text:
Talk:Unicast

Yellow
what are the yellow dots? can they be networks? can they be hosts? — Preceding unsigned comment added by 109.196.87.151 (talk) 14:50, 31 July 2011 (UTC)
 * I have added a caption. ~Kvng (talk) 13:26, 12 May 2019 (UTC)

Broadcast
and what about broadcast? --Abdull 08:39, 30 May 2005 (UTC)

Rewrite
I am considering completely rewriting this article. Feedback on whether you feel it needs to be is appreciated. Divost 17:34, 25 December 2009 (UTC) —Preceding unsigned comment added by Divost (talk • contribs)

 * Yes, please, at least say explicitly whether messages sent to one single subnet are a unicast or not. Doru001 (talk) 11:44, 2 June 2011 (UTC)

Please delineate Unicast at layer 2 versus Unicast at layer 3. — Preceding unsigned comment added by RJT69 (talk • contribs) 11:03, 10 March 2017 (UTC)

 * This is a stub. The lead is good and the body is a restatement of Routing. What is there to rewrite? ~Kvng (talk) 13:26, 12 May 2019 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Unicast. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20100330022853/http://www.science.uva.nl:80/research/air/projects/old_projects/ipv6/IPv6_uni.htm to http://www.science.uva.nl/research/air/projects/old_projects/ipv6/IPv6_uni.htm

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 23:45, 7 January 2016 (UTC)

title: Talk:Unicast


text:
Talk:Diablo 630

Remembering the Diablo 630
The Printer Works published a catalog in the 1980's that covered the entire Diablo line with parts and services they had available.

Of special interest was the extensive history of the printers and interesting trivia about the various models and options. I recall that the catalog said the first Diablo HyType was developed by Singer (yes, the sewing machine company) and was originally going to be called Hyper Typer, which was quickly shortened to HyType. The HyType team all quit Singer to continue development on the new printer.

Most of the original HyType and many of the HyType II printers used an external power supply with a large transformer that resided in a wheeled, metal cabinet, with the printer mechanisim semi-recessed into the top. IIRC, all of the 630 series had an internal power supply.

Many different expansion boards were available for Diablo printers, especially the 630 line. Some models of the 630 had enough expansion slots and options that they could be as powerful as a small computer. One model incorporated a keyboard into an extended "nose" on its housing.

The largest 630 was a massive dual carriage model with two seperately driven platens and carriages.

Not all of the 630 series was capable of using metal print wheels. Since the metal wheels were heavier than the plastic ones, a "long block" motor with a longer armature had to be installed (available as an upgrade on some models). Some models with the smaller motor could be set to a slower print speed to use the metal wheels.

An innovation of the 630 was the notched hammer that "captured" a corresponding rib on the backs of the character petals. This helped to improve the print speed by reducing the amount of settling time needed after rotating the wheel into position.

The 630 even had a bit of "excitement" when a batch of control boards were produced using chips made in a factory with poor climate control. A little moisture was captured inside the chips' epoxy coating and at some later time they would short out, sending uncontrolled power to every motor and the print solenoid. The result was a spray of petals ripped from the spinning daisy wheel as the printer attempted to slam the carriage through the side of its housing.

It was either the final series of 630, or a short lived successor, that had a new system of automatically detecting which print wheel was installed. It wasn't compatable with HyType or 630 wheels and it didn't use the notched hammer system due to improvements in the wheel motor and other control systems that reduced vibrations.

That's just what I remember from that catalog, which I ordered when I was looking for replacement ribbons for the Xerox branded Diablo 630 I had with a Xerox 820-II CP/M computer back in the early 1990's.

Here's a link to an old review of the Diablo 630. http://www.atarimagazines.com/creative/v9n9/37_The_Diablo_630.php

There was also a 40 CPS version of this printer cleverly named the 640. I bought one bundled with a Xerox 820 II in the early 80's, and it was truly a beast. It had a diagnostic test that would start by printing a character in the center of the page, then print another at center +1, a third at -1, then +2 and -2 until it reached the extreme ends of the carriage. By that time, whatever table you had it sitting on was rocking back and forth as the carriage swung from side to side. It was the most entertaining printer I've ever owned. :)Yasgur 06:20, 10 September 2007 (UTC)

Microstepping ("graphics") resolution
I've just seen the latest addition by Jeh re graphics resolution. I see the cite but I doubt its accuracy. I have here a Juki 6100 manual - a Diablo 630 compatible. It did use a slight superset of the 630 command set but to the best of my knowledge that was limited to support for a few non-ASCII characters (e.g. £) present on the Triumph Adler print wheel. It documents 48 lines per inch the same as the Creative Computing source. However it also documents control codes (ESC U and ESC D) to move the page half a line up and down respectively. These worked even when the line pitch was set to 1/48" giving an effective vertical resolution of 1/96".

Sure, that is a Juki 6100, not a Diablo 630, but a Brother Laser Printer manual also describes the same control codes as part of its 630 emulation. When two manufacturers independently suppport the same codes it lends credence to the idea it was a 630 feature. CrispMuncher (talk) 01:01, 20 February 2010 (UTC)

 * A lot of Diablo 630 "compatible" machines left out a few things, typically "HYplot mode" ("HYtype" was one of Diablo's trademarks). This would especially be likely for a laser printer which after all can do plotting in a much more straightforward manner.
 * I did find a scan of an actual Diablo 630 manual online.

 * Page 3-19, section 3.9.4 (page 51 in the scan) says that HMI and VMI are set in units of 1/120 and 1/48 inch.
 * Page 3-24, section 3.15 says that if VMI is set to an odd number, a half line feed will result in movement of "1/48 inch less than 1/2 line". Now I know the following is OR, but think about it. This would mean that with VMI set to, say, 6 (6/48), a half line feed would result in 3/48" movement or 6/96 (reasonable), but if VMI is set to 5, then we'd get movement of 3/96. (5/48 = 10/96, half of that is 5/96, 1/48 less than that is 3/96.) Then with VMI set to 4 (4/48), half line feeds would give 4/96. This is a discontiguous function. It makes no sense. My strong suspicion is that this is a typo and it was supposed to say "1/96 inch less than 1/2 line", i.e., if VMI was an odd number it simply rounded down. It's very possible that emulators would implement this differently - another printer might well be capable of actual 96 ppi vertical positioning. Certainly a laser printer could be. In any case this section certainly does not state that half line feed works analagously with VMI of 1 as for other values. In fact if we take it as read, it says that a half line feed with VMI of 1 would result in a reverse half line feed.
 * Page 3-25, section 3.19, "Graphics mode", gives basic resolutions of 60 x 48 rather than 120 x 48. But "half line feed and negative half line feed act the same in Graphics mode as in Normal mode." Whatever that is.
 * Graphics mode is really just setting the HMI and VMI to those values + printing does not move the head; all head movement is done by repeated space, backspace, etc., commands.
 * Finally, page 3-56, section 3.25, "HyPlot Vector Plotting", gives resolution of 120x48. That's probably what the article I ref'd was referring to.
 * I do have to wonder... if the platen was capable of 1/96 inch movement, why didn't the HyPlot mode, presumably the best "graphics" mode, support 120x96? And why would graphics mode make you use the awkward half line feeds to get to that resolution? My assumption is that the platen was not, in fact, that capable and that 48 steps per inch is what the platen servo motor could do. Nothing in the manual I can find states or implies a vertical resolution of 1/96, except that strange-seeming bit about the half linefeed commands.
 * The Brother Laser Printer manual:

 * Does not describe, anywhere I can find, the behavior for a half line feed with an odd-numbered VMI or a VMI of 1. At least, it's not in the section on VMI, and it's not in the sections on the half line feed commands. To what are you referring?
 * Does say that in graphics mode the resolution is 60x48 (same as the Diablo manual) and (unlike the Diablo manual) says nothing about what the half line feed commands will do in this mode.
 * Notes that the printer actual resolution is 600 dpi and it will approximate things as best it can to those increments.
 * Does not mention HyPlot mode.
 * As I said, a lot of "emulators" left out HyPlot mode, and a lot of other "emulators" enhanced the command set a trifle. I think my original source was correct for the actual Diablo 630. Jeh (talk) 02:02, 20 February 2010 (UTC)
 * Oh look... that Diablo manual provides a ref for the two-characters-per-spoke models. Restoring that, with ref, and improving the refs for plot and graphics mode. Jeh (talk) 03:33, 20 February 2010 (UTC)

 * Sorry for the delayed reply. Yes, I agree with you the manual text doesn't sound right at all - nice job tracking it down by the way - I was looking for a Diablo 630 manual a couple of years ago but didn't have any luck tracking it down online.  It looks to me that they've played with two alternative wordings - 1/96" less than half a line or rounding down to 1/48".  In choosing between the two they mixed up elements of both.  Of course that is pure speculation but I've seen precisely that kind of error introduced several times when redrafting.

 * As for the Brother documentation, you're correct that is does not document the half line action other than the control codes to activate it. I merely checked that to confirm the codes were present and then I assumed it worked in the manner specified in that Juki manual.

 * I'm curious now as to whether that Juki really does have 1/96" vertical resolution. I believe I still have it but it needs a new ribbon.  I'll try and find out what that really does.  The manual is very specific but I suppose the author could have misunderstood something along the way. CrispMuncher (talk) 21:58, 5 March 2010 (UTC)

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

title: Talk:Diablo 630


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2005 Cheadle by-election

The Cheadle by-election, in Greater Manchester, England, was caused by the death of Patsy Calton, the Liberal Democrat Member of Parliament (MP) for Cheadle on 29 May 2005. The election was held on 14 July 2005.

The Liberal Democrat candidate succeeding Calton was Stockport council leader Mark Hunter. The Conservative candidate was Stephen Day (who held the seat from 1987 to 2001, and lost to Calton in the 2005 general election). In his victory speech, Hunter described the campaign of the Conservatives as 'nasty' and 'misleading'.

The campaign was marred by accusations of dirty tricks and ruthless negative campaigning, principally accusing the Conservative campaign. Both the Liberal Democrats and a local newspaper threatened legal action over inaccuracies and defamation in Conservative campaign leaflets. The most significant example was a Conservative leaflet that superimposed a headline about Hunter's voting record on crime with a headline from a local newspaper about a rape, prompting the Liberal Democrats to threaten legal action. With only 4.6% of the vote, the Labour Party candidate, Martin Miller, lost his deposit. Labour Party did not fight an energetic campaign in a seat that was a Liberal Democrat/Conservative marginal.

