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Johan Ludwig Lund

Johan Ludwig Gebhard Lund (primarily known as J. L. Lund) (16 October 1777 – 3 March 1867) was a Danish painter, born in Kiel, Duchy of Holstein, to master painter Hans Giewert Lund and his wife Maria Magdalena Christina Bremer. An adherent of romanticism, he is known for his history paintings.

Training as artist
Lund came to Copenhagen to train as an artist, and in 1797, at the age of 22, he started his studies at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) with the support of Johan Frederik Clemens, acclaimed royal engraver and influential member of the Academy. He came quickly into contact with the rich and powerful of that time, which had a decided influence on his artistic development. He studied under neoclassicist Nikolaj Abraham Abildgaard at the Academy from 1797 to 1799, and taught drawing privately during his student years. He received the Academy's small silver medallion in 1798 and the large silver medallion in 1799, but never competed for the gold medallion.

Student travels
Lund was friends with Caspar David Friedrich, another student at the Academy and like-minded fellow romanticist, and traveled with him to Dresden, Germany, in 1799 to continue his studies at the Dresden Academy. From there he went on to Paris, where he studied under Jacques-Louis David from 16 September 1800 to April 1802. During this time, he also took excursions to Switzerland and Lake Maggiore (August–October 1801).

He went on to Italy in 1802, first to Florence and then to Rome, where he lived from 1802 to 1810. In Florence, he was deeply affected by the religious art prior to Raphael's time. He was part of the expatriate colony of Danish and German artists and scientists in Italy, which included Friederike Brun, Charlotte Humboldt, Georg Zoëga and Bertel Thorvaldsen. Cultured, talented and sociable, he secured himself many important contacts during this time, including those within the Danish royal house.

From 1804 to 1807, he received stipends from the Academy, including a travel allowance to support his stay in Italy, between 1804 and 1806.

During that time and also years later during a subsequent stay in Rome, he associated himself with the German painters known as the Nazarenes, a group of romantic painters headed by Johann Friedrich Overbeck and Peter Cornelius. He studied with them the early Italian style of painting, which was then considered primitive.

In 1803 and 1804 he painted a large picture, "Andromache i Afmagt ved Synet af Hectors mishandlede Lig" ("Andromache, Powerless at the Sight of Hector’s Maligned Corpse") which was seized by English pirates in 1807 on its voyage to Denmark. It was during the Napoleonic Wars when England and Denmark were enemies. This painting is now in the Danish Ambassador's residence in Rome. A companion piece painted between 1807 and 1811, "Pyrrhus og Andromache ved Hectors Grav" ("Pyrrhus and Andromache at Hector's Grave"), was contributed to the Danish Royal Painting Collection, now the Danish National Gallery (Statens Museum for Kunst), by Baron Schubart, General Consul in Livorno.

These paintings helped establish himself as an idealistic and romantic painter, in contrast to rival neoclassicist Christoffer Wilhelm Eckersberg's realistic approach to the visual arts. The two artists represented, for many years, opposing viewpoints and cultural ideals in the Danish art scene.

Academic career
In 1809 Lund began attempts to secure the Academy professorship vacated by his former teacher Abildgaard upon his death in 1806. He returned to Denmark in 1810 along with Frederikke Brun in order to more actively pursue the teaching position.

He began exhibiting at Charlottenborg in 1812 and exhibited there routinely until 1861. The Academy also invited him to apply for membership in 1812. He submitted the painting "Habor og Signe" (Hagbard and Signy) for consideration, and he was accepted into the Academy in 1814. While his Nordic-themed painting received praise, it was not displayed in the large painting gallery. While he received the Academy's endorsement to become member, he did not receive their recommendation to become either royal history painter or professor.

The Academy, considering not only Lund's bid for the position, but also that of his rival Eckersberg as well as that of Christian Gotlieb Kratzenstein-Stub, wished to postpone a decision until Eckersberg returned home from his student travels. Lund lost his patience with these delays and traveled back to Rome where he lived from 1816 to 1819. He had now decided to establish himself as an altar painter, and as a member of the Nazarenes.

In 1818 with support from Prince Christian Frederik, he was finally named professor at the Academy along with Christoffer Wilhelm Eckersberg. Kratzenstein-Stub ceased being under consideration upon his death in 1816.

He then returned to Copenhagen accompanied by Bertel Thorvaldsen in 1819, and married Augusta Lorentzen, daughter of the organist, Johan Henrich Lorentzen, and his wife, Frederikke Vilhelmine Lintrup, on 24 December 1820.

The hiring of the two counterparts to the School of Model Painting brought new vitality to the Academy. But while Eckersberg's star and realism were on the ascent, and he would come to be remembered as the father of the Golden Age of Danish Painting, Lund's star and romanticism were primarily on the descent.

But during his 42 years at the Academy Lund had a strong influence on his many students. He encouraged them to study 17th century Dutch landscape art, which could be readily seen in Copenhagen. His Romantic approach to art was greatly appreciated by a group of young landscape painters who were younger than Eckersberg's pupils; they aimed to produce evocative landscapes in reaction to Eckersberg's precise depictions of nature. This trend culminated in the large-scale landscapes of the Nationalist Romantic style, His closest students include historical painter Ditlev Blunck, and landscape painters Johan Thomas Lundbye, Dankvart Dreyer, P.C. Skovgaard, and Vilhelm Kyhn.

He served as Treasurer of the Academy 1821–1832 and again 1854–1866. He stopped teaching in 1861, and was eventually titled etatsråd (state advisor or counsellor). He was never named to the highest post at the Academy, Director of the Academy, unlike Eckersberg, his old rival, who served in that capacity from 1827 to 1829.

He had a cheerful and positive personality and was fresh and full of life to the age of 89. He died of natural causes without any sign of sickness during his sleep.

Lund kept his international orientation throughout his life in contrast to the growing nationalism and regionalism in the arts. He continued to keep his contacts in Germany and Italy.

Works
His main works were historical paintings with historical, mythological and biblical themes, such as the five large paintings at Christiansborg Palace in Copenhagen, which depicted Denmark's various cultural time periods. These include "Christendommens indførelse i Danmark" ("Christianity's Introduction in Denmark") painted in 1827, until then the largest oil painting to have been painted in Denmark. Again his assignment was matched by a comparable one given to Eckersberg. in which he painted the Oldenborg royal family line in eight large pictures, presumably to replace those painted by Abildgaard and destroyed in the fire of 1794.

The other painting in Lund's series are "Nordisk offerscene fra den Odinske periode" ("Nordic Sacrificial Scene from the Period of Odin") painted in 1831, "Solens tilbedelse" ("Worship of the Sun") painted in 1834, "Procession ved Kristi Legemsfest fra den katolske tid i Danmark" ("Corpus Christi Procession from Denmark's Catholic Period") painted in 1834, and "'Luthersk gudstjeneste" ("Lutheran Church Service") painted in 1843.

Lund's and Eckersberg's paintings survived the fire at Christiansborg in 1884.

He is also well known for his altarpieces and paintings of religious themes, which were influenced by his admiration for such Renaissance painters as Fra Angelico, Perugino and Raphael.

His small landscapes also received favour from art historian, critic and advocate of a national art movement, Niels Lauritz Høyen. He painted few portraits. He designed the main curtain of the Royal Theatre (Det kongelige teater) with a view of the Acropolis in 1828, which still hangs to this day. A preliminary sketch of the project is in the Theatre Museum. The Royal Theatre owns other art pieces of his.

Early Italian art, his contact with the Nazarenes, fellow countryman and expatriate Bertel Thorvaldsen, and for romanticism's ideals, all left an indelible influence on his artistic production.

The Royal Library houses a collection of his letters, inclusive correspondence with younger artists that bears witness to his influence on them.

He is portrayed as an old man in a painting by one of his students, Professor August Schiøtt, a prodigious portraitist. This portrait, considered one of his best, led to Schiott's membership in the Academy in 1854.

Lund's works appear in various Danish art museums, including the Danish National Gallery (Statens Museum for Kunst). His works are also in the collections of several Danish castles, as well as religious works to be found at various Danish churches.

He was an educated, cultured and diligent man and artist, with good contacts. He left a lasting impression by his many monumental paintings still widely on display, and by the effect he had on a generation of artists due to his long professorship at the Academy.

title: Johan Ludwig Lund


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Category:Cosmetics companies

As of 2013, the five biggest cosmetics companies in the world by revenue are:

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

title: Category:Cosmetics companies


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Faust Symphony

A Faust Symphony in three character pictures (Eine Faust-Symphonie in drei Charakterbildern), S.108, or simply the "Faust Symphony", is a choral symphony written by Hungarian composer Franz Liszt inspired by Johann Wolfgang von Goethe's drama, Faust. The symphony was premiered in Weimar on 5 September 1857, for the inauguration of the Goethe–Schiller Monument there.

Structure
The first clue as to the work's structure is in Liszt's title: "A Faust Symphony in Three Character Sketches after Goethe: (1) Faust, (2) Gretchen, (3) Mephistopheles." Liszt does not attempt to tell the story of Goethe's drama. Rather, he creates musical portraits of the three main protagonists. By doing so, though this symphony is a multi-movement work and employs a male chorus in its final moments, Liszt adopts the same aesthetic position as in his symphonic poems. The work is approximately seventy-five minutes in duration.

