text:
Apodida

Apodida is an order of littoral to deep-sea, largely infaunal holothurians, sea cucumbers. This order comprises three families, 32 genera and about 270 known species, called apodids, "without feet".

Characteristics
These sea cucumbers are vagile holothurians with an elongated shape (up to 3 meters for Synapta maculata), worm or snake-like. Their shape is adapted for burrowing through the sediment, sometimes in a fashion similar to earthworms. Their mouth is surrounded with 10-25 pinnate or peltate tentacles. The absence of tube feet gives the order its name, Apodida meaning without feet : they move by crawling on the sediment, hence they need flat bottoms with few current. Members of this order have a circum-oral ring and tentacles, but do not have tube feet or radial canals. They also lack the complex respiratory trees found in other sea cucumbers, and respire and excrete nitrogenous waste through their skin.

The ossicles, minute calcareous plates embedded in the skin and characteristic of each species, can include wheel and anchor shapes.

List of families
This order contains 3 families, consisting in 32 genera in total, for 270 known species.
 * family Chiridotidae Östergren, 1898
 * family Myriotrochidae Théel, 1877
 * family Synaptidae Burmeister, 1837

title: Apodida


text:
Talk:Bukit Lawang

Sadly deficient
Come we need more information than currently posted - what country for instance are we dealing with? sadly deficient 11:56, 10 Jun 2005 (UTC)

Do you think people will be able to figure out the location of Bukit Lawang from the category the page belongs to and the link to Medan?

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title: Talk:Bukit Lawang


text:
Portal:Trains/Anniversaries/March 22

 * March 22

 * 1922 – Livio Dante Porta, Argentinian steam locomotive mechanical engineer, is born (d. 2003).
 * 1970 – The Western Pacific Railroad portion of the California Zephyr makes its last run.
 * 1997 – Japan's Akita Shinkansen (pictured) begins operating over the Morioka-Akita section using Tazawako Line and Ōu Main Line tracks.
 * 2005 – Texas Pacifico Transportation operates the first test train over former Santa Fe Railroad tracks between Presidio and San Angelo Junction, Texas.

title: Portal:Trains/Anniversaries/March 22


text:
Talk:Revolution (Marvel Comics)

Revolution Comics
This article's title is inaccurate and misleading. There was a Revolution Comics in the early 1990s that, if memory serves, used to publish comics about popular musicians. This page should be probably be called X-Men: Revolution (Comics) or somesuch.

 * When a Revolution Comics article is started than a hatnote can be added to link to it, we have plenty of such articles and there isn't a problem, e.g. Action (comics)/Action Comics (the name for this storyline is "Revolution"). (Emperor (talk) 02:26, 15 March 2010 (UTC))

title: Talk:Revolution (Marvel Comics)


text:
Talk:Chevrolet SSR

Performance
anyone have performance figures for 6.0 litre ssr's those would be helpful additions. 67.38.0.227 03:05, 21 January 2007 (UTC)

years
It is unclear if the production started in calendar year 2003 or model year 2003.  Stepho  talk 21:33, 4 August 2016 (UTC)

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2007
Does It Have A 2007 One? — Preceding unsigned comment added by 96.19.71.229 (talk) 23:23, 15 March 2021 (UTC)
 * No, 2006 was the final model year. --Vossanova o< 13:46, 22 August 2022 (UTC)

title: Talk:Chevrolet SSR


text:
Saxifraga oppositifolia

Saxifraga oppositifolia, the purple saxifrage or purple mountain saxifrage, is a species of plant that is very common in the high Arctic and also some high mountainous areas further south, including northern Britain, the Alps and the Rocky Mountains.

Saxifraga oppositifolia grows at a latitude of 83°40'N on Kaffeklubben Island, making it one of the northernmost plants in the world.

Description
Saxifraga oppositifolia is a low-growing, densely or loosely matted plant growing up to 5 cm high, with somewhat woody branches of creeping or trailing habit close to the surface. The leaves are small, rounded, scale-like, opposite in four rows with ciliated margins. The flowers are solitary on short stalks, petals purple or lilac, much longer than the calyx lobes. It is one of the first spring flowers, continuing to flower during the whole summer in localities where the snow melts later. The flowers grow to about 1/2 in in diameter.

Habitat
Saxifraga oppositifolia grows in all kinds of cold temperate to Arctic habitats, usually found from sea level up to 1000 m, in many places colouring the landscape. Its native habitats include tundra, arctic coastal bluffs, alpine scree, and rock crevices.

Swiss botanist Christian Körner found the plant growing at an elevation of 4505 m in the Swiss alps, making it the highest elevation angiosperm in Europe. It is even known to grow on Kaffeklubben Island in north Greenland, at 83°N, 40°W, the most northerly plant locality in the world.

Species interactions
The flowers of Saxifraga oppositifolia may be consumed by certain animal species, such as the caterpillars of the cold-adapted Gynaephora groenlandica, the Arctic woolly-bear caterpillar.

Uses
Saxifraga oppositifolia is a popular plant in alpine gardens, though difficult to grow in warm climates. The edible flower petals are eaten, particularly in parts of Nunavut without abundant berries. They are bitter at first but, after about one second, they become sweet. (They are also slightly sticky.) It is known to the Inuit as aupilaktunnguat. The leaves and stems are brewed for herbal tea: According to many Nunavummiut, the tea is best later in the season once the flowers have died.

Saxifraga oppositifolia serves as the territorial flower of Nunavut in Canada, a symbolic flower of Nordland county in Norway, and the county flower of County Londonderry in Northern Ireland.

Taxonomy
There are a few subspecies of Saxifraga oppositifolia, including:
 * Saxifraga oppositifolia ssp. glandulisepala Hultén – native to Alaska
 * Saxifraga oppositifolia ssp. oppositifolia L. – native to continental US
 * Saxifraga oppositifolia ssp. smalliana (Engl. & Irmsch.) Hultén – native to Alaska

title: Saxifraga oppositifolia


text:
Talk:History of Spain (1808–1874)

[Untitled]
I put the first few sections (covering 1814-1833) up; I might come back some time and put the last sections (1833-1870) in later. In the meantime, if someone is interested in working on this, I would be more than happy to help out in whatever way I can; just leave a message. Adam Faanes 11:59, 10 Jun 2005 (UTC)

This article should be called Nineteenth century Spain not mid-19th century spain.--EuroHistoryTeacher (talk) 22:13, 26 January 2009 (UTC)

Recent unsourced edits to the article
Santos30 (talk) is making substantial unsourced changes to the article's text. This user seems to have quite a history (Sockpuppet investigations/Santos30) of being blocked for sockpuppetry and edit-warring. Carlstak (talk) 15:09, 24 August 2012 (UTC)

 * The text before my edition is POV, wrong and historically incomprehensible. Put a cite required where you need references and I put references. Or tell me what is "substantial unsourced changes" and we can solve the problem if any. --Santos30 (talk) 15:57, 24 August 2012 (UTC)