With the exception of the 1997 Winchester by-election, where the general election result was annulled, it was the first seat to be defended in a by-election by the Liberal Democrats since their formation in 1988. Their predecessor parties last defended a seat in a by-election at Truro in 1987.

title: 2005 Cheadle by-election


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Maesteg RFC

Maesteg Rugby Football Club is a rugby union team from the town of Maesteg, South Wales. The club currently play in the Division 3B west Central Welsh Rugby Union and is a feeder club for the Ospreys.

Club history
Maesteg RFC was formed in 1877 in the Llynfi Valley, in the county of Glamorgan. They were county league champions 1912 to 1913. The 1949 team completed their season without losing a single game. In 1978 and 1979 they were the Whitbread league champions. In 1982 they played the Irish Wolfhounds, Crawshays RFC, Toronto Welsh RFC, German Federation and the New Zealand Māoris; they held the latter to a 10–10 draw. These games were thought at the time to be part of the centenary season of the club. It was later discovered that this was untrue, as the centenary was five years earlier.

Maesteg were promoted to the Welsh Premier Division in 2005, but were relegated back to division one when they came bottom of the league in the 2007/08 season.

Notable former players

 * See also Category:Maesteg RFC players

The below players have represented Maesteg and have been capped at international level.

 * 🏴 Billy Banks Wales and Great Britain rugby league international
 * 🏴 Allan Bateman Wales international & British Lion
 * 🏴 Gwyn Evans Wales international and British Lion
 * 🏴 Chico Hopkins Wales international and British Lion
 * 🏴 Fred Hutchinson
 * 🏴 Trevor Lloyd Wales international and British Lion
 * 🏴 Glyn Moses Wales and Great Britain rugby league international
 * 🏴 Charlie Pugh
 * 🏴 Ike Owens Wales & Great Britain rugby league international
 * 🏴 Alan Rees Wales international
 * 🏴 Aaron Rees Wales international
 * 🏴 David Watts

Club honours

 * Glamorgan Challenge Cup 1912 - Champions
 * Whitbread Merit Table 1977/78 - Champions
 * Whitbread Merit Table 1978/79 - Champions
 * SWALEC Plate 2009/10 - Champions
 * WRU Division Two West 2009.10 - Champions

title: Maesteg RFC


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Talk:G2 Beijing–Shanghai Expressway

Is the recently opened Runyang Bridge on this expressway? -- Samuel Wantman 08:47, 30 May 2005 (UTC) NO, it is notWeirdperson11 18:34, 27 July 2005 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 00:03, 29 November 2019 (UTC)
 * ChinaRailwayHighspeed.svg

title: Talk:G2 Beijing–Shanghai Expressway


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David Boyle, Lord Boyle

David Boyle, Lord Boyle FRSE (26 July 1772 – 4 February 1853) was a British judge.

Life
Boyle was born at Shewalton near Irvine on 26 July 1772, the son of Elizabeth Dunlop, daughter of Professor Alexander Dunlop, and the Honorable Reverend Patrick Boyle of Shewalton (died 1798), son of John Boyle, 2nd Earl of Glasgow. His father had inherited the Shewalton estate through his uncle, Patrick Boyle, Lord Shewalton, who had never married.

He studied law at the University of St Andrews (1787) and then at the University of Glasgow (1789).

He became an advocate in 1793 and rose to be Solicitor General. He was based at 41 George Street in Edinburgh.

In 1798 he inherited the Shewalton estate on his father's death.

He was Member of Parliament (MP) for Ayrshire from 1807 to 1811 and served as Solicitor General for Scotland during that period. In 1811 he was appointed a Senator of the College of Justice, with the judicial title Lord Boyle. He was Lord Justice Clerk from 1811 to 1841. He became a Privy Counsellor in 1820 and Lord Justice General from 1841 to 1852.

From 1815 to 1817 he served as Rector of the University of Glasgow.

In 1833 his address was listed as 28 Charlotte Square at the west end of Edinburgh's New Town.

Family
Boyle married firstly, in 1804, Elizabeth Montgomery (died April 1822), daughter of Alexander Montgomery, and niece of Hugh Montgomerie the Earl of Eglinton. They had several children, including Patrick Boyle, father of David Boyle, 7th Earl of Glasgow; and Alexander Boyle, a vice-admiral in the Royal Navy.

Boyle married secondly, in 1827, Catherine Campbell Smythe, daughter of David Smythe, Lord Methven. Their children included George David Boyle, who became Dean of Salisbury. Boyle died on 4 February 1853, aged 80. His second wife died in December 1880.

His daughter, Helen, married Charles Dalrymple Fergusson, Baronet of Kilkerran.

Memberships

 * Highland Society (1804)
 * Fellow of the Royal Society of Edinburgh (1820)

title: David Boyle, Lord Boyle


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Talk:Hermitage Museum

English-language name of the museum
In the official website of the museum, it refers to itself as The State Hermitage Museum. I suppose the page shouldn't be moved as the shorter form seems to be more widely used, but probably the full name should be mentioned (as of now, State Hermitage Museum is a redirect). --Jūzeris | say what? | 08:48, 30 May 2005 (UTC)
 * I agree that in the museum's official website, the museum is named formally in English as "The State Hermitage Museum", so I believe that the name in the lead sentence and infobox should be consistent with the full name in the official website. -- Blairall (talk) 05:04, 20 June 2016 (UTC)

An explanation of why I deleted 3 words from this article
"What is worse" makes a judgement. It is not wikipedia's job to make judgements of good/bad, beeter/worse. It is wikipedia's job only to present the facts.-86.138.233.25 18:29, 4 February 2006 (UTC)

I'm very unimpressed. This is immature.
(I'm sorry I'm taking up so much room on your talkpage. I don't mind if you delete this after we're through discussing it.) --Berserk798 20:58, 21 March 2006 (UTC)
 * The article states that the Hermitage Museum is the "most important" museum of human history and culture in the world. I removed that statement in accordance to Wikipedia's style guide, because it's not a verifiable fact but merely someone's opinion, and that it gives no actual information about the museum.
 * Not at all. It says "one of the most important". While I don't believe that the phrase is mine, yet the statement is factually correct. If you remove it, I would not revert: the fact is obvious enough. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * You're right. The article has enough information to make it clear that it is one of the most important museums of human culture and history. Flat-out saying so detracts from the article so I would like to remove it. --Berserk798 01:53, 24 March 2006 (UTC)
 * I changed "Leonardo" to "Leonardo da Vinci" because many people will not correctly identify the name Leonardo as being Leonardo da Vinci.
 * While I can imagine the hamburger-chewing public you take so much care about, it's not very likely that they are able to read anything more advanced than cartoons. If you think the problem is real, make your changes. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * Very nice. I like your ethnic slur. I am not ashamed to be a part of this "hamburger-chewing" public that you speak of. Hamburgers are merely a part of our culture and they make our society no less intelligent or culturally significant than yours. I'd also like to point out that the United States has a very high literacy rate and that identifying the name "Leonardo" as being specifically "Leonardo da Vinci" has nothing to do with your reading ability. I, for the record, can't remember ever seeing his name abbreviated to "Leonardo" without it being explicitly clear that the article (or whatever it is) is talking about Leonardo da Vinci. I've seen it abbreviated to "da Vinci", but generally his full name is written out. I would like to change this. --Berserk798 01:53, 24 March 2006 (UTC)
 * I hesitate to get involved, but I'd just wanted to point out that you're not making the hamburger-chewers look very good here. "da Vinci" is not a surname and should not be treated as one; all it means is that Leonardo came from a town called Vinci. As far as anyone knows his name was simply "Leonardo"; one adds "da Vinci" if there are other Leonardos from whom he needs to be distinguished. To call him "da Vinci" alone is simply nonsensical. But in the context of the arts and sciences, there's only one Leonardo anyway. (For the record, I'm American, but I rarely eat hamburgers. They may not make us dumb, but they do make us fat.) TCC (talk) (contribs) 02:11, 24 March 2006 (UTC)
 * His full name is "Leonardo di ser Piero da Vinci" and in English-speaking countries he is often colloquially referred to as "Leonardo da Vinci" or simply "da Vinci". Unless it's explicity clear that the text is referring to Leonardo da Vinci, I've never seen "Leonardo" stand alone. Also, hamburgers don't make people fat; poor eating and exercise habits do. --Berserk798 03:18, 24 March 2006 (UTC)
 * I am aware of his full name, thanks. "Di ser Piero" is a patronymic, and not a surname either, and using "da Vinci" as a surname is simply illiterate no matter how often you've seen it. But "Leonardo" by itself is actually fairly common in serious work about him. You won't find him called "da Vinci" in biographies or art histories, for example.
 * No, hamburgers by themselves don't make people fat, but they're symptomatic of a fat lifestyle. TCC (talk) (contribs) 03:44, 24 March 2006 (UTC)
 * I never claimed that "Di ser Piero" was a surname, but thanks for completely inventing that. You're failing to realize that just because "da Vinci" isn't technically a surname it is still a name. Now if the article was discussing Renaissance or Italian art, or if it had previously used the name "Leonardo da Vinci" or specified that he was the man being discussed, I would expect him to be referred to as simply "Leonardo". When you throw the name "Leonardo" in the middle of a long list of artists from different time periods and countries, I think it's more sensible to specify who exactly Leonardo is. I'd also like to point out that names like "da Vinci" have evolved into surnames over time, as have patronymics like "Robertson" and "Atkinson". And any meat could just as easily be symptomatic of a "fat" lifestyle. There's nothing special about hamburgers. --Berserk798 18:32, 25 March 2006 (UTC)
 * I changed "but there is actually much more to see" to "there are several more collections, however, including" because the former sounds too informal for Wikipedia, in my mind. This is, however, very debatable.
 * Indeed. I see nothing wrong here. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * I removed the "superb" description of the Faberge jewellery in accordance to Wikipedia's style guide, the POV factor, and because it gives no information about the collection. If you want people to realize how superb it is, tell them facts that show what makes it superb.
 * This change is OK with me. I don't believe there is so much Faberge jewelry in the Hermitage. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * I removed the "breathtaking" description of the ancient gold collection for the same reasons as the "superb" description.
 * I have objections here. Perhaps we should state clearly that the Hermitage contains by far the largest part of the steppe (Scythian, Sarmatian, Bosporian) gold produced before Christ\s era? --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * That's a good idea. Now we can tell people why it's "breathtaking" and remove the peacock phrase. --Berserk798 01:53, 24 March 2006 (UTC)
 * I removed the statement that describes the German architect as "stylish". This is, obviously, for similar reasons as the two previous edits.
 * Please read carefully: Klenze was not stylish but fashionable. Only those who have no idea about 19th-century architecture may dispute the fact. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * I think it would be best to say something along the lines of how he was popular or his designs were "in vogue" at the time. I don't think Wikipedia should be taking a stance on what is or is not fashionable. --Berserk798 01:53, 24 March 2006 (UTC)
 * I removed "its quality is still unsurpassed". Please, don't even argue with this one. The same reasons as "superb" and "breathtaking".
 * The epithet is surely judgmental, yet it is basically correct. In terms of quantity, the Hermitage's collection is now the second best; yet the fame, size, diversity of subject matter, importance for the history of painting - in one word, quality - of Rembrandt paintings represented here have no rivals elsewhere. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * I still feel that that phrase should be removed. If you want to give information about the collection, that would be good, but I don't think we should make the generalization of "quality". --Berserk798 01:53, 24 March 2006 (UTC)
 * I think "notable" is more neutral than "remarkable", but this is debatable.
 * I don't see it at all.
 * "Several" means the same exact thing as "a lot" except it sounds more encyclopedic and is less informal. Why do you even have an issue with this?
 * Because Schukin bought up the whole Picasso's studio circa 1909. Every large or otherwise eminent painting from the period went to his collection, which was later divided between the Hermitage and the Pushkin Museum. Those early Cubist paintings by Picasso that may be seen in the West were sold abroad by the Communists. Even in the present state, the Hermitage's collection of 40 major works by Picasso may by no means reduced to "several paintings". --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * Well if several isn't accurate, neither is "a lot". Let's be exact and say "40 major works". --Berserk798 01:53, 24 March 2006 (UTC)
 * Describing some paintings as "somewhat less irreplacable" than others is fallacious and POV. Similar reasons as the "superb" and "breathtaking" edits, but I hope I don't need to go into detail about them.
 * Please do. There are less than dozen Van Eyck's in the world, each long appropriated by a major museum, so the loss of every one is irreplacable. There are no (and never will be) other Van Eycks on the market to buy and to fill the gap in the collection. On the other hand, there are thousands of Renoirs or Monets in the market, so there is hope that a new painting by one of this paintings will be acquired, hence the loss is retrievable. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * I think we should be more specific than "somewhat less irreplacable". That can easily be fixed. --Berserk798 01:53, 24 March 2006 (UTC)
 * The period was only "tragic" in the eyes of some people. Obviously the Soviets didn't think it was too tragic; obviously the people abroad who bought the paintings didn't think it was tragic at all. This is purely, wholly, undebatably POV.
 * The article is about a particular museum. For the museum officials the loss is tragic, and they say it openly in every publication you can consult. What others think about the matter is of little consequence to this article. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * This right here is rubbing me the wrong way. Wikipedia's articles are supposed to be from no one's point of view and only factual. I understand where you're coming from, but I think we have to remove "tragic" anyway because we can't be entertaining the museum official's point of view no matter how consequential it is to the topic. --Berserk798 01:53, 24 March 2006 (UTC)
 * Saying that the impressionist works were "by far the most precious" is POV for obvious reasons as well.
 * Please consult auction records. The paintings are sold and bought, and every artwork has a price. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * "Precious" carries different connotations than "expensive". We should avoid calling them "precious". --Berserk798 01:53, 24 March 2006 (UTC)
 * Wikipedia is not given the right to judge whether or not works of art are "incredible". I don't think we should be describing this movie as such.
 * It's not my phrase. There are many enthusiasts of the movie who I'm pretty sure will restore it. --Ghirla -трёп- 19:13, 23 March 2006 (UTC)
 * Well if they restore it, I have no problem removing it.