Faust

This large-scale movement (usually lasting around 30 minutes) is a very loose sonata-form with a short central development and a protracted recapitulation. One might say that this movement represents the very synthesis of the whole symphony, since many of its themes and motives appear throughout the score in various guises, a process of thematic transformation which Liszt mastered to the highest level during his Weimar years. The basic key of the symphony (C minor) is already rather blurred by the opening theme made up of augmented triads and containing all twelve notes of the chromatic scale consecutively (this is the first published use of a twelve-tone row, other than a simple chromatic scale, in any music). This theme evokes the gloomy Faust, a dreamer, in everlasting search for truth and knowledge. Next follows the so-called 'Nostalgia' theme introduced by the oboe. At the end of a slow crescendo, there appears a violent Allegro agitato ed appassionato theme, depicting Faust's insatiable appetite for the pleasures of life – this theme establishes a gingery C minor threatened with collapse under the weight of highly chromatic elements. A melody of the oboe and clarinet represents the hero's 'painful delights'. The last theme is pentatonic and resolute. From all these elements Liszt weaves a musical structure of power and grandeur, in which some critics recognise the composer's self-portrait.

Gretchen

This slow movement is in the key of A♭ major. Following the introduction on the flutes and clarinets, we are given the pure oboe's melody figurated by the viola's tender decorations, which expresses Gretchen's virginal innocence. A dialogue between clarinet and violins describes her naively plucking the petals of a flower, in a game of 'he loves me, he loves me not'. She is obsessed by Faust, and therefore we may hear Faust's themes being introduced progressively into the music, until his and Gretchen's themes form a passionate love duet. This draws the second movement to a peaceful and short recapitulation.

An alternative interpretation of the Gretchen movement is that, as Lawrence Kramer writes, "What we have been calling Gretchen's music is really Faust's." The entire Gretchen movement could be seen as representing her from the perspective of Faust. Consequently, the listener really learns more about Faust than about Gretchen. In Goethe's drama, she is a complex heroine. In Liszt's symphony, she is innocent and one-dimensional—a simplification that could arguably exist exclusively in Faust's imagination. The listener becomes aware of this masquerade when the "Gretchen" mask Faust is wearing slips with the appearance of the Faustian themes in bars 44 through 51 and bar 111 to the end of the movement.

Mephistopheles

Some critics suggest that, like Gretchen, Mephistopheles can be seen as an abstraction—in this case, one of the destructive aspects of Faust's character, with Faust mocking his humanity by taking on Mephistopheles' character. Regardless of which interpretation a listener chooses, since Mephistopheles, Satan, the Spirit of Negation, is not capable of creating his own themes, he takes all of Faust's themes from the first movement and mutilates them into ironic and diabolical distortions. Here Liszt's mastery of thematic metamorphosis shows itself in its full power – therefore we may understand this movement as a modified recapitulation of the first one. The music is pushed to the very verge of atonality by use of high chromaticism, rhythmic leaps and fantastic scherzo-like sections. A modified version of Faust's second and third themes then creates an infernal fugue. Mephistopheles is, however, powerless when faced with Gretchen's innocence, so her theme remains intact. It even pushes the Spirit of Negation away towards the end of the work.

Text of the revised ending
It is here that the two versions of the Faust Symphony merit different interpretations. Liszt's original version of 1854 ended with a last fleeting reference to Gretchen and an optimistic peroration in C major, based on the most majestic of themes from the opening movement. Some critics suggest this conclusion remains within the persona of Faust and his imagination. When Liszt rethought the piece three years later, he added a 'chorus mysticus', tranquil and positive. The male chorus sings the words from Goethe's Faust: The tenor soloist then rises above the murmur of the chorus and starts to sing the last two lines of the text, emphasizing the power of salvation through the eternal feminine. The symphony ends in a glorious blaze of the choir and orchestra, backed up by sustained chords on the organ. With this direct association to the final scene of Goethe's drama we escape Faust's imaginings and hear another voice commenting on his striving and redemption. The text of the chorus is also the end of Gustav Mahler's eighth symphony.

Instrumentation
The work is scored for an orchestral complement of piccolo, two flutes, two oboes, two clarinets, two bassoons, four French horns, three trumpets, three trombones, tuba, timpani, cymbals, triangle, organ, harp, and strings. A tenor soloist and TTB male choir (two tenor parts and single bass part) are also employed in the final movement.

Composition
Hector Berlioz, who wrote his own version of Faust and became the eventual dedicatee of Liszt's Faust Symphony, introduced Liszt to Goethe's Faust in the 1830s through the French translation of Gérard de Nerval. Although sketches exist from the 1840s, he was hesitant about composing this work. He commented wryly to one correspondent, "The worst Jesuit is dearer to me than the whole of your Goethe." In an 1869 letter, Liszt makes a revealing comparison between Faust and Manfred:

"In my youth I passionately admired Manfred and valued him much more than Faust, who, between you and me, in spite of his marvellous prestige in poetry, seemed to me a decidedly bourgeois character. For that reason he becomes more varied, more complete, richer, more communicative ... (than Manfred) ... Faust's personality scatters and dissipates itself; he takes no action, lets himself be driven, hesitates, experiments, loses his way, considers, bargains, and is interested in his own little happiness. Manfred could certainly not have thought of putting up with the bad company of Mephistopheles, and if he had loved Marguerite he would have been able to kill her, but never abandon her in a cowardly manner like Faust."

Despite Liszt's apparent antipathy toward the character of Faust, his residency in Weimar surrounded him with Goethe and the Faust legend at practically every turn. He had barely served out his first year as Kapellmeister when Grand Duke Carl Alexander decreed that the city would celebrate the centennial of Goethe's birth on 28 August 1849. During this celebration Liszt conducted, among other things, excerpts from Robert Schumann's Scenes from Goethe's Faust for orchestra and choir. After the centennial remembrance, he helped in the creation of a Goethe Foundation; this culminated in the publication of Liszt's brochure De la Fondation-Goethe à Weimar. In the summer of 1850 Gérard de Nerval himself stayed as Liszt's guest. There was much talk about Faust and the topic would spill over into their subsequent correspondence.

The performance of Berlioz's La Damnation de Faust in 1852, conducted by the composer, encouraged Liszt further, though he still hesitated, writing Princess Carolyne von Sayn-Wittgenstein, "Anything having to do with Goethe is dangerous for me to handle." However, the final catalyst for the symphony came in a two-month period between August and October 1854. This period coincided with a visit to Weimar by English novelist Mary Ann (Marian) Evans, better known by her pen name George Eliot. Her consort George Henry Lewes was gathering information for his biography of Goethe. During visits to Liszt's residence, the Altenburg, Lewes and Eliot had several discussions with both him and Princess Carolyne about Goethe and his place in German literature. Once Liszt began writing, it was all-consuming; the work was produced in a white heat of inspiration.

The symphony was revised three years after it was completed. Additional parts for heavy brass were added, as was a Chorus Mysticus to the finale; in the latter, words from Faust Part II are sung by a male chorus and a tenor soloist to music from the middle movement. Other minor changes were made but much of the original score remained unchanged. In 1880, Liszt added some ten bars to the second movement.

Performance history
After its première under Liszt's baton in 1857, the symphony (in its revised version with final chorus and tenor solo) received a second performance under Hans von Bülow in 1861, the year the score was published. Richard Wagner witnessed the performance in Weimar: "Bülow, who had been chosen to conduct Liszt’s Faust Symphony, seemed to me the wildest of all. His activity was extraordinary.  He had learned the entire score by heart, and gave us an unusually precise, intelligent, and spirited performance with an orchestra composed of anything but the pick of German players." In later years von Bülow was highly critical of the work: "I have given that nonsense a thorough going-over! It was indescribably painful. It's sheer rubbish, absolute non-music! I don't know which was greater, my horror or my disgust! Suffice it to say that to cleanse my palate I picked up Ivan the Terrible [by Anton Rubinstein] – it seemed like pure Brahms, by comparison! No, Faust is an aberration: let us drop the subject once and for all." Thereafter, apart from one or two sporadic performances, the symphony was neglected for roughly 50 years. Lack of interest was so great that the orchestral parts were not published until 1874. Felix Weingartner became the work's first modern interpreter (giving a performance with the Berlin Staatskapelle in 1892) but he stood practically alone in his advocacy of the score until modern times, when Thomas Beecham and Leonard Bernstein, among others, began championing the piece. Paul Paray also featured the piece in a performance with the Detroit Symphony Orchestra in 1967.

Transcriptions
Liszt transcribed the complete score for two pianos, and the middle movement alone ("Gretchen") for solo piano. The transcription of 'Gretchen' was recorded by Leslie Howard as part of his set of complete recordings of Liszt's solo piano music, and later by Jeno Jando for Naxos, Imogen Cooper for Chandos Records and Lucille Chung for Signum Records.

Following Liszt's tradition of transcribing orchestral works such as Beethoven's nine symphonies, the Hungarian pianist Ervin Nyiregyházi transcribed the Faust Symphony for solo piano, which he performed at a recital in Novato, California on 30 April 1978. More recently, part of August Stradal's solo piano arrangement of the Faust Symphony has been recorded.

title: Faust Symphony


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Talk:West Worcestershire (UK Parliament constituency)

Problems with page
This page describes itself about a historic Parliamentary seat, abolished in 1885. Yet it records details of elections in the 1990s and even links to the webiste of current Parliamentary candidates. Does not something need to be added about the name being revived in 1997? If so somethign should also be said about the respective extents of the present and earlier seats. Peterkingiron (talk) 16:34, 2 March 2008 (UTC)

 * I agree that  this is somewhat  confusing.  If  all the details in this west  Worcs article are to  be retained, then  it  would need to  bridge the hiatus in the history  it describes, to  include the 1950 - 1997 South Worcestershire (UK Parliament constituency), whose article does not  need to  go  into  the details of subsequent  history  after its abolition. It would however, then be going  even   beyond its scope as an article about a historic, and a reintroduced constituency. The borders need to  be expanded too,  I  think W.Worcs  is mainly  the whole of the area covered by  the Malvern Hills District. I've added a tag which  may  not  be quite the most  appropriate, but  it's all I  could think of.--Kudpung (talk) 04:59, 3 July 2009 (UTC)

 * There are precedents (elsewhere) for Parliamentary constituencies that are abolished and then have a new one with the same name revived. This is somewhat later than the period that I normally work on, but I will try to resolve the issue.  I had hoped that some one else might have responded to my complaint above and sorted it out.  Many constituency articles are defective in that the only deal with the present boundaries and not previous ones, which in the case of abolished seats may be very different.  Peterkingiron (talk) 19:41, 3 July 2009 (UTC)

 * This is still unresolved. A task for the Worcs project?--Kudpung (talk) 14:58, 13 January 2010 (UTC)

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Talk:Mid Worcestershire (UK Parliament constituency)

Name
Note that the UK Parliament, the Boundary Commission for England, and other government websites call this constituency "Mid Worcestershire", and not "Worcestershire Mid". -- Picapica 09:12, 10 Jun 2005 (UTC)

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Order of election results
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Spacetime symmetries

Spacetime symmetries are features of spacetime that can be described as exhibiting some form of symmetry. The role of symmetry in physics is important in simplifying solutions to many problems. Spacetime symmetries are used in the study of exact solutions of Einstein's field equations of general relativity. Spacetime symmetries are distinguished from internal symmetries.

