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The Rape of the Sabine Women

The Rape of the Sabine Women (Sabinae raptae, ; lit. 'the kidnapped Sabine women'), also known as the Abduction of the Sabine Women or the Kidnapping of the Sabine Women, was an incident in the legendary history of Rome in which the men of Rome committed a mass abduction of young women from the other cities in the region. It has been a frequent subject of painters and sculptors, particularly since the Renaissance.

The word "rape" (cognate with rapto in Portuguese and other Romance languages, meaning "kidnap") is the conventional translation of the Latin word raptio used in the ancient accounts of the incident. The Latin word means "abduction" or "kidnapping", but when used with women as its object sexual assault is usually implied.

Abduction of the Sabine women
According to Roman historian Livy, the abduction of Sabine women occurred in the early history of Rome shortly after its founding in the mid-8th century BC and was perpetrated by Romulus and his predominantly male followers; it is said that after the foundation of the city, the population consisted solely of Latins and other Italic peoples, in particular male bandits. With Rome growing at such a steady rate in comparison to its neighbors, Romulus became concerned with maintaining the city's strength. His main concern was that with few women inhabitants there would be no chance of sustaining the city's population, without which Rome might not last longer than a generation. On the advice of the Senate, the Romans then set out into the surrounding regions in search of wives to establish families with. The Romans negotiated unsuccessfully with all the peoples that they appealed to, including the Sabines, who populated the neighboring areas. The Sabines feared the emergence of a rival society and refused to allow their women to marry the Romans. Consequently, the Romans devised a plan to abduct the Sabine women during the festival of Neptune Equester. They planned and announced a festival of games to attract people from all the nearby towns. According to Livy, many people from Rome's neighboring towns – including Caeninenses, Crustumini, and Antemnates – attended the festival along with the Sabines, eager to see the newly established city for themselves. At the festival, Romulus gave a signal by "rising and folding his cloak and then throwing it round him again," at which the Romans grabbed the Sabine women and fought off the Sabine men. Livy does not report how many women were abducted by the Romans at the festival, he only notes that it was undoubtedly many more than thirty. All of the women abducted at the festival were said to have been virgins except for one married woman, Hersilia, who became Romulus' wife and would later be the one to intervene and stop the ensuing war between the Romans and the Sabines. The indignant abductees were soon implored by Romulus to accept the Roman men as their new husbands.

War with the Sabines and other tribes
Outraged at what had happened, the king of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a Temple of Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC.

At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates.

The Crustumini also started a war, but they too were defeated and their town was captured.

Roman colonists were subsequently sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women).

The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, Roman governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was buried on or thrown from a rock known ever since by her name, the Tarpeian Rock.

The Romans attacked the Sabines who now held the citadel, in what would become known as the Battle of the Lacus Curtius. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way. The Romans retreated to the gate of the Palatium. Romulus rallied his men, promising to build a temple to the Roman God Jove on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning.

At this point in the story, the Sabine women intervened:

"[They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you.""

The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later.

The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle.

Historical analysis
The motivation behind the abduction of the Sabine women is contested among ancient sources. Livy writes that Rome's motivation for abducting the Sabine women was solely to increase the city's population and claims that no direct sexual assault took place during the abduction. Livy says that Romulus offered the Sabine women free choice as well as civic and property rights. According to Livy, Romulus spoke to each of them in person, declaring "that it was all owing to the pride of their parents in denying right of intermarriage to their neighbours. They would live in honourable wedlock, and share all their property and civil rights, and – dearest of all to human nature – would be the mothers of freemen." Scholars like Dionysius of Halicarnassus argue that it was an attempt to secure an alliance with the Sabines through the women's newly founded relationships with Roman men. Livy's account is reinforced in some ways through the works of Cicero. In Cicero's work De re publica, he reiterates Livy's view that the plan to abduct the Sabine women at the festival was done in order "to strengthen the new state" and "safeguard the resources of his kingdom and people." Unlike Livy, Cicero, and Dionysius, Ovid sees the abduction of the Sabine as an avenue for the men of Rome to fulfill their sexual desires rather than an attempt at taking wives to produce children for the city. While he does make note of the issue surrounding Rome's lack of women, he does not make it out to be a factor in the planning of the abduction.

While it is clear that the story was part of the founding mythology of Rome, its historicity is disputed and considered unlikely to have happened by many historians, or at least not to have happened in the way described. Theodor Mommsen (as well as later historians such as Jacques Poucet) believed that the story was likely spread during the later fourth century BC after the Samnite Wars as a tale to explain the assimilation of Samnites into Rome after a combination of wars and alliances, and sending similar events into the distant past. The story likely gained relevance again during the time period where the coins depicting the event were minted, in 89 BC. This would have been made during the Social War, a conflict between Rome and its Italian allies over their status and whether they deserved Roman citizenship. A story from Rome's past wherein Rome came into conflict with its neighbors, showed a capacity for brutal violence, but ultimately avoided a war after the Sabines submitted to unification with Rome, would have been powerful one for Rome to send at the time.

Artistic representations
Many treatments of the legend combined a suitably inspiring example of the hardiness and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures in intensely passionate struggle.

The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents.

Giambologna

The 16th-century Italo-Flemish sculptor Giambologna sculpted a representation of this theme with three figures (a man lifting a woman into the air while a second man crouches), carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence.

The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins.

The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Galleria dell'Accademia in Florence.

The woman and the kneeling man reference figures from the ancient sculpture Laocoön and His Sons.

Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century.

Nicolas Poussin

Nicolas Poussin produced two major versions of this subject. His initial version was entitled The Abduction of the Sabine Women and was most likely completed around 1633–1634. The painting depicts Romulus giving the signal to the Romans for the abduction. According to the Met, the subject matter of Poussin's work allowed him to highlight his understanding of pose and gesture as well as his knowledge of Roman architecture. This version of the painting currently resides at the Metropolitan Museum of Art in New York City.

Poussin's second version, entitled The Rape of the Sabine Women, is essentially a recreation of his original work and was likely completed around 1637–1638. The architectural setting of this work is more developed than in the original. This painting currently resides in the Louvre Museum in Paris. According to the Louvre, painting multiple versions of one subject was not uncommon throughout Poussin's career.

Peter Paul Rubens

Peter Paul Rubens painted his version of The Rape of the Sabine Women around 1635–40. It now resides in the National Gallery, London. The painting depicts the moment Romulus gave the signal for the Romans to abduct the Sabine women. Rubens emphasizes the violence of the abduction and sexualizes it by depicting women with exposed breasts and a soldier lifting up a woman's skirt.

Pietro da Cortona

Pietro da Cortona depicted the rape of the Sabines at least twice.

Luca Giordano
There are at least eight paintings by Luca Giordano or his workshop on this subject.

Johann Heinrich Schönfeld
Johann Heinrich Schönfeld painted a version of this subject entitled The Rape of the Sabine Women in the late 1630s. His work now resides at the State Hermitage Museum in St. Petersburg.

Jacques Stella
Jacques Stella painted a version of the Rape of the Sabine Women entitled The Rape of the Sabines in the mid-17th century. Stella's depiction of the scene is said to have so closely resembled Nicholas Poussin's works that following his death his version was mistaken for a Poussin. This work now resides at Princeton University's Art Museum.

Jacques-Louis David
Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women) was completed in 1799. It is in the Louvre Museum.

David had begun work on it in 1796, when France was at war with other European nations, after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David's estranged wife visited him in jail, he conceived the idea of telling the story to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the French people to reconcile their differences after the bloodshed of the French Revolution.