Hermitage Museum buildings
Perhaps it would be better if this article describes which are the six buildings that forms the Hermitage Museum. It is also helpful if a template was created that would includes all the buildings (Winter Palace, Hermitage Theatre...) of the Hermitage Museum. --67.2.149.14 08:05, 23 July 2006 (UTC)

I think Berserk should give other people a chance to comment on The Hermitage. His monopoly of this topic is egotistical and shamelessly arrogant.74.220.72.210 23:03, 28 April 2007 (UTC)

Theft from the Hermitage
BBC News article from July 2006 86.136.0.145 14:27, 1 August 2006 (UTC)

Comment after visiting the Hermitage museum on 2 Sept 2007
Big thank you to the writers of this concise but comprehensive article on the State Hermitage Museum. It inspired me to visit this wonderful museum and I was not disappointed. "Superb" and "brethtaking" are too mild to describe its interiors and collections. Would appreciate constructive additions to this article both pictures and information. 84.52.77.203 11:12, 3 September 2007 (UTC) Pekka Kuovola, Finland

Comments to who typed this article of this page
Why have not all previous owners to this Palace been listed, and then specially not the last one?? There are families missing!! Kindly do not forget that this "Museum" has been taken from the rightful owner at gun point by the Bolscheviks in 1917, and then after that never returned to the last owner family. Whomever dealing with stolen property - I think there is a name for that in most languages, not to mention moral aspects. H. von Börtzell-Szuch Stockholm, Sweden. —Preceding unsigned comment added by 213.114.195.150 (talk) 14:05, 20 November 2007 (UTC)

If you know the names of all the previous occupants of the Winter Palace, then by all means feel free to edit the article. Or if you are not comfortable editing yourself, post the info in here, along with sources preferably. Then other editors can check the sources and edit the new information into the article. sdgjake (talk) 15:41, 20 November 2007 (UTC)

Merge ?
I am thinking of considerably expanding the Winter Palace page but before I do has there been any discussion of  merge between this and that page. I'm not bothered either way but obviously I don't want to get this to FA level and then have a merge tag stuck on it. Giano (talk) 18:43, 17 December 2007 (UTC)

 * I checked some other articles on Wiki for comparison, and found that we only have one article for Museo del Prado, but for Louvre we also have Palais du Louvre. I think the latter makes more sense here.  The Winter Palace has more history before becoming the Hermitage than since.  The Hermitage doesn't just occupy the Winter Palace.  There's a lot of overlap, but it's not complete, and so a merge doesn't seem quite right to me.  I think best would be to have the "Main article: Winter Palace" and vice-versa on the articles.  Plus it's hard for me to imagine having Winter Palace or Hermitage Museum be a redirect.  Or at least that's my initial reaction.  Is that what you were thinking as well? --JayHenry (talk) 19:31, 17 December 2007 (UTC)

 * One is a museum, the other is a palace- two fundamentally different things. And what if they moved the whole museum to Vegas? :-) That would be a messy unmerge. There should be plenty of material for two complete FAs. BTW, I'm not entirely joking about the Vegas part - the "museum" article should be written such that it wouldn't change much if the collection moved to new digs, while the Winter Palace article gets the bulk of material about the physical plant. Stan (talk) 21:29, 17 December 2007 (UTC)

Reference for Nazis targeting Hermitage specifically?
The article states this as fact, but I think it needs a citation. Also, perhaps it needs to be clarified, if it was the case, whether it was targeted as a cultural repository or merely as a large building in an area where they wanted to shell. Historian932 (talk) 14:29, 18 June 2008 (UTC)

Hermitage cats
Just thought this would be interesting, the BBC had an article on Hermitage's cats in 2007: Hermitage palace is cat's whiskers. I have also seen a French documentary which name translated as "Cats in Tzar's country." Those cats are part of the palace since the 18th Century. Perhaps this is worth adding to the article? -- DTRY (talk) 09:57, 15 August 2011 (UTC)

Why is it called "The Hermitage"
I've always thought the word had something to do with hermits but a building built for a thousand people is obviously not that.

What is the origin of the word? — Preceding unsigned comment added by 23.119.205.88 (talk) 15:02, 19 July 2014 (UTC)

Ferrara, Italy
The link to Ermitage Ferrara in Italy doesn't work, the site of the castle is not mentioning it either. it seems that Ermitage Ferrara is old news and should be removedOogstweg (talk) 21:56, 6 January 2015 (UTC)

Who is the Director in 2016?
Mikhael (Borisovitch) Piotrovsky is named in the introductory paragraphs but this disagrees with the 'List of Directors' which comes later!!! Joking99a (talk) 06:44, 4 May 2016 (UTC)
 * Someone had vandalized the 'List of Directors', so I have fixed that now. According to the official museum website here, Mikhail Piotrovski's father, Boris Piotrovski, was Director of The State Hermitage Museum from 1964 until his death in 1990. Following his father’s death, Mikhail was invited, in 1991, to join the Hermitage staff as the First Deputy Director. In July 1992, he was appointed Director of the Museum by a decree of the Prime Minister. -- Blairall (talk) 03:51, 20 June 2016 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20120911063530/http://www.hermitagemuseum.org/html_En/05/hm5_5.html to http://www.hermitagemuseum.org/html_En/05/hm5_5.html
 * Added archive https://web.archive.org/web/20120628061448/http://www.hermitagemuseum.org/html_En/05/hm5_1_6.html to http://www.hermitagemuseum.org/html_En/05/hm5_1_6.html
 * Added archive https://web.archive.org/web/20140303165740/http://www.hermitagemuseum.org/html_En/05/hm5_1_42.html to http://www.hermitagemuseum.org/html_En/05/hm5_1_42.html
 * Added archive https://web.archive.org/web/20140209094541/http://www.hermitagemuseum.org/html_En/08/hm89_0_1_70.html to http://www.hermitagemuseum.org/html_En/08/hm89_0_1_70.html
 * Added archive https://web.archive.org/web/20131005013016/http://www.hermitagemuseum.org/html_En/08/hm89_0_1_71.html to http://www.hermitagemuseum.org/html_En/08/hm89_0_1_71.html
 * Added archive https://web.archive.org/web/20140808054530/http://hermitagemuseum.org/html_En/13/hm13_1_003.html to http://www.hermitagemuseum.org/html_En/13/hm13_1_003.html
 * Added archive https://web.archive.org/web/20120316234956/http://www.ermitageitalia.com/home.aspx?lang=en-US to http://www.ermitageitalia.com/home.aspx?lang=en-US
 * Added archive https://web.archive.org/web/20131107060807/http://www.theartnewspaper.com/articles/Launch-museum-satellites-says-Putin/30991 to http://theartnewspaper.com/articles/Launch-museum-satellites-says-Putin/30991
 * Added archive https://web.archive.org/web/20130104065817/http://www.guggenheim.org/new-york/press-room/releases/press-release-archive/2008/1814-guggenheim-hermitage-museum-in-las-vegas-concludes-seven-year-residency-at-the-venetian-resort-hotel-casino to http://www.guggenheim.org/new-york/press-room/releases/press-release-archive/2008/1814-guggenheim-hermitage-museum-in-las-vegas-concludes-seven-year-residency-at-the-venetian-resort-hotel-casino
 * Added archive https://web.archive.org/web/20140808074724/http://hermitagemuseum.org/html_En/13/hm13_1_001.html to http://www.hermitagemuseum.org/html_En/13/hm13_1_001.html