Physical motivation
Physical problems are often investigated and solved by noticing features which have some form of symmetry. For example, in the Schwarzschild solution, the role of spherical symmetry is important in deriving the Schwarzschild solution and deducing the physical consequences of this symmetry (such as the nonexistence of gravitational radiation in a spherically pulsating star). In cosmological problems, symmetry plays a role in the cosmological principle, which restricts the type of universes that are consistent with large-scale observations (e.g. the Friedmann–Lemaître–Robertson–Walker (FLRW) metric). Symmetries usually require some form of preserving property, the most important of which in general relativity include the following:

 * preserving geodesics of the spacetime
 * preserving the metric tensor
 * preserving the curvature tensor

These and other symmetries will be discussed below in more detail. This preservation property which symmetries usually possess (alluded to above) can be used to motivate a useful definition of these symmetries themselves.

Mathematical definition
A rigorous definition of symmetries in general relativity has been given by Hall (2004). In this approach, the idea is to use (smooth) vector fields whose local flow diffeomorphisms preserve some property of the spacetime. (Note that one should emphasize in one's thinking this is a diffeomorphism—a transformation on a differential element. The implication is that the behavior of objects with extent may not be as manifestly symmetric.) This preserving property of the diffeomorphisms is made precise as follows. A smooth vector field $X$ on a spacetime $M$ is said to preserve a smooth tensor $T$ on $M$ (or $T$ is invariant under $X$) if, for each smooth local flow diffeomorphism $ϕ_{t}$ associated with $X$, the tensors $T$ and $ϕ∗ t(T)$ are equal on the domain of $ϕ_{t}$. This statement is equivalent to the more usable condition that the Lie derivative of the tensor under the vector field vanishes: $$\mathcal{L}_X T = 0$$ on $M$. This has the consequence that, given any two points $p$ and $q$ on $M$, the coordinates of $T$ in a coordinate system around $p$ are equal to the coordinates of $T$ in a coordinate system around $q$. A symmetry on the spacetime is a smooth vector field whose local flow diffeomorphisms preserve some (usually geometrical) feature of the spacetime. The (geometrical) feature may refer to specific tensors (such as the metric, or the energy–momentum tensor) or to other aspects of the spacetime such as its geodesic structure. The vector fields are sometimes referred to as collineations, symmetry vector fields or just symmetries. The set of all symmetry vector fields on $M$ forms a Lie algebra under the Lie bracket operation as can be seen from the identity: $$\mathcal{L}_{[X,Y]} T = \mathcal{L}_X (\mathcal{L}_Y T) - \mathcal{L}_Y (\mathcal{L}_X T)$$ the term on the right usually being written, with an abuse of notation, as $$[\mathcal{L}_X, \mathcal{L}_Y] T.$$

Killing symmetry
A Killing vector field is one of the most important types of symmetries and is defined to be a smooth vector field $X$ that preserves the metric tensor $g$: $$\mathcal{L}_X g = 0.$$

This is usually written in the expanded form as: $$X_{a;b} + X_{b;a} = 0.$$

Killing vector fields find extensive applications (including in classical mechanics) and are related to conservation laws.

Homothetic symmetry
A homothetic vector field is one which satisfies: $$\mathcal{L}_X g = 2 c g .$$ where $c$ is a real constant. Homothetic vector fields find application in the study of singularities in general relativity.

Affine symmetry
An affine vector field is one that satisfies: $$(\mathcal{L}_X g)_{ab;c} = 0$$

An affine vector field preserves geodesics and preserves the affine parameter.

The above three vector field types are special cases of projective vector fields which preserve geodesics without necessarily preserving the affine parameter.

Conformal symmetry
A conformal vector field is one which satisfies: $$\mathcal{L}_X g = \phi g$$ where $ϕ$ is a smooth real-valued function on $M$.

Curvature symmetry
A curvature collineation is a vector field which preserves the Riemann tensor: $$\mathcal{L}_X {R^a}_{bcd} = 0$$

where $R^{a}_{bcd}$ are the components of the Riemann tensor. The set of all smooth curvature collineations forms a Lie algebra under the Lie bracket operation (if the smoothness condition is dropped, the set of all curvature collineations need not form a Lie algebra). The Lie algebra is denoted by $CC(M)$ and may be infinite-dimensional. Every affine vector field is a curvature collineation.

Matter symmetry
A less well-known form of symmetry concerns vector fields that preserve the energy–momentum tensor. These are variously referred to as matter collineations or matter symmetries and are defined by: $$\mathcal{L}_X T = 0$$ where $T$ is the covariant energy–momentum tensor. The intimate relation between geometry and physics may be highlighted here, as the vector field $X$ is regarded as preserving certain physical quantities along the flow lines of $X$, this being true for any two observers. In connection with this, it may be shown that every Killing vector field is a matter collineation (by the Einstein field equations, with or without cosmological constant). Thus, given a solution of the EFE, a vector field that preserves the metric necessarily preserves the corresponding energy–momentum tensor. When the energy–momentum tensor represents a perfect fluid, every Killing vector field preserves the energy density, pressure and the fluid flow vector field. When the energy–momentum tensor represents an electromagnetic field, a Killing vector field does not necessarily preserve the electric and magnetic fields.

Applications
As mentioned at the start of this article, the main application of these symmetries occur in general relativity, where solutions of Einstein's equations may be classified by imposing some certain symmetries on the spacetime.

Spacetime classifications
Classifying solutions of the EFE constitutes a large part of general relativity research. Various approaches to classifying spacetimes, including using the Segre classification of the energy–momentum tensor or the Petrov classification of the Weyl tensor have been studied extensively by many researchers, most notably Stephani et al. (2003). They also classify spacetimes using symmetry vector fields (especially Killing and homothetic symmetries). For example, Killing vector fields may be used to classify spacetimes, as there is a limit to the number of global, smooth Killing vector fields that a spacetime may possess (the maximum being ten for four-dimensional spacetimes). Generally speaking, the higher the dimension of the algebra of symmetry vector fields on a spacetime, the more symmetry the spacetime admits. For example, the Schwarzschild solution has a Killing algebra of dimension four (three spatial rotational vector fields and a time translation), whereas the Friedmann–Lemaître–Robertson–Walker metric (excluding the Einstein static subcase) has a Killing algebra of dimension six (three translations and three rotations). The Einstein static metric has a Killing algebra of dimension seven (the previous six plus a time translation).

The assumption of a spacetime admitting a certain symmetry vector field can place restrictions on the spacetime.

List of symmetric spacetimes
The following spacetimes have their own distinct articles in Wikipedia:

 * Static spacetime
 * Stationary spacetime
 * Spherically symmetric spacetime
 * Minkowski Space
 * de Sitter space
 * Anti-de Sitter space

title: Spacetime symmetries


text:
Wikipedia:Articles for deletion/Flower of Life

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP   — Gwalla | Talk 21:31, 17 Jun 2005 (UTC)

Flower of Life
Even after a few editors have tried to make sense of it, this is essentially nonsense, virtually content-free. It has been speedily deleted three times, in fact, though with different attempts at content. Mel Etitis ( Μελ Ετητης ) 09:17, 10 Jun 2005 (UTC)
 * Keep, these are beautiful. . Stubbify if necessary. Kappa 10:12, 10 Jun 2005 (UTC)
 * Keep Looks okay to me Proto 10:24, 10 Jun 2005 (UTC)
 * Keep Kappa's major overhaul of the article. Sjakkalle (Check!)  11:17, 10 Jun 2005 (UTC)
 * I agree that Kappa's rewrite ahs improved things immensely. I've now removed maundering nonsense like "called the "flower of life" because it contains a number of other shapes within its deceptively simple pattern", and commented out the unsourced quotation (even if it stays, something should be said about whether there's any truth in it at all, which I doubt). On that basis, I might change my vote (though I want to do some research on the title, at least, first).  Mel Etitis  ( Μελ Ετητης ) 11:28, 10 Jun 2005 (UTC)
 * I did find some more info out and added it, although it's still not brilliant. Suspiciously hippy. Proto 13:28, 10 Jun 2005 (UTC)
 * yes, I've found some more, inclduing the source of most of the material there now . Would you say that this is a copyvio? Mel Etitis  ( Μελ Ετητης ) 13:59, 10 Jun 2005 (UTC)
 * The image you mean? If it's copied straight from a website it is a copyvio. I think it shouldn't be too hard creating some of these oneself if one has a good drawing program however. Sjakkalle (Check!)  14:05, 10 Jun 2005 (UTC)
 * More the text, in fact. Mel Etitis ( Μελ Ετητης ) 14:47, 10 Jun 2005 (UTC)
 * Keep Looks okay to me - -Snorre/Antwelm 13:45, 10 Jun 2005 (UTC)
 * Keep. Decent article. Heh, at first I thought it was going to be about a MacGuffin from Robotech, the "Invid Flower of Life".   — Gwalla | Talk 18:13, 10 Jun 2005 (UTC)

 * Keep- DS1953 18:20, 10 Jun 2005 (UTC)
 * Keep related to the ancient (and defunct) religion of platonism.     20:01, 10 Jun 2005 (UTC)
 * Keep. Good little article now thanks to Kappa and Proto. Capitalistroadster 00:33, 11 Jun 2005 (UTC)
 * Keep needs expansion but looks like a fine piece of information about ancient art.--Poli 18:37, 14 Jun 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:
Naimee Coleman

Naimee Coleman (born 8 December 1976) is an Irish singer/songwriter from Dundrum, Dublin, Ireland. Coleman began writing music at the age of 14 and won the 2FM Song Contest in 1994 as a member of a band named the Wilde Oscars. After signing with EMI, she recorded her first solo album, Silver Wrists. The album was produced by Peter Van Hooke and recorded in Abbey Road Studios. The follow-up, Bring Down the Moon, came 4 years later.

