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Turkana language

Turkana is the language of the Turkana people of Kenya and Ethiopia. It is spoken in northwestern Kenya, primarily in Turkana County, which lies west of Lake Turkana. It is one of the Eastern Nilotic languages, and is closely related to Karamojong, Jie and Teso of Uganda, to Toposa spoken in the extreme southeast of South Sudan, and to Nyangatom in the South Sudan/Ethiopia Omo valley borderland; these languages together form the cluster of Ateker Languages.

The collective group name for these related peoples is Ateker.

Consonants

 * can also occur as affricated when in syllable-initial positions.
 * Affricate sounds can also be heard as palatal stops.
 * Voiced stops may also occur glottalized as implosives  when in syllable-initial positions. In syllable-final position, they are realized as unreleased.
 * is realized as a uvular stop when occurring in between vowels . When it is preceded and followed by back vowels, it is then lenited and heard as the following sounds,  or.
 * is in free variation with . These sounds are voiceless at the end of a syllable. When syllable-initial, they are instead voiced, often with a voiceless onset: or.
 * is often realized as lengthening of the previous vowel when following at the end of a word.
 * Before voiceless vowels that precede a pause, consonants are de-voiced and plosives are aspirated.

Vowels
There is a phonemic distinction with voiceless vowels, which only occur word-finally, and which are only realized as voiceless before a pause:

Turkana features advanced tongue root vowel harmony. The vowels and their voiceless counterparts are produced with an advanced tongue root, while  and their voiceless counterparts are produced with a retracted tongue root. The advanced tongue root vowels are usually somewhat breathy in terms of voice. In most circumstances, vowels in any given word must either be all advanced or all retracted in their tongue root position. An exception is made for vowels that come after, which can be either advanced or retracted (while vowels coming before must be retracted). In parallel to this, vowels following the semivowels and  can be either advanced or retracted, but vowels preceding them must be advanced. However, the semivowels and do not affect each other: either may occur before the other, despite conflicting in their tongue root position.

Vowel harmony is usually controlled by the root of a word, so that the vowels of other morphemes assimilate to the root vowels' tongue root position. However, some suffixes are "strong" and instead assimilate the root along with any preceding suffixes. Prefixes are always weak and do not control other vowels. The vowels paired in such assimilations are /i/ vs. /ɪ/, /e/ vs. /ɛ/, /o/ (from earlier /ə/) vs. /a/, /o/ vs. /ɔ/, and /u/ vs. /ʊ/; either element of each pair will turn into the other to match the tongue root position of the controlling morpheme. Vowel harmony does not cross word boundaries, and a phonological word can be defined as a unit across which harmony operates. Vowel harmony is also blocked at the boundary between roots in a compound.

Long vowels occur phonetically, but are best analyzed as sequences of short vowels rather than phonemes in their own right. In roots, /ɔ/ and /ɛ/ may be realized as [wa] and [ja], respectively. High front vowels are deleted between a palatal consonant and another vowel. Voiceless vowels before a pause are lost after glides and nasals (after de-voicing them). Nonhigh voiceless vowels before a pause are furthermore often lost in general.

Tone
Turkana has two tonemes, high and low, and one or the other is carried by every vowel. Most syllables carry a high tone, so that low tone is more marked. Some tones are "floating" and not carried by a syllable at all. Minimal pairs for tone are rare, and so it is not important in distinguishing words, but it is used to distinguish verb tenses and noun cases, so that it is important in terms of grammar.

Morphology and syntax
Turkana is a verb-initial language with both verb–subject–object (VSO) and verb–object–subject (VOS) as basic, unmarked word orders. The single objects of transitive verbs and both objects of ditransitive verbs are unmarked, while the subject is morphologically marked by a change in tone when present after the verb, and is often omitted entirely. Subjects of intransitive and transitive verbs receive the same case marking. Thus, in terms of morphosyntactic alignment, Turkana is both a marked-nominative language and a double-object language. With ditransitive verbs, the recipient/indirect object is required to be animate, and it always precedes the theme/direct object. Neither object can be promoted to be the subject of a basic sentence, so that Turkana has no real passive construction.

Turkana features six cases: a nominative, an absolute, a genitive, an instrumental, a locative, and a vocative. This makes it typologically unusual as one of the only verb-initial languages attested to have more than two or three cases.

title: Turkana language


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Bendestorf

Bendestorf is a municipality in Lower Saxony in Germany. It is situated ca. 30 km south of Hamburg and belongs to the Landkreis (district) Harburg and the Samtgemeinde of Jesteburg.

The first mentioning of Bendestorf dates back to the year 970. The current population ist approximately 2300 (2022). In the post-war era Bendestorf was well known for its film-studios where movies starring Hildegard Knef (a.k.a. Hildegard Neff) and other famous German actors were produced.

Sights

 * The Makens-Huus on Poststraße, dating back to 1640 houses the municipal administration and the Filmmuseum, which is dedicated to the local postwar German movie production.
 * Thiemann-Scheune (Thiemann-barn)
 * Wassermühle (water mill)
 * Hünengrab (giant's grave), a stone age graveyard from the Neolithic 2500 BC

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

title: Bendestorf


text:
Blind Approach Beacon System

A blind approach beacon system or beam approach beacon system (BABS) is an automatic radar landing system developed in the early 1940s.

It is a responder (or transponder) mounted in a Hillman van and placed at the end of the runway. In some cases fixed sites were installed and by the mid-1950s Standard 9 vans were in use. It was interrogated by a Rebecca unit mounted in an aircraft. It responded by transmitting dots on one side of the runway and dashes on the other. The strength of the reception in the aircraft depended on the aircraft's position relative to the centre line of the runway. The aircraft's equipment could then determine its position relative to these dots and dashes.

This is an early version of the localizer from the more modern instrument landing system (ILS). The localizer uses two tones (90 and 150Hz) modulated on a carrier (108.1-111.95 MHz) and transmitted on a wide aperture antenna array, this can be seen at almost all airports at the end of the runway. The strengths of which (or Difference in Depth of Modulation) are detected by electronics in the aircraft and present the pilot with an indication to fly left or right and indeed up or down with a co-located glidepath (328.6 to 335.4 MHz) equipment. See instrument landing system for further details.

title: Blind Approach Beacon System


text: Category:History of logic

title: Category:History of logic


text:
Talk:The American Review

American Review: A Whig Journal
After doing all that work expanding the section under "19th century," I'm thinking it's a better idea to create a new article: American Review: A Whig Journal. It seems odd having one article discussing three different magazines just because they have similar names anyway. Midnightdreary 18:50, 27 February 2007 (UTC)

 * Feel free to split that section off into an new article at American Review: A Whig Journal or whatever the best title might be, with a link and short sentence summary here. I don't think it's inherently wrong to have multiple things of the same name in one article if we only have a stub of information on each, though it would be better if we could eventually have seperate articles on each publication and turn this into a disambiguation page. -- Infrogmation 19:03, 27 February 2007 (UTC)

 * Agreed. I've gotten started on the American Review: A Whig Journal page, and removed the info that was on here (well, I left a small summary with a link to the new main article). Midnightdreary 20:47, 27 February 2007 (UTC)

Incongruous Jump
The external link jumps one to an "American Review" which has nothing to do with any of the "American Reviews" discussed in the article. It should be deleted. LAWinans (talk) 19:00, 8 August 2008 (UTC)

disambiguation?
I suggest creating a disambiguation page and for each journal to have its own page.Zigzig20s (talk) 17:32, 24 September 2008 (UTC)

Breaking up into multiple articles
The article as it appears right now is about multiple distinct subjects which share only a name. That means it's effectively a disambiguation page, but with the article content for each included. Articles on Wikipedia that aren't disambiguations only cover a single subject, and as it's an encyclopedia and not a work of lexicography those subjects are concepts/ideas/things rather than words or terms.

That said, I'm going to break the article up into multiple articles and reformat this as a proper disambig page.

There is already a separate article for The American Review: A Whig Journal. This page will redirect to American Review, which will be the disambiguation page. We can create The American Review (literary journal) for the Collins publication. American Review (literary journal) for what was formerly New American Review. And American Review (political journal) for the Australian publication, though I'm less confident that one is notable enough for an article.

--—  Rhododendrites talk  \\ 05:36, 18 December 2014 (UTC)

title: Talk:The American Review


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Chemoprophylaxis

Chemoprevention or chemoprophylaxis refers to the administration of a medication for the purpose of preventing disease or infection. Antibiotics, for example, may be administered to patients with disorders of immune system function to prevent bacterial infections (particularly opportunistic infection). Antibiotics may also be administered to healthy individuals to limit the spread of an epidemic, or to patients who have repeated infections (such as urinary tract infections) to prevent recurrence. It may also refer to the administration of heparin to prevent deep venous thrombosis in hospitalized patients.

In some cases, chemoprophylaxis is initiated to prevent the spread of an existing infection in an individual to a new organ system, as when intrathecal chemotherapy is administered in patients with malignancy to prevent further infection.

The use of chemoprophylaxis is limited primarily by two factors: risk and financial costs.
 * All medications have the potential to cause side effects. In general, chemoprophylaxis should be initiated only when the benefits of treatment outweigh the risks.
 * The cost associated with chemoprophylaxis may be prohibitive, particularly when the cost of treatment is high or the incidence of the target disease is low. Many forms of chemoprophylaxis are therefore not cost-effective.

Specific diseases
Using chemoprophylaxis as a treatment against early signs of tuberculosis has proven to be effective. In familial adenomatous polyposis physicians observed polyps regression with NSAIDs for anti-inflammatory therapy. Chemoprophylaxis is also used to treat several different varieties of meningococcal infections for close contact exposure to Neisseria meningitidis.

The World Health Organization recommends chemoprevention to prevent Malaria in the Sahel region of Sub-Saharan Africa through the use of the drugs sulfadoxine/pyrimethamine and amodiaquine. This technique is called Seasonal Malaria Chemoprevention (SMC). The charity evaluator GiveWell lists the Malaria Consortium's SMC program as one of its priority programs due to its high level of cost-effectiveness and ability to absorbe additional funding.

Cancer
Chemoprevention in cancer, was first proposed by Michael Sporn, seeks to identify ‘agents to reverse, suppress or prevent the carcinogenic process,’ from premalignancy to invasive and or metastatic cancer, by ‘using physiological mechanisms that do not kill healthy cells. . Anand Reddi proposed a role for the antidiabetes drug metformin as a chemoprevention agent for skin cancer.

title: Chemoprophylaxis


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User talk:Joncrlsn

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! , SqueakBox 19:35, Jun 9, 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:Joncrlsn


text:
User talk:Danielsavoiu/Term logic

Redundancy
Does wikipedia need all of: I see a case for two articles, but not three with the material we have. I suggest we merge the first and the last articles. --- Charles Stewart 19:35, 9 Jun 2005 (UTC)
 * 1) Aristotelian logic
 * 2) Term logic and
 * 3) Organon?

