text:
Talk:Islamic art

Untitled
Technically speaking, Arabic Calligraphy should be divided to enable us to create Islamic Calligraphy, reason being for i.e. Naskh script has no relation to Arabic Calligraphy per say, as it was solely redesigned by Ibn Muqlah (10th century. AD.), then reformed by Ibn Al-Bawaab & others into a graceful script worthy of being used in the Quran. In addition, majority of Quran copies are written in Naskh script (if not all) than in all the other scripts all-together - which is why we should not include Naskh under "See also" as being an Arabic Calligraphy only. Please comment, thank you. --NEWUSER|CARPEDIEM (talk) 17:39, Jun 1, 2005 (UTC)

Moving page
Wouldn't this be better located at "Islamic art"? I will move it unless anyone objects. Soo 13:06, 23 August 2005 (UTC)

 * Makes sense to me. >>sparkit| TALK << 14:57, August 23, 2005 (UTC)

Hmm
Tables, templates and images are skewing each other. Joffeloff 11:43, 15 July 2006 (UTC)

Human figure
I know that many Muslims follow that tradition suggesting Muslims are not to make art representing the human form. However, both Mughal and Safavid art are considered "Islamic art", and both OFTEN portray the human figure. I think the point needs to be mentioned...Some Muslim traditions exclude imageries of the human forms, others are less restrictive. The article mentioned an 'exposure to the west' reason for Muslims relaxing the rules on depicting humans..I don't know that I believe that. If it's true, it's not only the west that shaped the change- Indian and Persian art has alot to do with motivating the artistic qualities of Muslim art in Asia. I think there's a consensus that human depictions are almost never found in mosques. I have a source anyway- the Pilot Guides video on mosques. I don't know that video sources count as documentation. If there's a challenge to that fact, I'll look up a textual source. His Excellency... 22:02, 5 August 2006 (UTC)

The Human representation is not forbidden in the Qur'an per se but in the Hadiths written later. Source Institut Français du Proche orient. http://ifpo.hypotheses.org/4445 — Preceding unsigned comment added by 60.242.89.110 (talk) 05:08, 24 January 2015 (UTC)

French article; overhaul?
Ok, the tags at the top of the talk page are right. This entry is as good as useless, completely ahistorical, and lacks a single concrete example (Dome of the Rock, anyone?). The French entry is superb. Would anyone object to my translating it and placing it here? --Javits2000 22:55, 19 November 2006 (UTC)
 * Good idea. I've tried to find some time to translate the French article but couldn't. I'd help if you'd start it. --  Szvest   Ω  Wiki Me Up ®  11:20, 20 November 2006 (UTC)

 * Brilliant. At present I've produced a rough text up through the Fatimids. At most points it's a fairly literal translation, but I've exercised some editorial discretion -- i.e. "L'art d'Afrique du nord est assez méconnu, par manque de recherches depuis la décolonisation" (!) is weg, as the Germans say. What's the protocol for a project like this: should I post little by little, or all at once when finished? --Javits2000 12:13, 20 November 2006 (UTC)

Ok, I've overhauled on basis of French article, as discussed above. Comments and corrections are of course heartily welcomed. A few points: 1) This is probably about a half of the French article, the historical narrative portion; the sections on technique, historiography, etc., still wait to be created. 2) PICTURES. Any help that might be offered in illustrating this article would earn a debt of gratitutde. The French article has quite a few good images, as do a number of the English articles linked here (i.e. individul monuments, cities, etc.). 3) Transliteration, etc. For the sake of convenience I've followed the transliterated forms of dynasties, names, cities, etc. already employed in the pre-existing Wiki articles. As a result there is of course little consistency. --Javits2000 12:45, 25 November 2006 (UTC)

Images anyone
I came here expecting to find some Islamic art images, --HalaTruth(ሀላካሕ) 20:56, 2 January 2007 (UTC)

 * Try the link at the bottom of the page to WikiCommons; or the link at the side to the French article. And if anything you find there strikes you as a useful contribution to the main article, please feel free to help out by adding it in.--Javits2000 13:59, 4 January 2007 (UTC)

Seeking the truth
I agree, I think this article should remind there are different traditions in Islam and human representation and the representation of the Prophet exists --tupinambah 12:38, 3 March 2007 (UTC)

 * Quite right, and many thanks for your contribution -- especially for a very useful source, and indeed one that's available online! I've moved it to a footnote only because it seemed too specific a discussion for the introductory paragraphs, which in any case already quite clearly acknowledge the existence of depictions of humans and of the Prophet. I also attempted to remove the rather contentious passages of your text (e.g. "contrary to the false claims of the media," or wording to that effect). It strikes me, however, that if this is a subject of particular interest to you (that is, the history of depicitons of the Prophet), then it might make a very interesting article in its own right, and one that could be prominently linked from this page. Regards, --Javits2000 12:48, 3 March 2007 (UTC)

Javits, thanks for your comments and changes, after all the text became much better. I would like to make clear that I am not interest exclusively in the Islamic iconography. My interest is on religions (and cultures) in general. Knowing that Islam has been victim of misconceptions for centuries and nowadays is, perhaps, the most misinterpreted, I think it is important for us engage on the debate and fight against ignorance. Finally, I would like to say I am fascinated by your subject knowledge - Byzantine Empire. Best wishes, tupinambah 10:58, 4 March 2007 (UTC)

Photo gallery
The gallery at the bottom should be edited; either labelled with periods and placed with its respective text. A photo gallery is nice to look at, but it is not informative.Elliotb2 03:29, 27 April 2007 (UTC)

 * Agreed; it's my opinion that the present images in the text and the link to Wiki Commons are sufficient. The gallery could probably be removed. --Javits2000 08:42, 28 April 2007 (UTC)

Islamic Art Origins
The foundation of Islamic art cannot be placed into a single century and onwards. Right? As with all art, it has absorbed some prior styles. It first sort of took form as a series of appropriations of preexisting Graeco-Roman, Byzantine Christian, and Sasanian art forms. Aren't the actual periods of art and their crossovers/stops/starts sort of difficult to date into a century or less? Just wondering. Also, the phrase "arts", in the intro, seems a little ambiguous and vague in my opinion. Could there be a more exact word to use? Sedonaarizona 03:38, 28 June 2007 (UTC)

 * I think the influences of Byz., Sasanian, etc. are discussed in the article, right? In any case the article starts with the foundation of the Islamic community, which can be dated pretty precisely. Before the 7th century, no Islam, hence no Islamic art.--Javits2000 21:28, 28 June 2007 (UTC)

 * Very true. Islam as a religion did not develop until the seventh century, and therefore the title of 'Islamic Art' could not be granted prior to that. Got it. Thanks!!!! Sedonaarizona 23:49, 28 June 2007 (UTC)

Sourcing
Although I have not had time to read it completely, this impresses me as a good and informative article. However it could be improved by better sourcing because many sections do not cite any sources. I do not want to put a tag it because that might give readers the impression there is something wrong with the article. Nevertheless, some editors could do a good deed by adding what is needed: WP:VERIFY. Malcolm Schosha (talk) 16:54, 18 May 2008 (UTC)

Film, anyone?
Are we omitting cinema of Egypt, cinema of Iran and cinema of Turkey because they are of the modern era, after the ancient accomodation with formal Islam?Dogru144 (talk) 20:27, 20 December 2009 (UTC)
 * "Art" is normally reserved for visual art in articles like this. A section in Islamic culture would be the appropriate place to have links to all these, and other articles, and a short summary. Johnbod (talk) 22:53, 20 December 2009 (UTC)

Images for possible use

 * File:Rock crystal ewer.jpg V&A rock crystal ewer
 * File:Nasr ol Molk mosque vault ceiling 2.jpg 19th C mosaic
 * File:Tabriz 01 w.jpg figurative tabriz rug

 * Ruskin on influence

Word Arabesque misused
Arabesque is properly a style of  European art derived from Arabic sources. Arabesque is a French word denoting "like Arabic". It is not about the prototype itself nor about motifs in Arabic art per se. A replacement word needs to be used to refer to Arabic motifs used in Arabic art, and substituted for arabesque in this article. I would suggest "Arabic Motifs". Perhaps the actual Arabic word for such motifs could be used, with anglicised spelling? does anybody know what that word would be? (Lobsterthermidor (talk) 18:22, 10 March 2011 (UTC))
 * As I've said at Talk:Arabesque, your perception is just incorrect, & the term is widely used in the art history of Islamic art - see this gbooks search. There is no "style of European art derived from Arabic sources" as such, but motifs called arabesque are used at various times & places in Europe, as Wetman articulates at the other page.  Johnbod (talk) 18:22, 10 March 2011 (UTC)

in obverse and reverse, creating an exact mirror image.
Whats the redundancy/tautology for? If you have the same thing written in obverse & reverse, it by definition is a mirror image. —Preceding unsigned comment added by 98.176.4.85 (talk) 22:14, 21 May 2011 (UTC)

Criticism
Widespread, and historically bogus, curator's term for works of originating in any Muslim country over the past 14 centuries. As readers of the IHT correspondent Souren Melikian's frequent and scholarly articles will know, this is a fictitious term, without historic, artistic or theological basis, invented by museum directors and sales room promoters to cover a wide variety of different cultural and geographic works. The article should make it clear the sheer notion of Islamic art is not accepted by all specialists. RacconishTk 07:33, 6 September 2011 (UTC)
 * It does: "Though the whole concept of "Islamic art" has been criticised by some modern art historians, the similarities between art produced at widely different times and places in the Islamic world have been sufficient to keep the term in wide use by scholars." - para 3. Johnbod (talk) 11:32, 6 September 2011 (UTC)
 * Thanks. I added the above ref there. RacconishTk 11:39, 6 September 2011 (UTC)
 * Oh - it's very over the top, & he is no art historian. I'll have to upgrade it at some point. Johnbod (talk) 11:46, 6 September 2011 (UTC)
 * Ok, good now, though the intro of the Yale History of Art has a good bit too. Johnbod (talk) 19:40, 6 September 2011 (UTC)

Not Great :(
I was researching for an essay and I was shocked to find no list of contemporary artists :( Maybe someone could put a list up?? ;)

 * Contemporary art tends to be covered by modern nationality rather than the blanket "Islamic art". Try Category:Artists by nationality and some articles. Johnbod (talk) 20:27, 25 January 2012 (UTC)

Islamic ban on images
I read an article once that in Malaysia would be illegal to have, the Arabic word or calligraphy of Allah and Muhammad, such as a visible tattoo. Is this true? And includes the Islamic ban on images, in which case these two things normally? --80.161.143.239 (talk) 18:56, 15 March 2012 (UTC)
 * I've not heard that but, looking at Blasphemy law in Malaysia, I wouldn't be surprised. If you find a reference it could go in there. Johnbod (talk) 19:02, 15 March 2012 (UTC)

Is the ban on images accurate?
This sentence "Typically, though not entirely, Islamic art has focused on the depiction of patterns and Arabic calligraphy, rather than on figures, because it is feared by many Muslims that the depiction of the human form is idolatry[13] and thereby a sin against God, forbidden in the Qur'an." Implies that the Qur'an bans the depiction of human figures, or it is at least ambiguous about whether the Qur'an bans images of humans or only idolatry. I looked into this, and it is only idolatry which is banned, and all traditional bans on the depiction of figures is on the basis that the depiction of a figure is an idol. I would think that either the sentence needs to be softened such that its clear that the Qur'an bans idolatry, and that some have interpreted this to mean that all figures constitute idolatry, or some references should be given to the relevant parts of the Qur'an, so that the reader can see for him or herself. As it stands, the sentence regarding the ban is ambiguous, the Qur'an is not actually cited, and the only concrete reference is to a book of secondary literature written by a Christian westerner. This seems like inappropriate justification for the claim of the sentence. — Preceding unsigned comment added by Byrnesj (talk • contribs) 02:17, 25 August 2012 (UTC)
 * There is more detail at where it belongs at Aniconism in Islam and Depiction of Muhammad, which I think are linked here; I suggest you look into it a bit more, including considering the wording of the text here more carefully. The relevant texts are mainly in the Hadith, and the statement here is quite enough I think. We are supposed to use secondary sources (WP:PRIMARY), and a Western scholar is a perfectly good reference to use on this very well explored issue, especially as he is neither a Sunni nor a Shia, which tends to colour Islamic views. Johnbod (talk) 02:22, 25 August 2012 (UTC)

Main picture
I think the lead pictures here is not broad, there are two pictures that concerns architecture and one about carpet, all of them with rather dull colors. The lead pictures should also have either Islamic ceramic or calligraphy. I suggest either of the following pictures:

Oh, and thank you for putting my suggestion about the ardabil carpet. Alteaven (talk) 14:32, 3 May 2014 (UTC)

You're right. The article may need quite a number of improvements. I'll work on that instead.