On the strength of these records, she toured Europe, the US, and Japan, where her singles topped airplay charts. While touring, Naimee has shared the stage with and opened up for artists such as Van Morrison, Suzanne Vega, Jackson Browne, 10,000 Maniacs, Sinéad O'Connor and Sting. She has written with Howard Jones, Phill Thornally (The Cure), Pam Rose, Maiah Sharpe and Aurora.

She provided the vocals for Cass & Slide's "Perception" (Vocal Mix) in 2000 and has also done vocals for Aurora, notably on covers of Duran Duran's "Ordinary World" in 2000 and Tasmin Archer's "Sleeping Satellite" (2003). She sings backup vocals for two tracks on the 2003 Saucy Monky album "Celebrity Trash" and joined Saucy Monky's 2017 Irish reunion tour.

Discography

 * Silver Wrists (Chrysalis, 1996)
 * Bring Down the Moon (Chrysalis, 2001)

title: Naimee Coleman


text:
Gaston III

Gaston III may refer to:

 * Gaston III, Viscount of Béarn (died on or before 1045)
 * Gaston III, Count of Foix (1331–1391)

title: Gaston III


text:
Alan Moorehead

Alan McCrae Moorehead, (22 July 1910 – 29 September 1983) was a war correspondent and author of popular histories, most notably two books on the nineteenth-century exploration of the Nile, The White Nile (1960) and The Blue Nile (1962). Australian-born, he lived in England, and Italy, from 1937.

Biography
Alan Moorehead was born in Melbourne, Australia. He was educated at Scotch College, with a Bachelor of Arts from the University of Melbourne. He travelled to England in 1937 and became a renowned foreign correspondent for the London Daily Express. Writer, world traveller, biographer, essayist, journalist, Moorehead was one of the most successful writers in English of his day. He married Lucy Milner, who at the Daily Express in 1937 "presided over a women's page free of the patronising sentimentality which marked much writing for women at the time".

During World War II he won an international reputation for his coverage of campaigns in the Middle East and Asia, the Mediterranean and Northwest Europe.

He was twice mentioned in despatches and was appointed an Officer of the Order of the British Empire. According to the critic Clive James, "Moorehead was there for the battles and the conferences through North Africa, Italy and Normandy all the way to the end. The hefty but unputdownable African Trilogy, still in print today, is perhaps the best example of Moorehead's characteristic virtue as a war correspondent: he could widen the local story to include its global implications." And James further affirmed, "His copy was world-famous at the time and has stayed good; he was a far better reporter on combat than his friend Ernest Hemingway." Moorehead's 1946 biography of Montgomery also remains well considered – "Moorehead was well able to see – as Wilmot calamitously didn't – that Eisenhower was Montgomery's superior in character and judgment."

In 1956, his book Gallipoli about the Allies' disastrous First World War campaign at Gallipoli, received almost unprecedented critical acclaim (though it was later criticised by the British Gallipoli historian Robert Rhodes James as "deeply flawed and grievously over-praised"). In England, the book won the Sunday Times thousand-pound award and gold medal was the first recipient of the Duff Cooper Memorial Award. The presentation of the latter was made by Sir Winston Churchill on 28 November 1956.

In 1966, Moorehead and his wife, younger son and daughter (Caroline Moorehead) made what became for him the first of an annual series of visits to Australia. There he had completed a television script for his manuscript "Darwin and the Beagle", but tragedy struck before the book was published. That December, suffering from headaches, he went into London's Westminster Hospital for an angiogram which precipitated a major stroke.

Through his wife, Lucy, however, his writing voice went on. Darwin and the Beagle was brought out as an illustrated book in 1969. In 1972, she gathered together her husband's scattered autobiographical essays and published them as A Late Education. Moorehead died in London in 1983, and is buried at Hampstead Cemetery, Fortune Green.

Legacy
His professional and personal correspondence — diaries, magazine and journal essays, press cuttings, book serialisations, reviews of his works, the background notes, drafts and proofs of his writings, and material relating to his unpublished writings — have been preserved.

During the 1960s, two major American universities pressed Moorehead to deposit his private papers as a core of their collections of contemporary writers. Instead, in 1971, Alan and Lucy Moorehead brought his papers to Australia to present them in person to the National Library.

Books

 * Mediterranean Front (Hamish Hamilton, 1941) & (US: McGraw, 1942); A journal of his experiences during the first year of WW II while General Wavell was in command, mostly in the Western Desert of North Africa.
 * A Year of Battle (Hamish Hamilton, 1943) & (US: Harper, 1943) as Don't Blame the Generals; A journal of his experiences, while General Claude Auchinleck was in command, during the second year of WW II, mostly in the Western Desert of North Africa.
 *  The End in Africa (Hamish Hamilton, 1943) & (US: Harper, 1943); A journal of his experiences, while General Montgomery was in command, during the third year of WW II, mostly in the Western Desert of North Africa.
 * African Trilogy (Hamish Hamilton) & (Harper, 1945); A compendium of the above three books, Mediterranean Front, A Year of Battle and The End in Africa. Abridged edition: The Desert War (Hamish Hamilton, 1965), published in America as The March to Tunis:The North African War: 1940–1943 (Harper, 1967).
 * Eclipse (Hamish Hamilton, 1946); A journal of his experiences, starting at the northern shore of Sicily, just before the Allies first set foot on the mainland at the southern tip of Italy in September 1943, through the Salerno and Anzio landings, then passing to the Normandy landings, Operation Market Garden, the Rhine crossing, and the final downfall of the Nazi empire (abridged edition, 1967).
 * Montgomery: A Biography (Hamish Hamilton, 1946).
 * The Rage of the Vulture (Hamish Hamilton, 1948); a novel set in Kashmir in 1947 amid an invasion by Pakistani tribesmen which Moorehead had reported for the 'Observer'. Filmed in 1951 as Thunder in the East.
 * The Villa Diana (Hamish Hamilton, 1951); travels through post-war Italy, illustrated by Osbert Lancaster.
 * The Traitors: The Double Life of Fuchs, Pontecorvo, and Nunn May (Hamish Hamilton, 1952); revised edition 1963.
 * Rum Jungle (Hamish Hamilton, 1953); personal travels through the center and north of Australia with the history of the regions, including the uranium-rich Rum Jungle.
 * A Summer Night (Hamish Hamilton, 1954).
 * Winston Churchill in Trial and Triumph (US: Houghton Mifflin, 1955).
 * Gallipoli (Hamish Hamilton, 1956); new edition 1967.
 * The Russian Revolution (Collins/Hamish Hamilton, 1958).
 * No Room in The Ark (Hamish Hamilton, 1959).
 * The White Nile (Hamish Hamilton, 1960); revised and illustrated edition, 1971. Abridged illustrated edition as: The Story of the White Nile (Harper & Row, 1967).
 * Churchill: A Pictorial Biography (Viking, 1960); Churchill and his World: A Pictorial Biography (Thames & Hudson, 1965; Revised edition).
 * The Blue Nile (Hamish Hamilton, 1962); revised and illustrated edition, 1972. Abridged illustrated edition as: The Story of the Blue Nile (Harper & Row, 1966).
 * Cooper's Creek (Hamish Hamilton, 1963); about the Burke and Wills expedition across Australia
 * The Fatal Impact: An Account of the Invasion of the South Pacific, 1767–1840 (Hamish Hamilton, 1966); revised, illustrated edition, 1987.
 * Darwin and the Beagle (Hamish Hamilton, 1969).
 * A Late Education: Episodes in a Life (Hamish Hamilton, 1970); autobiography, and his friendship with Alexander Clifford during the Spanish Civil War and World War II.

