text:
Christopher R. Browning

Christopher Robert Browning (born May 22, 1944) is an American historian and is Professor Emeritus of History at the University of North Carolina at Chapel Hill (UNC). A specialist on the Holocaust, Browning is known for his work documenting the Final Solution, the behavior of those implementing Nazi policies, and the use of survivor testimony. He is the author of nine books, including Ordinary Men (1992) and The Origins of the Final Solution (2004).

Browning taught at Pacific Lutheran University from 1974 to 1999 and eventually became a Distinguished Professor. In 1999, he moved to UNC to accept the appointment as Frank Porter Graham Professor of History, and in 2006 he was elected a Fellow of the American Academy of Arts and Sciences. After retiring from UNC in 2014, he became a visiting professor at the University of Washington in Seattle.

Browning has acted as an expert witness at several Holocaust-related trials, including the second trial of Ernst Zündel (1988) and Irving v Penguin Books Ltd (2000).

Early life and education
Born in Durham, North Carolina, Browning was raised in Chicago, where his father was professor of philosophy at Northwestern University and his mother was a nurse. He received his BA in history from Oberlin College in 1967 and his MA, also in history, from the University of Wisconsin–Madison (UW) in 1968. He then taught for a year at St. John's Military Academy and for two years at Allegheny College. He was awarded his PhD from UW in 1975 for the thesis "Referat D III of Abteilung Deutschland and the Jewish Policy of the German Foreign Office 1940–1943." That became his first book, The Final Solution and the German Foreign Office: A study of Referat D III of Abteilung Deutschland, 1940–43 (1978).

Browning married Jennifer Jane Horn on September 19, 1970 and had two children: Kathryn Elizabeth and Anne DeSilvey.

Ordinary Men
Browning is best known for his 1992 book Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland, a study of German Ordnungspolizei (Order Police) Reserve Unit 101. The battalion committed massacres and round-ups of Jews for deportations to Nazi death camps in German-occupied Poland in 1942. The conclusion of the book, influenced in part by the famous Milgram experiments popularized in the 1970s, was that the men of Unit 101 killed out of obedience to authority and peer pressure.

As presented in the study, the men of Unit 101 were not ardent Nazis but ordinary middle-aged men of working class background from Hamburg, who had been drafted but found to be ineligible for regular military duty. After their return to occupied Poland in June 1942, the men were ordered to terrorize Jews in the ghettos during Operation Reinhard and carry out massacres of Polish Jews (men, women, and children) in the towns of Józefów and Łomazy. In other cases, they were ordered to kill a certain number of Jews in a town or area, usually helped by Trawnikis. The commander of the unit once gave his men the choice of opting out if they found it too hard, but fewer than 12 men did so in a battalion of 500. Browning provides evidence to support the notion that not all of the men were hateful antisemites. He includes the testimony of men who said that they begged to be released from the task and to be placed elsewhere. In one instance, two fathers claimed that they could not kill children and so asked to be given other work. Browning also tells of a man who demanded his release, obtained it, and was promoted once he had returned to Germany.

Ordinary Men achieved much acclaim but was criticized by Daniel Goldhagen for missing what he called a specifically German political culture, characterized by "eliminationist anti-semitism" in causing the Nazi genocides. In a review in The New Republic in July 1992, Goldhagen called Ordinary Men a book that fails in its central interpretation. Goldhagen's controversial 1996 book Hitler's Willing Executioners was largely written to rebut Browning but ended up being criticized much more.

Irving v. Lipstadt
When David Irving sued Deborah Lipstadt for libel in 1996, Browning was one of the leading witnesses for the defense. Another historian, Robert Jan van Pelt, wrote a report on the gas chambers at the Auschwitz concentration camp, and Browning wrote a report on the evidence for the extermination of Jews. During his testimony and a cross-examination by Irving, Browning countered Irving's suggestion that the last chapter of the Holocaust had yet to be written (implying there were grounds for doubting its reality) by saying, "We are still discovering things about the Roman Empire. There is no last chapter in history."

Browning countered Irving's argument that the absence of a written Führer order from Adolf Hitler to carry out the genocide of the European Jews constituted evidence against the standard Holocaust history. Browning maintained that such an order need never have been written since Hitler had almost certainly made statements to his leading subordinates indicating his wishes regarding the Jews, which rendered irrelevant the question of an extant written order. Browning testified that several experts on Nazi Germany believe there was no written Führer order for the "Final Solution of the Jewish Question" but that no historian doubts the reality of the Nazi genocide. Browning noted that Hitler's secret speech to his Gauleiters on December 12, 1941 alluded to genocide as the "Final Solution."

Browning rejected Irving's claim that there was no reliable statistical information on the size of the prewar Jewish population in Europe or on the killing processes. Browning asserted that the only reason that historians debate whether five or six million Jews were killed in the Holocaust was a lack of access to archives in the former Soviet Union.

Browning's interpretation of the Holocaust
Browning is a "moderate functionalist" in the debate about the origins of the Holocaust and focuses on the structure and institution of the Third Reich, rather than Hitler's intentions and orders. Functionalism sees the extermination of Jews as the improvisation and radicalization of a polycratic regime. Browning has argued that the Final Solution was the result of the "cumulative radicalization" (to use Hans Mommsen's phrase) of the German state, especially when it was faced with the self-imposed "problem" of three million (mostly Polish) Jews, whom the Nazis had imprisoned in ghettos between 1939 and 1941. The intention was to have those and other Jews resident in the Third Reich expelled eastward once a destination was selected. Browning argued that the phrase "Final Solution to the Jewish Question," which was first used in 1939, meant until 1941 a "territorial solution." The military developments of the Second World War and the turf wars within the German bureaucracy made expulsion lose its viability such that by 1941, members of the bureaucracy were willing to countenance the mass murder of Jews.

Browning divides the officials of the General Government of occupied Poland into two factions. The "productionists" favored using Jews of the ghettos as a source of slave labor to help with the war effort. The "attritionists" favored letting them starve and die of disease. At the same time, there were struggles between the Schutzstaffel (SS) and Hans Frank, the Governor-General of occupied Poland. The SS favored "The Nisko/Lublin Plan" to create a "Jewish reservation" in Lublin, in occupied Poland, into which all the Jews of Greater Germany, Poland and the former Czechoslovakia would be expelled. Frank was opposed to the "Lublin Plan" on the ground that the SS were "dumping" Jews into his territory. Frank and Hermann Göring wished for the General Government to become the "granary" of the Reich and opposed the ethnic cleansing schemes of Heinrich Himmler and Arthur Greiser as economically disruptive.

An attempt to settle the difficulties at a conference between Himmler, Göring, Frank and Greiser at Göring's Karinhall estate on February 12, 1940 was scuttled in May, when Himmler showed Hitler a memo, "Some Thoughts on the Treatment of Alien Population in the East," on May 15, 1940, which Hitler called "good and correct." Himmler's memo, which called for expelling all of the Jews of German-ruled Europe to Africa, reducing Poles to a "leaderless laboring class" and Hitler's approval of the memo led, as Browning noted, to a change in German policy in occupied Poland along the lines suggested by Himmler. Browning called the Göring-Frank–Himmler-Greiser dispute a perfect example of how Hitler encouraged his subordinates to engage in turf battles with one another without deciding for one policy or another but hinting at the policy he wanted.

Awards

 * 1994: National Jewish Book Award for Ordinary Men : Reserve Police Battalion 101 and the Final Solution in Poland
 * 2004: National Jewish Book Award for The Origins of the Final Solution: The Evolution of Nazi Jewish Policy, September 1939 – March 1942
 * 2010: National Jewish Book Award for Remembering Survival. Inside a Nazi Slave-labor Camp
 * 2011: Yad Vashem International Book Prize for Holocaust Research for Remembering Survival.

Selected works

 * (1978). The Final Solution and the German Foreign Office: A study of Referat D III of Abteilung Deutschland, 1940–43. New York: Holmes & Meier. ISBN 978-0841904033
 * (1981). "Zur Genesis der "Endlösung" Eine Antwort an Martin Broszat" pages 96–104 from Vierteljahrshefte für Zeitgeschichte, Volume 29.
 * (1985). Fateful Months: Essays on the Emergence of the Final Solution. New York: Holmes & Meier.
 * (1992). Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland. New York: HarperCollins.
 * (1992). The Path to Genocide: Essays on launching the Final Solution. Cambridge: Cambridge University Press.
 * (2000). Nazi policy, Jewish workers, German killers. Cambridge and New York: Cambridge University Press.
 * (2003). Collected memories: Holocaust History and Postwar Testimony, Madison, Wis. and London: University of Wisconsin Press.
 * (2004). The Origins of the Final Solution: The Evolution of Nazi Jewish Policy, September 1939 – March 1942 (with contributions by Jürgen Matthäus). Lincoln: University of Nebraska Press. ISBN 0-803-25979-4
 * (2007). Every Day Lasts a Year: A Jewish Family's Correspondence from Poland. Cambridge : Cambridge University Press.
 * (2010). Remembering Survival: Inside a Nazi Slave-Labor Camp. New York: W.W. Norton & Co. ISBN 0-393-07019-0 . This book earned Browning the 2011 Yad Vashem International Book Prize for Holocaust Research.
 * (2015), with Michael Marrus, Susannah Heschel and Milton Shain, eds. Holocaust Scholarship: Personal Trajectories and Professional Interpretations. Basingstoke and New York: Palgrave Macmillan. ISBN 978-1137514189
 * (2018). "The Suffocation of Democracy". The New York Review of Books. 65 (16). October 25, 2018.

title: Christopher R. Browning


text:
Asya

Asya may refer to:

People

 * Asya (singer) (born 1965), Turkish singer
 * Asya, ring name of American bodybuilder, model and professional wrestler Christi Wolf
 * Asya Abdullah (born 1971), Kurdish politician, co-chairwoman of the Democratic Union Party (PYD)
 * Asya Branch (born 1998), American beauty pageant titleholder and Miss USA 2020 winner
 * Asya Bussie (born 1991), American basketball player
 * Asya Miller (born 1979), American goalball player
 * Asya Pereltsvaig (born 1972), Russian linguist
 * Asya Saavedra, founding member of the music group Smoosh renamed Chaos Chaos

Arts and entertainment

 * Asya (1994 album), self-titled 1994 album by Turkish singer Asya
 * Asya (1996 album), self-titled 1996 album by Turkish singer Asya
 * Asya, a novella by Ivan Turgenev
 * Asya (film), a 1977 Soviet drama film
 * The Story of Asya Klyachina, also known as Asya's Happiness and Asya Klyachina's Story, 1966 Soviet movie

Others

 * Bank Asya, Turkish private finance house
 * Asya (given name), the given name

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

title: Asya


text:
Dirndl

A dirndl is a feminine dress which originated in German-speaking areas of the Alps. It is traditionally worn by women and girls in Austria, Bavaria (south-eastern Germany), Liechtenstein, Switzerland and Alpine regions of Italy (South Tyrol). A dirndl consists of a close-fitting bodice with a low neckline, a blouse worn under the bodice, a wide high-waisted skirt and an apron.