The painting depicts Romulus's wife Hersilia – the daughter of Titus Tatius, leader of the Sabines – rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords.

The rocky outcrop in the background is the Tarpeian Rock.

John Leech
The English 19th-century satirical painter John Leech included in his The Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume and being carried off from the Corona et Anchora ("Crown and Anchor", a common English pub sign in seafaring towns).

Edgar Degas
Edgar Degas painted The Rape of the Sabines (after Poussin), c. 1861–1862.

"The masters must be copied over and over again", Degas said, "and it is only after proving yourself a good copyist that you should reasonably be permitted to draw a radish from nature." Degas first received permission to copy paintings at the Louvre in 1853 when he was eighteen. He was most interested in the great works of the Italian Renaissance and of his own classical French heritage, hence this detailed copy of Poussin's painting.

Charles Christian Nahl

Charles Christian Nahl painted the subject in a trio of works entitled The Abduction, The Captivity, and The Invasion.

Pablo Picasso
Pablo Picasso visited this theme in his several versions of the Rape of the Sabine Women (1962–63), one of which is in the Museum of Fine Arts, Boston. These are based on David's version. These conflate the beginning and end of the story, depicting the brutish Romulus and Tatius ignoring and trampling on the exposed figure of Hersilia and her child.

Ancient works
The episode of the Rape of the Sabine Women is recounted by Cicero, Livy, Dionysius of Halicarnassus, and Plutarch. The poetry of Ovid also contains several allusions to this episode and it is included on the shield of Aeneas in Virgil's Aeneid.

Modern works
The Sabine women are mentioned in Canto VI of Dante's Paradiso.

The midrash Sefer haYashar (first attested in 1624) portrays the story as part of a war between the Sabines, descended from Tubal, and the Roman Kittim (Jasher 17:1–15). A more detailed version of this narrative is found in the earlier mediaeval rabbinic work Yosippon.

The story was parodied by Lady Carlotta, the mischief-making character in Saki's short story "The Schartz-Metterklume Method".

Stephen Vincent Benét wrote a short story called "The Sobbin' Women" that parodied the legend. Later adapted into the 1954 musical Seven Brides for Seven Brothers, it tells the story of seven gauche but sincere backwoodsmen, one of whom gets married, encouraging the others to seek partners. After a social where they meet girls they are attracted to, they are denied the chance to pursue their courtship by the latter's menfolk. Following the Roman example, they abduct the girls. As in the original tale, the women are at first indignant but are eventually won over.

In 1962, a Mexican "sword and sandal" film based on the story was made, directed by Alberto Gout. Titled El Rapto de las Sabinas, the film was released in the USA under the titles The Rape of the Sabine Women and The Shame of the Sabine Women.

Tom Stoppard's play Rosencrantz and Guildenstern Are Dead (1966) features a group of all-male players offering to put on a performance of The Rape of the Sabine Women, to the disgust of the title characters.

The latest adaptation is a film without dialogue, The Rape of the Sabine Women, which was produced in 2005 by Eve Sussman and the Rufus Corporation.

The rape of the Sabine women is depicted in Debra May Macleod’s historical fiction novel Tarpiea.

Cultural context

Scholars have cited parallels between the Rape of the Sabine Women, the Æsir–Vanir War in Norse mythology, and the Iliad of Greek mythology, providing support for a Proto-Indo-European "war of the functions". Regarding these parallels, J. P. Mallory states:

"Basically, the parallels concern the presence of first-(magico-juridical) and second-(warrior) function representatives on the victorious side of a war that ultimately subdues and incorporates third function characters, for example, the Sabine women or the Norse Vanir. Indeed, the Iliad itself has also been examined in a similar light. The ultimate structure of the myth, then, is that the three estates of Proto-Indo-European society were fused only after a war between the first two against the third."

Adaptations

 * Il ratto delle sabine (1961, film)
 * The Rape of the Sabine Women (1962 film)
 * Seven Brides for Seven Brothers

Ancient sources

 * Livy, Ab urbe condita, Book 1, 9–13 (Latin),  Book 1 9–13 (English)

Modern sources

 * Michael Crawford, Roman Republican Coinage, Cambridge University Press, 1974–2001.
 * Walter Friedlaender, Nicolas Poussin: A New Approach (New York: Abrams), 1964.
 * Mallory, J. P (2005). In Search of the Indo-Europeans. Thames & Hudson. ISBN 0-500-27616-1
 * Pope-Hennessy, John, Italian High Renaissance & Baroque Sculpture, London: Phaidon, 1996.

title: The Rape of the Sabine Women


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Bakari Sumano

Bakari Sumano (1935 – July 21, 2003) was head of Malian association of griots (wandering poet-musicians) from 1994 until his death.

Biography
Bakari Sumano left school in 1955 to become a mechanic's apprentice, but continued to take night classes in history and typing. In 1957, he received a position at the Social Security Office. He went on a career at the National Institute of Social Providence, where he became the principal inspector and regional director of Kayes, Gao, Mopti, Koulikoro, and Bamako before his 1997 retirement.

Along with his administrative career, Sumano also assumed the functions of a griot. In 1994, he became head of the Association of Griots of Mali and dedicated himself to restoring the griots (who he preferred to call jeli) to a prominent role in Malian life.

He began courtesy visits to foreign heads of state visiting Mali and won recognition for the Association of Griots in the protocol list of the Republic in many official ceremonies. He also began accompanying the family of Niaré, founders of Bamako, to the mosque for the Tabaski prayer. Finally, he put in place official ceremonies for the naming of head griots in different cities, such as San and Naréna.

Increasingly famous, Sumano acted as a consultant for UNESCO and participated in many seminars and colloquia on Malian traditions in African, European, and US universities.

According to Sumano, "The griot has a knowledge of the sociology and anthropology of this country, the whole of oral tradition. He cultivates it by his performances every day, on all occasions.  He tries to maintain living values, he has the function of an educator."

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

title: Bakari Sumano


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Wikipedia:Requests for adminship/DrZoidberg

DrZoidberg
removed with (1/19/0) on 13 July 2005; original end 14:58 17 July 2005 (UTC) DrZoidberg is one of Wikipedia's most valuable contributors. As a sandboxian (along with fellow sandboxians Righteous Monkey and Fonzie Fan), DrZoidberg firmly believes that the sandbox is by far the most important part of Wikipedia, and DrZoidberg will strive to make the sandbox the very best that DrZoidberg can. Also, DrZoidberg likes to hear DrZoidberg talk about DrZoidberg. DrZoidberg!    Nominated by DrZoidberg   15:48, 12 July 2005 (UTC)
 * Candidate, please indicate acceptance of the nomination here:

Support Oppose
 * 1) Am I allowed to vote for myself?   DrZoidberg 16:47, 12 July 2005 (UTC)
 * You are allowed to vote any way you wish. Whether or not we will consider your vote is quite another matter. The Uninvited Co., Inc. 17:57, 12 July 2005 (UTC)
 * I believe my vote carries just as much weight as yours or any other user on this list. I've been here for almost a year now, is that not long enough to qualify for a vote?   DrZoidberg 18:06, 12 July 2005 (UTC)
 * I think it's a bit of a stretch to call 7 months, 3 weeks, and 1 day "almost a year". →Raul654 21:02, July 12, 2005 (UTC)
 * 7 months, 3 weeks, and 1 day as a Wikipedian is definitely enough to be eligible to vote. So my vote does count.  That's 1 vote for Zoidberg!   DrZoidberg 01:51, 13 July 2005 (UTC)
 * 1) Not enough edits outside of the sandbox. In addition, he has zero edits in the article namespace . Carbonite | Talk 15:54, 12 July 2005 (UTC)
 * 2) I concur with Carbonite. I manually checked through all of his edits since he joined last november, and every last one was for sandbox/history, his talk page, someone else's talk page, or (once the sandbox/history page got moved into his userspace and VFD'd) the VFD for the sandbox/history page. →Raul654 15:58, July 12, 2005 (UTC)
 * 3) At the risk of sounding like an evil cabalist I am tempted to just place an indefinite block on this user. He has about 1000 edits to the sandbox and not one in the article space. He has contributed nothing to Wikipedia, merely wasted countless billions of valuable electrons by messing about. We shouldn't really be tolerating his presence unless he does something productive. — Trilobite (Talk) 16:14, 12 July 2005 (UTC)
 * 4) * Off topic, but just how "valuable" are electrons? Knowing that 99.9999% of the matter in my house contains electrons, I might be quite rich!   DrZoidberg 17:02, 12 July 2005 (UTC)
 * 5) **The electrons comment wasn't meant seriously. The point is that while you don't place more than a miniscule strain on our resources by playing in the sandbox, you don't appear to have done anything whatsoever of benefit to Wikipedia. The sandbox is a place to test things out if you're not sure how template transclusion works, or something like that, and want a place to edit without messing up an article. It is not a scribble-box for anyone who wants to play games or whatever it is you do there. — Trilobite (Talk) 17:17, 12 July 2005 (UTC)
 * 6) *** You mean all of my hard work here was useless?!?!  *runs off and cries in a corner*    DrZoidberg 18:10, 12 July 2005 (UTC)
 * 7) I'm thinking WP:POINT. Bad faith nomination. David | Talk 16:46, 12 July 2005 (UTC)
 * 8) Oppose and permanently block. Gamaliel 17:38, 12 July 2005 (UTC)
 * 9) I quite agree that this is a bad faith nomination, but I can't understand the calls for a permanent block, either. In terms of "tolerating his presence," I don't see how there's any problem doing just that: he's not polluting Wikipedia at large, and though it would certainly be nice if he were to do "something productive," there are plenty of inactive users who haven't been doing anything productive either that no one would suggest we ban. By sticking to the sandbox, he's not exactly participating in the spirit of the project, but he's not harming it either. Oppose this nomination, and, for what its worth, oppose the calls to block. – Seancdaug 17:45, July 12, 2005 (UTC)
 * 10) *The trouble is that the sandbox is festering and spawning all kinds of strange creatures who do nothing but cause a nuisance in the parts of Wikipedia that are less well trodden by established users and admins. DrZoidberg seems less of a problem than some, but I recommend having a look at, who in my opinion is a troll who should be blocked. This user is of his ilk. — Trilobite (Talk) 18:10, 12 July 2005 (UTC)
 * 11) **I can't help but feel we're conflating "childish" with "malicious." Given that the only stated rules for the sandbox are to avoid using it for "malicious purposes" (googlebombing, personal attacks, etc.), I don't really see either DrZoidberg or (though I haven't looked as closely) Fonzie Fan as violating that rule. The sandbox is not only "less well trodden": it's almost entirely peripheral to the stated function of Wikipedia. What goes on there should not impact any other part of the 'pedia. If it does, that's an entirely different problem that should be dealt with seperately. Being childish and not exhibiting the degree of seriousness the rest of us would like seems an extremely poor reason for permbanning to me. And setting that precedent would, if anything, only encourage such "sandbox trolls" to move out to infest the rest of the site: if they're going to get blocked anyway, what have they got to lose? – Seancdaug 18:23, July 12, 2005 (UTC)
 * 12) Oppose.  I am pleased that DrZoidberg confines his editing, for the most part, to the sandbox.  Since there is generally no reason to move, delete, protect, or unprotect the sandbox, and since there is rarely reason to block users who vandalize the sandbox, I offer the observation that adminship may not be particularly useful to DrZoidberg.  Insofar as DrZoidberg is a part of Wikipedia culture, at most a minor nuisance, and for the most part willing to constrain his unusual pattern of editing so that it is largely within community norms, I believe that calls for a ban are premature.  The Uninvited Co., Inc. 17:55, 12 July 2005 (UTC)
 * Ah, I know Zoidy well. In fact, I've known him from his first edit. So I think it's not too presumptuous for me to say that this user is, without a doubt, one of the most suitable people to honor by keeping them as free spirits, rather than burdening them with the terrible responsibilities adminship carries. With this in mind I'm happy to oppose this nomination. JRM · Talk 18:03, 12 July 2005 (UTC)
 * 1) Oppose. Well put, JRM. I don't support calls for a ban from an RfA. A more revealing count of how many non-Sandbox edits he made came when he moved the Sandbox to another article (DrZoidberg's Super Fun House, I think it was). When that article (with its history) was deleted, his edit count dropped to about 150 (he currently has a total of ~1000). Since he has made huge contributions to the Sandbox (some 850 edits), I agree that DrZoidberg should not be weighed down with a mouldy old mop and a bucket full of dirty water. --Deathphoenix 18:08, 12 July 2005 (UTC)
 * 2) Oppose. Wikipedia is an encyclopedia.  I do not believe that this user gets that.  -- JamesTeterenko 18:57, 12 July 2005 (UTC)
 * 3) Oppose. Playing in the sandbox is all well and good, but user has NO experience outside of sandbox-related edits.  If you wish to be an admin, please do some things outside of the sandbox for a little while and I may support.  Y0u (Y0ur talk page) (Y0ur contributions) 20:46, July 12, 2005 (UTC)
 * 4) Oppose. If I had voted just according to how long you have been present on Wikipedia, I would have voted neutral. But given the nature of your contributions, this is how I am voting.  Denelson83  22:30, 12 July 2005 (UTC)
 * 5) Oppose I agree with the previous votes, sandbox edits are all well and good but I can't see the need for a mop and bucket in a sandbox. Jtkiefer 23:38, July 12, 2005 (UTC)
 * 6) With my dying breath, I curse Zoidberg! --Golbez 23:48, July 12, 2005 (UTC)
 * 7) Oppose, but gently. No edits outside the sandbox.  Zoidy...do an article or two.  Then we'll talk. - Lucky 6.9 00:23, 13 July 2005 (UTC)
 * 8) Oppose. Zero edits to articles?  "Sandboxian"??  Maybe this nomination belongs in BJAODN!  --Idont Havaname 00:48, 13 July 2005 (UTC)
 * 9) Ummm...no. Bratsche talk  5 pillars 02:45, July 13, 2005 (UTC)
 * 10) I had issues with this user before, mainly with edits in the Sandbox. All he does is trolls the sandbox, and perhaps, with a few other names/socks/whatever. I oppose. Zscout370 (Sound Off) 07:30, 13 July 2005 (UTC)
 * 11) Oppose any user with such narrow edit scope and such childish self-nomination and behaviour in general. -Splash 16:52, 13 July 2005 (UTC)

Neutral

Comments

Questions for the candidate

A few generic questions to provide guidance for voters:
 * 1. What sysop chores, if any, would you anticipate helping with? (Please read the page about administrators and the administrators' reading list.)
 * A: I plan to maintain the sandbox and ensure it is a safe playground for everyone. Plus I'll patrol the sandbox nonstop and replace the header whenever someone decides to get rid of it.
 * 2. Of your articles or contributions to Wikipedia, are there any about which you are particularly pleased, and why?
 * A: My original Hangman games in the sandbox from around 8 months ago. As a result of it's explosive popularity, it has branched out to its own page, and was the foundation idea for other projects such as checkers, go, and of course, the Wikipedia Chess Championship.
 * 3. Have you been in any conflicts over editing in the past or do you feel other users have caused you stress? How have you dealt with it and how will you deal with it in the future?
 * A: Well, Honeycake was always picking fights with me in the sandbox, but I was usually able to ignore his threats (at least for a little while). But I don't feel singled out, after looking at his history, he seems to treat everyone that way.