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Problem with exhibition size
The official webpage of Hermitage has suddenly changed its exhbition size from 66,842 to 100,000 square meters. I wonder what could motivate such a big change, as well as the passage from a very precise number to this over the top figure. I suspect that it could be State propaganda to be able to steal the first place from the Louvre... https://hermitagemuseum.org/wps/portal/hermitage/about/facts_and_figures/?lng=en LinguisticStudent (talk) 00:05, 3 November 2021 (UTC)

title: Talk:Hermitage Museum


text:
Mandocello

The mandocello (mandoloncello, Liuto cantabile, liuto moderno) is a plucked string instrument of the mandolin family. It is larger than the mandolin, and is the baritone instrument of the mandolin family. Its eight strings are in four paired courses, with the strings in each course tuned in unison. Overall tuning of the courses is in fifths like a mandolin, but beginning on bass C (C2). It can be described as being to the mandolin what the cello is to the violin.

Construction
Mandocello construction is similar to the mandolin: the mandocello body may be constructed with a bowl-shaped back according to designs of the 18th-century Vinaccia school, or with a flat (arched) back according to the designs of Gibson Guitar Corporation popularized in the United States in the early 20th century. The scale of the mandocello is longer than that of the mandolin. Gibson examples have a scale length of 24.75" (62.87 cm) but flat-back designs have appeared with both significantly shorter and longer scale lengths (27"/68.58 cm on some Vega mandocellos). Bowl-back instruments may have a shorter scale length, on the order of 22.5" (about 57 cm).

The internal bracing also bears some similarity to the mandolin. Gibson's mandocellos were typically constructed with a single transverse brace on the top just below the oval soundhole. Modern builders also use X-bracing.

As is typical of the mandolin family, mandocellos can be found with either a single oval soundhole or a pair of "F" soundholes.

These instruments typically have between 18 and 22 frets; concert bowl-back instruments may have more frets permitting virtuoso passage work in the upper register.

Layout of strings
The mandocello generally has four courses of two strings each. Because of the heavy gauge of the lowest course, some folk mandocello players remove one of the C strings to prevent rattling while playing fortissimo, or use lighter gauge strings so that the 2 C Strings don't rattle.

There are 10-string/5-course mandocellos, containing an additional course of strings above the 1st (highest) course, sometimes termed a liuto cantabile or liuto moderno, although these instruments remain technically mandocellos & many companies make them.

History
Like most other instruments in the mandolin family the mandocello originated in Europe. Mandolins evolved from the lute family in Italy during the 17th and 18th centuries, and the bowl back mandolin, produced particularly in Naples, became common in the 19th century. It was during the Baroque period (1600–1750) that interest in the mandolin began to increase, along with its use in ensemble playing, resulting in increased interest in developing and expanding the mandolin family.

The first evidence of modern metal-string mandolins is from literature regarding popular Italian players who travelled through Europe teaching and giving concerts. Notable are Signor Gabriele Leone, Giovanni Battista Gervasio, Pietro Denis, who travelled widely between 1750 and 1810. This, together with the records gleaned from the Italian Vinaccia family of luthiers in Naples, Italy, has led musicologists to believe that the family of modern steel-string mandolins were developed in Naples by the Vinaccia family.

Mandolin ensembles were popular in the late Baroque period, and a number of instruments were added to the family around this time, including the mandalone a flat-backed, bass instrument, "much larger than the liuto" with "four heavy wound strings" tuned (in fourths) to A2-D3-G3-C4. This instrument may have been the direct precursor of the mandocello. The popularity of mandolin ensembles began to wane during the late Classical (1750–1825) period, and after 1815 the mandolin largely transitioned to the status of a folk instrument, and the mandolone all but disappeared.

It was during this decline in popularity that Pasquale Vinaccia (1806–1885) made his modifications to the instrument that his family made for generations, creating the Neapolitan mandolin.

The mandolin was largely forgotten outside of Italy by that point, but the stage was set for it to become known again, starting with the Paris Exposition in 1878. Vinaccia modernized several members of the mandolin family, improving resonance, increasing ranges, and adding features. In addition to creating the Neapolitan mandolin c. 1835, he reconceived the mandalone and related instruments, which had limited range, and a much quieter tone than the treble mandolins. The Neopolitan mandocello he developed had increased volume, extended range, and effectively superseded the mandolone as the bass instrument of the mandolin family.

Beginning with the Paris Exposition of 1878, the mandolin's popularity began to rebound. In particular, the Spanish Estudiantina Figaro, an "association of young teachers, musicians ... created and established in Madrid forming a magnificent band of guitars, bandurrias and violins" attracted widespread attention.

This was followed by a wave of Italian mandolinists traveling in Europe in the 1880s and 1890s, and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in the "early years of the 20th century. Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating the mandolin family of instruments—mandolins, mandolas, mandocellos, and even mandobasses—as well as guitars, double basses and zithers.

Around this time, the Gibson company began building mandocellos in the style of their mandolins with arched tops and backs. Gibson is known to have produced at least four models of mandocello between 1905 and the 1920s: the K-1, K-2, K-4, and K-5. Other American instrument companies also produced mandocellos.

After the 1930s the popularity of mandolin ensembles once again began to decline, though not as completely as it had in the 19th century. Mandolins continued to be produced, but production of other members of the family decreased significantly, although—with the possible exception of the mandobass—it never died out completely.

Tuning and range
Usually, courses of 2 adjacent strings are doubled (tuned to the same pitch). The standard mandocello tuning of C2 C2•G2 G2•D3 D3•A3 A3 is equivalent to that of the violoncello:

 * fourth (lowest tone) course: C2 (65.406 Hz)
 * third course: G2 (97.999 Hz)
 * second course: D3 (146.832 Hz)
 * first (highest tone) course: A3 (220 Hz)

The average range, therefore, is about three-and-a-half octaves, with the exact range depending on the number of frets on the individual instrument: from two octaves below middle C up to D#5/Eb5, in the octave above middle C, (with 18 frets), to as high as A5, with 24 frets.

On 10-string/5-course instruments an additional string-pair, placed above the first course, is tuned to E4 E4, adding an additional half-octave or so to the upper range up to E6.

Usage
The bowl-back mandocello is chiefly used in mandolin orchestras and mandolin quartets, where it provides a melodic and bass role similar to the cello in a bowed string quartet. It is occasionally used as a solo instrument for the performance of classical music, such as concertos and unaccompanied repertoire originally composed for solo cello. However, some pieces specifically for liuto cantabile were composed by Raffaele Calace, who championed the instrument in the early 20th century. More recent music for solo mandocello was presented at the 2018 Classical Mandolin Society Convention in Santa Rosa by Dr. James Imhoff. An article on this event and examples of the music appear in the CMSA Mandolin Journal. Imhoff continued these presentations at subsequent CMSA events, including composers from the UK, Germany, Australia, and the USA.

The mandocello also has a role in modern folk music, such as bluegrass or Celtic music. In this setting the flat-back mandocello is typically used. The mandocello's lower range does not produce the bright, projecting sound of the mandolin or mandola, and its use in this setting has been generally eclipsed by mandolin artists since Bill Monroe. The amplified instrument has infrequently been used in modern rock music groups. The bowl-back mandocello (mandoloncello) is traditionally used for Italian folk music.

The most historically significant mandocellist was Raffaele Calace, who wrote the first method book specifically for liuto cantabile, and is thought to have perfected the design of the instrument following its putative introduction by the Vinaccia family. Luigi Embergher also contributed significantly to advancements in the design of the instrument during the late 19th and early 20th centuries.

Image in contemporary music
Accomplished artists specializing in mandocello performance in 21st century America are relatively few in number, and only a modest number of contemporary recordings prominently feature the instrument. One American mandocello artist, Stanley Greenthal, is a specialist in the music of Brittany and an instructor at Zouk Fest. The mandolinist Radim Zenkl is also well known for performances of American, Italian, and other European folk music on the mandocello. One recent recording with mandolin virtuosos Carlo Aonzo and David Grisman has featured Zenkl's mandocello on the album of Italian folk music "Traversata" published by Acoustic Disc. Steve Knightley of the English folk-rock band Show of Hands plays the cello-mandolin, however his instrument is tuned GDAD, similar to an octave mandolin. Mike Marshall, best known for his collaborations with David Grisman, Darol Anger and Chris Thile has performed and recorded frequently with the mandocello. Ryan Delahoussaye of the American rock band Blue October plays a mandocello on stage. His Eastwood Warren Ellis model instrument is styled to resemble an electric guitar.

Notable uses
Steve Knightley, the English folk musician and songwriter, made the mandocello a key part of his songwriting and overall sound, especially with his band Show of Hands. Steve uses instruments made by David and Nicholas Oddie in Devon, England, in the tuning GDAD which makes the instrument more effective for chunky chord accompaniments as well as playing tunes. Steve also plays guitar, cuatro mandolin, and tenor guitar.

Geoff Goodman, New York born European jazz musician and composer, features both guitar and mandocello in his compositions.

Patterson Hood, front man for Drive-By Truckers, plays a mandocello made by Scott Baxendale of Baxendale Guitars in Athens Georgia. Baxendale starts with a vintage Harmony guitar and converts it from six string standard tuning to the mandocello.