The dirndl is regarded as a folk costume (Tracht). It developed as the clothing of Alpine peasants between the 16th and 18th centuries. Today it is generally considered the traditional dress for women and girls in German-speaking parts of the Alps, with particular designs associated with different regions. The usual masculine tracht counterpart of the dirndl is lederhosen.

In the late 19th century the dirndl was adapted by the upper and middle classes as a fashion mode, and subsequently spread as a mode outside its area of origin. There are many varieties of adaptations from the original folk designs. The dirndl is also worn as an ethnic costume by German diaspora populations in other countries.

Name
Dirndl is a diminutive of Dirn(e). Although in current Standard German usage Dirne now generally signifies "prostitute", the word originally meant only "young woman". In Bavaria and Austria, Dirndl can mean a young woman, a girlfriend or the dress. The dress can for clarity be called Dirndlkleid (literally 'young woman's dress') or Dirndlgewand ('young woman's clothing').

Dirndl is the form of the word in Standard German. In the Bavarian and Austrian varieties of German, the word is interchangeably Dirndl or Diandl.

Speakers of German have conflicting opinions as to whether the name "dirndl" can be used for traditional as well as modern designs. Some speakers make a sharp break between traditional folk costume (tracht) and the "dirndl", a word which they use only for modern designs. For instance, tracht scholar Thekla Weissengruber distinguishes between renewed tracht (based closely upon historical designs) and Trachtenbekleidung (tracht clothing), including dirndls and lederhosen. She says: "In this category the designs in general keep to patterns which go back to the historical costume models; only the materials, skirt lengths and colour compositions change from season to season and correspond to the trends coming from centres of fashion." This distinction assumes that the term "dirndl" describes only clothing of more modern design.

However, many other German-speakers use the terms "dirndl" and "tracht" interchangeably for a woman's dress in the general dirndl style, regardless of whether the design is traditional or modern. For instance, tracht scholar Gexi Tostmann, who sees the modern dirndl as having evolved from traditional tracht designs, also uses the term "dirndl" for historical designs. A developing consensus is that a dirndl can be described as "tracht" when it has been traditionally worn by a distinct people group over a long period. This implies that a dress based on the design principles of Alpine tracht can also be called a "dirndl", even if it has a documented history of centuries as a folk costume. For example, the traditional blue polka-dotted dress of the Wachau region of Austria can be referred to either as "Wachauer Tracht" or as the "Wachauer (everyday) dirndl" In English, the name "dirndl" is used interchangeably for traditional and modern designs.

Basic design
The dirndl consists of a bodice, skirt, blouse, and apron.

The bodice (Mieder or Leiberl) is tight to the body, with a deep neckline (décolletage). It is typically made in a single piece, with the join in the front centre, secured by lacing, buttons, a hook-and-eye closure or a zip. A zip can also be on the back or the side. Traditionally, the bodice was made from dark heavy cotton, so that it would be hard-wearing. In more modern designs, it may be made from cotton, linen, velvet or silk. The material is coloured or printed. The neckline (Ausschnitt) of the bodice is traditionally round or rectangular (called "balconette"). In more modern designs, it may alternatively be high, V-shaped, heart-shaped or extra deep. The bodice often has embroidered decoration, especially when worn for public events.

The skirt (Rock) is full, with folds gathered in at the waist. Before the 1930s, it was separate from the bodice, but since then the two have been sewn to one another. Originally the skirt was long, but in more modern designs it is typically mid-length. There are also miniskirt versions. Traditionally, the skirt has a pocket on the side or in front, hidden under the apron.

The blouse (Bluse) is worn under the bodice, and is cropped above the midriff. The blouse changes the overall effect of the dirndl particularly through the cut of its neckline. A deeply cut blouse combines with a deeply cut bodice to accentuate décolletage, whereas a blouse with a high neckline gives a more modest effect. In traditional designs, the blouse neckline is at the base of the throat. Other popular necklines are V-shaped, balconette or heart-shaped. Materials most often used are cambric, linen or lace. The colour is usually white. Short puff sleeves are typical, although narrow sleeves (short or long) are also common.

The apron (Schürze) is attached to the skirt and is narrow, covering only the front of the skirt. Traditional apron designs vary according to local tradition and are typically only a single colour. In modern designs, the designs are more elaborate.

The winter style dirndl has heavy, warm skirts, long sleeves and aprons made of thick cotton, linen, velvet or wool. The colours are usually brown, deep green or dark blue.

Traditional dirndls

Traditional dirndls vary in design between regions and even villages. The different details may indicate the place of origin and social status of the wearer. As with other folk costumes, traditional dirndls often come in two forms: one for everyday occasions, the other for traditional festivals and formal wear. Dirndls worn in everyday use are rural domestic clothing, made from grey or coloured linen, sometimes with leather bodice and trim. Dirndls used on formal occasions are usually made with materials, designs, colours and embroidery specific to the region.

Some traditional designs feature pieces which drape over the breast, often combined with an elaborate collar. This has the function of concealing décolletage, in line with traditional Catholic ideas of modesty.

Accessories
Jewellery worn with the dirndl includes necklaces, earrings, chokers and chains. Also popular are brooches made of silver, the antlers of deer or even animals' teeth. Décolletage is often enhanced with a balconette bra (dirndl-BH), especially for large public events.

In spring, the front of the bodice is sometimes decorated with a corsage of fresh flowers. Other popular accessories include waistcoats, silk aprons and vibrantly coloured, hand-printed silk scarves (the latter especially in the Austrian Ausseerland). In colder weather, long-sleeved woollen jackets (Janker) are worn, as are knitted woollen shawls.

The dirndl is often worn with a hair ornament called the jungfernkranz: a small floral wreath traditionally worn by unmarried women. In Hinterskirchen in Bavaria, unmarried women wear a small crown (kranl). In more formal settings such as church festivals, a hat or bonnet is traditionally worn. In some regions of southern Germany and Austria, married women accompany the dirndl with a bonnet called a goldhaube. This headgear developed in the 17th century from a veil or headscarf and was worn by middle class urban women; later the custom spread to the countryside. The goldhaube is characterized by interwoven silk and golden threads, embroidered with lamé, gold and sequins. There are many regional varieties, including the Riegelhaube in Munich, the Linzer Goldhaube in Linz and the Brettlhaube in Wachau. Muslim women have begun wearing the dirndl with a Hijab.

Shoes worn with the dirndl are typically court shoes (pumps) or flat, ballerina-type shoes. Knee-length socks or tights are commonly worn on the legs.

Dress etiquette
Because the appeal of the dirndl is its rustic look, plastic dirndls with flashy ornaments are looked down upon. Style experts recommend staying away from cheap outfits. The dirndl should be tightly fitted to look right. It is an absolute faux-pas to wear a dirndl without a blouse.

There is an urban legend that claims the placement of the knot on the apron is an indicator of the woman's marital status. In this story, which is not based in tradition, tying the sash on the woman's left side indicates that she is single, and a knot tied on the right means that she is married, engaged or otherwise not interested in dating.

Adaptations
A dirndl skirt is a full, wide skirt, gathered into folds at the waist.

The terms Trachtenmode and Landhausmode (literally "country house style") describe clothing of various styles borrowing elements from folk costume, such as colour, cut or material. Examples would be single-piece dresses featuring a dirndl skirt.

In recent decades, fashion designers have been creating their own interpretations of the dirndl. While appearing to be simple and plain, a properly made modern dirndl may be quite expensive as it is tailored, and sometimes cut from costly hand-printed or silk fabrics.

A recent adaptation is the African dirndl (Dirndlkleid à l'Africaine), which is a fusion fashion: the bodice and skirt are made from African printed material. The idea was innovated by two Cameroonian sisters and Chief executive officers of the Noh Nee label in Munich, Marie Darouiche and her sister Rahmée Wetterich. The African dirndl was premiered at Oktoberfest in 2019.

Similar designs
Since similar design elements occur in other European folk costumes, these designs are sometimes mistaken for dirndls. Similar designs occur in other tracht traditions in German-speaking countries (e.g. the Gutach valley tracht from the Black Forest), as well as traditional folk costume in Norway (Bunad) and Denmark.

History
The dirndl has passed through different periods in its history. These include (1) its origins as rural clothing, (2) development as a recognized folk costume, (3) evolution as a fashion style, (4) appropriation by the Nazis, (5) decline in popularity after the Second World War, followed by (6) a resurgence from 1990. Each of these periods has left an impression on the design and perception of the dirndl.

Origins
The dirndl originated as a dress worn in rural areas, a more hardy form of the costume worn today. Rural costumes originated in the countryside; they showed that the wearer belonged to a particular social class, occupation, religious persuasion or ethnic group. Differing designs developed in the different regions. They were influenced by urban fashions, costumes in neighbouring regions, available materials, as well as fashions in the royal courts and in the military.

Dresses similar to the dirndl, featuring skirts with bodices, aprons and blouses were commonplace in Europe from the 16th to the 18th centuries. Similar elements are present in other German folk costumes, for instance the tracht designs found in the Black Forest; they also occur in folk costumes in other parts of Europe, such as the Norwegian women's Bunad and the Upper Carniola costume of Slovenia. Distinctive features of the dirndl (including the tight bodice, lower neckline and wide skirt), developed from the women's fashions of the royal court in the 17th century; over time, the court fashions made their way into urban and rural clothing. Alpine traditional costume spread to regions in Bavaria and Austria outside the mountains through migration in search of work. As a result, the dirndl developed over time into female Austrian servants' work clothes.

Distinctions developed between the everyday version of rural costumes and the version used for festive occasions; the festive version of each costume tradition was considered the ideal form. Festive dirndls were especially worn at events associated with the Catholic church, such as Sunday church services and public pilgrim processions. Other popular occasions included markets and Volksfeste. Over time, festive versions of the dirndl developed elaborate decoration around the collar and breast, including embroidery, floral decorations, tassels and lace collars draped over the shoulders and breast. Elaborate headwear (such as the Goldhaube) developed to indicate distinctions in social status.

Nevertheless, folk costume was increasingly perceived as a marker of rural and working classes. The background to this development was the French government policy from the mid-17th century onwards of promoting and exporting luxury fashion, using expensive materials such as silk, lace, and gold and silver thread. Attempts by other European governments to fight French economic dominance of the fashion industry had the effect of spreading fashion in the French style. For instance, the Austrian empress Maria Theresa considered imposing a sumptuary tax to prevent expenditure on French luxury fashions, but was persuaded to establish a home-grown fashion industry on the French model. Although the rich usually led fashion, the middle classes and even peasants copied the trends among the wealthier classes. By 1800, dress styles were similar among many Western Europeans; local variation became first a sign of provincial culture and later a mark of the conservative peasant.

