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Box, Wiltshire

Box is a large village and civil parish within the Cotswolds Area of Outstanding Natural Beauty in Wiltshire, England, about 3 mi west of Corsham and 5 mi northeast of Bath. Box also falls in the easternmost part of the Avon Green Belt. Besides the village of Box, the parish includes the villages of Ashley and Box Hill; Hazelbury manor; and the hamlets of Alcombe, Blue Vein, Chapel Plaister, Ditteridge, Henley, Kingsdown, Middlehill, and Wadswick. To the east the parish includes much of Rudloe, formerly a hamlet but now a housing estate, and the defence establishments and related businesses on the site of the former RAF Rudloe Manor.

Occupation here dates back at least to Roman times. The area is known for its fine stone, and for centuries Box quarries were famous for their product. Today Box is perhaps better known for its Brunel-designed Box railway tunnel.

Box has been twinned with Sorigny, a commune in central France, since 2016.

Geography
Box lies in Wiltshire, close to the boundaries with Somerset (roughly 1.0 mi away as the crow flies) and Gloucestershire (about 1.9 mi away). The place where the three counties meet is marked by the Three Shire Stones.

The settlements in Box are on higher ground above the steep-sided valley of the Bybrook River, a tributary of the Bristol Avon. Limestone rock is found in much of the parish. Box Ground, a hard-wearing variety of Bath stone, was extracted at quarries such as Box Mine which are now closed. By 2015, the remaining source of Box Ground was Hartham Park quarry at Corsham.

The parish boundary follows the Bybrook in the north-east, and its tributary the Lid Brook in the north-west. The southern boundary of the parish follows the Roman road from Silchester to Bath. The road through Box village, descending to Bathford and Bath, was turnpiked in 1761 to provide a route from Chippenham and Corsham to Bath; this became the present A4.

History
Prehistoric settlements in the area were hilltop forts such as Bury Camp, 4 mi north of present-day Box village. There is evidence in the form of numerous re-used standing stones that there may have been a stone circle on Kingsdown.

The Romans built the Fosse Way about 2 mi to the west. Near the present-day Box church is the site of a Roman country house which was excavated during the 19th century, then in 1902–1903 by Harold Brakspear, and again in 1967–1968. Nothing is visible today, as the remains lie under later buildings, gardens and the churchyard. There was a major rebuilding in the late 3rd or early 4th century which changed it into the largest villa in the Bath area. The villa had one of the richest collections of mosaic floors of any building in Roman Britain, with remains found to date in 20 rooms, there being 42 rooms positively identified in the main villa and 15 more under investigation. Room 26 appears to be a major presence chamber in the manner of that at Trier. A villa such as this would have been the centre of a large estate and the focus of interest for at least six possible subsidiary villas or farmsteads at Ditteridge, Hazelbury and Shockerwick (near Bathford) and those further afield at Colerne, Atworth, and Bradford on Avon.

In 1086 the Domesday Book recorded 25 households at Hazelbury and six at Ditteridge. The earliest record of Box is from 1144 when Humphrey II de Bohun was a landowner. The village is shown on a 1630 map and by this time cloth weaving was an important home-based industry, supplying clothiers in nearby towns such as Bradford on Avon.

The Great Western Main Line railway (from London to Bristol and the South West) crosses the parish, and the Box Tunnel, 1.83 mi long, was built under Box Hill. Construction took place between 1838 and 1841 with up to 4,000 men employed under the direction of Isambard Kingdom Brunel. At first station was built close to Ashley, where the A4 crosses the line; Box Mill Lane station was built a mile closer to Box village in 1930. Both stations closed in 1965 when local services were withdrawn.

A conservation area was designated at Box in 1975. This was extended in 1991, and at the same time new areas were designated at Ashley, Ditteridge and Middlehill.

Origin of the place-name
Early documented forms of the name include (Latin) Bocza and (English) Bocks, Boekes, and even Books. "The origin is very obscure" (Kidston). Local lore that the name is derived from the Box bush Buxus sempervirens is improbable. There is no supporting evidence at all, and Buxus is not native to the area. There is, however, a connection with beech: Box (Wilts), Box (Glos), Box Hill (Surrey), and places such as Boscombe (Wilts) and Le Bosc (France) all feature extensive beech woods growing on various limestones.

Stone quarries
Stone found in the archaeological investigation of Box Roman Villa is of local origin and Roman masonry may be seen at the base of the wall between the church of St. Thomas a Becket and Box House.

Legend has it that St Aldhelm, Abbot of Malmesbury (c. 639–709) threw his glove on Box Hill, saying, "dig here and you will find treasure". Box stone was used for the construction of Malmesbury Abbey in the late 7th century.

Stone quarried in the parish was used in the late 12th and early 13th centuries for the abbeys at Stanley and Lacock, and in the 15th and 16th for Great Chalfield Manor and Longleat House.

Transport of stone was improved in 1727 when the Avon was made navigable between Bath and Bristol, and again in 1810 when the Kennet and Avon Canal provided a route from Bradford to London. The railway made transport much cheaper, and the excavation of the tunnel revealed vast beds of stone on both sides of the line. Underground quarries were carved out between Box and Corsham, with stone carried by narrow-gauge railways to yards at and  stations.

The peak period for quarrying was between 1880 and 1909 when millions of tons of stone was cut. The quarries continued working until 1969. As of 2015, quarrying continues on a smaller scale at Corsham, where the Box Ground stratum has been re-encountered at a lower level in the Hartham quarry, from which the stone for the obelisk at the Box Rock Circus (below) was extracted.

Disused quarries
RAF Rudloe Manor, a headquarters site handling intelligence and directing operations, was established in the far east of the parish in 1940. Until 1945, critical functions were housed underground in a worked-out quarry, Brown's Quarry, to the north of Tunnel Quarry.

Underground in the same area, Spring Quarry was requisitioned in 1940 in order to create a shadow factory for aircraft engine manufacture, following the bombing of the Bristol Aeroplane Company at Filton. Construction took longer than expected and little production was achieved before the site closed in 1945. Artist Olga Lehmann was invited to paint murals in the workers' eating areas; in 2013 these were designated as Grade II* listed.

Between the late 1950s and 2004, Spring Quarry served as the Central Government War Headquarters, a self-sufficient government headquarters for use in the event of a nuclear conflict.

Box Mine became a biological Site of Special Scientific Interest in 1991.

Governance
The civil parish elects a parish council. It is in the area of Wiltshire Council unitary authority, which performs all significant local government functions.

The parish falls within the Box and Colerne electoral ward, which starts in the south at Box and stretches north to Colerne. The ward's population taken at the 2011 census was 5,200. Brian Mathew has represented the ward on Wiltshire Council since May 2017.

Religious sites
There were Saxon churches at Ditteridge and Hazelbury, and possibly at Box. The Church of St Thomas à Becket in Box has 12th-century origins. Alterations were made in the 14th century and a bell chamber and octagonal spire in the "decorated" style were added to the Norman tower in the 15th. Further restoration began in 1713, and in 1831 the church was extended with a south aisle; the interior was restored in 1896–7 by H.W. Brakspear. In 1960, the building was designated as Grade I listed.

The church of St Christopher, Ditteridge stands over a former Saxon church. It was rebuilt by the Normans and re-dedicated in 1087. It consists of a single nave and chancel and is Grade I listed.

The church of All Saints, Hazelbury fell into disuse before 1540. It stood on a knoll in an area north of Hazelbury Manor shown on the 17th century map as "Olde Church Feilde". Excavation by Kidston in the early 20th century indicated a single-cell church with a semi-circular apse at the east end. The stone sarcophagi now at St Thomas a Becket came from here. Kidston notes that carved masonry from the church was re-used in Hazelbury Manor.

Chapel Plaister has a small roadside church, rebuilt in 1340 and linked to a hostel for travellers; it is also Grade I listed.

The location of the Chapel of St David at Fogham mentioned in Kidston has not been discovered.

Box Methodist church was built in 1897, replacing a smaller Ebenezer Chapel built on the same site in 1834. An adjacent hall and Sunday school, opened in 1907, were sold for residential use in 2001. Methodist chapels were also established at Box Hill (1867) and Kingsdown (1869, rebuilt 1926). Both closed in 1967 and the congregations joined with Box church.

Notable buildings
Box parish has 232 listed buildings, more than many Wiltshire parishes.

Three churches are listed at Grade I: St Thomas at Box, St Christopher at Ditteridge and Chapel Plaister. Also Grade I listed is Hazelbury Manor, about 0.6 mi west of Box village: built around a 15th-century hall, enlarged in the next century and again enlarged and partly rebuilt in the 1920s.

The Grade II* listed houses are Hill House Farmhouse at Middlehill, 16th and 17th century; Coles Farmhouse at Alcombe in the north-west of the parish, mid-17th century; Drewett's Mill on the By Brook below Box Hill, mid-18th century; Cheyney Court, Ditteridge, early 17th century; and Rudloe Manor, to the east near Corsham, four bays, late 17th-century with an attached 15th-century element. Both portals of Middlehill Tunnel and the west portal of Box Tunnel are also Grade II* listed.

Fogleigh House on London Road is a Grade II listed mansion, built for quarry owner C J Pictor in 1881. Ashley Manor is Grade II listed and was owned by the Long family during the 16th and 17th century, followed by the Northey family from 18th to the 20th century; it was divided into three dwellings in the 1970s. Springfield House, Grade II, was built in 1729: formerly a workhouse and a school, the three-storey building has been converted into flats. Box Primary School is also Grade II listed. Box House is Grade II listed, built c.1810–20 for the Rev. I.W.W. Horlock, patron and vicar of Box for his own use, and used as the vicarage until 1874. The Rudloe Arms is a Grade II listed building with a four-storey Gothic tower in 14 acres, currently a hotel and restaurant run by Marco Pierre White.

A war memorial next to the Bath Road was unveiled on 23 October 1920, honouring the 43 Box parishioners who died in the First World War. A further 18 names, of those who had died in the Second World War, were added in July 1949.

Facilities
Box is home to Box Church of England Primary School. The earliest school was established near the church in 1708; the present building on the High Street, with attached house, is from 1875. Pevsner describes it as "Gothic, with a terrible, spindly tower".

The Selwyn Hall was built in 1969, and named for longtime vicar of Box, Rev. Tom Selwyn-Smith (1912–2003). It is used for community functions and houses the village library.

The village has sporting facilities including a lawn bowling green, two tennis courts, a cricket pitch, a football pitch, and even a small basketball area. These are all located in or around the Recreation Ground (a piece of land with an area of about 4.4 ha).