Bryn Haworth uses a mandocello on his album, Let The Days Go By.

John Nagy and David Grisman play mandocello on the Earth Opera album, The Great American Eagle Tragedy.

Mike Marshall played a mandocello on his collaboration album Uncommon Ritual with Edgar Meyer and Béla Fleck and plays it live occasionally (for example with Darol Anger on violin).

Rick Nielsen of the band Cheap Trick has a stringed instrument collection that includes electric mandocellos custom made by Hamer Guitars. Such an instrument was used for the title track from their LP Heaven Tonight, while their song "Mandocello", released on the band's debut album, used a standard acoustic mandocello. This song was later covered by Concrete Blonde and released on their album Still in Hollywood.

Jaco Pastorius, bassist for Weather Report, overdubbed a mandocello on their hit "Birdland."

Richie Sambora, guitarist for Bon Jovi, used a mandocello on the song "Lay Your Hands on Me" from their acoustic album This Left Feels Right.

Elliott Sharp uses the mandocello in avant-garde as well as modern rock and blues settings, on such albums as Revenge of the Stuttering Child by poet Ronny Someck; with the contemporary blues band Elliott Sharp’s Terraplane on the albums Sky Road Songs, 4AM Always, and Kick It Six; in duo with accordionist William Schimmel on Blues, Hues, and Views; and on E#’s solo mandocello album Mandocello.

Photographs

 * Gabriele Pandini Workshop, Ferrara, Italy
 * Carlo Mazzaccara Workshop, Naples, Italy
 * Pictures of a mandocello
 * Patterson Hood's Converted Baxendale Mandocello.

Video

 * ArsNova Mandolin Quartet (classical)
 * Mike Marshall (bluegrass)

title: Mandocello


text:
Gustav Cohn

Gustav Cohn (12 December 1840 in Marienwerder, West Prussia – 17 September 1919) was a German economist, noted for his pioneering contributions to the theory and policy of transportation and public finance. He was educated at Berlin and Jena universities. During 1867 and 1868 he was the holder of a fellowship at the Royal Statistical Bureau of Berlin, and in 1869 became privat-docent at the University of Heidelberg, but in the same year accepted an invitation from the Polytechnikum at Riga. Cohn paid a visit to England in 1873, and the fruits of his observation and research were embodied in the masterly production "Untersuchungen über die Englische Eisenbahnpolitik," 2 vols., Leipzig, 1874-75. In 1875, he was invited to fill the chair of economics at ETH Zurich, which he held until 1884, when he became professor in the University of Göttingen.

While at Zurich he prepared for publication his "Volkswirtschaftliche Aufsätze" (Stuttgart, 1882), and contributed to the "Göttingische Gelehrte Anzeigen" (1880, i. 97-135) an exhaustive critical review of the first volume of Wagner's "Allgemeine Volkswirtschaftlehre." The names of Wagner and Cohn have often been coupled, not only because both were classed among the Katheder-Socialisten, but also because they have much in common in their attitude toward the various so-called schools of economic science. In continuation of his study of the English railroad policy, and as the third volume of his earlier work on that subject, appeared his "Die Englische Eisenbahnpolitik der Letzten Zehn Jahre," Leipzig, 1883.

After his establishment at Göttingen a period of ardent literary activity set in. The first volume of the greatest work which he has yet produced, his "System der Nationalökonomie," was published in 1885, the very next year after his arrival. It is significant of the importance and character of this work that two such great leaders of the respective opposing "schools" as Wagner and Schmoller should unite in praising it.

In 1886, he contributed to the "Jahrbuch für Nationalökonomie"(vol. xiii, No. 6), "Zur Fabrikgesetzgebung," a review of government reports on factory legislation in Switzerland and Saxony, and to the "Jahrbuch für Gesetzgebung" (x.3), "Eröterungen über die Fiskalische Behandlung der Verkehrsanstalten." In that year, too, appeared his "Nationalökonomische Studien," Stuttgart, 1886.

The year 1889 witnessed the publication of the second volume of his "System der Nationalökonomie," and his "Finanzwissenschaft."

Cohn was elected a regular member of the Gesellschaft der Wissenschaften at Göttingen in 1894; and in 1896 the Prussian Order of the Red Eagle of the fourth class was conferred upon him. After an interval of nearly ten years he completed the third volume of the "System der Nationalökonomie," which was also issued under the title "Nationalökonomie des Handelsund Verkehrswesens: Ein Lesebuch für Studierende," Stuttgart, 1898. To the "Jahrbuch für Nationalökonomie" (vi, Jan., 1901) he contributed "Ueber die Vereinigung der Staatswissenschaften mit den Juristenfacultäten."

Works

 * "Untersuchungen über die Englische Eisenbahnpolitik". 2 vols in 1 (Leipzig, 1874 and 1875)
 * "Volkswirtschaftliche Aufsätze" (Stuttgart, 1882)
 * "Die englische Eisenbahnpolitik der letzten zehn Jahre (1873-1883)" (Leipzig, 1883)
 * "System der Nationalökonomie" (Stuttgart, 1885-1898, 3 vols.)
 * "Vol. 1 - Grundlegung der Nationalökonomie (Stuttgart, 1885);
 * "Vol. 2 - System der Finanzwissenschaft" (Stuttgart, 1889); Vol. 2, transl. by Thorstein Veblen,, (Chicago, 1895)
 * "Vol. 3 - Nationalökonomie des Handels und des Verkehrswesens (Stuttgart, 1898)
 * "Nationalökonomische Studien" (1886)
 * "Die deutsche Frauenbewegung. Eine Betrachtung über deren Entwickelung und Ziele (Berlin, 1896)
 * "Zur Geschichte and Politik des Verkehrswesens" (Stuttgart, 1900)
 * "Ethik und Soziologie (Leipzig, 1916)
 * "Universitätsfragen und Erinnerungen (Stuttgart, 1918)

title: Gustav Cohn


text:
Wikipedia:Articles for deletion/Quantum sort

 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 - kept, Josh Lee's argument never rebutted. - SimonP 02:40, Jun 15, 2005 (UTC)

Quantum sort
Looks like a WP:BJAODN candidate to me. Article creator has not provided references despite having been asked to, and I can't verify it. If I should be mistaken: sorry folks. Delete. Lupo 08:51, 30 May 2005 (UTC)

 * Delete unverifiable, original research. Rl 09:11, 30 May 2005 (UTC)
 * Stupid (also, it's not quantum mechanics but the many worlds theory they're referring to). Redirecting to Quantum algorithm is a good idea though, as there are some interesting quantum computing sorting algorithms. --W(t) 09:13, 2005 May 30 (UTC)
 * Delete. — Phil Welch 09:40, 30 May 2005 (UTC)
 * Oh sorry, I didn't realize you were asking for references, I thought you were just saying, "hey that's funny". It's kind of a nerdish injoke, just like Pi day, Administratium etc. Some people swear by 'order of magnitude' as the only comparison of sort algorithms, and this (and quicksort) are counterexamples. Radiant_* 12:00, May 30, 2005 (UTC)
 * BJAODN, I'd say. One of those "great in theory, lousy in practice" procedures. Grutness...  wha?  10:13, 31 May 2005 (UTC)
 * Delete (or move to a Humor Category): Qualified under "Patent nonsense (total gibberish)" as well as "Completely idiosyncratic non-topic", as well as reasons listed above.  Clever, humorous, but not realistic.
 * BJAODN. JamesBurns 09:03, 2 Jun 2005 (UTC)
 * Delete. Quale 14:56, 2 Jun 2005 (UTC)
 * Keep in this universe. The Jargon File is your reference. —Josh Lee 04:46, Jun 11, 2005 (UTC)
 * Keep. The fact that the Jargon File cites it is sufficient to warrant its inclusion in Wikipedia, although the article itself may need some cleanup. ArthurDenture 04:49, 11 Jun 2005 (UTC)
 * Keep - it's non-nonsense and an interesting concept. It's something I'm glad I found, even if it's impractical. I think the article should be changed so that it states much more clearly its theoretical. —EatMyShortz 13:53, 11 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:
Angels in Islam

In Islam, angels (malāk; plural: malāʾik/malāʾikah or ) are believed to be heavenly beings, created from a luminous origin by God. The Quran is the principal source for the Islamic concept of angels, but more extensive features of angels appear in hadith literature, literature, Islamic exegesis, theology, philosophy, and mysticism. Generally, belief in angels is one of the core tenets within Islam, as it is one of the six articles of faith. Angels are more prominent in Islam compared to Judeo-Christian tradition. The angels differ from other spiritual creatures in their attitude as creatures of virtue, in contrast to evil devils (شَيَاطِين or ) and ambiguous jinn (جِنّ or ). Despite being considered to be virtuous beings, angels are not necessarily bringers of good news, as per Islamic tradition, angels can perform grim and violent tasks.

Angels are conceptualized as servants of God. As such, they are said to lack passion and bodily desires. If angels can nevertheless fail, is debated in Islam. Many Māturīdites say that the heavenly creatures are tested, and angels may fail such a test, whereupon they are dismissed from their duties. Some Ashʿarite likewise argue that angels can fail. In contrast, most Mu'tazilites, including some Asharis such as al-Razi, consider angels to be infallible. Though some Muslim scholars may accept a certain degree of angelic fallibility, these angels do not rebel on their own part against God but fail to complete their task properly.

In Sufism, angels are related to the nature of reason ('aql). According to Sufi cosmology, they connect the higher realms of the intellect with the lower world of matter. Thus, the human mind is conceptualized to form a connection with the heavenly spheres (malakūt) through such heavenly entities associated with (nūr). In contrast, the devils attempt to disturb the connection by diverging the mind to the lower spheres, thus associated with fire (nār).

Etymology
The Quranic word for angel (ملك) derives either from, meaning "he controlled", due to their power to govern different affairs assigned to them, or from the triliteral root , or  with the broad meaning of a "messenger", just as its counterpart in Hebrew. Unlike the Hebrew word, however, the term is used exclusively for heavenly spirits of the divine world, as opposed to human messengers. The Quran refers to both angelic and human messengers as instead.