Contributions to The New Yorker
Incomplete – to be updated

Further reading and related links

 * Tom Pocock. Alan Moorehead. London: The Bodley Head, 1990.
 * Richard Knott. The Trio. The History Press, 2015.
 * Moyal, Ann Mozley. (2005). Alan Moorehead: A Rediscovery. Canberra: National Library of Australia. ISBN 978-0-642-27616-2
 * Pollinger Ltd., Estate manager
 * McCamish, Thornton. (2016). Our Man Elsewhere: In Search of Alan Moorehead. Carlton: Schwartz Publishing Pty Ltd. ISBN 978-1-863-95827-1

title: Alan Moorehead


text:
Talk:Dixon of Dock Green

Opening line
''Each episode started with Dixon speaking directly to the camera. He always began with the greeting, "Good evening, all" ''

Surely it's "Evening all"? Google hits showing "Good evening all" seem to be Wikipedia mirrors. Flapdragon 09:19, 10 Jun 2005 (UTC)

 * It's "Evening all!". Made the change. Flapdragon 16:00, 13 Jun 2005 (UTC)

 * It was "Good evening all" from 1955 until it was changed to "evening all" in the early 1970's. Lion King 22:30, 28 May 2006 (UTC)

 * Agree 100% Lion, "Good Evening All" Deffo! Vera, Chuck & Dave (talk) 17:19, 17 December 2007 (UTC)

Do we really need a translation of "Good evening, all" to "Good avening, everyone"? Isn't "All" a standard expression in England and the US? TheOneOnTheLeft (talk) 11:11, 8 September 2008 (UTC)

Much of this article appears to be verbatim from the Museum of Broadcast Communications Icabelieveitmei 15:56, 16 November 2007 (UTC)

Unsourced material
The following is unsourced information:

While this is interesting, we can't use it unless you provide a source. Also, none of this is really trivia, as trivia by its definition is "unimportant information" - it therefore shouldn't be in a trivia section but instead the information should be incorporated into the main article. - Tbsdy lives (formerly Ta bu shi da yu) talk 10:03, 6 October 2008 (UTC)
 * A lot of Dixonisms are used as catchphrases in Terry Pratchett's Discworld Night Watch cycle, most often by the 'good cop' Carrot Ironfoundersson.
 * A 1970s advertising campaign for a brand of colour television set featured the slogan "Are you still watching Dixon of Dock Grey?"
 * The distinctive harmonica theme tune should be credited: 'An ordinary copper', by Tommy Reilly

Hmm. But it's OK for the article itself to run for several hundred words before a single point in it receives a source reference? That would be why the theme music attribution is incomplete and, in consequence, incorrect. Darnell did not write Maybe It's Because I'm A Londoner (that was Hubert Gregg), though he is said to have composed the longer-running Dixon harmonica theme referred to above. Don't have enough spare time at the moment to give updating this the attention it deserves. Will try to remember to return to it... Grubstreet (talk) 22:30, 9 October 2009 (UTC)

Updated material
I have updated the article based on the new Arrow Media DVD and an updated article on 'the Black and Blue Lamp' I have also re-organised it a bit to allow for expansion of locations and notable episodes now that more DVD are expected.Andyl10 (talk) 00:18, 5 January 2013 (UTC)

Setting
I removed the word 'suburban' from the identification of the locale - it could not be both suburban and situated in the East End of London (there is often confusion between what is East London and what is east OF London). In fact, Dock Green is supposed to have been a meld of Paddington Green and the yet-to-be-fashionable London Docklands area.

Regarding the radio series, there was a later set of stories in which Finlay Welsh took over Andy Crawford from David Tennant (by then Dr Who). I do not have dates, so as to be able to add this information to the article. Rogersansom (talk) 17:33, 5 November 2011 (UTC)

Origins of theme-tune
I heard that the long-running theme-tune could be traced back earlier, to when Jack Warner was still performing in variety. He asked someone to write him a song called 'Blimey, I'm a Limey', and the melody of that song became the theme-tune to Dixon of Dock Green. Valetude (talk) 23:34, 9 August 2013 (UTC)

That is correct. He stated this on a BBC programme called Points of View. He was planning a tour of America and the song was written for that. In the end the tour was cancelled and he changed the words to "I'm an ordinary copper who's patrolling his beat..." which he MAY have used in his variety act. User: David Kessler

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Jack Warner section - funeral
The information in the Jack Warner funeral section is different to that at the Jack Warner (actor) article. These pieces of content seem to be drawn from different sources and, while not entirely contradictory, do not seem to quite align and it is odd that each omits major details given by the other. It says here "Six Margate constables stood as guards-of-honour outside the chapel while delegations of officers attended (some coming from Wales and Newcastle upon Tyne), including 16 from the Metropolitan Police, led by Deputy Assistant Commissioner George Rushbrook and Commander John Atkins", but none if this is mentioned in Warner's article where it just says "officers from Paddington Green Police Station bore the coffin at his funeral". Similarly the Warner article does not mention where his funeral service was held, but gives his burial place as East London Cemetery. Here it states the funeral was at "at Margate Crematorium". Dunarc (talk) 19:54, 6 August 2023 (UTC)

Theme tune
Somebody really needs to sort out the "Music" section, which is currently just gibberish. It states: "The British music hall song "Maybe It's Because I'm a Londoner" is used as the theme song". As anyone can tell just by listening, they are two completely different tunes. As pointed out in 2013 ("Origins of theme-tune" above; but unsourced), the tune is actually an instrumental version of the song "Blimey, I'm a Limey", which Jack Warner had sung as a variety entertainer. GrindtXX (talk) 12:31, 15 August 2023 (UTC)

 * The early episodes certainly do have “maybe it’s because I’m a Londoner” the tue “ordinary copper” is later 37.72.158.11 (talk) 23:56, 30 January 2024 (UTC)

title: Talk:Dixon of Dock Green


text:
The Flower Princess

Di Nü Hua is a fictional Chinese story about Princess Changping of the Ming Dynasty and her husband/lover, Zhou Shixian. The first known story was a Kunqu script written in the Qing Dynasty, while the second version was a Cantonese opera from the early 1900s later found in Japan and Shanghai. Little information is available from this early 1900s version. The contemporary prevailing version, not meant to be historically accurate, comes from the second Cantonese opera script.

The story unfolds as Princess Changping and Zhou Shixian are introduced to each other, participating in an arranged marriage.

They meet and get engaged with the blessing of their parents. Her father, the emperor, is overthrown by Li Zicheng. To save herself, the Princess hides as a nun in a monastery, but she happens to meet Zhou again. After being found by the new regime (the Qing dynasty), she follows Zhou's plan to eventually commit suicide. Zhou formulates a plan to make sure that her father is properly buried (without asking for a proper burial ceremony) while her little brother is released to safety. Zhou returns alone to negotiate with the new regime using the bargaining power vested in him by a written request from her. Once the new regime makes good on these promises, the couple return to her former home for a wedding ceremony. They take poison (Some story says it is Arsenic) on their wedding night in the palace garden where they first meet.

Adaptations
Using the Kunqu version and other publications, playwright Tang Ti-sheng adapted the story into a Cantonese opera. The opera made its debut at the Lee Theatre on 7 June 1957. Actresses Yam Kim-fai and Bak Sheut-sin were part of the original cast and portrayed the leading roles. They continued to play the leads until 1961, after which they appeared only sporadically from 1962 to 1970.

In October 2007, Yuen Siu Fai, as the Princess's father in 2006/7 performances in Hong Kong and Macau (40 total) schooled one academic on a radio broadcast. The talk show is available online (in Cantonese). Translation: This title has become this popular today mostly by word of mouth since the mid-1960s; staged at Kai De Amusement Park Cantonese Opera Theatre. The performances of Chor Fung Ming throughout the 1970s and 1980s in newly developed satellite cities and towns were very well received. The role of male lead is extremely heavy by design and demonstrates the ‘masculine’ traits of Yam style (e.g. Chinese: 走鑼邊花). The more organic actors/actresses in this role would find it more emotionally demanding. It was non-stop and exhausting after intermission.

While most well-known Tang works cater to the female leads, this is an exception. The importance of Zhou Shixian, instead of the Princess, in this 1957 version is also unique compared to other versions such as Eternal Regret of Dynasty Ming (Chinese: 《明末遺恨》) and How Jing-ngo Slew the Tiger (Chinese: 《貞娥刺虎》), both of Peking opera.

Loong Kim Sang 2019
From 28 November 2019 to 14 December 2019, the Loong Kim Sang performance commemorated 30 years since the passing of her mentor Yam Kim Fai.

Peking opera 2018
According to Yu Kuizhi, this production was inspired by the (late 2006 to early 2007) performances at the Lyric Theatre, Hong Kong.

Yu talked specifically how much the 2006 performance of Loong Kim Sang impressed him and addressed Loong as sensei (meaning accomplished, to show respect to someone who has achieved a certain level of mastery in an art form or some other skill) throughout that event.

Films/CD/DVD
A film starring some of the Cantonese opera original cast was released in 1959, while the album of full 4-hour stage version was released in 1960. In 1976, the film titled Prince Chang Ping was directed by John Woo, starring the Chor Fung Ming (Young Phoenix) Cantonese Opera Troupe along Leung Sing Bor and Lang Chi Bak. A live recording of the stage performance by Chor Fung Ming (Young Phoenix) Cantonese Opera Troupe in December 2007 to celebrate the 50th anniversary of debut is available in DVD/CD.

TV
TV stations, in Hong Kong as well as Taiwan, have a few productions, sometimes renamed, relating to the 1957 version. In 1981, ATV Home adapted the play into a television drama titled Princess Cheung Ping (Chinese: 武侠帝女花), in a wuxia setting, starring Damian Lau, Michelle Yim and David Chiang. In 2003, TVB produced Perish in the Name of Love, a television series loosely based on the original play. Steven Ma and Charmaine Sheh starred in the leading roles.

Summary

 * 1959 Film -, Story by Disheng Tang.
 * 1976 Film -, directed by John Woo, Story by Disheng Tang.
 * 1981 ATV Home production - Renamed :
 * 1994 Taiwan production - Renamed in PRC as :( translated as Luan Shi Bu Le Qing) by Director: Lai Kin-kwok (Chinese: 賴建國), starring Cecilia Yip and Angie Chiu as the male lead and female lead respectively.
 * 2003 TVB production Perish in the Name of Love
 * 2008 50th Anniversary DVD (Live Recording of Stage Production)

title: The Flower Princess


text:
Teun A. van Dijk

Teun Adrianus van Dijk (born 7 May 1943 in Naaldwijk, German-occupied Netherlands) is a scholar in the fields of text linguistics, discourse analysis and Critical Discourse Analysis (CDA).

