text:
Diary of a Madman (Lu Xun)

"Diary of a Madman", also translated as "A Madman's Diary" is a short story by the Chinese writer Lu Xun, published in 1918. It was the first and one of the most influential works written in vernacular Chinese in Republican era China, and would become a cornerstone of the New Culture Movement. Lu Xun's stories often critiqued early 20th century Chinese society, and "Diary of a Madman" established a new language and revolutionary figure of Chinese literature, an attempt to challenge conventional thinking and traditional understanding.

The diary form and the idea of the madman who sees reality more clearly than those around him were inspired by Nikolai Gogol's short story "Diary of a Madman". Lu Xun's "madman" sees "cannibalism" both in his family and the village around him, and he then finds cannibalism in the Confucian classics which had long been credited with a humanistic concern for the mutual obligations of society, and thus used to justify the superiority of Confucian civilization. The story can be read as a sardonic attack on traditional Chinese culture and society and a call for a new cultural direction.

"Diary of a Madman" is the opening story in Lu Xun's first collection, and has often been referred to as "China's first modern short story". Along with Chen Hengzhe's "One Day", it was among the most influential modern vernacular Chinese works published after the Xinhai Revolution. It was selected as one of the 100 best books in history by the Bokklubben World Library, and listed as one of the ten best Asian novels of all time by The Telegraph in 2014.

Synopsis
The story begins with a note from the narrator written in Classical Chinese, describing his reunion with an old friend. Having heard that the friend's brother was ill, he visits them, but discovers that the brother has recovered and taken up an official post. The rest of the story consists of 13 fragments the narrator has copied from a diary the brother kept while "mad", written in vernacular Chinese.

The diary reveals that he suffered a "persecution complex", and became suspicious of everyone's actions, including people's stares, a doctor's treatment, his brother's behavior, and even dogs barking. He came to believe that the people in his village had a grudge against him and were cannibals who carried the intent of consuming him. Reading a history book, the "madman" saw the words "eat people" written between the lines, as commentary placed in classical Chinese texts. As his "madness" progressed, he experiences psychosis thinking the villagers are attempting to force him into suicide, that his brother ate his sister and that he might have done so as well. He attempts to persuade the villagers to "change from the heart", but concludes that people have been eating each other for millennia. The last chapter concludes with a plea to "save the children".

Literary devices
Lu Xun's use of imagery, symbolism and metaphor serves as symbolic interpretation for his contempt for Chinese traditional values and thought. The "Diary of a Madman" can therefore be interpreted as a revolutionary call to action to reform the traditional belief system of Chinese society and bring Chinese values more in line with modern contemporary ones. The story is not just a depiction of a man suffering from mental illness with the delusion of being eaten but rather a symbol of the cannibalistic nature of Chinese customs and society wrapped up in the veneer of Confucianism. The story progresses with the appearance of imagery such as that of a dog, which symbolises cannibalism and a certain "slave mentality".

The metaphor of "eating people" symbolises the oppressive and feudalistic social structure and values entrenched within Chinese culture. The madman represents the "awakened" individual who re-gains his individuality and refuses to abide by the traditional and harmful cultural norms of society, with the neighbours whom he believes to want to devour him representing Chinese society in general. The story also emphasises how the madman is imprisoned both in his home and trapped psychologically in his mind, symbolising Chinese society's inability to escape its backward traditional and feudalistic roots.

Because China was built upon and continued to be informed by Confucian morality and principles over long stretches of history, concepts such as democracy, individualism, natural rights and freedom of thought did not exist and therefore faced difficulties taking root within the Chinese psyche. Lu Xun remarked that "[we] Chinese have always been a bit arrogant—unfortunately it is never 'individual arrogance' but without exception 'collective and patriotic arrogance'." Such arrogance appears in "Diary of a Madman" when the madman states, "Wanting to eat men, at the same time afraid of being eaten themselves, they all eye each other with the deepest suspicion..." a metaphor for the corruption of the Chinese people through the shackles of tradition, forming a fragmented and low-trust society incapable of working together for a better collective future. Another chilling example is the use of "medical science" to legitimise and perpetuate the existing oppressive feudal systems instead of curing diseases of the mind and body. As the prologue suggests, the lunatic/revolutionary is "cured" of his "persecution complex" and eventually assimilated back into the cannibalistic and sub-human culture he once denounced.

Historical context
The early 20th century marked a tumultuous time in Chinese history, marked by the fall of the Qing Dynasty as a result of the 1911 revolution and the start of the republican era China. During this time, both immense outcries against western imperialism as well as calls for greater democracy, adoption of western ideas and modernisation were rife among the general populace. Warlordism, regionalism and civil unrest dominated China. Political instability dominated the young yet fractured republic nominally led by Sun-Yat Sen and considerable debate existed about future political direction which the country should take.The massive ensuing social changes remarkably shifted the development of Chinese literature and formed the development of a linguistic system known as baihua.

As a prominent intellectual and an important member of the May Fourth Movement, Lu is referred to as "the Father of Modern Chinese Literature", Lu Xun's contribution to Chinese literature exhibited a radical change in Chinese language and style. Through his works, Lu demonstrated his pursuit of the objective of cultural change and the promotion of modern literature. During the New Culture movement, the orthodox system of writing was replaced by the use of vernaculars. Through the adoption of a new literary writing style Lu Xun essentially founded modern Chinese literature. His anti-traditionalism and calls to break the hold of traditional Confucianism in Chinese society are reflected through his narratives. His most instrumental work, "Diary of a Madman", reflects contemporary issues and social structure revolving around the society of republican era China after the collapse of the Qing dynasty. At this time, Confucian values still influenced Chinese culture strongly with rules and social hierarchy being held as superior to the rights of the individual.

Establishment of baihua
When the New Culture Movement (from which the May Fourth Movement sprang) emerged, many intellectuals argued that China needed to transform into a modern country. Intellectuals and writers declared a literary revolution to refashion the traditional system of writing. Officials who promoted baihua argued that "education for the whole population was necessary to establish democracy and science in China, and education required widespread literacy" (Chen, 1999). Hu Shih, an important figure in the May Fourth Movement and a prolific writer in modern China, founded a movement known as "New Literature Movement" in 1917. The movement sought to build a reformed version of Chinese script replacing the classical Chinese so ordinary Chinese could more easily learn and understand it. Thus, a new writing system was established called baihua.

Baihua was a vernacular literary language that was popularly used in folk stories, plays and commonly used as an everyday spoken language. Some scholars appealed to replace the traditional wenyan, and use baihua as a standard of writing and communication among the general population. During the Reform Movement of 1898, some development towards the application of baihua was found in newspaper and magazines.

"Diary of a Madman" was a famous and exemplary work of literature composed in May Fourth-style, presented as the fragments of a diary written in the vernacular language by the diarist. Baihua become a standard kind of written Chinese in the 1940s.

Reception
Despite their success and dominance in Chinese literature, Lu Xun's stories took five years before they were widely recognised as notable works of literature. Before he published the "Diary", Lu Xun was in a state of complete hopelessness and despair. His state of mind being unknown readers during this time, except to the few individuals who were close to him. Thus "Diary of a Madman", with its use of foreign techniques, was not easily comprehensible to most audiences at the time. The theme of cannibalism, and notion of "eating oneself", sparked controversy and criticism among readers due to its ambiguity and interpretation as an extremely harsh criticism of general Chinese culture and traditional ideas. Lu Xun's attempts to cure the cultural malaise which exists in traditional Chinese society through his writings were not easily embraced. However, the "unprecedented" nature of the story and its salient themes and timely arrival captured the attention of many authors and commentators alike. Overall, Lu Xun's work serves as an account of historical change in republican era China and biting social criticism towards issues which still hold relevance in Chinese society today. Lu Xun's short stories were recognised as a significant work of modern classical Chinese literature, reflecting the themes of Chinese society's struggle to break free from a culture of tyrannical imperial power which had ruled the country for millennia, the problematic social structure of Chinese society and the political issues of the time.

title: Diary of a Madman (Lu Xun)


text:
Category:Norwegian ski jumpers

List of Norwegian ski jumpers.