Thus the spread of French fashions increased the contrast between the fashionable clothes of the wealthier classes and folk costumes, which were increasingly perceived as rustic, not fit for polite society. This point is illustrated by the first Oktoberfest, held in 1810 to celebrate the wedding of Crown Prince Ludwig of Bavaria (later King Ludwig I) to Therese of Saxe-Hildburghausen; the citizens of Munich were invited to the festivities but were supplied with French clothes, since their folk costumes were not considered suitable for public occasions.

Development of the dirndl as folk costume (19th century)
As antithesis to the dominance of French fashion, in the early 19th century a movement to study and preserve the traditional costumes of the rural populations developed in many European countries. Examples of this movement outside the German-language sphere include the Highland romantic revival in Scotland, the Danish folklore movement and the Bunad movement in Norway. In German-speaking countries, the movement was known as the Trachtenbewegung (Tracht movement), and resulted in initiatives to study and promote folk costumes, including the dirndl. The folk costume movement is one aspect of national romanticism, and part of the more widespread Romantic movement of the early 19th century.

Art historian Gabriele Crepaldi points out the links between the ideological and political dimensions of the Romantic movement:

"The label romantic ... (refers to) a cultural movement which spread in Great Britain, France, Italy and other European countries between the late 18th century and the first half of the 19th century. Its protagonists were philosophers, writers, musicians and painters. In Germany it was the writers and intellectuals of the Sturm and Drang movement who reacted critically against the rationalism of the Enlightenment and the doctrines of neo-Classicism. The Romantics defended the creative and spiritual autonomy of individuals and proclaimed their freedom from aesthetic norms and pretensions. Inwardness and subjective feeling found in romantic art their authentic expression... On the other side, political positions stood behind Romantic expressions: in contrast to the Enlightenment's ideology of global citizenship, the Romantics re-discovered the idea of the homeland and the value of the folk culture. Especially in Italy and Germany, a connection can be seen to the movements for national reunification."

Crepaldi said that the Romantics promoted emotion against the rationalism of the Enlightenment, individual freedom against academic dictates and national against global culture. In Germany, Austria and Switzerland, the Enlightenment was especially associated with France, which had sent its armies across Europe in the Revolutionary and Napoleonic Wars (1792–1815). In response to the humiliations of the repeated French invasions, the protagonists of German romanticism sought to strengthen their cultural heritage. The result was a flowering of research and artistic work centred around Germanic cultural traditions, expressed in painting, literature, architecture, music and promotion of German language and folklore. The promotion of folk costumes similarly strengthened national identity in a visible way, especially against French-inspired fashions. The earliest public promotion of tracht in the German-speaking world occurred in Switzerland, at the Unspunnen festivals of 1805 and 1808. At both events, a parade of traditional costumes was held; the 1808 festival resulted in the formation of the Swiss National Costume Association. In Bavaria and Austria, the royal courts developed enthusiasm for the different costumes of the rural population, which they saw as a means of strengthening national unity; this was consistent with the philosophy of national romanticism, which considers the state to derive its political legitimacy from the unity of those it governs. The first extensive description of traditional tracht in the different regions was given by the Bavarian official Joseph von Hazzi (1768–1845). A comprehensive description of Bavarian national costumes was published in 1830 by the archivist Felix Joseph von Lipowsky. A parade of traditional costumes took place in 1835 at Oktoberfest, to celebrate the silver wedding anniversary of King Ludwig I of Bavaria (reigned 1825–1848) and Queen Therese. Under his successor Maximilian II (reigned 1848–1864), traditional costumes were officially recognised as clothing suitable for wearing at the royal court. The king himself included officials wearing tracht in his court ceremonies and wrote in 1849 that he considered the wearing of folk costume of "great importance" for national sentiment.

In 1859, the first association to promote folk costume was founded in Miesbach in Bavaria. In the following years, similar tracht associations (Trachtenvereine) were founded throughout Germany and Austria. The tracht associations promoted research and wearing of the traditional clothing in each region. This helped preserve the traditions against modern fashions; in contrast, the wearing of the traditional tracht declined in regions where the tracht associations were not active. The first umbrella organisation for the tracht associations was founded in 1890.

By the later 19th century, it had become popular for members of the royal courts in Austria and Bavaria to wear folk costume, in order to promote identification between the population and the court. Among the most prominent royal patrons of folk costume were the Austrian Emperor Franz Joseph and Luitpold, Prince Regent of Bavaria, the successor of Ludwig II; both often hunted wearing lederhosen. Around 1875, Elisabeth of Bavaria, the wife of Austrian Emperor Franz Joseph, promoted wearing a rustic dress called a 'Sisi', based on the peasant dirndl.

Evolution as a fashion style (1870s–1930s)
The wearing of folk costume by royalty encouraged its adoption by other members of the upper and wealthier middle classes. From the 1870s onwards, the dirndl developed as a typical "country" dress amongst the wealthy patrons of the summer resort towns in Austria and Bavaria. The adoption of the dirndl as a fashion resulted in a synthesis of tradition and high fashion: the dirndls worn by upper-class women took the basic design of the traditional dirndl but also used more fashionable materials such as silk, lace and expensive thread. The garment was made more closely fitted to emphasize the female body shape. The adoption of the dirndl by upper and middle classes raised the status of the traditional clothing; this in turn encouraged country people to value and continue wearing the traditional folk costumes.

Key in the evolution of the dirndl to a commercial fashion were the Jewish brothers Julius (1874–1965) and Moritz Wallach (1879–1963), originally from Bielefeld in north-western Germany. After moving to Munich with their family in 1895, they became interested in and began promoting Alpine tracht. In a personal memoir, Moritz Wallach later stated, "We saw a possibility to keep these irreplaceable traditions and to revitalize them.” The seamstresses employed by the Wallach brothers produced elegant dirndls from colourful printed fabrics, predominantly silk; these were exhibited by models in the Alpine resorts. A major breakthrough for the Wallach brothers came in 1910, when they organized and paid for the traditional costume parade for the 100th anniversary celebrations of the Oktoberfest. They also designed a festive dirndl for Princess Marie-Auguste of Anhalt, which created a sensation at a ball in Paris; virtually overnight, the Wallach name became internationally famous in fashionable circles.

In the hard economic times following the First World War, the dirndl became a big-seller; as a simple summer dress, it was an affordable alternative to the often expensive and elaborately worked historic women's costumes. Between 1920 and 1926, the Wallach brothers operated the Münchner Volkskunsthaus ("Munich house of folk art"). In 1926, Moritz Wallach founded the Wallach-haus (Wallach House), a specialist supplier of tracht and folk art, which became well known outside the borders of Germany.

In Austria, the wearing of folk costume was promoted by Viktor von Geramb (1884–1958), professor of folk culture at the universities of Graz and Vienna. He saw folk costume as a means of rejuvenating Austrian identity after the collapse of the Austro-Hungarian monarchy during the First World War. Von Geramb was critical of the tracht associations for insisting rigidly on the historic designs, which were treated as a uniform of the association. He argued that, for folk costume to be a living tradition, it needed to express the individuality of the wearer; thus designs and materials needed to be adapted to contemporary culture and technology. Accordingly, he worked with commercial firms on finding material and designs that would allow the production of folk costume in large quantities. Consequently, Alpine tracht gained in general popularity and even spread to eastern Austria, where it had not been part of the traditional clothing culture. The dirndl was increasingly perceived as the Austrian national dress.

In 1930, the Wallach brothers supplied the stage costumes for the operetta The White Horse Inn (Im weißen Rössl). The romantic comedy presented an idyllic picture of the Austrian Alps and had long runs in cities including Berlin, Vienna, Munich, London, Paris and New York. Inspired by the resolute innkeeper heroine, the dirndl became an international fashion phenomenon, always with an apron and usually with deep décolletage. This widespread adoption was helped along by a general 1930s trend to a silhouette which matched the folk costume: full skirts, higher hemlines, broader shoulders and tailored waists.

The dirndl was also promoted through the Trapp Family Singers, who wore dirndls during their performance at the Salzburg Festival (1936), and later on their worldwide tours. In addition, the film Heidi, with Shirley Temple in the lead role, became a hit in 1937. By that year, the dirndl was considered a 'must' in the wardrobe of every fashionable American woman.

Appropriation by the Nazis (1930s–1945)
German traditional costume, including the dirndl, was instrumentalized by the Nazis as a symbol of pan-German identity in the countries under Nazi rule (Germany from 1933, Austria from 1938). The dirndl was used to promote the Nazi ideal of the German woman as hard-working and fertile. An example is a propaganda photo released by the (Nazi Party) Office of Racial Politics, showing a young blonde girl wearing a dirndl, watching over small boys playing.

Jews were forbidden to use "folk culture", even though they had played such a prominent role in documenting and promoting it. In 1938, the Wallach brothers were forced to sell their business for less than its worth. Moritz Wallach emigrated to the United States, followed shortly after by Julius. Their brother Max, who had also been involved in the business, was interned in Dachau concentration camp and was murdered at Auschwitz in 1944.

Viktor von Geramb, who had promoted the dirndl in Austria, lost his position at the University of Vienna in 1938 because of his public opposition to Nazi racial theory. He was especially criticized for his strong attachment to Christian ideas of human worth. He was restored to his position at the university after the defeat of the Nazi régime in 1945.

The National Socialist Women's League established the office of the "Reich Commissioner for German costume" under the leadership of Gertrud Pesendorfer (1895–1982). In 1938, she published dirndl designs by Gretel Karasek (1910–1992), which Pesendorfer described as "renewed costume". Pesendorfer claimed that Karasek made the following innovations from traditional designs: (1) the collar was removed, allowing display of décolletage; (2) long sleeves were replaced by puff sleeves; (3) the waist was emphasised with tighter lacing and buttons; and (4) the skirt was reduced to mid length. The overall effect accentuated the female form and especially the breasts. Pesendorfer described the new style as "de-catholicised" (entkatholisiert); she said her goal was to free the costume of "overburdening by church, industrialization and fashionable cries" and "foreign influences" and to let the "rogue sub-culture" back again. However, Pesendorfer´s claims are questionable, since all the claimed innovations by Karasek were already present in the previous decades during which the dirndl evolved as a fashion. For instance, the painting "Lesendes Mädchen" painted by Emil Rau (see above) clearly shows puff sleeves, although Rau died in 1937, before Karasek's designs were published.

Decline and resurgence (1945–present)

The Second World War (1939–1945) began a downturn in the popularity of the dirndl. After Hitler's invasion of Poland in 1939, American and British consumers began rejecting all things German. In turn, new fashion influences appeared in popular culture, such as the film Gone With the Wind, which premiered less than three months after the fall of Warsaw. By 1941, the dirndl had been replaced as an American fashion craze by the wasp waist.