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Clair Huffaker

Clair Huffaker (September 26, 1926 – April 3, 1990) was an American screenwriter and author of westerns and other fiction, many of which were turned into films.

Biography
Born in Magna, Utah, Huffaker wrote of his childhood in One Time I Saw Morning Come Home. He attended Princeton and Columbia universities and the Sorbonne in Paris. He served in the United States Navy in World War II and then studied in Europe before returning to America. After the war, he worked in Chicago as an assistant editor for Time before turning to fiction.

Novels

 * Badge for a Gunfighter (January 1, 1957)
 * Badman (filmed as The War Wagon) (April 1, 1957)
 * Rider from Thunder Mountain (November 1, 1957)
 * Cowboy (1958) Novelization of the screenplay
 * Flaming Lance (filmed as Flaming Star) (1958)
 * Posse from Hell (1958)
 * Guns of Rio Conchos (1958)
 * Seven Ways from Sundown (1959)
 * Good Lord, You're Upside Down! (1963)
 * Nobody Loves a Drunken Indian (filmed as Flap (1967)
 * The Cowboy and the Cossack (1973)
 * One Time I Saw Morning Come Home (1974)
 * Clair Huffaker's Profiles of the American West (1976)

Screenplays

 * Seven Ways from Sundown (1960)
 * Flaming Star (1960)
 * Posse from Hell (1961)
 * The Comancheros (1961)
 * The Second Time Around (1961) as Cecil Dan Hansen
 * Rio Conchos (1964)
 * Tarzan and the Valley of Gold (1966)
 * The War Wagon (1967)
 * Hellfighters (1968)
 * 100 Rifles (1969)
 * Flap (1970)
 * The Deserter (1971) from a story by himself
 * Chino (1973) with others

Clair Huffaker also wrote scripts for television and was one of the writers on the Warner Brothers Western series Lawman

title: Clair Huffaker


text:
Rivervale

Rivervale may refer to:

In Australia

 * Rivervale, Western Australia, a suburb of Perth

In Singapore

 * Rivervale, Singapore, a precinct of the district of Sengkang located in north-eastern Singapore

In the United States

 * Rivervale, Arkansas, a small town five miles out of Lepanto
 * Rivervale, Indiana
 * River Vale, New Jersey, a township

In television

 * Season 6 Part 1 of Riverdale, which was temporarily renamed Rivervale
 * The parallel universe version of the fictional town of Riverdale in the series

title: Rivervale


text:
Wikipedia:Articles for deletion/Comedy police

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was MERGE and REDIRECT. Merged page already created, so just redirect all 4 articles. -Splash 19:19, 23 July 2005 (UTC)

Comedy police
(Also Comedy soldier, comedy civil servant and comedy priest
 * Appears to be either nonsense or Original Research Irishpunktom\talk 15:48, July 12, 2005 (UTC)

 * The votes for deletion notice appeared at 16:47 (exactly one minute after the first draft of this article stub was posted). Mighty quick on the trigger-finger there newcomer Tom...--wayland 15:56, 12 July 2005 (UTC)
 * Yeah, maybe a bit over-hasty - I just don't know how any of these terms are anything, short of a neologism at best.. --Irishpunktom\talk 16:04, July 12, 2005 (UTC)
 * Move to Police in comedy, soldiers in comedy, etc. Merge to User:BD2412's excellent article. --Scimitar 16:39, 12 July 2005 (UTC)
 * Merge all to stock character. Redirect to Authority figures in comedy, proposed article looks good.  (Should be linked from stock character, natch.)  Dcarrano 16:44, July 12, 2005 (UTC)
 * Merge all to an article on Authority figures in comedy. I'll be glad to do the article! I have created a suggested post-merge article. -- BD2412 talk 18:11, July 12, 2005 (UTC)
 * I've nominated the accompanying categories (Category:Comedy Police, Category:Comedy soldiers, Category:Comedy priests) for deletion as well - the titles are confusing at best. -- BD2412 talk 18:32, July 12, 2005 (UTC)
 * Merge as above. Radiant_ >|< 09:45, July 13, 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Ametrine

Ametrine, also known as trystine or by its trade name as bolivianite, is a naturally occurring variety of quartz. It is a mixture of amethyst and citrine with zones of purple and yellow or orange. Almost all commercially available ametrine is mined in Bolivia.

The colour of the zones visible within ametrine are due to differing oxidation states of iron within the crystal. The citrine segments have oxidized iron while the amethyst segments are unoxidized. The different oxidation states occur due to there being a temperature gradient across the crystal during its formation. Artificial ametrine is grown with the hydrothermal method using solutions doped with specific elements, followed by irradiation of the created crystals.

Ametrine in the low price segment may stem from synthetic material. Green-yellow or golden-blue ametrine does not exist naturally.

Structure
Ametrine is composed of silicon dioxide (SiO2) and it is a tectosilicate, which means it has a silicate framework linked together through shared oxygen atoms.

History
Legend has it that ametrine was first introduced to Europe by a conquistador's gifts to the Spanish Queen in the 1600s, after he received a mine in Bolivia as a dowry when he married a princess from the native Ayoreos tribe.

title: Ametrine


text:
Cubital fossa

The cubital fossa, antecubital fossa, chelidon, or inside of elbow is the area on the anterior side of the upper part between the arm and forearm of a human or other hominid animals. It lies anteriorly to the elbow (antecubital) (Latin cubitus) when in standard anatomical position. The cubital fossa is a triangular area having three borders.

Boundaries

 * superior (proximal) boundary – an imaginary horizontal line connecting the medial epicondyle of the humerus to the lateral epicondyle of the humerus
 * medial (ulnar) boundary – lateral border of pronator teres muscle originating from the medial epicondyle of the humerus.
 * lateral (radial) boundary – medial border of brachioradialis muscle originating from the lateral supraepicondylar ridge of the humerus.
 * apex – it is directed inferiorly, and is formed by the meeting point of the lateral and medial boundaries
 * superficial boundary (roof) – skin, superficial fascia containing the median cubital vein, the lateral cutaneous nerve of the forearm and the medial cutaneous nerve of the forearm, deep fascia reinforced by the bicipital aponeurosis (a sheet of tendon-like material that arises from the tendon of the biceps brachii)
 * deep boundary (floor) – brachialis and supinator muscles

Contents
The cubital fossa contains four main vertical structures (from lateral to medial):

 * The radial nerve passes underneath the brachioradialis muscle where it divides into deep and superficial branches. It is not always considered part of the cubital fossa but is in the vicinity.
 * The biceps brachii tendon
 * The brachial artery. The artery usually bifurcates near the apex (inferior part) of the cubital fossa into the radial artery (superficial) and ulnar artery (deeper)
 * The median nerve

The ulnar nerve is also in the area, but is not in the cubital fossa; it occupies a groove on the posterior aspect of the medial epicondyle of the humerus.