But if I may add something regarding the picture here (again)... One would appreciate a painting better if they were given the full picture, similarly, a calligraphic piece would be better appreciated if it is whole. So regardless whether most reader can't read the text, the art would be better illustrated and appreciated if the piece is whole, and not mere fragment. But I see that keeping this image is more favoured. Perhaps another time, if satisfactory image becomes available in commons Alteaven (talk) 15:12, 4 May 2014 (UTC)

A study of Islamic painting
An interesting study here]. Dougweller (talk) 19:32, 15 April 2015 (UTC)]
 * This is a classic study of 1928, now massively out of date in many ways. We used to use it as a reference, maybe still do, but should only do so with caution: "Sir Thomas Walker Arnold (1864–1930) .....". For a long time there were very few books on the subject, but this has now not been the case for some decades. Johnbod (talk) 11:25, 16 April 2015 (UTC)

Islamic art articles that need writing
People may have seen recent work on the Template:Islamic art which now perhaps reflects the field a little better. Its structure implies several articles which might be useful to readers, such as:

 * Regional styles in Islamic architecture
 * Decorative elements in Islamic architecture
 * Islamic decorative arts
 * Islamic arts of the book
 * Islamic textiles

Other articles in the field that are needed (or need development) include (according to Johnbod):

 * Arabic miniature
 * Islamic bookcover
 * Islamic silk
 * most periods of regional art other than Safavid art, Qajar etc.

Suggestions and contributions welcomed. Chiswick Chap (talk) 17:41, 16 December 2015 (UTC)

Pakistan?
Is there an article somewhere on Mugal architecture in Pakistan? I'm trying to understand the architecture of the mosques (Masjid) there. e.g. in Lahore. — Preceding unsigned comment added by Kalbbes (talk • contribs) 22:58, 18 October 2016 (UTC)

External links modified
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Requesting wider attention
I felt article Islamic_literature is in bit of neglect so I added my note on talk page there, requesting to take note of Talk:Islamic_literature. If possible requesting copy edit support. Suggestions for suitable reference sources at Talk:Islamic_literature is also welcome.

Posting message here too for neutrality sake

Thanks and greetings

Bookku (talk) 08:18, 21 May 2020 (UTC)

Difference between Muslim .... and Islamic .... ?
Greetings,

This is basically continuation of first round of discussion which took place previously @ Talk:Islamic literature and Wikipedia:Village_pump_(miscellaneous) Present Wikipedia tendency An average tendency on Wikipedia seems to be of transforming word Muslim into Islam or Islamic wherever possible without visiting nuanced aspects. As a small example title Islamic feminism is nuanced and correct since it specifically refers to theory of Islam. But is it correct to redirect title Muslim women to Women in Islam those who are not exposed to nuances might think so. Some might take refuge to fallacy of Appeal to popularity, but nuanced view suggests otherwise. Pl. do read on below given copy pasted discussion from Talk:Islamic literature

Here comes concept of normative.

 * Quick google search of term Normative gives definition as "...establishing, relating to, or deriving from a standard or norm, especially of behaviour...."

Is present lack of nuanced approach, risks throwing in and enforcing a sided normative. All Islamic art can be called Muslim art, but whether all Muslim art can be called Islamic art. For example recently one Saira Khan recently openly declared of not being practicing Muslim, and still we can not list her in List of former Muslims so formally remains a Muslim at the most one can categories them in Cultural Muslim; take one more point, there can be former Muslim who reverts to Islam is it easy to classify their art Muslim or Islamic ? Or take example of M.F. Husain many of his drawings are of living things so whether it is safe to classify his art Muslim or Islamic ? File:Khamseh Nizami 001.jpg is included in article Islamic Art how far it can be called Islamic Art or is it safer to call it Muslim art?

Those Wikipedians who do have lesser familiarity with Muslims or Islam usually tend to take position I/We don't have understanding on the topic, pl. go over to WP talk:WikiProject Islam, even when topic is critical of Islam that is categorized Islamic project pl. go over to WP talk:WikiProject Islam. Doesn't it risks throwing in and enforcing a sided normative?

Scholarship highlighting this issue

 * 1) According to Muslim is purely someone who practices Islam and Islamic is anything influenced by Islam or produced by Muslims.

 * 2.1) According to M.M. Knight, when one does not speak for real Islam (i.e.'an abstracted ideal' that floats above, Muslim, human cultures but speaks for 'lived traditions') it is preferable to use the term Muslim instead of the term Islam or Islamic.
 * 2.2) M.M. Knight further says,terms 'Islam/ Islamic' imposes claim of normativity, which is distinct with lived experiences hence need not be conflated. (My emphasis)

Question of Grammar

One copyeditor user points out his difficulties @ Talk:Islamic literature, he says:

 * ...According to Muslim is purely someone who practices Islam and Islamic is anything influenced by Islam or produced by Muslims. So I’ve done some of the (requested via women’s rights article) copyediting on that basis. Please correct my ignorances with sources if wrong. Thanks!...

Similar points of grammar have been discussed @ Wikipedia:Village_pump_(miscellaneous) similar to their point is architecture,  music,  art,  thought are not humans so saying Muslim architecture, Muslim music, Muslim art, Muslim thought, should be avoided.

Since personally I am more concerned with normative I am okay with Muslim architecture, Muslim music, Muslim art, Muslim thought since those are more inclusive terms in spite issues of grammar inaccuracies, but terms are understandable to human mind; my human brain can very well understand those terms as 'architecture/ music/  art/  thought created by Muslims.'

Nuanced differences and other Wikipedia articles Please see below given table.

 * Would term Muslim culture represent cultural diversity among Muslim communities over time and places reflect better than monolithic representation in term "Islamic culture"?

 * Can we draw a parallel, In between Your point differentiating between "Women in Islam" and "Muslim women" and Apostasy in Islam and Former muslims being both valid, and have entirely different normative directions?

I am very well aware of grammar related points of &   maintained by them  and others  @ Wikipedia:Village_pump_(miscellaneous) and not too keen to break grammar related rules but want other readers also to be aware of issues involved for wider consultations. Bookku (talk) 11:22, 3 March 2021 (UTC)

 * The title of this article is rather straightforward, it is based on sources that use the expression Islamic Art (see sections References and further reading). This is also currently the reference expression in libraries for art throughout the world, Muslim art being seen as a less used synonym (See https://www.wikidata.org/wiki/Q189594). I don't see any reason for normalizing over reliable sources for the domian of art. --Anneyh (talk) 13:17, 3 March 2021 (UTC)

What about contemporary art from "the Arabic world"?
I understand that the mere notion of "the Islamic or Arabic world " is problematic, as there are probably more differences in modern cultures of these countries than common traits. But nevertheless, art historians and other commentators of culture from these countries continue to use the label "Arabic art", and this would certainly provide enough material for an article on "Contemporary visual arts in the Arabic world". Most of all, it seems to me necessary to distinguish between religiously inspired cultural works and modern or contemporary artworks that have no obvious relation to Islam as religion. - After all, we do make a distinction between modern Western art and Christian art, and many contemporary artists from "the Arab world" do not see the religion they were born into as a determining aspect of their art or lives. (A good starting point would be this book or the catalogue from the Institut du Monde Arabe:  - Any helpful comments on this would be very much appreciated. Munfarid1 (talk) 12:45, 24 September 2021 (UTC)
 * Yes, we no doubt should have a Contemporary visual arts in the Arabic world, but I don't think there should be much more than a brief section here (and "the Arabic world" is only a fraction of the Islamic world). At the moment what we have is country by country, or artist by artist. Johnbod (talk) 14:14, 24 September 2021 (UTC)

"Architecture" section
The article never used to have this. Normally where there is a substantial separate article like Islamic architecture, the equivalent art one wouldn't cover architecture too. The section is very poor quality. Unless anyone objects, I will remove it in a few days, seeing if any can be merged. Johnbod (talk) 16:37, 3 October 2021 (UTC)
 * I fully agree, and the article on Islamic architecture is much better than the scant information under Islamic art. - A short sentence resuming what Islamic architecture is about would be enough here. Munfarid1 (talk) 09:17, 4 October 2021 (UTC)
 * A belated comment here to agree with the above. I guess the section was never removed, though? As it is, it's not very helpful to have two short, kind of random, subsections about "columns" and "arches", as if this is what Islamic architecture is mainly about. Should it still be deleted altogether, or replaced with a summary? R Prazeres (talk) 17:53, 14 July 2022 (UTC)

I just remembered this again, so I've WP:BOLD-ly replaced the section's haphazard content with a slightly shorter and more general summary. I focused briefly on the relation between Islamic art here and the Islamic architecture article (e.g. the shared decorative motifs), so that it serves mostly as a connection to that article, but a few more things could be mentioned as desired. I've also moved it down below the discussion of other mediums. R Prazeres (talk) 19:21, 18 August 2023 (UTC)

Revert of changes in the lead
Hello, I see from your various comments above that you have contributed much to this article and certainly know a lot about the subject. Nevertheless, I do not understand, why you have reverted my changes to the lead and have added different text instead. - Let me explain, why:

1) You wrote: "Both religious and secular art objects typically use the same style and forms." - To my knowledge, appropriate sources do not say this. E.g. mosques have minarets and castles don't, religious texts don't include miniature paintings. In my view, it would be correct to say: ...often use similar styles [in plural] and forms.

2) "...this sometimes criticized by religious scholars." I think this is an article about art history, and the criticism by religious scholars should rather be mentioned in the text, not in the lead, as this is a particular viewpoint and does not invalidate the fact that secular art includes religious elements. (Otherwise we could not refer to it as Islamic art at all.)

3) I don't understand why you deleted my mention of castles and palaces, as these are foremost examples of secular art, even though they may not be counted as visual arts in the narrow sense.

4)You also reverted my explanation about the Muslim heritage in the second sentence and kept the phrase: "Islamic art is difficult to characterize..." - I especially wanted to avoid this expession, as any article in WP strives to explain its subject matter, and I don't think that reliable sources will just say that it is difficult, if there is a more precise way of putting this.

5) The term 'Islamic art' is not only used by scholars, but by many or most Muslim authors for their own culture, a fact that should be mentioned and invalidates the idea of Eurocentrism as expressed in the paragraph.