In general I like having lots of focused articles which overlap. It makes it a lot easier to look stuff up. I like being able to, for example, enter "Organon" or link to it and, in the first sentence, find out what it is, rather than having to scan through an article looking for where the Organon is explained. So I would prefer to keep all three articles. I also don't mind redundancy and overlap, we have the space, and I think it makes Wikipedia more robust — if a definition gets bollixed up in one place, it might be fixed by looking in another. Having said all that, I don't necessarily think that the way we have organized this information across these three articles is best, and a rewrite of all three, with the others in mind would certainly be a good thing. And if you really just want to merge a couple of the articles, go ahead. It won't be hard to create new articles again from the probably better merged article. Paul August ☎ 21:56, Jun 9, 2005 (UTC)

 * OK, so I think I'll keep the Organon article separate, but change the article to become just a brief summary of the six books, plus a reference to the metaphysics, with a direction to look at this article for an explanation, and I'll put an Organon section in this article with abrief precis of the constitution of the texts, plus the historical stuff now in that text. That should keep its quick reference value, without having the scattering of topic.  The diving up of this article and term logic is not ideal, but I won't tackle that now. --- Charles Stewart 14:08, 10 Jun 2005 (UTC)

Sounds good to me. Paul August ☎ 14:36, Jun 10, 2005 (UTC)

By the way the above, reminds me that, I've tried a couple of times to read through all the logic articles, but have found their organization a bit confusing to me. I've had it in the back of my mind, for some time now, to go through them, and try to sort them out a bit. But I have found the task a bit daunting. I have however I've been noticing recently, Charles Stewart's work (I just now discovered User:Chalst/WikiProject Logic proposal) and I am encouraged by it. (Charles: perhaps you should start a discussion about your proposed logic project on Wikipedia talk:WikiProject Mathematics? Or perhaps you did and I missed it?) Paul August ☎ 15:06, Jun 10, 2005 (UTC)

 * Thanks for your encouragement. The idea is almost a year old now, and a few people are interested.  I've been hesitant to roll it out for fear that it would distract from the task of getting the core logic articles in order, so I've only discussed it with User:CSTAR, User:Mel Etitis and User:Txa.  But maybe the disorganisation of the logic pages is deterring people from getting involved. --- Charles Stewart 16:05, 10 Jun 2005 (UTC)

Criticism of Aristotle
"Gottlob Frege and Bertrand Russell criticized the work of Aristotle and showed its many limitations. They helped remove the positive prejudice associated with the work of Aristotle. Today logicians who study modern logic respect the Aristotelian logic in the sense of its great early accomplishment."
 * This text is about Organon or is about (pseudo-)aristotelian logic? Where have Frege criticized the work of Aristotle? I'm not even sure Frege known the Organon. And I don't agree we should accept Russell's oppinion about aristotelian logic, anyway; so i'm not sure this quote is npov.  Gubbubu 18:44, 11 Jun 2005 (UTC)

 * Russell's criticisms were (from his History of Western Philosophy under Aristotle's Logic):
 * 1) defects within his system. Going from "All Greeks are men" and "All Greeks are white" to "therefore some men are white" is only true if there actually ARE any Greeks.  So, in order for the conclusion to follow, a third premise that "There are some Greeks" would be needed.  I think this is referred to as the error of the excluded middle (but I'm not sure about that).
 * 2) the syllogism was given too much emphasis compared with other types of deductive argument. This refers mostly to math and formal logic in the form of predicate calculus, etc.
 * 3) over-estimation of the value of deduction, as opposed to induction. WhiteC 02:58, 13 Jun 2005 (UTC)

 * Nobody disputes that modern logic is more powerful than Aristotle's system, but some people dispute that modern logic is an improvement on syllogistically based logics; see term logic. I agree that the passage is POV.  With respect to Russell's criticisms, (1) is the problem of existential import, and it is not clear that Aristotle's system has a real problem here, (2) the syllogism is not the only inference in Aristotle's system, and (3) doesn't sound to me like a claim that Russell would make. --- Charles Stewart 14:03, 14 Jun 2005 (UTC)

 * General agreement, except for (3). He doesn't say Aristotle ignores inductions, just that he tends to stress deduction over it, as do (in his opinion) most other ancient philosophers.  I refer you to page 199 of Bertrand Russell's 'A History of Western Philosophy', 1972 Simon & Schuster.  Sorry if he doesn't sound like himself. WhiteC 02:13, 15 Jun 2005 (UTC)

Problem of existential import
We should have a section on this; I'm too busy to start it now. Some bookmarks:
 * Nedzynski and the Square of Opposition Ivan Antonowitz defends syllogistic against the problem.
 * SEP article on the square of opposition Good overview of problem.

Proposal to merge
Following User:Danielsavoiu's work in explaining syllogistic inference on this page that largely duplicates the explanation on term logic, I think we should get this article merged with term logic ASAP. I think User:Paul August has no objections: if anyone does, now is the time to raise them. --- Charles Stewart 19:38, 26 September 2005 (UTC)

PS. I should say that I think this article should be merged into term logic, despite the relative frequency of the terms, since term logic covers material the article should cover, which Aristotelian logic does not. --- Charles Stewart 19:40, 26 September 2005 (UTC)

 * I am happy to follow your lead in this Charles. Paul August ☎ 20:08, 26 September 2005 (UTC)

title: User talk:Danielsavoiu/Term logic


text:
Atlanta and West Point Railroad

The Atlanta and West Point Rail Road was a railroad in the U.S. state of Georgia, forming the east portion of the Atlanta-Selma West Point Route. The company was chartered in 1847 as the Atlanta and LaGrange Rail Road and renamed in 1857; construction of the gauge line was begun in 1849-50 and completed in May 1854. A large minority interest owned by the Georgia Railroad and Banking Company eventually passed under the control of the Atlantic Coast Line Railroad (ACL), which later acquired a majority of the stock.

In the late 20th century restructuring, through the Seaboard Coast Line Railroad (SCL), successor to the ACL, the A&WP came under the Family Lines System banner in 1972. Years later in June 1983, it was merged into the Seaboard System Railroad, successor to the SCL. The former A&WP property is now owned by CSX Transportation.

In 1967 A&WP reported 232 million revenue ton-miles of freight and 3 million passenger-miles on 93 mi of road operated.

History
The AWP and the Western Railway of Alabama had financial backing from the parent company of the Georgia Railroad and Banking Company. From 1886 onward the AWP and the Western operated essentially as one railroad under the name "West Point Route". In the 19th and early 20th centuries, the three were controlled through joint lease by the Central of Georgia Railroad and the Louisville and Nashville Railroad (through assignment by its majority owner, the Atlantic Coast Line Railroad).

The CofG sold its interest in 1944. The lines eventually fell under the control of the Seaboard Coast Line Railroad, as a result of a merger between the Atlantic Coast Line and the Seaboard Air Line. All of these lines, plus the Clinchfield Railroad, became the Family Lines System in the 1970s, though all the lines maintained separate corporate identities. Those identities became "fallen flags" when the group was renamed Seaboard System Railroad (SBD). In 1986 SBD merged with Chessie System to form CSX Transportation.

The former AWP line remains in full service today, although This was 16 months before Amtrak took over most of the nation's long-distance passenger trains. (The Central of Georgia's Man o' War continued to operate for several more months over the A&WP rail line.) The Atlanta & West Point name ended in June 1983, when the railroad company was absorbed by the Seaboard System.

One of AWP's most notable steam locomotives, heavy Pacific AWP 290, survived and was restored to operational status in 1989. The 290 pulled steam excursions around Atlanta from 1989 to 1992 for the "New Georgia Railroad," including a special excursion from Atlanta to Montgomery along the original West Point Route.

List of stations
These stations existed as of 1867. Trains departed from Atlanta at 12:15PM and arrived there at 8:37AM. West Point was the connecting point further west via the Montgomery and West Point Railroad.

title: Atlanta and West Point Railroad


text:
Sarah Paulson

Sarah Catharine Paulson (born December 17, 1974) is an American actress. She is the recipient of numerous accolades, including a Primetime Emmy Award, a Golden Globe Award, and a Tony Award. In 2017, Time magazine named her one of the 100 most influential people in the world.

Paulson began her acting career starring in the television series American Gothic (1995–1996) and Jack & Jill (1999–2001). She played Harriet Hayes in the NBC series Studio 60 on the Sunset Strip (2006–2007). Paulson gained fame for her collaborations with showrunner Ryan Murphy notably starring in nine seasons of his anthology series American Horror Story from 2011 to 2021, earning five Primetime Emmy Award nominations.

For her portrayal of Marcia Clark in the FX limited series The People v. O. J. Simpson: American Crime Story (2016), she earned the Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie. She was Emmy-nominated for her roles as Nicolle Wallace in the HBO television film Game Change (2012), and Linda Tripp in FX on Hulu miniseries Impeachment: American Crime Story (2021). She has also played a conservative activist in the FX on Hulu limited series Mrs. America (2020) and Nurse Ratched in the Netflix series Ratched (2020).

On film, she has had leading roles in Blue Jay (2016), Glass (2019), and Run (2020) as well as supporting roles in What Women Want (2000), Down with Love (2003), Martha Marcy May Marlene (2011), Mud (2012), 12 Years a Slave (2013), Carol (2015), The Post (2017), Ocean's 8 (2018), Bird Box (2018). On Broadway, she acted in the Tennessee Williams revival The Glass Menagerie (2005), the Donald Margulies play Collected Stories (2010), and the Branden Jacobs-Jenkins play Appropriate (2023), the later earning her the Tony Award for Best Actress in a Play.

Early life and education
Sarah Catharine Paulson was born in Tampa, Florida, on December 17, 1974, the daughter of Catharine Gordon (née Dolcater) and Douglas Lyle Paulson II. She spent her early life in South Tampa until her parents' divorce when she was five. After her parents' separation, she relocated with her mother and sister to Maine, then to New York City. Her mother worked as a waitress, and Paulson lived in Queens and Gramercy Park before settling in Park Slope. She recalled of this period, "My mom was 27 years old [when we moved]. She didn't know a single person in New York City. She got a job at Sardi's Restaurant." Throughout her childhood, Paulson spent her summers in Florida with her father, who was an executive at a Tampa door manufacturing company. She attended P.S. 29 and Berkeley Carroll School in Brooklyn before attending Manhattan's Fiorello H. LaGuardia High School and the American Academy of Dramatic Arts.