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

title: Category:Norwegian ski jumpers


text: User talk:82.39.74.194

title: User talk:82.39.74.194


text:
Talk:Alicia Machado

"Trump's racism"
In the summary of edit #743031096, user claimed that the phrase «Machado has compared Trump's racism to that of Adolf Hitler» is in "Wikipedia's voice and a blp vio", meaning that it was not in the source, I just want to note —regardless of whether it is a BLP violation or not— that the second source given (the first link from Publimetro is dead), from El Nuevo Herald, do states that Machado «realized that his [Trump’s] levels of racism are quite similar to those of Hitler» (original: [Machado] «se dio cuenta que sus niveles de racismo son muy similares a los de Hitler.»). Nika de Hitch (talk) 16:21, 7 October 2016 (UTC)
 * Fine. Then put it back, but make it clear that it is Machado that is calling Trump's actions 'racist' and not Wikipedia. Marteau (talk) 16:29, 7 October 2016 (UTC)
 * Publimetro colombia is not dead for me. If the link doesn't work try googling the html or title. NPalgan2 (talk) 19:21, 7 October 2016 (UTC)
 * This is basically hearsay and I don't see a reason to include it.Volunteer Marek (talk) 18:21, 7 October 2016 (UTC)
 * Why is it hearsay to cite Publimetro colombia and El Nuevo Herald repeating Machado's remarks to La Reforma, but OK for you to cite Washpo repeating what Trump said on Fox? NPalgan2 (talk) 18:39, 7 October 2016 (UTC)
 * La Reforma is not a reliable source, WaPo is, that's the difference.Volunteer Marek (talk) 19:34, 7 October 2016 (UTC)
 * La Reforma (just like El Nuevo Herald and Publimetro Colombia) is a RS (I checked before I inserted the quote). Do you just assume that any Spanish language source is a trashy tabloid? NPalgan2 (talk) 20:46, 7 October 2016 (UTC)
 * That is out of context. The article says, "But things did not stop there, as Machado said that Trump is a man with dark interests and that while she was in her year in office had to work with him and realized that his levels of racism are quite similar to those of Hitler...."  So the source says she says she realized.  BTW I do not know why this is hearsay, or what relevance that has to policy or guidelines.  Hearsay is second hand evidence.  For example, were Machado repeating what someone had told her about Trump rather than her direct experience that would be hearsay.  Hearsay is inadmissible in most circumstances in English courts, but Wikipedia rules of evidence do not rely on common law precedents.  In this case, Trump's counsel would be allowed to raise the question in cross-examination, if I remember my rules of common law evidence correctly.  TFD (talk) 18:43, 7 October 2016 (UTC)
 * Publimetro: "Ojalá que la humanidad no permita que otra vez un Hitler vuelva a dominar el mundo, creo que ese señor sería capaz de hacer un nuevo holocausto una vez más", dijo la ex Miss Universo a diario La Reforma." A RS is quoting Machado directly and thus vouching for the fact that she said it. Wikipedia does not impose the strict rules of hearsay that law courts do, otherwise we could never cite everyday things like the NYTimes quoting a CNN interview. NPalgan2 (talk) 18:51, 7 October 2016 (UTC)

New BLP violations
. DailyBeast is not a good enough source for a BLP. This is going to wind up at WP:AE if this continues. Please stop trying to use this article to attack the subject.Volunteer Marek (talk) 19:33, 7 October 2016 (UTC)
 * OK, but's there's washpo and RS spanish language sources. https://www.washingtonpost.com/news/wonk/wp/2016/09/30/public-slut-shaming-and-donald-trumps-attack-on-a-former-miss-universitys-alleged-sex-history/ NPalgan2 (talk) 19:38, 7 October 2016 (UTC)
 * How is quoting things that a well known telenovela actress coordinating with the Clinton campaign has said in public an attack? The Joe the Plumber page has lots of his dumbest quotes. NPalgan2 (talk) 19:44, 7 October 2016 (UTC)
 * So? Volunteer Marek (talk) 19:44, 7 October 2016 (UTC)

Northbysouthbaranof's edits
made a number of changes which I have reverted:

1 at 3am should be ‘starting at’ 3am as he continued until 530am. Should the time stamp be there at all? This article is not about how trump is screwing up his own campaign. 2 ‘Unfounded’ is too strong for wikipedia’s own voice. Trump referred to Machado’s ‘past’, which RSs have taken to refer to the time that the judge went on TV to accuse Machado of threatening to kill him. Machado was not indicted, and there may not be consensus to include it in the article, but calling it ‘unfounded’ is going too far. We can find some way of noting that RSs called claim that the La Granja tape is a 'sex tape’ unfounded. 3 Meritlessly is good, as there is no evidence Clinton helped her get citizenship - Machado is perfectly capable of filling out the forms on her own. readding now. 4 "condemned in the media as self-destructive and unbecoming of a presidential candidate” a mixture of true but not the focus of the article and definitely NPOV. NPalgan2 (talk) 17:54, 8 October 2016 (UTC)
 * Unfounded is not too strong — the reliable sources here are unanimous in describing them as such. Your personal disagreement with those sources is not at issue, and it presents a BLP issue to not accurately describe unfounded claims as unfounded.
 * Condemned in the media is certainly NPOV, because it's a true description of the reaction to those tweets, and it's necessary to place them in context. What makes the tweets notable is not what they said about Machado, but their obviously-negative impact on Trump's presidential campaign.
 * You also removed two gold-standard impeccable reliable sources without justification. I'll add more sources for "unfounded." NorthBySouthBaranof (talk) 17:57, 8 October 2016 (UTC)
 * Washpo says "The allegation that Machado had a “sex tape” appears to be false. “ Points to the 1998 accusations but does not evaluate them, simply giving Machado’s denial and no indictment. cbs says 'unfounded smears’ but never explicitly refer to 1998. politico ambiguous but seems best interpreted as "stretching of the truth at best” re 1998 and “outright falsehood” for the citizenship and sex tape. WSJ cites slopes denial about sex tape, but just gives facts re 1998 http://blogs.wsj.com/washwire/2016/09/30/donald-trump-attacks-alicia-machado-in-overnight-tweets/

BusinessInsider: conservative-leaning publications have worked to discredit Machado, bringing up past allegations that she was a murder accomplice in Venezuela. They have also suggested that she appeared in a sex tape, a claim that was labeled "mostly false" by Snopes, the website that examines the validity of internet rumors. http://www.usnews.com/news/articles/2016-09-30/donald-trump-goes-on-anti-alicia-machado-twitter-tirade usnews details 1998 facts, but calls sex tape claims false. — Preceding unsigned comment added by NPalgan2 (talk • contribs) 18:17, 8 October 2016 (UTC)
 * How about 'unfounded accusations of a sex tape'? NPalgan2 (talk) 18:19, 8 October 2016 (UTC)

Wait, who are you talking to? I'm confused. Solntsa90 (talk) 15:01, 10 October 2016 (UTC)

External links modified
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title: Talk:Alicia Machado


text:
Robert Orchard

Robert Orchard is a freelance British journalist and lecturer.

One of three children born to a Devonshire farmer and a Welsh nurse, he was educated at a grammar school in mid-Devon and read Politics, Philosophy and Economics (PPE) at Corpus Christi College, Oxford, followed by a year's PGCE teacher training course.

Orchard succeeded Geoffrey Perkins as president of Oxford University's student revue company, the Etceteras, and gathered a talented team of sketch-writers that included former TW3 scriptwriter and chemistry tutor, John Albery, and fellow-students Rowan Atkinson and Richard Curtis, who met here for the first time.

He began his journalistic career at the Western Mail newspaper in Cardiff, before moving on to BBC Wales and worked in broadcasting for the BBC for more than 30 years, covering mainly politics and parliament for TV and radio from 1984 — including the Brighton Bomb and the fall of Margaret Thatcher. He also worked in Brussels and Strasbourg setting up a new EU reporter post for BBC regions before becoming political correspondent, first for BBC Wales and then for network BBC TV and Radio News in a team led by John Cole, and including his former BBC Wales colleague, Huw Edwards. Orchard focused on reporting Parliament from 1992, mainly on Radio 4, becoming a BBC parliamentary correspondent and presenting Yesterday in Parliament — with a brief to entertain as well as inform, and later the more measured, nightly Today in Parliament, along with other specialist parliamentary programmes on TV and radio. He reported on major UK politicians such as John Major.

He edited BBC News Online's General Election coverage in 2001; and later compiled the BBC College of Journalism's first online Guide to Parliament, to help other BBC journalists understand how the Westminster Parliament works and how to report it.

He has written numerous articles for the UK Parliament's The House magazine, the BBC News website, the Hansard Society, and also lectures on politics and the media. He has lent his voice to create historical character cameos for a range of BBC Radio 4 political programmes. Documentaries he wrote and presented for BBC Radio 4 include Fool's Gold, on the 19th-century Welsh Goldrush; a series for You & Yours assessing the privatisation of water, nuclear power and the Royal Mail; The Age of Ming, on ageism in politics; Hung, Drawn and Thwarted, on the prospects and perils of a hung parliament; a 70th-anniversary tribute to Today in Parliament; and A Very Welsh Coup, 25 years after the fall of Margaret Thatcher. Robert Orchard is now a freelance political journalist and lecturer, and was a mature student, achieving an MA in Politics and Contemporary History at King's College London, 40 years after his first degree.

In 2014, he advised on government communication to the Maltese government.