Justification for the chosen "frame"
What's the bibliographical apparatus backing up "History of Spain (1810–1873)"? Regardless of the non-bracketed part (the current one, given its simplicity, it is not particularly problematic) isn't more common in academic literature to deal with periods starting in 1808 and spanning until 1868 or 1874 such as "(1808–1868)" or "(1808–1874)"? (not to say the simple 1833-1868" although we've already have that one covered. The way I see it, it looks like an ad hoc title whose sole purpose is to justify a particular infobox rather than the other way around (an infobox fitting an article whose content is dictated by the frame of academic literature). I mean, in truth, the content of the lead fits neatly the 1808–1874 period and the body of the article (not the title) fits also quite well the 1808–1874 period (it just haphazardly removes the last year of the Sexenio Democrático), so if fitting to the 1808–1874 period becomes a problem vis-à-vis the infobox, the solution is clear for me: trim or remove the infobox altogether.--Asqueladd (talk) 13:48, 27 May 2021 (UTC)
 * I think this article's scope should span from 1808 to 1874: History of Spain (1808–1874) (as per the take of holistic sources: ) and because breaking the Sexenio Democrático this way is a novel frame failing to follow literature (sources either include the full sexenio merged with the former period or left it outside the period, but sources do not include a part of the sexenio merged with the previous period and leave the republic missing). The inception of the current structure is possibly due to the unencyclopaedic purpose of fitting articles into disinfoboxes, rather than the other way around. Regarding content, the article already features the 1808–1810 period (which is somewhat "adequatedly" covered, keeping in mind the whole article is chiefly a political history of big names with some wars dropped here and there and little content else). It is missing the developments during the First Republic, though. I leave this proposal of a new structure in case anyone has anything to say.--Asqueladd (talk) 17:17, 27 May 2021 (UTC)
 * So apparently era articles with infoboxes are suddenly considered to be a problem now. I've read through your reasoning but I'm still pretty lost on what you're trying to get at, especially considering other articles similar to this one have infoboxes such as History of Spain (1700–1808) and History of Portugal (1834–1910) yet neither of them have also had their infoboxes taken down? Not to mention that your reasoning is a blatant violation of MOS:INFOBOXPURPOSE as infoboxes (Especially in articles dealing with former countries) are meant to be a general summary of the topic of the article. As mentioned in my previous revert, from what I've read of the article myself and the infoboxes' contents, it's a perfectly serviceable summary for those who don't have the time to read through all of it, especially considering this is the only article where you deleted its infobox. SuperSkaterDude45 (talk) 21:54, 21 May 2022 (UTC)
 * Indeed, infoboxes can be a nuisance. Above all, when someone is tempted to make an article to fit a particular infobox (or some features of a particular infobox), and not the other way around (WP:DISINFOBOX). This is an article about the history of Spain in the 19th century and its framework needs to follow how historians periodise the period. There is no special interest whatsoever either in the idea of a coherent "regime" so to speak (sources are not worried either about that, it is a worry fabricated by Wikipedia editors thirsty of infobox WP:CRUFT, fetishishing the former country infobox construct and weary of editing something outside the infobox). I haven't checked those articles, and I frankly don't know the point of bringing them here. Look at the points laid out here above these lines, concerning this article. Please check scholar histories of Spain. "1810s-1873" is not a thing. History of 19th century Spain is not studied (nor presented by sources) that way. And of course, in order to avoid original research we can't follow frameworks that are "not a thing" in academia in order to create an article. The sexenio democratico is not split that way in academia (as in the first years attached to the Ferdinand and Isabella reigns and the latter left out. The provisional government and the Amadeo reign belongs together with the Republic in a coherent thing (of course, that coherent thing is later subdivided in subperiods), because they steem from the same process (the one set in motion in the wake of the 1868 revolution), and that's the way sources present the history of 19th century Spain. But instead, in this article, editors have split the sexenio in pieces so they can have a fancy infobox, because I suppose having a monarchy and a republic at the same time in the infobox is messy (and I partially agree here, but the problem lies in the infobox, not in the historiography).--Asqueladd (talk) 02:17, 22 May 2022 (UTC)
 * First off, the article only covers the years between the Napoleonic Wars and the Third Carlist War. If it were an entire article about the 19th-century geopolitical situation in Spain then there might as well be a page move on it. Second, see WP:DIBR as that's what I see defines on what's a Dis-infobox and even then, essays aren't as much of a priority as a MOS. Third of all, this period of Spain can be seen as it's own regime considering that it was ruled by the House of Savoy until it's overthrow as well as the Carlist Wars around the time. Fourth, WP:CRUFT only applies to pop culture articles, not historical non-fiction ones. Fifth, if you haven't checked them then why are we even having this debate considering that, by your own words: Please check scholar histories of Spain. "1810s-1873" is not a thing. can also apply to other articles (Further showing the lack of consistency within your points) Also if the history of Spain during the early and middle 19th century is too complex for a single article or that (1808–1873) isn't a valid historical term then why not split the article instead of pointlessly deleting the infobox because of your own personal preferences. SuperSkaterDude45 (talk) 02:56, 21 May 2022 (UTC)
 * Please consider the purpose of the article. Cannot be to create something ad hoc to fit an ad-hoc an infobox, right? If we can agree content in the body the article should be based on sources and historiography, then we are in the same boat and I think we could improve on the article, look at what our sources say and how they frame things, and if we do that in good faith we'll find compromises. Are you willing to walk the walk?--Asqueladd (talk) 23:29, 23 May 2022 (UTC)

title: Talk:History of Spain (1808–1874)


text:
Talk:Hellenic Quest

From the article :

....it is true that the Ancient Greek language is among the most well-structured grammatically (and many modern linguists now consider it to be the most powerful and even the starting point for most other languages)....

I think that this should be backed with some citations from linguistic sources, or deleted altogether.

Another gem
''But, the myth that "computers speak ancient Greek" has a significant sperm of truth, though often misunderstood. It refers, not of course at the binary logic of the computers, but, at the field of automatic syntactic analysis of natural language. An often used anti-paradigm of English language syntactic ambiguity is the phrase "time flies like an arrow; fruit flies like a banana"...''

It then goes on to admit that syntactical ambiguity exists on all languages (therefore, Greek, ancient or modern, is not immune to it either). Since that is the case, what's the point of the whole convoluted paragraph? Seems like someones bizarre attempt at justifying the urban myth. 62.1.227.11 (talk) 17:31, 12 April 2008 (UTC)

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title: Talk:Hellenic Quest


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Talk:Hoklo people

Unknown
Hoklo (福佬, POJ: Hok-ló) is sometimes also written as the phonetically similar 鶴佬 (Ho̍h-ló), 河洛 (Hô-lo̍k), 學佬 (ha̍k-láu). It looks like the Ban-lam version of this article has some explanations. Oniows 13:13, 1 March 2006 (UTC)

Hokkien = Hoklo?
I have noticed this mass renaming of Hokkien as Hoklo. Being a Hokkien myself, I have not even heard of this term. May I know if this is factually accurate, because Hokkien means Fujian in Mandarin, and refers more to the Mannanese speaking populance?--Huaiwei 05:07, 21 August 2005 (UTC)
 * As far as I know the two terms more or less refer to the same people and language. Hoklo is more commonly used in Taiwan, whereas Hokkien is common in Southeast Asia. Taiwanese people won't identify the Taiwanese language as Hokkien, but Hoklo (which is also written as 河洛). In Cantonese-speaking areas Hoklo (usually pronounced as 學佬 or 鶴佬) and 福建人 (Fujianese people) are equally common to refer to the people, but probably Teochiu people don't identify themselves as 福建人. — Instantnood 07:49, August 21, 2005 (UTC)

Me either, I haven't heard this term used elsewhere except in Taiwan and Hong Kong. It is a cantonese loan word to describe Fujian people in Guangdong and Hong Kong and I think some people have used it as the ONLY term to describe people originating from Fujian. In South East Asia, Hokkien is the word used to describe people with Fujian heritage.--Visik 05:35, 30 May 2007 (UTC)

I think it is proper to describe people originating from Fujian as either Minnan (Hokkien) or Minbei (Fuzhou).

I think it's probably okay for this page to refer to "Hoklo people" because it specifically refers to the population of Taiwan, and should use the name they use for themselves. There could possibly be a separate article about "Hokkien people" as an ethnos, but I don't know enough about them to write it. Grace Note 04:36, 31 May 2007 (UTC)

This page appears to refer to all Hokkien people as Hoklo. While in reality, it seems only the Taiwanese Hokkien people say "hoklo". Shouldn't this be renamed to Hokkien? I've never heard anybody anywhere say anything except Hokkien for the people. —Preceding unsigned comment added by 75.25.101.107 (talk) 23:57, 19 June 2008 (UTC)

Aboriginal ancestry
I think that the statement about this needs sourcing. At base, Hoklos wouldn't seem to have much ancestry in common with the Austronesian Taiwanese at all. Can we have a source for the "undocumented marriages" and maybe rewrite this sentence to be clearer about what we are meaning? Grace Note 04:45, 6 May 2007 (UTC)

claim or claimed to be Han-Chinese
It is not yet for sure, if Hoklo people are Han-Chinese or not. Some political parties say they are, some say they're not. As well as some researches say their bloodline goes to mainly to China, and some say not. Therefore I edited that sentence to "be claimed" to point out, that there is no verified proof. 快樂龍 13:13, 16 February 2009 (UTC)
 * Please read Han Chinese. This issue has been covered.--pyl (talk) 13:14, 16 February 2009 (UTC)

my removal of content
i removed the content that was sourced with Dr. Lin's claim that southern chinese are pure yueh.

first of all, she has no PHD in history, she is a geneticist, yet her entire report does not mention a single result of her tests. it is a statement claiming that northern chinese are "pure" chinese, and southern chinese yueh which is in fact laughable. she is a geneticist, not a historian. for example, if a person wit a PHD in botany claimed the romans were growing 500 feet tall sunslowers, youd want him to show you his phd in roman history....

Reversion of content added by Yhjow
First of all let me say that any editor is completely able to re-revert my edit.

I find Yhjow's change of "Hoklo (endonym Hok-ló, Hō-ló, or Ho̍h-ló) commonly refers to those Chaozhou people, Hainanese people and Taiwanese people who claim Han Chinese ancestry from the southern part of Fujian province of China. Large populations of similar background can also be found in Malaysia, Guangdong, Hong Kong, Philippines, Singapore, Burma, Thailand, and Indonesia where they are usually referred to as Hokkien, meaning Fujian in Min Nan language. In Hong Kong's New Territories, 'Fukienese' often refers to all Min Nan speakers relocating from Fujian." to "'The Hoklo People (Chinese: 河洛人) are Han people whose traditional Ancestral homes are in southern Fujian of China. They are also known by various endonym as Hok-ló, Hō-ló, or Ho̍h-ló, or other related terms such as Min-nan people (閩南人） or Hokkiens (福建人）. '" to be contentious and requiring discussion before the page is changed.

In particular, the change from (paraphrasing) "Hoklo are A, B and C people who claim Han ancestry" to "Hoklo are Han who come from Fujian" seems to be quite a claim to make. There is a large difference between saying someone is a member of a group, who also has ties to another group, and saying that someone is a member of that other group. As a personal example, my mother is French, yet I do not claim to be French and would object to someone calling me so, as I was born in, grew up in and identify myself as someone from Australia.