1994–2007: Early roles and career beginnings

Paulson began working as an actress right out of high school. In 1994, she made her Broadway debut as a replacement understudy for the role of Tessin, played by Amy Ryan in Wendy Wasserstein's play The Sisters Rosensweig at the Ethel Barrymore Theatre. She appeared in the Horton Foote play Talking Pictures at the Signature Theatre, and in an episode of Law & Order in 1994. The next year, Paulson appeared in the Hallmark television film Friends at Last (1995) opposite Kathleen Turner, playing the adult version of Turner's character's daughter. She also starred in the short-lived television series American Gothic (also 1995), playing the ghost of a murdered woman. In 1997, Paulson made her feature film debut in the independent thriller film Levitation, playing a woman who discovers she is pregnant after an anonymous sexual encounter. Leonard Klady of Variety noted that Paulson and her co-stars are "not supported by the script", concluding: "Levitation is a grim, convoluted saga of identity and belonging. An ill-fitting combination of melodrama and magic realism, the indie effort will have a decidedly difficult time in the theatrical arena." In 1997, Paulson was a featured actress (Janice/Nina) in the two-part episode "True Romance" of Cracker, which starred Robert Pastorelli. The following year she returned to the stage acting in the Off-Broadway production of Killer Joe (1998).

She subsequently played Elisa Cronkite in The WB comedy-drama series Jack & Jill (1999). The same year, she was also cast opposite Juliette Lewis and Diane Keaton in the drama The Other Sister, playing the lesbian sister of a developmentally-disabled woman in San Francisco, and in a supporting part playing a hostage in the comedy Held Up, opposite Jamie Foxx. The following year, she had a small supporting role in the Nancy Meyers directed romantic comedy What Women Want (2000), starring Mel Gibson and Helen Hunt. She portrayed Luci Baines Johnson in the HBO film Path to War (2002) starring Michael Gambon, Donald Sutherland and Alec Baldwin. That same year she starred as the main character, Faith Wardwell, an advertising executive, in the NBC series Leap of Faith (2002). Phil Gallo compared the show unfavorably to Sex and the City. She was then cast in the period romantic comedy Down with Love (2003) in a central supporting role, portraying the friend and editor of a writer (portrayed by Renee Zellweger). Paulson had a minor recurring role in the HBO series Deadwood (2005). and was a focal character in a 2004 episode of the FX series Nip/Tuck.

In 2004, she had a supporting role in the ABC series The D.A., which was cancelled after only four episodes. In the spring of 2005, Paulson starred in a Broadway revival of the Tennessee Williams play The Glass Menagerie opposite co-star Jessica Lange. Ben Brantley of The New York Times deemed the production as "misdirected and miscast... reality never makes an appearance in this surreally blurred production." Later that year, Paulson appeared Off-Broadway in a production of Colder Than Here, opposite Lily Rabe (also her future co-star on American Horror Story). The production received an unfavorable review from Variety, with critic Dave Rooney writing: "Rabe speaks in an affected monotone while Sarah Paulson has the measured, upward-inflected delivery of a children's TV presenter... this mannered, melancholy play elicits a mainly impassive response, which is no small obstruction in a work dealing with loss." Also in 2005, Paulson had a small role in the Joss Whedon-directed science fiction film Serenity. In the 2006–07 television season, Paulson co-starred in the Aaron Sorkin created NBC comedy-drama Studio 60 on the Sunset Strip, playing Harriet Hayes, one of the stars of the show-within-a-show. This role earned her a nomination for Golden Globe Award for Best Supporting Actress – Series, Miniseries or Television Film. In December 2008, Paulson appeared in the screen adaptation of Will Eisner's comic book The Spirit, playing an updated version of the character Ellen Dolan.

2008–2015: Collaborations with Ryan Murphy

In 2008, ABC cast Paulson in the pilot Cupid, which was ordered to series. It was a remake of the 1998 series starring Jeremy Piven and Paula Marshall. In the new version, Paulson starred opposite Bobby Cannavale. It debuted in late March 2009 on ABC but was cancelled on May 19, 2009, after six episodes. In February 2010, Paulson was cast as the circa 1982 mother of main character Meredith Grey, on the ABC drama Grey's Anatomy, appearing in a flashback sequence in a season-six episode. She then played Nicolle Wallace in the HBO film Game Change (2012), based on events of the 2008 U.S. presidential election campaign. For her performance, she earned Primetime Emmy Award and Golden Globe Award nominations.

In the spring of 2010, she starred in the Donald Margulies play Collected Stories alongside Linda Lavin at the Samuel J. Friedman Theatre on Broadway. The same year, Paulson filmed the independent drama Martha Marcy May Marlene, in which she starred opposite Elizabeth Olsen and Hugh Dancy, portraying the wealthy sister of a woman who has escaped a cult. The film was released in the fall of 2011. Simultaneously, Paulson guest-starred in three episodes of the FX anthology series American Horror Story, playing medium Billie Dean Howard. Paulson returned the following year for season two, American Horror Story: Asylum, in which she played a new character, Lana Winters, a writer who is committed to an asylum for being a lesbian. For her performance she was nominated for the Primetime Emmy Award for Outstanding Supporting Actress in a Limited Series or Movie at the 65th Primetime Emmy Awards. During this time, she also played the supporting role of Mary Lee in the acclaimed Jeff Nichols drama film Mud (2012), starring Matthew McConaughey.

Paulson returned to theater in March 2013, appearing in an Off-Broadway production of the Lanford Wilson play Talley's Folly opposite Danny Burstein. She then starred in the third season of American Horror Story, titled Coven (2013) as Cordelia Foxx, a witch who runs an academy for other young witches. The same year, she starred as Mary Epps, an abusive slave-owner, in the Steve McQueen directed historical drama film 12 Years a Slave. The film was a critical success, earning numerous accolades. She was nominated along with the ensemble for the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture.

In 2014, Paulson appeared in the fourth season of series of American Horror Story, titled Freak Show, playing the roles of conjoined twin sisters Bette and Dot Tattler, who are members of a circus freak show. She returned for the fifth season, subtitled Hotel, in the role of Hypodermic Sally, the ghost of a drug addict trapped in a Hollywood hotel. For her roles in Freak Show and Hotel she received nominations for the Primetime Emmy Award for Outstanding Supporting Actress in a Limited or Anthology Series or Movie in 2014 and 2016. She also reprised the character of Billie Dean Howard in the last episode of the season, making a crossover appearance. During this time, Paulson also took on the role of Abby Gerhard in the Todd Haynes-directed romantic drama Carol (2015), a period piece in which she played the supporting role of Cate Blanchett's close friend.

2016–present: Career expansion and return to Broadway

Beginning in February 2016, Paulson starred in the first season of the true crime anthology series American Crime Story, subtitled The People v. O.J. Simpson, portraying prosecutor Marcia Clark. Maureen Ryan of Variety wrote, "Marcia Clark’s summation was clipped, precise and underlined by the simmering, quietly controlled anger that Sarah Paulson brought to the role. She was framed with geometric precision and squared edges." She garnered widespread critical acclaim for her performance and won numerous awards,the Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie as well as the Screen Actors Guild Award, Golden Globe Award, Critics' Choice Television Award, and TCA Award for the role. That same year she starred opposite Mark Duplass in Netflix romantic drama Blue Jay (2016) which premiered at the Toronto International Film Festival. Jon Frosch of The Hollywood Reporter wrote of her performance, "If the film proves more stirring than you expect, it’s thanks to Paulson, who, with her crisp delivery and teasing eyes welling up with confusion and heartache, gives Amanda an inner life far beyond what’s written for her."

In June 2016, the Human Rights Campaign released a video in tribute to the victims of the Orlando nightclub shooting; in the video, Paulson and others told the stories of the people killed there. In the fall of 2016, she starred in the sixth iteration of American Horror Story, subtitled Roanoke; in it, she was cast in the dual roles of British actress Audrey Tindall and tortured wife and yoga instructor Shelby Miller, the latter of whom is portrayed by Tindall's character in My Roanoke Nightmare, a documentary within the series. She also reprised her role of Lana Winters in the final episode of Roanoke, in which the character makes a crossover appearance. After completing Roanoke, Paulson appeared in the series' seventh season, Cult (2017), in which she played restaurant owner Ally Mayfair-Richards, as well as Susan Atkins in the 10th episode of the season. She also starred as Geraldine Page in one episode of the first season of drama anthology series Feud (2017), which chronicles the turbulent working relationship between actresses Bette Davis and Joan Crawford.

Paulson was then cast in the heist film Ocean's 8 (2018), co-starring with Cate Blanchett, Sandra Bullock, Anne Hathaway, Mindy Kaling, Awkwafina, and Rihanna. The film was a commercial success, grossing nearly $300million at the worldwide box office. In 2017, she was invited to join the Academy of Motion Picture Arts and Sciences. Paulson returned for the eighth season of American Horror Story, titled Apocalypse, which premiered on September 12, 2018. In Apocalypse, Paulson reprised both the Murder House and Coven roles of Billie Dean Howard and Cordelia Foxx, respectively, and also starred as the villainous Miss Wilhemina Venable. In addition to appearing as three characters, Paulson also directed one of the season's episodes, marking her directorial debut. She played Sandra Bullock's character's sister, Jessica, in the drama horror film Bird Box (2018), which was released on Netflix in December. In 2019, Paulson starred as Dr. Ellie Staple in the superhero thriller film Glass, Xandra in the drama film The Goldfinch, and Dr. Zara in the animated adventure film Abominable. Paulson then starred as Alice Macray in the FX limited drama series Mrs. America (2020) about the unsuccessful political movement to pass the Equal Rights Amendment. Paulson acted opposite Cate Blanchett, Rose Byrne, Uzo Aduba, Melanie Lynskey and Margo Martindale. She also starred as Clarissa Montgomery in the HBO satirical comedy television film Coastal Elites, which premiered in September 2020.

In September 2017, it was announced that Paulson would star as a younger version of Nurse Mildred Ratched, the villain of the novel One Flew Over the Cuckoo's Nest and its acclaimed 1975 film adaptation, in the Netflix drama series Ratched, a prequel to the novel which would portray the character's origins. The first season was released on September 18, 2020. For her performance she was nominated for the Golden Globe Award for Best Actress – Television Series Drama. In November 2020, Paulson starred in the psychological thriller film Run, opposite Kiera Allen. It went on to become the most watched original film on the streaming platform Hulu. In 2021, she portrayed Linda Tripp in the third season of the true crime anthology series American Crime Story, subtitled Impeachment. For her performance in the series, Paulson received a Primetime Emmy Award nomination. In 2021, she returned to American Horror Story for its tenth season, after being absent for the ninth season. She portrayed the character Tuberculosis Karen and a fictional version of former First Lady of the United States, Mamie Eisenhower.