Several veins are also in the area (for example, the median cubital vein, cephalic vein, and basilic vein) but these are usually considered superficial to the cubital fossa, and not part of its contents.

From lateral to medial, the order of the contents within the cubital fossa can be described by the acronym TAN: tendon, artery, nerve

Clinical aspects
Like other flexion surfaces of large joints (groin, popliteal fossa, armpit and essentially the anterior part of the neck), it is an area where blood vessels and nerves pass relatively superficially, and with an increased amount of lymph nodes.

During blood pressure measurements, the stethoscope is placed over the brachial artery in the cubital fossa. The artery runs medial to the biceps tendon. The brachial pulse may be palpated in the cubital fossa just medial to the tendon.

The area just superficial to the cubital fossa is often used for venous access (phlebotomy) in procedures such as injections and obtaining samples for blood tests. A number of superficial veins can cross this region. It may also be used for the insertion of a peripherally inserted central catheter.

Historically, during bloodletting, the bicipital aponeurosis (the ceiling of the cubital fossa) was known as the "grace of God tendon" because it separated and protected the more important contents of the fossa such as the brachial artery and the median nerve.

Statistically, the antecubital fossa is the least tender region for peripheral intravenous access, although it provides a greater risk for venous thrombosis.

title: Cubital fossa


text:
Sir J.J. Institute of Applied Art

Sir J. J. Institute of Applied Art is an Indian applied art institution based in Mumbai. It is a state government college that was started through its sister school, the Sir J. J. School of Art. The "Sir J. J." in the name stands for Sir Jamsetjee Jeejebhoy, a Parsi philanthropist, whose name is linked to numerous historical institutions of Mumbai, such as the Sir J. J. Hospital. The institute is well known for its legacy on Indian design and advertising, as well as its historic campus.

In 1958, Sir J. J. School of Art was divided, with the Departments of Architecture and Applied Art becoming the Sir J. J. College of Architecture and Sir J. J. Institute of Applied Art respectively.

Commercial Art Section
The Institute of Applied Art's history first began with the founding of its sister school, the Sir J. J. School of Art, in 1857. Sir J. J. Institute of Applied Art started operations in the premises of the School of Art in 1935, and was awarded an independent institute status in 1961.

In 1946, Sir JJ School of Art started a new department, the Commercial Art Section, or CAS. The objective of this division was to impart all of the necessary training in art with an eye on students being able to exploit this training for commercial purposes.

During the Second World War the school was threatened with closure. At the time the school was run by the British Bombay government and its funding came directly from the government. In preparation for the looming war many committees were set up to review excess government expenditure and divert money to defense needs. The scrutiny of one such "Thomas Committee" fell on the Sir J. J. School of Art. The committee recommended that the school be shut down, claiming that it only contributed to furthering personal talents of artists and was of no use to society in general.

The director of the J. J. School of Art set out to rectify the situation. In 1935, Mr. Soloman was the dean of J.J. In 1946, J. J. School of Art started a new department, the Commercial Art Section, or CAS. The objective of this division was to impart all of the necessary training in art with an eye on students being able to exploit this training for commercial purposes. A direct contribution of this section was to aid the war preparations of the government by designing propaganda and public awareness posters. This exercise was a huge success. Therefore, the government decided not to shut down the Sir J. J. School of Art. The students trained at the CAS soon found that they were in considerable demand from the commercial industries of Mumbai (then Bombay) to design publicity material. Also, the fledgling advertising industry lapped up talent from the CAS, creating a set of people who would end up being counted among the founders of Indian advertising.

The CAS became popular among applicants to the Sir J. J. School of Art, as it offered a direct means of earning a livelihood to skilled artists who had completed the course. Soon, this once-small section of the school began receiving more student applications than the main part of the institute. At this time India had gained independence. The government, which still ran the school, separated the CAS from the rest of the school and created the Sir J. J. Institute of Applied Art. Professor V. N. Adarkar was named the institutes first principal and later went on to become its first dean.

Later history
The institute's first dean was V. N. Adarkar. Notable deans in recent years have been H. G. Hanmante, Prof. Kamat and M. G. Rajadhyaksha. The current dean of the institute is Santosh Kshirsagar.

Over the years, Sir J. J. Institute of Applied Art has been involved with several projects on social awareness that include "Know the Five-Year Plan "in the 1950s, "Our Himalayas" during the 1963 Sino-Indian War, and the "International Tourist Fair — Bombay" in 1965.

Present
The current course leads to successful students receiving a Bachelor of Fine Arts (BFA) in Applied Art from the University of Mumbai. The total duration of this course is four years, with the first year referred to as a "Foundation" year, and the later three being referred to as "Specialization" years. A student chooses their area of major specialization from amongst areas such as Illustration, Photography, Typography, Exhibition Design Display and Stagecraft or Computer Graphics.

The Sir J. J. Institute of Applied Art provides more than half of the Indian advertising industry's top art talent. There is a widely held belief among past professors of the institute, as well as art educators, that it would be best for the future health of the institution if the state government grants autonomy to the institute. This would clear the way to a much-needed revamp of the quality of teaching and infrastructure and bring modern day requirements to the school.

The campus is located in South Mumbai (opposite CSMT station) and houses the Sir J. J. Institute of Applied Art, the Sir J. J. School of Art, Sir J. J. College of Architecture, and the Government Institute of Printing Technology. The campus contains many trees that are more than a century old, and houses numerous heritage buildings.

The Kipling connection
The most renowned building on the campus is the century-and-half-old wood and stone bungalow that was Rudyard Kipling's birthplace. An ornate metal plaque at the entrance of this house is engraved with the words, "Rudyard Kipling, son of Lockwood Kipling, first principal of Sir J. J. School of Art, was born here on 30.12.1865." Traditionally, the home of the deans for both the Sir J. J. School of Art and Sir J. J. Institute of Applied Art, this identically-split-bungalow attracts numerous Kipling-enthusiasts from all over the world. For decades now, the Kipling side of the bungalow has been the official Dean's Residence of the dean of Sir J. J. Institute of Applied Art. During the tenure of the last residing dean, Prof. M. G. Rajadhyaksha, a bust of Rudyard Kipling was also unveiled at the entrance to this bungalow as homage to the legendary writer of works such as The Jungle Book and If—.

Notable alumni
th
 * Arun Kolatkar – Poet
 * Prabhakar Barwe – Painter
 * Prof. R. K. Joshi – renowned calligrapher, designer, type and design academic
 * Nana Patekar – Indian actor and filmmaker
 * Rajiv Rao – creative head, O&M (creator of Vodafone zoozoos)
 * Raj Thackeray – politician and social worker
 * Uddhav Thackeray – 19th Chief Minister of Maharashtra, politician
 * Gopi Kukde – Advertising Genius & the brain behind the 'Onida's Devil'.
 * Akbar Padamsee
 * Brendan Pereira, award-winning creative director and designer
 * Sunil Padwal – Renowned Indian painter
 * Shivkar Bapuji Talpade – It said that, He is The first Indian to fly an unmanned plane in 1895.
 * Geetanjali Rao
 * Ravi Jadhav
 * Sameer Kulavoor
 * Tejal Patni – Fashion Photographer

title: Sir J.J. Institute of Applied Art


text:
Stringer Davis

James Buckley Stringer Davis, generally known as Stringer Davis (4 June 1899 – 29 August 1973), was an English character actor on the stage and in films, and a British army officer who served in both world wars. He was married to actress Margaret Rutherford.