A sports pavilion, the Box Parish Sports, Youth and Community Pavilion, was opened by Queen Camilla in May 2009.

Box Rock Circus
Also on the recreation ground is the unique 'Box Rock Circus', a 22 ft diameter circle which is an earth-science educational facility. It was constructed during 2012 by local craftsmen with stone donated by numerous companies and funded principally by landfill tax funds. The facility was formally opened on 14 May 2013 by the Professor of Geosciences Communication, and television personality, Iain Stewart.

Notable residents

 * Rev. W. V. Awdry (1911–1997), the creator of Thomas the Tank Engine, lived as a boy at Lorne House on London Road, Box
 * Thomas Bowdler (1754–1825), doctor and publisher linked to the verb bowdlerize, born in Box
 * Arthur Bradfield (1892–1978), cricketer
 * Ernest Butler (1919–2002), professional footballer for Portsmouth
 * Peter Gabriel (born 1950), rock musician, singer, songwriter, and proprietor of Real World Studios and Real World Records
 * Maisie Gay (1878–1945), actress on stage and later in films, also a singer and comedian, managed the Northey Arms with her husband after her retirement in the early 1930s
 * Jack MacBryan (1892–1983), cricketer
 * William Pinker (1847–1932), born in Box to a family of stonemasons and quarrymen, rose to foreman of masons and head of the Department of Antiquities at the British Museum, where he worked for almost 60 years

title: Box, Wiltshire


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Talk:McCanles Gang

Comments by Uri Ridelman
Some say the McCanles were not a gang but just some unfortunante souls who had some disputes with Wild Bill and ended being shot by him. Others claim that they were indeed ruthless criminals and that they deserved to die at the hands of the famous gunfighter.

Here I present to you information I found while surfing the Internet. Hopefully, together we can reach a satisfactory answer and then create a page for them here at Wikipedia. Please feel free to post any info you have on this matter.

From our own Wikipedia on the Wild Bill Hickok page: "He became well-known for single-handedly capturing the McCanles gang, through the use of a ruse."

From About.com on the Wild Bill Hickok page: "The incident that began his claim to fame. While employed at the Rock Creek Pony Express Station in Nebraska he got into a gunfight with an employee looking to collect his pay. Wild Bill shot and killed McCanles and wounded two other men. He was acquitted at the trial. However, there is some question on the validity of the trial because he worked for the powerful Overland Stage Company." http://americanhistory.about.com/library/timelines/bltimelinehickock.htm

From AOL Hometown on the Wild Bill Hickok page: "The incident at Rock Creek Station, Nebraska was what began his legend. The station was an important stop for overland stages and as Pony Express station. It had been owned by David McCanles before he sold it to Russell, Waddell, and Majors, of the Pony Express. After that, the station was operated by Horace Wellman and his common-law wife, Wild Bill, a stock tender, and J.W. "Dock," Brink, a stable hand. That summer the station was almost bankrupt and could not pay McCanles. Wild Bill had just arrived when an altercation took pl ace. It happened on July 12, 1861.

McCanles, cousin James wood, and hand James Gordon showed up at the station to collect money owed him. After a short argument, Wild Bill shot and killed McCanles from inside the house. He also wounded Woods and Gordon. Wellman finished Woods off by beating him with a hoe. They both ran after Gordon and killed him with a shotgun blast. A trial was held but it was a farce. 12 year old Monroe McCanles, who witnessed the shootings, was not allowed to testify, nor was he even allowed in the court room. Wild Bill and Wellman were allowed to put forth a defense of self-defense. Since they were employees of the Overland Stage Company, the most powerful corporation west of the Mississippi, they had a lot of friends.

Four years later, writer Colonel George Ward Nichols wrote about the event, and he didn't much care if he got the details right. Wild Bill didn't seem to care either. This was the start of his gunfighter legend. Nichols wrote that there was a "McCanles gang" of terrorists. He write that Wild Bill held off and killed ten men, in a bloody one-sided fight. He also said Wild Bill was gravely wounded himself and later had eleven bullets removed. None of it was true, but it made Wild Bill's reputation." http://members.aol.com/Gibson0817/WildBill.htm

From The World According to Jerome "Brilliant Brief Lives": "The McCanles outlaw gang was wanted for train robbery, murder, bank robbery, cattle rustling, and horse theft. In 1861 word came to Wild Bill that they had set up a camp at Rock Creek Station, in Jefferson County -- just outside his limited jurisdiction." http://www.abacom.com/~jkrause/hickok.html

Answers.com has them on their "List of Western Outlaws" under the category of Outlaw Gangs, right next to those like the Dalton Gang. http://www.answers.com/topic/list-of-western-outlaws

The McCanles however are portrayed differently in an article by editor and proofreader Rick A. Henkel. Follow the link below to his Web site to read the article: http://frameuser.docspages.com/time/12A_95.htm

And finally they are portrayed as an infamous gang in the HBO series "Deadwood."

There are other sites that make the case one way or the other but I posted here only some of the ones I found more interersting.

Your help will be greatly appreciated, and at the same time we'll create a page for them on this site. Thanks

Please feel free to comment on this subject. Your information, insight and opinion is welcome and needed.

The above comments were posted by, at 20:07, 13 April 2005 (UTC)

 * Much of the above is good fodder for material about the legend, but it must be realized that many sources about the Old West are very, very poorly researched and simply repeat legends as if they were facts. That is, the material above cannot be credibly used with regard to the actual factual background behind the legend, the murder of David Colbert McCanles and his relatives.  Speaking of which, many details are missing.  There is a well-researched short publication produced by the county itself that contains a lot more information, such as the fact that it did go to trial, but the case was thrown out by a judge who was popularly believed to have been bribed and who prevented D.C. McCanles's young son, the only non-suspect witness, from testifying, as well as the fact that McCanles wasn't just a bully in general but had been bullying Hickok himself on a regular basis, nicknaming him "Duck-bill Hickok" because of his big nose, and beating him up.  It's an interesting read, and has a really fantastic (now public domain) image of McCanles.  It presents a more balanced view than this article does.  The article suggests that it was simply an outright murder for profit, but the truth is probably more complex - McCanles had very incautiously earned the hatred of a dangerous man in dangerous times.  I have a copy of this publication somewhere, but having recently moved, everything is in boxes, so finding it will be iffy at best.  It is probably better if someone simply contacts the county's historian or whatever that office might be called and request a copy. —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 23:55, 6 April 2008 (UTC)

McCandles spelling error
My apologies to the previous editor McCanles is the correct spelling. I've since corrected the error. 152.163.100.8 22:16, 28 May 2005 (UTC)
 * It actually depends on the source; many give it as McCandless (a common (since the Highland Clearances and Ulster Plantation) Northern Irish variant of the Scottish name McCandlish. David Colbert McCanles came from a family that originally used the McCandless spelling. His brother also used the McCanles spelling for a long time, but changed it back to McCandless after moving to Colorado. From what I can determine after over 10 years of genealogical research, all living people today who use the McCanles spelling are descended from D.C. McC.  The article is completely incorrect in saying that the entire family changed their name, as I have been in regular contact with several McCanles-named descendants of D.C. McC.  Anyway, it is likely that some sources even use spellings like McCandles and McCanless, and I know for a fact that many of them use McCandless.  What this article should be titled is really a matter of finding as many contemporary and modern sources as possible, and seeing which spelling, McCanles or McCandless, is more common.  The fact that the root of the legend spelled it McCanles isn't really relevant, because this article is not the David Colbert McCanles article, but rather the article about the legend itself. I strongly suspect that this article should be at McCandless Gang, as most sources I've seen on the matter use that spelling; but my experience is anecdotal. —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 23:55, 6 April 2008 (UTC)

Requested move
I see no reason for "gang" being classed as a proper noun and moving the article to McCanles Gang. violet/riga (t) 20:30, 29 May 2005 (UTC)
 * Violetriga. Shouldn't moving the McCandles gang to McCandles Gang depend on the consistancy the other gang articles in Category:Gangs ? It seems almost all of them have Gang capitalized. 152.163.100.8 08:20, 30 May 2005 (UTC)
 * For the sake of consistency I've moved it, but I think that all of them ought really to be lower case. violet/riga (t) 10:52, 30 May 2005 (UTC)
 * That wouldn't make any sense; when a regular word becomes part of a proper name, it is capitalized. E.g.  Brooklyn Bridge, not Brooklyn bridge, Mississippi River not Mississippi river, River Thames not river Thames, Pyramid of the Sun not pyramid of the sun, Wu-Tang Clan not Wu-Tang clan, etc., etc.  The naming conventions already cover this in terms that are very clear. —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 23:55, 6 April 2008 (UTC)

Dispute tag
I removed a dispute tag placed in regards to the McCanles family changing their name to McCandless. From what I can find the family name was really McCanles but from the early 1800's different branches of the family began using one or the other spelling and contemporary sources used both for David. David himself actually spelt it both ways at different times. The McCandless geneology lists David as McCanles and his sons as McCanles then it is McCandless when they married. An article in the Nebraska Heritage list in late 2001 also follows the official family geneology (the name change after the incident). While both names were used by the family before the incident only the McCandless name was used after so this supports the edit Also of interest is that Monroe and Julies's mother seems to have been Sarah Shull who is usually listed only as Davids "girlfriend" or "mistress". That she left David for Hickok makes the animosity between the two a plausable reason for the shooting. Can't put it in the article though as this is only the belief of the McCanles descendents. Another fact I was not aware of is that David McCanles was a popular Whig who was elected Sherriff four times before he bought the station. Wayne (talk) 16:17, 28 May 2008 (UTC)

If anyone is interested...here is a photo of David McCanles. Maybe someone can add it to commons? Wayne (talk) 17:11, 28 May 2008 (UTC)

Older account
This newspaper account is from the Green-Mountain Freeman, January 30, 1867, and claims to be an interview with Wild Bill about the "M'Kandlas" affair. The story seems, by then, to be quite famous and well-developed.

Hypercallipygian (talk) 05:52, 9 May 2017 (UTC)

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

title: Talk:McCanles Gang


text: User talk:69.245.186.35

title: User talk:69.245.186.35


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Zendmast Ruiselede

The Zendmasts of Ruiselede were eight 287 m high guyed radio masts at Ruiselede, Belgium, built in 1923 for carrying an aerial for VLF transmission (nominal frequency 16.2 kHz). On 30 December 1933, an Imperial Airways aircraft crashed into a mast and demolished it. Most of the masts were blown up by German troops in October 1940.