Since there seems to be friction between the Han ethnic group and other ethnic groups in China, and since a sizable portion of Taiwanese people identify themselves as Taiwanese, not Chinese, I would prefer that Yhjow's change be discussed here before being re-added to the article. Simon-in-sagamihara (talk) 09:28, 15 April 2010 (UTC)

I disagree with your assertion, legally even in ROC, not only are minnanese are classified as chinese, every citizen of ROC has the word chinese in their passport so this is not about the issue you are claiming it is. furthermore Hoklo do not refer exclusively to those 3 group, so retaining it make the article un-inclusive, unless equal weight is given to all subgroup, one cannot argue for preferential treatment if one is unwilling to do the research and properly extend the writing to cover all groups. and of course member of those 3 group may not even be Hoklo, for example Hakka and natives. in fact I find that the former is more objectionable to the political reality because it defines taiwanese as "a people" that is tied to han chinese which might be true for 95%, but there is still the 5% who are not and it open up a can of worms as to are the native "not taiwanese people"? like why would they want to be associated if your thinking is against it? 58.182.210.94 (talk) 04:38, 5 September 2018 (UTC)

"Chinese Languages and Dialects of Singapore"
Can't find this source: Ben Sia, 《新加坡的漢語方言》 (The Chinese Languages and Dialects of Singapore)，1988. Tried Worldcat, and an internet search engine. Does anyone have an identifier, ISBN or other information? Hongthay (talk) 18:55, 14 March 2017 (UTC)

Recent additions
Please format your additions properly and cite your sources. I realise the current list isn't well-referenced to begin with but it's no reason to make it worse. (Notifying .) Jc86035 (talk) Use {{re|Jc86035}} to reply to me 10:58, 8 April 2017 (UTC)

Please read WP:V, and Help:List if necessary. Jc86035 (talk) Use {{re|Jc86035}} to reply to me 10:40, 9 April 2017 (UTC) to reply to me 13:39, 9 April 2017 (UTC) to reply to me 07:55, 10 April 2017 (UTC)
 * You can stop pinging—I've indefinitely blocked the user. And all they had to do was show up and discuss their edits. El_C 10:43, 9 April 2017 (UTC)
 * The pinged user is only blocked for 24 hours. Jc86035 (talk) Use {{re|Jc86035}}
 * never mind, was indefinitely blocked by another admin. Jc86035 (talk) Use {{re|Jc86035}}

"Hoklo Australians" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Hoklo Australians and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 July 17 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. signed,Rosguill talk 16:16, 17 July 2022 (UTC)

Revisions
@Mlgc1998, for elaboration regarding changes, see MOS:ZH (e.g. linked terms should generally not include characters), as well as the fact that
 * "Mandarin" does not refer to a specific language. If the entire Mandarin family is meant, that should be explicit.
 * "USA" should be avoided as a clunky abbreviation on Wikipedia, per MOS:US.

Cheers. Remsense 诉  09:10, 25 March 2024 (UTC)

title: Talk:Hoklo people


text:
Dactylochirotida

Dactylochirotida is an order of primitive sea cucumbers. Unlike other sea cucumbers, their tentacles are not divided into multiple branches, and the body is enclosed within a flexible shell-like structure called a test.

title: Dactylochirotida


text:
Talk:Seán Mac Eoin

Untitled
The man wrote his name in Irish so he should be referred to as Seán Mac Eoin, i.e. there should be a space between the Mac and the Eoin. --Damac 12:02, 10 Jun 2005 (UTC)
 * Corrected. Kwekubo 00:21, 29 August 2005 (UTC)

While Minister of Justice among the Prisioners he released: It is true that Sean and Alice Mc Eoin diid not have children of their own. They helped raise Alice Cooney and Thomas Cooney who were Alice's sisters children. John Murray, son of Alice Cooney. — Preceding unsigned comment added by 98.198.98.161 (talk) 13:35, 23 July 2013 (UTC)
 * Tomás Óg Mac Curtain sentenced to death for killing Garda Siochana Officer John Roche {died 4 January 1940}
 * Harry White who had killed Garda Siochana Detecive George Mordant {died 24 October 1942} —Preceding unsigned comment added by 134.53.145.44 (talk) 12:24, 15 April 2008 (UTC)

References?
Could someone more familiar with wiki coding please help me clean up the references? Several different reference methods are currently in use here, and I think the standard academic reference system would be more in order. Thanks. NewIreland2009 (talk) 18:07, 23 January 2009 (UTC)
 * Sorted. BigDunc  Talk 13:23, 24 January 2009 (UTC)

title: Talk:Seán Mac Eoin


text:
User talk:Mithridates

Archive up to 2011

please look your korea user talk page
질문드렸습니다. 와 주세요.--클렌더스 (talk) 07:24, 15 January 2012 (UTC)

도움이 필요합니다
헝가리어판 백과의 Vadász Bea 문서에 한국계 일본인 성우인 박로미가 일본식 발음인 Paku Romi로 적혀있길래 Romi Park로 고쳤습니다. 그런데 다른 사용자분이 되돌려놨더군요. 제가 근거를 대며 Romi Park라 고치면 그 분이 박박 우겨대며 되돌려놓습니다. 분명 한국사람이니 Romi Park이 맞을텐데, 대체 이 사람은 무슨 사고방식을 갖고 있는 걸까요? 어쩌면 좋을까요? 112.158.15.62 (talk) 18:05, 14 January 2013 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:04, 23 November 2015 (UTC)

Proposed deletion of File:Dave MacLeod.jpg

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Interlingua
Dear colleague Mithridates, did you confuse interlingue with interlingua, or do you speak both? Yours sincererly, Sockenschütze (talk) 08:27, 28 June 2019 (UTC)
 * Hello, I did not confuse the two. Why do you ask? Interlingua I was a fan of for a while back in 2005 or so but for about 10 years now I have only preferred Interlingue/Occidental. Mithridates (talk) 08:56, 28 June 2019 (UTC)

I have seen on the site https://de.wikipedia.org/wiki/Benutzer:Mithridates the category Kategorie:User ia-2 when I was searching for Interlingua-experts. I wonder if I should learn it. --Sockenschütze (talk) 09:41, 28 June 2019 (UTC)
 * Ah, I see. I haven't updated my user pages on quite a few Wikipedias now. I can now only recommend Occidental/Interlingue, but others may have their own preferences. I can probably help more if you have any reasons in particular for wanting to learn it - otherwise I'll just continue to recommend the one I believe to be best. For example even as a propagator of Occidental I might recommend LFN for someone who really wants to learn a Romance creole, and Ido to someone who wants something like Esperanto but with reversability and no accented letters. Mithridates (talk) 09:58, 28 June 2019 (UTC)

Please excuse me, I am tousled. What ist LFN? --Sockenschütze (talk) 11:48, 28 June 2019 (UTC)
 * Auch das ist eine Plansprache: Lingua Franca Nova oder Elefen (LFN). Ich meine, es gibt viele davon und es ist schwer zu sagen, welche du solltest lernen, weil es immer eine persönliche Sache ist. Persönlich seit 2009 mag ich nur Okzidental/Interlingue, und Interlingua nicht mehr. Mithridates (talk) 12:00, 28 June 2019 (UTC)

Lieber Kollege Mithridates, ich danke dir, dass du mir auf Deutsch antwortest. Das ist sehr nett von dir. Dein Deutsch ist überraschend gut. Für mich ist es verwirrend, weil ich nicht genug über Plansprachen weiß. Einen Experten würde ich fragen: Gibt es eine beste Plansprache? Lohnt es sich, sie zu lernen? Ist es vorteilig für die internationale Verständigung, wenn keiner der Sprecher seine Erstsprache spricht? Gilt das gleichwertig für das geschriebene Wort? --Sockenschütze (talk) 12:23, 28 June 2019 (UTC)

 * Oh, nichts zu danken – Deutsch ist nämlich meine Lieblingssprache – in Europa, mindestens. Es ist immer ein Vergnügen, auf Deutsch zu schreiben!

Das sind schwere Fragen.

Eine beste Plansprache: ich glaube, dass es zwei Typen gibt: die Plansprachen wie Esperanto, und die wie Okzidental/Interlingua. Der erste Typ ist fast komplett autonom und sein Wert liegt in der Sprache selbst. Ich meine, diejenige, die Esperanto lernen, jetzt kann Esperanto sprechen, aber niemand kann sie ohne Vorstudien verstehen. Aber diejenige, die Okzidental / Interlingua lernt, kann diese Sprachen benutzen aber auch viele andere Leute kann die Sprache verstehen, weil die Wörter sind internationaler (crear -> creation -> creatura, sole -> solari -> sol-sistema, nómine -> nominar -> nomination usw). Dasselbe Ding kann man sehen mit anderen regionalen Plansprachen wie Interslavic, aber natürlich sind sie ziemlich schwächer: nur zwei oder dreihundert Million können sie verstehen ohne Vorstudien…das ist nicht schlecht, aber im Vergleich mit den romanischen Sprachen sehen sie sehr klein aus.

Für mich die beste Sprache ist die Sprache, die 1) verstehbar, 2) regelmäßig, und 3) autonom ist. Die andere Sprachen sind wie folgende:

Esperanto: die am größten Plansprache. Nicht verstehbar, regelmäßig, autonom.

Ido: Kleiner, ein bisschen verstehbarer aber nicht viel, regelmäßig, autonom.

Interlingua: Verstehbar, nicht regelmäßig, nicht autonom.

Interlingue/Okzidental: Verstehbar, fast regelmäßig, autonom.

Bei autonom meine ich, dass die Sprache seine eigene Wörter machen darf.