In February 2022, it was announced that Paulson had been tapped to portray author Glennon Doyle in a television series based on Doyle's memoir, Untamed. In 2023, she guest starred in the Hulu comedy drama series The Bear, playing Michelle Berzatto in the episode "Fishes". Paulson returned to Broadway in 2023 to star in Branden Jacobs-Jenkins's play Appropriate acting alongside Corey Stoll, Natalie Gold, Elle Fanning, and Michael Esper. In the play she portrays Toni, the eldest sibling who tries to reconnect with her siblings after the death of their late father. While at their father's home in rural Arkansas they all discover his shocking past. Adrian Horton of The Guardian declared that Paulson was "the top reason among many to see this play" adding, "Part of the play’s delight is relishing Paulson’s delivery of some truly scathing burns". Paulson won the Tony Award for Best Actress in a Play.

In the media
In 2016, French hidden object game Criminal Case modeled character Mary Patrick in its fourth season, Mysteries of the Past, after Paulson.

In 2017, Time named Paulson one of the 100 most influential people in the world.

In 2018, Paulson was ranked one of the best dressed women by fashion website Net-a-Porter.

Personal life
Paulson lives in Los Angeles. She is a supporter of the Democratic Party. She was diagnosed with melanoma on her back when she was 25, and the growth was removed before the cancer could spread.

Addressing her sexuality, Paulson called it "a fluid situation" and later said, "If my life choices had to be predicated based on what was expected of me from a community on either side, that's going to make me feel really straitjacketed, and I don't want to feel that." She dated actress Cherry Jones from 2004 to 2009. She had dated only men before this relationship, including her former fiancé, playwright Tracy Letts. Since early 2015, she has been in a relationship with actress Holland Taylor.

Acting credits
Paulson appeared in such films as What Women Want (2000), Down with Love (2003), Serenity (2005), The Notorious Bettie Page (2005), The Spirit (2008), Martha Marcy May Marlene (2011), New Year's Eve (2011), Mud (2012), Game Change (2012), 12 Years a Slave (2013), Carol (2015), Blue Jay (2016), The Post (2017), Ocean's 8 (2018), Bird Box (2018), Glass (2019), Abominable (2019), and Run (2020).

On television, Paulson starred in American Gothic (1995–1996), Jack & Jill (1999–2001), Deadwood (2005), Studio 60 on the Sunset Strip (2006–2007), Cupid (2009), Law & Order: Special Victims Unit (2010), American Horror Story (2011–2021), American Crime Story (2016–2021), Mrs. America (2020), and Ratched (2020).

Paulson has also appeared on Broadway in the plays The Glass Menagerie (2005), Collected Stories (2010), and Appropriate (2023) and the off-Broadway plays Crimes of the Heart (2008) and Talley's Folly (2013).

Awards and nominations
Paulson has accumulated nominations for seven Primetime Emmy Awards, five Golden Globe Awards, and two Screen Actors Guild Awards, receiving one of each for her role in the limited series The People v. O. J. Simpson: American Crime Story. She was also nominated for her work on other television programs, such as the comedy-drama series Studio 60 on the Sunset Strip, the political drama film Game Change, and the horror anthology series American Horror Story. For her performance in the Academy Award-winning period drama film 12 Years a Slave, she was nominated for the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. She won a Tony Award for Best Actress in a Play for her role in Appropriate.

title: Sarah Paulson


text:
War and Peace (opera)

War and Peace (Op. 91) (Война и мир, Voyna i mir) is a 1946 230-minute opera in 13 scenes, plus an overture and an epigraph, by Sergei Prokofiev. Based on the 1869 novel War and Peace by Leo Tolstoy, its Russian libretto was prepared by the composer and Mira Mendelson. The first seven scenes are devoted to peace, the latter six, after the epigraph, to war.

Although Tolstoy's work is classified as a novel, the 1812 invasion of Russia by the French was a historical event, and some real-life people appear as characters in both the novel and the opera, e.g. Prince Mikhail Kutuzov and Napoleon Bonaparte.

Composition history
Mendelson and Prokofiev's original scheme for the libretto of the opera envisaged 11 scenes, and Prokofiev began composing the music in the summer of 1941, spurred on by the German invasion of the Soviet Union which began on June 22, 1941. The description "lyric-dramatic scenes" in the libretto accurately suggests both a homage to Tchaikovsky's Eugene Onegin and an emphasis on individuals and their emotions rather than on the bigger picture of a country at war.

A piano score was completed by the summer of 1942 (two scenes having been changed from the original version), and it was submitted to the Soviet Union's Committee on the Arts. The Committee demanded that the Part 2 (War) scenes needed a more patriotic and heroic emphasis. Prokofiev, who had wanted to see his masterpiece staged as quickly as possible, added marches, choruses, and other materials to Part 2 to satisfy the committee. In addition, he composed the choral Epigraph, which emphasises the Russian people's defiance in the face of the enemy.

Performance history
Plans were drawn up for a 1943 première at the Bolshoi Theatre, Moscow, to be directed by Sergei Eisenstein and conducted by Samuil Samosud. Nothing came of this project, although a private performance of eight scenes with piano accompaniment took place at the Moscow Actors’ Centre on October 16, 1944, and a public concert performance of nine scenes, conducted by Samosud, was given in the Great Hall of the Moscow Conservatory on June 7, 1945.

The first staged performance was of a newly extended seven-scene version of Part 1 (what is now Scene 2 having been added at Samosud’s suggestion), together with Scene 8, the first scene of Part 2. This took place on June 12, 1946, at the Maly Theatre (before the Revolution – Mikhailovsky Theatre) in Leningrad, again conducted by Samosud. Part 2, also with an additional scene (Scene 10), was to be performed there in July 1947, but after the dress rehearsal no public performances were given, “for reasons beyond the control of the theatre and the composer”.

Following the Zhdanov decree of February 1948, Prokofiev started work on a shortened single-evening version of the opera, at the same time making various revisions to his original scheme, although the thirteen-scene framework remained. This version was first performed on 26 May 1953, at the Teatro Comunale, Florence, conducted by Artur Rodziński, two months after the composer’s death. Scenes 2 and 9 were, however, omitted. The Russian première of this version was given at the Maly Theatre, Leningrad, on April 1, 1955, conducted by Eduard Grikurov, in this case with the omission of Scenes 7 and 11. All thirteen scenes (but with cuts) were eventually first performed together on November 8, 1957, at the Stanislavski-Nemirovich-Danchenko Theatre in Moscow, under the baton of Samosud's assistant Alexander Shaverdov. On December 15, 1959, the 13 scenes and Epigraph were finally staged uncut (conducted by Alexander Melik-Pashayev) at the Bolshoi Theatre, Moscow, although this was preceded in the United States by an NBC telecast conducted by Peter Herman Adler on January 13, 1957.

The first British performance was a Leeds Festival concert performance at Leeds Town Hall on April 19, 1967 (conductor Edward Downes). The first British staged performance was by Sadlers’ Wells Opera on October 11, 1972, and the first American staging by the Opera Company of Boston on May 8, 1974. In other countries, the thirteen-scene version of the opera was first performed in Germany (Bonn) and Bulgaria (Sofia) in 1957, Serbia (Belgrade) in 1958, Croatia (Zagreb) in 1961, the Czech Republic (Liberec) in 1962, France (Théâtre des Champs-Élysées, Paris, in concert) and Canada (Montreal) in 1967, Austria (Vienna State Opera, conducted by Mstislav Rostropovich) in 1971, Australia (the opening performance at the Sydney Opera House) and Argentina (Teatro Colón, Buenos Aires) in 1973, Spain (Liceu, Barcelona) in 1977 and the Netherlands (Amsterdam, conducted by Edo de Waart) in 1991. The Canadian Opera Company performed the opera as part of its 2008–09 season.

Original version
In 2010 Prokofiev's original version of the opera, edited by Rita McAllister, was premiered in Glasgow, in a collaboration between Scottish Opera and the Royal Conservatoire of Scotland (formerly RSAMD). This briefer version represents Prokofiev's thoughts in 1941, before the various additions and amendments he assembled over the years. It runs some 90 minutes shorter than the later version.

Other roles
Over seventy characters are listed in the libretto, and many singers usually play multiple roles.

Other important characters are:

 * Sonya, Natasha's cousin (mezzo-soprano)
 * Maria Dmitrievna Akhrosimova (contralto)
 * Dolokhov (baritone)

 * Colonel Vasska Denisov (bass)
 * Platon Karataev (tenor)
 * Prince Nikolai Bolkonsky, Andrei's father (bass-baritone)

Other named characters are:

 * Madame Peronskaya (soprano)
 * Tsar Alexander I (silent role)
 * Princess Marya Bolkonskaya, Andrei's sister (mezzo-soprano)
 * Balaga, a coachman (bass)
 * Joseph, a servant (silent role)
 * Matriosha, a gipsy (mezzo-soprano)
 * Dunyasha, Natasha's maid (soprano)
 * Gavrila, Mme Akhrosimova's butler (bass)
 * Metivier, a French doctor (baritone)
 * Tikhon Scherbatsky, a partisan (baritone)

 * Vasilisa (soprano)
 * Fyodor, a partisan (tenor)
 * Matveyev, a Muscovite (baritone)
 * Trishka (contralto)
 * Marshal Berthier (baritone)
 * Marquis de Caulaincourt (silent role)
 * General Belliard (baritone)
 * Monsieur de Beausset (tenor)
 * General Count von Bennigsen (bass)
 * Prince Mikhail Barclay de Tolly (tenor)

 * General Aleksey Yermolov (baritone)
 * General Pyotr Konovnitsyn (tenor)
 * General Nikolay Raevsky (baritone)
 * Malasha, a young girl (silent role)
 * Captain Ramballe (bass)
 * Lieutenant Bonnet (tenor)
 * Ivanov, a Muscovite (tenor)
 * Jacquot (bass)
 * Gérard (tenor)
 * Mavra Kusminitchna (contralto)
 * Marshal Davout (bass)

Unnamed characters are: The Host at the ball and his Major-Domo (tenors), Prince Nikolai Bolkonsky's servants – his Major-Domo and an old servant (baritones) and a housemaid (soprano), a French Abbé (tenor), two Prussian Generals (speaking roles), two staff-officers (tenor and bass), Prince Andrei's Orderly (tenor), Adjutants to General Compans and Prince Eugène (tenors) and to Marshal Murat (treble), Aides-de-camp to Napoleon (bass) and Kutuzov (tenor), an off-stage Orderly (tenor), a young workman (tenor), a shopkeeper (soprano), a French Officer (baritone), three Madmen (tenor, baritone, silent role), two French Actresses (soprano), an escort (silent role).

