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Wikipedia talk:WikiProject Webcomics/Archive 1

 * This is an archive of earlier discussions from Wikipedia talk:Wikiproject Webcomics.

Project vs. Policy
We already have web comic inclusion guidelines at Web comics. -- Cyrius|✎ 06:30, 6 Nov 2004 (UTC)
 * That page is a policy proposal about webcomics. This page is a project to write articles about webcomics.  They serve different roles. Factitious 08:26, Nov 6, 2004 (UTC)
 * Further, the web comic inclusion guidelines do not conflict with the goals of this wikiproject, and this wikiproject does not conflict with the spirit of the inclusion guidelines. Having set a broad set of guidelines for including webcomics in Wikipedia, we now must begin to shape, develop and grow the articles that fall within those guidelines. We will want to consider adjusting the project guidelines to better reflect policy, but I don't think there was any intent to supersede policy with this project.--Eric Burns 15:51, 6 Nov 2004 (UTC)
 * Of course not, but I got the impression that there was a lack of awareness of their existence. -- Cyrius|✎ 20:55, 6 Nov 2004 (UTC)

As the writer of two projects currently up for revision and editor of several more, I'm definitely interested in this. It's my understanding that personal interest prevents me from contributing material directly, but I'll send you as many third parties as I can.

However, I'm a bit confused about policy here. Some of the comics on Websnark's daily trawl do not yet have 100 strips to their credit. I reluctantly admit that this even includes "Ascent" and "Penny and Aggie," though the latter is closing on that number fast. So are 100 strips a requirement for a Wikipedia entry, or is it an "either-or" deal (EITHER 100 strips OR a Websnark recommendation)?

And finally, "Rip and Terri" should be spelled "Rip and Teri."

 * At Web comics, Eric proposed an alternate criteria of a 33 week run, which is a bit more fair for the weekly strips. In any case, I think the key concept here is, again agreeing with Eric, "signifigance" and not "popularity." If a webcomic is doing somthing interesting or well such that people who are not the creator or someone immediately associated with the creator is inclined to write an article on it, that itself is a fairly good inclusion test. Snowspinner 17:30, Nov 7, 2004 (UTC)

 * Actually, in the proposal, I suggested a strip would need both 100 strips and a 33 week run, not either/or. To be honest, even as a fan for Ascent and Penny and Aggie, neither one of them has developed to the point where I think inclusion would be warranted. I think that Ascent will develop that depth long before, well, 2 years, which is what would be required to hit 100 strips in their weekly model, so perhaps my counterproposal should be modified to reflect the needs of weekly strips. Penny and Aggie needs a little more time before I'd really think an encyclopedic entry would be warranted. (Though Lagacé, as a Lulu award winner and the creator of Cool Cat Studio, should likely have a Wikipedia mention, and T. Campbell himself certainly has shown good reason for one.) --Eric Burns 22:04, 7 Nov 2004 (UTC)

 * I do think we need to give a break to weekly strips, on the one hand. On the other, though, I think in the end webcomics need to be done on a case by case basis. For example, if Bill Watterson were to suddenly decide to do a webcomic, I think that would be worthy of inclusion on strip one. (To use an extreme example). I think a comic that gets high profile notice fast, or is linked to in some prominant places (Websnark alone not being enough) are worthy of inclusion. I think a comic that's, well, just plain interesting and that has a lot that can be said about it is worthy of inclusion. The 33 week or 100 strip or Alexa ranking tests are all good starts on determining it, but they're only things that, to me, mean a comic is worthy of inclusion. I don't think we have or need rules on what's automatically to be excluded.  Snowspinner 00:48, Nov 8, 2004 (UTC)

 * We need to take into account how much strip-size differs between comics. One hundred comicbook-page strips will have a lot more art and story than one hundred newspaper-slot strips. Tim J Tylor 01:16, 8 Nov 2004 (UTC)

 * There are some no-longer-updating webcomics with less than 100 strips that might still be considered notable. I'm thinking of Sylvan Migdal's Mnemesis, the completed story he did before starting Ascent. It only goes to 84 pages, but I'd say it's a pretty memorable comic and I've seen it mentioned and commented on — Tim J Tylor 16:12, 18 Nov 2004 (UTC)

Procedure
What's the best thing to do once you've written a full article on any of the comics in the "articles needed" list? Should it go to the "expansion list" for criticism, or straight into the third boast-list, or should you just remove it from "articles needed" and add it to the List of webcomics? Tim J Tylor 12:26, 15 Nov 2004 (UTC)

 * Depends on how good you think the article is. If you think you've written a full article, go ahead and put it on the done list. Snowspinner 22:42, Nov 15, 2004 (UTC)

Stubs
If you come across (or write) an article on a web comic that seems to be overly short or missing important information, and you can't expand it yourself, use the   stub notice.

If you're looking for articles that need expansion, go to Category:Web comics stubs: it'll list all of the articles with the webcomic-stub notice on them. — Gwalla | Talk 03:36, 16 Nov 2004 (UTC)

How much is too much?
I'm in favor of explaining webcomics, but I wonder how much is too much.

The Irritability page was just edited by an anonymous user who added quite a bit of detail to each character writeup - this kind of obsessive detail seems a little unseemly, and not really encyclopedic anymore. I didn't want to revert it without some sort of consensus about where the line should be drawn. Is Megatokyo a good model? DenisMoskowitz 21:39, 2004 Nov 24 (UTC)

 * Megatokyo is a good model, although I think it covers the forum in too much detail. I don't think Irritability has been expanded to much, but the style it's written in is certainly unencyclopedic in tone, and the format is a mess.   — Gwalla | Talk 02:18, 25 Nov 2004 (UTC)
 * Maybe I'll just clean it up some then. DenisMoskowitz 20:09, 2004 Nov 25 (UTC)
 * Is Kevin and Kell too much? That thing is absurdly huge. ;) -Fennec (はさばくのきつね) 21:21, 31 Dec 2004 (UTC)
 * Yeah, Kevin and Kell looks excessive. An in-depth description of the continuity isn't really warranted, especially since the comic is primarily gag-oriented and overall plot isn't particularly relevant to many installments.   — Gwalla | Talk 02:07, 15 Feb 2005 (UTC)

What is a "strip"?
Warning: Blatantly self-interested query follows Okay. I have a webcomic: Scrolling Blackout. It's been around for several months. Problem is, I don't quite know what would qualify as a "strip": it's not quite a conventional layout, it's more of a 'moving window' of the last six panels. This makes the layout oh-so-easy, but presents a unique problem. Right now, I only have 150 panels. And, as mentioned on the project page, any webcomic with an archive of 100 strips or more should get an article.

So, I'll ask for opinions: Do you think that a conversion ratio of 3 panels => 1 strip reasonable? Could you take a look and tell me what you think? (Yes, go look at the pretty webcomic, mwuahahaa :)

(Note also: I have no plans to add my webcomic to Wikipedia. Ever. Maybe get someone else to do it, sure, but not to add it myself. I've dealt with too many vanity articles. :) -Fennec (はさばくのきつね) 21:20, 31 Dec 2004 (UTC)

 * Most comic strips are four panels long, so a 4:1 panel to "strip" ratio seems reasonable. On the other hand, since the visible strip is six panels long in your case, a case could be made that a 6:1 ratio is more appropriate. I wouldn't worry about it too much, though. ;)   — Gwalla | Talk 04:43, 6 Jan 2005 (UTC)

What is a "web comic"?
As I posted in the Talk:Webcomic discussion... We need some clarification here. A change was just made to the webcomic entry which now implies that a comic being published via Usenet/FTP is the "first webcomic". Is webcomic to include all protocols of distribution (ie, any comic distrubted on the internet in any format/protocol) or is it going to be limited to comics published excusively on the World Wid Web as a web page? If we're going to go the "any" route, then why not include many of the furry, anime, and computer joke one-offs that we're posted to the Compuserve image groups in the mid-80's, which ended up making to ftp/usnet?--bcRIPster 07:18, 17 Jul 2005 (MST)

 * I agree but we need concrete dates. Perhaps a mention of the debate over the first actual webcomic itself should be mentioned in the entry? -- kainee 129.21.190.25 22:43, 25 July 2005 (UTC)

Webcomics and their place in the comics world
There's a WikiProject comics that is pretty active. I think it'd be a good idea for this project to join theirs as a sub-project: the increased visibility and opportunities for closer collaboration could be useful. Note that WikiProject Comic strips is a subproject, so we're not talking about a "superhero comic books only, all others need not apply" group here. — Gwalla | Talk 04:43, 6 Jan 2005 (UTC)

Disambiguation Guidelines
I just noticed that Goats had (rightly) been deleted from the List of Web comics page, where it had been happily residing for ages, until someone noticed that Goats redirected to an article about, well, goats, and not to an article about Jon Rosenberg's comic strip. So they changed the link to Goats (webcomic) which, surprise, surprise, did not exist yet, and, boom!, it was gone.

For the time being, I moved it here, to the WikiProject Webcomics page; but I got curious about whether any of the other web comics with common names might have had the same thing happen to them, so I did a quick check. While Goats appeared to be the lone example, I noticed that there doesn't seem to be any consistency in the form the disambiguations take: We have Avalon (web comic) but Copper (comic) and Freefall (webcomic). Sometimes "web comic" is two words, sometimes one; and sometimes, simply "comic" is used.