Lohnt es sich, sie zu lernen? -- Ich glaube ja, aber man muss verstehen, dass diese Sprachen noch sehr klein sind. Selbst Esperanto ist eine kleine Sprache. Und es gibt manchmal eine bestimmte Feindseligkeit zwischen die Sprachen – man muss erinnern, dass diese Sprachen Wäre sind, ganz wie Apple und Samsung oder Microsoft und Linux. Das endgültige Ziel einer Plansprache ist *die* Weltsprache werden. Natürlich sind die zwischensprachliche Beziehungen manchmal gut, aber nicht immer. Ich persönlich bin immer friedlich und habe gute Beziehungen mit anderen Sprachen, auch Esperanto. Aber beim Nutzen mag ich nur Okzidental.

Internationale Verständigung: ich glaube ja. Mit diesen Sprachen ist man immer in Beziehung mit Menschen von diesem oder einem anderen Land, also ist eine komplette internationale Unverständigung fast unmöglich. Aber als ein Instrument von Weltfrieden ist eine Plansprache ein bisschen übertrieben.

Das am schönsten mit einer Plansprache ist, dass man fast immer sicher ist, dass man sie korrekt schreibt! Es ist faszinierend, eine Sprache zu benutzen, wo man weiß (nach ein paar Wochen Training), dass man sie benutzen kann, ohne Fehler. Auf diese Weise fühlt man sich etwas egaler, etwas zuversichtlicher. Mithridates (talk) 13:09, 28 June 2019 (UTC)

Wenn ich dich richtig verstanden habe, sind die Vorteile der Interlingue gegenüber der Interlingua (nach deiner Meinung) eine größere Regelmäßigkeit und eine größere Autonomie. Dazu stelle ich die Frage: Ist diese Autonomie wirklich vorteilig? Die Befürworter der Interlingua sagen, es sei ein Vorteil, dass die meisten Wörter aus normalen Sprachen importiert seien. Übrigens, wenn ich dich korrigieren darf, lautet der Plural von Ware Waren und nicht Wäre. --Sockenschütze (talk) 14:38, 28 June 2019 (UTC)

 * Danke - also Waren und nicht Wäre. Jetzt schreibe ich mit dem Handy vor Schlafe . Ja, eine Sprache braucht mindestens ein bisschen Autonomie. Sieh mal z.B. wo Interlingua seine eigene Wörter nicht machen darf, wie balena (Walfish und Barte), villano (englisch villager und villain), ungul (Nagel und Hufe) usw. wo die gemeinsame Etymologie lasst Interlingua keine Wahl. Auch beim Derivation hat Interlingua sehr viel unregelmäßig Verben, in Okzidental nur sechs (sieh mal li regul de Wahl). Der große Unterschied zwischen die Sprachen ist dass Interlingua importiert die internationale Wörter aber Okzidental dieselbe Wörter selbst machen kann. z.B. miss-er, e-miss-er, e-miss-ion, miss-ion-ario, hier Interlingua braucht mitt-er aber miss- für Derivationswörter. Auch select-er, select-ion ist in Interlingua selig-er, select-ion, auch poss-er, poss-ibil, poss-ibil-itá aber in Interlingua pot-er und poss-ibile, usw. Zu viel Unregelmässigkeit für mich. Eigentlich gab es eine andere Interlingua, die Interlingua von Peano, die älter als Okzidental ist! Und auch diese Interlingua hat die Doppelverbes seliger - select-, poter - poss- usw. Aber De Wahl glaubte, dass man eine naturale aber gleichzeitig regelmässige Sprache machen konnte. Darum brauchte er fast 30 Jahre um sie vollzuziehen.

Morgen werde ich mehr schreiben! Mithridates (talk) 15:14, 28 June 2019 (UTC)

Peer Review
Just as a heads up in case you didn't get an alert, I've added comments to the Interlingue Peer Review. Jerry (talk) 02:08, 17 July 2019 (UTC)
 * Got it, thanks! No, I didn't notice until you left the message here and I had completely forgotten about the peer review as nothing had happened there until you read it. I'll try to incorporate some of what you've mentioned there this weekend. Mithridates (talk) 14:10, 18 July 2019 (UTC)

interlingue.org
Salute. Ante mult annus yo creat li situ interlingue.org con informationes pri Occidental e li Interlingue-Union. Ante quelc annus, quelc activistes accusat me, que mi ortographie confuse novicios e interessatos, e yo devet abandonar li projecte. Regretabilmen till hodie ti situ sta vacui e ínutilisat.

Yo vide, que Vu ja durant pluri annus es activ por interlingue. Esque forsan Vu vole utilisar li adresse de interlingue.org e per to anc auxiliar al Interlingue-Union recuperar su representantie in li web? Yo ha tande dat li technic possession a sr. Werner in Suissia, e yo crede, que il vell esser injoyat, si alquí vell denov vivificar li situ. Forsan Vu va considerar contactar le. --Sebastiano (talk) 21:08, 19 December 2020 (UTC)

 * Ah bon, mersí! Yo ha esset recentmen in contact con Erich (yo scrit un articul por li numeró de Cosmoglotta a venir) e ne savet que il possedet li págine por interlingue.org. Yo self es (amatorimen) programmator ma nor situ https://occidental-lang.com/ esset creat de un altri amico con quel yo coresponde dialmen. Yo va proposir li idé de revivificar li situ a ti amico e contacter Erich pri li afere. Noi have un altri amico qui nu vive in La Chaux-de-Fonds e labora quelcvez al biblioteca de CDELI, e il es sempre interessat pri coses oficial: li statu del Union, in quel locs it es activ, etc., e anc il have un incontra arangeat con Erich quande Covid va ameliorar se. Anc il va esser interessat in revivificar li situ, yo crede. Mithridates (talk) 04:06, 20 December 2020 (UTC)

Your GA nomination of Interlingue
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Your GA nomination of Interlingue
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Nomination of Comparison between Interlingue and Interlingua for deletion
A discussion is taking place as to whether the article Comparison between Interlingue and Interlingua is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

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Ia vs Ie
Hi. Archiving my talk page for the year. My comment there was that I suspect our description of the vowel system is inaccurate, so that /o/ ends up being pronounced as /a/ and /a/ as /e/, but I don't have the sources to fix it properly. — kwami (talk) 00:58, 1 January 2022 (UTC)

Your GA nomination of Interlingue
The article Interlingue you nominated as a good article has passed ; see Talk:Interlingue for comments about the article. Well done! If the article has not already appeared on the main page as a "Did you know" item, or as a bold link under "In the News" or in the "On This Day" prose section, you can nominate it within the next seven days to appear in DYK. Bolded names with dates listed at the bottom of the "On This Day" column do not affect DYK eligibility. Message delivered by Legobot, on behalf of Daniel Case -- Daniel Case (talk) 05:01, 13 April 2022 (UTC)

DYK for Interlingue
Cwmhiraeth (talk) 00:02, 1 May 2022 (UTC) theleekycauldron (talk • contribs) (she/they) 03:46, 2 May 2022 (UTC)

Precious
You are recipient no. 2737 of Precious, a prize of QAI. --Gerda Arendt (talk) 11:36, 2 May 2022 (UTC)

Mail
In case it did not come through, please give me a ping (I noticed that the form acted a bit strange). Daniuu (talk) 11:34, 22 July 2022 (UTC)

Hmm, nothing yet. I do seem to recall getting emails pretty late from Wikipedia though. Here's my email so maybe send it there:

http://3.bp.blogspot.com/__e2VLp6gwyk/SlS_iLvoBrI/AAAAAAAAETg/6OOdGb6GaS8/s1600/email.PNG Mithridates (talk) 12:40, 22 July 2022 (UTC)

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Precious anniversary
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title: User talk:Mithridates


text:
User talk:Jgremillot

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amy gutmann moving to harvard
hi can you come up with any source to back up this? cos i can't find anything? and when is she moving? who is the next Penn prez?

ahwang 17:28, 17 June 2006 (UTC)

Speedy deletion nomination of File:Encelade versailles.jpg

A tag has been placed on File:Encelade versailles.jpg requesting that it be speedily deleted from Wikipedia. This has been done under section F2 of the criteria for speedy deletion, because it is an image page for a missing or corrupt image or an empty image description page for a Commons-hosted image.

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→ I haven't found any trace of deletion nomination on the page. The image is neither missing nor corrupt, and have a correct description. I suppose it was an error. Jgremillot (talk) 07:32, 8 October 2015 (UTC)

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title: User talk:Jgremillot


text:
User talk:El.Cid

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! - UtherSRG 12:04, Jun 10, 2005 (UTC)
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title: User talk:El.Cid


text:
Australian Mother of the Year Award

 Australia's Mother of the Year Awards is an award which aims to recognise mothers and the important role that they play in our society; highlighting key themes such as nurturing and caring. Barnardos Australia developed the Mother of the Year Awards (BAMYA) in 1994, as an opportunity to showcase the women responsible for excellent parenting within the community.

Nominations for the awards take place over a four-month period during which a campaign is undertaken in major print and electronic media. Nominators prepare a statement about "why they believe their mother is Australia's number 1 mum".

A judging panel assesses the top 100 nominations, selecting State/Territory finalists and an overall national winner. Each State/Territory Finalist is flown to Sydney for the announcement of the National Mother of the Year.

A number 1 mum is announced for every respective State/Territory, at a morning tea function, held to showcase that woman's achievements. These events attracts wide coverage from local media, culminating in a national presentation held in Sydney in May just prior to the Sunday designated as Mother's Day in Australia.