6) Finally, I don't understand why you have deleted my mention of the written forms of the Quran as example for religious art in conjunction with calligraphy. - I don't think that there a more prominent example than the Quaranic manuscripts, and therefore it should be mentioned in the lead. (Of course, calligraphy is only part of the manuscripts in their different styles and forms.) As other editors, too, we both want to improve this article, and this is why I took the time to suggest some alternative text. Having explained my reasons, I am now looking forward to your comments so as to better understand your views. - Thanks, Munfarid1 (talk) 16:53, 4 October 2021 (UTC)
 * The start of the lead has been poor for years; several people have fiddled with it - one might go back to this better version in 2015. I thought we agreed we were trying to keep architecture out of it? I think everything I wrote is either removing references to architecture or more in accordance with what RS say. Most books on Islamic art start by often lengthy discussions of the issues of definition and characterization. I have some sympathy with 5) - do you have a reference to hand?  The previous start "Islamic art encompasses the visual arts produced by Muslims" (wording you introduced) is emphatically NOT correct - significant amounts were produced by Jews, Christians and Hindus etc, and often we don't know which or how much.  I think 2) is worth saying as the tension over figurative images is an important issue in IA. I don't mind discussing detailed points - but actually the old 2015 start looks rather better than the current or previous recent one. Let's face it, your first sentence is wrong, and unreferenced, and the/your second is a mess in various ways, including grammar: "As much of their cultural and artistic heritage has been created with reference to the Islamic religion since its beginnings in the 7th century CE, Islamic art it covers a wide range of geographical areas, periods, and genres in the Islamic world."  Johnbod (talk) 03:05, 5 October 2021 (UTC)

 * Hi, I have tried to improve on the lead and added a new paragraph "Definition of Islamic art", with a better source for the claim of Eurocentrism than before. (Still not fully satisfying, but all I could do today.) There is certainly room for improvements, and I trust in other editors to add their knowledge. In line with this basic philosophy of WP, I do not think that it is useful to call the wording of others "a mess" and to insist on a mere typo as a mistake in grammar. - In my opinion an adequate response to such observations would just to go ahead and improve them.Munfarid1 (talk)
 * Which is exactly what I did! Johnbod (talk) 03:45, 14 October 2021 (UTC)

 * I don't see the latest changes as an improvement either. The lead is way too short, and the "definition" section too long, covering things that aren't part of a definition at all. And at least two sentences in the first para would be better in the definition section: "Because of characteristic traditions, Islamic art is an art historical concept used by both Muslim and non-Muslim commentators, even though it covers a wide range of lands, periods, and genres.[2] ... The tradition of Islamic architecture is the subject of a separate article, as well as modern and contemporary arts in Muslim countries" Also text has been changed drastically while keeping references that I'm pretty sure you haven't read. Johnbod (talk) 03:52, 14 October 2021 (UTC)
 * I just reformulated the lead, including some text from the excellent Islamic culture and have also expanded the following section, now called "Terminology". Further, I have included a sentence that was before in the lead about calligraphy into that section. - That's about all I can do at this time, and I hope readers will find it an improvement to the earlier lead that you have called "poor for years". Munfarid1 (talk) 12:20, 14 October 2021 (UTC)
 * Well, thank you (I seem to have written most of the art section in Islamic culture, though I have forgotten doing so)! I will take your advice above about the rest. Johnbod (talk) 14:08, 14 October 2021 (UTC)
 * After some more research, I have just added hatnotes to make the art historical nature of this concept clearer, and to refer readers to other main articles, such as Islamic architecture and Islamic culture. - Also, I have slightly shortened some text in the lead, added a sentence on the kinds of texts used for Persian miniatures, added new sources, and shortened the section on Terminology.
 * I still do not think that the sentence on the Western or Eurocentric character of the concept is satisfying. After all, it is a concept of Western scholarship that has only been adopted much later by scholars or art historians with a Muslim background. - If we mention critical views on the concept, its interpretation and use in public discourse, I think we should rather mention criticism following Edward Said's Orientalism. But I don't have time or literature at hand to write about this. - What do you think? Munfarid1 (talk) 18:01, 17 October 2021 (UTC)
 * Which sentence do you mean - I can't see one like that. I most certainly don't think we need Said (who wrote almost nothing on Islamic art) in the lead. I still don't like the way the edits are going. Johnbod (talk) 03:16, 18 October 2021 (UTC)
 * "Although the concept of "Islamic art" has been put into question by some modern art historians as a construct of Western cultural views,..." - To my understanding, this sentence, which I found in the article, implies the tautology that a Western concept is a construct of Western, or Eurocentric cultural views. The way it is phrased does not make sense to me, and that's why I suggest to change or delete it.
 * Referring to Said, I was thinking of statements such as this from the introduction of his Orientalism: "Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient, dealing with it by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it: in short, Orientalism as a Western style for dominating restructuring, and having authority over the Orient." - If we want to include any criticism of the Western art historical concept, I think some reference to this claim and the reaction the book has found in art history should be mentioned. - But I want to leave this suggestion to you or other authors, who might be more familiar with the ongoing effect of Orientalism in art historical writing than myself. Munfarid1 (talk) 08:45, 19 October 2021 (UTC)

The sultans
List down additional Art forms produce by the principal ethnic groups of the sultans 102.143.9.41 (talk) 17:47, 21 March 2022 (UTC)

title: Talk:Islamic art


text:
List of Star Wars books

Star Wars is an American epic space-opera media franchise, centered on a film series created by George Lucas that includes Star Wars (1977), The Empire Strikes Back (1980), and Return of the Jedi (1983). The series depicts the adventures of various characters "a long time ago in a galaxy far, far away". Many derivative Star Wars works have been produced in conjunction with, between, and after the original trilogy of films, and later installments. This body of work was collectively known as the Star Wars Expanded Universe for decades.

In October 2012, The Walt Disney Company acquired Lucasfilm for $4.06 billion. In April 2014, Lucasfilm rebranded the Expanded Universe material as Star Wars Legends and declared it non-canon to the Star Wars' franchise. The company's focus would be shifted towards a restructured Star Wars canon based on new material. The first new canon adult novel was Star Wars: A New Dawn by John Jackson Miller, published in September 2014.

This is a list of original novels, novel adaptations, original junior novels, junior novel adaptations, young readers, and short stories in the Star Wars franchise. This list does not include journals, graphic novels or comic books, which can be found in the list of Star Wars comic books. Reference books and roleplaying gamebooks can be found at the list of Star Wars reference books.

Film, television and video game adaptations
The novelizations offer alternate takes on the events of the movies, with many including discarded or slightly altered plotlines. Those published before 25 April 2014 are considered Legends like all other media.

Disney canon stories (2014–present)
Since 2014, the official Star Wars canon includes all of the movie episodes, The Clone Wars film and the television shows Star Wars: The Clone Wars, Star Wars Rebels, and Star Wars Resistance, as well as any books, comics, and video games published after April 2014.

Star Wars Insider (2014–present)
Since 2014, various short stories have been published in Star Wars Insider. Some of these stories were later reprinted in the paperback editions of various novels, or the hardcover Star Wars: The Fiction Collection compilation.

 * "Blade Squadron: Part 1" (#149, April 2014) by David J. & Mark S. Williams (4 ABY)
 * "Blade Squadron: Part 2" (#150, June 2014) by David J. & Mark S. Williams (4 ABY)
 * "One Thousand Levels Down" (#151, July 2014) by Alexander Freed (0 ABY)
 * "The End of History" (#154, December 2014) by Alexander Freed (10 BBY)
 * "Last Call at the Zero Angle" (#156, March 2015) by Jason Fry (0 ABY)
 * "Orientation" (#157, April 2015) by John Jackson Miller (14 BBY)
 * "Rebel Bluff" (#158, June 2015) by Michael Kogge (4 BBY)
 * "Kindred Spirits" (#159, July 2015) by Christie Golden (20 BBY)
 * "Blade Squadron: Zero Hour" (#160, September 2015) by David J. & Mark S. Williams (4 ABY)
 * "Inbrief" (#161, November 2015) by Janine K. Spendlove (3 ABY)
 * "Bait" (#162, December 2015) by Alan Dean Foster (34 ABY)
 * "Scorched" (#165, May 2016) by Delilah S. Dawson (28 ABY)
 * "TK-146275" (#166, June 2016) by Sylvain Neuvel (11–1 BBY)
 * "Blade Squadron: Kuat" (#168, September 2016) by Mark Williams & David Williams (5 ABY)
 * "Turning Point" (#169, October 2016) by Jason Hugh (4 ABY)
 * "The Voice of the Empire" (#170, December 2016) by Mur Lafferty (17 BBY)
 * "Blade Squadron: Jakku" (#172, April 2017) by Mark Williams & David Williams (5 ABY)
 * "Galactic Tales: The Wesell Run" (#209, March 2022) by S.T. Bende (22 BBY)
 * "Galactic Tales: Saber Truth" (#210, May 2022) by Richard Dinnick (Between 22 BBY and 19 BBY)
 * "Galactic Tales: Inheritance" (#211, June 2022) by George Mann (22 BBY)
 * "Galactic Tales: From The Shadows Come The Karn" (#212, August 2022) by Rodney Barnes (Between 22 BBY and 19 BBY)
 * "Galactic Tales: Shockwave" (#220, August 2023) by Alexander Freed (4 ABY)
 * "Galactic Tales: Lost in the Woods" (#221, September 2023) by S.T. Bende (4 ABY)
 * "Galactic Tales: Valnir and Laizhu" (#222, October 2023) by Richard Dinnick (4 ABY)

The Rise of the Empire (October 2015)

 * "Mercy Mission" by Melissa Scott (14 BBY)
 * "Bottleneck" by John Jackson Miller (12 BBY)
 * "The Levers of Power" by Jason Fry (4 ABY)

The Perfect Weapon

 * "The Perfect Weapon" (November 2015) by Delilah S. Dawson (34 ABY). This story is part of the Journey to Star Wars: The Force Awakens promotional campaign. Printed in the paperback edition of the Star Wars: The Force Awakens novelization.

Tales from a Galaxy Far, Far Away: Aliens
The collection Tales from a Galaxy Far, Far Away: Aliens is part of the Journey to Star Wars: The Force Awakens promotional campaign. Some stories were originally published as individual e-books, and later collected with other new stories. However, they were all published together as a book called Star Wars: Tales From a Galaxy Far, Far Away
 * "All Creatures Great and Small" (November 2015) by Landry Q. Walker (34 ABY)
 * "High Noon on Jakku" (November 2015) by Landry Q. Walker (34 ABY)
 * "The Crimson Corsair and the Lost Treasure of Count Dooku" (November 2015) by Landry Q. Walker (31 ABY; flashbacks to 19 BBY)
 * "The Face of Evil" (November 2015) by Landry Q. Walker (34 ABY)
 * "A Recipe for Death" (April 2016) by Landry Q. Walker (Pre–32 BBY)
 * "True Love" (April 2016) by Landry Q. Walker (34 ABY)

From a Certain Point of View (October 2017)