Away from UK parliament, he has organised poetry-reading tours of schools, and been an amateur actor, including at the pro-am Everyman Open Air Theatre Festival held at Dyffryn Gardens near Cardiff from 1983 to 1995; he was also Festival treasurer then chairman. With Tim Riley, he went on to found Moonlight Theatre, staging open air musicals at the Festival for several years. After leaving the BBC, he has returned to acting, this time with London's The Tower Theatre and, most recently, with his own company's production of Under Milk Wood by Dylan Thomas, which toured to Malta in 2019.

title: Robert Orchard


text:
ILIOS

ILIOS is an acronym of InterLink Internet Operating System. It is an attempt to create a router-only operating system; one specifically oriented towards computer networking purposes, especially routing. It supports IPv4 routing and is a good educational OS, though it is single tasking and does everything via interrupts.

It is released under the BSD License. The author of this research OS is Rink Springer, who is also responsible for porting FreeBSD to the Xbox.

title: ILIOS


text:
Second Supreme Court of Canada building

The Second Supreme Court of Canada building sat to the west of Parliament Hill in Ottawa and was home to the Supreme Court of Canada from 1882 to 1945.

Built in 1874, it was built by Chief Dominion Architect Thomas Seaton Scott for Department of Works as a workshop to maintain buildings on Parliament Hill. Modified by Thomas Fuller from 1882 onwards it was shared by the Supreme Court and National Gallery of Canada for six years until the former became the only tenant.

Prior to 1882, the Supreme Court conducted their business in various committee rooms on Parliament Hill, including the Railway Committee Room. The court finally got a permanent home within a decade of its creation.

The first building for the Supreme Court was built on Bank Street near Parliament. The design was considered quaint and was less elegant than other government buildings in Ottawa. Although similar in design to the West Block and the East Block, it was a more subdued modern Gothic Revival design. After the Supreme Court moved to its new site to the west of Parliament in 1949, this building was demolished in 1955 after it was condemned as a fire hazard. It is the only building on Parliament Hill to be demolished.

The site is currently a parking lot and vehicle screening facility for Parliament Hill.

title: Second Supreme Court of Canada building


text:
Airds Bay

Airds Bay is a small bay south-west of Port Appin on the west coast of Scotland. It is located at the south-western end of Appin in Argyll and Bute, forming an inlet north of the mouth of Loch Creran. The bay looks out over the Lynn of Lorn, between Loch Linnhe and Loch Creran. Lorne MacLaine Campbell, recipient of the Victoria Cross, was from Airds.

title: Airds Bay


text:
Common dab

The common dab (Limanda limanda) is an edible flatfish of the family Pleuronectidae. It is a demersal fish native to shallow seas around Northern Europe, in particular the North Sea, where it lives on sandy bottoms down to depths of about 100 m. It can reach 40 cm in length and can weigh up to 1 kg, though most specimens grow no longer than 20 cm.

Taxonomy and nomenclature
The etymology of the name dab is unclear, but the modern English use seems to originate from the Middle English dabbe. It is first recorded in the late 16th century.

The common dab was first named Pleuronectes limanda by Carl Linnaeus in the 1758 10th edition of Systema Naturae. It has also been moved to other genera, including Liopsetta, and is now known as Limanda limanda.

Identification
The common dab has a similar appearance to both the plaice and the flounder, and similarly has both its eyes normally on the right-hand side of its body. The upper surface is usually pale brown in colour with scattered darker blotches and speckles, but does not have the orange spots typical of a plaice. They are distinguished from flounder by their translucent body. The pectoral fins may be orange. The lateral line is marked by a distinctive semi-circular curve above the pectoral fin. The dorsal and anal fins form a gently rounded curve round the margin of the body. The scales have rough posterior edges and this fish has no large bony projections. A typical size is in the range 25 to 40 cm.

Diet
The common dab's diet consists of zoobenthos organisms such as marine worms, molluscs, sand eels, amphipods, crustaceans, echinoderms and small pieces of fish.

Distribution
The common dab is a bottom dweller, found in coastal waters in the northeastern Atlantic Ocean. Its range extends from the Bay of Biscay to Iceland and the White Sea and includes the North Sea and the western part of the Baltic Sea.

Commercial fishing
The dab is an abundant fish and until recently was mostly ignored as a commercial fish, with most dab only retained when they were caught as by-catch of other targeted species. However, the declining numbers of other food fish such as cod and haddock has seen dab become an increasingly important commercial species. They are now targeted by an increasing number of commercial vessels, especially in the North Sea. A number of high-profile celebrity chefs such as Jamie Oliver have attempted to get people to eat more dab in order to take the pressure off the species of commercial fish which are currently heavily exploited.

title: Common dab


text:
Airds of Kells

Airds of Kells is a farm and small estate in the historical county of Kirkcudbrightshire in the parish of Kells, Dumfries and Galloway, Scotland. The Category B listed farmhouse dates from the late 18th century but possibly incorporates parts of an older building. The estate was associated with the Gordons of Lochinvar from the 15th century.

Airds of Kells Wood is a biological Site of Special Scientific Interest, notified in 1983. It has the largest remaining block of oak woodland in the Water of Ken/River Dee valley.

title: Airds of Kells


text:
Paul Humphreys

Paul David Humphreys (born 27 February 1960) is an English singer, songwriter and musician. He is best known as the keyboardist and secondary vocalist of the electronic band Orchestral Manoeuvres in the Dark (OMD), which he founded alongside lead singer and bassist Andy McCluskey in 1978. The Quietus remarked, "If, roughly speaking, McCluskey is the intellect and inquisitive nature in the group, then Humphreys is the heart." The pair have been recognised as pioneers of electronic music.

Humphreys played with OMD until 1989, seven years before the band's dissolution, and returned for their 2006 reformation. His songwriting contribution features on all of the group's studio albums, save for 1991's Sugar Tax. Humphreys sang lead vocals on several OMD tracks, including the singles "Electricity", "Souvenir", "Never Turn Away", "Secret", "(Forever) Live and Die" and "What Have We Done".

Aside from his work with OMD, Humphreys fronted spin-off band the Listening Pool from 1989 to 1996, and recorded with former Propaganda singer Claudia Brücken as the duo Onetwo from 2000 to 2013.

OMD
Humphreys grew up on the Wirral Peninsula in North West England, during which time he developed an interest in German electronic music by bands such as Kraftwerk, Neu!, Can and La Düsseldorf. He was also influenced by the work of Brian Eno and early ambient styles of music. Humphreys joined a variety of bands in the mid-1970s but this was mostly defined by progressive rock and it wasn't until he met Andy McCluskey that they began their own musical experiments which culminated in a one-off gig as Orchestral Manoeuvres in the Dark at Eric's Club in Liverpool.

OMD became one of the leading bands in the synth-pop movement, though they developed largely independently of others such as the Human League. The group enjoyed considerable commercial success internationally during the 1980s, with Humphreys and McCluskey being recognised as pioneers of electronic music. John Doran of The Quietus remarked, "If, roughly speaking, McCluskey is the intellect and inquisitive nature in [OMD], then Humphreys is the heart." The pair's songwriting partnership has been dubbed the "Lennon–McCartney of synth-pop".

Although McCluskey was the lead singer for OMD, Humphreys did sing on several singles during the 1980s, and provided lead or prominent vocals on the album tracks "Promise", "Georgia" and "ABC Auto Industry", as well as on the B-sides "4-Neu" and "Gravity Never Failed". Humphreys was a more reserved individual than McCluskey; of their partnership, the latter said, "We always had this joke that two Pauls wouldn't get anything done and two Andys would kill each other". Humphreys left OMD in 1989, but continued to pen songs for the band. He co-wrote the 1993 single "Everyday" (from Liberator), and was the main writer of two tracks from Universal (1996): "Very Close to Far Away" and "If You're Still in Love with Me". Sugar Tax (1991) is the only album in the OMD catalogue not to feature the songwriting contribution of Humphreys.

Reformation
In 2005, McCluskey and Humphreys reunited OMD for a gig on German TV. They decided to reform OMD which McCluskey had continued with from 1989 until winding up the band in 1996 disillusioned by the prevalence of Britpop. 2007 finally saw the return of OMD in their classic line-up on stage and they have toured extensively since having received an enthusiastic and warm welcome. 2010 saw the release of Humphreys' first studio album with OMD for 24 years, titled History of Modern. Next studio album English Electric (2013) featured a lead vocal from Humphreys on the track "Stay with Me". Humphreys also sang lead on the single "What Have We Done", taken from the studio album The Punishment of Luxury (2017).

Other projects
Humphreys continued to write and record with Holmes and Cooper under the name the Listening Pool. This project met with little commercial success, though a studio album, Still Life (1994), was released. The sound was less directly electronic than even later OMD and is in marked contrast to the later sound of Onetwo and the reformed OMD.

By the late 1990s, Humphreys was performing OMD setlists once more. "Paul Humphreys from OMD", in which Humphreys performed McCluskey-sung material as well as his own songs, was still active as of 2001.