With Walter Kintsch he contributed to the development of the psychology of text processing. Since the 1980s his work in CDA focused especially on the study of the discursive reproduction of racism by what he calls the 'symbolic elites' (politicians, journalists, scholars, writers), the study of news in the press, and on the theories of ideology, context and knowledge.

He founded five international journals: Poetics, Text (now called Text & Talk), Discourse & Society, Discourse Studies, Discourse & Communication, of which he still edits the last three.

Teun A. van Dijk was a professor of discourse studies at the University of Amsterdam from 1968 until 2004, and since 1999 he has taught at the Pompeu Fabra University, Barcelona. In 2017 he founded the Centre of Discourse Studies in Barcelona.

He has widely lectured internationally, especially in Latin America.

Selected bibliography

 * Some aspects of text grammars. A Study in theoretical poetics and linguistics. The Hague: Mouton, 1972.
 * Text and context. Explorations in the semantics and pragmatics of discourse. London: Longman, 1977.
 * Macrostructures. An interdisciplinary study of global structures in discourse, interaction, and cognition. Hillsdale, NJ: Erlbaum.
 * Studies in the pragmatics of discourse. The Hague/Berlin: Mouton, 1981.
 * Prejudice in discourse. Amsterdam: Benjamins, 1984.
 * Communicating Racism. Ethnic Prejudice in Thought and Talk. Newbury Park, CA: Sage, 1987.
 * News as Discourse. Hillsdale, NJ: Erlbaum, 1988.
 * News Analysis. Case studies of international and national news in the press. Hillsdale, NJ: Erlbaum, 1988.
 * Racism and the Press. London: Routledge, 1991.
 * Elite discourse and racism. Newbury Park, CA: SAGE, 1993.
 * Ideology: A Multidisciplinary Approach. London: Sage, 1998.
 * Racism and Discourse in Spain and Latin America. Amsterdam: Benjamins, 2005.
 * Discourse and Context. A sociocognitive approach. Cambridge: Cambridge University Press, 2008.
 * Society and Discourse. How social contexts control text and talk.. Cambridge: Cambridge University Press, 2009.
 * Discourse and Power. Contributions to Critical Discourse Studies. Houndsmills: Palgrave MacMillan, 2008.
 * Discourse and Knowledge. A sociocognitive approach. Cambridge: Cambridge University Press, 2014.
 * Strategies of Discourse Comprehension. with Walter Kintsch. New York: Academic Press, 1983.

Edited books

 * Pragmatics of language and literature. Amsterdam: North Holland, 1976.
 * Handbook of Discourse Analysis. 4 vols. London: Academic Press, 1985.
 * Discourse and communication. Berlin/New York: de Gruyter, 1985.
 * Discourse Studies. A multidisciplinary introduction. 2 vols. London: Sage, 1997. Second, one-volume edition, 2011.
 * Discourse Studies. 5 vols. Sage Benchmark Series. New Delhi: Sage, 2007.
 * Discourse and Discrimination. With Geneva Smitherman-Donaldson. Detroit, MI: Wayne State University Press, 1988.
 * Racism at the Top. Parliamentary Discourses on Ethnic Issues in Six European Countries. With Ruth Wodak. Klagenfurt: Drava Verlag, 2000.
 * Communicating Ideologies. Multidisciplinary Perspectives on Language, Discourse and Social Practice. With Martin Pütz and JoAnne Neff-van Aertselaer. Frankfurt/Main: Peter Lang, 2004.
 * Racism and Discourse in Latin America. Lanham, Md: Lexington Books, 2009.

title: Teun A. van Dijk


text:
Talk:Spacetime symmetries

New page
Ok, I created this page as another long term project. I've made a very sketchy start in writing something about symmetries in GR. I'm not sure if my description of preserving the metric is correct - in fact, now that I think about it, it's very loose. To rigorise the article, I was thinking of:

 * Defining these symmetry vector fields in general and explaining why that definiton is a good one physically.
 * Defining some of the more important vector fields in relativity (and mechanics, I suppose) (Killing, homothetic, conformal etc.) - obviously, their physical interpretations should be stressed.
 * Maybe examples of spacetimes with certain symmetries should be stressed, along with conservation laws (e.g. Schwarzschild, Kerr and FRW are at least 3 obvious ones).

Mpatel 09:28, 10 Jun 2005 (UTC)

Conscious start on article
Should have wrote this before I started doing it, but I'm making a conscious effort to start writing something substantial in this article. ---Mpatel 10:58, 16 Jun 2005 (UTC)

Ok, I've rigorously defined symmetries in general relativity according to Hall's definition. Examples of some symmetries have been given - still to include projective, affine and conformal symmetries. Given the level of interest in some of these symmetries, it may be better to have more detailed pages for them (certainly for Killing symmetry). Other applications of symmetries still to be mentioned (I'm struggling to find some!). ---Mpatel 13:10, 16 Jun 2005 (UTC)

Comments on New Version
This is very nice! Three comments:

---CH
 * The existing article on curvature collineations should be deleted since this concept is adequately covered here.
 * I'd like to see brief explanations of the intuitive or physical significance, e.g. Killing vector fields generate self-isometries, and the Lie algebra of all Killing vector fields admitted by a Lorentzian manifold is the Lie algebra of the Lie group of self-isometries, or autometry group.
 * Maybe this article should be called generalized Killing vectors? This is a fairly standard term in the literature, as you no doubt know, but my objection to using symmetries is that this should also include things like the point symmetry group of the Ernst equation.   But the existing article might be getting rather long after adding the explanatory concepts.  Hmmm... on the other hand, it would be nice to try to achieve a unified discussion (also to avoid exponential increase in the number of gtr articles), since generalized Killing vectors, Noether symmetries, and point symmetries of PDEs are all closely related topics.

 * Glad you like it. In response to your comments:
 * I agree about removing the curvature collineation article (I'll do that once I find out how to delete an article).
 * Yes, there should be more explanations of the intuitive/physical significance of the symmetries. I didn't want to dwell too much on the Killing vector fields in this article as someone has already created a separate article for that - maybe some merging is in order here (but then the problem of a lengthy article arises...).
 * Maybe keep the present title, as I think a unified approach would be better: mention the Noether symmetries etc., briefly, but have links shooting off to separate articles for them (I wouldn't worry too much about the number of GR articles here - after all, there are a lot of rather unsavoury and questionable articles on other topics here at WP) - there may already be a page on Noether symmetries (or something similar). As Noether symmetries are fairly general in physics, maybe the Noether symmetries of GR could be included as a subsection of a Noether symmetries article. The standard term 'generalised Killing vector(s)' could be mentioned in other GR articles (for example, in exact solutions) and a redirect to this page could be made (I suppose most people interested in such things would probably look for the standard term rather than 'symmetries in general relativity'). --MP

 * I've included a little Lie derivative identity to help readers see why the symmetries (which are smooth) actually form a Lie algebra (it's mentioned in a book by B. Schutz - I'll get the precise reference later). Maybe something about differentiability needs to be mentioned here (or maybe that's too technical for this article...?). --MP

 * Introduced another subsection on 'other types of symmetries' -- MP

Merger of pages ?
Killing vector fields seem to be introduced in (at least) 2 places on WP: Killing vector field and projective vector fields (Killings are also mentioned briefly in spacetime symmetries). The first one is clearly a stub and the second one is more comprehensive and shows how other types of symmetry vector fields arise (a suggestion has been made to increase the 'Killing content' in the third one). Proposal: merge the contents of Killing vector field into projective vector fields and keep the discussion of Killings to a minumum in spacetime symmetries (just mention the most important features for GR). How does that sound ? ---Mpatel 28 June 2005 17:21 (UTC)

Hi, MP, I say go for it. I think we agree that it is important to try to distribute material evenly and in a way which reflects its true position in the overall scheme of things (e.g., Killing vectors and such like belong to (semi)-Riemannian geometry, so the articles should reflect this--- someone primarily interested in say Killing vectors on S^3 in relation to quaternions as pure math should not be distracted by material which is only relevant to gtr applications).

In the same vein, another thing I think needs fixing is that there are several articles dealing with warp drives. These are Lorentzian manifolds, but they should not be called "solutions" of the Einstein field equation, because they are nothing like fluids, scalar fields, EM fields, Lambda term type exotic matter, or other "recognized" and more or less legitimate models of "states of matter" or of nongravitational fields.

Anyway, I entirely agree that your present article is a nice summary of various kinds of spacetime symmetries, and that writing individual articles on the most important types and putting in some intuititive explanation and examples would be appropriate in the individual pages. I do think you can probably concoct one sentence intuitive interpretations for each type which can go in the present article, however.--CH

P.S. How do you obtain the time stamp for your signature? I have been waiting for that information to come to me, as it were, rather than go hunting for it, since it's not a big priority, but after some weeks it hasn't arrived spontaneously.--CH

Suggested Name Change for this Article
Oops, MP, just noticed that I seem to have forgotten to emphasize that in line with my comments just above, I think this article should be renamed Spacetime symmetries, and the article on Lorentzian manifolds should link "comfortably" to it. Ultimately, I would also like to see the connections with Noether symmetries brought out. As you know, that connection works and is valuable for sysems of PDEs in general, e.g. Korteweg-de Vries equation or wave equation, and has need have nothing to do with general relativity or even physics.