 * "Raymus" by Gary Whitta (0 BBY)
 * "The Bucket" by Christie Golden (0 BBY)
 * "The Sith of Datawork" by Ken Liu (0 BBY)
 * "Stories in the Sand" by Griffin McElroy (0 BBY)
 * "Reirin" by Sabaa Tahir (0 BBY)
 * "The Red One" by Rae Carson (0 BBY)
 * "Rites" by John Jackson Miller (0 BBY)
 * "Master and Apprentice" by Claudia Gray (0 BBY)
 * "Beru Whitesun Lars" by Meg Cabot (0 BBY)
 * "The Luckless Rodian" by Renee Ahdieh (0 BBY)
 * "Not for Nothing" by Mur Lafferty (0 BBY)
 * "We Don't Serve Their Kind Here" by Chuck Wendig
 * "The Kloo Horn Cantina Caper" by Kelly Sue DeConnick & Matt Fraction (0 BBY)
 * "Added Muscle" by Paul Dini (0 BBY)
 * "You Owe Me a Ride" by Zoraida Cordova (0 BBY)
 * "The Secrets of Long Snoot" by Delilah S. Dawson (0 BBY)
 * "Born in the Storm" by Daniel Jose Older (0 BBY)
 * "Laina" by Wil Wheaton (0 BBY)
 * "Fully Operational" by Beth Revis (0 BBY)
 * "An Incident Report" by Daniel M. Lavery (0 BBY)
 * "Change of Heart" by Elizabeth Wein (0 BBY)
 * "Eclipse" by Madeleine Roux (0 BBY)
 * "Verge of Greatness" by Pablo Hidalgo (0 BBY)
 * "Far Too Remote" by Jeffrey Brown (0 BBY)
 * "The Trigger" by Kieron Gillen (0 BBY)
 * "Of MSE-6 and Men" by Glen Weldon (0 BBY)
 * "Bump" by Ben Acker & Ben Blacker (0 BBY)
 * "End of Watch" by Adam Christopher (0 BBY)
 * "The Baptist" by Nnedi Okorafor (0 BBY)
 * "Time of Death" by Cavan Scott (0 BBY)
 * "There Is Another" by Gary D. Schmidt (0 BBY)
 * "Palpatine" by Ian Doescher (0 BBY)
 * "Sparks" by Paul S. Kemp (0 BBY–0 ABY)
 * "Duty Roster" by Jason Fry (0 BBY–0 ABY)
 * "Desert Son" by Pierce Brown (0 BBY–0 ABY)
 * "Grounded" by Greg Rucka (0 BBY–0 ABY)
 * "Contingency Plan" by Alexander Freed (0 BBY–0 ABY)
 * "The Angle" by Charles Soule (0 ABY)
 * "By Whatever Sun" by E.K. Johnston & Ashley Eckstein (0 ABY)
 * "Whills" by Tom Angleberger (0 ABY)

Canto Bight (December 2017)

 * "Rules of the Game", by Saladin Ahmed (34 ABY)
 * "Hear Nothing, See Nothing, Say Nothing", by Rae Carson (34 ABY)
 * "The Wine in Dreams", by Mira Grant (34 ABY)
 * "The Ride", by John Jackson Miller (34 ABY)

Black Spire: Return to a Shattered Planet

 * "Black Spire: Return to a Shattered Planet" (June 2020) by Delilah S. Dawson (34 ABY). This story was printed in the paperback edtion of the novel "Galaxy's Edge: Black Spire", also written by Dawson.

From a Certain Point of View: The Empire Strikes Back (November 2020)

 * "Eyes of the Empire", by Kiersten White (3 ABY)
 * "Hunger", by Mark Oshiro (3 ABY)
 * "Ion Control", by Emily Skrutskie (3 ABY)
 * "A Good Kiss", by C.B. Lee (3 ABY)
 * "She Will Keep Them Warm", by Delilah S. Dawson (3 ABY)
 * "Heroes of the Rebellion", by Amy Ratcliffe (3 ABY)
 * "Rogue Two", by Gary Whitta (3 ABY)
 * "Kendal", by Charles Yu (3 ABY)
 * "Against All Odds", by R.F. Kuang (3 ABY)
 * "Beyond Hope", by Michael Moreci (3 ABY)
 * "The Truest Duty", by Christie Golden (3 ABY)
 * "A Naturalist on Hoth", by Hank Green (3 ABY)
 * "The Dragonsnake Saves R2-D2", by Katie Cook (3 ABY)
 * "For the Last Time", by Beth Revis (3 ABY)
 * "Rendevouz Point", by Jason Fry (3 ABY)
 * "The Final Order", by Seth Dickinson (3 ABY)
 * "Disturbance", by Mike Chen (3 ABY)
 * "This Is No Cave", by Catherynne M. Valente (3 ABY)
 * "Lord Vader Will See You Now", by John Jackson Miller (3 ABY)
 * "Vergence", by Tracy Deonn (3 ABY)
 * "Tooth and Claw", by Michael Kogge (3 ABY)
 * "STET!", by Daniel José Older (3 ABY)
 * "Wait for It", by Zoraida Córdova (3 ABY)
 * "Standard Imperial Procedure", by Sarwat Chadda (3 ABY)
 * "There Is Always Another", by Mackenzi Lee (3 ABY)
 * "Fake It Till You Make It", by Cavan Scott (3 ABY)
 * "But What Does He Eat?", by S.A. Chakraborty (3 ABY)
 * "Beyond the Clouds", by Lilliam Rivera (3 ABY)
 * "No Time for Poetry", by Austin Walker (3 ABY)
 * "Bespin Escape", by Martha Wells (3 ABY)
 * "Faith in an Old Friend", by Brittany N. Williams (3 ABY)
 * "Due on Batuu", by Rob Hart (3 ABY)
 * "Into the Clouds", by Karen Strong (3 ABY)
 * "The Witness", by Adam Christopher (3 ABY)
 * "The Man Who Build Cloud City", by Alexander Freed (3 ABY)
 * "The Backup Backup Plan", by Anne Toole (3 ABY)
 * "Right-Hand Man", by Lydia Kang (3 ABY)
 * "The Whills Strike Back", by Tom Angleberger (3 ABY)

Stories of Jedi and Sith (June 2022)
Short story anthology published by Disney Lucasfilm Press in June 2022.
 * "What a Jedi Makes" by Michael Kogge
 * "Resolve" by Alex Segura
 * "The Eye of the Beholder" by Sarwat Chadda
 * "A Jedi's Duty" by Karen Strong
 * "Worthless" by Delilah S. Dawson
 * "The Ghosts of Maul" by Michael Moreci
 * "Blood Moon Uprising" by Vera Strange
 * "Luke on the Bright Side" by Sam Maggs
 * "Masters" by Tessa Gratton
 * "Through the Turbulence" by Roseanne A. Brown

Star Wars Insider: The High Republic: Starlight Stories (December 2022)
Short story anthology published by Titan Comics in December 2022 collecting five stories originally published in Issues #199 to #208 of the Star Wars Insider magazine.
 * "Go Together" by Charles Soule
 * "First Duty" by Cavan Scott
 * "Hidden Danger" by Justina Ireland
 * "Past Mistakes" by Cavan Scott
 * "Shadows Remain" by Justina Ireland

Star Wars Insider: The High Republic: Tales of Enlightenment (April 2024)
Short story anthology published by Titan Comics in June 2024 collecting five stories originally published in Issues #213 to #219 of the Star Wars Insider magazine, all of which were written by George Mann. It also includes a completely new short story titled "Missing Pieces", also written by Mann.
 * "New Prospects" (382 BBY)
 * "A Different Perspective" (382 BBY)
 * "The Unusual Suspect" (382 BBY)
 * "No Such Thing as a Bad Customer" (382 BBY)
 * "Last Orders" (382 BBY)
 * "Missing Pieces" (377 BBY)

Children's books
Canon storybooks for younger readers that are shorter than a standard novel or young adult novel.

 * 5-Minute Star Wars Stories, by Various Authors (32 BBY-34 ABY)
 * 5-Minute Star Wars Stories Strike Back, by Various Authors (32 BBY-34 ABY)
 * The Prequel Trilogy Stories, by Various Authors (32 BBY-19 BBY)
 * The Phantom Menace Read-Along Storybook and CD, by Elizabeth Schaefer (32 BBY)
 * The Phantom Menace, by Courtney Carbone (32 BBY)
 * Attack of the Clones, by Geof Smith (22 BBY)
 * Attack of the Clones Read-Along Storybook and CD, by Lucasfilm Book Group (22 BBY)
 * Forces of Destiny: Tales of Hope & Courage, by Elizabeth Schaefer (21 BBY-34 ABY)
 * Revenge of the Sith, by Geof Smith (19 BBY)
 * Revenge of the Sith Read-Along Storybook and CD, by Lucasfilm Book Group (19 BBY)
 * Chopper Saves the Day, by Elizabeth Schaefer (5 BBY)
 * Sabine's Art Attack, by Jennifer Heddle (5 BBY)
 * Zeb to the Rescue, by Michael Siglain (5 BBY)
 * Ezra and the Pilot, by Jennifer Heddle (5 BBY)
 * Ezra's Wookiee Rescue, by Meredith L. Rusu (5 BBY)
 * The Secret Jedi: The Adventures of Kanan Jarrus: Rebel Leader, by Ben Harper (5 BBY)
 * A New Hero, by Pablo Hidalgo (5 BBY)
 * TIE Fighter Trouble, by Brooke Vitale (5 BBY)
 * The Inquisitor's Trap, by Meredith L. Rusu (5 BBY)
 * Hera's Phantom Flight, by Elizabeth Schaefer (5 BBY)
 * Kanan's Jedi Training, by Elizabeth Schaefer (5 BBY)
 * Always Bet on Chopper, by Meredith L. Rusu (5 BBY)
 * Rogue One Secret Mission, by Jason Fry (0 BBY)
 * Bounty Hunt, by Katrina Pallant (0 BBY)
 * A New Hope, by Geof Smith (0 BBY-0 ABY)
 * A New Hope Read-Along Storybook and CD, by Randy Thornton (0 BBY-0 ABY)
 * The Rise of a Hero, by Louise Simonson (0 BBY-0 ABY)
 * Escape from Darth Vader, by Michael Siglain (0 BBY)
 * Trouble on Tatooine, by Nate Millici (0 BBY)
 * Trapped in the Death Star!, by Michael Siglain (0 BBY)
 * Death Star Battle, by Michael Siglain (0 ABY)
 * The Adventures of Luke Skywalker, Jedi Knight, by Tony DiTerlizzi (0 BBY-4 ABY)
 * Star Wars in Pictures: The Original Trilogy, by Ryder Windham (0 BBY-4 ABY)
 * The Original Trilogy Stories, by Various Authors (0 BBY-4 ABY)
 * The Power of the Dark Side, by Benjamin Harper (0 BBY-4 ABY)
 * The Chewbacca Story, by Benjamin Harper (0 BBY-34 ABY)
 * A Leader Named Leia, by Jennifer Heddle (0 BBY-34 ABY)
 * Part of the Journey to Star Wars: The Last Jedi promotional campaign.
 * Han and the Rebel Rescue, by Nate Millici (0 ABY)
 * Luke and the Lost Jedi Temple, by Jason Fry (0 ABY)
 * The Empire Strikes Back, by Geof Smith (3 ABY)
 * The Empire Strikes Back Read-Along Storybook and CD, by Randy Thornton (3 ABY)
 * AT-AT Attack!, by Calliope Glass (3 ABY)
 * Use the Force, by Michael Siglain (3 ABY)
 * Leia and the Great Island Escape, by Jason Fry (4 ABY)
 * Return of the Jedi, by Geof Smith (4 ABY)
 * Return of the Jedi Read-Along Storybook and CD, by Randy Thornton (4 ABY)
 * Rescue from Jabba's Palace, by Michael Siglain (4 ABY)
 * Ewoks Join the Fight, by Michael Siglain (4 ABY)
 * Poe and the Missing Ship, by Nate Millici (34 ABY)
 * The Force Awakens, by Christopher Nicholas (34 ABY)
 * The Force Awakens Storybook, by Elizabeth Schaefer (34 ABY)
 * The Force Awakens Read-Along Storybook & CD, by Elizabeth Schaefer (34 ABY)
 * Rey to the Rescue!, by Lisa Stock (34 ABY)
 * Finn & The First Order, by Brian Rood (34 ABY)
 * Rey Meets BB-8, by Elizabeth Schaefer (34 ABY)
 * Finn & Poe Team Up!, by Nate Millici (34 ABY)
 * Finn & Rey Escape!, by Brian Rood (34 ABY)
 * Han & Chewie Return!, by Michael Siglain (34 ABY)
 * Chaos at the Castle, by Nate Millici (34 ABY)
 * The Fight in the Forest, by Nate Millici (34 ABY)
 * The Force Awakens: New Adventures, by David Fentiman (34 ABY)
 * Finn's Mission, by David Fentiman (34 ABY)
 * The Adventures of BB-8, by David Fentiman (34 ABY)
 * BB-8 on the Run, by Drew Daywalt (34 ABY)
 * Lightsaber Rescue, by Play-A-Sound (34 ABY)
 * Rolling with BB-8!, by Benjamin Harper (34 ABY)
 * Rey's Journey, by Ella Patrick (34 ABY)
 * Rose and Finn's Mission, by Ella Patrick (34 ABY)
 * Chewie and the Porgs, by Kevin Shinick (34 ABY)

In 2015, the original six Star Wars films were adapted as Little Golden Books. In 2017, A New Hope was also released as a Big Golden Book. Additionally, Solo: A Star Wars Story and the sequel trilogy were adapted. Many other original titles featuring scenes from throughout the saga have been released, including I Am a Padawan by Ashley Eckstein. An upcoming release will adapt The Mandalorian.