Any ideas on how to fix this, or whether it should even be bothered with? Does consistency matter at all? --Ray Radlein 05:15, Feb 4, 2005 (UTC)

 * You have a point. In my experience, the compound word "webcomic" is used most often, although people sometimes use the term "online comic" when they want to sound less informal (or when they want to distinguish between "true webcomics" made speificially for the web and comics that were written for print but are also available online). "Web comic" is rare. And yes, we should try to be consistent in article naming, but that's generally easy to fix.   — Gwalla | Talk 23:31, 4 Feb 2005 (UTC)

 * I posted a shorter version of this over at Wikipedia talk:Web comics as well, and noticed, while I was composing it, that I myself tend to waver uncertainly between using "web comic" and "webcomic." I have yet to discern the algorithm at work in the deeper recesses of my mind which determines which form I will use, however. :-) (suspicion: whichever form the person I am replying to has used; although this doesn't help me figure out which form I will use when I'm not replying to anyone) --Ray Radlein 23:56, Feb 4, 2005 (UTC)

Articles we "need"
Could somebody comb through that list and check to see if any of those don't meet the criteria for inclusion? I suspect there are several listed there that don't merit articles yet. — Gwalla | Talk 23:46, 4 Feb 2005 (UTC)

 * I know that all of the ones I have added -- including the redlined ones I have rescued from the "List of..." page -- have met the WikiProject inclusion criteria, because I have checked (a couple of those "rescued" comics had very poorly organized archives, making that unbelievably painful, too). That takes care of probably about half of the list right there. :-) I suppose I should go to the history page and successively diff the current version against my various additions to see who might still need to be checked (which reminds me -- one web comic I just started reading recently is coming up fast on the 100 mark... I just wish I could remember which one). --Ray Radlein 23:56, Feb 4, 2005 (UTC)

Webcomics project notice
The new template is a notice that an article is part of this WikiProject: webcomicsproj If you start a new article, or cleanup/expand and existing article, on a webcomic or webcartoonist, it'd be a good idea to add it to the corresponding talk page (not the article itself). — Gwalla | Talk 21:39, 2 Mar 2005 (UTC) I've added this to the front page in the Template section. ~ Dread Lord C y b e r S k u l l ✎☠ 11:47, 2005 August 2 (UTC)

WikiProject format
Does anyone else think we should fix up the project page to conform to the standard format for WikiProjects? — Gwalla | Talk 21:30, 2 Mar 2005 (UTC)

Shortpacked! and the Willis continuum
Perhaps Roomies (comic) and It's Walky! should be merged into David Willis. By treating it as a single overarching series, Shortpacked would have a place in the article without itself having to meet the guidelines, since the meta-series does. It may also result in less duplicate information (like characters). Just a thought. — Gwalla | Talk 23:25, 13 Mar 2005 (UTC)

 * I absolutely think that any Shortpacked! info should go in the main It's Walky! article for the time being; that's for sure.

 * So Roomies and It's Walky! have different articles? Interesting. I never checked. I guess coming in so long after the launch of It's Walky!, I never actually thought of them as separate series.--Ray Radlein 01:28, Mar 14, 2005 (UTC)

 * I split the two when Roomies started up again. As for the situaton with Shortpacked, I'd say to give it its own (stub) article now.  It may not qualify for its own article yet, but barring a disaster on the order of DW dropping dead, it's certain to make it. --Carnildo 03:08, 14 Mar 2005 (UTC)

A webcomic on VfD
See Disturbing Indeed and the associated VfD page, Votes_for_deletion/Disturbing_Indeed.

Courtland 05:55, 2005 Apr 6 (UTC)

Webcomic stubs need clean-up
There is some serious vain/advert/non-notable material there, some of it for years. So I request the following articles from Category:Web comics stubs to be nominated for deletion : There might be more to be added. - Harg 8:06, 6 May 2005 (UTC)
 * Digital War
 * Four panels of fun
 * George Comics
 * Kick in the head
 * Melleck Xaos
 * Mitch Clem
 * Our Home Planet
 * Titan Aresta
 * WoT now?
 * I was starting to add webcomic stubs to the "Articles that need lots of expansion" and saw a lot of stubs that probably needed to be deleted. Should there be a "Articles in need of deletion" category on the project page? Dragonfiend 17:22, 24 July 2005 (UTC)
 * That's not a bad idea. --DNicholls 04:16, 25 July 2005 (UTC)

This Comic Sucks
Is comic of any interest, or should it go up for vfd?--nixie 02:57, 15 May 2005 (UTC)
 * 134 strips, over the course of three years, two months, with an unknown amount of filler. Alexa rank of only 750,000.  Last update a month ago. --Carnildo 05:30, 15 May 2005 (UTC)

This comic has been up for three years...alot of which did have activity. But it has been steadily updating once a week with a lot of regularity for the last year. Alexa rank is in the 400,000~ range...yet its been deleted now. It had been recreated with alot of information...but the recreation got deleted on the basis of the first deletion (a basis that is almost entirely inaccurate at this present time). This is also discussed on the discussion page for the deleted entry.

Infobox
Is there an infobox template to add to the articles? CyberSkull 23:47, 2005 Jun 3 (UTC)
 * I started making an infobox for webcomics: User:CyberSkull/Template:Infobox_webcomic. Please tell me what you think! ~ CyberSkull 08:09, 2005 Jun 18 (UTC)
 * To see it in use in an article, look at VG Cats. CyberSkull 08:35, 2005 Jun 18 (UTC)
 * Sorry, I forgot to post the proposed syntax:

CyberSkull 09:15, 2005 Jun 18 (UTC)

What's with the "ratings" parameter? We don't even add ratings to movie articles, and movies at least have an official ratings authority. — Gwalla | Talk 23:35, 18 Jun 2005 (UTC)
 * I tossed that in because some comics I've seen have a voluntary content rating on them. CyberSkull 01:27, 2005 Jun 19 (UTC)
 * Ratings are now an appear if defined function. ~ CyberSkull 06:39, 2005 Jun 19 (UTC)

The Image and Caption parameters are now optional Dread Lord C y b e r S k u l l ✎☠ 09:56, 2005 Jun 22 (UTC)

Here is a list of everything that uses this template: Special:Whatlinkshere/Template:Infobox_webcomic ~ Dread Lord C y b e r S k u l l ✎☠ 21:10, 2005 July 13 (UTC)

I'd like to move to include this in the project (at which point it will be moved to a better namespace). However, I don't know how to set up a vote. Dread Lord C y b e r S k u l l ✎☠ 2005 July 6 21:30 (UTC)
 * I've moved it to Template:Infobox webcomic & removed the prototype notice. Dread Lord C y b e r S k u l l ✎☠ 04:57, 2005 July 12 (UTC)

For an example on the main page, what web comic should be used? ~ Dread Lord C y b e r S k u l l ✎☠ 22:18, 2005 July 13 (UTC)
 * I've posted an example on the main page using VG Cats. ~ Dread Lord C y b e r S k u l l ✎☠ 11:49, 2005 August 2 (UTC)

WWW Balloon
Because I find my obsession growing (unhealthily?), I've decided to make a nice PNG version of the WWW Speech balloon you guys use in the project template. I hope you like it (no disrespect intended towards the author of the original)! CyberSkull 09:10, 2005 Jun 18 (UTC)

Questionable inclusion
Looks like Dethboy was just put on the list by 71.240.42.199, which IP's entire actions are inserting Dethboy, and I was wondering if it's valid. It has well over 100 comics listed in its archive, but all Alexa says is "No Data" and "Not in the top 100,000". I would think that precludes the comic, but I wanted to make sure I've got this straight. For the record, it was rv'd from the list of webcomcis. --DNicholls 07:26, 24 July 2005 (UTC)

Articles we need
These could probably do with some discussion. Without oversight, it's more of an "articles some people want" than an "articles we need" list. For example, do we really need a "webcomics genres" article? That sounds more like a section in the main webcomic article to me (beyond "sprite comics", which is only sort of a genre, there really aren't any genres specific to webcomics). And it'd be kind of silly for an article to be created because it's on this list only to get sent to VfD. — Gwalla | Talk 05:31, 29 July 2005 (UTC)

Last Cereal and Untitled.gif
These two comics, recently added, meet the 100 strip criterion, but there's also the notability criterion to consider. Last Cereal doesn't get an Alexa rating, and untitled.gif is ranked 4,177,629, with no recoreded data. The short of it is: under the Alexa guidelines, they don't count. However, there are notable comics that don't, such as some KSpot comics. So, if someone can give a good reason for them being exempted the Alexa criterion, they should stay; if not, they'll need to be deleted.--DNicholls 23:46, 29 July 2005 (UTC)


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Talk:St Mary's Star of the Sea Catholic School

which?
there must be a couple hundred "St Mary's Star of the Sea" catholic schools. SaltyPig 10:20, 27 August 2005 (UTC)

DUX
You are not going to believe this, but some people who read this are not actually Australian. Some of those (us, actually) don't know what a DUX award is? Can you enlighten us here or in a separate stub, if it is common? Student7 23:44, 18 April 2007 (UTC)

 * I think the category ought to be deleted, on second thought. Except for the principals, I don't think that anyone else should be memorialized except for extra-school activities, i.e. district sports, brain bowl; an activity that showed that St. Mary's students did better than some other (un-named!) school. All schools have validictorians, leaders, etc. The article should be about important and interesting differences that St. Mary's has. Student7 20:38, 11 May 2007 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as stub, and the rating on other projects was brought up to Stub class. BetacommandBot 10:36, 10 November 2007 (UTC)

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


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Lucarne

In general architecture a lucarne is a dormer window. The term is borrowed from lucarne, which refers to a dormer window, usually one set into the middle of a roof although it can also apply to a façade lucarne, where the gable of the lucarne is aligned with the face of the wall. This general meaning is also preserved in British use, particularly for small windows into unoccupied attic or spire spaces. Nikolaus Pevsner described it as "a small gabled opening in a roof or a spire".

In industrial architecture a lucarne or lucam is a feature of warehouses, mills, factories or the like in which a window, opening or housing high up on an exterior wall supports a hoist above doors on the floors below.

The simplest lucarne is no more than the extension of a roof beyond a gable wall, with a ridge timber strong enough to support a hoist. A gin wheel on this beam can provide a simple rope hoist, sufficient to lift a sack of grain. Any greater weights than this are likely to need either a pulley block with multiple advantage, or a geared chain hoist.

Some lucarnes are enclosed, and are often wooden-clad structures cantilevered out from the wall. For strength though, the hoist is often carried by a steel girder or reinforced concrete structure. These enclosed lucarnes may act as a loading dock for that floor, with a trapdoor beneath, or they may be simply weather housings for a hoist serving the floors beneath. They are commonly a small housing high in the eaves, above the main working floors.

Mills may only require loading to a single floor, but warehouses will require access from each floor. Each hoist accesses all of the floors beneath it, through their prominent doors. These doors often provide a modern indication of an old warehouse building's original purpose. These doors sometimes have an iron fold-down flap outside them, as a short loading step, giving clearance for the hoist away from the wall.

Some large examples are multi-storey.

Where multiple vehicles could be alongside a building at once, there could be multiple closely spaced lucarnes in use simultaneously.