Part 1 (Peace)
The Overture or the Epigraph usually precedes the action

Scene 1: After dark, in the garden of Count Rostov's country estate, May, 1806

Andrei, who is a guest there, is depressed by the loss of his wife. Natasha, who also cannot sleep, looks out of her window and tells Sonya how beautiful the garden looks in the moonlight, and Andrei recovers his spirits.

Scene 2: New Year's Eve, 1810

At a ball in St Petersburg attended by the Tsar, Pierre encourages Andrei, who is attracted to Natasha, to ask her to dance. Anatole, also attracted to her, asks Hélène to arrange an introduction.

Scene 3: Town house of Prince Nikolai, February 1812

Count Rostov and Natasha visit Prince Nikolai's home. He is the father of Andrei, to whom she is engaged. Andrei has been abroad for a year. Princess Marya indicates that her father will not see them, and Count Rostov departs. However, the Prince, dressed eccentrically and behaving boorishly, does appear, and Natasha realises that he does not approve of the marriage.

Scene 4: Pierre's Moscow house, May 1812

Hélène tells Natasha that Anatole is attracted to her, and, after some hesitation, Natasha hears his declaration of love and agrees to meet him.

Scene 5: Dolokhov's apartment, 12 June 1812

Dolokhov has made the arrangements for his friend Anatole's elopement with Natasha. The coach-driver Balaga, Dolokhov and Anatole drink to the escapade and to the latter's mistress Matriosha.

Scene 6: Later that night

Natasha discovers that Sonya has given away her secret to Madame Akhrosimova, with whom they are staying. Anatole and Dolokhov are sent away by Gavrila, and Akhrosimova reduces Natasha to tears. Pierre arrives, reveals that Anatole is married, and agrees to ask Andrei to forgive Natasha. He shyly admits that he himself would want to marry her if he were free. Natasha takes poison off-stage and rushes back on stage in great agitation to confess this fact to Sonya.

Scene 7: Later still

Hélène is entertaining Anatole, Metivier and an Abbé. Pierre, returning home, upbraids Anatole and demands that he leave Moscow immediately. He agrees, and Pierre is left alone to bemoan his own circumstances. Denisov arrives with the news that Napoleon and his army are crossing into Russia. War is inevitable.

Part 2 (War)
The Epigraph is usually performed here if it was not used at the start of Part 1.

Scene 8: Near Borodino, 25 August 1812

Amid preparations for the defence of Moscow, Andrei and Denisov discuss utilising partisans to make life difficult for Napoleon's army. Pierre, wanting to observe the scene, arrives, and he and Andrei embrace, perhaps for the last time. Field-Marshal Kutuzov offers Andrei a position on his staff, but Andrei prefers to go into battle with his own regiment. The battle starts.

Scene 9: Later that day

Napoleon ponders his position, first refusing to commit more men, then agreeing. An unexploded cannonball lands at his feet and he kicks it away.

Scene 10: Two days later

Kutuzov and his generals are holding a Council of War at Fili, near Smolensk. The army will be at risk if Moscow is to be defended to the last – but if the army retreats, Moscow will be at the mercy of the French. Kutuzov decides that only by retreating, and potentially sacrificing Moscow, will there be any hope of victory.

Scene 11: Moscow is burning

The city is on fire because its citizens try to avoid a surrender. Pierre is caught up among some Muscovites, including the veteran Platon Karataev, who are accused by the French of fire-raising. As the asylum and theatre burn, lunatics and actresses flee – but Napoleon has to admit that the courage of the people has frustrated his plans.

Scene 12: In a peasant's hut at Mitishchi

The wounded Prince Andrei, delirious, has been evacuated with the Rostovs from Moscow. Natasha, who had been unaware that he was among her fellow evacuees, visits him. She tries to apologise for her conduct, but he again declares his love for her, and they sing of their happiness as Natasha reassures him that he will live. He falls asleep, and his heartbeat (conveyed by an offstage chorus) stops for ever.

Scene 13: November, 1812

On the road to Smolensk, the retreating French are escorting a group of prisoners through a snow-storm. Karataev cannot keep up and is shot, but Pierre and the others are rescued by the partisans. Denisov tells Pierre that Andrei is dead but that Natasha is alive and well. Kutuzov and his men rejoice in their victory, and celebrate the indomitable will of the Russian people.

Music
Broadly speaking, the music for Part 1 is lyrical and that for Part 2 is dramatic. There are a number of arias, though these are rarely free-standing and are usually preceded and/or followed by arioso or short conversational passages. Dance music is prominent in Part 1, military music and choruses in Part 2. A number of themes, associated especially with Natasha, Andrei and Pierre, recur throughout the opera. Prokofiev borrowed Natasha's and Andrei's principal themes from incidental music that he had written for a dramatisation of Pushkin's Eugene Onegin: Natasha's theme had been associated with Lensky, and Andrei's with Tatyana. Kutuzov's aria in Scene 10 (also sung by the chorus at the end of the opera) re-used music that Prokofiev had written for Eisenstein's film Ivan the Terrible.

Instrumentation

 * Chorus
 * Orchestra

 * Piccolo
 * 2 Flutes
 * 2 Oboes
 * Cor Anglais
 * 2 Clarinets

 * Bass Clarinet
 * 2 Bassoons
 * Contrabassoon
 * 4 Horns
 * 3 Trumpets

 * 3 Trombones
 * Tuba
 * Timpani
 * Harp

 * Strings (1st and 2nd Violins, Violas, Cellos, Double basses)
 * Percussion (Triangle, Wooden Drum, Tambourine, Snare Drum, Bass Drum, Cymbals, Tam-tam, Glockenspiel, Xylophone)

title: War and Peace (opera)


text:
User talk:BennyH

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! , SqueakBox 19:37, Jun 9, 2005 (UTC)
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title: User talk:BennyH


text:
User talk:Ulrichmutze

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! , SqueakBox 19:38, Jun 9, 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
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 * How to write a great article
 * Manual of Style

title: User talk:Ulrichmutze


text:
Assembly (CLI)

Defined by Microsoft for use in recent versions of Windows, an assembly in the Common Language Infrastructure (CLI) is a compiled code library used for deployment, versioning, and security. There are two types: process assemblies (EXE) and library assemblies (DLL). A process assembly represents a process that will use classes defined in library assemblies. CLI assemblies contain code in CIL, which is usually generated from a CLI language, and then compiled into machine language at run time by the just-in-time compiler. In the .NET Framework implementation, this compiler is part of the Common Language Runtime (CLR).

An assembly can consist of one or more files. Code files are called modules. An assembly can contain more than one code module. And since it is possible to use different languages to create code modules, it is technically possible to use several different languages to create an assembly. Visual Studio however does not support using different languages in one assembly.

Assembly names
The name of an assembly consists of four parts

 * 1) The short name. On Windows this is the name of the Portable Executable (PE) file without the extension.
 * 2) The culture. This is an RFC 1766 identifier of the locale for the assembly. In general, library and process assemblies should be culture neutral; the culture should only be used for satellite assemblies.
 * 3) The version. This is a dotted number made up of four values – major, minor, build and revision.
 * 4) A public key token. This is a 64-bit hash of the public key that corresponds to the private key used to sign the assembly. A signed assembly is said to have a strong name.

The public key token is used to make the assembly name unique. Thus, two strong named assemblies can have the same PE file name and yet the CLI will recognize them as different assemblies. The Windows file system (FAT32 and NTFS) only recognizes the PE file name, so two assemblies with the same PE file name (but different culture, version or public key token) cannot exist in the same Windows folder. To solve this issue, the CLI introduces the GAC (Global Assembly Cache) that is treated as a single folder by run-time, but is actually implemented using nested file system folders.

To prevent spoofing attacks, where a cracker would try to pass off an assembly appearing as something else, the assembly is signed with a private key. The developer of the intended assembly keeps the private key secret, so a cracker cannot have access to it nor simply guess it. Thus the cracker cannot make his assembly impersonate something else, lacking the possibility to sign it correctly after the change. Signing the assembly involves taking a hash of important parts of the assembly and then encrypting the hash with the private key. The signed hash is stored in the assembly along with the public key. The public key will decrypt the signed hash. When the CLR loads a strongly named assembly it will generate a hash from the assembly and then compare this with the decrypted hash. If the comparison succeeds then it means that the public key in the file (and hence the public key token) is associated with the private key used to sign the assembly. This will mean that the public key in the assembly is the public key of the assembly publisher and hence a spoofing attack is prevented.

Assembly versions
CLI assemblies can have version information, allowing them to eliminate most conflicts between applications caused by shared assemblies. However, this does not eliminate all possible versioning conflicts between assemblies.

Assemblies and CLI security
CLI Code Access Security is based on assemblies and evidence. Evidence can be anything deduced from the assembly, but typically it is created from the source of the assembly – whether the assembly was downloaded from the Internet, an intranet, or installed on the local machine (if the assembly is downloaded from another machine it will be stored in a sandboxed location within the GAC and hence is not treated as being installed locally). Permissions are applied to entire assemblies, and an assembly can specify the minimum permissions it requires through custom attributes (see CLI metadata). When the assembly is loaded the CLR will use the evidence for the assembly to create a permission set of one or more code access permissions. The CLR will then check to make sure that this permission set contains the required permissions specified by the assembly.

CLI code can perform a code access security demand. This means that the code will perform some privileged action only if all of the assemblies of all of the methods in the call stack have the specified permission. If one assembly does not have the permission a security exception is thrown.

The CLI code can also perform Linked Demand for getting the permission from the call stack. In this case the CLR will look at only one method in the call stack in the TOP position for the specified permission. Here the stack walk-through is bound to one method in the call stack by which the CLR assumes that all the other methods in the CALL STACK have the specified permission. The Assembly is a combination of METADATA and MSIL file.

Satellite assemblies
In general, assemblies should contain culture-neutral resources. If you want to localize your assembly (for example use different strings for different locales) you should use satellite assemblies – special, resource-only assemblies. As the name suggests, a satellite is associated with an assembly called the main assembly. That assembly (say, lib.dll) will contain the neutral resources (that Microsoft says is International English, but implies to be US English). Each satellite has the name of the associated library appended with .resources (for example lib.resources.dll). The satellite is given a non-neutral culture name, but since this is ignored by existing Windows file systems (FAT32 and NTFS) this would mean that there could be several files with the same PE name in one folder. Since this is not possible, satellites must be stored in subfolders under the application folder. For example, a satellite with the UK English resources will have a CLI name of "lib.resources Version=0.0.0.0 Culture=en-GB PublicKeyToken=null", a PE file name of lib.resources.dll, and will be stored in a subfolder called en-GB.

