gi-Oh! 5D's anime series
 * Luca Family Singers, an American singing group
 * Luca (2019 film), an Indian Malayalam-language drama film
 * Luca (2021 film), a Disney/Pixar animated film
 * A song by Brand New from the album The Devil and God Are Raging Inside Me
 * Luca, a young scrub jay from Angry Birds Stella and the animated movie
 * Luca Bertaccini, a character in the video game Valorant

Biology

 * Luca (genus), a genus of moths in the family Notodontidae
 * Last universal common ancestor, the most recent organism from which all organisms on Earth descend

Other uses

 * London Universities and Colleges Athletics, the representative body for university athletics in London
 * Slang for one thousand pesos in Argentina, Uruguay and Chile

title: Luca


text:
User talk:Functionformer

Welcome!

'''Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my New-Users' Talk Page.'''

Additional tips:
 * Here are some extra tips to help you get around Wikipedia:
 * If you want to play around with your new Wiki skills, try the Sandbox.
 * Click on the Edit button on a page, and look at how other editors did what they did.
 * You can sign your name using three tildes, like this: ~~~. If you use four, you can add a datestamp too. Always sign comments on Talk pages, never sign Articles.
 * You might want to add yourself to the New User Log
 * If your first language isn't English, try Contributing to articles outside your native language

Happy editing! Mel Etitis ( Μελ Ετητης ) 13:19, 10 Apr 2005 (UTC)

title: User talk:Functionformer


text:
Timur Selçuk

Timur Selçuk (2 July 1946 – 6 November 2020) was a Turkish composer, pianist, singer and conductor.

Biography
One of the greatest Turkish composers, Timur Selçuk was the son of Turkish neo-classical music composer Münir Nurettin Selçuk and actress Şehime Erton. His great-uncle was the Ottoman Grand Vizier Abdurrahman Nurettin Pasha. His younger brother is jazz drummer and composer Selim Selçuk. His older sister was Meral Selçuk who sang with her father in his concerts. Timur Selçuk started playing piano at the age of 5 and gave his first concert at age 7. He completed his high school education at Galatasaray High School and at Istanbul Municipal Conservatory.

Selçuk returned to Turkey after completing his study at the École Normale de Musique de Paris where he majored in composition and conducting. He became a pioneer of political songs in Turkey. With his chansons, he repeatedly stormed the hit lists. He was the founder and the conductor of the Istanbul Chamber Orchestra where he arranged compositions of Turkish and Ottoman composers including Sultan Selim the III, Hacı Arif Bey, Dilhayat Kalfa (first female composer at the Ottoman Empire). He composed a great number of music to film, theater, ballet and opera. Selçuk composed and recorded songs to some of the finest poems in Turkish literature including poetry of Ümit Yaşar Oğuzcan, Orhan Veli Kanık, Faruk Nafiz Çamlıbel and to the poems of poet Nâzım Hikmet. He studied voice for many years with the great opera singer Saadet İkesus Altan. His vocal expression was dynamic ranging from naive, to lyrical, to dramatic and theatrical. Selçuk was known for his humor and temperament on stage as well as with his courageous comments on politics.

He twice participated in the Eurovision Song Contest; in 1975, he conducted the first ever Turkish entry, "Seninle Bir Dakika", that had been composed and arranged by others. 14 years later, in 1989, he returned as composer, lyricist, arranger and conductor for "Bana Bana", that was performed by the group Pan. One of the singers of the group was his daughter Hazal Selçuk. The song finished 21st.

Timur Selçuk taught voice, music theory and piano for 40 years at his school Center for Contemporary Music (Çağdaş Müzik Merkezi) located in Istanbul. In his teachings he combined western music theory with the complex theory of classical Turkish music.

Death
Timur Selçuk died in his sleep on 6 November 2020, in his daughter Mercan Selçuk's house. He was buried at Zincirlikuyu Cemetery the following day.

Albums

 * Timur Selçuk ve Orkestrası, Yonce Plak, 1974
 * İspanyol Meyhanesi, Philips Plak, 1974
 * Timur Selçuk, Yankı Plak, 1977
 * Tak Tik, Maral Plak, 1979
 * İstanbul Oda Orkestrası eşliğinde; Timur Selçuk, Maral Plak, 1979
 * Dünden Bugüne, Balet Plak, 1982
 * Timur Selçuk – 3, Balet Plak, 1986
 * Bir Uzay Masalı – Pop Opera, Balet Plak, 1991
 * 25. Yıl, Balet Plak, 1992
 * Seçkiler, Ada Müzik, 2000
 * Abdülhamit Düşerken, Balet Plak, 2004
 * Babamın Şarkıları, Balet Plak, 2004
 * Bedreddin, Balet Plak, 2005

45 records

 * Ayrılanlar İçin – On Dit, Barclay Plak, 1964
 * İnme – Çoban Çeşmesi, Balet Plak, 1969
 * Derbeder Ömrüm – Köylü Kızı, Philips Plak, 1970
 * Böyledir Akşamları İstanbul'un – Rıhtımda, Philips Plak, 1970
 * Viens Regarder Le Soleil, Philips Plak, 1971
 * Bugün Yarın Daima – Kadın Kadın, Philips Plak, 1972
 * Yaşayamam Sensiz – Sevmek Delilik, Philips Plak, 1972 – 1974
 * İspanyol Meyhanesi – Beyaz Güvercin, Philips Plak, 1972
 * Duyar mısın? – Kara Sevda, Grafson Plak, 1972
 * Sıla Güneşi – Ben Gamlı Hazan Sense Taze Bahar, Yonca Plak, 1972
 * Kırık Kalpler – Oy Be Nenem, Yonca Plak, 1973
 * Panayır Günü – Yaralı Ceylan, Yonca Plak, 1973
 * Sen Nerdesin – Tu Seras Un Concerto, Barclay Plak, 1974
 * Hürriyete Doğru – Karantinalı Despina, Grafson Plak, 1974
 * Pireli Şarkı – Memet, Yonca Plak, 1975
 * Dönek Türküsü – Özgürlük, Yankı Plak, 1978

Filmography

 * Eine Saison in Hakkari, (Turkey/Germany), 1982/1983 directed by Erden Kıral
 * Vatanyolu (Die Heimreise), (Germany), 1987/1988 by Enis Günay, Rasim Konyar
 * Mavi Sürgün (Das blaue Exil), (Turkey/Germany/Greece), 1992/1993 by Erden Kıral

title: Timur Selçuk