Repurposed buildings

Many surviving warehouses are now converted as multiple flats. The large loading doorways on each floor are often converted with large windows and sometimes a balcony. The lucarne is now superfluous and may be either preserved as a decorative feature, or (often for wooden examples in poor condition) removed. Some remain in a vestigial form, where they still complete a roof, but the structure below is gone.

title: Lucarne


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Hamilcoa

Hamilcoa is a plant genus in the family Euphorbiaceae first described as a genus in 1912. It contains only one known species, Hamilcoa zenkeri, native to Nigeria and Cameroon.

title: Hamilcoa


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Nealchornea

Nealchornea is a genus of trees in the family Euphorbiaceae first described as a genus in 1913. It is native to South America.

 * Species
 * 1) Nealchornea stipitata B.Walln. - Amazonas State in Brazil
 * 2) Nealchornea yapurensis Huber - E Colombia, Peru, Ecuador,  Amazonas State

title: Nealchornea


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Burnett Guffey

Burnett Guffey, A.S.C. (May 26, 1905 – May 30, 1983) was an American cinematographer.

He won two Academy Awards: From Here to Eternity (1953) and Bonnie and Clyde (1967).

Burnett Guffey, who was born on May 26, 1905 in Del Rio, Tennessee, went to school in Etowah, Tennessee. He began working as a messenger boy at a bank, then transitioned to a camera assistant at Fox in 1923. In the same year, he released his debut film "The Courtship of Myles Standish". John Ford chose him for the second unit cinematography of the epic film "The Iron Horse" the next year. He spent the decade working for Famous Players-Lasky, Fox, and various other studios.

Between 1935 and 1944, Guffey worked as a cinematographer on various well-known movies such as "Clive of India," "The Informer," "You Only Live Once," "Foreign Correspondent," "Seven Sinners," "That Hamilton Woman," and "Cover Girl."

Guffey first worked as a cinematographer in 1944 on the film "Sailor's Holiday." He became well-known for his clear visual style and excellent arrangement of shots, especially in film noir, having contributed to twenty of these films throughout his professional life.

During the span of 1944 to 1953, Guffey captured important movies like "My Name Is Julia Ross," "Framed," "Knock on Any Door," "The Reckless Moment," "All the King’s Men," "In a Lonely Place," "The Sniper," and "From Here to Eternity," earning his initial Oscar in his three decades career.

After winning an Oscar, Guffey went on to work on well-known movies such as Lang’s "Human Desire," Don Siegel’s "Private Hell 36," Lewis Seiler’s "The Bamboo Prison," Rudolph Maté’s "The Violent Men," Phil Karlson’s "Tight Spot," George Sherman’s "Count Three."

Between 1957 and 1962, Guffey worked on movies like Jack Garfein’s "The Strange One," Karlson’s "The Brothers Rico," Gerd Oswald’s "Screaming Mimi," Peter Glenville’s "Me and the Colonel," Paul Wendkos’ "Gidget," Rossen’s "They Came to Cordura," Karlson’s "Hell to Eternity," and John Frankenheimer’s "Birdman of Alcatraz," resulting in a third Oscar nomination for him.

He received his fourth Oscar nomination for his work on Bryan Forbes' 1965 film "King Rat" and his fifth nomination, along with his second Oscar, for Arthur Penn's 1967 film "Bonnie and Clyde."

Guffey's final notable movie was the 1970 film "The Great White Hope," directed by Martin Ritt. The next year, "The Steagle" was his last movie.

Burnett Guffey died on May 30, 1983, at the age of 78.

Career
While still a teenager, the future Academy Award-winning cinematographer began as a camera assistant in 1923 on John Ford's 1924 western saga The Iron Horse. He was then hired by the Famous Players–Lasky studios in 1927, became a camera operator in 1928 and worked there until 1943. Guffey was hired as a Director of Photography by Columbia Pictures in 1944. After that, he worked as freelance.

In 1957–58, he served as president of the American Society of Cinematographers (A.S.C.) for a year, and had been a long-standing member.

According to film critic Spencer Selby, Guffey was a prolific film noir cinematographer, shooting 20 of them, including In a Lonely Place (1950).

Style
Throughout his career, Burnett Guffey's cinematographic style experienced a notable transformation, demonstrating his versatility and expertise in various genres and techniques. At first, Guffey was praised for his contributions to film noir, a style recognized for its intense visual depth, dark imagery, and artistic flair. Movies like "My Name is Julia Ross," "In a Lonely Place," and "The Sniper" showcase his early style, in which he used shadows and lighting to craft suspenseful, atmospheric moods that complemented the story. Guffey strongly believes in the importance of "keeping the lighting simple", and this approach is best demonstrated in his photographs of the "Birdman of Alcatraz". Throughout his career, Guffey showed his ability to think creatively outside of the boundaries of noir's strong visual style. His later projects, often described as having a "flat style" of cinematography, represented a shift from his previous methods. This aesthetic was characterized by its simple, realistic cinematography, emphasizing simplicity and minimalism to capture the scene's core without elaborate shadows and lighting. This change showcases not only his technical expertise but also his artistic responsiveness to the storytelling requirements of each movie.

The focus during the filming of Bonnie and Clyde was on achieving "realism," and to achieve that visual effect in color on screen, veteran cinematographer Burnett Guffey, ASC, was chosen as Director of Photography. He successfully achieved a gritty semi-documentary style in his impressive black-and-white cinematography of the Academy-nominated King Rat last year, but now he is venturing into creating a similar effect in color for the first time, which presents a commendable challenge. "Guffey noted that Arthur Penn, the director, aimed for his film to have a genuine and non-theatrical feel." Warren Beatty, the star of the film, who was also the producer, expressed his perspective. They aimed to capture stark realism on film. Nothing was supposed to be attractive. All aspects of the situation could be described as severe, and that was consistent throughout the entire scenario. This partnership among Guffey, Penn, and Beatty produced a visually stunning movie that truly captured the essence of its subject matter.

Guffey's skill in mastering both highly stylized and simple cinematographic styles showcases why he is considered a huge figure in the field of cinematography. His ability to excel in two areas enabled him to create films that were visually engaging and emotionally impactful, ensuring that the visuals enhanced the story.

Guffey's long-lasting success in Hollywood cinematography includes his ability to adapt his style to various genres. It highlights his significant influence on the evolution of film as an artistic medium, showing that successful cinematography involves more than just following genre conventions but also includes innovating and adjusting to improve cinematic narrative.

Filmography

 * Love Over Night (1928)
 * Fairways and Foul (1929)
 * Tahiti Nights (1944)
 * The Unwritten Code (1944)
 * Kansas City Kitty (1944)
 * The Soul of a Monster (1944)
 * U-Boat Prisoner (1944)
 * Sailor's Holiday (1944)
 * My Name Is Julia Ross (1945)
 * The Girl of the Limberlost (1945)
 * The Gay Senorita (1945)
 * The Blonde from Brooklyn (1945)
 * Eve Knew Her Apples (1945)
 * I Love a Mystery (1945)
 * Eadie Was a Lady (1945)
 * Gallant Journey (1946)
 * So Dark the Night (1946)
 * Night Editor (1946)
 * A Bird in the Head (1946)
 * The Notorious Lone Wolf (1946)
 * Meet Me on Broadway (1946)
 * A Close Call for Boston Blackie (1946)
 * The Fighting Guardsman (1946)
 * Framed (1947)
 * Johnny O'Clock (1947)
 * The Gallant Blade (1948)
 * Screen Snapshots: Smiles and Styles (1948)
 * Screen Snapshots: Photoplay Gold Medal Awards (1948)
 * The Sign of the Ram (1948)
 * To the Ends of the Earth (1948)
 * And Baby Makes Three (1949)
 * All the King's Men (1949)
 * The Reckless Moment (1949)
 * The Undercover Man (1949)
 * Knock on Any Door (1949)
 * Emergency Wedding (1950)
 * Convicted (1950)
 * In a Lonely Place (1950)
 * Father Is a Bachelor (1950)
 * The Family Secret (1951)
 * Two of a Kind (1951)
 * Sirocco (1951)
 * Assignment – Paris! (1952)
 * The Sniper (1952)
 * Scandal Sheet (1952)
 * From Here to Eternity (1953)
 * The Last Posse (1953)
 * The Bamboo Prison (1954)
 * Private Hell 36 (1954)
 * Human Desire (1954)
 * Three Stripes in the Sun (1955)
 * Count Three and Pray (1955)
 * Tight Spot (1955)
 * The Violent Men (1955)
 * Storm Center (1956)
 * The Harder They Fall (1956)
 * Battle Stations (1956)
 * Decision at Sundown (1957)
 * The Brothers Rico (1957)
 * The Strange One (1957)
 * Nightfall (1957)
 * Me and the Colonel (1958)
 * Screaming Mimi (1958)
 * The True Story of Lynn Stuart (1958)
 * Edge of Eternity (1959)
 * They Came to Cordura (1959)
 * Gidget (1959)
 * Let No Man Write My Epitaph (1960)
 * Hell to Eternity (1960)
 * The Mountain Road (1960)
 * Mr. Sardonicus (1961)
 * Homicidal (1961)
 * Cry for Happy (1961)
 * Kid Galahad (1962)
 * Birdman of Alcatraz (1962)
 * Good Neighbor Sam (1964)
 * Flight from Ashiya (1964)
 * King Rat (1965)
 * The Silencers (1966)
 * The Ambushers (1967)
 * Bonnie and Clyde (1967)
 * How to Succeed in Business Without Really Trying (1967)
 * The Split (1968)
 * The Madwoman of Chaillot (1969)
 * Some Kind of a Nut (1969)
 * The Learning Tree (1969)
 * Where It's at (1969)
 * Halls of Anger (1970)
 * The Great White Hope (1970)
 * Suppose They Gave a War and Nobody Came (1970)
 * The Steagle (1971)

Awards
Wins

 * Academy Awards: Oscar, Best Cinematography, Black-and-White, for From Here to Eternity, 1954
 * Academy Awards: Oscar, Best Cinematography, for Bonnie and Clyde, 1968

Nominations

 * Golden Globe Awards: Golden Globe, Best Cinematography, Black-and-White, for All the King's Men, 1950
 * Academy Awards: Oscar, Best Cinematography, Black-and-White, for The Harder They Fall, 1957
 * Academy Awards: Oscar, Best Cinematography, Black-and-White, for Birdman of Alcatraz, 1963
 * Academy Awards: Oscar, Best Cinematography, Black-and-White, for King Rat, 1966

Publications
Source:

Articles written by Guffey
"The Photography of King Rat," in American Cinematographer (Hollywood), December 1965.

Articles written on Guffey
Gavin, Arthur, on They Came to Cordura in American Cinematographer (Hollywood), March 1959.