In 1996, Humphreys began a songwriting collaboration with German musician Claudia Brücken, who was formerly lead vocalist of the band Propaganda. They recorded and performed live under the name Onetwo from 2004 (the duo was nameless when they began performing in 2000) until their separation in March 2013.

Instruments
Humphreys' main instruments are electronic keyboards. With OMD, he made use of a wide range of these including the Korg M-500 Micro Preset monophonic analog synthesizer, polyphonic analogue synthesizers such as the Sequential Circuits Prophet-5 and the Korg Trident, the electromechanical tape-sampling instrument known as the Mellotron, electronic organs such as the Vox Jaguar, and digital sampling keyboards such as the E-mu Emulator and Fairlight CMI. Due to the restrictive nature of the equipment available to Humphreys and McCluskey they resorted to invention and innovation, which often defined their early sound. On the track "Souvenir" (1981) Humphreys used recordings of a choir tuning up to create the ethereal and fluttery choral effects which gave the song its original sound.

More recently he predominantly uses Pro Tools software and a series of soft synths for recording and writing, and a Roland Fantom keyboard for live work, largely using it as a sampling keyboard to faithfully reproduce the original sounds. When recreating the original OMD sounds of the 1980s he had to resort to buying synthesisers off eBay.

Humphreys is a self-taught musician and in the first years of OMD he built his own electronic sound making equipment. The group's first synthesiser, the Korg M-500 Micro Preset was purchased through a catalogue belonging to Andy McCluskey's mother.

Personal life
Humphreys was married to Maureen Udin. He later had a relationship with Claudia Brücken, with whom he performed in Onetwo; the pair lived together in London.

In 2018, Humphreys married Lithuanian marketer Rūta Degutytė.

title: Paul Humphreys


text:
Hicap

Hicap is a mobile technology developed by Nippon Telegraph and Telephone as a higher capacity alternative to their NTT mobile solution.

Hicap uses a 25 kHz carrier and uses FDMA to separate different calls from each other.

title: Hicap


text:
Fitzroy Township

Fitzroy is a former incorporated and present day geographic township originally part of Carleton County in eastern Ontario, Canada.

Fitzroy was located in the western part of the county, bordered to the northeast by Torbolton Township, to the southeast by Huntley Township, to the southwest by Pakenham Township and to the northwest by the Ottawa River.

The township was established in 1823. The first permanent settler is believed to have been Charles Shirreff around 1818. Shirreff founded the settlement of Fitzroy Harbour in 1831. The township was an important centre of the timber trade during the 19th century. In 1974, the township was amalgamated with Huntley and Torbolton to form West Carleton. In 2001, West Carleton became part of the new city of Ottawa.

Fitzroy took its name from Sir Charles Augustus FitzRoy, son-in-law to Charles Lennox, 4th Duke of Richmond who was Governor General of British North America from 1818 to 1819.

According to the Canada 2016 Census, the Township had a population of 4,413. As of the Canada 2021 Census, this had increased to 4,616.

Villages within the township included:
 * Fitzroy Harbour
 * Galetta
 * Kinburn
 * Antrim

Reeves
Source:

 * 1850 J. Steen
 * 1857 T. Elliott
 * 1862 William Dean
 * 1863 John Neil
 * 1865 James Hubbell
 * 1866 William Dean
 * 1867 John Neil
 * 1868 Allen Fraser
 * 1872 John Neil
 * 1878 Allan Fraser
 * 1880 David MacLaren
 * 1882 Charles Mohr
 * 1896 A.E. Riddell
 * 1897 n/a
 * 1907 F.S. McClure
 * 1909 Charles Mohr
 * 1912 W. Boyle
 * 1916 J.C. Greene
 * 1918 T.B. Wilson
 * 1922 R.G. Tripp
 * 1929 John Shannon
 * 1935 Stuart Craig
 * 1940 V.E. Major
 * 1959 Harvey E. Craig
 * 1965 Hiram Wilson
 * 1973 Jack Shaw

title: Fitzroy Township


text:
New Line (disambiguation)

New Line Cinema is one of the ten major Hollywood movie studios.

New Line may also refer to:
 * New Line Theatre, an alternative musical theatre company in St. Louis, Missouri
 * New Line Records, a record label; formerly known as New Line Records, currently WaterTower Music
 * Newline, a character or sequence of characters signifying the end of a line of text
 * Colt New Line, a line of 19th century revolvers

Transportation

 * New Line (shipping line) or Robert Kermits Red Star Line, 19th century transatlantic shipping line
 * Watford DC line or New Line, a commuter railway line from London Euston to Watford Junction
 * Tokyo Metro Line 13 or Yūrakuchō New Line, a Tokyo Metro subway line

title: New Line (disambiguation)


text:
User:Devein

Wikipedia is not a paper encyclopedia

my main user page at polish wikipedia project (english speakers welcome!)

pl:Wikipedysta:Devein

Desk
Someone deleted my translation work on Cannabis_cultivation at my user page at Polish wikipedia.. oh, english wikipedia, In libris libertas

User:Devein:Uprawa konopii

http://en.wikipedia.org/wiki/Freetown_Christiania

http://en.wikipedia.org/wiki/Akihabara

http://en.wikipedia.org/wiki/Image:Landscape_in_the_Mountain_Kingdom.jpg

http://en.wikipedia.org/wiki/Sealand

http://en.wikipedia.org/wiki/Black-Scholes_equation

stocks http://en.wikipedia.org/wiki/P/E_ratio

title: User:Devein


text:
FC Lumezzane

F.C. Lumezzane, commonly known just as Lumezzane, is an Italian association football club based in Lumezzane, Lombardy. The club currently competes in Serie C, the third tier of Italian football.

A.C. Lumezzane
Lumezzane was founded in 1946.

The club was promoted to Serie C2 in 1993. Since the promotion, the club remained in the divisions Serie C1 (Lega Pro Prima Divisione) and Serie C2 (Lega Pro Seconda Divisione) from 1993 to 2014. The club also participated in 2014–15 Lega Pro season, the first unified Lega Pro/Serie C division since 1978.

In the regular season of 2007–08 Serie C2, Lumezzane finished fourth in the Group A and qualified for the promotional playoffs. The team defeated third-placed Rodengo Saiano in the semi-finals, 2–1 on aggregate. In the finals, it defeated fifth-placed Mezzocorona because it was the higher classified team after the pair ended in a 0–0 aggregate tie, thus winning promotion to the now-called Lega Pro Prima Divisione for the 2008–09 season.

On 26 November 2009, Lumezzane caused an upset in the 2009–10 Coppa Italia, beating Atalanta B.C. (a Serie A team) 3–1 away from home.

2018 refoundation
A.C. Lumezzane relegated to Serie D in 2017. The club finished as the 15th of 2017–18 Serie D Group B, which relegated again. In June 2018, the club folded.

At the same time, another club, Associazione Sportiva Dilettantistica ValgobbiaZanano, was renamed to Football Club Lumezzane V.G.Z. Associazione Sportiva Dilettantistica, claiming as an heir of A.C. Lumezzane. V.G.Z. is the acronym of ValgobbiaZanano. The new club also acquired the logo and some assets of A.C. Lumezzane.

ValgobbiaZanano was a football club that finished as the regular season runner-up of Group D of Promozione Lombardy in 2017–18 Promozione Lombardy. However, the club was the losing side in the promotion play-offs. A.C. ValgobbiaZanano was a merger of "A.C. Valgobbia", a team from Lumezzane and "A.C. Zanano Comisport", a team from Zanano frazione of Sarezzo circa 2003. The prefix of the club was changed to A.S.D. from A.C. in some time later. Val Gobbia itself is a valley of the Lumezzane area.

In 2018–19 Promozione Lombardy, the new Lumezzane won the promotional playoffs of Group D, thus entered the final stage of the playoffs which compete with other winners from other groups, for the spot to promote to Eccellenza Lombardy in 2019–20 season. Lumezzane, however, lost to A.S.D. Sant'Angelo in aggregate in the first round of the inter-groups playoffs. In the season 2019–20 Lumezzane competed in Eccellenza, the fifth tier of Italian football.

In 2021, the club's name was changed to F.C. Lumezzane S.S.D., thus severing every reference to ValgobbiaZanano. Lumezzane won promotion to Serie D in 2022 and a second consecutive promotion the following year, thus marking the club's return to professionalism after six years of amateur football.

Players of note

 * 🇮🇹 Michele Pini (2006/07–12, 2014–15) - Made over 100 league appearances
 * 🇮🇹 Mario Balotelli (2006–07) - Champions League and Serie A winner of Inter Milan and Premier League and FA Cup winner of Manchester City, he graduated from Lumezzane academy and grew up nearby in Concesio.
 * 🇮🇹 Cristian Brocchi (1997–98) - Champions League, Serie A and Coppa Italia winner of AC Milan, he made 30 appearances for Lumezzane on loan during his third professional season.