Characteristics
In Islam, angels are heavenly creatures created by God. They are considered older than humans and jinn. Although Muslim authors disagree on the exact nature of angels, they agree that they are autonomous entities with subtle bodies. Yet, both concepts of angels as anthropomorphic creatures with wings and as abstract forces are acknowledged. Angels play an important role in Muslim everyday life by protecting the believers from evil influences and recording the deeds of humans. They have different duties, including their praise of God, interacting with humans in ordinary life, defending against devils (shayāṭīn) and carrying on natural phenomena. Angelic qualities, just as devilish ones, are assumed to be part of human's nature, the angelic one related to the spirit (ruh) and reason (aql), while the devilish one to egoism. Angels might accompany aspiring saints or advise pious humans. Angels are believed to be attracted to clean and sacred places.

One of the Islamic major characteristic is their lack of bodily desires; they never get tired, do not eat or drink, and have no anger. According to a Hadith tradition recorded by Muslim ibn al-Hajjaj on the authority of Anas ibn Malik, angel is solid creatures which doesn't have any cavity or hollow space within their body. Various Islamic scholars such as Ibn Kathir, Ibn Taymiyya, Al-Tabari, Fakhr al-Din al-Razi, and Umar Sulaiman Al-Ashqar also quoted that angels does not need consuming food and drinks. They are also described as immortal, unlike jinn. In Islamic traditions, they are described as being created from incorporeal light or fire. Ahmad Sirhindi, a 17th-century Indian scholar, has added, that Angels can take various shapes. Some scholars assert that such circumstances might interfere with an angels' work and thus impede their duty. For example, dogs, unclean places, or something confusing them might prevent them from entering a home.

Nobility
As with other monotheistic religions, angels are characterized by their purity and obedience to God. Groups of modern scholars from Imam Mohammad Ibn Saud Islamic University in Yemen and Mauritania issued that the angels should be invoked with blessing Islamic honorifics, which is applied to human prophets and messengers. These fatwas were based on the ruling from Ibn Qayyim al-Jawziyya. Medieval Hanafite jurist Ibn Abi al-Izz further emphasising the importance of belief in angels existence in Islamic tenet in his commentary of al-Aqida al-Tahawiyya, whereas he condemn that any doubts of angel existence were regarded as sign of heathen.

Angels usually symbolize virtuous behavior, while humans have the ability to sin, but also to repent. Humans are considered to be able to reach a higher level than angels due to their ability to choose to avoid sin. Angels are free from such inferior urges and therefore superior, a position especially found among Mu'tazilites and some Asharites. A similar opinion was asserted by Hasan al-Basri, who argued that angels are superior to humans and prophets due to their infallibility, originally opposed by both Sunnis and Shias. This view is based on the assumption of superiority of pure spirit against body and flesh. Maturidism generally holds that angels' and prophets' superiority and obedience derive from their virtues and insights to God's action, but not as their original purity. The al-Sahifa al-Sajjadiyya, a book of prayers attributed to Ali ibn Husayn Zayn al-Abidin, contains a chapter praying for blessings for the angels.

Purity
Angels believed to be engaged in human affairs are closely related to Islamic purity and modesty rituals. Many hadiths, including Muwatta Imam Malik from one of the Kutub al-Sittah, talk about angels being repelled by humans' state of impurity. It is argued that if driven away by ritual impurity, the Kiraman Katibin, who record people's actions, and the guardian angel,  will not perform their tasks assigned to the individual. Another hadith specifies, during the state of impurity, bad actions are still written down, but good actions are not. When a person tells a lie, angels nearby are separated from the person from the stench the lie emanates. Angels also depart from humans when they are naked or are having a bath out of decency, but also curse people who are nude in public. Ahmad Sirhindi has mentioned that the angels nobility are because their substances are created from luminous light.

The possibility and degree of angels errability is debated in Islam. Hasan of Basra (d. 728) is often considered one of the first who asserted the doctrine of angelic infallibility. Others accepted the possibility of fallible angels, with most debated topic in Islam were the story about competing angels and humans in the tale of Harut and Marut, who were tested to determine, whether or not, angels would do better than humans under the same circumstances, a tradition opposed by some scholars, such as Ahmad ibn Taimiyya, but still accepted by others, such as Ahmad ibn Hanbal. In a comment by Gibril Haddad on Qadi Baydawi's defense on angelic fallibility in his Tafsir al-Baydawi it is said that the angels' "obedience is their nature while their disobedience is a burden, while human beings' obedience is a burden and their hankering after lust is their nature." Since obedience of angels is rarely mentioned in early tafsir when discussing fallen angels, the idea that angels are unable to sin was probably not an universal one in early Islam.

Infallible
Islamic scholars which supported the notion that angels were infallible and rejected the entire concept of the fallen angel, as they based Quran describes angels in At-Tahrim "not disobeying", Al-Anbiya  of "not acting arrogant", and in Al-Anbiya  of "not presumptuous", which served as a base for the doctrine of angelic impeccability. This notion of angel absolute obedience to fulfill their duties based on that verse were supported by Fethullah Gülen. Aside from the narration al Kahf, similar narration from Al-Hijr also quoted by Muhammad Sulaiman Al-Asyqar, Quran exegesis expert from Islamic University of Madinah, and Salih bin Abdullah al Humaid, Imam of Masjid al-Haram, to interpret the similar case about the exclusion of Satan and the purity of angels.

One prominent scholar who rejects the fallen angel concept is Hasan al-Basri, who brought out his argumentation based on Hadith from Sahih Muslim which authored from Aisha, wife of Muhammad, where Muhammad stated that the angels created from light while djinn were created from fire. Furthermore, Hasan al-Basri said that the doctrine of angelic impeccability, Hasan al-Basri interpreted verses implying fallen angels differently, and argued that Harut and Marut were human kings but not angels. Likewise, he was a strong advocate for rejecting Iblis' angelic origin.

However, the approach of Hasan al Basri interpretation were not universally accepted among Muslim scholars who defend the infallibility of angels, as this interpretation of Hasan al-Basri, which followed by Tabari, were rejected by Muhammad ibn Kathir who wrote his interpretation In Tafsir Ibn Kathir, that he argues, on the authority of Mujahid ibn Jabr and Qatada ibn Di'ama, that Harut and Marut were not humans, but they were indeed an angels which are sent by God with a mission to test the mankind. Thus by this interpretation, Ibn Kathir argued about this verse of Al-Baqara that actually Harut and Marut were simply carrying noble task from God to test whether or not the mankind would fall into temptation of sins and black magic which brought by Harut and Marut, not the angels can be tempted to commit sin or error. This view were followed by most scholars of Salafism, that they rejecting account of fallen angels entirely, and choosing the interpretation of Ibn Kathir in defending Harut and Marut innocence in this case.

On the other hand, unlike philosophers, who accepted view to a certain degree that angels might commit error, most mutakallimūn such as Fakhr al-Din al-Razi is an exception and agrees with the Mu'tazilites that angels cannot commit sin. He goes further and includes to the six articles of faith not only belief in angels, but one must also believe in their infallibility.

Other scholars, such as Atharist Muhammad Al-Munajjid, Abdul-Rahman al-Sa'di, and Wahbah al-Zuhayli, also reviewing the Al-Kahf as another proof about the creed of Angels infallibility according to Quran, while also asserted the notion that Iblis (Satan) was not an angel. Ibn Taymiyya also supported this opinion in his book, Majmu' al-fatawa, that he quoted the verse:

[50] And (remember) when We said unto the angels: Fall prostrate before Adam, and they fell prostrate, all save Iblis. He was of the jinn, so he rebelled against his Lord's command. Will ye choose him and his seed for your protecting friends instead of Me, when they are an enemy unto you? Calamitous is the exchange for evil-doers.

Ibn Taymiyya interpreting it lexically the letter "fa'" (so) in the verse above indicates causality, which according to Ibn Taymiyyah, if the devil were an angel like the other angels who bowed down to Adam, of course the devil would not disobey the order to bow. ibn Taymiyya also further considered the verse as Istithna Munqathi in Arabic linguistic form, or the form of exclusions of the subject from the main grouping, which indicating the verse meant the exclusion of Iblis from angel as species, as Iblis were considered from jinn species.

Fallible
Those who support that angels could commit sins or are fallible argue that if angels couldn't sin, there was no reason to praise them for obedience. Al-Maturidi (853–944 CE) states that, like humans, the angels were tested and concludes angels have free-will: "By calling the stars adornment of the heavens, we can deduce another meaning: that is, the inhabitants of the heavens themselves are put to the test to see which of them is the best in deeds, exactly as the inhabitants of the earth were put to test by these very adornments, for don't you see that God has said in Sūrat al-Kahf [Q. 18:7], We have made what is on earth an adornment for them, that they be tested which of them is best in deeds. Thus, God in this verse is stating that adornment is there for testing here for testing. (anna'l-zīna li'l-imtihãn)."

Asharite scholar al-Baydawi also added that "certain angels are not infallible even if infallibility is prevalent among them — just as certain human beings are infallible but fallibility is prevalent among them." Similarly al-Anbiya (21:29) stresses out that if an angel were to claim divinity for himself, he would be sentenced to hell, implying that angels might commit such a sin. This verse is generally associated with Iblis (Satan), who is generally thought of as an angel in these reports. In response to the reference to Iblis as "one of the jinn" somewhere else in the Quran, an alternative translation reads "became one of the jinn", indicating that took away his angelic qualities. Yet others say that the term doesn't refer to the (genus of) jinn at all, but calls Iblis and his angels "al-jinn" due to their origin in jannah. The presence of two fallen angels referred to as Harut and Marut, further hindered their complete absolution from potentially sinning.

İsmail Hakkı reports that only the "angels of the earth" (ملائكة الارض), who battled the jinn, were the ones disputing the creation of Adam. Among them were also Harut and Marut, as well as Iblis, known as ʿAzāzīl at that moment. Due to their abode on earth, their perception of heavenly wisdom is veiled, unlike that of the angels in the "higher realms". İsmail Hakkı concluded that the angels in the higher heavens are considered infallible, but the angels of the earth are subject to misguidance, along with the jinn and devils.

Abu Hanifa (d. 767) also supported the fallibility of angels as he ranked angels based on their examples in the Quran and distinguishes them from the devils and jinn.

Al-Taftazani (1322 AD –1390 AD) accepted that angels might slip into error and become disobedient, like Harut and Marut, but agrees with al-Basri that angels wouldn't become unbelievers, like as Iblis did.