Mitchell, George J., on Hell to Eternity, in American Cinematographer (Hollywood), July 1960.

Lightman, Herb A., on Birdman of Alcatraz, in American Cinematographer (Hollywood), June 1962.

On Bonnie and Clyde, in American Cinematographer (Hollywood), April 1967.

Monthly Film Bulletin (London), April 1971; August 1971; March 1972; April 1972.

Film Comment (New York), Summer 1972.

Focus on Film (London), no. 13, 1973.

Obituary in Variety (New York), 8 June 1983.

Screen International (London), 13–20 August 1983.

Obituary in American Cinematographer (Hollywood), November 1983.

title: Burnett Guffey


text:
Hamgyong campaign

The Hamgyong campaign, also known as Katō Kiyomasa's northern campaign, was Katō Kiyomasa's invasion of the northeastern Korean province of Hamgyeong during the Japanese invasions of Korea (1592–1598). The campaign was largely due to the help of Korean defectors who also handed over to the Japanese their princes Sunhwa and Imhae. The Japanese reached the northeastern edge of Hamgyeong, crossed the Duman River, and attacked the Orangai Jurchens, but met with heavy resistance. Katō returned south and took up residence in Anbyeon while Nabeshima Naoshige headquartered in Gilju. By winter local resistance began pushing back at Japanese occupation and laid siege to Gilju.

Campaign
Katō Kiyomasa and Nabeshima Naoshige invaded Hamgyeong with a force of 20,000 following the taking of Gaeseong.

Both the South Army Commander and provincial governor of Hamgyeong fled without any resistance.

The Japanese met their first real resistance at Haejungchang, a warehouse near Gilju. The North Army Commander Han Gukham led an attack on the Japanese and forced them to take shelter in the warehouse. He then advanced on their position but was unable to take the fortified warehouse in the face of massed gunfire. They retreated into a nearby mountain cave where they would later be caught in an ambush by the Japanese that night. The Japanese fired on them and once they panicked, went in and cut them down. Han Guknam managed to escape only to be caught by Korean defectors who handed him over to the Japanese.

Katō marched further north and was received by Korean defectors who handed over the two Korean princes, Prince Imhae and Prince Sunhwa. Katō then crossed the Duman River with 8,000 troops and 3,000 Korean defectors into the territory of the Orangai Jurchens. He proceeded to take a relatively undefended fortress. The next day nearly 10,000 Jurchens attacked the Japanese but withdrew after a heavy downpour started blowing in their direction. Katō quickly retreated back across the Duman River and south to Anbyeon where he wrote back to Toyotomi Hideyoshi.

title: Hamgyong campaign


text:
1999 Oceania Club Championship

The 1999 Oceania Club Championships was held in September 1999. The tournament was designed to decide the Oceania Football Confederation's entrant into the 2000 FIFA Club World Championship. The competition was held in Fiji (Nadi and Lautoka).

Teams
A total of 9 teams from 9 OFC member associations entered the competition.

Group stage
The nine participants were placed in three groups, where each team played the other teams once. The group winners and best second place team progressed to the semi-finals.

Semi-finals
The top team from each groups progressed to the semifinals, along with the best second place team.

Third place play-off
The third place playoff was cancelled due to injuries following in particular the Central United vs Tafea match.

Champion
South Melbourne were the 1999 Oceania Club Champions and qualified for the 2000 FIFA Club World Championship.

title: 1999 Oceania Club Championship


text:
Talk:Political psychology

Untitled
Over at Talk:Cult of personality there is quite a dscussion about what this really is and who it applies to (more specifically Castro, but also many others like, say, Washington). Anyone here know? Or know a good source? DirkvdM 10:30, 27 August 2005 (UTC)

 * I'm currently taking a course on (World) Political Psyschology, so I hope to add significantly to this article soon. One of our textbooks is an anthology of articles dealing with this topic, so I guess I'll start there ^^. I'll also take a look at the Talk page you mentioned, thanks. Weien 01:58, 3 February 2006 (UTC)

yes sir

Lacking content and breadth?
This article is weighed down by Infoboxes but is severely lacking in actual content. A couple of examples preceding the suggested start date in the 1940s: as well as Freud's "Civilization and Its Discontents" etc.
 * Wilhelm Reich and Sex-Pol
 * Frankfurt School - from the contributions by Eric Fromm to their journal in 1932 through to the Dialectic of Enlightenment

And then later: AllyD 21:34, 17 October 2007 (UTC)
 * Herbert Marcuse's "Eros and Civilization", Norman O. Brown's "Life Against Death: The Psychoanalytic Meaning of History" in the late 50s influencing the 60s
 * Anti-Œdipus in the 1970s

Please help add content to bad faith article about "inherent bad faith model" of information processing in political psychology
Please help add content to bad faith article about "inherent bad faith model" of information processing in political psychology, re John Foster Dulles. HkFnsNGA (talk) 18:08, 29 January 2011 (UTC)

Proposed reorganization
I propose to reorganize this article, trimming a lot of the personality-focused content and groups content into more concise sections, and possibly organizing along the lines of chapters in. The behavior section seems important and should probably be emphasized, but there should also be a focus more on attitudes, motivation, cognition, schemata, etc. that have been a significant focus of political psychology research. Thosjleep (talk) 03:55, 22 September 2012 (UTC)

Separate section for voting behavior
My colleague and I are currently take a psychology class and working on political behavior and we feel that the sub category on voting behavior in this article deserves an article on its own. We will go ahead and create a stub article, using the existing section on voting behavior. Within the next two week, we will be adding significant parts of the article.Socrates_27 09.36, 24 October 2012 (UTC)

External links modified
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Listicle
Check out the expanded view of the article's present lead: As an interdisciplinary field, political psychology borrows from a wide range of other disciplines, including:
 * anthropology
 * sociology
 * international relations
 * economics
 * philosophy
 * media
 * journalism
 * history.

Political psychology aims to understand interdependent relationships between individuals and contexts that are influenced by:
 * beliefs
 * motivation
 * perception
 * cognition
 * information processing
 * learning strategies
 * socialization
 * attitude formation.

Political psychological theory and approaches have been applied in many contexts such as:
 * leadership role
 * domestic and foreign policy making
 * behavior in ethnic violence
 * war and genocide
 * group dynamics and conflict
 * racist behavior
 * voting attitudes and motivation
 * voting and the role of the media
 * nationalism
 * political extremism.

In essence political psychologists study: of political behavior using
 * foundations
 * dynamics
 * outcomes
 * cognitive
 * social explanations.

One of the most listicle leads I've yet encountered.

Whether this is excessive or not in the present context I'll leave for other editors to determine. — MaxEnt 19:06, 22 July 2018 (UTC)

Lakoff, Haidt, and Gilligan
I came to this article expecting to find George Lakoff, Jonathan Haidt, and James Gilligan. I was surprised not to see any of them mentioned on this page, except for Haidt in the see also section. Do they belong in this article? Has the field written these off as non-scholarly? Is there another article I'm looking for? I'm not familiar with the field as such apart from the works of these authors. Daask (talk) 19:11, 6 August 2018 (UTC)

The African diaspora is missing
Here are some notable figures. Worthy of a section on this page.

Zära Yaqob, 17th-century Ethiopian philosopher.

Anton Wilhelm Amo, 18th century Ghanaian/German

William Edward Burghardt DuBois, 19th century American

Frantz Fanon, 20th century Caribbean/French Ralphhall2 (talk) 11:49, 16 February 2023 (UTC)

Wiki Education assignment: Psychology Capstone
— Assignment last updated by Rahneli (talk) 23:53, 9 June 2024 (UTC)

title: Talk:Political psychology


text:
Giuseppe Sergi

Giuseppe Sergi (March 20, 1841 – October 17, 1936) was an Italian anthropologist of the early twentieth century, best known for his opposition to Nordicism in his books on the racial identity of Mediterranean peoples. He rejected existing racial typologies that identified Mediterranean peoples as "dark whites" because they implied a Nordicist conception of Mediterranean peoples descending from whites who had become racially mixed with non-whites which he claimed was false. His concept of the Mediterranean race, identified Mediterranean peoples as being an autonomous brunet race and he claimed that the Nordic race was descended from the Mediterranean race whose skin had depigmented to a pale complexion after it moved north. This concept became important to the modelling of racial difference in the early twentieth century.

Life
Born in Messina, Sicily, Sergi first studied law and then linguistics and philosophy. At the age of 19 he took part in Garibaldi's expedition to Sicily. He later took courses in physics and anatomy, finally specializing in racial anthropology as a student of Cesare Lombroso.

In 1880 he was appointed as professor of anthropology at the University of Bologna. At this time the discipline of anthropology was still associated with the literature faculty. In the following years, thanks to the activity of his laboratory of anthropology and psychology, he helped establish the discipline on a more scientific basis. In 1884 he moved to the University of Rome where he developed a program of research into both anthropology and psychology. He was elected as a member to the American Philosophical Society in 1885.

On 4 June 1893, the Sergi took the lead in founding the Roman Society of Anthropology (now the Italian Anthropological Institute (Istituto Italiano di Antropologia). He also began the journal Atti della Società Romana di Antropologia (now the Journal of Anthropological Sciences). Both the society and journal were associated with the university. He was initially assigned temporary premises in the School of Application for Engineers in San Pietro in Vincoli but in 1887 moved to the old building of the Roman College, where Sergi dedicated part of the space to the creation of an anthropological museum.

Internationally renowned for his contributions to anthropology, he also succeeded in establishing the International Conference of Psychology in Rome, 1905, under his presidency of the society.

He died at Rome in 1936. His son Sergio Sergi (1878–1972), also a noted anthropologist, developed his father's theories.

Racial theories
Sergi's initial contribution was to oppose the use of the cephalic index to model population ancestry, arguing that over all cranial morphology was more useful. However, Sergi's major theoretical achievement was his model of human ancestry, fully articulated in his books Human Variation (Varietà umane. Principio e metodo di classificazione) and The Mediterranean Race (1901), in which he argued that the earliest European peoples arose from original populations in the Horn of Africa, and were related to Hamitic peoples. This primal "Eurafrican race" split into three main groups, the Hamites, the Mediterranean race and the north European Nordic race. Semitic people were closely related to Mediterraneans but constituted a distinct "Afroasian" group. The four great branches of the Mediterranean stock were the Libyans or Berbers, the Ligurians, the Pelasgians and the Iberians. Ancient Egyptians were considered by Sergi as a branch of the Hamitic race.