For example, in the Ernst vacuums, the field equations reduce to the equation of an axisymmetric hyper-Ernst potential, and the system of two coupled nonlinear real valued partial differential equations (the real and imaginary parts of the hyper-Ernst equation) has a bunch of point symmetries: euclidean similarity transformations of the three independent variables (coordinate changes referring to a flat background, if you like) and $$H^2$$ isometries of the two dependent variables. Some of these are Noether symmetries, i.e. variational symmetries for the association hyper-Ernst Lagrangian. In the case of an equation with time dependence like the KdV, such variational symmetries lead via Noether's theorem to conserved quantities like mass, energy, momentum, and various moments of a KdV soliton. So Noether symmetries can refer to internal symmetries of a physical law, not just to symmetries of the arena for physics (a particular spacetime). Another example: Wick rotation of electromagnetic fields.

--CH

Name change
I've changed the name of this article, as suggested by CH. --Mpatel 15:00, 21 July 2005 (UTC)

Matter collineations
I've included some more (interesting ?) info. on matter collineations. The perfect fluid example can be proven fairly easily by anyone who knows how to contract tensors. I'll get references for the electromagnetic 'results'; I think Hall's book has references for this. --Mpatel 15:21, 21 July 2005 (UTC)

Ricci and Weyl collineations ?
I wasn't sure if it was worth mentioning Ricci and Weyl collineations ($$\mathcal L_X R_{ab} =0$$ and $$\mathcal L_X C^a {}_{bcd}=0$$). Apart from the obvious preserving property of these tensors, I'm not sure if I can give much physical content. Not too sure about Ricci collineations (they're equivalent to matter collineations iff the Ricci scalar is zero or the vector field is Killing) - any obvious physics in there ? The Weyl tensor represents the gravitational field in regions where there is no matter, so preserving the Weyl tensor along an integral curve would mean ... ? Hmmm ... help ! --Mpatel 15:21, 21 July 2005 (UTC)

Conformals - if you dare ...
Anyone feel brave enough to create the article on conformal vector fields ? There is huge potential for creating such a great article, as gtrians (to borrow a phrase from CH) will know - links to pp-waves etc... --Mpatel 10:26, 28 July 2005 (UTC)

Talking to myself ?
It seems as though I'm talking to myself on this page...--Mpatel 10:29, 28 July 2005 (UTC)

 * If I can only fix that thing I mentioned in email and take care of some other matters, I really do intend to try to read all this at greater length, write about physical interpretation and mathematical utility of some of these more exotic symmetries, etc. Sorry for all these damnable delays! ---CH 01:18, 23 January 2006 (UTC)

removed section
I've removed the section on 'other types of symmetries' as this article is solely about spacetime symmetries in the way that's defined in the article; any other type of symmetry, however closely related to this one, should not go in here: symmetries of differential equations, for example. Rather, it should have a separate article - dump it into the 'See also' section.

P.S. - I know I created this article, but other people are welcome to contribute (and talk !). ---Mpatel (talk) 17:21, August 10, 2005 (UTC)

Content of article
The article is fairly mathematical. I realise that it needs a more intuitive description of spacetime symmetries. For example, there should be mention of Lorentz and general covariance and a brief description of what these mean. These ideas should then be related to (some of) the listed symmetries. Also, see the article symmetry in physics. MP  (talk) 14:02, 22 January 2006 (UTC)

Discrete Spacetime Symmetries?
Should this article also include discrete symmetries? — Preceding unsigned comment added by 70.247.163.82 (talk) 00:27, 23 April 2016 (UTC)

title: Talk:Spacetime symmetries


text:
Wikipedia:Featured picture candidates/Caulfield Grammar School awards pocket

Caulfield Grammar School awards pocket
I created this image to use in the Caulfield Grammar article's uniform section as an example of a school blazer awards pocket. It is a high-res, bright and interesting image. Harro5 09:29, Jun 10, 2005 (UTC)
 * Nominate and support. - Harro5 09:29, Jun 10, 2005 (UTC)
 * Oppose. Fairly boring. ed g2s  •  talk  19:46, 10 Jun 2005 (UTC)
 * Oppose, I admire the attempts of bringing such a disputed thing as a school article to FA status, but this image is not interesting or striking enough for featured status; informativeness is limited. - Mgm|(talk) 21:10, Jun 10, 2005 (UTC)
 * Oppose - Get Real Anish7 05:29, 11 Jun 2005 (UTC)
 * Oppose. Not interesting. Enochlau 03:49, 12 Jun 2005 (UTC)
 * Oppose. -Lommer | talk 19:06, 12 Jun 2005 (UTC)
 * Oppose -- not interesting. - Longhair | Talk 08:45, 13 Jun 2005 (UTC)
 * Oppose. For reasons stated. Chicago god 18:55, 15 Jun 2005 (UTC)

1 / 7 / 0 --Spangineer (háblame)  14:10, Jun 25, 2005 (UTC)


text:
Text linguistics

Text linguistics is a branch of linguistics that deals with texts as communication systems. Its original aims lay in uncovering and describing text grammars. The application of text linguistics has, however, evolved from this approach to a point in which text is viewed in much broader terms that go beyond a mere extension of traditional grammar towards an entire text. Text linguistics takes into account the form of a text, but also its setting, i. e. the way in which it is situated in an interactional, communicative context. Both the author of a (written or spoken) text as well as its addressee are taken into consideration in their respective (social and/or institutional) roles in the specific communicative context. In general it is an application of discourse analysis at the much broader level of text, rather than just a sentence or word.

Reasons for text linguistics
Much attention has been given to the sentence as a self-contained unit, and not enough has been given to studying how sentences may be used in connected stretches of language. It is essentially the presentation of language as sets of sentences.

Text is extremely significant in communication because people communicate not by means of individual words or fragments of sentences in languages, but by means of texts. It is also the basis of various disciplines such as law, religion, medicine, science, and politics.

Definitions
"A text is an extended structure of syntactic units [i. e. text as super-sentence] such as words, groups, and clauses and textual units that is marked by both coherence among the elements and completion ... [Whereas] a non-text consists of random sequences of linguistic units such as sentences, paragraphs, or sections in any temporal and/or spatial extension." (Werlich, 1976: 23)

"A naturally occurring manifestation of language, i. e. as a communicative language event in a context. The surface text is the set of expressions actually used; these expressions make some knowledge explicit, while other knowledge remains implicit, though still applied during processing." (Beaugrande and Dressler, 1981: 63)

"[A term] used in linguistics to refer to any passage- spoken or written, of whatever length, that does form a unified whole [….] A text is a unit of language in use. It is not a grammatical unit, like a clause or a sentence; and it is not defined by its size [….] A text is best regarded as a semantic unit; a unit not of form but of meaning." (Halliday and Hasan, 1976: 1–2)

"A text is made up of sentences, but there exist separate principles of text-construction, beyond the rules for making sentences." (Fowler, 1991: 59)

"[Text is] a set of mutually relevant communicative functions, structured in such a way as to achieve an overall rhetorical purpose." (Hatim and Mason, 1990)

Text linguists generally agree that text is the natural domain of language, but they still differ in their perspectives of what constitutes a text. This variance is mainly due to the different methods of observations of different linguists, and as such, the definition of text is not yet concrete.

Significance of contexts
There is a text and there is other text that accompanies it: text that is 'with', namely the con-text. This notion of what is 'with the text', however, goes beyond what is said and written: it includes other non-verbal signs-on-the total environment in which a text unfolds. (Halliday and Hasan, 1985: 5)

According to Halliday, text is a sign representation of a socio-cultural event embedded in a context of situation. Context of situation is the semio-socio-cultural environment in which the text unfolds. Text and context are so intimately related that neither concept can be comprehended in the absence of the other.

The field of discourse – experiential meaning
This is the meaning that the social actions and the engagements of the participants are giving to the understanding of the text.

The tenor of discourse – interpersonal meaning
This is the meaning that the roles of and relationships among participants give to the understanding of the text. These relationships may be permanent or temporary. The contribution to meaning by social statuses of the participants also fall within this feature.

The mode of discourse – logical meaning
This is the meaning that the language, written or spoken, gives to the understanding of the text. This includes the symbolic organization of the text, as well as its intended function within the context.

Texture
Texture is the basis for unity and semantic interdependence within text. Any text that lacks texture would simply be a bunch of isolated sentences that have no relationship to each other. (Crane, 1994) A feature of texture is "sequential implicativeness", as suggested by Schegloff and Sacks (1974). This refers to the property of language that each line in a text is linked from or linked to the previous line. As such, language contains a linear sequence, and this linear progression of text creates a context of meaning. This contextual meaning, at the paragraph level, is referred to as "coherence", while the internal properties of meaning are referred to as "cohesion". (Eggins, 1994: 85) There are two aspects of coherence, namely, "situational" coherence and "generic" coherence. There is situational coherence when field, tenor, and mode can be identified for a certain group of clauses. On the other hand, there is generic coherence when the text can be recognized as belonging to a certain genre. Thereby, cohesion is the result of "semantic ties", which refers to the dependent links between items within a text. These ties come together to create meaning. Texture is, therefore, created within text when the properties of coherence and cohesion are present.

Text types
Most linguists agree on the classification into five text-types: narrative, descriptive, argumentative, instructive, and comparison/contrast (also called expositive). Some classifications divide the types of texts according to their function. Others differ because they take into consideration the topic of the texts, the producer and the addressee, or the style. Adam and Petitjean, (1989) proposed analyzing of overlaps of different text types with text sequences. Virtanen (1992) establishes a double classification (discourse type and text type) to be used when the Identification text-text type is not straightforward.