In Germany and Austria, the dirndl declined in popularity, especially in the cities. Its image had been tarred by association with the Nazis, like other Germanic traditions, such as beer-drinking and sausages. Traditional clothing was often associated with conservative political views. As a consequence, the dress was regarded as old-fashioned or rustic by many, especially those connected with the fashion industry.

Nevertheless, many others continued to wear the dirndl as a dress for festive occasions, both in the Bavarian countryside and in cities such as Munich. Dirndls were regarded as suitable clothing for attending church, public holidays, Oktoberfest and other festive occasions, and were especially popular as bridal dresses.

A wider revival of interest came with the 1972 Summer Olympics in Munich. Led by Silvia Sommerlath (later Queen Silvia of Sweden), the hostesses wore sky-blue dirndls as a promotion of Bavarian identity. Culture historian Simone Egger comments, "As (Sommerlath) in 1972 made headlines as an Olympia hostess in a dirndl, then every woman wanted to have a dirndl."

In the 1980s, there was a further revival of interest in the dirndl, as traditional clothing was adopted by the environmental and anti-nuclear movements. The rural connotations of the clothing and the fact that it is produced from natural, rather than synthetic materials, go well with a desire to return to a "world that is intact".

Beginning in the late 1990s, dirndls and lederhosen experienced a boom in Austria and Bavaria, with some commentators speaking of a "dirndl Renaissance". By 2013, it had become standard for every young Bavarian to have traditional clothing in their wardrobe. This increased interest in traditional clothing was noticed by fashion houses. Since the 2000s, increasing numbers of fashion houses have become involved in designing and selling high-end versions. The garment was praised in 2001 by designer Vivienne Westwood during a visit to a fashion event in Austria. When some of the attendees criticised the garment as old-fashioned, she responded, "I do not understand you Austrians. If every woman wore a dirndl, there would not be any more ugliness". Subsequently, Westwood and her husband were honoured with the tile "Ambassador for Tracht" in 2010.

Dirndls and lederhosen have long been standard attire for staff at Volksfeste, but in the 1970s visitors at the festivals did not normally wear folk costume, even at Oktoberfest. Simone Egger comments that the idea of wearing folk costume to Oktoberfest would previously have been considered "completely absurd, even embarrassing." Now the idea of wearing jeans to a Volksfest is unthinkable: folk costume is considered obligatory. In a study in 2004, Egger found that, from a sample group of those attending Oktoberfest, 50% were wearing tracht for the first time. She found that the enthusiasm for tracht clothing was increasing every year.

One reason given for the increasing popularity of the dirndl and lederhosen is an increased confidence in German self-identity. In the years following the Second World War, there was often a shame in German identity because of the crimes of the Nazi régime. In recent decades, there has been a celebration of being German. This "new patriotism" was evident in the support for the German football team at the 2006 FIFA World Cup. According to journalist Michaela Strassmair, "As the international media arrived in Munich for the World Cup, they all wanted to see the same picture and share it with the world: pretty girls in Munich wearing dirndls."

The culture historian Peter Peter comments on this increased pride in German identity and traditions:

"Now there is a new generation that did not know the problems of the Cold War or the Second World War, for whom it is cool to try these old-fashioned things. It´s avant-garde in a certain way to rediscover that even sauerkraut can be an excellent dish. I think a very good symbol of this new Germany is the Oktoberfest. Twenty years ago nobody there would dress in the traditional Bavarian costume. Now everybody does it and it doesn't seem either nationalistic or jingoistic. The Oktoberfest, with its enormous number of beer consumers, is a wonderful example of the new Germany that combines iconic tradition with open-mindedness. It brings people and peoples together more even than football. It is not nationalist – it is now a symbol of German hospitality."

Other commentators link the upsurge in folk costume to economic insecurity caused by globalization, prompting a return to traditional cultural symbols. Simone Egger concludes that the renewed popularity of traditional clothing is driven by desires for community and belonging, symbolized by folk costume. These desires stand in tension with the desire for individuality, expressed in alterations and decoration. Culture journalist Alfons Kaiser makes similar observations:

"Just as jeans, originally rural clothing, were used as an urban antidote to tradition, so dirndl and lederhosen show that, a generation later, people in their metaphysical homelessness are nevertheless in a complex way missing the traditional rural values. When one puts an item with traditional meaning on one's body, naturally one transfigures and romanticizes life on the land, actually so difficult and often brutal. All this is typical of our time. From yoghurt to magazines with rural themes, one abandons oneself to the illusion of the good old times, in which the windowpanes can still keep out the cold wind of globalization."

The dirndl is increasingly attracting attention apart from its area of origin. In 2019, The Times of India ran an article featuring Bollywood actress Celina Jaitley wearing a dirndl; she urged other Indian women to add the dress to their wardrobe.

Austria
In Austria, dirndls continue to be worn on public occasions, even by younger women. The dirndl is considered an important part of Alpine folk culture. Other aspects of folk culture are Lederhosen for men, traditional sports (e.g. shooting, music, crossbow), skills (e.g. embroidery) and musical traditions (e.g. singing Christmas carols and Schuhplattler dance groups). The folk culture is promoted by and protected by local folk culture associations, which are affiliated with the Bund der Österreichischen Trachten- und Heimatverbände (Federation of Austrian folk costume and homeland associations).

The Catholic church has played an important role in promoting the dirndl in Austria; traditional dress is worn for worship services, especially the major church holidays (e.g. Easter, Pentecost, Corpus Christi) and saints´ feast days. The Tyrol has a tradition of the heiligen Tracht (holy folk costume), which is not to be worn on secular occasions marked by drinking.

Folk costume also continues to be worn for most weddings and festivals. Old traditions are carefully maintained among inhabitants of Alpine areas, even though this is seldom obvious to the visitor: many people are members of cultural associations where the Alpine folk culture is cultivated. At cultural events, the traditional dirndl is the expected dress for women. Visitors can get a glimpse of the rich customs of the Alps at public Volksfeste. Even when large events feature only a little folk culture, all participants take part with gusto. Good opportunities to see local people celebrating the traditional culture occur at the many fairs, wine festivals and firefighting festivals which fill weekends in the Austrian countryside from spring to autumn. Only in the region surrounding Vienna is the traditional folk culture not a regular part of daily life.

Some regions are particularly known for their strong dirndl traditions, such as the Tyrol, the Salzkammergut and the Wachau region of Lower Austria.

In Austria, the dirndl is a symbol of national identity, seen in Austria as a national symbol. In tourist settings, staff in offices, restaurants, wineries and shops often wear dirndls as a work uniform; this is also the case in the non-Alpine regions in the east of Austria. Even in everyday life, many Austrian women wear dirndls as an alternative to other fashions.

Festivals at which dirndls are expected dress include festivities for raising the Maypole on 1 May, the Narzissenfest (daffodil festival) during May in Bad Aussee, the Salzburg Festival and the Ausseer Kirtag in September. Styles are both less extravagant and show less décolletage than at Oktoberfest.

In Austria, and other parts of south central Europe, there are literally splashy events known as Dirndlspringen, in which attractive young women, are judged by how well they jump, or even just step, from a diving board into a lake or a swimming pool while wearing the dirndl, using it as a swimdress.

Germany

In Germany, the dirndl is traditionally worn only in Bavaria, where it is deeply integrated in the traditional culture. For instance, dirndls are traditionally worn by women attending formal ceremonies of the Catholic church. In many Bavarian villages, processions to honour St George and St Leonard are special occasions for wearing Alpine tracht. The traditional dirndl is also the normal attire of women attending events associated with Alpine folk culture. Volksfeste often feature events at which traditional dirndls from regions are worn, as illustrated in the photo on the right. In all of these activities, the dirndls normally worn are the traditional local designs, considered most suitable for formal occasions. Modern commercially designed dirndls are worn on less formal occasions.

The traditional designs are promoted by and protected by local folk culture associations affiliated with the Bayerische Trachtenverband (Bavarian folk costume association). The designs specify the traditional materials, patterns and colours of clothing, together with jewellery, hats, etc. Currently, six official types of Alpine tracht are recognized in Bavaria, each with designs for men (lederhosen) and women (dirndl): Miesbacher Tracht, Werdenfelser Tracht, Inntaler Tracht, Chiemgauer Tracht, Berchtesgadener Tracht and Isarwinkler Tracht.

The dirndl is regarded as a symbol of Bavaria. It is often worn by women working in businesses related to tourism or traditional culture, including Volksmusik, restaurants and beer gardens.

In recent decades, women from other parts of Germany have shown increasing interest in the dirndl as a festival dress. This is especially evident in changing fashions at Oktoberfest, the world's largest Volksfest. Until the 1970s, most visitors to Oktoberfest did not wear traditional tracht; it was common to wear jeans. Since the late 1990s dirndls and Lederhosen have come to be regarded as obligatory wear at the festival. The name Wiesntracht is given to dirndls and other tracht clothing worn for Oktoberfest (Wiesn refers to the Theresienwiese, where the Oktoberfest events occur). Oktoberfest dirndls tend to be more colourful and revealing. Skirts are often above the knee, and deep décolletage is very frequent. In 2005, gossip magazine Bunte reported that at Munich Airport there was a place which was always important for fashion observers at Oktoberfest time: the women's toilets in Domestic Arrivals. "There the ladies who have flown in wearing street clothes with shouldered clothes-bags vanish - and appear from Baggage Collection in full dirndl bloom. Because they don´t trust themselves to board the aircraft as Bavarians, but arriving in Munich not dressed for the Wiesn would be unseemly."

There is increasing evidence that Germans are coming to view the dirndl as a German, rather than an exclusively Bavarian symbol. In the past few years, "Oktoberfest" celebrations have developed in parts of Germany remote from Bavaria, such as Münster in Westphalia. Dirndls and lederhosen are now considered an intrinsic part of such events. Other evidence is the successful marketing of dirndls in the German national colours for wearing at football matches, noticeable at the 2006 FIFA World Cup. Meanwhile, high-end German fashion houses are designing and selling their own designs.

Italy

In Italy the dirndl is part of the traditional clothing culture in the Alpine province of South Tyrol (Südtirol; Alto Adige). The region was part of the Austrian county of Tyrol before the First World War, but was ceded to Italy in 1919 in the Treaty of St-Germain at the end of the war. In South Tyrol, both German and Italian are official languages, and Tyrolean traditions including the dirndl remain deeply integrated in the culture. The dress is worn on festive occasions, such as processions of the Catholic church. Traditional designs vary between regions, valleys and sometimes villages.

The local dirndls and lederhosen are displayed in several local museums. There are permanent exhibitions at the South Tyrolean Folklore Museum in Dietenheim, the Steinegg Local Museum and the Bolzano Municipal Museum. Public events featuring folk costume include the Val Gardena folklore festival ("Gröden in Tracht") and the Country Wedding in Kastelruth.