According to Sergi the Mediterranean race, the "greatest race in the world", was responsible for the great civilisations of ancient times, including those of Egypt, Carthage, Greece and Rome. These Mediterranean peoples were quite distinct from the peoples of northern Europe.

Sergi argued that the Mediterraneans were more creative and imaginative than other peoples, which explained their ancient cultural and intellectual achievements, but that they were by nature volatile and unstable. In his book The Decline of the Latin Nations he argued that Northern Europeans had developed stoicism, tenacity and self-discipline due to the cold climate, and so were better adapted to succeed in modern civic cultures and economies.

Anti-Nordicism
These theories were developed in opposition to Nordicism, the claim that the Nordic race was of pure Aryan stock and naturally superior to other Europeans. Sergi ridiculed Nordicists who claimed that the leading Greeks and Romans were of Nordic background and argued that the Germanic invasions at the end of the Roman Empire had produced "delinquency, vagabondage and ferocity". Sergi believed that the Aryans were originally "Eurasiatic" barbarians who migrated from the Hindu Kush into Europe. He argued that the Italians had originally spoken a Hamitic language until the Aryan (Indo-European) Italic language spread across the country. Some Aryan influence was detectable in Northern Italy, but, racially speaking, Italians were unaffected by Aryan migrants.

Sergi expanded on those theories in later publications. Despite his denigration of Aryans and emphasis on Mediterranean racial identity, he denied that he was motivated by national pride, asserting that his works had the "goal of establishing the veracity of the facts without racial prejudice, without diminishing the value of one human type in order to exalt another one."

His last book, The Britons (1936), sought to trace the rise of the British Empire to the Mediterranean component of the British population.

Theory of emotions
Giuseppe Sergi, concurrent with William James and Carl Lange (the three independently), developed a theory of emotions according to which emotion is the mind's perception of physiological conditions that result from some stimulus.

Works in English translation

 * (1894). The Varieties of the Human Species. Washington: The Smithsonian Institution.
 * (1901). The Mediterranean Race: a Study of the Origins of European Peoples. London: Walter Scott.
 * (1911). "Differences in Customs and Morals and their Resistance to Rapid Change," Papers on Inter-racial Problems. London: P. S. King and Son.

title: Giuseppe Sergi


text:
Talk:Swirl (band)

Untitled
This is not the article I expected when I searched for Swirl. Swirlix 10:32, 27 August 2005 (UTC)

Talk redirection
"Talk:Swirl" redirects here...is that allowed? To redirect a talk page?

Also - what about swirl (design)? RebDrummer61 23:46, 2 May 2007 (UTC)

title: Talk:Swirl (band)


text:
Abu Snan

Abu Snan (أبو سنان, אַבּוּ סְנָן) is an Arab village and locality in the Galilee,, part of the Northern District of Israel. With an area of 4,750 dunams (4.75 km²). It acquired recognition as an independent local council in 1964. It is a religiously-mixed village of Arabs, with a Muslim majority, along with sizable Druze and Arab-Christian minorities. According to the Israel Central Bureau of Statistics (CBS), in Abu Snan had a total population of.

History
Abu Snan is an ancient village site, where old dressed stones have been reused in modern houses. Graves, oil or vine-presses, and cisterns have been found cut in rock.

Crusaders
In about 1250 Abu Snan is noted as a casale of the Teutonic Knights, called Busnen. Under the name Tusyan, probably a corruption of Busenan, Abu Snan was mentioned as part of the domain of the Crusaders during the hudna between the Crusaders based in Acre and the Mamluk sultan al-Mansur (Qalawun) declared in 1283. No Crusader remains have yet been identified in the village.

Ottoman Empire
In 1517, Abu Snan was with the rest of Palestine incorporated into the Ottoman Empire after it was captured from the Mamluks, and by 1596, it appeared in the Ottoman tax registers as part of the Nahiya of Akka of the Liwa of Safad. It had a population of 102 households and 3 bachelors, all Muslims. The villagers paid taxes on wheat, barley, olive trees, sesame, cotton, goats and beehives, in addition to "occasional revenues"; a total of 7,600 akçe.

A map by Pierre Jacotin from Napoleon's invasion of 1799 showed the place, named as Abou Senan. When French explorer Victor Guérin visited  the village in 1875, he estimated  the population of Abu Snan to be 400, of whom 260 were Druzes and  140 Greek Orthodox Christians. Guérin also wrote that "Abu Senan has succeeded an ancient town, as is proved by cisterns cut in rock, and a considerable quantity of cut-stones, now used for modern buildings." Fragments from an older building is used in a chapel for St. George.

In 1881, the Palestine Exploration Fund's Survey of Western Palestine described Abu Snan as a stone-built village situated on the low hill near the plain, surrounded by olive groves and arable land, and with many cisterns of rain-water. The population consisted of 150 Christians and 100 Muslims.

A population list from about 1887 showed that  Abu Senan had about 565 inhabitants;  two thirds Druze, one third Greek Catholic Christians.

British Mandate

In the 1922 census of Palestine, conducted by the British Mandate authorities, Abu Snan had a total population of 518. Of these, 43 were Muslim, 228 Druzes and 247 Christians. Of Abu Snan's 247 Christians, 196 were Orthodox, 44 Roman Catholics, 4 Melkites and 3 Maronites. In the 1931 census it had increased to a  population of 605, in 102 inhabited houses. Of these, 20 were Muslim, 274 Christians, and 311 Druzes.

In the 1945 statistics the population of Abu Snan was 820; 30 Muslims, 380 Christians and 410 other Arabs, and the land area was   a total of  13,043 dunams, according to an official land and population survey. 2,172 dunams were plantations and irrigable land, 7,933 used for cereals, while 69 dunams were built-up (urban) land.

Israel
In 2003 the local council was merged with its neighboring towns. The next year this was undone.

Demographics
Abu Snan had a population of 13,000 (2014), 7,000 of whom are Muslim, 4,000 Druze, and 2,000 Christian.

Income
According to Israel's Central Bureau of Statistics, the town had a low ranking (3 out of 10) on the country's socioeconomic index (December 2001). Only 63.6% of students earn a matriculation certificate at the end of Grade 12 (2000). The average salary that year was NIS 3,629 per month, whereas the national average was NIS 6,835.

title: Abu Snan


text:
Jis Desh Mein Ganga Behti Hai

Jis Desh Mein Ganga Behti Hai is a 1960  Indian film directed by Radhu Karmakar and produced by Raj Kapoor. The film stars Padmini, Raj Kapoor and Pran in lead roles. This was the first directorial venture of Karmakar, who had previously been cinematographer for many of Kapoor's films. It was declared a "hit" at Box Office India.

The team of Shankar Jaikishan composed the songs, lyrics were written by Shailendra and Hasrat Jaipuri, including "O Basanti Pawan Pagal", "Aa Ab Laut Chalen", and "Hothon Pe Sacchai Rehti Hai".

The outdoor shooting with the marble rock background is done in Bhedaghat in Madhya Pradesh.

Plot
Raju (Raj Kapoor) is a poor, friendly orphan who wins his bread by singing songs. One day, he sees an injured man and helps him. Later, he is kidnapped by a few bandits who mistake him to be an undercover policeman. It then turns out that the injured man he helped is the leader (Sardar) of this gang. The Sardar takes good care of Raju and treats him with honour. Sardar's daughter Kammo (Padmini) falls in love with Raju. Kammo and Sardar convince Raju that they are good bandits who are making sure that wealth is equally distributed amongst people.

On one of the lootings, Raju witnesses the murder of a newlywed couple. He decides to go to the police and leaves the gang. One of the bandits, Raka (Pran), kills the Sardar and takes over, captures Raju; and tries to forcibly marry Kammo. Raju eloped and tells all the truth to the police, they decide to confront and kill the bandits. Raju begs the police to not kill them but is shunned. Raju is then posed in a dilemma of what to do and finds himself helpless when he sees police stooping just as low to stop crime. He then returns to the colony of dacoits to convince them to surrender to the police in order to ensure good and respectful life to their family, especially their children.

This movie was inspired by initiatives of Vinoba Bhave and Jayaprakash Narayan, on their call, hundreds of dacoits surrendered to police and mainstreamed to the society at large.

Cast

 * Raj Kapoor as Raju
 * Padmini as Kammo
 * Pran as Raka
 * Chanchal as Bijli
 * Lalita Pawar as Mirabai
 * Raj Mehra as Police Superintendent
 * Ramayan Tiwari as Mirabai's Husband
 * Nana Palsikar as Tau
 * Nayampalli as Sardar
 * Salochana Chatterjee as Police Superintendent's wife
 * Vishwa Mehra as Bhimu
 * Baboo Rao
 * S.K.Singh
 * Rattan Gaurang
 * Chang
 * Mohamed Ali
 * Anwari Bai
 * Sadhana
 * Azim
 * Master Amar
 * Moolchand as Groom's father

Music
Composed by Shankar Jaikishan, lyrics by Shailendra and Hasrat Jaipuri.

Awards
The film won many prestigious awards at National Film Awards and Filmfare Awards. The film stood out at the 9th Filmfare Awards function by winning the most (four) awards in various categories from eight nominations.

 * 9th Filmfare Awards :

Won

 * Best Film – Raj Kapoor
 * Best Actor – Raj Kapoor
 * Best Editing – G.G. Mayekar
 * Best Art Direction – M. R. Acharekar

Nominated

 * Best Director – Radhu Karmakar
 * Best Actress – Padmini
 * Best Supporting Actor – Pran
 * Best Music Director – Shankar–Jaikishan
 * Best Lyricist – Shailendra for "Hothon Pe Sacchai"
 * Best Male Playback Singer – Mukesh for "Hothon Pe Sacchai"
 * National Film Awards :
 * 1960: Certificate of Merit for Best Feature Film in Hindi

title: Jis Desh Mein Ganga Behti Hai


text:
List of companies of Turkey

Turkey, officially the Republic of Turkey is a transcontinental presidential republic in Eurasia, mainly on the Anatolian peninsula in Western Asia, with a smaller portion on the Balkan peninsula in Southeast Europe. Turkey is a democratic, secular, unitary, constitutional republic with a diverse cultural heritage. As of November 2023, there are 1,086,670 registered companies based in the country.