Colours and badge
The colours of the team are red and blue.

A.C. Lumezzane used a logo that resembled the crest of the comune of Lumezzane. F.C. Lumezzane also used a similar design, with the inclusion of the VGZ design from 2018.

Honours

 * Coppa Italia Serie C
 * Winners: 2009–10

title: FC Lumezzane


text:
Empress Augusta Bay

Empress Augusta Bay is a bay on the western side of the island of Bougainville Island, within the Autonomous Region of Bougainville in northeastern Papua New Guinea.

It is a subsistence fishing area for the people of Bougainville.

History
Empress Augusta Bay is named after Augusta Viktoria of Schleswig-Holstein, wife of German Emperor William II. At the time Bougainville was part of the German colonial empire, at first within the German protectorate over the South Sea Islands and later administered by German New Guinea.

In November 1943 the bay was the site of the Battle of Empress Augusta Bay, between Allied and Japanese forces.

During the 1970s and 1980s the bay was seriously polluted by copper tailings from the world's largest copper mine, Panguna, operated by Rio Tinto Group. This issue contributed to the formation of the secessionist Bougainville Revolutionary Army and a civil war on the island between 1989 and 1997.

title: Empress Augusta Bay


text:
Justice Building

The Justice Building designed by Thomas W. Fuller in Ottawa is so-called because it was previously home to the Department of Justice.

Originally called Block D, it was built from 1935 to 1938 for the Royal Canadian Mounted Police (RCMP). It was renovated in 1998–2001 and now houses some of the offices of Members of Parliament.

It is similar Gothic Revival architecture design to the Confederation Building located just east of it, which was also designed by Thomas W. Fuller.

In Ian Fleming's short story "For Your Eyes Only" James Bond visits the RCMP headquarters when it was located in this building, and the book contains a description of the structure.

title: Justice Building


text:
Airidh a' Bhruaich

Airidh a' Bhruaich (Arivruaich - anglicised) is a scattered crofting township in the South Lochs district of the Isle of Lewis in the Outer Hebrides of Scotland. It lies at the head of the sea loch of Loch Seaforth.

title: Airidh a' Bhruaich


text: Category:German ski jumpers

title: Category:German ski jumpers


text:
Oxford University Broadcasting Society

The Oxford University Broadcasting Society (OUBS) was a student society at the University of Oxford, England. It covered radio and television broadcasting.

The officers include a president, secretary, treasurer, programme coordinator, technical director, news editor, social secretary, and two ordinary committee members. Equipment included a Uher 4000L portable tape recorder.

Collaboration
For some years, OUBS used the BBC Radio Oxford studio in Wellington Square, Oxford to produce radio programmes for Radio Oxford and the Oxford Hospitals Broadcasting Association (OHBA), (later known as Radio Cherwell from 1967 ) It also used the studios at the Churchill Hospital, Oxford, home of the Oxford Hospitals Broadcasting Association, which ran a radio station known as Radio Cherwell.

Aubrey Singer, controller of BBC2, spoke to the society in 1975.

Former members

 * Jackie Ashley
 * Zeinab Badawi
 * Tim Beech
 * Jonathan Bowen
 * Angus Deayton
 * Sally Jones
 * Robert Orchard
 * Nigel Rees
 * Carol Sennett (née Tarr)
 * John Shaw

title: Oxford University Broadcasting Society


text:
Rupert Pennant-Rea

Rupert Lascelles Pennant-Rea (born 23 January 1948) is a British businessman, journalist, and former Deputy Governor of the Bank of England. He was editor of The Economist newspaper and later Chairman of The Economist Group.

Early life
The son of Peter Athelwold and Pauline Pennant-Rea, he was educated at the Peterhouse Boys' School, an Anglican church boarding school in Zimbabwe before attending Trinity College, Dublin, and Manchester University, where he received his MA degree. He is married and has three children and one step-daughter. At one time his wife was Helen Jay, one of the twin daughters of Labour Party politicians Peggy Jay and Douglas Jay.

Career
Pennant-Rea joined the Bank of England in 1973 and remained until 1977, when he left to work for The Economist magazine. He was the magazine's editor from 1986 until 1993. Between 1993 and 1995, he again joined the Bank of England as Deputy Governor of the bank, under the governorship of Edward George; he resigned following reports of an extramarital affair with Mary Ellen Synon, whom he had met at Trinity College, Dublin.

In 1994 he became a member of the influential Washington-based financial advisory body, the Group of Thirty.

In 1995 he became a director of a Canadian mining company, Sherritt International In March 1996, he was banned from the USA (along with his wife at the time and under-age children) because of Sherritt's commercial interests in Cuba, under the terms of the USA's Helms-Burton Act.

Pennant-Rea was chairman of The Stationery Office following its privatisation in 1996. He was a British American Tobacco director from 1998 to 2007. He was also Chairman of Henderson Group, and a non-executive director of several companies such as Go-Ahead Group, a transport company, First Quantum Minerals and Gold Fields, both mining companies.

In July 2009, Pennant-Rea was appointed non-executive chairman of The Economist Group, having served as a non-executive director since August 2006. In July 2018, after nine years, he was succeeded by Paul Deighton. He was chairman at Royal London, and Chairman of PGI, an agriculture company. He was a National Independent director of Times Newspapers. Since retiring from Royal London in 2019, Pennant-Rea has been an angel investors and board member of start-ups related to greenhouse gases reduction such as Cloud-Cycle.

In the non-profit sector, Pennant-Rea is a trustee of the Marjorie Deane Foundation. He was a trustee of Speakers Trust, the UK's leading public-speaking training charity and Chairman of the Shakespeare Schools Festival. Pennant-Rea has written several books about economics and a novel, Gold Foil.

title: Rupert Pennant-Rea


text:
Nasubi

Tomoaki Hamatsu (浜津 智明), better known as "Eggplant" (なすび), is a Japanese comedian and media personality. Hamatsu is best known for appearing on the controversial reality television show Susunu! Denpa Shōnen.

Denpa Shōnen teki Kenshō Seikatsu
Hamatsu was challenged to stay alone, unclothed, in an apartment for Susunu! Denpa Shōnen, a Japanese reality-television show on Nippon Television, after winning a lottery for a "showbusiness-related job". Hamatsu was challenged to enter mail-in sweepstakes until he won ¥1 million (about $8,000) in total. Hamatsu started with nothing (including no clothes), was cut off from outside communication and broadcasting, and had nothing to keep him company except the magazines he combed through for sweepstakes entry forms. After spending 335 days to reach Hamatsu's target, he set the Guinness world record for the "longest time survived on competition winnings".

Hamatsu lived in front of the camera, with only the possessions he won via the sweepstakes (save for basic utilities such as running water, heating and electricity), and the stacks of postcards and magazines required for entering the sweepstakes. Nasubi is the Japanese word for "eggplant"; the nickname was chosen due to his 30 cm long face that was said to be shaped like a Japanese eggplant, as well as the producers having to cover his genitals with an animated eggplant for the television audience when Hamatsu was standing on camera due to his nudity. Hamatsu believed that he was being recorded and the show would be re-broadcast later once the footage had been gathered. In reality, the experiment was being live-streamed, with footage compiled and re-aired each week, complete with sound effects present at frequent intervals, using new tech to have 24/7 television to show him live using a joystick to cover up his genitals.

At first, Hamatsu was surviving on a few crackers each day given to him by production staff so that he would not starve to death. Eventually, Hamatsu won some sugary drinks from his sweepstakes entries, and the crackers were no longer given to him. Later on, Hamatsu won a bag of rice, but having not won any pots or containers with which to heat it, he was forced to eat it raw, but after fashioning a makeshift heating container with a discarded bag, he was able to cook the rice by placing it next to the lit stove; however, canned and kibble dog food became Hamatsu's primary food source for some time after running out of rice. After winning a stuffed toy in a sweepstake, he carried on conversations with it as his sensei, as it was his only sort of interaction. Hamatsu never won clothing he could wear (only ladies' underwear that was too small for him to use), nor did he ever win anything to trim his growing facial hair and fingernails. Hamatsu also won other prizes he was unable to use, like movie tickets and a bicycle. However, he soon adapted the latter into a stationary bike. When Hamatsu won a television set, he was unable to use it at first, as there was no cable or antenna hookup in the apartment (intentional by the producers out of fear he would discover he was already on TV). Hamatsu would then win a PlayStation game, a copy of the train simulator title Densha de Go!, alongside the controller needed to play it.