The masts were designed by the Belgian engineer Arthur Vierendeel.

title: Zendmast Ruiselede


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Józef Elsner

Józef Antoni Franciszek Elsner (sometimes Józef Ksawery Elsner; baptismal name, Joseph Anton Franz Elsner; 1 June 1769 – 18 April 1854) was a Polish composer, music teacher, and music theoretician, active mainly in Warsaw. He was one of the first composers in Poland to weave elements of folk music into his works.

Elsner composed many symphonic, chamber, solo, and vocal-instrumental works, and works for the stage, including over 100 religious works (masses, offertories, oratorios, cantatas), eight symphonies, three concertos, three ballets, and thirty-eight operas. He is perhaps best known as the principal composition teacher of the young composer Frédéric Chopin.

Life
Józef Elsner was born 1 June 1769 in Grottkau (Grodków), Herzogtum Neisse (Duchy of Nysa), near Breslau (Wrocław), Kingdom of Prussia, to German Silesian Catholic parents Franz Xaver Elsner and Anna Barbara Matzke. His mother was from the famous Matzke family of Glatz, which had intensive contact with Czech culture in Bohemia. Józef Elsner was initially educated for the priesthood at Breslau's Dominican monastery school, St. Matthew's Gymnasium, and a local Jesuit college, but chose the music field. In 1832–37 he would compose nineteen religious pieces for Breslau Cathedral.

After completing his studies at Breslau (Wrocław) and being a violinist at Brünn (Brno), in 1792 he became 2nd Kapellmeister at the German Opera in Austrian-ruled Lemberg (Lviv/Lwów). There, in 1796, he married Klara Abt, who died a year later. In 1799, with Wojciech Bogusławski, he went to New East Prussia (Prussian-ruled Poland) and became the principal conductor, first at the German Theatre, then at the Polish National Theatre in Warsaw.

Elsner traveled to Paris, Dresden and Posen (Poznań), where he met E.T.A. Hoffmann. Together they founded the Musikressource in 1805. In 1802 he married a second wife, Karolina Drozdowska. Due to complaints that he preferred Germans, he resigned from theatre work.

During his decades in Warsaw, Elsner's name and family life gradually polonized. Elsner's ethnicity should not be evaluated in terms of 19th- and 20th-century national identity, as he continued to refer to himself primarily as a Silesian.

In 1799-1824 Elsner was the principal conductor at Warsaw's National Theater, where he premiered a number of his operas. Elsner also taught at the Warsaw Lyceum, housed in the Kazimierz Palace.

Elsner taught the composers Ignacy Feliks Dobrzyński and Frédéric Chopin. There are also indications that he privately tutored piano composer and virtuoso Maria Szymanowska. Chopin dedicated to Elsner his Piano Sonata No. 1 in C minor, Op. 4 (1828), composed while he was studying with Elsner. As Chopin's only composition teacher in 1823–29, Elsner taught him music theory and composition; Elsner diaried of Chopin: "Chopin, Fryderyk, third-year student, amazing capabilities, musical genius."

On 18 April 1854, Elsner died at his estate named for himself, Elsnerów, which now lies within the Warsaw city limits.

Works - summary
Elsner's compositions included
 * operas Leszek Biały (Leszek the White) and Król Łokietek (about Władysław I the Elbow-high)
 * oratorio, Męka Pana Naszego Jezusa Chrystusa (The Passion of Our Lord Jesus Christ)
 * eight symphonies
 * polonaises, waltzes, marches
 * Mass in B-flat major and Mass in F major
 * Nieszpory do NMP (Vespers for the Most Sacred Virgin Mary).

Elsner was one of the first composers to weave elements of Polish folk music into his works.

He also wrote Sumariusz moich utworów muzycznych (Summary of My Musical Works, published 1957).

Works - detailed list
List of the most important compositions:

Masses

 * Missa brevis in F major, Op. 85 on 3-voice male choir and organ (1844)
 * Festiva Missa in C major, Op. 52 for 4-voice choir, orchestra and organ (c. 1832)
 * Missa in B, Op. 18 on 3-voice male choir (1823)
 * Mass in A minor, Op. 24 for 4-voice choir (c. 1823)
 * Mass in A minor, Op. 81 for 4-voice choir and orchestra (1843)
 * Mass in B-flat major, Op. 3 to 4-voice choir and orchestra (1799)
 * Mass in B-flat major, Op. 44 for 2 sopranos, 2 tenors, bass and organ (1829)
 * Mass in B-flat major, Op. 80 for 4-voice choir and organ (1843)
 * Mass in C major, Op. 22 for 4-voice male choir, 4 horns, trombone and timpani (c. 1823)
 * Mass in C major, Op. 26 for 4 solo voices, 4-voice choir and orchestra (1820)
 * Mass in D minor and D major in Laudem omnium sanctorum slavonorum Polonorum, Op. 66 for 2 solo voices, 4-voice choir and orchestra (1840)
 * Mass in D minor, Op. 16 for 4-voice choir (1823)
 * Mass in D minor, Op. 5 for 4-voice choir and orchestra (c. 1806)
 * Mass in E minor - E-flat major, Op. 62 for 4 solo voices, 4-voice choir and orchestra (c. 1838)
 * Mass in E minor, Op. 88 for 4-voice choir and organ (1846)
 * Mass in F major, Op. 20 for 4-voice choir (c. 1823)
 * Mass in F major, Op. 35 for 4-voice choir and organ (c. 1825)
 * Mass in F major, Op. 41 for 4-voice choir, orchestra and organ (c. 1826)
 * Mass in F major, Op. 77 on 3-voice male choir and organ (1843)
 * Mass in F major, Op. 79 on 3-voice male choir and organ (1843)
 * Mass in G major, Op. 13 on 3-voice male choir and organ (c. 1820)
 * Mass in G major, Op. 34 for 4-voice choir and orchestra (c. 1825)
 * Mass in G major, Op. 75 for 2 sopranos, violin, viola 2, cello and organ (1842)
 * Mass in G minor, Op. 72 for 4 solo voices, 4-voice choir and orchestra (1842)
 * Folk Mass in G major, Op. 15 for 2 sopranos and organ (1820)
 * Pastoral Mass in A minor, Op. 76 for 4-voice choir, cello and organ (1842)
 * Solemn Mass in B-flat major, Op. 47 for 4 solo voices, 4-voice choir and orchestra (c. 1829)
 * Solemn Mass in C major (Coronation), Op. 51 for 4 solo voices, 4-voice choir and orchestra (c. 1829)
 * Midsummer Mass in F major, Op. 9 to 4 solo voices, 4-voice choir, orchestra and organ (c. 1815)
 * Mass, Gradual and Offertory, Op. 87 for 4-voice choir and orchestra (1844)

Offertories

 * Offertoria for 4 voices and orchestra (c. 1783–1784)
 * Offertory in A major, Op. 35 (Cantate Domino canticum novum) for 4-voice choir, orchestra and organ (extracted from Mass in F, Op. 35?)
 * Offertory in A major, Op. 46 for 4-voice choir and orchestra (c. 1829)
 * Offertory B-flat major, Op. 30 (Quoniam in me speravit) for 4-voice choir and orchestra (1828)
 * Offertory B-flat major, Op. 45 for 4-voice choir, orchestra and organ (c. 1829)
 * Offertory B-flat major, Op. 86 for 4-voice choir and orchestra (1844)
 * Offertory in C major, Op. 31 (Expectans expectavi Dominum) for 4-voice choir and orchestra (1823)
 * Offertory in C major, Op. 33 for 4-voice choir, orchestra and organ (c. 1824)
 * Offertory in C major, Op. 56 (Beatus vir) for 4-voice choir and organ (c. 1835)
 * Offertory in D major, Op. 32 (Confirma hoc Deus) for 4-voice choir and orchestra (1824)
 * Offertory E-flat major, Op. 4 (In te Domine speravi) for 4-voice choir and orchestra (c. 1806)
 * Offertory E major, Op. 83 (Inveni David) for 4-voice choir, solo violin and orchestra (1843)
 * Offertory in F major, Op. 50 on 3-voice male choir (c. 1829)
 * Offertory in F major, Op. 70 (Tui sunt caeli) for 4-voice choir, orchestra and organ (1840)
 * Offertory in F major, Op. 71 for 4-voice choir (1840)
 * Offertory in G major, Op. 12 for 4-voice choir and orchestra (c. 1819)
 * Offertory in G major, Op. 38 for 4-voice choir, flute obbligato and orchestra (c. 1825)
 * Offertory in G major, Op. 48 for 4-voice choir, orchestra and organ (c. 1829)
 * Offertory, Op. 58 for choir (c. 1836)