Star Wars Legends stories (1976–2014)
This body of work represents the original Star Wars expanded universe, which was rebranded as Star Wars Legends and declared non-canon to the franchise in April 2014.

Beginning with the 1999 release of Star Wars: Episode I – The Phantom Menace, Lucasfilm has divided its titles by fictional "era" with symbols designating such:

Star Wars Insider (2002–2014)
Various short stories have been published in Star Wars Insider.

 * "Eruption" (#141) by John Ostrander (25,793 BBY)

Tales from series (1995–1999)
These books contain short Star Wars stories from several notable science-fiction authors with stories that span different eras.

Tales from the Mos Eisley Cantina (1995)
Edited by Kevin J. Anderson.

 * "We Don't Do Weddings: The Band's Tale" by Kathy Tyers
 * "A Hunter's Fate: Greedo's Tale" by Tom Veitch and Martha Veitch
 * "Hammertong: The Tale of the 'Tonnika Sisters'" by Timothy Zahn
 * "Play It Again, Figrin D'an: The Tale of Muftak and Kabe" by A. C. Crispin
 * "The Sand Tender: The Hammerhead's Tale" by Dave Wolverton
 * "Be Still My Heart: The Bartender's Tale" by David Bischoff
 * "Nightlily: The Lovers' Tale" by Barbara Hambly
 * "Empire Blues: The Devaronian's Tale" by Daniel Keys Moran
 * "Swap Meet: The Jawa's Tale" by Kevin J. Anderson
 * "Trade Wins: The Ranat's Tale" by Rebecca Moesta
 * "When the Desert Wind Turns: The Stormtrooper's Tale" by Doug Beason
 * "Soup's On: The Pipe Smoker's Tale" by Jennifer Roberson
 * "At the Crossroads: The Spacer's Tale" by Jerry Oltion
 * "Doctor Death: The Tale of Dr. Evazan and Ponda Baba" by Kenneth C. Flint
 * "Drawing the Maps of Peace: The Moisture Farmer's Tale" by M. Shayne Bell
 * "One Last Night in the Mos Eisley Cantina: The Tale of the Wolfman and the Lamproid" by Judith and Garfield Reeves-Stevens

Tales from Jabba's Palace (1995)
Edited by Kevin J. Anderson.

Tales of the Bounty Hunters (1996)
Edited by Kevin J. Anderson.

Tales from the Empire (1997)
Edited by Peter Schweighofer.

Tales from the New Republic (1999)
Edited by Peter Schweighofer and Craig Carey.

Other

 * Crisis of Faith (2011-09-06) by Timothy Zahn
 * Published in the special 20th anniversary edition of Heir to the Empire.

Children's books
Storybooks published before 2014 for younger readers that are shorter than a standard or young adult novel.

Science Adventures (1999)

 * Emergency in Escape Pod Four (1999) by Jude Watson and K.D. Burkett
 * Journey Across Planet X (1999) by Jude Watson and K.D. Burkett

The Further Adventures
24-page read-along adaptations of the 1977 Star Wars comic by Marvel Comics. They are accompanied by a 7-inch 33 1/3 record or cassette.

 * Droid World (1983), adaptation of Star Wars #47 by Archie Goodwin (adapter) and Dick Foes (illustrator) (3 ABY)
 * Planet of the Hoojibs (1983), adaptation of Star Wars #55 by David Michelinie (adapter) and Greg Winters (illustrator) (3 ABY)

The Ewoks Join the Fight
A partial adaptation of Return of the Jedi as a 32-page read-along book with color illustrations. A read-along version accompanied by a 7-inch 33 1/3 record or cassette was also released in the same year.

 * The Ewoks Join the Fight (1983), by Bonnie Bogart (adapter) & Diane de Groat (illustrator) (4 ABY)

Golden Books
24-page illustrated children's books by Golden Books

 * Journey to Mos Eisley (1998) by Jay Rudko (0 BBY)
 * The Hoth Adventure (1998) by Jay Rudko (3 ABY)
 * Escape from Jabba's Palace (1998) by Jay Rudko (4 ABY)

Other
Non-canon stories that are not part of the Star Wars Legends branding.

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

title: List of Star Wars books


text:
USS Louisiana (1861)

The second USS Louisiana was a propeller-driven iron-hull steamer in the United States Navy during the American Civil War.

Steamboat origins
Louisiana was built at Wilmington, Delaware, in 1860 by the Harlan & Hollingsworth Iron Shipbuilding Company. Its first owners were S & J.M. Flanagan of Philadelphia, Pennsylvania. It was purchased by the Navy at Philadelphia 10 July 1861; and commissioned in August 1861, Lieutenant Alexander Murray in command.

Combat service
Assigned to the North Atlantic Blockading Squadron, until January 1862 Louisiana operated along the Virginia coast, blocking the passage of Confederate blockade runners, and attacking them at their bases. The Louisiana also participated in operations like the battle for Roanoke Island on 7–8 February 1862 and the Battle of Elizabeth City on 10 February, which denied the use of coastal inlets and seaboard towns to the blockade runners and tied down Confederate troops to guard those bases which could be held. On 13 September 1861, with USS Savannah (1842), Louisiana engaged CSS Patrick Henry off Newport News, Virginia, but shot from both sides fell short. Two of her boats destroyed a schooner fitting out as a Confederate privateer in the Battle of Cockle Creek near Chincoteague Inlet 5 October, and two days later she captured schooner S. T. Carrison with a cargo of wood near Wallops Island.

Chincoteague Island was lost to the Confederacy as a base when on 14 October Louisiana's Lt. Murray witnessed the administration of the oath of allegiance to the United States to Chincoteague's citizens. Her boats, led by Lt. Alfred Hopkins, surprised and burned three Confederate vessels at Chincoteague Inlet 28 and 29 October.

Service in North Carolina
On 2 January 1862, Louisiana was ordered to Hatteras Inlet to prepare for the invasion of the Carolina Sounds. For the next three years, she patrolled, supported Army troops and made raids along the many miles of the intricate water system whose eventual capture would be a mortal blow to the Confederacy. Typical of such actions was that of 6 September 1862, when she tried to aid Union troops repelling Confederate attacks on Washington, North Carolina. Their commander, Major General John G. Foster, reported that Louisiana "had rendered most efficient aid, throwing her shells with great precision, and clearing the streets, through which her guns had range."

She captured schooner Alice L. Webb at Rose Bay, North Carolina, 5 November 1862, then joined in the Army–Navy expedition which captured Greenville, North Carolina, four days later. On 20 May 1863, one of her boatcrews under Acting Master's Mate Charles W. Fisher, captured a still unrigged schooner in the Tar River north of Washington, N.C. The prize was named for Louisiana's captain, Richard T. Renshaw, and taken into the Navy as an ordnance hulk.

The "Powder Ship"
Fort Fisher, guarding Wilmington, North Carolina, was the key to the base which northern commanders foresaw the South employing after the fall of Charleston, and Commodore David Dixon Porter and Maj. Gen. Benjamin Butler, knowing that an assault on so powerful a defense would be long and costly, hoped to reduce it by blowing up an explosive laden ship under its walls. On 26 November 1864 contrary to naval ordnance experts' advice, Louisiana was designated for this assignment, and early in December she proceeded to Hampton Roads to be partially stripped and laden with explosives. She left Hampton Roads 13 December in tow of USS Sassacus (1862) for Beaufort, North Carolina, where the loading of powder was completed, and five days later arrived off Fort Fisher. Here USS Wilderness (1864) took up the tow, and Commander Alexander Rhind with a volunteer crew prepared for the attack. Wilderness and Louisiana continued toward Fort Fisher, but were turned back by the heavy swells which with worsening weather delayed the entire amphibious attack in leaving its base at Beaufort. The final attempt was made on 23 December, when Wilderness brought Louisiana into position under Fort Fisher late in the evening. Rhind and his crew lit the fuses and kindled a fire aft, then escaped in small boats to Wilderness. waiting anxiously for 01:18 24 December, when the fuses were timed to explode. They failed, but the fire set aft worked its way from the stern to the powder and blew Louisiana up as planned, but with little effect. Several weeks later, the massed gunfire of the fleet and amphibious assault reduced the last great bastion of the Carolina Sounds.

The wreck
In 1994 state underwater archaeologists and students from East Carolina University conducted a survey of the area off Fort Fisher. Though many Civil War-era wrecks were mapped, no remains were found that could be associated with that of the Louisiana.

title: USS Louisiana (1861)


text:
Bacchiglione

The Bacchiglione (Medoacus Minor, "Little Medoacus") is a river that flows in Veneto, northern Italy. It rises in the Alps and empties about 90 mi later into the Brenta River near Chioggia. It flows through and past a number of cities, including Vicenza and Padua. It acted for many centuries as a significant waterway up to Vicenza, above which it ceases to be navigable. It was connected in the 19th century to the Adige by a canal.

Course
The river starts in some springs in the towns of Dueville and Villaverla, in the province of Vicenza. Here it is called "Bacchiglioncello". Just upstream of the city of Vicenza receives water from the Leogra Timonchio (which descends from Mount Pasubio). At this junction, the river becomes the Bacchiglione.

At Ponte del Bo, above Vicenza, it joins with the Orolo. In Vicenza, the Bacchiglione is joined by the rivers Tesina, Retrone and Astichello. The river is about 118 km long and has a basin of 1400 km2. The average flow of the Bacchiglione in Padua is about 30 m3/s and flows through the summer dry season.

Bisatto Canal
At Longare, the Bisatto (or "Bisato") Canal was built in the twelfth century. Verona and Vicenza built it to divert water away from Padua during the many political struggles of the time, as told in the ninth canto of Dante's "Paradiso". The channel goes to Lozzo Atestino and Este; then continues to Monselice ("Este - Montelice Canal"). Then into the Battaglia Terme ("Battle Canal" or "Monselice Canal"), where it meets the Battaglia Canal from Padua. Through the Vigenzone Canal ("Cagnola Canal ") waters are reunited with the river Bacchiglione ("Channel Pontelongo"), allowing Vicenza to arrive in Chioggia without having to pass through Padua.

Brentella Canal
The Brentella Canal originates from the Brenta River in Limena, where the flow is regulated by a hydraulic barrier (the "Colmelloni"), and joins the Bacchiglione just before Padua's airport. The Brentella Canal was built in 1314 Padua to prevent the city of Vicenza from stopping the river when it created the Bisatto Canal.

Battaglia Canal
On the southern outskirts of Padua, the Battaglia Canal begins. Built in the 12th century, it heads south towards Battaglia Spa. This is connection from the Canal Bisatto, which separated from the Bacchiglione River at Vicenza. Through the Channel Vigenzone and then "Channel Cagnola", to flow again in the final stretch of the Bacchiglione ("Pontelongo Canal").

Scaricatore Canal
To prevent flood damage in the second half of the nineteenth century the Scaricatore Canal was built. It starts from Bassanello and carries the excess water from the Padua River (Channel Roncajette), near the town of Voltabarozzo.