In philosophy
Inspired by Neoplatonism, the medieval Muslim philosopher Al-Farabi developed a cosmological hierarchy, governed by several Intellects. For al-Farabi, human nature is composed of both material and spiritual qualities. The spiritual part of a human exchanges information with the angelic entities, who are defined by their nature as knowledge absorbed by the Godhead. A similar function is attested in the cosmology of the Muslim philosopher Ibn Sina, who, however, never uses the term angels throughout his works. For Ibn Sina, the Intellects have probably been a necessity without any religious connotation. Islamic Modernist scholars such as Muhammad Asad and Ghulam Ahmed Parwez have suggested a metaphorical reinterpretation of the concept of angels. According to Seyyed Hossein Nasr, human and angels. Muslim philosophers usually define angels as substances endowed with reason and immortality. Humans and animals are mortal, but only men have reason. Devils are unreasonable like animals, but immortal like angels.

However, Muslim theologians, such as al-Suyuti, rejected the philosophical depiction on angels, based on hadiths stating that the angels have been created through the light of God. Thus, angels would have substance and could not merely be an intellectual entity as claimed by some philosophers. This view is similar to the Salafi methodology of Muhammad ibn al-Uthaymin. He puts emphasis on that the belief in angels as literal, physical, and sentient creatures, is one of the pillars of faith.

Sufism

Just as in non-Sufi-related traditions, angels are thought of as created of light. Al-Jili specifies that the angels are created from the Light of Muhammad and in his attribute of guidance, light and beauty. Influenced by Ibn Arabi's Sufi metaphysics, Haydar Amuli identifies angels as created to represent different names/attributes of God's beauty, while the devils are created in accordance with God's attributes of Majesty, such as "The Haughty" or "The Domineering".

Andalusian scholar ibn Arabi argues that a human generally ranks below angels, but developed to Al-Insān al-Kāmil, ranks above them. While most earlier Sufis (like Hasan al-Basri) advised their disciples to imitate the angels, Ibn-Arabi advised them to surpass the angels. The angels being merely a reflection of the Divine Names in accordance within the spiritual realm, humans experience the Names of God manifested both in the spiritual and in the material world. This reflects the major opinion that prophets and messengers among humans rank above angels, but the ordinary human below an angel, while the messengers among angels rank higher than prophets and messengers among humans. Ibn Arabi elaborates his ranking in based on a report by Tirmidhi. Accordingly, Muhammad intercedes for the angels first, then for (other) prophets, saints, believers, animals, plants and inanimate objects last, this explaining the hierarchy of beings in general Muslim thought.

In later Sufism, angels do not appear as merely models for the mystic but also their companions. Humans, in a state between earth and heaven, seek angels as guidance to reach the upper realms. Some authors have suggested that some individual angels in the microcosmos represent specific human faculties on a macrocosmic level. According to a common belief, if a Sufi can not find a sheikh to teach him, he will be taught by the angel Khidr. The presence of an angel depends on human's obedience to divine law. Dirt, depraved morality and desecration may ward off an angel. A saint might be given the ability to see angels as gift (karāmāt) from God.

Ahmad al-Tijani, founder of the Tijaniyyah order, narrates that angels are created through the words of humans. Through good words an angel of mercy is created, but through evil words an angel of punishment is created. By God's degree, if someone repents from evil words, the angel of punishment may turn into an angel of mercy.

The Sufi Muslim and philosopher Al Ghazali (c. 1058–19 December 1111) divides human nature into four domains, each representing another type of creature: animals, beasts, devils and angels. According to al-Ghazali, humans consist of animalistic and spiritual traits. From the spiritual realm, the plane in which symbols take on form, angels and devils advise the human hearth. However, the angels also inhabit the realm beyond considered the realm from which reason derives from and devils have no place.

While the angels endow the human mind with reason, advices virtues and leads to worshipping God, the devil perverts the mind and tempts to abusing the spiritual nature by committing sins, such as lying, betrayal, and deceit. The angelic natures advices how to use the animalistic body properly, while the devil perverts it. In this regard, the plane of a human is, unlike whose of the (here: angels and devils) and animals, not pre-determined. Humans are potentially both angels and devils, depending on whether the sensual soul or the rational soul develop.

In Salafism
Contemporary Salafism continues to regard the belief in angels as a pillar of Islam and regards the rejection of the literal belief in angels as unbelief and an innovation brought by secularism and Positivism. Modern reinterpretations, as for example suggested by Nasr Abu Zayd, are strongly disregarded. Simultaneously, many traditional materials regarding angels are rejected on the ground, they would not be authentic. The Muslim Brotherhood scholars Sayyid Qutb and Umar Sulaiman Al-Ashqar reject much established material concerning angels, such as the story of Harut and Marut or naming the Angel of Death Azrail. Sulayman Ashqar not only rejects the traditional material itself, he furthermore disapproves of scholars who use them.

Classification of angels
Islam has no standard hierarchical organization that parallels the division into different "choirs" or spheres hypothesized and drafted by early medieval Christian theologians, but generally distinguishes between the angels in heaven fully absorbed in the ma'rifa (knowledge) of God and the messengers (rasūl) who carry out divine decrees between heaven and earth. Others add a third group of angels, and categorize angels into İlliyyûn Mukarrebûn (those around God's throne), Mudabbirât (carrying the laws of nature), and Rasūl (messengers). Since angels are not equal in status and are consequently delegated to different tasks to perform, some authors of tafsir (mufassirūn) divided angels into different categories.

Al-Baydawi records that Muslim scholars divide angels in at least two groups: those who are self-immersed in knowledge of "the Truth" (al-Haqq), based on "they laud night and day, they never wane" (21:29), they are the "highmost" and "angels brought near" and those who are the executors of commands, based on "they do not disobey Allah in what He commanded them but they do what they are commanded" (66:6), who are the administers of the command of heaven to earth.

Fakhr al-Din al-Razi (d. 1209) divided the angels into eight groups, which shows some resemblance to Christian angelology:
 * Hamalat al-'Arsh, those who carry the (Throne of God), comparable to the Christian Seraphim.
 * Muqarrabun (Cherubim), who surround the throne of God, constantly praising God (tasbīḥ)
 * Archangels, such as Jibrāʾīl, Mīkhāʾīl, Isrāfīl, and ʿAzrāʾīl
 * Angels of Paradise, such as Riḍwān.
 * Angels of Hell, Mālik and Zabānīya
 * Guardian angels, who are assigned to individuals to protect them
 * The angels who record the actions of people
 * Angels entrusted with the affairs of the world, like the angel of thunder.

Angels in Islamic art
Angels in Islamic art often appear in illustrated manuscripts of Muhammad's life. Other common depictions of angels in Islamic art include angels with Adam and Eve in the garden of Eden, angels discerning the saved from the damned on the Day of Judgement, and angels as a repeating motif in borders or textiles. Islamic depictions of angels resemble winged Christian angels, although Islamic angels are typically shown with multicolored wings. Angels, such as the archangel Gabriel, are typically depicted as masculine, which is consistent with God's rejection of feminine depictions of angels in several verses of Quran. Nevertheless, later depictions of angels in Islamic art are more feminine and androgynous.

The 13th century book Ajā'ib al-makhlūqāt wa gharā'ib al-mawjūdāt (The Wonders of Creation) by Zakariya al-Qazwini describes Islamic angelology, and is often illustrated with many images of angels. The angels are typically depicted with bright, vivid colors, giving them unusual liveliness and other-worldly translucence. While some angels are referred to as "Guardians of the Kingdom of God," others are associated with hell. An undated manuscript of The Wonders of Creation from the Bavarian State Library in Munich includes depictions of angels both alone and alongside humans and animals. Angels are also illustrated in Timurid and Ottoman manuscripts, such as The Timurid Book of the Prophet Muhammad's Ascension and the Siyer-i Nebi.

List of angels
A narrative transmitted from Abu Dharr al-Ghifari, audited and commented by two hadith commentary experts in the modern era, Shuaib Al Arna'ut. and Muḥammad 'Abd ar-Raḥmān al-Mubarakpuri, has spoken a hadith that Muhammad said the number of angels were countless, to the point that there is no space in the sky as wide as four fingers, unless there is an angel resting his forehead, prostrating to God.

The 13th century book Ajā'ib al-makhlūqāt wa gharā'ib al-mawjūdāt (The Wonders of Creation) by Zakariya al-Qazwini describes Islamic angelology, and is often illustrated with many images of angels. The angels are typically depicted with bright, vivid colors, giving them unusual liveliness and other-worldly translucence. While some angels are referred to as "Guardians of the Kingdom of God," others are associated with hell. An undated manuscript of The Wonders of Creation from the Bavarian State Library in Munich includes depictions of angels both alone and alongside humans and animals. Angels are also illustrated in Timurid and Ottoman manuscripts, such as The Timurid Book of the Prophet Muhammad's Ascension and the Siyer-i Nebi.

Archangels ()
According to one source, there are four special angels considered to rank above the other angels in Islam. They have proper names, and central tasks are associated with them:
 * Jibrīl/Jibrāʾīl/Jabrāʾīl (جِبْرِيل; also جبرائيل or ; derived from the Hebrew )  (English: Gabriel), is venerated as one of the primary archangels and as the Angel of Revelation in Islam.   Jibrīl is regarded as the archangel responsible for revealing the Quran to Muhammad, verse by verse;   he is primarily mentioned in the verses, , and  of the Quran, although the Quranic text does not explicitly refer to him as an angel. Jibrīl is the angel who communicated with all of the prophets and also descended with the blessings of God during the night of Laylat al-Qadr ("The Night of Divine Destiny (Fate)"). Jibrīl is further acknowledged as a magnificent warrior in Islamic tradition, who led an army of angels into the Battle of Badr and fought against Iblis, when he tempted ʿĪsā (Jesus).
 * Mīkāl/Mīkāʾīl/Mīkhāʾīl (ميكائيل) (English: Michael), the archangel of mercy, is often depicted as providing nourishment for bodies and souls while also being responsible for bringing rain and thunder to Earth. Some scholars have pointed out that Mikail is in charge of angels who carry the laws of nature.
 * Isrāfīl (إسرافيل) (frequently associated with the Jewish and Christian angel Raphael), is the archangel who blows into the trumpet in the end time, therefore also associated with music in some traditions. Israfil is responsible for signaling the coming of Qiyamah (Judgment Day) by blowing a horn. However, Ali Hasan al-Halabi (a student of Muhammad Nasiruddin al-Albani), Muhammad ibn al-Uthaymeen, and Al-Suyuti, have given commentary that all the hadiths that describe Israfil as the horn-blower are classified as Da'if, although given the multitude of narrative chains that support this concept, they state that it is still possible.
 * ʿAzrāʾīl/ʿIzrāʾīl (عزرائيل) (English: Azrael), is the archangel of death. He and his subordinative angels are responsible for parting the soul from the body of the dead and will carry the believers to heaven and the unbelievers to hell.