Oratorios - Cantatas

 * Ad festum Corporis Christi 4-voice choir, brass and organ (approx. 1785–1786)
 * Hallelujah B-flat major, Op. 60 for 4-voice choir (1836–1840)
 * Ave Maria B-flat major, Op. 68 for 4-voice choir and organ (1840)
 * Ave Maris Stella in A major, Op. 90 for 4-voice choir, orchestra and organ (1847)
 * Benedictus for soprano and instrumental ensemble (c. 1783–1784)
 * Cantate zur Feier ... Jubel-in D major, Op. 53 for 4-voice choir and orchestra (1832)
 * Canticum Simeonis in E minor, Op. 69 on 5-voice choir (1841)
 * Completorium for choir, 2 violins, viola, 2 horns and bodies (c. 1785)
 * Der sterbende Jesus for solo voices and chorus (c. 1788–1789)
 * Dies irae in F minor, Op. 91 for 4-voice choir and organ (1847)
 * Graduate in A major, Op. 82 for 4-voice choir and orchestra (1843)
 * Graduate in D major, Op. 94 for bass, 4-voice choir and orchestra (1848)
 * Graduate in E-flat major, Op. 57 for soprano, 4-voice choir and orchestra (1835)
 * Graduate in F major, Op. 29 (Alleluja! Juravit Dominus) for 4-voice choir and orchestra (1828)
 * Graduate and Offertory in A major, Op. 25 for 4-voice choir (c. 1823)
 * Graduate and Offertory E-flat major, Op. 19 on 3-voice male choir (1823)
 * Graduate and Offertory in F major, Op. 23 for 4-voice male choir, 4 horns and trombone (c. 1823)
 * Graduate and Offertory, Op. 17 for 4-voice choir (1823)
 * Gradual for 2 sopranos, 2 violins, viola, double bass and 2 horns (c. 1782)
 * Lob der Buchdruckerkunst cantata, cantata for solo voice, 4-voice choir and piano (1804)
 * Musik zu einer Cantata Trauerloge, cantata for male choir and orchestra (1811)
 * Cantata Music to enter the body of Fr. J. Poniatowski in r. 1814 cantata for recitation, choir and orchestra (1814)
 * Cantata on the aptly Poles land, cantata for choir and orchestra (1807)
 * Welcome dove cantata, cantata for four male voices, violin, cello and piano (1844)
 * Cantata us stand with a weapon in his hand, a cantata for recitation, solo voices and chorus (1819)
 * Kyrie and Gloria in C major for choir, 2 violins, viola, 2 oboes, horn, trumpet, timpani and organ (approx. 1788–1789)
 * Miserere mei Deus, Op. 96 for solo voices, 3 choirs, male choir (1848)
 * Motet in C major, Op. 28 2 4-voice choirs
 * Motet in G major, Op. 59 for 4 solo voices, 4-voice choir and orchestra (1836)
 * Motet Salvum fac emperor in B-flat major, Op. 6, motet for 4-voice choir and orchestra (1807)
 * Offertory Motet seu de Sancto Josepho C major, Op. 10 for 4-voice choir and orchestra (c. 1815)
 * Vespers in C major, Op. 36 for 4-voice choir and orchestra (c. 1825)
 * Vespers in D major, Op. 89 for 4-voice choir and orchestra (1847)
 * About gloriosa virginum B-flat major, Op. 92 for 4-voice choir and orchestra (1847)
 * The sacred convivium, Op. 49, anthem for 4-voice choir and wind instruments (c. 1829)
 * Passio Domini nostri in D minor, Op. 65 for 14 solo voices, 3 4-voice choir and orchestra (1835–1837)
 * Our Father, Op. 95 for 4-voice choir and organ (1848)
 * Post Celebra ... D major, Op. 11 for soprano, bass, 4-voice choir and orchestra (1815)
 * Psalm 133, Op. 63 for 2 choirs (c. 1838)
 * Salve Regina in B-flat major, processio funebris in C minor, Psalmus: De Profundis in C minor, Op. 43 for a 3 male voices, 4-voice choir and orchestra (1827)
 * Requiem in C minor, Op. 42 for a 3 male voices, cello, brass and timpani (1826)
 * Requiem, Op. 2 to 4-voice choir and wind instruments (1793)
 * Stabat Mater, Op. 93 for solo voices, chorus and orchestra (1848)
 * Laudamus Te Deum in D major, Op. 39 for 4-voice choir, trumpet and timpani (c. 1825)
 * Te Deum laudamus, Op. 74 for 2 male choirs 4-Voice (1842)
 * Veni Creator in A major, Op. 97 for 4-voice choir and organ (1849)
 * Veni Creator in B-flat major, Op. 73 for 4-voice male choir (1842)
 * Veni Creator in C major, Op. 72 4-voice choir (1812)
 * Veni Creator in G major, Op. 40 for 4-voice choir (c. 1825)
 * Veni Creator in G major, Op. 54 for a 5-voice choir and organ (1834)
 * Veni Creator, Op. 78 on 3-voice male choir and organ (1843)
 * Veni Sancte Spiritus E-flat major, Op. 8 to 4-voice choir and orchestra (1815)

Opera

 * Amazons, or Herminia, opera in 2 acts (1797)
 * Andromeda, opera seria in 1 act (1806)
 * Der verkleidet Sultan, opera in 3 acts (1795)
 * Seltenen Die Brüder oder Die vier Zauberkugeln, opera in 2 acts (1795)
 * Jagiello in Tenczyn, opera in 3 acts (1819)
 * Kabbalist, opera in 2 acts (1812)
 * Lovers hidden, opera in 2 acts (?)
 * Militia or Battle of the Cossacks, komedioopera in 2 acts (1807)
 * Seven times one komedioopera in 1 act (1804)
 * Canyons of the Sierra Morena, komedioopera in 3 acts (1811)
 * King of the Short or Wiśliczanki, opera in 2 acts (1817–1818)
 * Ie Leszek the White Witch of Lysa Gora, opera in 2 acts (1809)
 * Residents of the island Kamkatal, opera in 1 act (1803-1804)
 * Old scatterbrain and a young sage, opera in 1 act (1804-1805)
 * Sultan Wampum or imprudent wishes, opera in two acts (1800)
 * Breakfast trzpiotów, opera in 1 act (1808)
 * Delusion and reality, opera in 1 act (c. 1805)
 * Urzella soothsayer or This is what the ladies like, opera in 3 acts (1805–1806)

Other works for the stage

 * Benefis, duodrama in 1 act (1809)
 * Echo in the forest, duodrama in 1 act (1808)
 * La ritrosia disarmata, duodrama in 1 act (1815)
 * Cobbler and a seamstress, duodrama in 1 act (1808)
 * Wife along the way, duodrama in 1 act (1808)
 * Charlemagne and Witykind, drama in two acts (1807)
 * The emergence of the nation, lyrical scene in one act (1830)
 * Iskahar king Guaxary, melodrama in three acts (1796)
 * French corsair in Portugal, melodrama in three acts (?)
 * Mieczyslaw Blind, melodrama in three acts (1807)
 * Nurzahad or immortality and wealth, melodrama in three acts (1805)
 * Sacrifice of Abraham, melodrama in four acts (1821)
 * The court of Solomon, melodrama in three acts (1806)
 * Sydney and Zuma or power love black women, melodrama in three acts (1798)
 * Court invisible or vicious Son, melodrama in three acts (1807)
 * Island wives married or chosen by fate, melodrama in three acts (1811)

Concertos
Opus 	Key 	Solo instrument 	Date of composition 	Date of premiere - 	? 		Flute 	1791-1792 	? - 	D major 	Violin 	approx. 1795 	?  - 	G major 	Violin 	approx. 1783–1784 	?

Symphonies
Opus 	Key 	Date of composition 	Date of premiere 17 	B-flat major 	approx. 1818 	?  - 	C major 	1796 	? 11 	C major 	1804-1805 	? - 	D major 	1802 	? - 	D major 	1788-1789 	? - 	D major 	approx. 1818 	?  - 	E-flat major 	1797 	? - 	E-flat major 	1788-1789 	?

Chamber works

 * Chaconne in G major for violin and piano (1836)
 * Piano Quartet in E-flat major, Op. 15 (c. 1805)
 * Piano Quartet in F major (c. 1800)
 * Quartet for 2 violins and violas 2 (c. 1798)
 * Three String Quartet, Op. 8: No. 1 in C major, No. 2 in E-flat major, No. 3 in D minor (1796)
 * String Quartet in B-flat major (?)
 * String Quintet (?)
 * String Quintet in C minor (?)
 * Septet in D major for flute, clarinet, violin, viola, cello, double bass and piano (c. 1830)
 * Piano Sonata in F major (c. 1798)
 * Sonata in B-flat major for piano 4 hands, Op. 16 (?)
 * Sonata in D major for Violin and Piano, Op. 10, No. 2 (c. 1798)
 * Sonata in E-flat major for violin and piano, Op. 10, No. 3 (c. 1798)
 * Sonata in F major for Violin and Piano, Op. 10, No. 1 (c. 1798)
 * Piano Sonata in B-flat major (c. 1798)
 * Piano Sonata in D major (c. 1798)
 * Piano Trio in C major (c. 1798)
 * Trio Grande Sonate in B-flat major, piano trio (1798)

Small orchestral and instrumental

 * Karnevaltanze for orchestra (1792–1799)
 * March for orchestra (1831)
 * March of the Polish army vanguard for orchestra (1831)
 * Triumphal march for wind orchestra (1809)
 * March with echo and Andante for orchestra (?)
 * Mazurka for orchestra (c. 1825)
 * Polonaise in D major for orchestra (1818)
 * Polonaise in D major for violin and piano (?)
 * Polonaise in D major for violin and piano (1820)
 * Polonaise in E major on the theme of the overture to the opera "Lodoiska" R. Kreutzer for orchestra (1804)
 * Polonaise in E-flat major for violin and piano (1820)
 * Polonaise in F major for orchestra (1818)
 * Polonaise on the march from the opera "Water Carrier" L. Cherubini for orchestra (1804)
 * Polonaise on the song "Ou peut-on etre mieux ..." for orchestra (1816)
 * Rondo a la Krakowiak B-flat major for piano (1803)
 * Rondo a la Mazurka in C major for piano (1803)
 * Rondo a la Mazurka in G minor for piano (1803)
 * Trois quatuors meilleur du goût anglais for strings (1798)
 * Trois quatuors for strings (c. 1796)
 * Rollers region for orchestra (c. 1791–1792)
 * Rollers Viennese orchestra (c. 1790–1791)
 * Variations in B-flat major on the march from the opera "Przerwana ofiara" ("Interrupted victim") (P. Winter), for piano (1802)
 * Variations on the aria from the opera "Żony przemienione czyli Szewc" ("The shoemaker's wife transformed") (M. A. Portogalla) for orchestra (1810)

title: Józef Elsner


text:
User:Seth Ilys/Cronin

Blaise Cronin is dean of the school of library science at Indiana University, for the past 13 years; he has lots of impressive things on his vita. Most of his recent work is in the field of scholarly communication.

 * My notes, inital thoughts, further questions, are indented once. -- Seth Ilys 19:10, 13 Apr 2005 (UTC)
 * See also a blog post on the lecture with further thoughts. -- Seth Ilys 22:59, 13 Apr 2005 (UTC)

The lecture
Writing in the academic world - the traditional model is that of the "lone wolf" - a dissconnected, passionate scholar. Monographs are, indeed, required for graduate degrees, for tenure. This is a romantic nation, but in reality, these are not social isolates.

What are our webs of sociocognitive connections?

High-energy physics. What happens when there are 600 authors; who is reponsible for the work; who is the guarantor?

 * Wikipedia has similar sorts of problems in terms of multiple authorship).

In the academy, this is relevant because they're tied to promotion, tenure, hiring (although some of Cronin's own work refutes that; see the salary curve)

There was a 20th century transformation of science; driven in part by professionalization/specialization, an artifact of institutional "Big Science"

 * What is the relationship between institutionalization and communication patterns?

Major collaborative projects: Manhattan, Apollo, Human Genome. These are international, cross-sector. "Industrial level collaboration" is a norm. We can now identify expertise and assemble a team of specialists.

 * Yes, but is anyone actually assembling this team towards one of Cronin's "epistemic goals?)

Whitehead Institute (Boston) - designed to "cause brains to collide" - physical path-crossing engineered into the design.

Place still matters profoundly, even in an age of hyperconnectivity. There's also complementarity between face-to-face and online interactions (the presence one prompts the others)

Coauthored papers are, statistically, more likely to be cited.

 * Yes, but why?