Bridges
The Ponte San Lorenzo, a Roman bridge largely underground, along with the ancient Ponte Molino, Ponte Altinate, Ponte Corvo and Ponte S. Matteo.

 * Ponte San Lorenzo, Padua, one of the earliest Roman segmental arch bridges
 * Ponte Molino, Padua, another segmental arch bridge of Roman origin

title: Bacchiglione


text: User:Ojw/Screenshots

title: User:Ojw/Screenshots


text:
Frankie Darro

Frankie Darro (born Frank Johnson, Jr.; December 22, 1917 – December 25, 1976) was an American actor and later in his career a stuntman. He began his career as a child actor in silent films, progressed to lead roles and co-starring roles in adventure, western, dramatic, and comedy films, and later became a character actor and voice-over artist. He is perhaps best known for his role as Lampwick, the unlucky boy who turns into a donkey in Walt Disney's second animated feature, Pinocchio (1940). In early credits, his last name was spelled Darrow.

Early life
Frankie Darro was born on Saturday, December 22, 1917, in Chicago, Illinois, as Frank Johnson, Jr. His parents, Frank Johnson, Sr. and his wife Ada, were known as The Flying Johnsons, an acrobatics and tightrope walking act with the Sells Floto Circus; it was a profession that his father attempted to train him in, and he cured Frankie's fear of heights by having him walk on a length of tightrope wire, gradually raising the height of it until his son had mastered the trick.

In 1922, while the circus was in California, his parents divorced, and their circus act ended along with their marriage. The growing film industry, however, found a use for a small child who could do his own stunts, and the young Johnson, renamed "Frankie Darro", appeared in his first film at the age of six.

Acting career
As a child actor, he appeared in many silent adventure, western, and serial pictures of the 1920s.

In 1931 Darro was featured in director William A. Wellman's major success The Public Enemy. This led to frequent assignments at Warner Bros., including Mervyn LeRoy's Three on a Match (1932) and The Mayor of Hell (1933), in which he was the principal character. Director Wellman cast him as the lead in Darro's most important role during the 1930s, Wild Boys of the Road, an indictment of teens vagabonding across America during the Depression. From then on, Darro was usually cast as a pint-sized tough guy, although he also played wholesome leads in mysteries and comedies.

Frankie Darro was arguably the best juvenile actor in Hollywood, as reflected by his constant employment in the 1930s. Producer Nat Levine of Mascot Pictures valued him: he starred in six adventure serials from 1931 to 1935, with his salary increasing with his popularity: he earned $1,000 a week for The Vanishing Legion, $2,000 a week for The Lightning Warrior, $3,000 a week for The Devil Horse, $4,000 for The Wolf Dog, and $5,000 a week for Burn 'Em Up Barnes. Darro was reunited with western star Harry Carey in two of the serials; Carey and Darro had worked together in silent features. Darro might have continued as a serial star, but Levine's Mascot studio was bought out by Herbert J. Yates, who created Mascot's successor Republic Pictures. The cost-conscious Yates opted not to meet Darro's established salary. Darro signed instead with producer Maurice Conn of Ambassador Pictures, where he starred in a series of modestly budgeted action features through 1937.

Darro's name grew in stature, but he himself didn't: he stood only 5'3", limiting his potential as a leading man. His wiry, athletic frame and relatively short stature often typecast him as a jockey. Darro played a crooked rider in Charlie Chan at the Race Track and A Day at the Races. With the play and film Dead End creating a vogue for "tough street kids" stories, Darro signed with Columbia Pictures for two action features, Reformatory and Juvenile Court; he also played a sympathetic role in Columbia's popular serial The Great Adventures of Wild Bill Hickok.

In 1938, Darro joined Monogram Pictures to star in a series of action melodramas. Darro's flair for comedy gradually increased the laugh content in these films. By 1940, Monogram hired Mantan Moreland to play his sidekick. The Frankie Darro series was so successful that Monogram used it as a haven for performers whose own series had been discontinued: Jackie Moran, Marcia Mae Jones, and Keye Luke joined Darro and Moreland in 1940, and Gale Storm was added in 1941.

Darro served in the US Navy Hospital Corps during World War II. He contracted malaria while enlisted. Upon his return to civilian life, Monogram welcomed him back and cast the perennially youthful Darro in its The Teen Agers campus comedies. When that series ended, the studio gave Darro four featured roles in its popular Bowery Boys comedies, including a co-starring role in Fighting Fools (1949). This was the last film in which he played a lead; thereafter he accepted smaller roles and did stunt work for other actors in various films. Darro's last assignment for Monogram was doubling for Leo Gorcey in Blues Busters in 1950.

Later life
Darro's recurring malaria symptoms caused him to increase his alcohol intake for pain management, and this affected his career. As film and TV roles became fewer, Darro opened his own tavern, naming it "Try Later," after the response he most often received when he asked Central Casting for work. His new occupation proved unwise, however, given his heavy drinking. By the mid-1950s, he had become too risky for producers to hire steadily.

Darro is probably best known to modern audiences for two films in which he isn't even seen: Walt Disney's Pinocchio (1940, as the voice of Lampwick), and Forbidden Planet (1956, as one of the actor/operators inside the now iconic 7-foot-tall "Robby the Robot"). He was fired shortly after an early scene because of his having consumed a five-martini lunch prior to the scene being shot; he nearly fell over while attempting to walk while inside the expensive prop.

Darro's last featured appearance in a motion picture was in Operation Petticoat (1959). He did continue to play small parts well into the 1960s, mostly on television: The Red Skelton Show, Bat Masterson, Have Gun—Will Travel, The Untouchables, Alfred Hitchcock Presents, The Addams Family, and Batman (episodes 9 and 10). He also did voice-over work for various projects.

Selected filmography

 * Judgment of the Storm (1924) as Heath Twin (first role)
 * Half-A-Dollar-Bill (1924) as Half-A-Dollar-Bill
 * The Signal Tower (1924) as Sonny Taylor
 * Racing for Life (1924) as Jimmy Danton
 * Roaring Rails (1924) as Little Bill
 * So Big (1924) as Dirk DeJong (child)
 * Women and Gold (1925) as Dan Barclay Jr.
 * The Fearless Lover (1925) as Frankie
 * Her Husband's Secret (1925) as Young Elliot Owen
 * Confessions of a Queen (1925) as Prince Zara
 * Fighting the Flames (1925) as Mickey
 * Let's Go, Gallagher (1925) as Little Joey
 * Wandering Footsteps (1925) as Billy
 * The Wyoming Wildcat (1925) as Barnie Finn
 * The People vs. Nancy Preston (1925) as Bubsy
 * The Phantom Express (1925) as 'Daddles' Lane, Nora's Brother
 * The Midnight Flyer (1925) as Young Davey
 * The Cowboy Musketeer (1925) as Billy Gordon
 * Mike (1926) as Boy
 * Born to Battle (1926) as Birdie
 * The Thrill Hunter (1926) as Boy Prince
 * Memory Lane (1926) as Urchin
 * The Arizona Streak  (1926) as Mike
 * Kiki (1926) as Pierre
 * Wild to Go (1926) as Frankie Blake
 * The Masquerade Bandit (1926) as Tim Marble
 * Hearts and Spangles (1926) as Bobby
 * The Cowboy Cop (1926) as Frankie
 * The Carnival Girl (1926) as Her Brother
 * Tom and His Pals (1926) as Frankie Smith
 * Out of the West (1926) as Frankie O'Connor
 * Red Hot Hoofs (1926) as Frankie Buckley
 * Flesh and the Devil (1926) as Boy Who Dances with Hertha (uncredited)
 * Her Father Said No (1927) as Matt Doe
 * Enemies of Society (1927) as Sandy Barry
 * Long Pants (1927) as Young Harry Shelby (uncredited)
 * Cyclone of the Range (1927) as Frankie Butler
 * Tom's Gang (1927) as Spuds
 * Lightning Lariats (1927) as King Alexis
 * Judgment of the Hills (1927) as Tad Dennison
 * The Flying U Ranch (1927) as Chip Jr.
 * The Desert Pirate (1927) as Jimmy Rand
 * Little Mickey Grogan (1927) as Mickey Grogan
 * The Texas Tornado (1928) as Buddy Martin
 * When the Law Rides (1928) as Frankie Ross
 * Phantom of the Range (1928) as Spuds O'Brien
 * Terror Mountain (1928) as Buddy Roberts
 * The Circus Kid (1928) as Buddy
 * The Avenging Rider (1928) as Frankie Sheridan
 * Tyrant of Red Gulch (1928) as Tip
 * Trail of the Horse Thieves (1929) as Buddy
 * Gun Law (1929) as Buster Brown
 * Idaho Red (1929) as Tadpole
 * The Rainbow Man (1929) as Billy Ryan (first sound film)
 * The Pride of Pawnee (1929) as Jerry Wilson
 * Blaze o' Glory (1929) as Jean Williams
 * The Public Enemy (1931) as the young Matt Doyle (uncredited)
 * The Vanishing Legion (1931, serial) as Jimmie Williams
 * The Sin of Madelon Claudet (1931) as Larry Claudet, as a boy (uncredited)
 * The Lightning Warrior (1931, serial) as Jimmy Carter
 * The Mad Genius (1931) as the young Fedor Ivanoff
 * Way Back Home (1931) as Robbie
 * The Cheyenne Cyclone (1931) as "Orphan" McGuire
 * Amateur Daddy (1932) as Pete Smith
 * Three on a Match (1932) as Bobby
 * The Devil Horse (1932, serial) as Frankie Graham, the Wild Boy
 * The Mayor of Hell (1933) as Jimmy Smith
 * Laughing at Life (1933) as Chango
 * Tugboat Annie (1933) as Alec, as a Child
 * Wild Boys of the Road (1933) as Eddie Smith
 * The Wolf Dog (1933, serial) as Frank Courtney
 * The Big Race (1934) as Knobby
 * No Greater Glory (1934) as Feri Ats
 * The Merry Frinks (1934) as Norman Frink
 * Burn 'Em Up Barnes (1934, serial) as Bobbie Riley
 * Broadway Bill (1934) as Ted Williams
 * Little Men (1934) as Dan
 * Red Hot Tires (1935) as Johnny
 * The Phantom Empire (1935, serial) as Frankie Baxter
 * The Unwelcome Stranger (1935) as Charlie Anderson
 * Stranded (1935) as Jimmy Rivers
 * Men of Action (1935) as Johnny Morgan
 * Valley of Wanted Men (1935) as Slivers Sanderson
 * Three Kids and a Queen (1935) as Blackie
 * The Payoff (1935) as Jimmy Moore
 * Black Gold (1936) as Clifford "Fishtail" O'Reilly
 * The Ex-Mrs. Bradford (1936) as Spike Salisbury (uncredited)
 * Charlie Chan at the Race Track (1936) as Tip Collins, jockey
 * Born to Fight (1936) as Baby Face Madison
 * Racing Blood (1936) as Frankie Reynolds
 * Mind Your Own Business (1936) as Bob
 * Headline Crasher (1936) as Jimmy Tallant
 * Robin Hood, Jr. (1936)
 * The Devil Diamond (1937) as Lee, aka Kid Harris
 * Tough to Handle (1937) as Mike Sanford
 * A Day at the Races (1937) as Morgan's Jockey (uncredited)
 * Anything for a Thrill (1937) as Dan Mallory
 * Saratoga (1937) as Dixie Gordon
 * Thoroughbreds Don't Cry (1937) as Dink Reid
 * Young Dynamite (1937) as Freddie Shields
 * Reformatory (1938) as Louie Miller
 * The Great Adventures of Wild Bill Hickok (1938, serial) as Jerry, aka Little Brave Heart
 * Juvenile Court (1938) as Stubby
 * Wanted by the Police (1938) as Danny Murphy
 * Tough Kid (1938) as Skipper Murphy
 * Boys' Reformatory (1939) as Tommy Ryan
 * Irish Luck (1939) (1st film with Mantan Moreland) as Buzzy O'Brien
 * Chasing Trouble (1940) (with Mantan Moreland) as Frankie "Cupid" O'Brien
 * Pinocchio (1940) as Lampwick (voice, uncredited)
 * On the Spot (1940) (with Mantan Moreland) as Frankie Kelly
 * Laughing at Danger (1940) (with Mantan Moreland) as Frankie Kelly
 * Up in the Air (1940) (with Mantan Moreland) as Frankie Ryan
 * You're Out of Luck (1941) (with Mantan Moreland) as Frankie O'Reilly
 * The Gang's All Here (1941) (with Mantan Moreland) as Frankie O'Malley
 * Let's Go Collegiate (1941) (with Mantan Moreland) as Frankie Monahan
 * Tuxedo Junction (1941) as Jack "Sock" Anderson
 * Junior G-Men of the Air (1942, serial) as Jack (last before joining the US Navy)
 * Take It or Leave It (1944) as Radio Listener
 * Junior Prom (1946) as Roy Donne (first after World War II and first of the Teen Agers series)
 * Freddie Steps Out (1946) as Roy Donne
 * Chick Carter, Detective (1946, serial) as Creeper (uncredited)
 * High School Hero (1946) as Roy Donne
 * Sarge Goes to College (1947) as Roy Donne
 * That's My Man (1947) as Jockey
 * Smart Politics (1948) as Roy Donne
 * Angels' Alley (1948) as Jimmy
 * Heart of Virginia (1948) as Jimmy Easter
 * The Babe Ruth Story (1948) as Newsboy (uncredited)
 * Trouble Makers (1948) as Ben Feathers
 * Fighting Fools (1949) as Johnny Higgins (last leading role)
 * Hold That Baby! (1949) as Bananas Stewart
 * Sons of New Mexico (1949) as Gig Jackson
 * Riding High (1950) as Jockey Williams
 * The Next Voice You Hear... (1950) as Newsboy (uncredited)
 * A Life of Her Own (1950) as Bellboy (uncredited)
 * Wyoming Mail (1950) as Rufe
 * The Red Skelton Show (1951, TV Series) as the Little Old Lady
 * Pride of Maryland (1951) as Steve Loomis
 * Across the Wide Missouri (1951) as Cadet (uncredited)
 * Westward the Women (1951) as Jean's Awaiting Groom (uncredited)
 * The Sellout (1952) as Little Jake (uncredited)
 * Pat and Mike (1952) as Caddy (uncredited)
 * Siren of Bagdad (1953) as Man in Camp after Raid (uncredited)
 * Racing Blood (1954) as Ben, a jockey
 * The Lawless Rider (1954) as Jim Bascom
 * Living It Up (1954) as Bellboy Captain (uncredited)
 * Forbidden Planet (1956) as Robby the Robot (uncredited)
 * The Ten Commandments (1956) as Slave (uncredited)
 * The Perfect Furlough (1958) as Soldier in Hospital in Cast (uncredited)
 * Operation Petticoat (1959) as Pharmacists Mate 3rd Class Dooley, USN
 * The Untouchables (1960, TV Series) as News Vendor
 * Alfred Hitchcock Presents (1960) (Season 5 Episode 31: "I Can Take Care of Myself") as Little Dandy Dorf
 * Alfred Hitchcock Presents (1962) (Season 7 Episode 26: "Ten O'Clock Tiger") as Boots Murphy
 * The Carpetbaggers (1964) as Bellhop (uncredited)
 * The Disorderly Orderly (1964) as Board Member (uncredited)
 * Batman (1966, TV Series) as Newsman
 * Fugitive Lovers (1975) as Lester, the town drunk (final film role)