In 2021, '' Australia's Mother of the Year Award’’ given to Victorian mother misses Tracey humm after being nominated by oldest of two Jacob, after being recognised by many fellow workers at Barwon valley school, for her works with children with disabilities as a teachers aid starting off as a volunteer worker after studying at school while her two boys did the same, as well as her past work as a relief worker, for parents living with a disabled child/children, as written this is probably the easier side of her work life having to raise two boys over the years with little help from others over these years, she has been awarded for her kind, nature towards others, while coping with her own meantal health problems in the past, only to then help her oldest son battle drug addiction while being diagnosed with schizophrenia, she is also recognised by her youngest son as being understanding of situations he encountered while growing up with the lack of a father figure during his youth, doing all this while helping to attend to her late mother, aging father, her dedication to her work place and the people around her can only be seen as nothing less than love for what she dose and nothing less, Jacob seeing that made the nomination to show her she is recognised and loved by those around her in kind,” nothing seems to big of a problem or situation for her, she hardly ever complains about any thing unless it’s the house work or chores around the house” every morning she’s up and ready to help those who need it most, she comes home in a positive mindset always wishing nothing but happiness for both myself and my brother, she’ll give you the shirt off her back if you needed it for a genuine reason, no be can come close to telling just how much she has but up with over her time, and probably still dose with out complaint, she deserves her own happiness too not just that she wishes for others, this is just a small way of saying thank you by letting other know of her and the work she dose while keeping a house as close to a home as she can,

In 2021 Barnardo's announced that, because of the pressure on resources created by COVID-19, the award had been brought to an end

Past winners
Leonie Parmenter

title: Australian Mother of the Year Award


text:
Ban Biao

Ban Biao (, 3–54 CE), courtesy name, was a Chinese historian and politician born in what is now Xianyang, Shaanxi during the Han dynasty. He was the nephew of Consort Ban, a famous poet and concubine to Emperor Cheng.

Ban Biao's mother was of Xiongnu origin, daughter of Jin Chang (金敞), an attendant to Emperor Yuan of Han (48-33 BCE). Jin Chang was himself a grandson of Jin Lun (金伦), son of Xiongnu King Xiutu and brother of Jin Midi, who had been adopted by Han Wudi and founded of the Jin name (金). The Xiongnu origins of Ban Biao on the maternal side might help explain the skills of the Ban family in dealing with matters related to China's history and foreign relations.

Ban Biao began the Book of Han, which was completed by his son, Ban Gu and daughter Ban Zhao while their brother Ban Chao was a famous general who contributed his stories to expand the Book of Han. Ban Biao wrote an essay titled Treatise on the Mandate of Kings (王命論), which was influential on the Chinese concept of sovereignty and is included in Wenxuan.

Ban Biao and his descendants

 * Ban Biao (班彪; 3–54; father)
 * Ban Gu (班固; 32–92; first son)
 * Ban Chao (班超; 32–102; second son)
 * Ban Xiong (班雄; ?–after 107; Ban Chao's eldest son)
 * Ban Shi (班始; ?–130; Ban Xiong's son)
 * Ban Yong (班勇; ?–after 127; Ban Chao's youngest son)
 * Ban Zhao (班昭; 45–116; daughter)

title: Ban Biao


text:
Molasses Gang

The Molasses Gang was a New York street gang during the 1870s, best known for unusual store robberies and pickpocket crime.

Formed in 1871 by Jimmy Dunnigan, the Molasses Gang were primarily made up of sneak thieves and minor criminals who were highly publicized in the New York press for the comedic methods of their robberies. One such tactic was to enter a local store and ask the owner to fill a member's hat with molasses, explaining that it was a bet among the other members to see how much molasses the hat would hold. When the hat was filled, the gang member would pull the hat over the shop-owner's head, blinding him while the gang members looted the store. The gang was not taken very seriously among the other gangs of the period, however, and often walked out in the middle of robberies when such activities bored them. As the gang continued to commit similar crimes, police decided to take action and by 1877 most of the gang had been arrested.

Molasses Gang members included:
 * Blind Mahoney (Leader)
 * Billy Morgan (Captain)
 * Jimmy Dunnigan (Captain)

title: Molasses Gang


text:
File:LongPatrolUK.jpg

Summary
Cover art for The Long Patrol by Brian Jacques.

Rationale of fair use for The Long Patrol

 * 1) No free or public domain images have been located for this novel.
 * 2) The image is of lower resolution than the original cover.
 * 3) The image does not limit the copyright owners' rights to distribute the novel in any way.
 * 4) For an article about a novel, the cover artwork is often a crucial source of critical commentary about the novel, and as such the artwork adds significantly to the article.
 * 5) This image is used on various websites, so its use on Wikipedia does not make it significantly more accessible than it already is.
 * 6) The cover is being used for informational purposes only.
 * 7) Source: https://www.abebooks.co.uk/servlet/BookDetailsPL?bi=30526627920

title: File:LongPatrolUK.jpg


text:
John Swann

John Swann may refer to:
 * John Swann (politician) (1760–1793), American planter and Continental Congressman for North Carolina
 * John Swann (cricketer) (1926–2011), English cricketer and footballer
 * John Swann (soccer) (born 1979), American soccer (football) player
 * John Swann (tennis), Canadian tennis player in 1960 U.S. National Championships – Men's Singles
 * Jack Swann (1893–1990), English footballer
 * John Swann (pirate), 17th-century pirate active near Madagascar

title: John Swann


text:
Talk:Education in Italy

Duplication of information in §3 (Scuola Secondaria) and §6 (Standards)
The very same set of sentences is reported twice. It seems completely redundant and in my humble opinion it would be appropriate to purge one of the two. In particular the contents of §6 "Standards" seems to have been copied and pasted from the end section of §3 "Secondary School". --Corrado72 (talk) 23:10, 12 January 2022 (UTC)

title: Talk:Education in Italy


text:
QV44

QV44 is one of several tombs located in the Valley of the Queens intended for the use of Ramesses III's sons. The painted reliefs decorating Khaemwaset E's tomb illustrate his ritual and symbolic journey in the Afterlife as he meets the main gods of that region as well as the genies who guard the gates of the kingdom of Osiris.

QV44 is one of several tombs constructed for the sons of Ramesses III. Others are QV55 (Amun-her-khepeshef), QV53 (Ramesses), QV43 (Seth-her-khopsef, and QV42 (Pareherwenemef). Abitz argues that the princes are identified with the Four sons of Horus and are all real sons of the King. The decorations in these tombs focus more on the King than on his sons.

The tomb
The tomb consist of a corridor, two side rooms, a second corridor and an inner room. The first part of the corridor is decorated with scenes showing King Ramesses III before a variety of gods and goddesses, including Ptah, Thoth, Anubis, Ra-Harakhty, Geb and more.

The side chambers include scenes of the Sons of Horus and the goddesses Isis, Nephtys, Neith and Serket.

The second corridor includes a scene showing Khaemwaset as an Iunmutef priest. Other scenes depict the Book of Gates.

The inner room is decorated with scenes showing the King before several gods and goddesses. Finds include part of a sarcophagus lid and remains of Canopic jars.

title: QV44


text:
Adelaide Film Festival

The Adelaide Film Festival (AFF, formerly ADLFF) is a film festival usually held for two weeks in mid-October in cinemas in Adelaide, South Australia. Originally presented biennially in March from 2003, since 2013 AFF has been held in October. Subject to funding, the festival has staged full or briefer events in alternating years; some form of event has taken place every year since 2015. From 2022 it takes place annually. It has a strong focus on local South Australian and Australian produced content, with the Adelaide Film Festival Investment Fund (AFFIF) established to fund investment in Australian films.

Established in 2003 as Adelaide International Film Festival, it dropped "International" from its title after the inaugural edition, as it dropped its FIAPF membership the following year. It was, however, the first film festival in Australia to introduce an international competition, as well as being the first to fund film production directly.

The festival hosts a number of awards, including the Don Dunstan Awards (for lifetime contrtibution); Best Feature Fiction; Best Feature Documentary; Bettison & James Award; and others. In 2017 the International Virtual Reality Award was launched by AFF in partnership with the Australian Film, Television and Radio School (AFTRS), known as the AFTRS ADL Film Fest International VR Award.

The 2020 Festival was scheduled to take place from 14 to 25 October, but owing to its high attendance figures and success, the season was extended for an extra five days. The 2022 festival runs from 19 to 31 October.

Overview
An independently financed Adelaide International Film Festival (AIFF) had been held from 1959 to 1980. The idea of a new film festival to stimulate the local film industry and celebrate the 30th anniversary of the South Australian Film Corporation was raised by Premier Mike Rann in 2002, and a director and board were appointed. The Adelaide Film Festival Investment Fund was created to fund the Film Festival and other events.

The inaugural Adelaide (International) Film Festival was held from 28 February to 3 March 2003. It ran a programme of screenings, special events and forums in a number of cinemas across Adelaide. It was the first film festival in Australia to introduce an international competition, and also the first to create an investment fund specifically for film production.

After its first edition, the festival ceased to use "International" in its title, denoting a withdrawal from FIAPF membership. It was known as the BigPond Adelaide Film Festival, or BAFF, for a period until 2011, as its main sponsor had been BigPond.

the festival had been held 11 times since, usually biennially but as an annual event from 2015 to 2018 (with occasional mini-events in intervening years ). In 2022 it was announced that the full festival would be presented each year, instead of biennially, after the Malinauskas government pledged A$500,000 annually for the following four years.