Liechtenstein
Folk costumes for women in Liechtenstein correspond to the definition of a "dirndl" in English, although the local tracht association (Liechtensteinische Trachtenvereinigung) discourages the name "dirndl". The official national dress of Liechtenstein features a black skirt and a white blouse with crocheted and bobbin laced necklines and sleeves. Bodices and aprons are made of silk; their traditional colour was red, but modern designs often substitute blue or green. As worn for national dress, the bodice is decorated with silver embroidery featuring a princely crown in the middle of the bodice. Accessories include a black wheel-shaped bonnet featuring silver embroidery, white lace gloves, white stockings and black shoes with a silver buckle. Other variations include floral headbands (Schappile) or crown-shaped headpieces (Krönle).

The current designs have been in use since at least the 1930s, but their origins can be traced much earlier. Similar designs have been found in archaeological remains from Vaduz, Gamprin and Eschen. Especially notable is an excavated church graveyard in Mauren from around 1700, which included well-preserved garments and a bonnet.

Switzerland
The Swiss refer to an Austrian or German traditional dress as a dirndl, but refer to their own traditional dress as a tracht. As is the case in the neighboring country of Liechtenstein, the use of the term dirndl for a Swiss dress is discouraged. The style varies by region, for example a Bernese Tracht. These are worn during festivities on Swiss National Day (August 1) or during seasonal celebrations which vary by canton, such as at harvest time or the end of winter.

In the canton of Zürich, the imminent end of winter is celebrated by the Sechseläuten festival. The name comes from Swiss dialect referring to the town crier ringing six o'clock. Organizations descended from medieval guilds show their colors. Parades feature members wearing traditional costumes. The festivities culminate with the burning of a large snowman made of straw. How long it takes his head to explode indicates whether the coming summer will be cool or hot.

In the German diaspora
Outside its countries of origin, the dirndl has become an ethnic costume, worn as an identity marker by members of the German diaspora. This term refers to German-speakers and their descendants who live in countries where German is a minority language.

Germans, Austrian, Swiss and Scandinavian people migrated to North America in the 19th century. Germans made a strong contribution to the gene pool of Montana, Minnesota, the Dakotas, Missouri, Wisconsin, New York City and Chicago. The German American ethnic group (Deutschamerikaner) are their descendants in North America, and form part of the worldwide German diaspora.

Beginning in 1920 and especially after World War II, many Danube Swabians migrated to Argentina, Australia, Austria, Brazil, Canada, Mexico, and the United States. Across the United States there are dozens of German-American cultural or heritage clubs, such as the Donauschwaben heritage clubs. The clubs host events and festivals (such as Von Steuben Day parades) to preserve and celebrate their heritage with the surrounding communities. During these festivals, participants often dress in traditional outfits such as dirndls and lederhosen.

Dirndls and lederhosen are also worn as party clothing at Oktoberfest celebrations around the world. This is especially the case when the celebration takes place in a German diaspora community, such as the Oktoberfest celebrations at Colonia Tovar in Venezuela, the Fiesta Nacional de la Cerveza in Villa General Belgrano, Argentina, and the Pozuzofest in Pozuzo, Peru.

Films featuring women in dirndl costumes

 * Above Suspicion (1943)
 * Almost Angels
 * Charlie's Angels
 * Chitty Chitty Bang Bang
 * Ferris Bueller's Day Off
 * Heidi (1937) and (1968)
 * Heidi's Song
 * The Legend of Silent Night
 * Lissi und der wilde Kaiser
 * The Merry Wives of Tyrol
 * Miss Congeniality
 * The Monastery's Hunter (1935)
 * National Lampoon's European Vacation
 * The Pink Panther (1963)
 * The Pink Panther Strikes Again
 * The Producers
 * Salzburg Stories (1957)
 * Sissi
 * Snow White and the Seven Dwarfs
 * The Sound of Music
 * Summer in Tyrol
 * Tangled
 * The Trapp Family
 * The Trapp Family in America
 * The Violin Maker of Mittenwald
 * Where Eagles Dare
 * The White Horse Inn (1926), (1948), (1952) and (1960)

The dirndl in philately
The Austrian postal service regularly issues postage stamps featuring dirndls and other Austrian folk costumes. The stamp series is released under the title Klassische Trachten (classic folk costumes). In April 2020, the 85 cent stamp featured the blue printed dirndl worn as everyday workwear in the Wachauer Tracht tradition. In 2016, the postal office issued a novelty stamp featuring an embroidered dirndl; only 140,000 specimens were issued.

title: Dirndl


text:
Chuburkhindji

Chuburkhindji (Chuburkhinji; ჭუბურხინჯი, Хьацҳа or Ҷубурхьынџь) (known as Tzalamukhi [წალამუხი] until 1957) is a village in the Gali District of Abkhazia, Georgia. As is the case in the rest of the district its population is almost exclusively Georgian.

History
The village is the place of regular quadripartite (Georgian-Abkhaz-CIS peacekeepers-UNOMIG) meetings known informally as the "Chuburkhinji sessions". The meetings have been suspended by the Abkhaz side since November 2006.

On 24 May 2012, a settlement was opened in Chuburkhinji for the families of Russian border guards.

title: Chuburkhindji


text:
Talk:Dirndl

Entkatholisiert = uncivilised
This is a very strange translation. The catholic church isn't equated with civilisation even in the "Holy Land Tyrol".

Modern Origins not so rosy ?
Seems the page is missing some of the modern history on the darker origins of the Dirndl as a traditional German national dress. "The modern Dirndl is, like so many popular thing, a product of National Socialism. The creative hit völkischer fashion landed a poorly educated temporary secretary who took the career opportunities in Hitler's Beneficiaries and became the Nazi star designer: Gertrud Pesendorfer, born in 1885 in Hall in Tirol, 1939-1945 Reich Commissioner for costume work and director of Mittelstelle German costume of the National Socialist Women, in charge of the whole kingdom. They drew from the Regional and clapped it to." What Hitler and the Dirndl have in common 96.31.177.52 (talk) 00:57, 14 September 2016 (UTC)

The dirndl has really suffered from the unfortunate fact that it was promoted by the Nazis as a symbol of German womanhood dutifully raising the next generation of warriors. But the claim that the Nazis invented the dirndl doesn´t stack up with history. The idea has been promoted in the past few years by Elsbeth Wallnöfer. But Wallnöfer has her own agenda. On my reading of the sources, Wallnöfer regards the modern dirndl as a corrupted form of the traditional tracht, and idealizes the Catholic heritage of Bavaria. In an interview, she likens Oktoberfest to the Nazi folk rallies.

The original source for the idea that the Nazis invented the modern dirndl goes back to the Nazi official Gertrud Pesendorfer, who in 1938 published designs by her friend Gretel Karasek, which Pesendorfer described as "renewed costume". Pesendorfer claimed that Karasek had made innovations from traditional designs to make the design sexier: the collar was removed, allowing display of décolletage; long sleeves were replaced by puff sleeves; the waist was emphasised with tighter lacing and buttons; and the skirt was reduced to mid length. But in fact all of these supposed "innovations" are found in earlier designs. Puff sleeves, for instance were popular from the 1890s onwards and are clearly visible in a painting by Emil Rau of a young dirndl-wearing girl reading; Rau died in 1937, before Karasek´s designs were published. To take another example, a postcard from 1918 shows a girl in a dirndl which clearly has no separate collar.

Why did Pesendorfer claim that Karasek was responsible for the supposed innovations ? My suspicion is she wanted to deny the extent of the changes in design introduced by the Jewish brothers Julius and Moritz Wallach. For the Nazis, it was unacceptable to have a symbol of German folk tradition which was "tarnished" by association with a supposedly inferior race. SRamzy (talk) 16:07, 19 August 2021 (UTC)

Untitled
See also Tracht!

I am not convinced that this page is either particularly informative or consistent, to say nothing of POV etc. Someone who knows more than me about fashions/costumes (it is not too clear which of these the dirndl aspires to) could do very little to improve this page a great deal.

 * The above comment was made on 10 May 2006 by User:Jakubukaj. This comment by: Bards 00:53, 23 April 2007 (UTC)

 * Although it's impossible to tell why, someone identified only with an IP address added an {expert} tag 6 days ago... in apparent commiseration with this comment. It's worth noting that this comment was added more than three years ago, and the article has improved much since then. I've removed the tag. In my opinion, the only thing this article lacks are more references.

 * -OrinR (talk) 03:43, 2 June 2009 (UTC)

According to Adam Zamoyski, the Dirndl was 'invented' (perhaps in its modern form) by Caroline Pichler. See his book 'The Rites of Peace', pg. 304, para. 3. 82.133.23.18 (talk) 11:20, 15 October 2008 (UTC)

Pronunciation
What would be the correct pronunciation of "Dirndl"? — Preceding unsigned comment added by 79.108.163.1 (talk) 14:51, 10 June 2011 (UTC)

 * I think it's dɪrndl. The German article about the Bavarian language (http://de.wikipedia.org/wiki/Bairische_Dialekte) indicates, that there is only a r and no ʁ. — Preceding unsigned comment added by 62.167.66.158 (talk) 13:23, 5 October 2011 (UTC)
 * Totally wrong! This word is Standard German, you don't trill the R. The Bavarians even replaced it with an A, so there is no R in this word at all. --83.135.100.31 (talk) 10:36, 28 October 2017 (UTC)

And Southern Brazil
Probably worth citing something for that whole statement. And if we're including Brazil just because there's some German beer halls that encourage this, we could include a lot more places. Dlamblin (talk) 17:18, 13 July 2012 (UTC)
 * Yes, Brazil seems far-fetched. I've removed it from the article while I look into it. Beyond My Ken (talk) 23:03, 17 July 2012 (UTC)

Image dispute
The dress on the picture, signed "Traditional Bavarian Dirndl dress during Oktoberfest" - definitely NOT a dirndl, please compare with the german version of the article. Rather, it is a spam from russian photographer living in Germany, who used this way to post pictures of his girlfriend on the Internet. There are enough free photo hostings, why misuse the Wikipedia?88.68.242.105 (talk) 06:11, 25 August 2013 (UTC)
 * Let us please not vandal the page with deleting what has always been an inherent part of the Dirndl dress, especially nowadays, in its modern appearance, thank you.62.167.12.26 (talk) 12:36, 28 August 2013 (UTC)
 * 62: Please do not refer to the edits of other contributors as "vandalism" when they are not. (See WP:VANDALISM)  Also, do not remove other editor's comments from the talk page. I don't know if 88's claim about the photographer is correct, but I will say that I perceived it in very much that way myself when I saw it - it looked like a photo of someone's girlfriend.  I also don't know enough about dirndls to know whether 88 is correct that the picture in question does not show a dirndl, but I do know that this sort article has enough images in it already and does not need anymore. Beyond My Ken (talk) 16:54, 28 August 2013 (UTC)