It's one thing for a lone scientist in a lab to mobilize 30 doctoral students; it's another to "organize" hundreds of researchers across disciplines worldwide.

There is, in these fields, a separation between product and producer, parallel to

 * Wikipedia has a much smaller separation between creators and consumers in one respect, a much larger separation in others because authors can vanish into anonymity.

The problems of "ghost" and "gift" authorships; gender biases in these, the artifacts of power relationships.

Returning to the classical notion, a lone romantic author. Isomorphic assocation between output and producer. Why not enumerate all the "contributors" by what their contribution is, explicitly?

"Post-academic science; post-traditional communitarian science."

Co-authorship is merely the most visible evidence of collaboration.

"Sub-authorship collaboration" - advising, inspiring, tehcnical support, data gathering, informal discussions (acknowledgements)

How many papers have this many authors? From 2003

About 500 have 50 or more; about 300 have 300 or more, about 50 have 500 or more.

These numbers make a *huge* leap around 1990-1993, and we all know what happened then.

Some papers even have names for "teams" like this -- the progressive "corporatization" of authorship.

 * We have a team, too; it falls under the "corporate" banner of Wikpedia

Biomedicine and physics are the subcommunities where this happens frequently -- what makes this different.

"Standard author list" for physics -- there are rules for who gets bylines. Some folks who worked with a team, even if they didn't work on the project, even if they weren't there for 12 months, can get an author line as part of the team. This doesn't create epistemic confusion because the rules are broadly understood.

Joint authorship has jumped at least 20% in most disciplines in the past 15 years (from roughly 40 to roughly 60 percent)

Prior to the '90s, 30% of collaborations on scientifc papers were single-site collaborations. This is now about 15% from the most recet decade.

"It's becoming almost perverse to write alone."

Looking at promotion and tenure documents, looking for explicit statements about tenure in lit&lang departments. In only two cases were e-journals or online publications mentioned. What is required? The single-authored, interpretive monograph.

Other data: International collaboration has doubled or more in the past 15 years (roughly 10% to now roughly 20-30%)

 * Yes, yes, we get it!

Increase in domestic collaboration has paralleled the increase in international collaboration.

"Glocalization"

 * Is this glocalization a result of the enabling tools? What might be useful is a detailed study of what ways academics actually communicate.

An artifact of this: the Edros number.

Looking at a single academic career (Rob Kling); plot of the co-authorship universe; co-authors shift from decade to decade; he takes people into his orbit. There is a real break when he came to Indiana; his two last co-authors (1998-2005) were Indiana faculty, and all others dropped off

How do you maximize interaction between researchers by shaping physical space?

Why does a great man not just find the greatest people?

They are, to use Heidegger's term, "at hand."

An example: In a paper with 6 authors, 29 people are credited. Scientists can't do what they do without relying on others.

"Co-opetition." In the business world, "informal know-how trading."

The science wouldn't be possible without those who inhabit the "limbo world." What would making these "silent scientists" visible do for understanding the way science is conducted?

What sorts of acknowledgements are there?

Most common are financial acknowledgements, then technical, then conceptual (6:3:2).

JACS - acknowledgements are financial (50%), technical (30%), conceptual (20%)

Mind - conceptual (70%), editorial (10%), financial (10%)

The first step at a citation index to these "goat's droppings" of academia.

It's not clear whether there's a correlation between citation and acknowledgements.

 * Why should we expect this? It has more to do with personality and personal networks than publication. It's those who spend time with others, and therfore spend less time on cool publications.

Ontological recasting of authorship.

 * Is the idea of author as producer of ideas an artifact of the concept of intellectual property?

Is the author going to be replaced by labelled collectivity? How can the modern tenure/academic processes deal with this? It breaks down. This model for evaluating performance must be revised.

 * In academica, assessment of accuracy is the domain of the peer-reviewed journal; co-authorship is a problem in the tenure process. In Wikipedia, assessment of accuracy is the major percieved problem.

 * Why didn't this multi-authorship (the perceived problem with Wikipedia) cause credibility problems in the scientific community? My guess it that it's because those who are evaluating the articles for credibility already understand the institutional culture and understand why this multi-authorship is necessary. It's those outside the institutional culture (in our case, non-Wikipedians) who have the biggest credibility issues.

 * Implications for this: Is it possible for the deliberation process on Wikipedia to be made more explicit? Would this help anything?

Questions
Good question: The last domain of the single-author monograph is going to be the doctoral disseration. Shouldn't this initatory experience be a microcosm of the world they're going to face professionally?

Another question: Does the rise of co-authorship and collaboration eliminate some of the need for tenure as a means of assuring academic freedom?

 * Wikipedia answers this question, in a sense. We have (essentially) no barrier to publication other than accuracy, and no real equivalent to tenure. Is the functional purpose of academia to secure jobs for academics, with the primary purpose of expanding knowledge diminishing into obscurity?

title: User:Seth Ilys/Cronin


title: User:Violetriga/Templates3/oldvfd


text:
Carretera Central (Cuba)

The Carretera Central (CC), meaning "Central Road", is a west-east highway spanning the length of the island of Cuba.

History
Formal construction began in 1927 during the Gerardo Machado administration and its original layout of 1,139 km (707.7 mi) was completed in 1931. It runs along the island of Cuba from west to east, between Pinar del Río and Oriente. It is a two-way single road. It represented an extraordinary economic value during Machado and Fulgencio Batista's administrations. It facilitated faster transportation and effective inter-province commuting.

Description
The Carretera Central starts in the village of La Fe, a hamlet of Sandino, in the western province of Pinar del Río, and links all major cities and province capitals except Cienfuegos. It runs about 1435 km to Baracoa in the eastern Guantánamo province.

Table
The table below shows the route of the Carretera Central. Note: Provincial seats are shown in bold; the names shown under brackets in the section "Municipality" indicate the municipal seats.

title: Carretera Central (Cuba)


text:
Talk:Roland Emmerich

Criticisms
Someone should add that he has been called "derivative" by film maker Terry Gilliam, as one can see in the extras for Terry Gilliam's 2004 film Tideland. — Preceding unsigned comment added by 50.78.183.102 (talk) 10:53, 7 January 2013 (UTC)

Hated some teacher's in school
Why does Emmerich seem to hate history and physics so much? Inaccuracy's in films are perfectly normal, but Emmerich seems to take these to the next level, furthermore he attempts to portray his films as being accurate, despite how radically inaccuratea they usually are. This is all so much so that it really makes me suspect that he must have had some bad experiences with his history and science teachers. — Preceding unsigned comment added by 216.46.5.216 (talk) 15:05, 15 April 2012 (UTC)

Alleged Dragon Ball Z movie
this has been rumored for at least 3 years now, and I can't find a single article to prove that there was ever was a live action version in the works with Emmerich hired to be in the director's chair. please respond to this before posting otherwise -- Jombage 02:01, 1 July 2007 (UTC)

 * looks like this movie is getting made after all, but with James Wong as director -- Jombage (talk) 02:07, 29 January 2008 (UTC)

Kordian Cyberpunk ??
Hello, I would like to ask a thing: is this true that Emmerich will make a movie titled "Kordian Cyberpunk", based on a drama by Juliusz Słowacki? I have seen a few trailers on you tube, however it hink they're fake. Thanks for help

   80.51.236.70 00:05, 9 November 2007 (UTC)

 * fake. those are simply clips from a movie called Equilibrium --Jombage (talk) 10:23, 30 November 2007 (UTC)

Roger Ebert
"In his scathing review of Stargate, noted film critic Roger Ebert compared Emmerich's skills to those of infamous director Ed Wood.[32] Emmerich responded by including an arrogant character named after and based on Ebert in Godzilla. Ebert has since complimented Emmerich's directorial abilities in his positive reviews of The Patriot and The Day After Tomorrow.[33][34]"

The way this is phrased, it makes it sound as though the two clauses are related. —Preceding unsigned comment added by 78.16.233.246 (talk) 20:27, 17 May 2009 (UTC)

 * Hi. I wrote this part a long time ago. Now I see it might go against WP:SYNTH but it was not my intention to say that one thing led the other. Should it just be removed altogether? Because many other critics have had many things to say (good and bad) about Emmerich and this just focuses on one of them, Roger Ebert. -- Jombage (talk) 12:14, 20 November 2009 (UTC)

Criticism of Emmerich and 2012
Centralized discussion moved to Talk:2012_(film)

There is clearly someone who is trying to distant Emmerich from anti-relgious views despite him being so open about the subject. His last 9 interviews you can Google include him talking about his religious views. This is a subject that is very much a part of him. The same person that is excluding his strong feelings against certain religion is also hiding the fact he is Jewish from his bio despite how many different people included it. I AM JEWISH. Yet, I can't seem to include this element on his page. A person's religion is included in many people's wiki pages and should especially be included in a page where the person has a very strong agenda concerning religion. Please STOP excluding this information. You are doing both my faith and wiki readers an injustice by trying to exclude this element. —Preceding unsigned comment added by 69.84.125.216 (talk) 17:01, 23 November 2009 (UTC)

Phrasing
See Talk:Shakespeare authorship question/sandbox draft2 The text reads: "a film that makes the case for Edward de Vere, 17th Earl of Oxford as the real author of the plays and sonnets usually attributed to William Shakespeare" "a film that makes the case for Edward de Vere, 17th Earl of Oxford as the real author of the plays and sonnets of William Shakespeare"

Which of the two is congruent with WP:NPOV? 'Attributed to' suggests that there is some doubt, and reflects the interests of a WP:Fringe congeries of amateur enthusiasts that WS of Stratford did not write the works. Unfortunately for them, there is no evidence for this proposition, despite 160 years of desperate searching in the archives. No scholar of rank in Elizabethan studies has espoused this proposition. It is a non-scholarly doubt. And therefore this phrasing lends some credence to the idea that doubts exist within the only community that knows about this in depth, the academic community of Shakespearean scholars and Elizabethan historians. For them and the world for the past 400 years, these are the 'works of Shakespeare' not plays 'attributed to' Shakespeare.

Were we to accept this, then technically all the wiki pages devoted to the 37 plays of Shakespeare would wear the 'attributed to William Shakespeare' phrase, which is nonsensical. The second version simply states that the film-maker believes the 'real author' of the works of William Shakespeare was the Earl of Oxford. That is perfectly clear, and straightforward. The Iliad and the Odyssey are attributed to Homer, as are other works, but we write 'Homer's Iliad/Odyssey', just as we write, Lucretius's De Rerum Natura, or Petronius's Satyricon, William Langland's Piers Plowman and Thomas à Kempis's De Imitatione Christi, and in these cases real doubt among aademic specialists does exist, which means we use 'attribution' as a technical variant on limited occasions, usually only within scholarly discourse. The evidence for Shakespeare's authorship however is 'irrefutable' (Kenneth Muir) and yet we can use 'attributed to' in certain defined contexts, if we are being neutral, for example in those plays where dual authorship has been proven. Titus Andronicus is usually attributed to Shakespeare, but the fact is George Peele wrote part of it, etc.