By this time, the show had become so popular within Japanese households, that people were starting to decipher the location of Hamatsu's flat, with paparazzi, fans, and even the press standing outside without Hamatsu knowing it. As such, producers were forced to procure a new space far away from the original location. Hamatsu was transported blindfolded, and upon uncovering his eyes, he discovered a similar living space, along with all his previously won possessions. When Hamatsu questioned if he had completed the challenge, he was instead told the change of space was for his new address for "renewed luck". As such, Hamatsu continued writing sweepstake entries, with a large chair and desk becoming his first items acquired in his new place he was kept. However, Hamatsu was moved into yet another space after a long streak of misfortune in his entries. In this new space, Hamatsu's TV set became useful when he later won a VCR, which could be used with two previous tapes he had won, and would later win a PlayStation. Hamatsu would end up playing his game for multiple days straight, ultimately forcing himself to stop in order to keep entering sweepstakes, collecting donations & achieve his objectives.

After winning a set of 4 car tires worth around 84000¥ (about $641 in 2024), Hamatsu closed upon his goal, which he finally achieved with a bag of rice, 335 days after starting. After being informed of his victory, Hamatsu was given back his clothes, blindfolded and taken to a surprise location. Hamatsu happily went along believing he was going to get a special prize for his year of hard work. After they removed Hamatsu's blindfold, he found himself in South Korea. Hamatsu was given a day at Seoul Land amusement park, where he was able to enjoy Korean barbecue (his favorite food) and ride on the park's multiple attractions. However, after finishing, Hamatsu was taken to another apartment. Hamatsu was once again asked to take off his clothes and challenged to enter sweepstakes. Although the producers said that if he did not want to do it, he did not have to, he still agreed. This time, the goal was to win enough money to afford a flight on Japan Airlines to return home. However, when Hamatsu quickly met this goal after several weeks of entering competitions, it was revised multiple times, first to afford a ticket in business class, then first class; these goals were also met in a matter of weeks. When Hamatsu had won enough to return to Japan he was blindfolded, clothed and taken to another apartment in Japan. When the blindfold was removed, he looked around, and instinctively took his clothes off, expecting to continue the challenge. However, the walls of the apartment fell away to reveal that he was actually in a TV studio with a huge live audience, who began applauding him for succeeding at the challenge. Hamatsu was confused by this, because he thought the show had not yet been broadcast.

The entire ordeal lasted about 15 months (January 1998–April 1999), during which time Hamatsu's diaries on his experience of being isolated from the outside world became a bestseller in Japan. The television show broke numerous viewing records during its run, with 17 million viewers tuning in each Sunday night.

Hamatsu reported being hot and sweaty wearing clothing for the first six months after his ordeal and had difficulty carrying on conversations for a long time.

In April 2020, Hamatsu tried persuading people to cooperate with the self-disciplined stay-at-home order during the wake of the initial COVID-19 outbreaks by citing his own personal experience with self-isolation.

Hamatsu was the subject of the 2023 documentary The Contestant.

Other activities
After the rigors Hamatsu went through in order to become a famous comedian, Hamatsu was unable to succeed in the variety TV world. Instead, Hamatsu became a local talent in his native Fukushima, as well as a dramatic stage actor, founding the stage troupe Eggplant Way, performing across Japan. He has appeared in Densha Otoko, Trick and Atashinchi no Danshi, and portrayed the character Watcherman in Kamen Rider W. Hamatsu also appeared in the game 428: Shibuya Scramble.

In 2016, Hamatsu successfully scaled Mount Everest after three aborted attempts in 2013, 2014 and 2015.

title: Nasubi


text:
Airieland

Airieland is a farm in the historical county of Kirkcudbrightshire, in the Scottish council area of Dumfries and Galloway. It is found 3 miles (5 km) south of Castle Douglas.

title: Airieland


text:
File talk:Black Rhinoceros.jpg

Is this an image of a white or a black rhinoceros? The information about the image is confusing. Beest 12:09, 9 October 2005 (UTC)
 * It's a white one. The file name is the misleading part. Janderk 15:53, 9 October 2005 (UTC)

title: File talk:Black Rhinoceros.jpg


text:
Erotica (song)

"Erotica" is a song by American singer Madonna from her fifth studio album of the same name (1992). It was written and produced by both Madonna and Shep Pettibone, with additional writing from Anthony Shimkin. In Australia and most European countries, the song was released as the album's lead single on September 29, 1992; in the United States, it was set to be released the following day, but after being leaked and played on several radio stations, the release date was held back until October 13. The song continued Madonna's exploration of spoken word vocals, which she had introduced in "Justify My Love" (1990). A pop hip-hop and dance song with Middle Eastern influences, its lyrics talk about sadomasochism, with the singer using the alter ego Dita and inviting her lover to be submissive while she makes love to him.

Upon release, "Erotica" was generally well received by music critics, with some deeming it one of Madonna's darkest and most experimental songs; in retrospective reviews, the song is now considered one of her best singles. It performed well commercially, debuting at number 13 on the US Billboard Hot 100―becoming one of the highest debuts on the chart history at the time―and peaking at number three. It also saw success on the Hot Dance Club Play chart, where it reached the top position. Overseas, the song was also successful, peaking in the top 10 of several countries, including the United Kingdom, Australia, Denmark, and Portugal. In Finland, Hungary, Italy and Greece, it peaked at number one.

The accompanying music video was directed by Fabien Baron, and features scenes of Madonna dressed as a masked dominatrix interspersed with footage of the making of her Sex book; it is combined with appearances by Naomi Campbell and Isabella Rossellini, among others. The video was highly controversial, being aired by MTV only three times, all after the 10pm watershed, before being completely banned. Madonna has included "Erotica"on four of her concert tours, the most recent being the Celebration Tour of 2023—2024. It was also included on Madonna's compilations, GHV2 (2001), and Celebration (2009), and has been covered and parodied by several artists, including Julie Brown and Sandra Bernhard.

Background and development
In 1992, Madonna founded her own multi-media entertainment company Maverick, consisting of a record company (Maverick Records), a film production company (Maverick Films), and associated music publishing, television broadcasting, book publishing, and merchandising divisions. The first two projects from the venture were her fifth studio album Erotica and a coffee table book of photographs featuring Madonna, entitled Sex. For Erotica, Madonna primarily collaborated with American producer Shep Pettibone; Pettibone first began working with the singer during the 1980s, providing remixes for several of her singles. Pettibone would build the base music of the songs in a style similar to his remixes, while Madonna wrote the melodies and lyrics. According to the producer in an article titled "Erotica Diaries", published on Madonna's Icon magazine, he created a tape of three tracks for Madonna to listen to; he traveled to Chicago, where she was filming A League of Their Own (1992), played the songs for her and she liked all of them. In October 1991, Madonna met with Pettibone in New York City to start working on demos. According to Mark Bego, the first batch of songs they worked on were "Erotica", "Deeper and Deeper", "Bad Girl", "Thief of Hearts", and "Rain". Anthony Shimkin, who also worked on the album, recalled that Madonna had with her a "book full of lyrics and melody ideas".

At first, the singer did not like the songs she had recorded. She wanted Erotica to have a raw edge, as if it were recorded in an alley in Harlem, and not a light glossy production, according to Pettibone. In the case of the title track, the producer revealed that it underwent "numerous radical changes" during the recording process, with four different version being recorded; Madonna would first sing it one way, and then decide to erase everything and start all over again. Shimkin affirmed that the original version was not "as slinky and sexy and grimy and dirty", until the mixing process; at that stage, the song was still an "experimentation", but when they realized it was going to be the lead single from the album, a "different, darker vibe" was taken on. While recording Erotica, Madonna was also working on Sex; for the book, she incorporated a dominatrix alter-ego named Mistress Dita, heavily inspired by German actress Dita Parlo. To accompany the book, Madonna had recorded a song titled "Erotic", described by Pettibone as an "ode to S&M". However, after actually seeing the book, Pettibone suggested that the singer incorporate the dominatrix theme into the song's lyrics: "'You have all these great stories [in the book]', I told her, 'Why don't you use them in the song?'". Madonna left the studio with a copy of Sex with her, came back and recorded her vocals to "Erotica" in a "very dry" way; Pettibone then realized the song "would never be the same again". The chorus and bridge were changed entirely and the song's "psyche" became "sexier, more to the point".

Composition and release
"Erotica" was written and produced by both Madonna and Pettibone, with additional lyrics by Shimkin. Recording took place at Astoria's Sound Work Studios on June 8, 1992; personnel working on the song included Pettibone on the sequencing, keyboard arrangement, and programming, alongside Shimkin and Joe Moskowitz; Dennis Mitchell and Robin Hancock worked as recording engineers, while George Karras was the mixing engineer. The track continued Madonna's exploration of potent spoken-word vocals, which she had previously introduced in her 1990 single "Justify My Love". It samples Kool and the Gang's "Jungle Boogie" (1973), and "El Yom 'Ulliqa 'Ala Khashaba" by Lebanese singer Fairuz. The former sample was Pettibone's idea, as he felt it gave the song a "dark, mysterious" vibe, while the Fairuz sample caused controversy after she stated her vocals had been used without her consent, and said the lyrics He was crucified today, sung in Arabic, were taken from a religious song that is traditionally heard during Good Friday services. This led to a lawsuit that was settled out of court; however, both the single and the album were banned in Lebanon.