Better distinction
Dirndls are worn ONLY in Bavaria (and the other mentioned countries). And this ONLY while traditionally feasts. And this even not from all. The (worldwide) misunderstanding, that all german/switzer/austrian girls and women wear dirndl ist totally wrong(!) and should be described here somehow. Therefore I suggest to use an other word for "especially". (Alberich from german WP) 88.69.255.52 (talk) 08:05, 6 May 2014 (UTC)
 * Is there a reliable source (in English) which confirms theses claims? BMK (talk) 08:33, 6 May 2014 (UTC)
 * 1. I am german and live here (Cologne), and know how the people of Berlin or Hamburg are dressed ;-) 2. even a stupid german knows that NOT ALL americans wear stetsons. These are mainly worn in Texas and states nearby, or as a part of uniforms. It's common knowledge and needs no exta sources. Germany is not an province in India or elsewhere. But it's ok, if somebody looks for those sources. But it's important to get away from these wrong picture americans (or other) have got from Germany. Also in the english WP (Alberich21 German WP) 88.69.255.52 (talk) 08:50, 6 May 2014 (UTC)

Dirndl "code"
I deleted what I thought was a junk claim referencing junk journalism; it was reverted by someone saying "it's sourced." For a positive claim about the meaning of a clothing signal that could get people who took it seriously into real hot water, I'd say you need more than that. It's something some German and Austrian women make playful references to, but assuredly nobody uses it as a clue as to whether a given girl should or should not be approached. So I'd suggest simply deleting the following:

Sonja Still, a Munich-based journalist, says: "Today people look more closely at this than ever."

Dirndl Knot Issue
Call it Urban Legend is far fetched. Thats what accredited local guides tell to tourists like if it's a fact or it used to be in the past. But perhaps is not an Austrian custom, nor Vienese but an Alpine custom because Austria is not homogenous in its traditional outfits either.139.47.43.133 (talk) 01:27, 10 January 2023 (UTC)

Naming
As a Munich local I'm very puzzled about the list of terms in the "Naming" section. Almost all of these terms don't exist in German or their English translation is wrong.

 * 1) "Dirndl-kleid:maid girl’s dress." The correct spelling is "Dirndlkleid" and the meaning is simply "girl's dress" ("maid girl" would probably more refer to a female servant which is misleading).
 * 2) "Dirndlgewand: maid girl’s dressing-gown." "Dirndlgewand" simply means "girls' clothings" in Bavarian dialect, "dressing gown" is completely off track.
 * 3) "Dirndlgwand: maid girl’s wreath dress." No idea what a "wreath dress" might be (and Google couldn't help) but "Dirndlgwand" is just a dialectal variation of "Dirndlgewand".
 * 4) "Landhausmode: country-inspired fashion." Correct.
 * 5) "Dirndlkjoler kleid: maid girl’s dress." This is really weird – "kjoler" means "dresses" in Danish and "Kleid" (with a capital K) is German for "dress". This combination doesn't make any sense.
 * 6) "Dirndlkjoler: maid girl’s robe." Ditto.
 * 7) "Dirndlrock: maid girl's dress skirt." A dirndl is a one piece dress, not a skirt with a separate top. A skirt in dirndl style would be called "Trachtenrock" (skirt in local/ethnic style).
 * 8) "De-Cocratisiert: open-collar." This term simply doesn't exist, neither does "crocratisiert" nor anything similar.
 * 9) "Entkatholisiert: de-Catholicized." Correct, but not a common term.
 * 10) "Unzivilisiert: uncivilized." Correct, but I see no relevance here.
 * 11) "Unkatholisch: uncatholic." Ditto.
 * 12) "Nicht katholisch: not Catholic." Ditto.
 * 13) "Unbeschnitten: uncut." "Unbeschnitten" can mean "not trimmed" but the usual meaning is "uncircumcised". Weird.
 * 14) "Ebergötzen-kleid: Iceberg dress." Ebergötzen is a small town in the center of Germany which is neither known for dresses nor icebergs. The only Google hit for that term is this Wikipedia article.
 * 15) "Eisbergkleid: Iceberg dress." Lexically correct but makes as much sense as "lettuce trousers" or "windshield shoes".

I'd like to delete this whole nonsensical section if no one opposes. Hagix (talk) 00:56, 5 December 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Dirndl. 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/20150412041607/http://www.austria.info/us/austria-dirndl-temptation/dirndl-basics-1681393.html to http://www.austria.info/us/austria-dirndl-temptation/dirndl-basics-1681393.html
 * Added archive https://web.archive.org/web/20130506111201/http://garderobchik.com/category-glossary_5.html to https://garderobchik.com/category-glossary_5.html

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) 10:52, 10 September 2017 (UTC)

This lemma is a disaster
Dirndl is a disaster, full of errors and spelling mistakes. I would love to improve it but my english is not good enough. I know thought a lot about Dirndls and traditional dresses. Would anyone like to give it a try on working together?

In the meantime I am going to delete the worst of the mistakes and the interspersed nonsense. 15:07, 30 September 2018 (UTC)Woisch (talk)

 * Sorry, I am not a native speaker either. Nevertheless, I encourage you to be bold: either someone improves you, or reverts you, or the article stays at it is. Cheers and good luck. Purgy (talk) 09:03, 30 October 2018 (UTC)

One of the "sources" (http://germanchoices.blogspot.com/2017/10/dirndl-german-dress-dirndl.html) cites the Wikipedia article as a source, so we have circular referencing. This blog article uncritically repeats a lot of the nonsense complained above, including the list of pseudo-Geramn. I will delete it as a source. Sean Ramsay 3084 (talk) 16:13, 29 April 2020 (UTC)

I have replaced the image of Schwarzwald Tracht because it does not illustrate a dirndl. The image appears in the article on Tracht. I have replaced the image with one showing Tracht dresses from Faakersee, which are clearly dirndls. Sean Ramsay 3084 (talk) 13:41, 2 May 2020 (UTC)

I have just removed the reference to the rock opera "Jedermann", as the only connection appeared to be the word "entkatholisiert", which appears in the section on the Nazi years, and which there is used in a different sense. Sean Ramsay 3084 (talk) 14:34, 2 May 2020 (UTC)

Deleted dead link to article in Elle. Sean Ramsay 3084 (talk) 16:32, 14 May 2020 (UTC)

title: Talk:Dirndl


text:
Mobilong

Mobilong may refer to the following places on the west bank of the Murray River in South Australia:
 * Hundred of Mobilong, the historic cadastral land unit
 * Murray Bridge, South Australia, formerly known as Mobilong
 * Mobilong, South Australia, satellite locality of Murray Bridge, South Australia
 * Mobilong Swamp, waterbody on west bank of the Murray River within the Mobilong locality.
 * District Council of Mobilong, former municipality surrounding the Murray Bridge township
 * Mobilong Prison, Murray Bridge
 * Port Mobilong, historic river port, Murray Bridge

title: Mobilong


text:
Talk:Disney Animation: The Illusion of Life

Why were the Kricfalusi citations removed?!
Those were the citations to his criticism of the book. If they are removed, then theres no citation for his quotes!
 * Links to blogs are not considered proper references according to Wiki guidelines. Please read the wiki info pages on how to add proper references. --Janke | Talk 17:41, 19 June 2011 (UTC)
 * Soooo it's now 9 months later and there are still no proper citations for those random claims...84.144.70.134 (talk) 17:20, 11 March 2012 (UTC)

 * Removed, please provide proper refs (not blogs!) if re-inserted. --Janke | Talk 07:30, 12 March 2012 (UTC)

"Best" animation book
"It is widely considered to be one of the best books ever published on the topic of animation. " I changed the above statement to something more neutral. — oo64eva (AJ) (U @ 07:14, Apr 16, 2005 (UTC)

 * Well, I changed that back. Having read a *lot* of animation literature and reviews, it certainly is cosidered to be *one* of the best books - if not even *the* best... --Janke | Talk 29 June 2005 00:36 (UTC)

 * Unfortunately Janke, "You" is not an authoritative source. Just because you are blindly parroting the opinions of others doesn't give the comment any weight. The idea is to not sway from NPOV unless there's a credible way to substantiate it. Anyone who knows anything about modern character animation knows that what you say is true but you can't just bark because -you-know that's the case. Everyone else has to know too.

 * Note what is written on www.awn.com: "Disney's ILLUSION OF LIFE tops best animation books poll" If any, AWN is a reliable source! --Janke | Talk 09:12, 10 January 2007 (UTC)

Title
So is the title Disney Animation: The Illusion of Life or The Illusion of Life: Disney Animation? -Branddobbe 19:42, 26 September 2005 (UTC)

 * Disney Animation: The Illusion of Life is the correct title, and it is written so on the cover of the first edition. Why the publisher has changed the title for the reprint, I don't know. But among animators, it's simply called Illusion of Life, since the full title is so unwieldy. --Janke | Talk 21:01, 26 September 2005 (UTC)

Expansion Ideas
Was going through some Wiki articles on animation and stumbled across this one. It's really a shame it's a stub since there's so much you can say about it. Just figured I"d give some suggestions on how to take this from stub to stud :)

Delete Section: Content. To merge content into new sections

New Section: History of Disney. Bad idea- put all of Disney history here. Good idea- talk about how Thomas and Johnston discuss Disney history. What they say about it that's unique to them and their perspective. What they say that hasn't been said anywhere else. (So ixnay on "Snow White was an unexpected success" paragraph.)

New Section (or combine with Disney history): Disney Artists    Throughout the book Thomas and Johnston discuss different influential Disney artists and animators. Summarizing that wouldn't be a bad idea, not to mention wikilinks to the major artists, such as Fred Moore.

New Section: The Twelve Principles of Animation      Frankly, I'm shocked that this section isn't here since that chapter is the entire reason this book is famous. Now, I'm away that there's already an article about the 12 principles here. However, since the 12 principles were first made famous in this book, it only makes sense to at least mention their existence here. An entire section listing each of them and briefly explaining their importance would be great.

New Section: Influence      You could probably make a pretty strong case that this book saved animation. Whether you agree with that statement or not, a section explaining why the book is so influential couldn't hurt, especially since frankly the 12 Principles article talks more about this book's influence than this article does!

I'm going to try and help out with this article, but obviously I don't have all eternity to edit wiki articles. If you want to write a section or critique my expansion idea, feel free! Luthien22 (talk) 01:28, 7 September 2014 (UTC)


text:
Zviadists

Zviadists was an informal name (often used pejoratively by political opponents) of supporters of the former Georgian President Zviad Gamsakhurdia, who was overthrown and killed during the Georgian Civil War of 1991–1993.