John Orloff using the profound erudition he garnered about Shakespeare and his times as an LA advertising executive was perfectly in his rights to create a fantasy about de Vere being Shakespeare, as is Emmerich in making a film of it based on the Percy Allen Tudor theory craziness, which almost nobody even among the doubters thinks believable. That's showbusiness - Shakespeare as someone who screwed his mum and t***burgled their kiddie. Hey wow, they'll make a fortune! But this should no more affect the way the most eruditely informed knowledge of Shakespeare is presented to the reading public, The former are in business. Scholars are concerned, as is wiki, with getting the facts straight, and the prose NPOV. It does not look kindly on attempts to tweak fringe ideology into biographies for promotional purposes.

usually gives the game away. Not an adjective to employ in describing a universal academic consensus.

This is particularly important to get clear given that the film is forthcoming and a huge frothy bubble of Much Ado About Nothing will break over wikipedia to try and get publicity and leverage for the folks who, perhaps for want of a proper religion, take to this conspiracy theory like a duck to water as the greatest secret not yet deconstructed for mankind. Nishidani (talk) 09:51, 19 June 2010 (UTC)

 * In reply to Smatprt's attempt to support his fellow de Verean, Jack from Maffra.
 * On attribution see OED vol.1 p.775 col.3. 'Edward 111, a Play attributed to Shakespeare'. Why 'attributed'? Because in this case, Edward 111 was a play published anonymously, and only later presumed or supposed to have been written by Shakespeare. One cannot say that the Folio plays (1623) let alone the quartos of those plays in the Folio printed with his name as author, are 'ascribed', for there is no presumption by the editors of the Folio that Shakespeare wrote the plays. ('The ascription of a work of art to its supposed author'). This is a simple distinction in English, and should be understood by everyone. 'ascribed/attributed to' is partisan, as well as being historically anachronistic, the retroactive ascription of implicit doubt to a period where there is no evidence that an authorship doubt existed.Nishidani (talk) 16:15, 19 June 2010 (UTC)

There's been an over-reaction here. This has nothing to do with the fact that there's been a debate about the true authorship of Shakespeare's plays for a considerable time. And it has nothing to do with any particular editor being a de Verean or otherwise. It has to do with the norms of the English language.

If some director created a movie that purported to make a case that Queen Victoria was the actual author of Great Expectations, A Tale of Two Cities and A Christmas Carol, we would use words like "Tarquin Smythe's next project is a film supporting the idea that Queen Victoria was the actual author of Great Expectations and other works normally attributed to Charles Dickens". That is what we would say. It doesn't for a moment deny Dickens was the real author; it's simply using a parallel between the until-now-100% accepted attribution to Dickens and the new proposed attribution to Queen Victoria. --  Jack of Oz    ... speak! ...   23:01, 19 June 2010 (UTC)

 * Hey Jack. I saw there was a dust-up over here and looked in. As to your argument above, normally we would say "Tarquin Smythe's next project is a film supporting the idea that Queen Victoria was the actual author of Great Expectations and other works by Charles Dickens" All this "normally attributed" and "usually attributed" is unnecessary; people don't talk about movies that way. Also I made an edit that describes what we know so far about the film. We don't know whether ti "makes the case" or not; if it did it would be a polemical work, a highly unusual type of movie for Emmerlich, and for all we know we might find out at the end that it was all a dream. But we do know it's based on the premise that Oxford was the author, that's the reality, and describing it as such is certainly accurate and more NPOV. Tom Reedy (talk) 05:06, 20 June 2010 (UTC)

 * I can live with that, Tom. Thanks. --   Jack of Oz    ... speak! ...   05:18, 20 June 2010 (UTC)

 * I have no problem with using "premise" either. But to address Nishidani's concerns about using "attributed", saying scholars don't use the term, it's anachronistic, etc., I'm afraid the "real world" does not support such statements. If the worlds most renowned Shakespeare research center (The Folger) uses "attributed", then so can we. "The question of whether it was Shakespeare who wrote the works attributed to him, often called the authorship controversy, existed well before the Folger was founded, although in the early 1900s the leading alternative was still Sir Francis Bacon.". Encyclopedia Brittanica and countless others use the phrase (actually countless is wrong, as a google search reveals 65,600 matches to "attributed to William Shakespeare").
 * It's quite simple. I don't google much. I read books. I have, in fifty years of collecting editions of Shakespeare, never come across any edition of the plays included in the folio, of the type: 'Hamlet' attributed to William Shakespeare. I have never come across a collected edition of Shakespeare which does not read:'The works of Shakespeare', instead of 'The works attributed to Shakespeare'. The word 'attributed to' is used, academically only of those works of multiple authorship or wrongly attributed to Shakespeare, or anonymous works suspected of being by Shakespeare. Google all you like. Nishidani (talk) 20:09, 20 June 2010 (UTC)
 * Just put a link to SAQ behind 'real author' and your problem is solved, and all will be well.Nishidani (talk) 20:13, 20 June 2010 (UTC)

13th Baktun
"The release date for Anonymous coincided with the completion of the 13th Baktun, the date which marks the empirical base for Emmerich's film 2012, as this is celebrated by the surviving indigenous Maya, specifically the Quiché people."

Anonymous was released on October 28, 2011 (12.19.19.15.6 on the Long Count calendar)

The completion of the 13th baktun is December 20, 2012 (12.19.19.17.19) Followed by the start of the 14th baktun on December 21, 2012 (13.0.0.0.0)

I'm no expert on the Long Count, but I'm pretty sure this statement from the article is wrong. — Preceding unsigned comment added by 173.22.112.122 (talk) 11:38, 20 November 2012 (UTC)

Godzilla not a Disaster Film?
The article says "Emmerich has also directed three other very successful box office fims that weren't disaster films, which were Stargate (1994), Godzilla (1998) (...)" - So Godzilla is not a disaster film? Based on the amount of destruction going on in the movie, it could well be considered one. 129.69.215.20 (talk) 10:11, 3 September 2013 (UTC)

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Complaints of unoriginality + plagiarism?
Both Stargate and Day After Tomorrow faced lawsuits (in the US and Germany, respectively) for plagiarism.

The US lawsuit ended in a settlement; the German lawsuit was thrown out. Seems potentially relevant, but hard to state neutrally. – SJ + 17:11, 7 March 2020 (UTC)

New Stargate Movie
Hello fellow wikipedians,

Last time when I scrolled the internet for news articles around stargate I came across one article(in Dutch) stating that Roland Emmerich is currently trying to create a new stargate movie. Although this is the first time I have heard it I do not know where they have sourced it from so if anyone can confirm this might be interesting to add. The article in question(Dutch, might wanna use google translate)

Backupje (talk) 09:00, 18 May 2020 (UTC)

Development hell
In the section "Hollywood director", this term occurs twice (both times wikilinked).

Can someone please get rid of this jargon, and replace it with an explanation of what the development problems were, e.g. financial, legal, whatever? If the term were self-explanatory, it wouldn't need to be a wikilink.

I would do this myself, but I don't have information about the nature of the development problems. The best I can do is to replace the first use with a brief gloss of "development hell", and de-linkify the second; which I will go ahead and do in a day or two, if someone else doesn't get there first. MrDemeanour (talk) 18:25, 16 October 2023 (UTC)

title: Talk:Roland Emmerich


text:
Kenojuak Ashevak

Kenojuak Ashevak, (Inuktitut: ᕿᓐᓄᐊᔪᐊᖅ ᐋᓯᕙᒃ, Qinnuajuaq Aasivak), (October 3, 1927 – January 8, 2013) is celebrated as a leading figure of modern Inuit art and one of Canada's preeminent artists and cultural icons. Part of a pioneering generation of Arctic creators, her career spanned more than five decades. She made graphic art, drawings and prints in stonecut, lithography and etching, beloved by the public, museums and collectors alike.

Ashevak surmounted her circumstances to become an artist. Her range of mediums was exceptionally broad and included stained glass. Her achievements were honored. She was the first Inuit artist inducted into Canada's Walk of Fame (2001), was made an Officer of the Order of Canada (1967) and promoted to Companion in 1982. She received the Governor General's Award in Visual and Media Arts (2008) and the Order of Nunavut (2012). Her work, with its superb design qualities, was used for Canadian stamps, coins and banknotes. For instance, in 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories and in 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday featuring Ashevak's print Owl's Bouquet on the note. She received Honorary Doctorates from Queen's University (1991) and the University of Toronto (1992) and many films were made about her life.

Early life and family
Kenojuak Ashevak was born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island. Her father, Ushuakjuk, an Inuit hunter and fur trader, and her mother, Silaqqi, named Kenojuak after Silaqqi's deceased father. According to this Inuit naming tradition, the love and respect that had been accorded to her during her lifetime would now pass on to their daughter. Kenojuak also had a brother and a sister.

Kenojuak remembered Ushuakjuk as "a kind and benevolent man." Her father, a respected angakkuq (shaman), "had more knowledge than average mortals, and he would help all the Inuit people [sic]." According to Kenojuak, her father believed he could predict weather, predict good hunting seasons and even turn into a walrus; he also had the ability "to make fish swarm at the surface so it was easier to fish." Her father came into conflict with Christian converts, and some enemies assassinated him in a hunting camp in 1933, when she was only six.

After her father's murder, Kenojuak moved with her widowed mother Silaqqi and family to the home of Silaqqi's mother, Koweesa, who taught her traditional crafts, including the repair of sealskins for trade with the Hudson's Bay Company and how to make waterproof clothes sewn with caribou sinew.

When she was 19, her mother, Silaqqi, and stepfather, Takpaugni, arranged for her to marry Johnniebo Ashevak (1923–1972), a local Inuit hunter. Kenojuak was reluctant, she said, even playfully throwing pebbles at him when he would approach her. In time, however, she came to love him for his kindness and gentleness, a man who developed artistic talents in his own right and who sometimes collaborated with her on projects; the National Gallery of Canada holds two of Johnniebo's works, Taleelayo with Sea Bird (1965) and Hare Spirits (1960).