Musically, "Erotica" has been described as a pop hip-hop dance song with "scratchy, trip-hop loops" and Middle Eastern influences. According to the sheet music published by Alfred Publishing Inc., "Erotica" is set in common time with a moderate tempo of 120 beats per minute; composed in the key of F-sharp minor, Madonna's vocals span from F♯3 to A4. It follows a chord progression of D/F♯–F♯m–D/F♯–F♯m in the introductory verses. Lyrically, it talks about S&M and begins with a "put-a-record-on scratchiness" sound that mimics a record player; 40 seconds in, the "Jungle Boogie" sample plays in a "disembodied and eerie" way. Madonna invites her lover to be submissive while she makes love to him, and suggesting him to explore boundaries between pain and pleasure, demanding: Give it up, do what I say/ Give it up and let me have my way. The song features "taunting, aggressive" sexually suggestive lyrics, such as, Will you let yourself go wild/Let my mouth go where it wants to, and Put your hands all over my body during the refrain. Also present are maracas and "shimmying horn riff[s]". "Erotic", the version recorded for Sex, described as "more hardcore" by academic Georges-Claude Guilbert, includes lyrics not heard in the final version, such as We could use the cage/I've got a lot of rope/I'm not full of rage, I'm full of hope/This is not a crime and you're not on trial/Bend over baby, I'm going to make you smile.

In Australia and most European countries, "Erotica" was released as the album's lead single on September 29, 1992. In the United States, the planned release date was September 30, but five days prior, several radio stations were already playing the song. According to Billboard, on September 25, Don Stevens from CFTR Toronto had obtained a copy of the single and played it at 10:30 a.m., before getting a cease and desist by Warner Bros. Stevens then accused the label of leaking the single to "benefit from the accompanying publicity", which was denied by Warner Music Canada VP Kim Cooke. In Los Angeles, both KIIS-FM and Power 106 played the song once, but stopped at "the request" of the label. Open House Party aired the single at night on September 26 and 27, via 150 affiliates. "Erotica" was officially released in the US on October 13, 1992. The single was included on Madonna's compilation albums GHV2 (2001) and Celebration (2009), while a remixed form can be found on Finally Enough Love: 50 Number Ones (2022).

Critical reception
Upon release, "Erotica" was generally well received by music critics. For Billboard, Larry Flick referred to it as a "sensual slice of aural sex" that "twists the vibe of 'Justify My Love'", and highlighted the "deep and complex" arrangement. From the same magazine, Joe Lynch named the song a "bold sonic departure" for the singer. Writing for AllMusic, Jose F. Promis classified it as one of the "darkest, most sinister, and most interesting" singles in her catalog. Rolling Stone's Arion Berger wrote that, unlike "Justify My Love", which gathered its "heat from privacy and romance", "[The Madonna of] 'Erotica' is in no way interested in your dreams [...] [the song] demands the passivity of a listener, not a sexual partner". Berger concluded his review by referring to "Erotica" as "insistently self-absorbed — 'Vogue' with a dirty mouth, where all the real action’s on the dance floor". Slant Magazine's Sal Cinquemani deemed it "brilliant". J. Randy Taraborrelli, author of Madonna: An Intimate Biography, pointed out that "['Erotica'] wasn't a surprise for anyone who had been paying attention to [Madonna's] recent music. She had shown her hand earlier with Breathless when she sang 'Hanky Panky', the song about spanking [...] then there was her single 'Justify My Love' [...] 'Erotica' though, was the full-blown music exploration, an exhibition, of what we were to believe was Madonna's sexual reality." The New York Times' Stephen Holden praised the singer's "foggy growl [that] contrasts dramatically with the shrill little-kid voice from [her] earliest records". For Gavin Martin from The Seattle Times, the singer's voice "sounds as though it's coming from somewhere dark and menacing: as far as you can tell it sounds like a man".

Allen Metz and Carol Benson, authors of The Madonna Companion: Two Decades of Commentary, said the track was "a bondage update on 'Justify My Love'". Similarly, while reviewing GHV2, Cinquemani called it a sequel to "Justify My Love", that is "as distantly icy as it was erotic", and a "creative high for a career on the verge of public turmoil". At Blender, Tony Powers considered the song one of the album's standout tracks. In less favorable comments, Anthony Violanti from The Buffalo News said the track was the album's weakest, and dismissed it as a "carbon copy" of "Justify My Love". Cashbox's Randy Clark said that, musically, the single did not offer anything new, and called it a "melody-less 'Vogue'". Charlotte Robinson of PopMatters was also negative on her review; she felt the song did not age well, and referred to it as a "cold, dispassionate sexual fantasy" with "adolescent" lyrics intended to shock. Jude Rogers, writing for The Guardian, opined "Erotica" is an "oddly sexless Sex-era single, not helped by awkward synthesised sighs". Finally, Entertainment Weekly's David Browne panned it as "depressingly trite [...] between its frigid melody and your scary 'My name is Dita' spoken bits, it’s about as sexy as an episode of the Shelley Hack-era Charlie's Angels".

Retrospective reviews have been positive. In 2011, Slant Magazine placed the song at number 34 on their list of "The 100 Best Singles of the 1990s"; Ed Gonzalez praised Madonna's "throaty" vocals for making the song's "taunting, aggressive lyrics —an elaborate exploration of sex, from seduction to disease— feel unmistakably honest". Matthew Jacobs from HuffPost placed the song at number 23 of his ranking of Madonna's singles, calling it a "a period of innovation for the singer". On Gay Star News' ranking, the single came in at number 17; Joe Morgan called it "daring, sexy, and unabashed". Entertainment Weeklys Chuck Arnold considered "Erotica" Madonna's 10th greatest song, and PinkNews Nayer Missim her sixth; the former opined it was "the boldest move she could have made at the height of her career", while the latter said the song was among the "most carefree, unpretentiously sexy music ever released". Arnold also pointed out that with "Erotica", the singer "introduced the pop-diva alter ego: Before Mariah gave us Mimi and Beyoncé gave us Sasha Fierce, [Madonna] gave us the dominatrix Dita". This opinion was shared by Louis Virtel, writing for The Backlot, who named the song Madonna's eight best, and a "hot, smutty grind of a dance anthem".

For Idolator's Mike Wass, the song is Madonna's seventh best lead single, and one of her most "wildly experimental" and interesting. Morgan Troper, for Portland Mercury, named "Erotica" an example of "scary-sexy" Madonna, and one of her "five sexiest songs that aren't 'Like a Virgin'". Scott Kearnan from Boston.com wrote that, "No pop star of her fame has been this sexually transgressive before or since [...] Rihanna sings about 'S&M' like it’s a song about My Little Pony, but [Madonna] dishes on pain, pleasure, and power with the conviction of a whip crack"; he named "Erotica" the singer's sixth best. The song came in the 22nd position of Billboard magazine's list of Madonna's singles, with Lynch hailing it "the boldest, riskiest reinvention in a career full of them [...] An icy declaration that it was time to kick open the doors on kinks and own them without shame". El Hunt from NME wrote: "Defined by sleazy Shep Pettibone beats, orgasmic gasps, and choice lyrics [...] ['Erotica'] makes 50 Shades of Grey look tamer than a fully-domesticated alpaca". From the Official Charts Company, Justin Myers considered the Sex version of "Erotic" to be one of Madonna's "hidden gems". WatchMojo's Lisa Yang placed "Erotica" among Madonna's most underrated songs, adding that it "has aged gracefully thanks to its progressive lyrics and seductive sound".

Commercial performance
On October 17, 1992, "Erotica" debuted at number 13 on the Billboard Hot 100, tying with Mariah Carey's "I'll Be There" as the highest-debuting single in the chart since 1970. One week later, the single peaked at number three behind Boyz II Men's "End of the Road", and "Sometimes Love Just Ain't Enough" by Patty Smyth and Don Henley. "Erotica" was the first song to reach the Hot 100's top three in just two weeks since Michael Jackson's "Black or White", released in November 1991; nonetheless, it was also Madonna's first lead single to not top the chart since 1983. By October 31, 1992, sales took a dip and the single dropped two positions in the chart. Jose F. Promis pointed out that "Erotica" was one of the fastest-rising singles in the chart's history, but also had one of the biggest drops; he attributed this to a backlash the singer faced from the general public, who decided she had gone "too far" following the release of the Sex book. Overall, "Erotica" spent eighteen weeks on the chart, and received a gold certification by the Recording Industry Association of America (RIAA) on December 10, 1992, for shipment of 500,000 copies. The song also saw success on Billboard's Dance Singles Sales and Dance Club Songs charts, reaching the first position of both; it became Madonna's 13th chart-topper on the latter chart. "Erotica" came in at number 48 on the Dance Singles Sales year-end chart for 1993. In March 2014, Billboard reported that the song held the record for the highest debut in the history of the Hot 100 Airplay chart, having entered at number two. In Canada, the single debuted in the 58th position of RPM's Top Singles chart on the week of October 17; it peaked at number 13 the week of November 21, 1992.