title: Frankie Darro


text:
Afro-punk

Afro-punk (sometimes spelled Afro-Punk, Afropunk or AfroPunk) refers to the participation of African Americans and other Black people in punk and alternative subcultures, especially in the United States.

History
The term originated from the 2003 documentary Afro-Punk directed by James Spooner and Matthew Morgan. But, Afro-punk music has been around since the mid-70s with ''Pure Hell. Pure Hell'' was the first all black punk band that originated in Philadelphia, PA.

In the early 21st century, Afro-punks made up a minority in the North American punk scene. Notable bands that can be linked to the Afro-punk community include: Death, Pure Hell, Bad Brains, Suicidal Tendencies, Dead Kennedys, Fishbone, Wesley Willis Fiasco, Suffrajett, The Templars, Unlocking the Truth and Rough Francis. In the United Kingdom, influential black musicians associated with the late 1970s punk scene included Poly Styrene of X-Ray Spex, Don Letts and Basement 5. Afro-punk has become a movement, comparable to the early hip hop movement of the 1980s. The Afropunk Music Festival was founded in 2005 by James Spooner and Matthew Morgan.

Festivals
AfroPunk has Festivals in 5 locations. The 2019 Brooklyn AfroPunk Festival took place on August 24 and 25. The Atlanta AfroPunk will take place October 12 and 13. There will also be festivals in London, Paris, and Joburg. The line-up for the festivals vary depending on location, but include artists, Jill Scott, Anderson .Paak, FKA Twigs, Leon Bridges, Danny Brown, Smino, Tierra Whack, Ho99o9, Earth Gang, Kamasi Washington, Santigold, Fever 333, Leikeli47, Mahalia, and many more.

The recent 2023 lineup featured, Joey Bada$, Baby Tate, Sudan Archives, Enny, and more.

title: Afro-punk


text:
Talk:Taiwan Independence Party

Untitled
I am considering whether it is worth mentioning the TIA's latest initiative, in which they assert that Taiwan is a territory of the United States according to the San Francisco Peace Treaty. Their intention is to take this matter to the US legal system. I think this is something that might be somewhat interesting to English-language readers. 24.124.61.165 17:41, 1 Jun 2005 (UTC)

 * Go ahead. I think this is related to the Taiwan Defense Alliance as well, but I am not sure. – Kaihsu 23:15, 2005 Jun 8 (UTC)

Lin v USA
There is a case before the US District Court for the District of Columbia, Roger C. S. Lin et al. v USA Civil Action No. 06-1825 (RMC), which web reports say are brought in the name of Taiwan Defense Alliance and a certain "Taiwan Nation Party" (with the same Han character name 建國黨). I wonder if it is related? – Kaihsu 09:15, 12 July 2007 (UTC)

Name
Can anyone provide a reliable source that states the official name of the party?-- Jerry 20:36, 29 September 2007 (UTC)

 * [This source] says that it's called the Taiwan Independent Party, can anyone show me a source that says the names was changed to Taiwan Nation Party?-- Jerry 19:30, 2 October 2007 (UTC)

independence for Tibet and Xinjiang
Does it support independence for Tibet and Xinjiang etc?--Kaiyr (talk) 08:02, 6 June 2014 (UTC)

Newly created party with the same name
This year in May, 2015 a new party with the same English name "Taiwan Independence Party" but different Chinese name "台灣獨立黨" and abbreviation "TIP" has been formed. Should anything be done about this article?

Both English names listed on this article is correct:
 * "Taiwan National Party" is referenced in Dr. Roger C. S. Lin et al. v USA.
 * "Taiwan Independence Party" is referenced in this news article.

Another point worth noting is that sometimes "Taiwan independence party" is used as a term meaning "a party in support of the independence of Taiwan". -- Jinbobo (talk) 14:13, 26 May 2015 (UTC)

title: Talk:Taiwan Independence Party


text:
Talk:List of Star Wars books

The in-universe thing
Per this archived discussion at Talk:Star Wars canon, the arrangement of this list by eras and in-universe dates is obviously a problem. I know consensus and policy agree with me, but I wanted to document and discuss things on this talk page before I attempt any overhaul (which will not be a quick task).

I think the table format works; chronological by real-world publication date, probably broken up in four or five sections based on real-world time periods like what we have in these versions of Star Wars expanded universe or Star Wars canon. The tables themselves would look like the "list of canon works" in Star Wars canon. The question is, what from the current table at List of Star Wars books should be preserved, and what should not:

 * Title-Date-Author = Yes.
 * Publisher? Not sure.
 * Maturity rating and audiobook? I am not a fan of these, but I don't know that we've actually discussed them
 * In-universe dates, or "eras" = No. We have a link to the Wookieepedia timeline of canon media. Most books are linked to individual articles with more details.
 * Description and/or Notes: I can think of a few instances where we should identify, for example, that a work is a novelization of a film, or a short story anthology, or part of Journey to Star Wars.
 * Legends vs. canon: The lead already establishes that pre-2014 works are Legends, so canonicity will be obvious by the chronological layout of the article without us having to beat it over readers' heads. If for some reason we go with one large table though, we could possible add a Legends column.

Thanks! — TAnthonyTalk 04:15, 1 September 2017 (UTC)
 * Agree. A list on Wikipedia should first and foremost be based on real-world information. The list should be modified to reflect an organizational structure based on the factual information, before the fictional. Organizing a long and complicated bibliographic list of works solely by fictional criteria seems unhelpful if not outright confusing. Morgan Riley (talk) 03:54, 8 November 2019 (UTC)

 * This is a moot point (or soon will be) for the most part, as the list is being reorganized into tables, which can be sorted either way. UpdateNerd (talk) 17:45, 8 November 2019 (UTC)

I'd like to work on moving all the books into table format to match the Original Canon Stories section. Is that the format consensus for the Legends books? Should they be grouped into a single table with a "series" category added, or left as separate tables for each "series." I'd rather have a single table, maybe sortable by "series" instead of separate sections for each group of 2-3 books. Bobbinthreadbare (talk) 00:00, 13 July 2021 (UTC)

 * Strongly agree with merging them into one table. Not so concerned about a series category since that can be included in the title. I'm not sure they need an Era category either, since that can be inferred from the place in the timeline. UpdateNerd (talk) 00:54, 13 July 2021 (UTC)

Split off novels and anthologies
I suggest that the novel and short story collections be split off, separated from the reference works and RPG manuals. This article is already very long, and will only get longer. -- 70.51.201.106 (talk) 02:56, 14 January 2019 (UTC)
 * Alternately, it can be divided by what LucasFilm jettisoned, List of Star Wars Legends books -- 70.51.201.106 (talk) 03:00, 14 January 2019 (UTC)
 * It needs to be split for sure. This list is megalong.★Trekker (talk) 17:18, 20 February 2019 (UTC)
 * I agree with the initial proposal (but not to a separate page for Legends books). However, I think the new article should be split out as List of Star Wars reference books, and leave the novels here. UpdateNerd (talk) 08:53, 24 March 2019 (UTC)

I agree and would be willing to conduct this task, as I have good knowledge of Star Wars novels. Rusty1111 : Talk 07:14, 7 March 2019 (UTC)

Age categorization
Can we please move away from the fan-fiction-like habit of marking everything with (Y) and (A)? I agree that, despite George's insistence that all of Star Wars is for children, we can identify de facto "children's books" by looking at the vocabulary and page count. But there are better ways to do so. Therefore, I propose that we just list books normally and when we get to a series by e.g. Jude Watson, we just write that it's accessible to young readers in prose. Connor Behan (talk) 00:49, 11 February 2020 (UTC)
 * First, there is no series that only has some of the books aimed at younger readers. It's all or nothing. The one counter-example claimed by the article looks dubious.
 * Second, there is no stand-alone youth novel. They all have sequels or prequels. There only appear to be isolated examples in this article because it's disorganized.