In 1950 a public health nurse arrived in her Arctic village; Kenojuak, having tested positive in a tuberculosis screening, was sent against her will to Parc Savard hospital in Quebec City, where she stayed for over three years, from early 1952 to the summer of 1955. She had just given birth when she was forcibly transferred; the baby was adopted by a neighbouring family. Several of Kenojuak's children died while she was confined in hospital.

In 1966, Kenojuak and Johnniebo moved to Cape Dorset. Many of their children and grandchildren succumbed to disease, as did her husband after 26 years of marriage. Three daughters of Kenojuak, Mary, Elisapee Qiqituk, and Aggeok, died in childhood, and four sons, Jamasie, her adopted son Ashevak, and Kadlarjuk and Qiqituk. The latter two were adopted at birth by another family.

The year after Johnniebo died in 1972, Kenojuak remarried, to Etyguyakjua Pee; he died in 1977. In 1978 she married Joanassie Igiu. She had 11 children by her first husband and adopted five more; seven of her children died in childhood. At the time of her death from lung cancer, she was living in a wood-frame house in Kinngait (Cape Dorset).

Career
Kenojuak Ashevak became one of the first Inuit women in Cape Dorset to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She designed several drawings for Canadian stamps and coins, and in 2004 she created the first Inuit-designed stained-glass window for the John Bell Chapel in Oakville, Ontario. In 2017, the $10 bill released in celebration of Canada's 150th birthday features Kenojuak's stone-cut and stencil printed work called "Owl’s Bouquet" in silver holographic foil.

During Ashevak's stay at Parc Savard hospital in Quebec City, 1952 to 1955, she learned to make dolls from Harold Pfeiffer and to do beadwork. These crafts later attracted the attention of civil administrator and pioneer Inuit art promoter James Archibald Houston and his wife Alma. Houston introduced print-making to Cape Dorset artists in the 1950s, and he and his wife began marketing Inuit arts and crafts, including an exhibit of Inuit art in 1959. James Houston wrote about this time in 1999:"She was hesitant at first, claiming that she could not draw and that drawing was a man’s business. Yet the next time that she visited the Houstons, the sheets of paper that Alma had given her were filled with pencil sketches."In 1958 her first print, Rabbit Eating Seaweed, was produced from one of her designs on a sealskin bag, and by 1959 Kenojuak and other Cape Dorset Inuit had formed the West Baffin Eskimo Co-operative as a senlavik (workshop) for aspiring Inuit artists, later known as Kinngait Studios. Fellow members included Pitaloosie Saila, Mayoreak Ashoona, and Napatchie Pootagook.

Her reception in southern Canada was rapidly favourable:
 * Rabbit Eating Seaweed was Ashevak's first print, part of a debut exhibition of Inuit graphics. The young woman from the remote Canadian North was an immediate success, said Christine Lalonde, an expert in Inuit art with the National Gallery of Canada. 'She had her own sense of design... She was already willing to let the pencil go, because she had the hand and the eye co-ordination to make the image she already had in her head.' The National Gallery owns several copies of The Enchanted Owl, including the original pencil sketch from 1960. That sketch reveals much, said Lalonde. 'It's a very simple drawing — pencil on pulp paper. But you can see even then how confident and sure her line was as she was making the curves of the fanning feathers.'

In 1963 she was the subject of a National Film Board documentary by producer John Feeney, Eskimo Artist: Kenojuak, about Kenojuak, then 35, and her family, as well as traditional Inuit life on Baffin Island. The film showed a stonecutter carving her design into a relief block in stone, cutting away all the non-printing surfaces; she would then apply ink to the carved stone, usually in two or more colours, and carefully make 50 "shadow" prints for sale. With the money she earned from the film, Johnniebo was able to purchase his own canoe and become an independent hunter to help provide for the family, which now included a new daughter, Aggeo, and an adopted son, Ashevak.

National Gallery of Canada art expert Christine Lalonde marvelled at her confident artistry: "When you see her, you realize she doesn't use an eraser. She just sits down and she starts to draw."

Ashevak created several pieces of work to commemorate the creation of Nunavut, the third Canadian Territory, including a piece commissioned by the Department of Indian and Northern Affairs, Nunavut Qajanatuk (Our Beautiful Land) for the signing of the Inuit Land Claim Agreement in Principle in April 1990; Nunavut, a large hand-coloured lithograph to commemorate the signing of the Final Agreement early in 1994; a large diptych titled Siilavut, Nunavut (Our Environment, Our Land) in April 1999, when the Territory officially came into being.

The work of Ashevak Kenojuak can be found in the collections of Canada's National Gallery, the Art Gallery of Ontario, and the Burnaby Art Gallery.

Kenojuak became the first Inuit artist inducted into Canada's Walk of Fame in 2001, and traveled to Toronto with her daughter, Silaqi, to attend the ceremony.

Up until her death, Kenojuak contributed annually to the Cape Dorset Annual Print Release and continued to create new works. She was one of the last living artists from the West Baffin Eskimo Cooperative.

A CBC report of Kenojuak's death characterized her as a person of unfeigned humility and simplicity:
 * Okpik Pitseolak, an artist from Cape Dorset who knew her personally, said Kenojuak Ashevak brought Inuit art to the world but was "very humble about her work." Pitseolak said that when she appeared on the radio to talk about her art, she didn't want to come across "as someone who brags" about it. But she was "thankful for the fact that she was given this gift." — CBC News

Since her death, prices for Kenojuak's work have reached new records, including $59,000CAD paid for a copy of Rabbit Eating Seaweed.

Style
Kenojuak described her work thus in 1980: "'I just take these things out of my thoughts and out of my imagination, and I don't really give any weight to the idea of its being an image of something.... I am just concentrating on placing it down on paper in a way that is pleasing to my own eye, whether it has anything to do with subjective reality or not. And that is how I have always tried to make my images, and that is still how I do it, and I haven't really thought about it any other way than that. That is just my style, and is the way I started and the way I am today.'"

Stained glass
In 2004, Kenojuak designed a stained glass window for a chapel at Appleby College in Oakville, Ontario. The window, of an Arctic char along with an owl against a vibrantly blue background, is the first such window made by an Inuit artist; it was suggested by two Biblical stories in which Jesus feeds a large crowd of people with two fish and a few loaves of bread, which for Kenojuak thoroughly embodied the spirit of the Inuit community, where food is always shared. The window was dedicated by the Rt. Rev. Andrew Atagotaaluk, Bishop of the Arctic, on November 9, 2004, celebrating the 75th anniversary of John Bell Chapel.

Collections
Her work is included in the collection of the Art Museum The University of Toronto, St. Lawrence University, the National Gallery of Canada, the Metropolitan Museum of Art, the Brooklyn Museum and the Smithsonian's National Museum of the American Indian.

Honours

 * In 1967, she was made an Officer of the Order of Canada and was promoted to Companion in 1982.
 * In 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories.
 * In 1974, she was elected a member of the Royal Canadian Academy of Arts.
 * In 1980, Canada Post used her 1961 print Return of the Sun on a seventeen-cent stamp as part of its Inuit postage stamp series.
 * In 1982, she has appointed a Companion of the Order of Canada.
 * In 1991, she received an honorary doctorate from Queen's University.
 * In 1992, she was awarded an honorary doctorate from the University of Toronto.
 * In 1993, Canada Post featured 1969 drawing The Owl on a stamp for its Masterpieces of Canadian Art series.
 * In 1999, a famous piece of hers, the "Red Owl" was featured on the April issue of the 1999 Millennium quarter series. Her initials in Inuktitut were on the left of the design, the first time the language had appeared on circulation coinage.
 * In 2001, she was inducted into Canada's Walk of Fame.
 * In 2004, she created the first-ever Inuit-designed stained glass window for the John Bell Chapel at Appleby College in Oakville, Ontario.
 * In 2008, she received the renowned $25,000 Governor General's Award in Visual and Media Arts from the Canada Council of the Arts.
 * In 2012, she was appointed a member of the Order of Nunavut.
 * In 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday; Ashevak's print Owl's Bouquet is featured on the note.

In popular culture
The search engine Google showed a special doodle on its Canadian home page on October 3, 2014, for Kenojuak Ashevak's 87th Birthday.

On October 19, 2016, a Heritage Minute was released by Historica Canada. For the first time ever, the Heritage Minute is also narrated in a language other than French or English, in this case Inuktitut. Her granddaughter narrates the Heritage Minute, as well as appearing in it with her family. It was premiered in Cape Dorset, Nunavut, where it was also filmed.

Films

 * In 1963, she was featured in the National Film Board of Canada documentary Eskimo Artist: Kenojuak, directed by John Feeney, which was nominated for an Academy Award for Documentary Short Subject in 1964. (Note on title: Feeney had suggested using the term "Inuit" in place of "Eskimo," but in 1963 it had been rejected as an unfamiliar term to non-Inuit audiences)
 * 1992, archival and contemporary footage of Kenojuak was featured in Momentum, Canada's film for Expo '92.

Legacy
In 2020, Cape Dorset Fine Arts organized the touring exhibition Kenojuak Ashevak: Life and Legacy.

title: Kenojuak Ashevak


text:
Talk:Ziggurat

Some of this is fake...
Ziggurat, means "tururu". I didn't even read the whole post because I noticed a lot of it was fake. There is a lot in this topic, and not all of it is fake, but i did notice the fake parts. I think editing this paragraph would be necessary. — Preceding unsigned comment added by 107.3.152.184 (talk) 13:08, 26 October 2011 (UTC)

The "mountain of god" phrase has been removed. Greensburger (talk) 07:47, 7 December 2011 (UTC)

It isnt very descriptive — Preceding unsigned comment added by 2602:304:B0BA:6CE9:195D:54DD:43D0:D542 (talk) 03:17, 11 October 2012 (UTC)

Semi-protection
This article has been protected. Semi-protection prevents edits from unregistered users (IP addresses), as well as edits from any account that is not autoconfirmed (is at least four days old and has ten or more edits to Wikipedia) or confirmed. Such users can request edits to a semi-protected page by proposing them on its talk page, using the template if necessary to gain attention. New users may also request the confirmed user right by visiting Requests for permissions.  SilkTork   ✔Tea time  00:29, 1 December 2011 (UTC)

It needs more...
This page lacks key information. What we need is for schoolkids in the sixth grade to write some about this. They are studying Mesopotamia around right now, and love the Ziggurats, from what I can tell. The Ziggurats have been a favorite of mine since I learned about them. The best part must have been finishing building them when they could rest on the newly built steps, and plant small gardens in built-in planter boxes.