These four angels were specifically regarded by Abd ar-Rahman ibn Sabith, a Tabi'un as regulator of natural orders such as windblow, rain, plants growth, death, and tasks from God about aforementioned.

However, modern Saudi scholar. Muhammad ibn al-Uthaymin, and Ibn Abi al-Izz has written their respective commentaries of Al-Aqidah Al-Waasitiyyah, that the archangels who led the angels were only consisted of three angels, which is Gabriel, Michael, and Israfil.

Mentioned in the Quran

 * Nāziʿāt and Nāshiṭāt, helpers of Azrail who take the souls of the deceased.
 * Nāziʿāt: they are responsible for taking out the souls of disbelievers painfully.
 * Nāshiṭāt: they are responsible for taking out the souls of believers peacefully.
 * Hafaza, (the Guardian angel):
 * Kiraman Katibin (Honourable Recorders), two of whom are charged to every human being; one writes down good deeds and another one writes down evil deeds. They are both described as 'Raqeebun 'Ateed' in the Qur'an.
 * Mu'aqqibat (the Protectors) who keep people from death until its decreed time and who bring down blessings.
 * Angels of Hell:
 * Mālik, chief of the angels who govern Jahannam (Hell).
 * Nineteen angels of hell, commanding the Zabaniyah, to torment sinful people in hell. The nineteen angel chiefs of hell were depicted in Quran chapter Al-Muddaththir verse . The Saudi Arabia religious ministry released their official interpretation that Zabaniyah were collective names of angels group which included those nineteen chief angels. Those nineteen angels of hell were standing tall above Saqar, one of levels in hell. Muhammad Sulaiman al-Asqar, professor from Islamic University of Madinah argued the nineteen instead were nineteen type of hell angels which each type has different kind of form.
 * Angels who distribute provisions, rain, and other blessings by God's command.
 * Ra'd or angels of thunders, a name of angels group who drive the clouds. The angels who regulating the clouds and rains in their task given by God were mentioned in Ibn Taymiyyah in his work, Majmu al-Fatwa al-Kubra, has quoted the Marfu hadith transmitted by Ali ibn abi Thalib, that Ra'd were the name of group of angels who herded the dark clouds like a shepherd.  Ali further narrated that thunder ( رعدان) was the growling voices of those angels while herding the clouds, while lightning strikes ( صوائق) were a flaming device used by the said angel in gathering and herding the raining clouds. Al-Suyuti narrated from the hadith transmitted from Ibn Abbas about the lightning angels, while giving further commentary that hot light produced by lightning ( برق) were the emitted light produced from a whip device used by those angels. Saudi Grand Mufti Abd al-Aziz Bin Baz also ruled on the  practice of reciting Sura Ar-Ra'd, Ayah 13  whenever a Muslim hears the sound of thunder, as this was practiced according to the hadith tradition narrated by Zubayr ibn al-Awwam. The non-canonical interpretation from Salaf generation scholars regarding the tradition from Ali has described that "It is a movement of celestial clouds due to air compression in the cloud. However, this does not contradict that (the metaphysical explanation), [...] the angels move the clouds from one place to another. Indeed, every movement in the upper and lower World results from the action of the angels. The voice of a person results from the movement of his body parts, which are his lips, his tongue, his teeth, his epiglottis, and his throat; he, however, along with that, is said to be praising his Lord, enjoining good, and forbidding evil."
 * Hamalat al-'Arsh, those who carry the (Throne of God), comparable to the Christian Seraphim.
 * Harut and Marut, a pair of fallen angels who taught humans in Babylon magic; mentioned in Quran (2:102). Some scholars, such as Hasan al-Basri, don't consider Harut and Marut to be angels.

Mentioned in canonical hadith tradition

 * The angels of the Seven Heavens.
 * Jundullah, those who helped Muhammad in the battlefield.
 * Those that give the spirit to the fetus in the womb and are charged with four commands: to write down his provision, his life-span, his actions, and whether he will be wretched or happy.
 * Malakul Jibaal (The Angel of the Mountains), met by the Prophet after his ordeal at Taif.
 * Munkar and Nakir, who question the dead in their graves.
 * Angel of ice and fire, an angel Muhammad met during his night journey composed of ice and fire.
 * Angel who bestowed with strength equal of 70,000 angels and has 70,000 wings. This angel were narrated in Al-Dur al-Manthur were able to see Al-ʽArsh, which were made of red ruby.
 * Sakina, According to Abd al-Aziz Ibn Baz, in his commentary of Sahih al-Bukhari Usayd ibn Hudayr Sakina is an angel who brought tranquility to the reciters of Quran.

According to hadith transmitted by Ibn Abbas, Muhammad encountered several significant angels on his journey through the celestial spheres. Many scholars such as Al-Tha'labi drew their exegesis upon this narrative, but it never led to an established angelology as known in Christianity. The principal angels of the heavens are called, instead of.

The rooster angel, in Miraj Literature, was held to be "enormous" and "white", and the comb on the top of his head "graze[d] the foot of Allah's celestial throne, its feet reach[ed] the earth", and its wings were thought to be large enough to "envelop both heaven and earth" and were covered with emeralds and pearls. It is also thought to wake up mankind every morning through means like making "cocks below on Earth...crow" when it opens its mouth.

Mentioned in non canonical tradition

 * Ridwan, the keeper of Paradise.
 * Artiya'il, the angel who removes grief and depression from the children of Adam.
 * The angels charged with each existent thing, maintaining order and warding off corruption. Their exact number is known only to God.
 * Darda'il (The Journeyers), who travel the earth searching out assemblies where people remember God's name.

Disputed

 * Dhul-Qarnayn, believed by some to be an angel or "part-angel" based on the statement of Umar bin Khattab.
 * Khidr, sometimes regarded as an angel which took human form and thus able to reveal hidden knowledge exceeding those of the prophets to guide and help people or prophets.
 * Azazil, considered the name of Satan before his fall by those who agree that he was an angel once.

title: Angels in Islam


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Who Dares Wins (Australian game show)

Who Dares Wins is an Australian adventure game show that aired on the Seven Network between 1996 and 1998, with repeats airing in 1999 to 2001, 2005 and 2007. Hosted by former Test cricketer Mike Whitney and co-hosted by Tania Zaetta, the show has been screened in over 50 countries around the world.

As an adventure game show in which contestants are expected to complete undesirable tasks to win prizes, Who Dares Wins could be considered a precursor to contemporary reality TV series such as Fear Factor. It was created by David Mason and Adrian Brant.

Format
The main focus of each episode of the show often revolves around a dangerous stunt of some kind. An unsuspecting contestant, previously nominated by a viewer of the show, is ambushed by Whitney and dared to partake and complete the stunt successfully to win a major prize (usually a holiday and spending money).

Most of the runtime of a typical episode is devoted to the preparation of the stunt and the training the contestant receives. Often the stunt would also be demonstrated beforehand (successfully or unsuccessfully) by professional stuntmen.

In the climax of the show the contestant then attempts to complete the dare; if successful, they win the major prize. If they fail or decide to drop out, co-host Zaetta will then try to complete the dare instead; the contestants forfeits the prize if she succeeds, but if she fails or pulls out herself, the contestant wins regardless.

During the show, each major dare is bookended by several minor segments in which Whitney travels the streets and shopping malls of Australia challenging people to complete a lesser dare for a cash prize (usually around A$50 to $200). This may range from sticking a hand into a container full of cockroaches or having all their hair shaved off, to more complex dares such as tightrope walking above a mall foyer, or diving off a ten-metre platform into a pool.

Despite Australian production of the show ending in 1998, Who Dares Wins continues to be popular around the globe on cable television networks such as AXN. In particular, the show's massive success in India even led to a series of India-based specials hosted by Whitney and Zaetta in 2002, and later an Indian spin-off called Extreme Dhamaka in 2003.

The show was also licensed to the United Kingdom and named Don't Try This at Home and then renamed Challenge of a Lifetime. In the United States the Game Show Network aired Who Dares Wins on several occasions, with the tagline that Who Dares Wins was "Australian for Game Show" as a parody of Foster's Lager's American advertising campaign of the time.

Maxibon challenge
At the height of the show's popularity, Mike Whitney introduced the 'Maxibon challenge', a minor segment challenge to eat a Nestlé Maxibon ice-cream in 30 seconds. Every week Whitney would test the mettle of the Australian public. If a contestant managed to complete the challenge, they would then be awarded AU$50 and dubbed a 'Whitney Warrior'.

Licensed merchandise
A board game called Who Dares Wins: The Board Game was made and released by Milton Bradley featuring the Seven Network logo and a picture of Mike Whitney on the cover of the box.

Awards
! scope=row | 1997
 * 39th Annual TV Week Logie Awards
 * Most Popular New Talent
 * Tania Zaetta
 * Nominated

title: Who Dares Wins (Australian game show)


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Mickaël Pagis

Mickaël Serge Pagis (born 17 August 1973) is a French former professional footballer who played as a forward. He is a beach soccer player.

Career
Pagis' nickname is "Pagistral", based on his name and the French word "magistral" (brilliant). A firm favourite at Strasbourg, he scored many goals and was the club's top goal scorer in the 2004–05 season.

The brightest moment of his career came in a game against the defending champions Olympique Lyonnais on 5 October 2008, when he scored a hat-trick.

Pagis plays beach soccer for the France national team. He recently scored a hat-trick against Russia.

Personal life
Pagis is the father of the French footballer Pablo Pagis.

Honours
Sochaux
 * Coupe de la Ligue: 2004
 * Ligue 2: 2001

Strasbourg
 * Coupe de la Ligue: 2005

Individual
 * Ligue 2 top scorer: 2000

title: Mickaël Pagis