The country has an emerging market economy as defined by the IMF. Turkey is among the world's developed countries according to the CIA World Factbook. Turkey is also defined by economists and political scientists as one of the world's newly industrialized countries. Turkey has the world's 17th largest nominal GDP, and 11th largest GDP by PPP. The country is among the world's leading producers of agricultural products; textiles; motor vehicles, ships and other transportation equipment; construction materials; consumer electronics and home appliances.

For further information on the types of business entities in this country and their abbreviations, see "Business entities in Turkey".

Largest firms
This list shows firms in the Fortune Global 500, which ranks firms by total revenues reported before 31 March 2017. Only the top five firms (if available) are included as a sample.

Notable firms
This list includes notable companies with primary headquarters located in the country. The industry and sector follow the Industry Classification Benchmark taxonomy. Organizations which have ceased operations are included and noted as defunct.

title: List of companies of Turkey


text:
SJ Rc

The Rc class is the most used electric locomotive in Sweden. Built by Allmänna Svenska Elektriska Aktiebolaget (ASEA), the Rc is a universal locomotive used both in freight and passenger trains. The largest operator is Green Cargo, although SJ, Tågab, Hector Rail and the Swedish Transport Administration operate it as well. Previous operators include Veolia Transport.

History
The Rc-model emerged from ASEA in the 1960s. It first appeared in 1967 to replace the older D-locomotives. Notably, ASEA facility manager and head engineer Tore Nordin was involved in designing and developing the Rc locomotive at ASEA. The initial Rc models are notable for using thyristors instead of the older relay-based system.

As of 2020, Rc-locomotives are still used all over Sweden in both passenger and freight lines, although on passenger trains they are slowly being replaced by new EMU, such as ER1.

Versions
Altogether, there have been eight versions of the Rc-locomotive in Sweden, including the freight locomotive Rm designed to pull iron ore trains. Rc1, Rc2, Rc4, and Rc5 have a maximum allowed speed of 135 km/h. Rc3 and Rc6 have a maximum allowed speed of 160 km/h. Rc7 was a rebuild of Rc6 meant to haul replacement trains needed when the X 2000 trains were canceled or delayed. Rc7 had a maximum allowed speed of 180 km/h. However, the maximum speed permitted without emergency electromagnetic track brakes is 160 km/h, and keeping extra carriages was considered too expensive. For that reason all Rc7 were subsequently converted back to Rc6. Rc1–Rc7 all weigh between 75 and 80 tonnes, whilst the Rm weighs 90 tonnes. The Rm's top speed is only 100 km/h and are more powerful locomotives.

Exports
Engines based on the Rc design were sold to other countries. ÖBB bought 10 Rc2 with extra brakes for the alpine conditions, ÖBB Class 1043. One of the locos was badly damaged in an accident but the remaining nine have been bought by the Swedish company Tågåkeriet i Bergslagen AB (TÅGAB), and returned to Sweden. A slightly altered Rc4 has been sold to Norwegian State Railways of Norway, known as El 16. The RAI 40-700 class (see Iranian Railways RC4) of eight engines were exported to Iran in the early eighties for use on the electrified stretches near the then-Soviet border; these were based on Rc4 but with Rm-type bogies, sand-proof air filters and no round windows on the side. In 1977, an Rc4 was tested in the United States for use with Amtrak's passenger trains, designated as X995. The Rc4 engine proved successful and would become the basis for the AEM-7.

Refurbished units
42 class Rc2 locomotives have been refurbished by Bombardier for Green Cargo. They include various upgrades and are now known as class Rd2.

title: SJ Rc


text:
Sac River

The Sac River (pronounced sock) is a river in the Ozarks of Southwest Missouri. It is 118 mi long, with headwaters in western Greene County. The stream passes through the northeast corner of Lawrence County then re-enters Greene County. The stream enters Dade County northwest of Ash Grove. The stream enters Stockton Lake in Dade County between Dadeville and Greenfield, then flows north exiting Stockton Lake in Cedar County. The stream meanders north into St. Clair County, passes under US Route 54 and enters the Osage River in Truman Reservoir southeast of Osceola.

Large portions of the Sac River and the Little Sac River are inundated by Stockton Lake.

The river was named after the Sac Indians. The Big Eddy Site, an archaeological dig, is along the Sac River within Cedar County. Eleven feet of river sediment at the site provides a stratigraphy that suggests more than 10,000 years of nearly constant occupation by American Indians, potentially pre-dating the Clovis culture and contributing to the knowledge of the Dalton and San Patrice cultures.

title: Sac River


text:
User talk:Eric TF Bat

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! --AYArktos 10:38, 27 August 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

AICSA
Hi, Eric. On my adventures through through Random I found AICSA, which I see you created. It looks a bit orphany at the moment! Perhaps you could put in some wikilinks to its members? (To be honest, my first impression was that is not notable and thus unencyclopaedic, and I was going to suggest deleting it... but I don't know.) What do you think? Please reply on my talk page. cheers. pfctdayelise 16:20, 20 October 2005 (UTC)

Able to lift 100 tons

 * I believe that the " able to lift in excess of 100 tons" is quite appropriate to list in Thor's powers and abilities section. I have checked numerous other characters listed in Wikipedia (The Hulk, Hyperion, Gladiator, & Hercules to name a few) and they all have this phrase in almost exactly the same wording. Why would it apply to them and not to Thor? He is in Marvel's "Class 100" strength level is he not??

Kbmann--Kbmann 06:58, 1 August 2006 (UTC)

 * I've given links and fair warning at User talk:24.74.50.252, notifying him of WikiComics policy and guidelines at WikiProject Comics/Style guidance and WikiProject Comics/exemplars, as well as of the consensus at WikiProject Comics I'm going to request an intervention at the Administrators' noticeboard. Thanks for keeping en eye out on his impossible inability to work well with others. -- Tenebrae 14:06, 1 August 2006 (UTC)

able to lift/press 100 tons.

 * Very well, per yours and Tenebrae's requests, I will cease in my efforts to maintain the "able to lift in excess of 100 tons" into Thor's powers and abilities section. I still feel, however, that this factoid should be included in some way in this section. It should be stressed that Thor is in the "Class 100" strength level, don't you think? He is among one of the strongest characters in the Marvel Universe (and my personal favorite), along with Hercules, the Hulk, and Gladiator to name a few. If there is a way to do so without violating Wikipedia guidelines and consensus, please let me know. With apologies, thank you. Kbmann--Kbmann 05:12, 2 August 2006 (UTC)

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title: User talk:Eric TF Bat


text: Category:Companies of Turkey

title: Category:Companies of Turkey


text:
WSRT

WSRT (106.7 FM) is a country station that broadcasts out of Gaylord, Michigan. The 100,000-watt station was also simulcast on 105.5 WSRJ Honor/Traverse City until 2020. Throughout most of its life, it was best known as a CHR/Top 40-formatted station known as WKPK ("The Peak").

As former owner Northern Broadcast was moving to sell all their stations, the transmitter on 106.7 was turned off sometime during December 2019. A sale of the station was announced in March 2020.

History
The station began in 1972 as WWRM "Warm 107", airing primarily beautiful music, evolving in 1977 into an easy listening format with a mixture of "B/EZ" instrumentals and vocal adult contemporary hits. The station was the brainchild of John DeGroot and Glen Catt, the founder of the Glen's Markets supermarket chain. The station's first studio was located on the second floor of the Glen's Market in Gaylord.

DeGroot bought Catt out, however, and in 1984 he switched the format and changed the call letters from WWRM to WKPK in an attempt to go head-on with the highly successful WKHQ. The new station called itself "107 The Peak" (later modified to "106.7 The Peak" to reflect the increasing prevalence of radios with digital readout). "The Peak" is an affiliate of Scott Shannon's Rockin' America Top 30 Countdown.

Throughout the 1980s and into the early 1990s, KHQ and The Peak would butt heads in the ratings, mainly due to the two being so close to each other on the dial. By the early 1990s, KHQ was the more-adult station while The Peak, with several countdown shows daily and "Peak It Or Plunge It", a voting show, was the hit for the younger crowd. The Peak frequently also played both alternative-rock and rhythmic tracks that few other CHR stations, even in major markets, would touch, while WKHQ stuck to the proven mainstream hits and played rap hits at night if at all. One memorable liner from this period stated, "If you stop at '106' [referring to the rounded-up dial position of WKHQ, then as now at 105.9 on the FM dial], you haven't reached 'The Peak.' The difference is .7." During the 90s, there was a repeater for the station in Alpena at 102.3FM, that had no on air identifier other than the legal ID ending with "...and 102.3 Alpena."

In 1996, DeGroot retired from broadcasting and sold The Peak to Northern Broadcasting, the North Dakotan owners of AOR-formatted WKLT and what is now Classic Hits Music Radio The Fox FM. The ownership change allowed the station, to invest in new equipment, including a new studio. New automation equipment allowed the station to run 24/7 without the need of a night disc jockey, which stood in contrast to the operations of the early 1990s when the station would sign-off at 1 a.m. and return to the air at 5 a.m. The music mix also changed slightly, as The Peak became a somewhat more conventional and more mainstream CHR station, though still playing more rhythmic material and being faster on new music than WKHQ.

Despite excellent ratings and the battle with 106 KHQ still in swing, the station's Grand Rapids-based management decided in 2000 to make the station Hot AC, dumping most of their rap/hip-hop tracks. In 2004, the station became a full-blown AC with the demise of heritage AC WLDR.

The numerous changes to the music alienated listeners, and many continued to call The Peak "the rap station" even though they hadn't played a rap record in years. As a result, the station's Arbitron ratings tanked, and the station crashed to a 0.7 by 2009.

Crew
The Peak, being in the mid-sized Traverse City-Gaylord-Petoskey radio market, has seen both big market DJs in need of a gig and DJs just starting out. The station's alumni include Brent Carey (went on to WDRQ & WDVD Detroit, 96.5 KOIT in San Francisco and PD of WIOG Saginaw, WTWR-FM Toledo, and KCIX/KXLT in Boise, ID), McConnell "Man @ Large" Adams (went on to WIOG, WDRQ, KKDA/K-104 (APD/Nights)Dallas Texas, My 103.9 and Wild 96.3 in Ft. Wayne, and KFAT 92.9 in Anchorage, Alaska; now morning show host at WJIM-FM in Lansing, MI) Aaron Santini (KKHQ PD in Waterloo, Iowa), WQAL (Cleveland) morning jock Rebecca Wilde, Radio Disney jock Aaron K., Terry Cruise (went on to WKFR in Kalamazoo and KHFI in Austin, Texas). Craig Russell, who did 2 tours of duty in the Alpine City, hosted both the Morning Hustle (1993–1995) and the Afternoon Hustle (1999–2004); afternoons at WFGR in Grand Rapids; he is now PD and morning show host on WUPS in Houghton Lake, MI. Andrew Delancey (now Assistant News Director at WCPO in Cincinnati, Ohio, and former WDRQ (Detroit) jock Jake Edwards (now on WDVD). Rob Weaver, who was at the station for over 20 years, is currently the PD of variety hits "Eagle 101.5" (WMJZ) in Gaylord, MI. Heather Leigh is morning co-host at WKHQ 106 KHQ in nearby Petoskey. Jason Young hosted afternoons in mid to late 1990s and is now the morning show host(Racin Jacin)on northern Michigan's heritage rocker, WKLT.