Structure
As a science of text, text linguistics describes or explains among different types of text the: Text linguistics is the study of how texts function in human interaction. Beaugrande and Dressler define a text as a “communicative occurrence which meets seven standards of textuality” – cohesion, coherence, intentionality, acceptability, informativity, situationality and intertextuality, without any of which the text will not be communicative. Non-communicative texts are treated as non-texts.
 * Shared features
 * Distinct features

Cohesion
Surface texts are the exact words that people see or hear. Cohesion concerns the ways in which the components of the surface text are connected within a sequence. Grammatical forms and conventions are adhered to by surface components and therefore cohesion rests upon grammatical dependencies. The grammatical dependencies in surface texts are major signals for sorting out meanings and uses. Cohesion encompasses all of the functions that can be used to signal relations among surface elements. SLOW

CARS

HELD UP Such a text can be divided up into various dependencies. Someone might construe it as a notice about "slow cars" that are "held up", so that conclusions could be drawn about the need to drive fast to avoid being held up. However, it is more likely for one to divide the text into "slow" and "cars held up', so that drivers will drive slowly to avoid accidents or take alternative routes to avoid being caught in the slow traffic. A science of text should explain how ambiguities such as these are possible, as well as how they are precluded or resolved without much difficulty. For efficient communication to take place there must be interaction between cohesion and other standards of textuality because the surface alone is not decisive.

Coherence
Coherence concerns the ways in which concepts and relations, which underlie the surface text, are linked, relevant and used, to achieve efficient communication. Surface texts may not always express relations explicitly therefore people supply as many relations as are needed to make sense out of any particular text. In the example of the road sign "SLOW CARS HELD UP', "cars" is an object concept and "held up" an action concept, and the "cars" are the link to "held up'. Therefore, "slow" is more likely to be interpreted as a motion than as the speed at which cars are travelling. Types of relations include:
 * A concept is a cognitive content which can be retrieved or triggered with a high degree of consistency in the mind
 * Relations are the links between concepts within a text, with each link identified with the concept that it connects to

 * I. Causality: "'Itsy Bitsy spider climbing up the spout. Down came the rain and washed the spider out.'" The event of "raining" causes the event of "washing the spider out" because it creates the necessary conditions for the latter; without the rain, the spider will not be washed out.

 * II. Enablement: "'Humpty Dumpty sat on the wall, Humpty Dumpty had a great fall.'" The action of sitting on the wall created the necessary but not sufficient conditions for the action of falling down. Sitting on a wall makes it possible but not obligatory for falling down to occur.

 * III. Reason: "'Jack shall have but a penny a day because he can't work any faster.'" In contrast to the rain which causes Itsy Bitsy spider to be washed out, the slow working does not actually cause or enable the low wage. Instead, the low wage is a reasonable outcome; "reason" is used to term actions that occur as a rational response to a previous event.

 * IV. Purpose: "'Old Mother Hubbard went to the cupboard to get her poor dog a bone.'" In contrast to Humpty Dumpty's action of sitting on the wall which enables the action of falling down, there is a plan involved here; Humpty Dumpty did not sit on the wall so that it could fall down but Old Mother Hubbard went to the cupboard so that she could get a bone. "Purpose" is used to term events that are planned to be made possible via a previous event.

"Cause", "enablement" and "reason" have forward directionality with the earlier event causing, enabling or providing reason for the later event. "Purpose', however, has a backward directionality as the later event provides the purpose for the earlier event.
 * V. Time:

More than just a feature of texts, coherence is also the outcome of cognitive processes among text users. The nearness and proximity of events in a text will trigger operations which recover or create coherence relations. The Knave of Hearts, he stole the tarts; The King of Hearts, called for the tarts.'"
 * "'The Queen of Hearts, she made some tarts;

In the explicit text, there is a set of actions (making, stealing and calling); the only relations presented are the agent and the affected entity of each action. However, a text receiver is likely to assume that the locations of all three events are close to one another as well as occur in a continuous and relatively short time frame. One might also assume that the actions are meant to signal the attributes of the agents; the Queen is skilled in cooking, the Knave is dishonest and the King is authoritative. As such, coherence encompasses inferencing based on one's knowledge.

For a text to make sense, there has to be interaction between one's accumulated knowledge and the text-presented knowledge. Therefore, a science of texts is probabilistic instead of deterministic, that is, inferences by users of any particular text will be similar most of the time instead of all of the time. Most text users have a common core of cognitive composition, engagement and process such that their interpretations of texts through "sensing" are similar to what text senders intend them to be. Without cohesion and coherence, communication would be slowed down and could break down altogether. Cohesion and coherence are text-centred notions, designating operations directed at the text materials.

Intentionality
Intentionality concerns the text producer's attitude and intentions as the text producer uses cohesion and coherence to attain a goal specified in a plan. Without cohesion and coherence, intended goals may not be achieved due to a breakdown of communication. However, depending on the conditions and situations in which the text is used, the goal may still be attained even when cohesion and coherence are not upheld. "'Want I carry you on my back?'" Even though cohesion is not maintained in this example, the text producer still succeeds in achieving the goal of finding out if the text receiver wanted a piggyback.

Acceptability
Acceptability concerns the text receiver's attitude that the text should constitute useful or relevant details or information worth accepting. Text type, the desirability of goals and the political and sociocultural setting, as well as cohesion and coherence, are important in influencing the acceptability of a text.

Text producers often speculate on the receiver's attitude of acceptability and present texts that maximize the probability that the receivers will respond as desired by the producers. For example, texts that are open to a wide range of interpretations, such as "Call us before you dig. You may not be able to afterwards" require more inferences about the related consequences. This is more effective than an explicit version of the message that informs receivers the full consequences of digging without calling, because receivers are left with great uncertainty as to the consequences that could result; this plays to people's risk aversion.

Informativity
Informativity concerns the extent to which the contents of a text are already known or expected as compared to unknown or unexpected. No matter how expected or predictable content may be, a text will always be informative at least to a certain degree due to unforeseen variability. The processing of highly informative text demands greater cognitive ability but at the same time is more interesting. The level of informativity should not exceed a point such that the text becomes too complicated and communication is endangered. Conversely, the level of informativity should also not be so low that it results in boredom and the rejection of the text.

Situationality
Situationality concerns the factors which make a text relevant to a situation of occurrence. The situation in which a text is exchanged influences the comprehension of the text. There may be different interpretations with the road sign SLOW

CARS

HELD UP However, the most likely interpretation of the text is obvious because the situation in which the text is presented provides the context which influences how text receivers interpret the text. The group of receivers (motorists) who are required to provide a particular action will find it more reasonable to assume that "slow" requires them to slow down rather than referring to the speed of the cars that are ahead. Pedestrians can tell easily that the text is not directed towards them because varying their speeds is inconsequential and irrelevant to the situation. In this way, the situation decides the sense and use of the text.

Situationality can affect the means of cohesion; less cohesive text may be more appropriate than more cohesive text depending on the situation. If the road sign was "Motorists should reduce their speed and proceed slowly because the vehicles ahead are held up by road works, therefore proceeding at too high a speed may result in an accident', every possible doubt of intended receivers and intention would be removed. However, motorists only have a very short amount of time and attention to focus on and react to road signs. Therefore, in such a case, economical use of text is much more effective and appropriate than a fully cohesive text.

Intertextuality
Intertextuality concerns the factors which make the utilization of one text dependent upon knowledge of one or more previously encountered text. If a text receiver does not have prior knowledge of a relevant text, communication may break down because the understanding of the current text is obscured. Texts such as parodies, rebuttals, forums and classes in school, the text producer has to refer to prior texts while the text receivers have to have knowledge of the prior texts for communication to be efficient or even occur. In other text types such as puns, for example "Time flies like an arrow; fruit flies like a banana', there is no need to refer to any other text.

Robert-Alain de Beaugrande
Robert-Alain de Beaugrande was a text linguist and a discourse analyst, one of the leading figures of the Continental tradition in the discipline. He was one of the developers of the Vienna School of Textlinguistik (Department of Linguistics at the University of Vienna), and published the seminal Introduction to Text Linguistics in 1981, with Wolfgang U. Dressler. He was also a major figure in the consolidation of critical discourse analysis.

Application to language learning
Text linguistics stimulates reading by arousing interest in texts or novels. Increases background knowledge on literature and on different kinds of publications. Writing skills can be improved by familiarizing and duplicating specific text structures and the use of specialized vocabulary.

title: Text linguistics


text:
Geoffrey II

Geoffrey II may refer to:

 * Geoffrey II, Viscount of Châteaudun (died 1040)
 * Geoffrey II (archbishop of Bordeaux) (died 1043)
 * Geoffrey II, Count of Gâtinais (died 1043/6)
 * Geoffrey II of Thouars (990-1055)
 * Geoffrey II, Count of Anjou (died 1060), surnamed Martel, Count of Anjou from 1040
 * Geoffrey II of Provence, (died 1067), first count of Forcalquier from 1062
 * Geoffrey II, Count of Perche (died 1100)
 * Geoffrey II of Vendôme (died 1102), lord of Preuilly from 1067
 * Geoffrey II, Duke of Brittany (1158–1186), Duke of Brittany from 1181
 * Geoffrey II of Villehardouin (c. 1195-1246), Prince of Achaea from c. 1229
 * Geoffrey II of Briel (fl. late 13th century)

title: Geoffrey II


text:
Wikipedia:Articles for deletion/Joe Courtley

 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 speedy deleted by Duncharris (clearly made up, author of non-existent book) --cesarb 01:51, 11 Jun 2005 (UTC)

Joe Courtley
Two google hits. The book he wrote "How to climb mount everest with no feet and ears for dummies" does not appear to be anywhere (big surprise). Not notable, hoax, or what? Sjakkalle (Check!)  09:33, 10 Jun 2005 (UTC)
 * Delete if not Speedy as hoax/nonsense/etc. --FCYTravis 10:26, 10 Jun 2005 (UTC)
 * Speedy delete as nonsense. -- Karada 12:37, 10 Jun 2005 (UTC)
 * Speedy delete as nonsense. -- -Snorre/Antwelm 13:43, 10 Jun 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.