Satellites are loaded by a CLI class called. The developer has to provide the name of the resource and information about the main assembly (with the neutral resources). The ResourceManager class will read the locale of the machine and use this information and the name of the main assembly to get the name of the satellite and the name of the subfolder that contains it. can then load the satellite and obtain the localized resource.

Referencing assemblies
One can reference an executable code library by using the /reference flag of the C# compiler.

Delay-signing of an assembly
The shared assemblies need to give a strong name for uniquely identifying the assembly that might be shared among the applications. The strong naming consists of the public key token, culture, version and PE file name. If an assembly is likely to be used for the development purpose which is a shared assembly, the strong naming procedure contains only public key generation. The private key is not generated at that time. It is generated only when the assembly is deployed.

Language of an assembly
The assembly is built up with the CIL code, which is an intermediate language. The framework internally converts the CIL (bytecode) into native assembly code. If we have a program that prints "Hello World", the equivalent CIL code for the method is: The CIL code loads the String onto the stack, then calls the WriteLine function and returns.

title: Assembly (CLI)


text:
Volodymyr Sabodan

Metropolitan Vladimir (Volodymyr; secular name Viktor Markianovich Sabodan, Виктор Маркианович Сабодан, Віктор Маркіянович Сабодан, November 23, 1935 – July 5, 2014) was the Metropolitan of Kiev and the Exarch of Ukraine in the Patriarchate of Moscow, and, ex officio, the head of the Ukrainian Orthodox Church (Moscow Patriarchate) (UOC-MP) from 1992 to 2014. He was styled "His Beatitude, Vladimir, Metropolitan of Kyiv and all Ukraine". At that time, the Church in Ukraine was the only Eastern Orthodox Church inside Ukraine to have canonical standing (legal recognition) in Eastern Orthodoxy worldwide.

Early life
Viktor Sabodan was born November 23, 1935, in a peasant family in Letychiv Raion of Vinnytsia Oblast (today - Khmelnytskyi Oblast).

In the late 1950s and early 1960s Sabodan studied at Odesa and later Leningrad Theological Seminary.

In 1965 Sabodan completed the post-graduate course at the Moscow Theological Academy and was appointed Rector of the Odesa Theological Seminary and elevated to the rank of Archimandrite. In 1966 he was appointed Deputy Head of the Russian Orthodox Ecclesiastical Mission in Jerusalem.

Episcopacy
In 1966 Sabodan was appointed Bishop of Zvenigorod. His episcopal consecration was conferred on July 9, 1966, by Pimen I of Moscow in the Trinity Lavra of St. Sergius. In 1969 he was nominated Bishop of Chernihiv and temporary administrator of Sumy Diocese. On September 9, 1973, he was elevated to the rank of Archbishop of Moscow Diocese and Rector of the Moscow Theological Academy and Seminary.

On July 16, 1982, he was appointed to Rostov-on-Don Diocese and elevated to the rank of Metropolitan. From 1984 he was Patriarchal Exarch of Western Europe, and from 1987, Chancellor of Moscow Patriarchate and a permanent member of the Holy Synod of the Russian Orthodox Church (ex officio).

In 1992, he was elected by the Kharkiv Council of the Ukrainian Orthodox Church as Metropolitan of Kyiv, and Primate of the Ukrainian Orthodox Church. Later than year he was enthroned as Metropolitan of Kyiv and all Ukraine, replacing Metropolitan Filaret who was excommunicated for “participating in schismatic activities.” Sabodan was the author of numerous research papers on theology, the majority of which were included in the six-volume edition of his works published in 1997–1998.

Sabodan enjoyed singing and collected recordings of Ukrainian folk songs as well as stamps and postcards. He had no objections to a good meal. In January 2008, Sabodan performed the service of consecration of the altar and temple in the parliament (Verkhovna Rada) of Ukraine.

In 2011 Sabodan was awarded the title Hero of Ukraine.

Death
Sabodan died on July 5, 2014, from internal bleeding at the age of 78. Metropolitan Onuphrius was elected his successor on August 13, 2014.

State awards

 * Hero of Ukraine (The Order of the State) (2011)
 * The Order of Prince Yaroslav the Wise 1st (2008), 2nd (2005), 3rd (2002), 4th (2000) and 5th (1999) cl.
 * The Order of Prince Yaroslav the Wise 1st (2008), 2nd (2005), 3rd (2002), 4th (2000) and 5th (1999) cl.

title: Volodymyr Sabodan


text:
Talk:Balthazar

Balthazar is an arch angel that fought in war in heaven and faked his death. HE stole magical artifacts and brought them to earth.

What about Balthazar Gerard, the assasin of William the Silent?

Balthazar king of Babylon?
Responsible for casting Daniel into the Lions Den, where he was for 6-days; Balthazar, was also the name for the King of Babylon. - The book of Daniel.

I disagree with this. Belshazzar profaned the Temple pieces and is a bad guy. Beltesshazzar is the name given to Daniel, a good guy/prophet. I don't think a bad guy name would be used through history and corrupted to Balthazar, a good guy name would. — Preceding unsigned comment added by 107.0.27.6 (talk) 18:26, 24 July 2013 (UTC)

What Tradition?
In saying "Balthazar is a traditional name..." this article implies that name was not given to him in any of the books of the new testament, but became associated in later tradition. If so it should state this outright. Also it should be more specific about this tradition, for example where do we first see this name being used for him?

The idea of him being darkly complected or African, is also, I would assume, a part of later Christian tradition, but again this should be stated more clearly ("It is widely agreed" is classic weasel wording) and specific references ought to be mentioned. For example, does he start showing up with dark skin in medieval paintings? Or was it more recent phenomena?--Ericjs (talk) 19:30, 18 November 2007 (UTC)

I find that the wikipedia already has an entry on the 3 Magi which treats these matters rather more carefully. I will edit the page to link to this entry, and use some of the information there to update the wording here.--Ericjs (talk) 02:08, 19 November 2007 (UTC)

I've made the revision, and removed reference to his African origin / skin color, as this doesn't seem to be relevant to this page which is specifically about the name, and the Bibilical_Magi page treats that in detail.--Ericjs (talk) 02:31, 19 November 2007 (UTC)

Focus of this page, the name or the Magi?
The bigger question is what should the main focus of this page be? It seems to be the name Balthazar for one of the Magi, and only secondarily mentions it as the name of the 6th century king of Babylon, followed by list of other usages of this name.

Why is the name as one of the Magi the primary focus of this page? If this page is about the name in general, why is this not simply in the list with the others? Or alternately, should there be separate pages for Balthazar the Magi, Balthazar the Babylonian king, etc with a disambiguation page?

I'd like to note that in Mirrian-Webster unabridged, under Balthazar it mentions the Babylonian king only, which leads me to think this more than the Magi usage should be listed as the primary meaning (if there should be one).--Ericjs (talk) 02:39, 19 November 2007 (UTC)

Jose Saramago's Novel
Surely Jose Saramago's novel Baltasar and Blimunda should be mentioned on this page, in the literature section and/or the fictional character section. Thanks 85.64.219.179 (talk) 19:34, 27 July 2011 (UTC) You could mention the spanish prince Balthasar Charles.... — Preceding unsigned comment added by 46.150.58.167 (talk) 20:23, 8 June 2012 (UTC)

Balthazar a new species of giant salamander
What is your opinion about these fabulos creatures? Rhubarboy17 (talk) 22:17, 18 July 2017 (UTC)

title: Talk:Balthazar


text:
Gabrielle Suchon

Gabrielle Suchon (December 24, 1632, in Semur-en-Auxois – March 5, 1703, in Dijon) was a French moral philosopher who participated in debates about the social, political and religious condition of women in the early modern era. Her most prominent works are the Traité de la morale et de la politique (Treatise on Morality and Politics) and Du célibat volontaire (On the Celibate Life Freely Chosen).

Suchon is considered the first philosopher to produce a significant body of work dedicated solely to the topic of women. Suchon's writing is unique because she specifically addresses women, as opposed to most moral philosophy of the time, whose primary audience was men. She is considered the only female philosopher of her time without a male intellectual advisor or husband.

In her works, Suchon argues that women are deserving of the natural rights of liberty, learning and authority. She asserts that a woman can live a fulfilling life while unmarried and promotes the power of voluntary celibacy on secular terms.

Early life
Gabrielle Suchon was born in Semur-en-Auxios (Burgundy), France, on December 24, 1632, to Claude Mongin and Claude Suchon. Gabrielle's mother, Claude Mongin, came from a relatively well-off land-owning family. Many of the men in the Mongin family had served as jurists in France. Gabrielle's father came from a line of minor nobles who had historically been public officials. Claude Suchon served as the King's prosecutor until his death in 1645.

Gabrielle Suchon may have had a younger brother, also named Claude Suchon.

Education
Suchon was self-educated because women were barred from studying at public institutions during her lifetime. Her writings make clear that she was well versed in the holy scriptures and the works of both classic and contemporary philosophers and writers.

Suchon studied the works of Socrates, Plato, Aristotle, Cicero, Seneca, Plutarch and other ancient philosophers. She utilized their praise of female qualities or figures to craft her argument for women's equality.

Suchon refers to the work of Scholastics such as St. Thomas and St. John of the Cross. She also responds to assertions from the notable feminist treatise Of the Equality of the Two Sexes (1673) by François Poulain de la Barre.

Suchon cites evidence from various chapters of the Bible in her Traité de la morale et de la politique. She spent her early years in a convent, where she most likely received the religious education of a nun. Nuns were forbidden from reading directly from the scripture without the interpretation of a male bishop, which implies that Suchon continued her biblical education outside of the convent. Suchon was self-educated; she gained her expertise of the Bible, the classics and contemporary philosophy after escaping the convent.

Convent in Semur
Suchon's adult life is primarily pieced together through official church documents. Her whereabouts during many of her adult years remain a mystery. Most sources say that Suchon was sent to a Dominican convent in Semur after her father's death in 1645 and resided there until 1666.

Recent historical research has disputed when and why Suchon was sent to the convent in Semur. Some speculate that Suchon was sent to the convent shortly after her father's death to alleviate her family's financial burdens. Others say that she may have been sent to the convent some years later after failing to secure a desirable marriage.