Early life
Stringer Davis was born on 4 June 1899 in Birkenhead, Cheshire, England, son of Bank of England clerk George William Davis (1871–1948) and Ethel, daughter of J. Buckley Deakin, of Prince's Park, Liverpool (1873-1942). The Davis family were landed gentry, of Well Close, Brockworth, Gloucestershire; his first cousin was Admiral Sir William Davis, Vice Chief of the Naval Staff from 1954 to 1957. The name "Stringer" came from a paternal great-grandfather, Miles Stringer, of Effingham Hill, Surrey, whose daughter Adelaide married William Davis, of Well Close. Davis attended the independent Uppingham School and received military basic training there. In August 1918, he volunteered for military service and was sent to the front in the First World War as a lieutenant in the 3rd Battalion, South Lancashire Regiment.

He was discharged from military service in September 1919, about 10 months after the conclusion of the war. Davis's parents separated shortly after his return from the war. His mother lived in a spacious house in Reading, Berkshire, and Davis lived in its vicinity in a boathouse overlooking the River Thames.

Career
Davis had two careers, one in the military and the other in acting. He began his theatrical career as a member of the Oxford Repertory Company, working as both an actor and director. In 1930, he met Margaret Rutherford, his future wife, for the first time. At the time, Rutherford was still largely unknown. She wrote in her autobiography about her first encounter with her husband-to-be: "I noticed his bright blue eyes, his casual elegant clothes and his polite way. I couldn't take my eyes off him... He had that special something. His name was Stringer Davis." He made his on-screen debut in a BBC television live drama Charles and Mary in 1938.

The 40-year-old Davis put aside his acting career to volunteer again for military service in 1939. He served as a lieutenant in the East Yorkshire Regiment and later was part of the British Expeditionary Force deployed in France. He participated in the Battle of Dunkirk and was one of the many British soldiers evacuated on 4 June 1940. Davis remained with the army until almost the end of the Second World War, with tours of duty in North Africa and Northwest Europe.

After the war, Davis resumed his acting career with the film Miranda (1948), which also featured Rutherford. Overall, Davis appeared in more than 20 films with his wife. In later years, she made it a condition of her contract that Davis would play a part in any film in which she appeared. This clause led to Davis being cast as the mild-mannered librarian Mr Stringer in the four adaptations of Agatha Christie novels featuring Rutherford as Miss Marple in the early 1960s. The gentle, timid Mr. Stringer gained good reviews.

Personal life
Davis married Margaret Rutherford in 1945 after a 15-year courtship. She was 53 and he was 46 at the time. Reportedly, his mother was the main reason for the long engagement because she was adamantly opposed to having Margaret Rutherford for a daughter-in-law, referring to her when talking to her son as "that older actress woman you have been seeing over the years." Only after the death of Ethel Davis did the couple finally marry. After their marriage, they remained totally devoted to one another, with Davis always at hand behind the camera whenever his wife was filming.

Towards the end of her life, Rutherford was diagnosed with Alzheimer's disease and Davis tended to her throughout a long and distressing illness. Rutherford died on 22 May 1972, aged 80. A down-on-her-luck former aspiring soprano, Violet Lang-Davis, was employed as Rutherford's daily help and companion; after Rutherford's death, she stayed on to look after Davis, with an eye on marriage. Davis died before Lang-Davis could achieve this goal. His will left everything to the already-deceased Rutherford, meaning that the couple's estate would go to Davis's next of kin, his first cousin Lieutenant-Colonel William James Davis, of Well Close. Lang-Davis, who stood to receive nothing, then unlawfully sold a number of Rutherford and Davis's possessions, and produced a forged will wherein Davis left her everything. To explain the disappearance of the sold items, Lang-Davis claimed a burglary had taken place. Although eventually the truth was uncovered, and Lang-Davis, then aged 63, arrested and remanded in custody prior to a trial in 1975, she did not appear for the trial and a warrant for her arrest, although issued, was never executed. In 1985, it was thought that Lang-Davis was still at large.

Death
Davis died peacefully in his sleep in Chalfont St Giles, Buckinghamshire in August 1973, 15 months after Rutherford's death. Rutherford and Davis are interred in the graveyard of St James's Church, Gerrards Cross, Buckinghamshire.

Filmography

 * Charles and Mary live BBC TV drama (1938) – George Dyer
 * The Importance of Being Earnest live BBC TV drama (1946) – Merriman
 * Miranda (1948) – Museum Attendant
 * The Happiest Days of Your Life (1950) – Reverend Rich
 * Miss Hargreaves BBC Sunday Night Theatre (1950) – The Dean
 * Curtain Up (1952) – Vicar
 * Miss Robin Hood (1952) – Board Member
 * Castle in the Air (1952) – Hall Porter
 * Innocents in Paris (1953) – Arbuthnot
 * Trouble in Store (1953) – Shop Assistant (uncredited)
 * The Runaway Bus (1954) – 2nd Transport Officer
 * Mad About Men (1954) – Vicar (uncredited)
 * Aunt Clara (1954) – Dr Graham (uncredited)
 * Reach for The Sky (1956) – Cyril Borge
 * The March Hare (1956) – Doctor
 * The Smallest Show on Earth (U.K.) Big Time Operators (U.S.A.) (1957) – Emmett
 * The Buccaneers TV series (1957) – Admiral Bingham
 * Just My Luck (1957) – Goodwood Steward (uncredited)
 * I'm All Right Jack (1959) – Reporter
 * The Day After Tomorrow BBC TV drama (1960) – Clergyman
 * Murder She Said (1961) – Mr Stringer
 * Murder at the Gallop (1963) – Mr Stringer
 * The V.I.P.s (1963) – Hotel Waiter
 * The Mouse on the Moon (1963) – 1st Councillor (uncredited)
 * Murder Most Foul (1964) – Mr Stringer
 * Murder Ahoy! (1964) – Mr Stringer
 * The Stately Ghosts of England (American NBC documentary, Rutherford and Davis appear as themselves, 1965)
 * The Alphabet Murders (1966) – Mr Stringer (uncredited)
 * Arabella (1967) – Italian Gardener (uncredited)
 * Thirty Minute Theatre TV series (1973) – Museum Attendant

title: Stringer Davis


text:
Nage-no-kata

Nage-no-kata (投の形) is one of the two randori-no-kata (乱取りの形) of Kodokan Judo. It is intended as an illustration of the various concepts of nage-waza (投げ技) that exist in judo, and is used both as a training method and as a demonstration of understanding.

History
The nage-no-kata was developed by Jigoro Kano as a method of illustrating principles of throwing to allow students to more effectively apply them in randori. Initially the kata consisted of ten techniques. These were subsequently appended with the addition of a further five throws, including kata guruma and uki otoshi.

Description
The kata is composed of 3 techniques each from the five classifications of throw in judo:
 * Te-waza (手技)
 * Koshi-waza (腰技)
 * Ashi-waza (足技)
 * Ma-sutemi-waza (真捨身技)
 * Yoko-sutemi-waza (橫捨身技)

Each of these 15 techniques is performed twice in the specified order, both right and left handed. The kata is generally performed in a strictly formalised manner with clearly defined Reigi sahō (礼儀作法).