In May 2024, Adelaide Film Festival partnered with Cannes Film Festival's film market, the Marché du Film, to showcase five local projects in an official presentation, as well as taking a group of ten South Australian filmmakers to participate in a program of activities there. The film projects are Kangaroo Island, Lesbian Space Princess, Mockbuster, The Iron Winter, and With or Without You.

Festival directors
Katrina Sedgwick was the Festival's founding director in 2002. She had previously co-founded the 1995 Sydney Fringe Festival, was the Special Events Producer (1998, 2000) for the Adelaide Festival of Arts, and the artistic director for the 2002 Adelaide Fringe. In 2007, Sedgwick introduced an international jury prize to the festival. At the time of her stepping down from the role of Festival director in 2013, Sedgwick said that the festival was the first in Australia to introduce an international competition, and a production fund, and that ticket sales had grown by 20 per cent each year.

2013 was Amanda Duthie's first year as Festival Director, after spending eight years at the Australian Broadcasting Corporation and eight years at the Special Broadcasting Service during the 1990s.

After running the Festival's programming from 2015 to 2018, Mat Kesting was appointed as the new CEO in 2019. Named as one of Screen International’s Future Leaders in 2019, Mat’s passion for cinema and strong curatorial voice is well known in the Australian film industry. Prior to this he was Exhibition Manager at the Mercury Cinema, programming special events including Cinémathèque, Silent ReMasters, and Seniors on Screen. He programmed six editions of the On Screen strand of OzAsia Festival, and was previously Program Manager at the Brisbane International Film Festival.

AFF events
Since the first event in 2003, the Festival has been held (originally in odd-numbered years) in 2005, 2007, 2009, 2011, 2013, 2015, 2016 (a one-off "Rogue" event), 2017, 2018, and a "pop-up" weekend festival in March 2019.

Audiences have grown year on year, with an audience of more than 64,000 people in 2018, and estimated to have had an impact of A$26.5 million on the state's economy. The 2022 festival's audience and box office broke all previous records.

From 2017 to 2020, festival events took place mainly at the GU Filmhouse in Hindley Street (defunct as of 1 October 2020), with some sessions at the smaller Mercury Cinema in Morphett Street.
 * Locations

In 2020, most screenings were hosted by Palace Nova at their Eastend and Prospect locations, with some showings at Mitcham Wallis Cinemas at Mitcham Square Shopping Centre, Odeon Star in Semaphore, Tandanya, the Warriparinga Wetlands, and at Alberton Oval. In 2022, For the first time, screenings also took place at the Capri Theatre in Goodwood, Her Majesty's Theatre, and Event Cinemas Marion, in addition to the two Palace Nova locations, Wallis Mitcham, and Odeon Semaphore.

2023: 18–29 October

The 2023 festival ran from 18 to 29 October, at five cinemas across Adelaide with Palace Nova Eastend the main venue. Gala events screened The Royal Hotel, directed and co-written by Kitty Green and filmed in South Australia, a true crime documentary Speedway, directed by Luke Rynderman and Adam Kamien, and the closing Gala featured director Scott Hicks' symphonic concert documentary My Name's Ben Folds - I Play Piano.

2022: 19−30 October
The 2022 edition of the festival is held from 19 to 30 October. Films selected for screening include Todd Field's TÁR (starring Cate Blanchett, who appeared in a Q&A session after its first showing ); My Policeman, with Harry Styles; South Australian horror thriller Carnifex, with Alexandra Park; Ruben Östlund's Triangle of Sadness; Stolen Generations story The Last Daughter; and Aftersun, a debut from Scottish director Charlotte Wells. RackaRacka's debut, Talk to Me closed the festival. The Survival of Kindness by Rolf De Heer had red-carpet parties in the city. The new South Australian film Monolith had its world premiere at the festival on 27 October 2022. It was announced after the opening weekend that several films would get a second outing in the week following the festival, including TÁR, Monolith, Talk to Me, The Last Daughter, and Triangle of Sadness.

2020: 14−30 October
In 2020 the Adelaide Film Festival was scheduled to run from 14 to 25 October, one of the few events of its type during the worldwide COVID-19 pandemic, but due to the success of the festival, an extended run of selected films was scheduled as part of the Best of the Fest programme, re-showing ten of the programmed films from 26 to 30 October.

To open the festival, the locally filmed sci-fi thriller 2067  played in seven cinemas simultaneously, with extra screenings added due to demand. One of the headlining films was I Am Woman, starring Adelaide actor Tilda Cobham-Hervey, who returned from Los Angeles in September. Other films included the documentary The Painter and the Thief, and High Ground, and the films include 22 world premieres, 27 Australian premieres and a total of 54 feature films from many countries.

The competition jury comprises playwright and screenwriter Andrew Bovell, actor Natasha Wanganeen, filmmaker Khoa Do, producer Rebecca Summerton of Closer Productions and film critic Zak Hepburn.

The earliest screening at the festival took place on 22 August, with several early showings of I Am Woman; the final event, a documentary about Port Adelaide Football Club called This is Port Adelaide, premiered at Odeon Star Semaphore from 5–7 February 2021.

2019: 5–7 April "pop-up"
In April 2019, a weekend "pop-up" event was held, to showcase Wayne Blair's romcom, Top End Wedding, and Adelaide filmmaker Sophie Hyde's Australian/Irish co-production Animals.

2018: 10–21 October
In April 2017, the Premier Jay Weatherill announced that a full festival, including new funding of A$1m for the ADL Film Fest Fund, would run again in October 2018.

Hotel Mumbai, Can You Ever Forgive Me?, rock documentary Bad Reputation (about Joan Jett) and The Nightingale (directed by The Babadook director Jennifer Kent) were some of the films shown.

2017: 5–15 October
At the 2017 festival, the theme "Vive le Punk" celebrated the punk movement's 40th anniversary. It featured A Fantastic Woman, Call Me By Your Name, a set by Adelaide punk band Exploding White Mice and Ai Weiwei's documentary about migration, Human Flow.

2016: 27–30 October
Having previously been held biennially, the highlight of "AFF Goes Rogue" in October 2016 was a 4-day "mini-festival" in the in-between year. The first of the works commissioned by the Adelaide Film Festival Fund in that month was the Australian premiere season of Lynette Wallworth's Collisions (5–30 October). Then there was a free talk by Greg Mackie at the Adelaide Festival of Ideas on 23 October, and the events culminated in a 4-day mini-festival (27–30 October) featuring world premiere screenings of two films – Australia's first Muslim rom-com Ali's Wedding, based on the life of actor, writer and comedian Osamah Sami, and a special "work in progress" screening of David Stratton's Stories of Australian Cinema, directed by Sally Aitken (later released as David Stratton: A Cinematic Life  ). Other films shown were Gimme Danger, a documentary film about the Stooges, and a retrospective screening of Lucky Miles (2007).

2015: 15–25 October
The 7th Adelaide Film Festival was held from 15 to 25 October 2015. Amanda Duthie was again the Festival Director. On the opening night of the festival, director and screenwriter Andrew Bovell received the 2015 Don Dunstan Award for his contribution to the Australian film industry.

The festival opened with Scott Hicks's documentary film Highly Strung, and closed with Paolo Sorrentino's drama film Youth.

More than 180 feature films were screened at the festival, 40 of which were Australian films, 24 South Australian films and total of 51 countries were represented at the Festival.

As part of the 2015 Adelaide Film Festival, a public art installation was presented, incorporating a Laneway Cinema in Cinema Place, showing moving image artworks, and a 'Reactive Wall', where six artists created 2D visual artworks live in response to content within the festival.

2013: 10–20 October
The 6th Adelaide Film Festival took place from 10 to 20 October 2013. This was Amanda Duthie's first year as Festival Director (after eight years at the Australian Broadcasting Corporation and eight years at the Special Broadcasting Service during the 1990s), having taken over from Katrina Sedgwick. Margaret Pomeranz and David Stratton served as the festival's patrons.

Scott Hicks received the 2013 Don Dunstan Award for his contribution to the Australian film industry.

The poster in 2013 depicted Screen Worship, which celebrates work for all screens—cinema, television, phone and computer.

Patrons and board
Well-known film critics Margaret Pomeranz and David Stratton are patrons of the AFF.

The board of the Adelaide Film Festival consisted of:

 * Chair Anton Andreacchio, producer and entrepreneur, board member of the South Australian Film Corporation and Entrepreneurship Advisory Board
 * Hugo Weaving, actor
 * Martha Coleman, a producer of film and television, a former head of development at Screen Australia, and as of 2020 heading production company Revlover
 * Joshua Fanning, an experienced company director and entrepreneur. Founder of CityMag, currently the Group Creative Director for KWP!
 * Marianna Panopoulos, a certified practising accountant and a graduate of the Australian Institute of Company Directors
 * Beck Cole, a prominent Aboriginal screenwriter and director of drama and documentaries

Former Board members include Cheryl Bart, Sandra Sdraulig, Andrew Bovell, Judith Crombie, Mojgan Khadem, Gabrielle Kelly, Wayne Lewis, Barry Loane, Sue Maslin, Jacinta Thompson, Leanne Thomas Sam White, Greg Knagge and Jamie Restas.