Contestation of vows
Church documents have revealed that on October 15, 1666, Suchon was legally transferred from the convent in Semur to the Jacobin monastery at Langres. It is unclear whether Suchon ever took residence at the Langres convent. Some speculate that Suchon may have used the guise of this transfer to escape entirely and travel to Rome. Suchon did file a petition to the pope to contest her vows and restore herself to lay person. Suchon's petition was read by the Congregation of the Council in Rome on September 10, 1672. Documents show that in 1673 Suchon was no longer on the roster of nuns at Langres. Suchon's desire to denounce her vows was the cause of the strained relationship with her family for most of her life.

Life as a lay woman
Very little is known about Suchon's life outside of the convent. Suchon most likely began her life as a lay woman in 1673. Evidence suggests that Suchon spent around twenty years in Dijon teaching and writing before she released her Traité de la morale et de la politique in 1693.

Suchon remained unmarried her whole life. She died on March 5, 1703, in Dijon, France, after spending her last years teaching children and writing.

Background
Suchon wrote while an intellectual debate called the querelle des femmes was taking place in Europe (14th-17th century). Querelle des femmes translates to 'the woman question'. Writers in the movement responded to attacks upon women by debating the moral and social nature of womanhood. Participants in the querelle des femmes were an unequal mix of male and female intellectuals. Men dominated the movement, even in a genre that centered around the condition of women. Due to the content of her work and the time in which she wrote, most historians consider Suchon to have contributed to this popular intellectual movement.

The established structure of arguments belonging to the querelle des femmes movement consisted of two approaches: listing women throughout history whose actions exemplified their worthiness and analyzing the social and economic reasons behind women being seen as unequal. Suchon's Traité de la morale et de la politique differs and expands upon the model put forth by prominent writers in the querelle des femmes. Suchon is the only female participant in the querelle des femmes to write a treatise, a comprehensive and authoritative form of writing. In her treatise, she establishes that her style and approach is original and emphasizes her individuality as a writer. Her writing suggests that she believed her methods to be superior to the standard argumentative styles of the querelle des femmes.

Suchon is the first philosopher to completely condemn marriage and to discuss female celibacy in a secular sense. Furthermore, she is one of the first philosophers to state that her audience is women, not men. This is significant because women were restricted from reading and partaking in intellectual work and essentially all established academics were men during her lifetime. Her perspective would have been considered radical by both intellectuals and the common person, male or female.

Traité de la morale et de la politique (Treatise on Morality and Politics)
Suchon originally published Traité de la morale et de la politique under the pseudonym 'G. S. Aristophile' in 1693. The pseudonym 'Aristophile' consists of the Greek roots aristo- meaning "excellence", and -phile, meaning "lover". Suchon's pseudonym is a play on words meaning 'lover of excellence'. Although Suchon uses a pseudonym, she is unafraid to reveal that she is a woman in the Preface of Traité de la morale et de la politique.

The Traité de la morale et de la politique contains an analysis of female oppression and suggests a solution to this ancient, pervasive affliction. Suchon aims to motivate women to cast off the shackles of dependence and ignorance. Suchon's treatise is broken up into three sections: liberty, learning and authority. Suchon begins her treatise by stating that many women believe their inferior condition to be natural to their sex. Suchon condemns this idea and states that women have a capacity for learning and self-governance equal to that of men. She argues that the confinement of women to the private sphere is a mechanism of oppression. She urges women to resist societal expectations and to acquire education as a way to reverse their unjust subjugation to men.

Suchon asserts that religion and scripture is being used as a tool to reinforce the subjugation of women and male supremacy. Her idea of female autonomy directly challenges the authority of husbands and church fathers.

Suchon utilizes classical and religious texts to craft her argument for female empowerment. Her use of religious texts is a point of debate for modern historians. Post-enlightenment thinkers would classify Suchon's work as lacking in philosophical merit because it fails to exclude religious texts.

Liberty
In her section on liberty, Suchon depicts the complicated and extensive nature of women's deprivation of freedom throughout history.

Suchon gives examples of admirable women in literature and throughout history in order to prove that women have the capacity to be independent of and equal to men. She asserts that both physical freedom and freedom to discover knowledge are natural rights.

Suchon states that men oppress and degrade women, and women are forced to respect their oppressors. She argues that God created rational beings to be free and asserts that when women are given the right to true freedom, they can negate the age-old idea that women are inherently inferior to men.

Learning
Suchon describes women as essentially equal to men in intellect. She argues that "women's deprivation of knowledge originates not in divine or natural law" and attributes female oppression to man-made social constructions. She argues that "ignorance is a form of slavery", and advocates for education as the tool with which women can combat their subjugation to men.

From a religious standpoint, Suchon argues that a good Christian strives to better themselves. Women are deprived of the tools needed to better themselves spiritually and socially, specifically through education. Suchon asserts that by denying women the right to knowledge they are denied agency in the public sphere.

Authority
In the third section, Suchon discusses power relationships between men and women. She asserts that when women are denied authority, they are prevented from acting upon the innate tendency to do what is right. Suchon argues that God gave power over nature to both men and women and therefore, men's supposed superiority to women is a distortion of God's will.

Suchon emphasizes the negative effect on society and the world at large by female oppression. Suchon argues that by barring women from intellectual debate, society as a whole is being deprived of great thinkers.

Suchon's treatise ends by raising the question of whether women can truly exercise their rights within a society that is created by and for men.

Du célibat volontaire (On the Celibate Life Freely Chosen)
In Du célibat volontaire, Suchon presents another possible solution for women to escape subjugation. Suchon She envisions female freedom as autonomy to exist actively, or to live an educated and informed life. She asserts that a life unfettered by societal constraints in which one is free to pursue intellectualism, is preferable to both marriage and religious vows.

Suchon discusses celibacy through the lens of Neutrality. Suchon coins the term "Neutralist" and describes women who live the celibate life as such. The "Neutralist" is devoted to God, helping others and cultivation of the self.

Suchon details the twelve benefits of female celibacy. A notable benefit of forgoing marriage is the ability to care for the poor instead of producing children. She points out that a celibate life is accessible to wealthier women, widows and poor women who work to sustain themselves. Suchon suggests friendship as a remedy to the melancholy that comes with having no familial attachments and commitments.

Suchon views celibacy not as a religious virtue, but as a practical path to gaining individual autonomy and freedom for women. Suchon does not dismiss the fact that some women may have the desire and inclination to take religious vows and encourages those that do to follow the religious path. However, Suchon strongly condemns parents that force the religious life upon their young, naive daughters for self-serving reasons.

Suchon rejects the widely accepted idea that women needed to be cloistered (segregated from men) to draw away the temptations of the flesh. In fact, she attests that nuns are equally as susceptible to sins of the flesh as secular women. She argues that while it was widely accepted that nuns held religious authority, Catholic clergymen reserved true divine knowledge for members of their own sex.

Reception
Suchon's work did receive some attention in France when she first released her writings. Both Suchon's Traité de la morale et de la politique (1693) and Du Célibat volontaire (1700) were reviewed in Le Journal des Savants, one of the premier intellectual journals in France, the year they were published. Du Célibat volontaire was also featured in another notable French journal, Nouvelles de la République des Lettres after its release. Recognition by these premier French journals shows that some intellectuals saw the quality of Suchon's work and took her perspective seriously.

Legacy
Suchon remained relatively undiscovered until the second revival of the Feminist Movement in the 1980s. Historians argue that Suchon's work did not gain significant popularity because male intellectuals discredited 'feminized' writing throughout the early modern era. In the 1980s, Suchon's life and work was studied by feminist historians and moral philosophers for the first time. It was not until the late 20th century that Suchon was established as an influential moral philosopher and feminist writer in the academic community.

Suchon's work serves as a valuable historical document. Up until the 17th century, European women were offered two life paths: find a husband or become a nun. Marriage was greatly stifling to a woman's freedom and sometimes the nunnery was the only venue that women could gain independence from the confines of gender discrimination. Suchon's writing sheds light upon the difficulty women faced in getting an education, the realities of marriage and life in convents in the early modern era. The significance of Suchon's perspective is only properly illustrated when against the backdrop of cultural norms of the early modern era.

Suchon is considered to be the most prominent pro-woman writer during the reign of Louis XIV, a time where both intellectual endeavors and economic freedom for women were greatly stifled in France. Marie de Gournay, a prominent pro-woman writer, is Suchon's most similar contemporary.

On the occasion of the 300th anniversary of her death in 2003, a road was named after Gabrielle Suchon in her hometown of Semur-en-Auxois.

Distribution of works
A copy of Du célibat volontaire was found at the cloister of Billettes until the French Revolution, suggesting that Suchon's work was read in at least one convent. Historians have found physical copies of Suchon's Traité de la morale et de la politique in Paris, Grenoble, Dijon, Besançon and Aix-en-Provence. Du Célibat volontaire has been discovered in Besançon, Paris, as well as in the Bayerische Staatsbibliothek (Bavarian State Library), Göttingen, Florence and Rome. The wider dispersal of Suchon's second work could be a result of French readers travelling abroad or printers bringing the text to trade shows.

Position in Feminist history
Suchon wrote in a time in which 'feminist' was neither term nor a genre of writing and study. Suchon is best described as a proto-feminist because her writings largely reflect the direction of the future feminist movement. In recent years, scholars have called Suchon a precursor to one of the most notable feminists, Simone de Beauvoir.

Suchon essentially proposes a new social and legal status for women. Her works serve as a call for women to break from gender expectations and to embrace a new freedom. In modern terms, Suchon could be considered one of the first female activists. Suchon is one of the first philosophers to specifically discuss the topic of human rights.