Aisatsu (挨拶)
Tori (取り) and Uke (受け) approach the mat from opposite sides, with Tori on the left hand of the Joseki (上座) and Uke on the right (i.e. as they would be if facing towards the Joseki). They bow as they step on the mat, then turn to face the Joseki and execute a ritsu rei (立礼), then turn to face each other and execute a zarei (座礼). Tori and Uke step in, left foot first, to adopt shizen hontai (自然 本体).

Te-waza (手技)

 * Uki-otoshi.jpg otoshi (浮落)

Tori approaches Uke using ayumi ashi (歩み足). Tori and Uke grip using a standard right-handed sleeve-lapel grip. Uke initiates by stepping forward using tsugi ashi (次足) into migi shizentai (右自然态). Tori responds by stepping backwards (tsugi ashi). Uke's balance is compromised and he attempts to regain the advantage by stepping forward again and Tori again responds by stepping backwards, further unbalancing Uke. On Uke's second attempt to regain his balance (i.e. his third step forward), Tori breaks rhythm, dropping to his left knee, and throws Uke to his rear, pulling with a steering motion.

Tori and Uke return to their feet and repeat the technique in the opposite (i.e. left-handed) orientation.

 * Morote-seoi-nage.jpgSeoi nage (背負投) - shoulder throw

Uke approaches tori, steps forward with the right foot and raises the right hand as a hammer fist to strike directly on the top of tori's head. This works better if uke uses some power and momentum to strike. Tori allows the blow to begin to fall. Tori steps around 180 degrees, grabs (pulls) uke's right arm to continue to allow uke's momentum to follow forward (Tori does not deflect the blow!). The forward momentum of uke's blow makes uke fall onto tori's back (kuzushi). At the same time tori is ready to receive uke on his back and turns his shoulders and body while maintaining grip of the arm, redirecting the forward energy of the fall (and of uke) to the ground.

Tori and Uke return to their feet and repeat the technique in the opposite left-handed orientation.

 * Kata-guruma.jpgKata guruma (肩車) - shoulder wheel

Tori approachesUke's side, and receives the attack of Uke, which is the standard grip, explained previously, named Kumi kata (組方, fundamental grip) and pushing against uke. Tori follow the force of Uke and make the first step backwards, as did in the past throws. In the second step, Tori

Koshi-waza (hip techniques)

 * Uki-goshi.jpgUki goshi (浮腰) - floating hip throw
 * Harai-goshi.jpgHarai goshi (払腰) - sweeping hip throw
 * Tsuri-komi-goshi.jpgTsurikomi goshi (釣込腰) - lifting/pulling hip throw

Ashi-waza (foot techniques)

 * Okuri-ashi-barai.jpgOkuriashi harai (送足払) - sliding foot sweep
 * Sasae-tsuri-komi-ashi.jpgSasae tsurikomi ashi (支釣込足) - Propping and drawing ankle throw
 * Uchimata-illustration.jpgUchi mata (内股) - inner thigh throw

Ma-sutemi-waza (rear sacrifice techniques)

 * Tomoe-nage-illustration.jpgTomoe nage (巴投) - circle throw
 * Ura-nage.jpgUra nage (裏投) - rear throw
 * Sumi-gaeshi2.jpgSumi gaeshi (隅返) - corner reversal

Yoko-sutemi-waza (side sacrifice techniques)

 * Yoko-gake.jpgYoko gake (横掛) - side hook
 * Yoko-guruma.jpgYoko guruma (横車) - side wheel
 * Uki-waza.jpgUki waza (浮技) - floating technique

title: Nage-no-kata


text:
User talk:JohnnyZen

Welcome
Welcome! (We can't say that loud/big enough!)

Here are a few links you might find helpful:

 * Be Bold!
 * Don't let grumpy users scare you off.
 * Meet other new users
 * Learn from others
 * Play nice with others
 * Contribute, Contribute, Contribute!
 * Tell us about you

If you have any questions or problems, no matter what they are, leave me a message on my talk page.

We're so glad you're here! -- Essjay ·  Talk 15:50, July 12, 2005 (UTC)

Prince & Betty
My source for this matter has been the Russian Wodehouse Society's very nice bibliography, and I interpreted it to say that the UK Psmith, Journalist and the US Prince and Betty are identical - the same book released under two names - while the UK Prince and Betty is the substantially rewritten book that you mention, with Rupert Smith rather than Psmith. Unfortunately, I neither own nor have access to any of these publications, so I can't provide verification; your guess seems to be as good as mine. — Dan | talk 18:01, 20 December 2005 (UTC)
 * Incidentally, it's also possible that the US Prince and Betty is the rewritten version and the UK Prince and Betty is a third novel entirely, though again this is just a guess. — Dan | talk 18:02, 20 December 2005 (UTC)

The Swoop
I accidentally put my reply to you on the talk page of User Talk:Essjay - q.v. Thanks for clarifying it all. Carrionluggage 17:27, 18 January 2006 (UTC) Once again the reply missed your page - I putit on mine! Oh, well - I guess I am "digitally challenged." Carrionluggage 18:31, 23 January 2006 (UTC)

I see the new passage. I might interpret it differently, however (though you are the Wodehouse expert). I would tend to look on it more as a put-down on the Germans and Russians (in terms of impracticality more than of racism or ethnocentricity). It gives the British a chance to gloat on how they used Gurkhas and (as shown in the cinema Ghandi) Chinese mercenaries effectively for their ends. It also gives the Boy Scouts a better purchase on the winning flanks. In other words, Wodehouse's position might have been: "Fine to use mercenaries, tradespeople, merchants and all for one's ends irrespective of race or national origin, but don't credit tham with the fine degree of civilisation we have here in England." Carrionluggage 19:30, 23 January 2006 (UTC)

Thank you! I forgot the Hessians, [http://www.americanrevolution.org/hessindex.html} who fought us! (OK, I'm a Yank.) Actually, England is one of my favourite places - I'm friends with a Lord (who was in Commons for about 40 years)and I keep all my essential science work in a directory, "RuleTheWaves" (after Arne, of course). But in the days of Wodehouse and prior - of course we saw mercenaries used (but little respected). Anyway, you guys took a pounding in WWII, saving us a lot of pain, too - so thanks! Carrionluggage 16:17, 24 January 2006 (UTC)

Headings
Pretty sure it's two == and not three. Generally, if there are sections in an article, whether it be external links or otherwise, it should be a second level heading (2 equal signs); as a general rule, use three for subsections of sections. The three at Guide to layout is not indicative of how you should do it in articles - it's three there for structuring the guide to layout. Cheers. enochlau (talk) 12:38, 1 February 2006 (UTC)

Little, Brown
I hope you don't mind too much that I sort of overran Little, Brown and Company. I've had notes for that article sitting around for two or three months, but had not taken the time to start it. When I saw someone had started the article, it kicked me into using the information I had. --  Dalbury ( Talk )  19:24, 7 February 2006 (UTC)

 * Not at all, I only kicked it off as I'd put it in so many Wodehouse articles and wanted to keep the red to a minimum, but couldn't find much out - great job :) - on a side note, I don't suppose your publisher book has anything on UK publishers? Just realised all my links to Herbert Jenkins, which I thought were good, are going to an American policeman, and my googling skills don't seem to be up to finding anything out about this pub. house (later Barrie & Jenkins) - really should make a start at sorting this out... JohnnyZen 10:38, 8 February 2006 (UTC)

 * Unfortunately, the series I found Little, Brown in hasn't covered publishers outside of the States (and not even every one in the States), although a future volume might. I red-linked some publishers in some early articles, and Little, Brown is only the second of those to become real. I don't bother red-linking publishers now, as I already have a long list of things I want to work on. Maybe in a year or two I might have time to pursue that. --  Dalbury ( Talk )  11:34, 8 February 2006 (UTC)

Galahad at Blandings changes
Hi, thanks for your message. "Fiddling" could be said to be what wiki editing is all about. Anyway to answer to your specific points. Firstly is this a novel or a play. I thought it was categorised as a novel. Next the article style established by the WikiProject Novels/ArticleTemplate has the sequence as you see. The aim is to provide some limited consistency between novel articles so that people can find similar information in similar named headings and in similar parts of articles. If this is the first Wodehouse article affected that does not mean that consistency is not the aim, quite the reverse. We are not aiming to be dictatorial or course, but the lack of consistency and for many authors, lack of quality, leaves a bit to be desired. I have not reviewed the Wodehouse canon on wikipedia so this is meant as no comment on these.