Changes
In late Summer 2005, The Peak changed its call letters to WSRT, which stands for "Soft Rock and Talk".

Northern Radio also consolidated their operations, moving the station from its long-time home in a converted Kingdom Hall of Jehovah's Witnesses to their Traverse City studios. All the local jocks the station has are now based in the Traverse City area.

When the station flipped to AC, they also trimmed their airstaff since mornings and nights/overnights were all satellite-fed by Bob and Sheri and Delilah respectively. In early 2007, the station dropped Bob and Sheri due to poor ratings. The station's current morning show ("Mary in the Morning") is hosted by local businesswoman Mary Rogers, who aims her morning show towards fellow businesswomen.

WSRJ moved from 100.7 to its new frequency of 105.5 in September 2007. This frequency change fueled speculation that the WSRT/WSRJ simulcast would return to CHR, creating a "KHQ sandwich". However, the format remained AC, although the music mix began to skew back toward Hot AC in the fall of 2009, with the station beginning to identify with "Today's Best Hits" (the same slogan used by competing station 92.9 WJZQ "Z93").

WSRT/WSRJ rebranded as "106.7 YOU-FM" in early October 2008. Despite the move back toward a Hot AC direction, the station's basic setup remained in place, with Mary Rogers as morning host and Delilah at night. On May 3, 2010, WSRT/WSRJ switched from Adult Contemporary to a talk radio format becoming the first commercial FM talk station in Northern Michigan. The lineup includes local talk show “Mary in the Morning, Dial Global’s Stephanie Miller, Dave Ramsey, Dr. Laura Schlessinger and Talk Radio Network’s Jerry Doyle.

In August 2012, the pair of stations flipped to sports talk, using programming from ESPN Radio. In addition to national programming and sports play-by-play, WSRT/WSRJ carries high school sports from around Northern Michigan, including four hours of coverage on Friday nights.

Stations go silent
On December 20, 2019, WSRT and WSRJ went silent. WSRJ has since returned to the air airing the Classical music programming of Interlochen Center for the Arts' 88.7 WIAA Interlochen on an interim basis while WIAA is off the air due to tower issues.

In March 2020, it was reported that WSRT and its translator 98.3 W252DA Petoskey were to be sold to MacDonald-Garber Broadcasting for $215,000. The sale would make the 106.7 frequency a sister station to its onetime arch-rival during its CHR/Top 40 era, WKHQ. The sale was consummated on January 13, 2021.

Effective December 3, 2020, WSRJ was sold to Good News Media, Inc. for $350,000.

On September 13, 2021, WSRT returned to the air stunting with Christmas music, as it prepares to launch a new format.

On September 17, 2021, WSRT ended its Christmas music stunt and launched a classic country format, branded as "106.7 Star Country".

Spring 2007 ratings book
In October 2007, Arbitron announced that the Spring 2007 ratings for the Traverse City/Petoskey radio market would be reissued after they discovered diaries had been returned from "media affiliated households." In the notice to subscribers of the report, Arbitron stated that "ratings for radio station WSRT could be substantially affected." Later press reports in various radio related trade websites, including AllAccess.com, revealed that two WSRT employees were either asked to resign or were terminated for their involvement in the incident. All Access and Radio and Records later reported a letter, written by one of the terminated WSRT employees, admitting culpability in the incident with a story about receiving the diaries but not intending to mail them in. (Read those reports at http://www.allaccess.com and https://web.archive.org/web/20060707045334/http://www.radioandrecords.com/.) A new ratings report was issued by Arbitron on Oct. 22nd. The new report has not been made public.

title: WSRT


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The Necklace

"The Necklace" (La Parure) is a short story by French writer Guy de Maupassant. It is known for its twist ending (ironic ending), which was a hallmark of de Maupassant's style. The story was first published on 17 February 1884 in the French newspaper Le Gaulois.

Plot
Madame Mathilde Loisel has always imagined herself an aristocrat, yearning for wealth and admiration despite having been born into a family of clerks. Her husband, Monsieur Loisel, is a low-paid clerk at the Ministry of Education, and who tries his best to make her happy but has little to give. After much effort, he secures for them an invitation to a ball to be hosted by the Minister of Education, Georges Ramponneau, and his wife.

Mathilde refuses to go because she has nothing to wear and wishes not to be embarrassed. Upset at her displeasure, Loisel gives her 400 francs (approx. 2,531.20 USD in 2022) - all the money he had been saving to go hunting with his friends - so she can buy a dress. Even after Mathilde does so, she is still unhappy because she has no jewels to wear with it. She spurns Loisel's idea of wearing fresh flowers but takes his suggestion of borrowing some jewellery from her wealthy friend, Madame Jeanne Forestier. Mathilde then visits Jeanne, who shows her assorted jewellery for Mathilde to choose from. The only item Mathilde borrows is a diamond necklace.

On the day of the ball, Mathilde enjoys herself, dancing with influential men and reveling in their admiration. Once she and Loisel return home, though, she discovers that she has lost Jeanne's necklace. Loisel retraces their steps but unable to find the missing necklace, he has Mathilde write to Jeanne, lying to her that the clasp has broken off and that the necklace is being repaired. When a week passes with no word as to the whereabouts of the necklace nor who might know about it, the Loisels resign themselves to replace it. At the Palais-Royal shops they find a similar diamond necklace priced at 40,000 francs (approx. $253,141.59 USD in 2022) and bargain for it, eventually settling at 36,000 ($227,827.40 USD). Loisel uses an inheritance from his father to cover half the cost and borrows the rest at high interest. Mathilde gives the new necklace to Jeanne without mentioning the loss of the original and Jeanne does not notice the difference.

To pay off their debt, Loisel and Mathilde fire their maid, sell their house, move into a low rent apartment, and work tirelessly. For ten years the Loisels live in poverty, with Loisel working the night shift as a copyist to earn extra income and Mathilde sacrificing her beauty to work as a cleaning woman. After all the loans are paid off, Mathilde encounters Jeanne by chance on the Champs-Élysées; however, Jeanne barely recognizes her owing to her shabby clothing and unkempt appearance. Mathilde tells Jeanne about the loss and replacement of the necklace and of the hard times she has endured on Jeanne's account, blaming her for the misery of the past decade. A horrified Jeanne reveals that the necklace she had lent to Mathilde was made of paste and worth no more than 500 francs ($3,164.26 USD).

Themes
One of the themes in The Necklace is the dichotomy between reality and appearance. Madame Loisel is beautiful on the outside but inside she is discontented with her less-than-wealthy lifestyle. Mathilde is gripped by a greed that contrasts with her husband's kind generosity. She believes that material wealth will bring her joy, and her pride prevents her from admitting to Madame Forestier that she is not rich and that she has lost the necklace she borrowed.

Because of her pride and obsession with wealth, Mathilde loses ten years of her life and spends all of her savings on replacing the necklace only to find out that the original necklace was a fake. While it is true the Madame Forestier is at fault, we also find that Mathilde's sin of vanity scarcely surpasses the trouble she had to go through to pay for the 'false' necklace.

The story demonstrates the value of honesty; had Mathilde told Madame Forestier the truth, she would likely have been able to replace the necklace easily. This story represents a world in which people search for happiness in material wealth.

Adaptations and other influence
The following are direct adaptations of "The Necklace":
 * The Necklace (1909), an American silent film directed by D. W. Griffith, taking place in early 20th century United States and renaming the Loisels the Kendricks. Although the film's plot is mostly the same as the source material's, it had been expanded to show two thieves swiping the eponymous jewellery from the protagonist on the night of the ball and destroying it upon discovering it is fake, and ends with Mr. Kendrick dying from working too much and Mrs. Kendrick's rich friend-touched by her honesty and the sacrifices she had made to pay back her debt-giving her the genuine diamond necklace moments before she dies too. The 1909 short film is available to watch on the Library of Congress's official website and YouTube channel.
 * The Diamond Necklace (1921), a British silent film directed by Denison Clift and starring Milton Rosmer, Jessie Winter, and Warwik Ward
 * The Pearl Necklace (《一串珍珠》) (1926), also known as A String of Pearls, a Chinese film directed by Li Zeyuan
 * The Necklace (1949), the first episode of the NBC-TV series Your Show Time (producer Stanley Rubin won the first-ever Emmy Award for this episode)
 * The Diamond Pendant in Impact #1, E.C. Comics, March/April 1955; adaptation by Carl Wessler, illustrated by Graham Ingels. A middle-aged American woman named Milly Horton narrates how she had obtained her diamond pendant and why it is worthless to her. In a flashback, Milly is a proud and greedy middle class housewife wishing for her husband, Larry Horton, to succeed financially and envying her friend Julia, a rich woman married to the also well-off John Banfield. For the New Year's Eve party hosted by Larry's boss, Mr. Allerton, Milly buys herself a new dress and borrows Julia's diamond pendant. But after the party, Milly loses Julia's pendant on the way home and Mr. Allerton refuses to interrogate his guests, holding Larry accountable for his wife's carelessness and denying him a promotion at the firm. Instead of telling Julia the truth, Milly makes herself and Larry buy a replica of the lost pendant at $17,000.00, most of which they borrow from her money-lending uncle, Alfred Burwell. After giving Julia the new jewellery, the Hortons begin paying off their debt by selling their house and moving into a cheap apartment. Milly gets employed by a women's dress manufacturer, although Larry gets fired from the firm for committing a costly error. For seventeen years, the Hortons work themselves to the point of looking older than their actual ages as they pay their debt back. When Larry dies of a terminal illness, Milly spends eight more years paying back her Uncle Alfred by taking a second job as a cleaner. After twenty-five years of working, Milly pays her debt in full and confesses to Julia the truth. Saddened by her friend's ordeal, Julia gives her the diamond pendant, revealing that she and John had actually sold the original to avoid going bankrupt and that the one Milly had borrowed was a cheap duplicate. Milly ends the story by telling the reader that her diamond pendant is a tragic reminder of the price she paid for being proud, envious, and greedy.
 * "The Diamond Necklace" (1975), episode #276 of the CBS Radio Mystery Theater radio show series adapted by George Lowther.
 * Mathilde (2008), a stage musical by the Irish composer Conor Mitchell
 * "දියමන්ති මාලය" (Diyamanthi Maalaya), a Sinhala translation by K. G. Karunathilake of Sri Lanka