Recognition
In 2007, the AFF featured in Variety Magazine's Top 50 unmissable film festivals, around the world. saying: "Of the planet’s 1,000-plus film fests, only a select few pack industry impact. A few dozen more, by virtue of vision, originality, striking setting, audience zest and/or their ability to mine a unique niche, also rank as must-attends".

The Adelaide Film Festival's 2020 event was awarded "Best Festival" at the 2021 South Australian Ruby Awards, an annual ceremony which recognises outstanding achievement in South Australia’s arts and culture sector.

Don Dunstan Award
The Don Dunstan Award was established in honour of Don Dunstan, Premier of South Australia through most of the 1970s, and is presented in recognition of an outstanding contribution to the Australian film industry by an individual.

Past recipients have included:
 * 2003 - David Gulpilil, actor
 * 2005 - Dennis O'Rourke, cinematographer and documentary filmmaker
 * 2007 – Rolf de Heer, director
 * 2009 – Jan Chapman, producer
 * 2011 – Judy Davis, actor
 * 2013 – Scott Hicks, director
 * 2015 – Andrew Bovell, screenwriter and playwright
 * 2017 – Margaret Pomeranz & David Stratton, film critics
 * 2018 – Freda Glynn, pioneering Indigenous filmmaker, and her family members involved in the film industry: offspring Erica Glynn and Warwick Thornton, and grandchildren Tanith Glynn-Maloney and Dylan River
 * 2020 – Bruna Papandrea, producer
 * 2022 – David Jowsey, producer, of Bunya Productions

Feature Fiction Award
ADL Film Fest was the first Australian film festival to create a juried prize for best feature film.

Winners have included:
 * 2006 Still Life (Jia Zhangke, China)
 * 2009 Treeless Mountain (So Yong Kim USA/South Korea)
 * 2011 Incendies (Denis Villeneuve, Canada/France)
 * 2013 Jîn (Reha Erdem, Turkey)
 * 2015 Neon Bull (Gabriel Mascaro, Brazil)
 * 2017 I Am Not a Witch (Rungano Nyoni, France/United Kingdom)
 * 2019 The Seen and Unseen (Kamila Andini, Indonesia/Netherlands/Australia)
 * 2020 Beginning (Déa Kulumbegashvili, Georgia)
 * 2022 Autobiography (Makbul Mubarak, Indonesia)
 * 2023 Empty Nets (Behrooz Karamizade, Iran)

Feature Documentary Award
The Feature Documentary Award, also known as the Flinders University International Documentary Award, was first awarded in 2013, with the inaugural prize going to Blush of Fruit (Australia, Vietnam), directed by Jakeb Anhvu. Since then it has been won by:

 * 2015 Speed Sisters (Amber Fares)
 * 2017 Taste of Cement (Ziad Kalthoum)
 * 2018 Island of the Hungry Ghosts (Gabrielle Brady)
 * 2020 Firestarter – The Story of Bangarra (Nel Minchin and Wayne Blair; about the Bangarra Dance Theatre)
 * 2022 The Hamlet Syndrome (set shortly before Russia's invasion of Ukraine)
 * 2023 Hollywoodgate (Ibrahim Nash'at, Egypt)

Bettison & James Award
The Bettison & James Award, formerly Jim Bettison and Helen James Award, presented in collaboration with the Jim Bettison and Helen James Foundation, was established to recognise Australians who "have contributed exemplary and inspiring lifelong body of work of high achievement and benefit; and that the completion, extension, recording and/or dissemination of such work would have benefits for both the individual concerned and for the wider Australian community". The annual award of A$50,000 is made to an individual who has contributed significantly in whatever their area of expertise is, be it arts, humanities, social justice, science, the environment or something else. The foundation was established by the estates of the Jim Bettison and his partner Helen James. Bettison created the Developed Image Photographic Gallery, co-founded communications company Codan and served as Deputy Chancellor of the University of Adelaide, his alma mater (an honorary position ). Helen was an exhibiting studio artist, who served on a number of arts committees and was one of the founding members of the National Library of Australia’s Foundation Board.
 * 2015: Greg Mackie, founder of the Adelaide Festival of Ideas
 * 2016: Meryl Tankard, dancer, choreographer and director; and
 * Tim Jarvis, adventurer and environmental scientist

 * 2017: Robert McFarlane, social documentary and arts photographer
 * 2018: Jackie Huggins, author, historian and Indigenous rights advocate, for researching the social impacts of Aboriginal soldiers going to fight in both World Wars.
 * 2019: John Long, paleontologist, academic and author of popular science non-fiction and fiction.
 * 2020: David Vaux, scientist and expert on cell death, 2019 co-recipient of the Florey Medal for Lifetime Achievement
 * 2021: Bob Brown, environmentalist, human rights campaigner and former political leader of the Australian Greens party.
 * 2022: Pat Rix, artistic director

Change Award
The Change Award was established in 2020. Worth A$5000 and sponsored by Zambrero, it is awarded "for positive social or environmental impact and cinema expressing new directions for humanity", selected by audience vote.
 * 2020: Firestarter – The Story of Bangarra (Nel Minchin and Wayne Blair; about the Bangarra Dance Theatre)
 * 2022: Luku Ngarra, directed by Sinem Saban and produced by Djiniyini Gondarra and Saban, about the history and culture of Arnhem Land

Flinders University Short Film Prize
Established in 2022, this award is determined by audience vote.
 * 2022: Are You Really the Universe, directed by Tamara Hardman and starring Tilda Cobham-Hervey

INSITE Award
The Adelaide Film Festival teamed up with the Australian Writers' Guild to present the INSITE Award at the 2013 Festival. The Award celebrates and acknowledges outstanding work produced by AWG screenwriters and provides an important development opportunity for both writers and the industry. The winner gets to meet industry directors and producers, with a view to moving the project onto the screen.

It has not been awarded since 2017 and is not mentioned on the 2020 list of awards. Past winners have included:
 * 2003 Cut Snake, by Blake Ayshford, was filmed by director Tony Ayres.
 * 2005 Moving South, by Cath Moore.
 * 2007 Salt, by Priscilla Cameron and Heather Phillips, was directed by Michael Angus in 2009. The film played at the Adelaide Film Festival that same year.
 * 2009 Writing Rain, written by Ben Chessell.
 * 2011 The Unlikeliest Hero, by Barbara Connell, was planned to be filmed by New Zealand director James Cunningham in an official Australia/New Zealand co-production, with completion of the film timed to coincide with the 100-year commemorations of Anzac Day.  (However,  it was last reported as being pitched as an animated film at the Annecy International Animation Film Festival in 2015. )
 * 2013 Tigress, written by Jane Hampson.
 * 2015 Martingale, written by Harry Aletras.
 * 2017 Petrova, written by Bec Peniston-Bird.

AFTRS International VR Award
In 2017, ADL Film Fest introduced the AFTRS ADL Film Fest International VR Award, the first competition of its kind in Australia, in collaboration with the Australian Film, Television and Radio School (AFTRS). Nothing Happens, by Michelle and Uri Kranot, won the inaugural award, while The Other Dakar by Selly Raby, based on Senegalese mythology, received a Special Mention.

In 2018, The Unknown Patient, by Australian director Michael Beets won the award.

Indigenous Feature Documentary Initiative
In partnership with Screen Australia, KOJO and the National Film and Sound Archive, this initiative, the first of its kind, was created in 2015 to support an "innovative, observational and/or social justice documentary" with a funding package of up to A$738,000. The award provided funding for an established Indigenous film-maker to make a feature-length documentary, providing funding for the director and a producer.

Eualeyai/Kamillaroi writer and academic Larissa Behrendt, along with Michaela Perske as writer and producer, were awarded the funding in 2016 to work on their feature documentary project, After the Apology.

On 9 October 2017, AFF held the world première of the resulting film, and it was sold out at the Winda Film Festival in Sydney in November of that year. The film focuses on a group of grandmothers (Grandmothers Against Removals) taking on the system over the increase in Indigenous child removal in the years following Kevin Rudd's Apology to Australia's Indigenous peoples, in which he offered an apology on behalf of the Australian Government to the Stolen Generations resulting from historic child removal policies in Australia. It won Best Direction of a Documentary Feature Film from the Australian Directors Guild in 2018, and was nominated in three categories in the 2018 AACTA Awards: Best Direction in Nonfiction Television (Larissa Behrendt); Best Documentary or Factual Program (Michaela Perske); and Best Original Music Score in A Documentary (Caitlin Yeo).

Juries
Jury members for the International Feature Film Prize have included Afghani actor Leena Alam and Portuguese filmmaker João Pedro Rodrigues (2017); Palestinian filmmaker Annemarie Jacir and Adelaide filmmaker Sophie Hyde (2015); actor/filmmaker Wayne Blair and writer Lawrence Weschler ( 2013); Hossein Valamanesh (2011); JM Coetzee (2007 & 2009), Naomi Kawase and David Stratton (2009); Margaret Pomeranz and Ana Kokkinos (2007).

Jury members for the Flinders University Documentary Prize have included Eva Orner (2017); Beck Cole (2015) and Michael Loebenstein (2015).

Amanda Duthie, AFF artistic director and virtual reality champion, sat on the jury for the inaugural AFTRS International VR Award in 2017.