President Zviad Gamsakhurdia was ousted in a bloody coup that destroyed the center of Tbilisi between 20 December 1991 and 6 January 1992. Zviad Gamsakhurdia's supporters, the Zviadists staged mass demonstrations against the post-coup government led by the former Communist leader Eduard Shevardnadze in various parts of Georgia and organized armed groups which prevented the government forces from taking control of Samegrelo, the ex-President's home province. Skirmishes between pro- and anti-Gamsakhurdia forces lasted throughout 1992 and 1993 and developed into a full-scale civil war with Gamsakhurdia's return to Western Georgia in September 1993. Zviadist rebels were defeated and Gamsakhurdia was probably murdered on 31 December 1993.

Gamsakhurdia's body was recovered and his death was confirmed on 15 February 1994.

After Gamsakhurdia's death, the Zviadists never created a single party, but joined various political organizations and social movements, while some of them continued to fight Eduard Shevardnadze's government.

title: Zviadists


text:
Madhav National Park

Madhav National Park is situated in Shivpuri District of Gwalior division in northwest Madhya Pradesh, India. Two national highways pass through the park, the Agra to Bombay former National Highway 3 and the Jhansi to Shivpuri National Highway 27 (formerly N.H.25).

The park was first noticed in 1956, at 167 km2, as Shivpuri National Park. In 1958, it was renamed Madhav National Park after Madho Rao Scindia, the Maharaja of Gwalior belonging to the Scindia dynasty of the Marathas, and was finalized the following year. Sakhya Sagar, a man-made reservoir within the park, has been designated as a Ramsar site since 2022.

Geography
There are several small ponds in this national park, but the largest body of water is Sankhya Sagar, a reservoir, constructed for Madho Rao Scindia when it was still his hunting grounds. He also had constructed a second smaller reservoir by damming Manihar River, Madhav Sagar, known as Madhav Lake. A third reservoir was not included in the park.

Located in the ecoregion of Khathiar-Gir dry deciduous forests, this national park has a varied terrain of forested hills and flat grasslands around the reservoir and is thus rich in biodiversity. The average rainfall is 816 mm.

History
Shivpuri town in the state of Madhya Pradesh was formerly the summer capital and a much larger park was the former hunting preserve of the Scindia maharajas of Ujjain and Gwalior.

After the independence of India, the area suffered degradation. Agriculture and mining encroached on the former hunting grounds. Although the park was noticed in 1956, at 167 km2, as Shivpuri National Park and became the renamed Madhav National Park in 1959, degradation continued. The last of the resident wild tigers were seen in Madhav National Park around late 1970. In 1982 a plan to add a new part of the park along the Sindh River was proposed. This expansion area included a corridor joining it to the original 167 km2, which when completed would bring the park to 354 km2. (See map below in external links.)

As late as the 1990s there was little effort to improve the conditions in the park. Illegal mining and questionable mining permits led to significant degradation in the park, so that in the 1990s conservationists took the matter the Supreme Court of India and by 1998 received an injunction terminating mining in the area.

Sights and facilities
On the shores of Sakhya Sagar lake which edges the forests, is a boat club, from where the park visitors can see a number of migratory birds especially in winter, when many migratory waterfowls visit the area. A viewing lodge constructed by the Maharaja called the Shooting Box, is situated above the Sakhya Sagar lake. In the older days one could shoot wildlife, both with a gun and camera from here. Visitors could sit under cover and watch a tiger at a kill. All around the lake (at suitable points), the Maharaja constructed boat landing areas, picnic shelters, watch towers, hides, etc. and a network of well laid out metalled roads.

George Castle
At the highest elevation in Madhav National Park, 484.0 m, is the George Castle (Bankhade Kothi). In 1911, the local Scindia ruler Madho Rao Scindia built the castle in his hunting park for an overnight stay by King George V of the United Kingdom. George V had intended to go tiger shooting there during his visit to India. However, the king shot a tiger before getting there, and did not stop at George Castle afterall. Although in some disrepair, it is a "turreted English-style castle, with Belgian glass windows and Italian tile flooring."

title: Madhav National Park


text: Category:Australian styles of music

title: Category:Australian styles of music


text:
Wikipedia:Articles for deletion/Battle of Dumai's Wells

 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 merge and redirect to Lord of Chaos. Tony Sidaway|Talk 19:56, 30 Apr 2005 (UTC)

Battle of Dumai's Wells
I have just placed a "Considered for Deletion" tag on this article, for several reasons. 1) To the average Wikipedia reader, this article is unneccessary; those who know what Dumai's Wells is, probably also know what happened, and those who don't know probably don't care. 2) The information contained could be easily folded into the article on Lord of Chaos (which needs expanding anyway). 3) This is not a particularly important feature of the series. Marblespire 04:30, 16 Apr 2005 (UTC)
 * Redirect and Merge into Lord of Chaos. --Boothy443 | comhrÚ 09:52, 16 Apr 2005 (UTC)
 * Merge. I'm not sure if we should keep it as a redirect. Jeltz talk  13:53, 16 Apr 2005 (UTC)
 * If things are merged, the redirect should generally be kept to preserve edit history. Kappa 03:17, 20 Apr 2005 (UTC)
 * Merge. And shorten substantially.  It is after all, one chapter in one book in a series.  And no redirect. -- Mwanner 14:33, Apr 16, 2005 (UTC)
 * I don't think that it was just in one chapter but it was some time ago sicne I last read the book, but even if it was three chapters (which isn't much either) it still needs to be shortened substantially. Jeltz talk  16:12, 16 Apr 2005 (UTC)
 * Merge and redirect. Redirs are cheap and keep the edit history. Meelar (talk) 16:21, Apr 16, 2005 (UTC)
 * Merge and redirect. Keeping the redirect does no harm; there aren't any other Battles of Dumai's Wells with which this might be confused, and it discourages recreation of the article. Submitter is urged to be bold and just do the merge himself next time. --TenOfAllTrades | Talk 17:22, 16 Apr 2005 (UTC)
 * redirect wheel-o'-time-cruft BigFatDave 22:03, 16 Apr 2005 (UTC)
 * Fancruft. Merge and redirect per WP:FICT. —Korath (Talk) 12:04, Apr 17, 2005 (UTC)
 * Merge or keep fictional things. Kappa 03:17, 20 Apr 2005 (UTC)
 * Merge tho I think its interesting that Battle of Endor gets its own page. :) Roodog2k 16:19, 27 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.


text:
Recess: School's Out

Recess: School's Out (also known as Recess: The Movie – School's Out) is a 2001 American animated adventure comedy film based on the Disney television series Recess, and features the voices of Andrew Lawrence, Rickey D'Shon Collins, Jason Davis, Ashley Johnson, Courtland Mead, Pamela Adlon, Dabney Coleman, Melissa Joan Hart, April Winchell, and James Woods.

Set after the events of the series' original run, the film centers around T.J. Detweiler and his friends uncovering a plot to get rid of summer vacation taking place at their school. It was produced for Walt Disney Pictures by Walt Disney Television Animation and Walt Disney Television Animation Digital Production with animation done by Sunwoo Animation and Sunwoo Digital International.

The film was distributed by Buena Vista Pictures Distribution, premiered on February 10, 2001, and was released theatrically in the United States on February 16, 2001. The film received mixed reviews from critics, but performed well at the box office, grossing $44.5 million on a $23 million budget.

Plot
A group of men break into a military base and steal a top-secret project, intending to use Third Street School as their headquarters. After pranking on Principal Prickly on the last day of school before summer vacation, T.J. Detweiler is excited to spend the time off with his friends, only to be disappointed to learn they will all be attending different summer camps. Resigned to spending the summer alone, T.J. notices strange activity at Third Street School. Investigating further, he sees scientists performing strange experiments with a tractor beam. After neither his parents nor the police believe him, he goes to Prickly, who prepares to show T.J. the school is empty, but is dematerialized when trying to enter the building.

Desperate, T.J. blackmails his older sister Becky to drive him to all the camps to retrieve his friends. They all return with him to Third Street School, but accuse him of deceit after recovering a box of inconsequential documents from the school. T.J.'s suspicions are verified when they all see a giant laser emerging from the school roof and formulate a plan of camp during the day and meeting up at night. After T.J. finds Prickly's discarded pants with a note reading "Help Me!" in the pocket, the gang infiltrate the school to rescue him. Randall Weems, who has been eavesdropping on them, goes to inform deputy principal Muriel Finster.

The kids find the auditorium has been turned into a laboratory. T.J. is captured by guards while his friends escape, and he is imprisoned with Prickly. They both discover that Prickly's old friend Dr. Phillium Benedict is overseeing the operation inside the school. Prickly explains that in 1968, while he, Benedict and Finster were all in teacher training, Benedict was appointed Principal of Third Street School and proposed abolishing recess to improve test grades. Concerned for the children, Prickly went to the superintendent, who promptly fired Benedict and replaced him as principal with Prickly, which also led to Finster, his girlfriend at the time, breaking up with him. Swearing revenge on Prickly for costing him his job and his girlfriend, Benedict became a politician and worked his way into becoming Secretary of Education, but was fired by the President for attempting to abolish recess nationwide.

While T.J.'s friends review the recovered papers, Spinelli finds a date book that mentions lunar perigee. Gretchen realizes the machine they saw is a tractor beam and concludes that Benedict intends to use it to move the moon when it nears Earth. T.J. and Prickly get to Prickly's office, where they discover Benedict's plan to eradicate summer vacation by creating a new permanent ice age that will force kids indoors year-round. Meanwhile, T.J.'s friends persuade Becky to drive them to the camps and gather all the other students, while Finster rallies the teachers, and Gus concocts a plan to infiltrate the school.

As Benedict prepares to enact his plan in the auditorium, the students and teachers of Third Street School all arrive and battle his henchmen. During the ensuing fight, Benedict attempts to activate the beam himself but is stopped by Prickly, only for Benedict to break the controls and make the process irreversible. T.J. instructs Vince to throw a baseball at the beam, which destroys it. Finally aware of Benedict's plot, the police arrive at the school to arrest him and his henchmen. T.J.'s friends decide to spend the rest of their summer together. T.J. thanks Prickly in his office, who in turn thanks T.J. for reminding him why he started teaching: to help kids. T.J. then joins his friends as Prickly jokingly reminds T.J. he will still be reprimanded for his earlier prank when September comes.