The following works were inspired in part by "The Necklace":
 * "Paste" (1899), a short story by Henry James in which the twist ending is reversed
 * "Mr. Know-All" (1925) and "A String of Beads" (1943), short stories by Somerset Maugham that both revolve around the price of a necklace
 * Doctor Innocentanu (2012), a Malayalam family drama film is inspired by The Necklace.
 * Vennila Veedu (2014), a Tamil family drama uses a similar story as its main theme.
 * The subplot of the season 4 episode 13 of Mom ("A Bouncy Castle and an Aneurysm" OAD: 9 Feb, 2017) is a comedic version of the story with Anna Faris' character losing the necklace belonging to her wealthy friend.
 * In Vladimir Nabokov's novel Ada or Ardor (1969), one of the characters, a writer, claims she has written a short story entitled "La Rivière du diamants", which mimics Maupassant's "The Necklace". The moment in which this occurs is set in the book to be around 1884, the year in which Maupassant actually published his short story.

title: The Necklace


text:
User talk:Evari001

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! CambridgeBayWeather 10:41, 27 August 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
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 * How to write a great article
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 * Manual of Style
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Your Sandhurst, Gloucestershire was a little POV so I changed it. Other than that pretty good. CambridgeBayWeather 10:41, 27 August 2005 (UTC)

GameCentral Article
Just to let you know, I've expanded and wikified the article on GameCentral you started - I think it could do with some more info, so if you have anything else to add please don't hesitate. HK51 18:37, 28 May 2006 (UTC)

title: User talk:Evari001


text:
Category:Wikipedians interested in anime and manga

Wikipedian fans of anime and manga. Subcategories of this category should be named as Wikipedians who like (X). To add yourself to this category, paste this at the bottom of your user page:


text:
Wikipedia:Articles for deletion/HRG's cat

 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 no consensus; kept. --Canderson7 23:37, September 5, 2005 (UTC)

HRG's cat
Interesting, but not notable - the article's claim to notability is that it's widely popular in internet forum discuission - but Google says 'not really' - a 100 odd hits, but just two forum. --Doc (?) 10:43, 27 August 2005 (UTC)
 * Delete as nonsense or sub-cult ephemera. No anagrams found.   Paul Klenk 10:51, 27 August 2005 (UTC)
 * KEEP KEEP This stuff i noticed in my University Philosophy book. It's some kind of test to determine if something is real (in a philosophical sense). If you vote to delete u are discrediting our beloved Wikipedia. ARTICLE NEEDS CLEANING UP 58.104.87.64 11:53, 27 August 2005 (UTC)
 * If you can provide a reference to a philosophy book, I might change my mind --Doc (?) 12:00, 27 August 2005 (UTC)

 * Delete, not notable enough. Nandesuka 12:46, 27 August 2005 (UTC)
 * Merge This belongs in an athiesm article, or something related. Roodog2k 14:38, 27 August 2005 (UTC)
 * Don't merge, Delete. I wonder if Schrödinger's cat could beat HRG's cat? Dottore So 15:08, 27 August 2005 (UTC)
 * Keep [Changed fron Reserved Alf 08:05, 31 August 2005 (UTC)] (Yes, Dottore, it would, but only if you didn't open the box) Alf 15:44, 27 August 2005 (UTC)
 * Delete. No verifiable information to merge unless a reference can be provided. Fernando Rizo T/C 18:34, 27 August 2005 (UTC)
 * Comment The arguement is used on discussion boards from my own experience but I'm not sure if thats notable enough for an article. Falphin 19:54, 27 August 2005 (UTC)[
 * Delete. Non-notable thought experiment. Also suggest Last Thursdayism be considered. Sdedeo 20:02, 27 August 2005 (UTC)
 * Delete nn. --tranquileye 00:46:13, 2005-08-28 (UTC)
 * Keep I'm the original author. I guess I'm really not entirely clear what Wikipedia's "notability threshold" is (ten thousand people interested in the subject?  I really don't know, and I can't find the relevant guidelines), but HRG's Cat is an argument that's seen thousands of pairs of eyes and thus that someone might want to look up.  I guess I don't see the harm in having an entry on it.  --Hyperbole 23:45, 28 August 2005 (UTC)
 * Can you show it has been mentioned other than in a couple of internet-fora? If you can, you might still save it. --Doc (?) 07:58, 29 August 2005 (UTC)
 * Well, I've seen references to HRG's cat on CARM, AARM , ARN , and Theologyweb . So, four Internet fora in all.  The argument is also referenced on Paltalk discussions.  I'm certainly not going to take the stance that it's the most notable atheist argument ever - certainly not up there with the "problem of evil" - and I wouldn't object to it being merged into some larger "atheist arguments" kind of page... but I consider it at least minimally notable, and growing.  --Hyperbole 16:23, 29 August 2005 (UTC)

 * Conditional Keep, the arguement may be notable if it explains what kind of an attack is it, and how it is used. Here are some sources I found., this site(a wikipedia mirror with some additions) odly enough considers HRG's cat related to Worship? . Another site,  "Why is your supernatural explanation better than HRG's cat, who created the universe last Thursday?". Three references here,  but since carm changed its links the articles are lost as far as I can tell, or are in the depths of the old topics. Finally at CARM, ,  . There are others but that is enough. As far as it being mentioned elswhere that doesn't make notability in my opinion which is why this sic, and strange article still exists.God kills a kitten Another example is the Tourist guy and the Trammie article which I have no idea why it is notable. . Finally theres Eternal newbie which is internet slang I've never heard.(I've heard Newbie, Noob, etc but never Eternal noob. Falphin 00:16, 30 August 2005 (UTC)
 * Comment: I can't tell if this is really notable or not, but perhaps it should be mentioned (there is too little content for me to call it a merge) in Last Thursdayism.

 * 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.


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Gunt

The Gunt (Гунт, Ғунд Ghund or Аличур Alichur, historically in English also Ghund ) is a river in the south of Tajikistan, north of the Shughnon Range. It is 296 km long and has a basin area of 13700 km2. Its source, Lake Yashilkul, is situated at the edge of the Alichur Pamir, a high plateau or pamir at an elevation of 3,720 m. The city of Khorog is located at the confluence of the Gunt with the Panj (one of the source rivers of the Amu Darya, forming the border between Tajikistan and Afghanistan). See Gorno-Badakhshan Autonomous Region for surrounding area.

The Gunt, and its tributary the Shakhdara, power the Pamir I power plant. The river flow is very seasonal, low in winter, but high in July and August due to water from melting snow. Its width varies from 10 to 50 meters and it is up to 1.5 meters deep. Due to the mountainous terrain, the rivercourse is very fast, over 2 m/s at times. Its bed is rocky, and the banks are steep and precipitous. Often the stream occupies the whole river valley, but sometimes it divides into several courses.

title: Gunt


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Paul Jean Clays

Paul Jean Clays (27 November 1819 – 10 February 1900) was a Belgian artist known for his marine paintings.

Biography
In 1851 he made his debut at the Paris Salon and, while he tried to stay in the mainstream, his art was heralded by those who were looking for a change to more realism.

In 1852 he married Marie-Isaure (d. 1860), the daughter of the director of the Brussels Observatory, and moved to Antwerp where he lived from 1852 to 1856; it was during this period that his fortunes began to improve.

In 1856 he and his family moved to Brussels where he became a prolific artist, specializing in scenes along the Scheldt. He exhibited a number of works at the Exposition Universelelle of 1867 and the critic Burger-Thoré described him as one of the greatest marine painters of the time.

In 1868 he became a member of the Société Libre des Beaux-Arts, a society founded on 1 March 1868 to help promote the works of artists who were interested in their individual interpretations of nature. He was a frequent exhibitor at the many exhibition halls in Europe and exhibited many pieces at the Paris Salon.

Overview of his work
He was one of the most esteemed marine painters of his time, and early in his career he substituted a sincere study of nature for the extravagant and artificial conventionality of most of his predecessors. He painted the peaceful life of rivers, the poetry of wide estuaries, the regulated stir of roadsteads and ports. And while he thus broke away from old traditions he also threw off the trammels imposed on him by his master, the marine painter Théodore Gudin (1802–1880). Endeavouring only to give truthful expression to the nature that delighted his eyes, he sought to render the limpid salt atmosphere, the weight of waters, the transparency of moist horizons, the gem-like sparkle of the sky.

A Fleming in his feeling for colour, he set his palette with clean strong hues, and their powerful harmonies were in striking contrast with the rusty, smoky tones then in favour. If he was not a "luminist" in the modern use of the word, he deserves at any rate to be classed with the founders of the modern naturalistic school. This conscientious and healthy interpretation, to which the artist remained faithful, without any important change, to the end of an unusually long and laborious career, attracted those minds which aspired to be bold, and won over those which were moderate. Clays soon took his place among the most famous Belgian painters of his generation, and his pictures, sold at high prices, are to be seen in most public and private galleries.

Works
We may mention, among others, The Beach at Ault, Boats in a Dutch Port, and Dutch Boats in the Flushing Roads, the last in the National Gallery, London. In the Brussels gallery are The Port of Antwerp, Coast near Ostend, and a Calm on the Scheldt; in the Antwerp museum, The Meuse at Dordrecht; in the Pinakothek at Munich, The Open North Sea; in the Metropolitan Museum of Art, New York, The Festival of the Freedom of the Scheldt at Antwerp in 1863; in the palace of the king of the Belgians, Arrival of Queen Victoria at Ostend in 1857; in the Bruges academy, Port of Feirugudo, Portugal. Clays was a member of several Academies, Belgian and foreign, and of the Order of Leopold (Belgium), the Legion of Honour, etc. See Camille Lemonnier, Histoire des Beaux-Arts (Brussels, 1887).

title: Paul Jean Clays