 * 2020: Andrew Bovell, Khoa Do, Zak Hepburn, Rebecca Summerton (of Closer Productions), and Natasha Wanganeen
 * 2022: Ali Gumillya Baker, Luke Buckmaster, Jim Kolmar, Lisa Scott, and Tusi Tamasese
 * 2023: Kitty Green, Alexander Matius, Sally Riley, David Rooney and Goran Stolevski

AFF Youth
Adelaide Film Festival Youth (or AFF Youth) is a section of the AFF dedicated to young filmmakers. It hosts the Statewide Schools Filmmakers Competition, which is a competition open to South Australian students to submit their short films into.

Best Primary School Film

 * 2023 - Selma directed by Harrison J Thomas / Prince Alfred College and The Tree Of Wellness / Prospect North Primary School

Best Middle School Film

 * 2023 - Unmasked directed by Aurora Chan

Best High School Film

 * 2023 - GEIGER directed by Eddie Gerard, Hamish Headland, Sam Gniel / Prince Alfred College

People's Choice Award

 * 2023 - Golden Boy – The Untold Story of the Oscars directed by Matthew Page & Joshua Hynes / Charles Campbell College

Film Lab: New Voices
In 2021, the Film Lab: New Voices initiative was launched by the South Australian Film Corporation and the AFF, in collaboration with Mercury CX. This program supports emerging filmmakers, with three teams selected for mentoring over an 11-month development period and one team then selected for funding to complete a low-budget feature film which is premiered at the next AFF.

The low budget sci-fi thriller Monolith was announced as being the first project funded by the initiative. The winning team, comprising director Matt Vesely, producer Bettina Hamilton and writer Lucy Campbell, were given six months to develop, shoot and edit their film, which premiered at the 2022 Festival to much acclaim. Monolith, which features Australian actress Lily Sullivan, has since gone to screen at pop culture festival SXSW and will receive a general cinema release in mid-2023.

title: Adelaide Film Festival


text:
User:טרול רפאים

I am from the Hebrew wikipedia.

Please put your message on the Hebrew talk page.

he: משתמש:טרול רפאים

title: User:טרול רפאים


text:
Konex Award

Konex Foundation Awards, or simply Konex Awards, are cultural awards from the Konex Foundation honouring Argentine cultural personalities.

History and purpose
Konex Awards are granted by the Konex Foundation, created in 1980 in Argentina. The purpose of the Foundation is to promote, stimulate, support and participate in any possible manner in cultural, educational, intellectual, artistic, social, philanthropic, scientific or sports initiatives, works and enterprises, in their most relevant aspects. To achieve its goals, the Foundation instituted the Konex Awards to be granted to personalities and institutions standing out for his, her or its achievements in any of the aforementioned fields. The Konex Awards were instituted in 1980 to be annually granted to sow for the future so that the most distinguished contemporary personalities and institutions in every field, which compose the cultural spectrum of the nation, will be an example to the nation's youths.

Every year the Konex Foundation offers those awards in different activities in the nation, in cycles that repeat themselves every ten years. Initially and in the ten-year span from 1980 to 1989, such personalities received awards for their life-time accomplishments. As from 1990 to 1999 the accomplishments to receive awards represented the last ten years of activity. From the year 2000 through 2009 such cycle is repeated, and it will be repeated indefinitely.

 * 1980 1990 2000 2010 Sports
 * 1981 1991 2001 2011 Entertainment
 * 1982 1992 2002 2012 Visual Arts
 * 1983 1993 2003 2013 Science and Technology
 * 1984 1994 2004 2014 Literature
 * 1985 1995 2005 2015 Popular Music
 * 1986 1996 2006 2016 Humanities
 * 1987 1997 2007 2017 Communication, Journalism
 * 1988 1998 2008 2018 Institutions, Community, Enterprise
 * 1989 1999 2009 2019 Classical Music

Selection and awards
Every year a Grand Jury including 20 members is appointed. The members are specialists in the specific subjects receiving the award, and they appoint their own president. The members of the Jury exclude themselves from being chosen for a Konex Award; a gesture that the Foundation emphasizes and thanks very specially. Each year the activity receiving a prize is classified by the Grand Jury into 20 disciplines. The Grand Jury selects the recipients for the following awards:

 * Konex Merit Diploma
 * Platinum Konex
 * Diamond Konex
 * Honour Konex
 * Mercosur Konex

The Grand Jury selects the five personalities or institutions that show the most remarkable accomplishments in each of the 20 chosen disciplines, awarding each of these 100 personalities or institutions a Merit Diploma in a public ceremony. Then the Grand Jury selects one figure out of the five awarded to receive the Platinum Konex. Among the 20 Platinum Konex winners, the Grand Jury selects the Diamond Konex recipient, the most outstanding personality or institution considered the most relevant figure of the activity. The Honour Konex is granted to an outstanding deceased personality. The Grand Jury also has the power to grant Special Mentions to those who are considered worthy of the award but do not specifically fit within given disciplines. Since 2002 the Grand Jury has the authority to grant the Mercosur Konex to the most relevant living personalities of the countries linked to Mercosur. All awards are presented in a final, special ceremony in which the recipients are granted a distinctive symbol called Konex Trophy.

The Konex Foundation further has the authority to grant the Konex Decoration to honor personalities who have brilliant careers around the world, for their contribution to universal culture. Thus far, two Konex Decorations have been granted: Yehudi Menuhin in 1994 and Mstislav Rostropovich in 2002.

Related links

 * Diamond, Honour and Mercosur Konex Award winners

title: Konex Award


text:
Swish

Swish may refer to:

Games

 * Swish, a basketball shot that goes through the basket without touching the rim or backboard
 * Swish, a form of table tennis that can be played both by people who are blind or vision impaired and by people who are sighted

Music

 * Swish (band), an indie rock band established in 1996
 * Swish (hip hop producer), an American hip hop producer/rapper
 * Swish (album), an album by Joywave
 * SWISH, the former name of the Christian rock band Hawk Nelson
 * Swish, the second title for The Life of Pablo, a 2016 album by Kanye West
 * "Swish", a song by Kid Ink from the EP 7 Series
 * "Swish" (song), a 2018 song by Tyga

Software

 * Swish (payment), a mobile phone payment system in Sweden
 * SWiSH Max, software used to create cross-platform presentations
 * SWISH-E, software to index collections of documents

People

 * Bill Nicholson (baseball) of the Chicago Cubs (1914–1996)
 * Nick Swisher of the New York Yankees (born 1980)

Others

 * Swish cymbal, an exotic ride cymbal used in big band and swing band
 * Swish, an alcoholic beverage obtained by filling an (empty) cask from a distillery with water to leech the remaining liquor out.
 * Swish, a brand of curtain track

 * Swish function, a mathematical activation function in data analysis
 * Swish (slang), effeminate behaviour and interests in gay male communities
 * Swish (Neuro-linguistic programming), a technique used to diminish unwanted habits

title: Swish


text: User talk:69.196.247.143

title: User talk:69.196.247.143


text:
File:MarlfoxUK.jpg

Summary
Cover art for Marlfox by Brian Jacques.

Rationale of fair use for Marlfox

 * 1) No free or public domain images have been located for this novel.
 * 2) The image is of lower resolution than the original cover.
 * 3) The image does not limit the copyright owners' rights to distribute the novel in any way.
 * 4) For an article about a novel, the cover artwork is often a crucial source of critical commentary about the novel, and as such the artwork adds significantly to the article.
 * 5) This image is used on various websites, so its use on Wikipedia does not make it significantly more accessible than it already is.
 * 6) The cover is being used for informational purposes only.
 * 7) Source: https://www.abebooks.co.uk/servlet/BookDetailsPL?bi=139583394

title: File:MarlfoxUK.jpg


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Ian Austin (cricketer)

Ian David Austin (born 30 May 1966) is a retired English first-class cricketer. He made his first-class debut for Lancashire County Cricket Club in 1987 (having played a single Sunday League match for them the previous season) and remained with that county for his entire career, scoring 3,778 runs at 27.98 and taking 262 wickets at 30.35 with his medium-pace seamers in his 124 matches. He also took 363 wickets in List A cricket.

Enormously popular with the Lancashire crowd thanks to his uncomplicated batting style and equally old-fashioned waistline, his most successful period came towards the end of his career. In 1998, he helped his county to both NatWest Trophy and Sunday League success, winning the man of the match award in the final of the former. He then made his One Day International debut against Sri Lanka later in the summer. For these performances he was made one of 1999's Wisden Cricketers of the Year.

Austin was selected for the 1999 World Cup squad, and opened the bowling with Darren Gough in England's opening game, taking 2/25 against Sri Lanka at Lord's. However, his international career was to last just one more match, against Kenya later in the same tournament. He spent the rest of his career at Lancashire, where his benefit in 2000 raised £155,000. Austin played no first-class cricket after early June 2001, but continued to appear in some one-day games for another year.

A useful lower-order batsman, Austin made two first-class centuries. The first of these came in a Roses match in 1991, while batting at no.10. Austin is one of few players to have won the man of the match award in a final of both the NatWest Trophy and the Benson and Hedges Cup, having achieved the latter in 1996.

After some appearances for Cumberland in 2002, and participating in the Lancashire League's Worsley Cup final the following year, Austin retired from first-class cricket at the end of the 2003 season. He returned to the Leagues playing with distinction for St Annes in the Northern Premier League, before returning to his boyhood club, Baxenden and helping them to the Ribblesdale League title, before retiring from all cricket at the end of the 2010 season.

title: Ian Austin (cricketer)