Used by Astrologer/Astronomers
According to Christopher McIntosh, a historian, in his book The Astrologers and their Creed, the ziggurats in Babylon (now Iraq) were built for priests to observe the night sky and to record the movements of the planets. I think this is a valid enough piece of information to include, and if no-one adds it, I will next week:) Here's the book reference: http://books.google.co.uk/books?id=M6I0AAAAMAAJ&q=towers#search_anchor Thanx Veryscarymary (talk) 15:48, 30 July 2013 (UTC)

Etymology
An etymology section would be good. "Ziggurat" may mean "watch-house" as translated as this in Mandeanism. Accompanied by a very paranoid athmosphere, as they believe in false gods, and that they may watch them from the ziggurat. Fear no doubt due to that they where very facistic. More like a satanic manifestation in a city, a nazi-building, and the mentality more of a prison camp. Some of these also claimed to be "God", which probably was just another idol to them.

Monotheism is ofcourse "God does not have partners". With high moral teachings. And Satan being an evil demon, a polytheist (disbeliever).

Peace Be With You.

Semi-protected edit request on 7 August 2014
this page of Ziggurat should add the sumerian tablet of sichen interpretation of them and the myth of those people 's version of its roots not only the west version. i wish it was more true to the other facts or written from akkhadian's evidential proofs not just the writers' point of view. these monuments are also onw of the wonders as in aztecs.

76.71.67.190 (talk) 12:31, 7 August 2014 (UTC)
 * Red information icon with gradient background.svg Not done: - Propose your changes in a "change X to Y" format and provide reliable sources that support the change you want to be made. Anupmehra  - Let's talk!  18:13, 8 August 2014 (UTC)

Contradiction
The first paragraph of the "Description" section states, "It is assumed that they had shrines at the top, but there is no archaeological evidence for this and the only textual evidence is from Herodotus." The succeeding paragraphs of the same section appear to take it as read that these shrines (or "temples") existed as proven fact. The entire section has only four cited sources, three of which are not relevant to the issue in question and one of which is attached to the statement I've quoted above. Can we see some cleanup of the section to reduce the appearance of contradiction? 12.233.147.42 (talk) 01:33, 27 March 2015 (UTC)

Better picture is needed
Something is not right here. The current photo prominently shows armed, Western soldiers climbing (dominating?) a structure build by people from the Ancient Middle East. — Preceding unsigned comment added by 2600:8800:1300:148C:7D43:6C00:C7C:C03F (talk) 18:31, 30 April 2018 (UTC)

Stone? What stone?
The first sentence of the article says that a ziggurat is "a type of massive stone structure". Really, a stone structure? Weren't they made of bricks? -- Imerologul Valah (talk) 21:51, 21 December 2018 (UTC)

 * someone added that last year and no one, including me, noticed. I've removed the word "stone". Thanks, well spotted. Doug Weller  talk 09:18, 23 December 2018 (UTC)

archaeologist Harriet Crawford
Could someone add a biography page for archaeologist Harriet Crawford? She is often referenced and quoted in articles on Mesopotamia. — Preceding unsigned comment added by Greg.collver (talk • contribs) 16:55, 22 December 2019 (UTC)

Ziggurats not build by the Eblaites
In the first sentence of Description, it says that Ziggurats ware also build by the Eblaites. I doubt there are Ziggurats found within the Eblaite Kingdom. In the Mari Kingdom yes, but around Ebla?

As far as I know, the Eblaites belong to the Canaanite influence sphere, not the Akkadian/Sumerian. Any thoughts?

title: Talk:Ziggurat


text:
Talk:Hilary Swank

Hilary Swank got married this past weekend to Philip Schneider
How do we add this info to her bio? Bobbyblatz (talk) 21:01, 20 August 2018 (UTC)

Hilary Swank Power Rangers
Hi, Much Love as a friend, Someone left out how on several episodes of Power Rangers in the middle of the Attitude Era in the 1990s, only on about 6 episodes, Hilary Swank appeared as the girl portraying Pink Power Ranger, I know because when she takes off her helmet, and the guy who played the original Red Power Ranger calls her by her character 's other name, they hug, and she takes off her helmet, and revealed she did appear on those few episodes of Power Rangers in the middle of the Attitude Era in the 1990s. They also credited her in those episodes too. E! Confirmed in 1999. — Preceding unsigned comment added by TelleyTell (talk • contribs) 18:19, 3 September 2020 (UTC)

title: Talk:Hilary Swank


text:
Talk:Medicaid

Piper report
Deleted link to Piper report because the link is not specific to the subject and also relates to this issue: "Adding links to one's own page is strongly discouraged." from External_links

Missouri
I don't know how to change maps but the Missouri SC has ordered that the state expand Medicaid per the result of the referendum despite their Legislature refusing to fund it. 331dot (talk) 08:57, 23 July 2021 (UTC)

title: Talk:Medicaid


text: User:Violetriga/Templates3/oldpeerreview


text:
Talk:The Next Karate Kid

Γειααα
Γειασ 85.73.238.186 (talk) 12:47, 27 February 2022 (UTC)

title: Talk:The Next Karate Kid


text:
Wikipedia:Articles for deletion/Vive la rose

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep. Mindspillage (spill yours?) 00:42, 27 Apr 2005 (UTC)

Vive la rose
Article does not convince me of the song's notability. Only 551 results from the Google test for the phrase "vive la rose" many of which (including the first hit) do not refer to the song. [Note: I first consulted WikiProject Songs, as most WikiProjects set guidelines for notability, but they have not come up with anything. Maybe this can serve as precedent?] --DropDeadGorgias (talk) 19:09, Apr 13, 2005 (UTC)
 * Comment, in reply to the previous one: Where do you think all the other google references to "Vive la rose" come from? From the song. Try googling "Frere jacques". It's the name of a song, but it was so commonly known that it's become the name of a restaurant, a computer virus, etc., etc. You'd be hard-pressed to find a Frenchman who had NOT heard the song Vive la rose. SonicSynergy 20:40, 14 Apr 2005 (UTC)
 * Comment: I'm not really convinced either. Shouldn't the article mention the performer? Mgm|(talk) 19:23, Apr 13, 2005 (UTC)
 * Delete - I can't see any justification for this article. Doesn't say why the song is notable. Not even enough information to properly categorise. --Moochocoogle 02:41, 14 Apr 2005 (UTC)
 * Keep. It appears to be a popular French song by Emile Benoit. In fact, it was his last recording. It was interpreted by several other musicians; this site refers to one such interpretation as "une vieille chanson française interprétée par la suite par Guy Béart pour les enfants". I wouldn't imagine that French-language songs would be too familiar to those outside the Francophone world, with the possible exceptions of "frere jacques" or "voulez vous couchez avec moi". SonicSynergy 04:52, 14 Apr 2005 (UTC)
 * The article's not convincing, but if you check out some of the actual Google-hit pages, you discover: 1) "Vive la rose" is a 200-year old French folk song. 2) The primary artist mentioned (Emile Benoit) was a "genuine" folk artist (i.e. folk music wasn't his career, but he was the inheritor of an oral tradition of French-Canadian culture in Newfoundland ), and the subject of a study that sounds similar to Alan Lomax's field recordings for the Smithsonian Institution in the U.S.  So I'd say Keep and let's go find some French or Canadian cultural historians to help turn these into 2 real articles. Soundguy99 07:07, 14 Apr 2005 (UTC)
 * Delete, this is borderline. Article does not establish notability. Megan1967 07:13, 14 Apr 2005 (UTC)
 * Keep and Expand. It seems that this song is of cultural significance in Canada. Capitalistroadster 02:22, 15 Apr 2005 (UTC)
 * Keep A 200 hundred year old folk song that is still being performed seems notable. Rx StrangeLove 03:43, 15 Apr 2005 (UTC)
 * Keep popular songs. Kappa 19:12, 17 Apr 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Bull Run Mountains

The Bull Run Mountains are a mountain range of the Blue Ridge Mountains in northern Virginia in the United States. Located approximately 20 mi east of the main chain, across the Loudoun Valley. The Bull Run Mountains, together with Catoctin Mountain in Virginia and Maryland, make up the easternmost front of the Blue Ridge.

The mountain range is the home of the Virginia Outdoors Foundation's Preserve at Bull Run Mountains, which is a state-designated Natural Area Preserve dedicated to the scientific and educational potential of the region. The Preserve at Bull Run Mountains has over seven miles of trails that are open to the public on Fridays, Saturdays, and Sundays - year round.

The mountain range also holds several communities of residents, which includes the Bull Run Mountain Estates.

Interstate 66, the John Marshall Highway (Virginia Route 55) and the Manassas Gap Railroad pass through the range at Thoroughfare Gap.

Geography
The range extends in a southwest–northeast orientation for approximately 15 mi from Aldie in Loudoun County, through western Prince William County to New Baltimore in Fauquier County. In the north, from Aldie to the headwaters of Bull Run Creek, the range serves as the eastern border of the southern Loudoun Valley. South of Bull Run Creek, the watershed of the range forms the western border of Prince William with Fauquier and thus the eastern slopes are in the former county, while the western slopes are in the latter.

The range consists of three closely spaced ridges (with several spurs), which converge in the center of the range. The northern section of the range consists of a solitary ridge, which dies out towards the center of the range, whereupon two ridges to the west gain prominence. In the southern section the central ridge dies out as well and the westernmost ridge solely comprises the range. The section of the Bull Run Mountains south of Thoroughfare Gap is sometimes referred to as the Pond Mountains. The Broken Hills intersect the range south of I-66 in the southern section.

Geology
The Bull Run Mountains are a geological extension of the same formation that makes up the Catoctin Mountain. This formation consist mainly of Catoctin greenstone interspersed with white quartz and Precambrian metamorphosed basalt flows. The lower ridges on the eastern front also contain Jurassic basalt flows. These rocks were transported westward to their current location and uplifted during the Alleghenian Orogeny.

History
The Battle of Thoroughfare Gap was fought on the mountain prior to the Second Battle of Manassas during the American Civil War.

Peaks and gaps

 * Peaks (from north to south)
 * Aldie Mountain [700 ft]
 * Long Hill Mountain [740 ft]
 * Bull Run Ridge [1240 ft]
 * High Acre Ridge [1320 ft]
 * Griffen Mountain [950 ft]
 * Fishback Ridge [880 ft]
 * Signal Mountain [1369 ft]
 * High Point Mountain [1311 ft]
 * Bisquit Mountain [850 ft]
 * Pond Mountain [840 ft]
 * Gaps (from north to south)
 * Buchannon Gap [587 ft]
 * Cold Spring Gap [702 ft]
 * Hopewell Gap [860 ft]
 * Thoroughfare Gap [423 ft]

title: Bull Run Mountains