I have to say that I found the target age column very useful and actually came on here to request that it be put back. My teenage daughter has recently gotten into reading Star Wars and I found it very helpful to be able to go through this list, mark down all the ones listed as "young adult" and add them all to her Amazon wish list. When I look at this list now, there is nothing to differentiate which books are aimed at teens and which are for kids. The adult novels for myself are easier as they all seem published by Del Rey. I don't want to waste time searching up each book on this list on Amazon just to see if it's suitable or too young for her. The target audience list made this job much easier & I, for one, would very much appreciate it if it were to be reinstated. Axiryth (talk) 11:31, 26 February 2020 (UTC)

I also liked the target age column. I now have to cross-reference this list with other sources to get a list of youth vs adult novels.

The Mandalorian Novel Canceled
The Mandalorian novel has been canceled (confirmed by Del Rey on March 9th), so it needs to be removed from the list.75.170.205.211 (talk) 00:50, 15 March 2021 (UTC)

Dooku: Jedi Lost
Is it worth mentioning that this now has a physical paperback version published by Del Ray books?NickWX28 (talk) 22:11, 15 November 2021 (UTC)

AdmiralAckbar1977 (talk) 03:24, 25 May 2022 (UTC)== Upcoming Novels ==

 * I have no idea how I messed up formatting so bad here. Lol. AdmiralAckbar1977 (talk) 03:27, 25 May 2022 (UTC)

Is it ok to add to add upcoming novels to the list?

title: Talk:List of Star Wars books


text:
HMS Chichester (F59)

HMS Chichester was a Salisbury-class frigate or Type 61 aircraft direction frigate of the British Royal Navy.

Construction and design
The Salisbury-class, or Type 61, frigates were designed for a main role of providing long-range radar cover for convoys and to direct aircraft protecting the convoys. While they would be fitted with powerful radars and communications equipment and the crew to operate it, high speed would not be required. They shared a common hull and machinery with the Leopard-class frigate (or Type 41) anti-aircraft frigates.

Chichester was 339 ft long overall, 330 ft at the waterline and 320 ft length between perpendiculars, with a Beam of 40 ft and a draught of 11 ft. Displacement was 2170 LT standard and 2408 LT deep load. She was powered by eight Admiralty Standard Range 1 (ASR1) diesel engines, with a total power of 14400 bhp, driving two propeller shafts giving a speed of 25 kn. Four more of these engines were used to generate electricity, driving 500 kW alternators. Exhausts for the diesels were routed through the ship's lattice foremast and mainmast. The ship had a range of 2300 nmi at full power and 7500 nmi at 16 kn.

The ship's main gun armament consisted of one twin 4.5 inch (113 mm) Mark 6 dual-purpose gun turret, mounted forward, with a STAAG twin stabilised 40mm Bofors mount providing close-in anti-aircraft defence, although this mounting was unreliable and later replaced by a simpler Mk.V twin Bofors mount. A single Squid anti submarine mortar was fitted. The ship's lattice foremast carried direction finding and VHF/UHF communications aerials, together with a Type 268 navigation radar, with a Type 277 air/surface warning and height finding radar mounted on a short lattice mast immediately forward of the foremast. The ship's mainmast carried a Type 960 long-range air warning radar and a Type 293Q target designation radar, while a Type 982 aircraft direction radar was fitted on a deckhouse aft. The ship's sonar fit consisted of Type 174 search, Type 170 fire control sonar for Squid and a Type 162 sonar for classifying targets on the sea floor. As built, the ship and a complement of 207 officers and other ranks.

Chichester was laid down at Fairfield Shipbuilding and Engineering Company's Govan shipyard on 26 June 1953, as Yard number 771. She was launched on 21 April 1955 by Elizabeth Douglas-Home, wife of Alec Douglas-Home, and was completed on 16 May 1958.

Service
Chichester was first commissioned in 1958, joining the 4th Frigate Squadron, which alternated between duties in Home waters and the Far East. On 10 September 1958, Chichester rescued the crew of the coaster Concha, which had caught fire off Milford Haven after an explosion in her engine room. The frigate put a firefighting party aboard the blazing coaster, but despite these efforts the fire could not be contained and Concha sank while under tow by the tug Sheila. On 2 November 1958, Chichester, together with the cruiser HMS Ceylon (30) and the frigate HMS Loch Fyne (K429) embarked British troops from Aqaba, Jordan. The troops had been deployed to Jordan earlier in the year following a request by King Hussain of Jordan due to instability in the Middle East following the establishment of the United Arab Republic and the overthrow of the Iraqi monarchy. The commission took her through the Mediterranean to the Far East returning via South Africa and South America. In 1963–4 she was refitted in Chatham with macks (masts and stacks) along with type 965 & 993 radar. In 1968 she deployed for Fishery Protection duties and was accused by the Soviet Union of spying on Soviet naval exercises. During December 1969, Chichester was deployed on the Beira Patrol, attempting to stop the supply of oil to Rhodesia via the Mozambique port of Beira.

Towards the end of her career, in 1971, the Type 61 frigate was refitted as a Hong Kong guard ship, to replace an ageing Type 12 frigate, due in part to her good range conferred by her diesel machinery. Her radar fit was reduced to radar 978, 993M and the 275, Mk 6 director for the twin 4.5 and a more suitable light arms for patrol off Hong Kong of two single 20mm guns and a single 40mm Bofors.

The election of the Labour Government in 1974 saw a further reduction of naval forces, east of Suez with the frigate being supplemented by five Ton Class minesweepers converted for Patrol duties, as the largest vessels maintaining a presence for protection of British interests. Chichester left Hong Kong in the spring of 1976 to return to the UK, via Port Stanley in the Falkland Islands in response to RRS Shackleton being fired on by the Argentine destroyer ARA Almirante Storni.

Following decommissioning Chichester arrived for scrapping at Queenborough on 17 March 1981.

title: HMS Chichester (F59)


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Nottingham Playhouse

Nottingham Playhouse is a theatre in Nottingham, Nottinghamshire, England. It was first established as a repertory theatre in 1948 when it operated from a former cinema in Goldsmith Street. Directors during this period included Val May and Frank Dunlop. The current building opened in 1963.

The building
The architect of the current theatre, constructed as an example of Modern architecture, was Peter Moro who had worked on the interior design of the Royal Festival Hall in London. When the theatre was completed, it was controversial as it faces the gothic revival Roman Catholic cathedral designed by Augustus Pugin. However, the buildings received a Civic Trust Award in 1965. Despite the modern external appearance and the circular auditorium walls, the theatre has a proscenium layout, seating an audience of 770.

During the 1980s, when the concrete interiors were out of fashion, the Playhouse suffered from insensitive "refurbishment" that sought to hide its character. Since 1996, it has been a Grade II* listed building and in 2004, the theatre was sympathetically restored and refurbished with a grant from the Heritage Lottery Fund.

The sculpture Sky Mirror by Anish Kapoor was installed between the theatre and the adjacent green space of Wellington Circus in 2001 at a cost of £1.25m. It is one of the main features of the 160 seat Djanogly Terrace and in autumn 2007 won the Nottingham Pride of Place in a public vote to determine the city's favourite landmark.

In 2014–15, Nottingham Playhouse underwent a complete environmental upgrade including insulation of the fly tower, secondary and double glazing and installing PV panels. The works were jointly funded by Arts Council England, Nottingham City Council, patron donations and philanthropist Sir Harry Djanogly. The award-winning works have been calculated to cut annual energy usage by over 35%.

In 2019, Nottingham Playhouse was named The Stage Regional Theatre of the Year. and in 2023 named UK Theatre's Most Welcoming Theatre for its access work.

Performance history
The new theatre's artistic direction was shared between Frank Dunlop and actor John Neville with Peter Ustinov as associate.

The first production in the new theatre was Shakespeare's Coriolanus in a production by Tyrone Guthrie. This included a young Ian McKellen as Tullus Aufidius opposite Neville in the title role.

Subsequent artistic directors were Stuart Burge, Richard Eyre, Geoffrey Reeves, Richard Digby Day, Kenneth Alan Taylor, Pip Broughton, Martin Duncan and Giles Croft. The Playhouse is currently under the leadership of Stephanie Sirr MBE, Chief Executive and Adam Penford, artistic director.

Nottingham Playhouse has a strong tradition of new works for children, both in the form of original writing and more recently in the form of classic pantomimes conceived by former artistic director Kenneth Alan Taylor.

In common with most producing theatres, Nottingham Playhouse no longer has a repertory approach to programming, although it continues to create up to 13 new productions per annum. Its recent successes include Old Big 'Ead in the Spirit of the Man, a homage to Nottingham legend Brian Clough, Rat Pack Confidential and Summer and Smoke, which both transferred to the West End and The Burial at Thebes which was part of the Barbican BITE season of autumn 2007 and toured the US in 2008. Its production of Oedipus. created by Steven Berkoff. toured to the Spoleto Festival and stage adaptation of On the Waterfront to the West End for an extended run.

In 2013, an adaptation of The Kite Runner by Matthew Spangler produced by Nottingham Playhouse became the theatre's best-selling ever drama up to that point in time. Autumn 2014 saw a successful UK tour of the piece and in summer 2022 a Broadway revival at the Helen Haynes Theatre, again directed by Giles Croft.

In 2014, 2015 and 2016, the Nottingham Playhouse and Headlong Theatre production of 1984 played at the Playhouse Theatre in London's West End to positive reviews. In Autumn 2015' it toured to Australia and the USA. In 2016' it was announced that the award-winning Nottingham Playhouse production of The Kite Runner would transfer to the West End from December 2016 to March 2017. The run was subsequently extended to the Playhouse Theatre in summer 2017 prior to a second UK tour.

In 2013, the theatre was awarded £1m from Arts Council England to undertake upgrading of the theatre's energy efficiency. Fiona Buffini's 'Mass Bolero marked 2014 - a tribute to Nottingham born Jayne Torvill and Christopher Dean's gold medal-winning performance at the 1984 Winter Olympics in Sarajevo by the people of Nottingham. Over 800 Nottingham residents took part and the work has currently been viewed almost 190,000 times on YouTube.

In 2017, Touched by Nottingham writer Stephen Lowe and starring Nottingham-born actress Vicky McClure became the Playhouse's then best-selling ever drama.

The highlight of its 70th anniversary 2018 season was The Madness of George III by Alan Bennett starring Mark Gatiss, Debra Gillett and Adrian Scarborough which achieved record-breaking box office figures and was seen by around 500,000 people internationally through NTLive.

In 2020-21 the theatre presented a range of live and digital productions including the world premiere of James Graham’s new play inspired by the COVID-19 pandemic, titled Bubble. Autumn 2021 saw the world premiere of Mark Gatiss’s adaptation of A Christmas Carol: A Ghost Story before a London transfer to the Alexandra Palace. A filmed version was released in cinemas in 2022. It was revived in 2023 starring Keith Allen and again transferred to Alexandra Palace.

In November 2023 it was announced the first production of Dear Evan Hansen outside of London's West End would be co-produced by ATG Productions and Nottingham Playhouse. The new production will be directed by the Playhouse's artistic director Adam Penford and premiere at the Nottingham Playhouse on 9 September 2024 prior to a UK & Ireland Tour.

Participation and education
Through its Theatre In education (TIE) company Roundabout and, since 2004, in its own name, Nottingham Playhouse has toured professional theatre in schools across the East Midlands. It's TIE work has also toured internationally. It now runs classes and courses for all ages and includes a programme for people at risk of homelessness, learning disabled adults and runs ten youth theatres free of charge in the community.

Awards
UK Theatre Most Welcoming Theatre 2023

The Stage Regional Theatre of The Year 2019

What's On Stage Best Revival The Madness of George III 2018

What's on Stage Best Supporting actor Adrian Scarborough The Madness of George III 2018

UK Theatre Best Performance in a Musical Rebecca Trehearn Sweet Charity 2019.

UK Theatre Best Design Morgan Large, Wonderland 2018

title: Nottingham Playhouse