 * Not so sure I would agree the sequence is the standard. For plays, yes no doubt about that; the cast are almost always mentioned first. But for novels I'm not so sure this is the case. In fact as I have scanned plot summaries and synopsis' across the web for fuel for all manner of novel articles on wikipedia I find that invariably the Plot is the thing. The character are either only mentioned as part of the plot development or are mentioned second. I know this is not universal but just based on my own observation, and I have been at this a while now, the balance is in favour of the current project sequence. As an aside the article template was not primarily my work it was someone else's work that has been adapted. Just to indicate that I am not defending my own work or original idea. Also if we can be convinced of a "standard" as you suggest I would be the first to get envolved to abide by it. All the best, thanks for your input. :: Kevinalewis  :  (Talk Page) / (Desk)  10:48, 10 July 2006 (UTC)

Earl of Ickenham
Please take a look at the article; other than Uncle Fred, do any of the earls have an existence in canon? Someone tried to slip it into the list of British peerages, and if the other earls are just someone's imagination, we'd be best off redirecting "Earl of Ickenham" to his article. Choess 20:45, 27 October 2006 (UTC)

 * I've certainly never heard of any of these characters, can only assume it's a joke of some kind; I'll have a flick back through the books I have (still missing one from my set, hence not finished writing them up yet) but I think the page can safely be removed JohnnyZen 10:42, 30 October 2006 (UTC)

Re: P. G. Wodehouse tweaks
Oh, I'm perfectly fine with it. I guess I didn't notice this subtle difference between the way novels and short stories were to be displayed (I thought someone had included double quotes by mistake, instead of using two single quotes for italics, so I corrected it). Thanks for letting me know, I'll be on my guard the next time! Also, I'm afraid I might have made similar changes to other PGW articles too. Let me get hold of them and undo the changes. --Madhu 16:22, 28 February 2007 (UTC)

Proposed deletion of Freddie Widgeon

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Proposed deletion of The Episode of the Landlady's Daughter

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Proposed deletion of List of minor Ukridge characters

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Nomination of List of minor Ukridge characters for deletion
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Nomination of List of minor Blandings characters for deletion
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title: User talk:JohnnyZen


text:
Transports Schiocchet Excursions

Transports Schiocchet Excursions is a French bus company that runs a bus route from Moselle to Luxembourg.

, it is involved in litigation against ten cleaning women who share car journeys to work on the same route, accusing them of "unfair and parasitical competition", demanding financial damages and the confiscation of the cleaning women's cars. The lawsuit has been widely derided, and has been described on Groklaw as "the stupidest lawsuit since the world began".

Although the company has already lost once in the Briey commercial tribunal, it is now pursuing the women in a higher court, the Court of Bankruptcy.

title: Transports Schiocchet Excursions


text:
User talk:Simonfl

Welcome
Welcome! (We can't say that loud/big enough!)

Here are a few links you might find helpful:

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If you have any questions or problems, no matter what they are, leave me a message on my talk page.

We're so glad you're here! -- Essjay ·  Talk 15:50, July 12, 2005 (UTC)

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title: User talk:Simonfl


text:
User talk:Equilibrial

DnD
Cleaning it up, expanding, or reducing, is hard. I'd like to help you. - Peregrine Fisher (talk) 04:41, 29 September 2011 (UTC)

 * Hi, unfortunately I'm not well versed in the DnD field, I just ran WP:AutoWikiBrowser on the articles in the Fantasy creatures category to do some general clean-up. Always good for weeding out sp errors and other stuff. Equilibrial (talk) 04:49, 29 September 2011 (UTC)

 * Could you redirect a few hundred articles to Dungeons & Dragons? It's very hard to determine which of the 10,000 or so are the 1000 (if that) good ones.  Ocassionally, people get bent out of shape in these situations, so contact me if anyone doesn't like it.  I created a lot of the DnD stuff years ago, so I have some credibility when it comes to what should be expanded, and what should go away. - Peregrine Fisher (talk) 04:57, 29 September 2011 (UTC)

 * Sorry, but this is a bit out of my league. I recommend you ask for a bot to be made for this purpose at WP:Bot requests. Equilibrial (talk) 05:00, 29 September 2011 (UTC)

Nomination of Charles Ubriaco for deletion
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Nomination of Angelo Ponte for deletion
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Scotty Wotty listed at Redirects for discussion
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April 2022
One of your recent edits has been removed in whole or in part, as it appears to have added copyrighted material to Wikipedia without evidence of permission from the copyright holder. If you are the copyright holder, please read Donating copyrighted materials for more information on uploading your material to Wikipedia. For legal reasons, Wikipedia cannot accept copyrighted material, including text or images from print publications or from other websites, without an appropriate and verifiable license. All such contributions will be deleted. You may use external websites or publications as a source of information, but not as a source of content, such as sentences or images—you must write using your own words. Wikipedia takes copyright very seriously, and persistent violators of our copyright policy will be blocked from editing. See Copying text from other sources for more information. -- Tamzin  [ cetacean needed ] (she/they) 01:47, 18 April 2022 (UTC)
 * To elaborate, this is a copyright violation of this. This is a copyright violation of this. This is also questionable with regards to this: You put it in quotation marks attributed to Schuster, but it's actually CNN's paraphrase of Schuster. --  Tamzin  [ cetacean needed ] (she/they) 01:47, 18 April 2022 (UTC)
 * Is it a copyright violation to accurately quote a cited source? Seems like insanity, but if that's the law, I'm fine with it. Equilibrial (talk) 01:53, 18 April 2022 (UTC)
 * It's a copyright violation to copy it wholesale, yes, unless it's a stock phrase like "the largest warship sunk in battle since World War II". If you attribute something and set it in quotation marks, then it may be allowed as fair use under Non-free content, bu when it comes to plain facts it's still best to rephrase, as much for reasons of article quality. --  Tamzin  [ cetacean needed ] (she/they) 02:08, 18 April 2022 (UTC)
 * Okay, understood. Thank you for the explanation. Equilibrial (talk) 02:09, 18 April 2022 (UTC)

Dead (musician)
Please can you stop the weird obsession you have with editing a clear error into a man's suicide note. It's incredibly disrespectful and also just simply ahistorical. "The famous line" is used as context for the subsequent sentence, it was never supposed to be a part of his suicide note. This is not up for discussion or debate, you are wrong. TJ Whiteley (talk) 19:46, 05 September 2022 (UTC)

 * I've responded on your talk page. Equilibrial (talk) 08:49, 6 September 2022 (UTC)

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title: User talk:Equilibrial