Cast

 * Andrew Lawrence as Theodore Jasper "T.J." Detweiler, the leader of the Recess gang.
 * Rickey D'Shon Collins as Vince LaSalle, T.J.'s athletic best friend.
 * Jason Davis as Mikey Blumberg, an overweight boy with an operatic singing voice.
 * Robert Goulet as Mikey's singing voice. This was Goulet's final theatrical film role before his death in 2007.
 * Ashley Johnson as Gretchen Grundler, the intelligent strategist of the gang / Ashley Tomassian, one of the Ashleys.
 * Courtland Mead as Gus Griswald, a timid boy with high military knowledge.
 * Pamela Adlon as Ashley Spinelli, a violent, short-fused tomboy who doesn't really like her first name because of it being associated with the Ashleys group.
 * Dabney Coleman as Principal Peter Prickly, the principal of Third Street School.
 * Melissa Joan Hart as Becky Detweiler, T.J.'s older sister who later becomes the assistant manager at Floppy Burger.
 * April Winchell as Ms. Muriel Finster, the deputy principal of Third Street School and a professional boxer / Mrs. Detweiler, T.J. and Becky's mother.
 * James Woods as Dr. Phillium Benedict, Principal Prickly's former best friend, and the mastermind of the plot to eradicate summer vacation.
 * Peter MacNicol as Professor Fenwick, Dr. Benedict's assistant and second-in-command.
 * Diedrich Bader as Guard #2
 * Allyce Beasley as Ms. Alordayne Grotke, a teacher at Third Street School, who specializes in martial arts.
 * Gregg Berger as Tech #1
 * Klee Bragger as Digger Sam
 * Clancy Brown as "Kojak", AKA Bald Guy, Dr. Benedict's aggressive chief of security, who has an intense dislike for children, especially T.J.
 * Dan Castellaneta as Guard #1
 * Lane Toran as King Bob
 * Rachel Crane as Ashley Quinlan
 * Elizabeth Daily as Captain Sticky
 * R. Lee Ermey as Col. O'Malley (credited as Lee Ermey)
 * Ron Glass as Dr. Lazenby / Tech #2
 * Tony Jay as Dr. Rosenthal, the first head scientist, who is punished after the tractor beam malfunctions.
 * Clyde Kusatsu as Mr. Yamashiro
 * Charles Kimbrough as Mort Chalk
 * Tress MacNeille as Lunchlady Irma / Opera Director / Dr. Steinheimer
 * Andrea Martin as Lunchlady Harriet
 * Anndi McAfee as Ashley Armbruster, the leader of the Ashleys group.
 * Mark Robert Myers as Technician
 * Ryan O'Donohue as Digger Dave, one of the two diggers / Randall Weems, the school snitch.
 * Philip Proctor as Golfer #2 / Scientist #2
 * Patrick Renna as Jordan
 * Kevin Michael Richardson as Cop #2
 * Jack Riley as Golfer #1
 * Justin Shenkarow as Soldier Kid / Wrestler Kid
 * Michael Shulman as Hustler Kid
 * Francesca Marie Smith as Ashley Boulet / Swinger Girl / Upside Down Girl
 * Kath Soucie as Counselor
 * Robert Stack as Superintendent
 * Ken Swofford as Coach
 * Nicholas Turturro as Cop #1
 * Erik von Detten as Captain Brad / Erwin Lawson
 * Paul Willson as Coach Kloogie / Mr. Detweiler, T.J. and Becky's father.

Home media
Recess: School's Out was released on VHS and DVD by Walt Disney Home Video on August 7, 2001. As of November 12, 2019, the film, along with the series, is available to stream on Disney+.

Box office
The film earned $36.7 million in North America and another $7.8 million from other countries. The worldwide gross was $44.5 million, against a $23 million budget. The film was released in the United Kingdom on July 27, 2001, and opened on #7.

Critical response
On Rotten Tomatoes, a review aggregator, the film has an approval rating of 60% based on 70 reviews, with an average rating of 5.8/10. The site's critical consensus reads, "Though basically a television cartoon stretched out to movie length, Recess has enough successful jokes and smart writing to make it a worthwhile view." On Metacritic, the film has a weighted average score of 43 out of 100, based on 20 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.

Roger Ebert of the Chicago Sun-Times, gave the film a two and a half stars out of four, saying, "Parents may find it amusing, but it doesn't have the two track versatility of Rugrats in Paris, which worked for kids on one level, and adults on another." Bob McCabe of Empire, gave the film a one out of five stars and said, "Even if it did keep the ankle biters quiet for an hour or so, this still wouldn't be worth your money."

Common Sense Media gave the film two out of five stars and said: "Simply a TV episode blown up for the big screen."

title: Recess: School's Out


text: Category:ARIA Music Awards

title: Category:ARIA Music Awards


text: User talk:68.78.104.238

title: User talk:68.78.104.238


text: Category:Australian music television

title: Category:Australian music television


text:
Wikipedia:Articles for deletion/Kim Jong Lee

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was no consensus. Tony Sidaway|Talk 20:06, 30 Apr 2005 (UTC)

Kim Jong Lee
Delete as non-notable/vanity. Google sez 0 hits. Feco 07:24, 16 Apr 2005 (UTC)

Delete. Looks like vainity to me Drak 11:40, 16 Apr 2005 (UTC)
 * Delete, not notable, vanity . Abstain Megan1967 12:56, 16 Apr 2005 (UTC)
 * Keep FroggyMoore 16:11, 19 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.


text:
File:StreetSurvivorsNoFlams.jpg

Updated cover for Street Survivors (after band members killed), Lynyrd Skynyrd, 1977

title: File:StreetSurvivorsNoFlams.jpg


text: Category:Australian music industry

title: Category:Australian music industry


text:
User:Xiong/Archist

Hi! I appreciate your desire to keep Talk pages neat and tidy, or at least short enough to load -- I'm the same way. May I offer a suggestion?

Every Talk page's history records all prior versions, but there is no fast way for a visitor to see which versions existed just prior to cleanup. Many Wikipedians archive to history in a two-step process:

 * Remove outdated comments, or blank page entirely. Save the page. (You must do this in order to create a specific link to the prior version.) You might like to add a temporary comment, such as "Archival in progress -- please do not edit".

 * Open history, and copy out the link location of the last state of the page. Insert this in the newly-cleaned page at the very top, in single brackets, as an external link (e.g., ). You might like to add the date of the prior version.

This way, any visitor can go quickly to any prior version of the Talk. This is important, since otherwise some users may suggest that you are simply blanking unwelcome comment. Don't forget to check to see if some other user has added a comment while you have been archiving; be sure to preserve it.

Thank you!

title: User:Xiong/Archist


text:
David Soslan

David Soslan (დავით სოსლანი) (died 1207) was a prince from Alania and second husband of king Tamar, whom he married in c. 1189. He is chiefly known for his military exploits during Georgia's wars against its Muslim neighbors.

Name
David's surname "Soslan" is the first known instance of it being used as a personal name. The name is derived from the mythological figure Soslan, who is one of the leading figures of the Ossetian Nart epics.

Origins
David Soslan was a member of the royal house which ruled Alania (Ovseti or Oseti in the Georgian sources; hence, the modern designation of Ossetia), an Orthodox Christian kingdom in the North Caucasus, and frequently intermarried with the Bagrationi dynasty of Georgia. An anonymous chronicler, writing during the reign of George IV Lasha (son of Tamar and David Soslan; 1212–1223), ascribes to Soslan a Bagratid ancestry. A version of his Bagratid origin found further development in the works of the 18th-century Georgian scholar Prince Vakhushti Bagrationi: He considered Soslan to be a descendant of George I of Georgia (1014–1027) and his Alan wife Alde who were the parents of Demetrius (Demetre), an unfortunate pretender to the Georgian crown whose son, David, was forced by Bagrat IV of Georgia to flee to Alania. According to Vakhushti, David and his descendants - Aton and Jadaron - married into the Alan ruling family and became "kings of the Osi" [i.e., Alans]. This Jadaron is said to have been Soslan's father. While this account is considered credible by the modern scholars such as Mariam Lordkipanidze and Cyril Toumanoff the issue of Soslan's origin still remains uncertain.

A passage from the 13th-century anonymous Georgian Histories and Eulogies of Sovereigns relates that David was under the patronage of Tamar's paternal aunt Rusudan and came of "the descendants [ძენი; literally, "sons"] of Ephraïm, which are Osi, handsome and strong in battle." The Georgian scholar Korneli Kekelidze suggested that David Soslan's family – the "Ephraïmids" – might have claimed descent from the biblical Ephraim, and compared this family legend to that of the Bagratids who considered themselves descendants of David, the second king of the Israelites.

In 1946, the North Ossetian archaeologist Evgeniya Pchelina announced that, during the digs at the Nuzal chapel in the Ardon Gorge, North Ossetian ASSR, she discovered the tomb allegedly belonging to David Soslan whom she identified with the certain Soslan mentioned in the Georgian asomtavruli inscription in the chapel, and suggested that David Soslan might have been a member of the Tsarazon family (Цæразонтæ), a heroic clan from Nuzal known to the Ossetic oral folk tradition. The hypothesis has not been accepted by most Georgian scholars, but enjoys much currency among the Ossetian historians.

Biography
Tamar married David Soslan at the Didube Palace near Tbilisi between 1187 and 1189 after she divorced her first husband, the Rus' prince Yuri Bogolyubsky. As the Armenian chronicler Mkhitar Gosh reports in his Ishatarakan ("Memorabilia"), Tamar "married a man from the Alan kingdom, her relative on the mother’s side, whose name was Soslan, named David upon his ascension to the [Georgian] throne".

In contrast to Yuri who was a candidate of the powerful nobles party, David was Tamar's personal choice. David, a capable military commander, became Tamar's major supporter and was instrumental in defeating the rebellious nobles rallied behind Yuri. Tamar and David had two children. In 1191, the queen gave birth to a son, George – the future king George IV (Lasha) – an event widely celebrated in the kingdom. The daughter, Rusudan, was born c. 1193 and would succeed her brother as sovereign of Georgia.

David Soslan's status as Tamar's husband, as well as his presence in art, on charters and on coins, was strictly dictated by the necessity of male aspects of kingship, but he remained a subordinate ruler who shared the throne with Tamar but had no independent authority, his power being derived from his reigning spouse.

David energetically supported Tamar's expansionist policy and was responsible for Georgia's military successes in a series of conflicts of those years. Medieval Georgian sources praise his handsomeness, military talents, valor, and devotion to Tamar. In the 1190s, David Soslan led the Georgian raids against Barda, Erzurum, Geghark'unik', Beylaqan and Ganja. His victories over the Ildegizids of Azerbaijan at Shamkor (1195) and the Seljuqids of Rüm at Basian (1202) secured the Georgian positions in the eastern and western Caucasian marches, respectively. He died shortly thereafter, c. 1207.

title: David Soslan


text:
User:Odysseas

Μια αράχνη κουνάει τις κουρτίνες στο παλάτι των Καισάρων.

Μια κουκουβάγια καλεί τους θεατές στους έρημους πύργους του Αφρασιάμπ

The spider spins his web in the Palace of the Caesars

An owl hoots in the towers of Afrasiyab.

title: User:Odysseas