Quotes

 * "To uncover the source, origin, and causes of ignorance, constraint and dependence in which the person's of the sex spend their lives, I prove through pertinent and forceful arguments that the conduct imposed on them is based on custom rather than on a natural inability to study, govern, or act freely; and thus that their capacity to accomplish great and beautiful deeds cannot be contested." (Gabrielle Suchon, Traité de la morale et de la politique, Preface to the Treatise)
 * "Privation is a field so fertile and abundant in miseries that its products are infinite. To speak of all the bitter fruit it forces persons of the sex to taste would be a never-ending task." (Gabrielle Suchon, Traité de la morale et de la politique, Preface to the Treatise)
 * "Since freedom is an extremely delicate matter, knowledge is elevated and sublime, and authority is illustrious and striking, and since persons of the sex are denied these three prerogatives to the greatest extent possible, I must defend my case with powerful supports." (Gabrielle Suchon, Traité de la morale et de la politique, Preface to the Treatise)
 * "The worth or beauty of language seems to resemble the value of clothing and fashion, which change continuously." (Gabrielle Suchon, Traité de la morale et de la politique, Preface to the Treatise)
 * "But since this book is new by its title and unprecedented by its content and subject matter, I sought to make the work incontestable by powerful reasoning rather than by polished discourse, which captivates the mind immediately but does not nourish it fully, which dazzles it momentarily before leaving it forever empty." (Gabrielle Suchon, Traité de la morale et de la politique, Preface to the Treatise)
 * "My sole intention in this entire treatise has been to inspire generosity and magnanimity in persons of the sex so that they can protect themselves against servile constraint, stupid ignorance, and base and degrading dependence." (Gabrielle Suchon, Traité de la morale et de la politique, Preface to the Treatise)
 * "The inequality among people is very great: some are not destined to repair the ruins of the human race, while others are not strong enough to lead a life of pentinece and prayer." (Gabrielle Suchon, Du célibat volontaire, Foreword)
 * "If cloistered persons cherish books that speak of religious life, it is likewise fitting that this treatise on voluntary celibacy belongs specifically to Neutralists. It is to those generous souls-who devote themselves wholly to serving God, helping their neighbor, and improving themselves ever more- that I present this work." (Gabrielle Suchon, Du célibat volontaire, Foreword)
 * "[Those who embrace celibacy] are content with the power of choice they have without ever exercising it; they esteem all other conditions but nonetheless prefer their own, which they know is uniquely suited and altogether necessary to them." (Gabrielle Suchon, Du célibat volontaire, Foreword)
 * "And since women, through the bonds of marriage, are subject to their husbands, attached to their children, and preoccupied by their servants and the pursuit of temporal possessions -prickly thorns indeed that cause inconceivable toil and difficulties- I will describe the happiness of free persons, exempt from such troubles." (Gabrielle Suchon, Du célibat volontaire, Foreword)

Primary source translation

 * A Woman Who Defends All the Persons of Her Sex: Selected Philosophical and Moral Writings, Gabrielle Suchon, translated by Domna C. Stanton and Rebecca M. Wilkin, University of Chicago Press (2010) ISBN 0-226-77921-1 (includes English translations of Traité de la morale et de la politique and Du célibat volontaire)

Secondary articles

 * 'Gabrielle Suchon: De l’éducation des femmes’ in Seventeenth Century French Studies' (Desnain, 2004)
 * 'Gabrielle Suchon: Militant Philosophy in Seventeenth-Century France' (Desnain, 2012)
 * 'Gabrielle Suchon’s Neutralistes, in Relations and Relationships' (Desnain, 2006)
 * 'Gabrielle Suchon: une Ecrivaine engagée pour une vie sans engagement' (A Writer Committed To a Life Without Commitment), Sonia Bertolini (1997)

title: Gabrielle Suchon


text:
Talk:Hopf link

Picture?

 * Header added. —Nils von Barth (nbarth) (talk) 23:32, 7 May 2009 (UTC)

A picture would be useful here. Michael Hardy 19:39, 9 Jun 2005 (UTC)
 * Looks like someone’s added one – several in fact!
 * —Nils von Barth (nbarth) (talk) 23:32, 7 May 2009 (UTC)

title: Talk:Hopf link


text:
Wikipedia:Articles for deletion/Underground Anarchy Front

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Golbez 08:21, Jun 18, 2005 (UTC)

Underground Anarchy Front
Non-verifiable and vanity. 8 google hits. func (talk) 19:42, 9 Jun 2005 (UTC)

 * Delete. func (talk) 19:42, 9 Jun 2005 (UTC)
 * Delete website advertising. JamesBurns 06:12, 10 Jun 2005 (UTC)
 * Delete - Spam. --FCYTravis 10:59, 10 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


text:
Knocked down

Knocked down may refer to:
 * Complete knock down, a car kit
 * Knockout in combat sports

title: Knocked down


text: User:Ghakko

title: User:Ghakko


text:
User:Mailer diablo/Barnstars

Award
I present this Barnstar to you for your all-round contributions to Wikipedia. utcursch | talk 13:42, Mar 5, 2005 (UTC)

''I, Natalinasmpf award you the Photographer's barnstar in recognition for taking the effort to take the much appreciated photographs concerning Singaporean places and topics. Keep it up!'' Natalinasmpf 04:37, 20 Jun 2005 (UTC)

I award you with this photobarnstar! Tan DX 04:37, 11 October 2005 (UTC)

''Thanks for reverting that vandalism on my userpage the other day. I appreciate it.'' -- Psy guy Talk 17:53, 15 December 2005 (UTC)

''For your tireless contributions to many articles, especially Mass Rapid Transit (Singapore) and MTR, I award you the Tireless Contributor Barnstar. Not to forget, all the photos and work you've done. :D'' -- Terence Ong 15:10, 16 January 2006 (UTC)

➨ ❝ R E  DVERS ❞ awards this Barnstar to Mailer diablo for tirelessly working on AfD maintenance, a thankless task that needs to be thanked more often! -- ❝ R  E  DVERS ❞ 17:55, 23 January 2006 (UTC)

''Congratulations Mailer Diablo! It is our honor to inform you that you've won Esperanza's Best User Page Award! Here's a token for your efforts. - Knowledge Of  Self,  Ban  e '' z  and Run e  Welsh - 16:17, 9 February 2006 (UTC)

I like your userpage alot & it inspired me to make mine better so thanks! - dottydotdot (talk) 14:35, 4 May 2009 (UTC)

For tirelessly removing unencyclopedic matter from wikipedia, I award you the editor's barnstar. ßlηguγΣη | Have your say!!! - review me 03:39, 24 April 2006 (UTC)

''I was looking over an old AfD page and was amazed at how many you had closed. As this is the most time-consuming, difficult and unpopular task, I, CanadianCaesar, award you this barnstar'' - (CanadianCaesar, 3 May 2006)

Just a much belated "thank you" for your assistance in transferring many of my photos on en to commons. —Sengkang 17:35, 23 September 2006 (UTC)

''Because of your excellent closure of the Esperanza MfD, as well as the outstanding calculation of the visible consensus seen, I award you with The Editor's Barnstar. Your fantastic services are appreciated!'' WaltCip 17:13, 1 January 2007 (UTC)

''I need to kick myself for forgetting to award you the barnstar I promised when you did me a favour on 27 December 2006. Additionally, I wish to applaud the way you closed the nomination of Esperanza for deletion.'' --J.L.W.S. The Special One 09:26, 2 January 2007 (UTC)

This goes to Mailer diablo for taking the time to carry out the consensus on WP:DRV/EA. -  Ed  ¿Cómo estás? Reviews? 03:27, 7 February 2007 (UTC)

''For your tireless efforts in closing AFDs. Thanks. Regards,'' Ben Aveling 06:19, 18 February 2007 (UTC)

I award this Barnstar to Mailer diablo for for braving the waters of deletion and helping keep WP clean. — MrDolomite • T • 03/29/2007 (UTC)

''Thanks for updating the translation to my Chinese welcome template! I'd completely forgotten that needed to be done, but you came out of the blue to finish it up. Thanks very much, and happy editing as always!'' - Hers fold  (t/a/c) 20:34, 25 September 2007 (UTC)

''Twenty five ... well done. Your fellows salute you and wish you well.'' - Welcome Victuallers (talk) 19:47, 17 August 2008 (UTC)

''You're an editor who seems to be present on the vast majority of things on Wikipedia. The work you do is amazing. Apologies I can't seem to find a suitable barnstar you don't already have!'' - Computerjoe 's talk 11:24, 23 May 2009 (UTC)

For making me grin with this, over! - The Bushranger One ping only 00:18, 16 November 2011 (UTC) 11:24, 23 May 2009 (UTC)

''A barnstar for you! :)'' - JonasEncyclopedia (talk) 04:37, 28 November 2011 (UTC)

''This barnstar is awarded to everyone who - whatever their opinion - contributed to the discussion about Wikipedia and SOPA. Thank you for being a part of the discussion. Presented by the Wikimedia Foundation.'' - Philippe (WMF) 22 January 2012

wait why did u edit things off of my page i clearly didnt put that much info on my page ok listen would u please tell me what was wrong on my page soooo i can have some peace of mind and if it iis worth it thx for the minor edit and thats excactly why i gave u a minor barnstar cause i feel like u have over loooked some of the things u said that u edited off of my page soooooooooooooooo here is a MINOR BARNSTAR for u and message me back when u get this peace out - wwecenarules 02:41, 5 July 2012 (UTC)

''awarded to Mailer diablo for running CheckUser, proving I was innocent of being the sock puppet I was accused of being That was a lot of work, and I'm indebted to you for doing it. Name the return favor, and it's yours'' - Vjmlhds (talk) 04:21, 30 October 2014 (UTC)

 * No worries. It is part of my duty rather than any form of favour; any other CU would have cleared you anyway. I do hope you will remain calm in face of any future conflict, understanding that there are avenues for resolution. - Mailer Diablo 06:52, 30 October 2014 (UTC)

''This is the closest one I could find to indicate "Hey, you're still here after all these years: much respect". So, much respect, even respek.'' - Drmies (talk) 15:29, 24 February 2015 (UTC)

''I award you this barnstar for the awesome design of your user page. When updating my user page, I looked to your page as inspiration.'' Captain Gamma (talk) 21:13, 22 January 2012 (UTC)

title: User:Mailer diablo/Barnstars


text:
Talk:Eisregen

Untitled
Added some things! ;) Buy eisregen records, the band is great!

Link to a disambiguation page
In its first or second paragraph, this article links to the disambiguation page for "index" (The actual text was "...causing the indexing of two of their albums..". This shouldn't happen. however, i didn't know what type of indexing the text was referring to, so I didn't edit it. could somebody who knows please edit it to link to the specific page for that kind of index? E946 06:44, 6 April 2006 (UTC)

 * It refers to a special kind of german censorship, the Indizierung, meaning that by decision of the Bundesprüfstelle für jugendgefährdende Medien, you cannot advertise the product, nor sell it to minors. I don't believe the english wikipedia has an article on that topic, yet. Also, the german wikipedia article claims that the album Krebskolonie has not merely been put on the index, but also on the list of media that cannot be publically played at all in Germany. I find this doubtful, as I know of no legal reference that would back this up, but it might be worth doing research on. --84.137.29.176 03:29, 8 July 2006 (UTC)

Genere
To say, that Eisregen plays black metal is terribly wrong. I've seen them about 10 times live on stage. And it's not black metal. Dark Metal would (in my oppinnion) be far more correct. —Preceding unsigned comment added by SonOfOden (talk • contribs) 15:29, 25 February 2009 (UTC)

External links modified
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 * Added archive https://www.webcitation.org/66dbE7Tiy?url=http://www.musicmight.com/artist/germany/thuringia/eisregen to http://www.musicmight.com/artist/germany/thuringia/eisregen

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Cheers.— InternetArchiveBot  (Report bug) 13:40, 18 September 2017 (UTC)

title: Talk:Eisregen