In the United Kingdom, "Erotica" debuted at the 11th position of the UK Singles Chart on October 17, 1992, and, 2 weeks later, peaked at number 3; it spent 9 weeks on the chart overall. According to Music Week magazine, 270,800 copies of the single have been sold in the UK as of 2008. In Australia, "Erotica" entered the ARIA Singles Chart at number 16 on the week of October 25, 1992, eventually peaking at 4 and lasting 11 weeks on the chart. The Australian Recording Industry Association (ARIA) certified it Gold for shipments of over 35,000 copies in Australia. In New Zealand, the song debuted at number eight the week of November 1, 1992 and, a week later, reached its peak of number three. "Erotica" saw success across Europe as well; it reached the top three in Norway, Portugal, and Sweden. It topped the charts of Finland, Greece and Italy, and reached the top 10 in Belgium, Denmark, Ireland, the Netherlands, and Spain. The single was less successful in Austria and France, peaking at numbers 15 and 23, respectively. "Erotica" reached the first position of both the European Hot 100 Singles chart and the European Dance Radio Chart.

Background and broadcast
The music video for "Erotica" was shot in August 1992 and directed by fashion photographer Fabien Baron. The video consisted mostly of Super 8 film shot by Baron during Steven Meisel's photo sessions for the book Sex. Billboard's Deborah Russell had previously reported that the singer would shoot two videos for the single: an X-rated one, that would be released as a commercial single, and a G-rated version for broadcast. Madonna later explained that she visualized the clip by closing her eyes and thinking of what was erotic to her, though not necessarily having experienced such things. Inspired by the films of Andy Warhol and The Factory, and Kenneth Anger's 1947 short film Fireworks, the video intercalates scenes of Madonna dressed as a masked dominatrix with a gold tooth, with actual footage of the making of the Sex book; in these scenes, the singer is seen sitting topless in the lap of an older man, kissing model Naomi Campbell, wearing BDSM gear, and riding a bicycle in the nude. Vanilla Ice, Big Daddy Kane, and Isabella Rossellini all make appearances. The scenes of Madonna as a dominatrix were shot in New York's The Kitchen, while shootings for Sex took place at Hotel Chelsea and Times Square's all-male burlesque Gaiety Theatre. Richard Harrington from The Washington Post gave a description of the visual: "In the video, [Madonna] becomes Dita Parlo, a masked, gold-toothed dominatrix from an indeterminate age, ready to help us cross the street at the corner of Pleasure and Pain [...] assuming different dominatrix roles and investigating assorted bondage scenarios before finishing up with some nude hitchhiking on a street remarkable free of pile-ups. Shot in grainy black and white, 'Erotica' has the feel of a stag film, though its quick cuts keep the viewer from seeing all that much". The video had its world premiere on MTV, on midnight October 2, 1992; following a "mercifully short" lecture on BDSM, host Kurt Loder explained that because some people may find the video's content "repellent", it would only be shown at night and not in regular rotation. "Erotica" was shown a total of three times on MTV, all three after midnight, before being completely retired from airing; it became Madonna's second video to be banned by the channel, following "Justify My Love". MTV spokesperson Carole Robinson said that the video would never air in its entirety during days or evenings, but selected parts would air on afternoon dance show The Grind; also from the channel, Linda Alexander explained that the video's themes were "clearly aimed at a more adult audience", lacking appropriateness for the general public. Madonna herself said she understood the channel's ban, as "[MTV] plays to a huge audience and a lot of them are children, and a lot of themes I'm exploring in my videos aren't meant for children, so I understand that they say I can't show it".

Other networks such as NBC and the Times Square screens also refused to air the visual after finding its content "too racy"; Pearl Liebermen, a producer of NBC's Friday Night Videos, found "Erotica" to be "very stimulating", and said that although the network would not air the video, they would report on it. One of the few networks that aired the video was The Box, where it became the number-one music video; the channel's president Vincent Monsey found the clip to be "very well-produced" and did not see any problem with it. On October 19, 1992, MTV began airing the video on its entirety again after midnight, this time with a disclaimer warning viewers of the sexually explicit themes. "Erotica" can be found on Madonna's 2009 compilation Celebration: The Video Collection.

Reception and analysis

Initial reaction to the music video ranged from mixed to negative; Rolling Stone's Anthony DeCurtis noted it was "pretty much normal Madonna fare", but wondered how much longer would she be able to "continue mining sexuality", concluding: "At what point does it just stop being interesting?" Similarly, Michele Romero, writing for Entertainment Weekly, asked, "Haven’t we seen most of this stuff before? Can we be bored with the subject matter already?", and gave the clip a B− rating; Romero furthered criticized the "choppy editing" and the lack of emotion that makes it "difficult to identify with or care about" the video's characters. She concluded her review by deeming the video a "litany of television taboos [rather] than a titillating expression of her sexual fantasies". Anthony Violanti panned it as a "musical and visual dud" that's "about as sexy as Ross Perot". "['Erotica' is] another example of her video overkill [...] [Madonna] has hyped sex to the point of boredom and has become a caricature of herself", Violanti wrote. For Matthew Rettenmund, author of Encyclopedia Madonnica, it is her "most emotionally stark" video, further adding: "[She] looks as evil and daunting as your worst nightmare, or your most sinister fantasy. [...] If Madonna has ever done a video that is truly disturbing, this is it".

In a more positive review, former pornographic actress Candida Royalle applauded the singer for "helping women find equal footing in society" by presenting the subject of erotica and "unconventional sexual behavior". Retrospective reviews towards the visual have been similarly positive; Parade's Samuel Murrian named it Madonna's 20th best music video. Virtel and Idolator's Mike Nied both considered "Erotica" to be Madonna's 17th best video; the former deemed it a "seedy sight, but one that forces you to wonder: Would you let yourself go wild?", while according to the latter, the visual "brought soft porn to the mainstream". For MTV's Kyle Anderson, "[the video] still feels controversial all these years". "Erotica" was considered one of Madonna's most controversial music videos by Cinquemani and HuffPost's Daniel Welsh. At the 1993 Billie Awards, "Erotica" was nominated in three categories: Consumer print, trade print (music) and consumer print (retail), the most for a single entry; it was also included on VH1's 50 Sexiest Video Moments at number 16. Rolling Stone's Eric Harvey named "Erotica" one of "The 15 Most NSFW Music Videos of All Time". Finally, for Eric Henderson from Slant Magazine, "Erotica" is Madonna's 15th greatest music video.

In Justify My Love: Sex, Subversion, and Music Video (2019), Ryann Donnelly wrote that the music video "expands and proliferates" the queer imagery from "Justify My Love"; this can be seen in scenes where Madonna kisses and gropes Campbell and Rossellini, two "classic objects of desire for heterosexual men", according to Donnelly. The author also went on to explain how the singer generates "shock and sexual arousal" by exposing sexual activities usually kept hidden from heteronormativity: drag, bondage, roleplay, homosexuality, and group sex; "[Madonna] unveils honest facets of sexuality, rarely seen in mainstream media [...] [She] elevates and legitimizes these truths and fantasies through her extreme visibility and success".

Live performances
"Erotica" has been included on four of Madonna's concert tours: The Girlie Show (1993), Confessions (2006), MDNA (2012), and Celebration (2023–2024). On the first one, it was performed as opening number, beginning with a topless dancer sliding down a pole dangling high above the stage; then, Madonna emerged dressed as a short-haired dominatrix, wearing a domino mask, sequined black hotpants and bra, long gloves, knee-high boots, and brandishing a riding crop. She rubbed the crop between her legs as she sang, while dancers posed and danced suggestively in the background. On his review of the concert in New York's Madison Square Garden, Jon Pareles from The New York Times pointed out that, "[during] the ethereal Put your hands all over my body in 'Erotica', [the choreography] suggests exercises rather than unbridled passion". The performance recorded on November 19, 1993, at the Sydney Cricket Ground, was included on The Girlie Show: Live Down Under home video release (1994).

For 2006's Confessions Tour, "Erotica" was used on an introduction video that led to "Music" (2000), along with "Borderline" (1984), "Dress You Up" (1985), and "Holiday" (1983). On that same tour, Madonna sang a remix of the song, based on one of the unreleased demos known as "You Thrill Me". She wore a one-shouldered unitard with ribbons of purple Swarovski crystals across the torso, similar to the one worn by the singers of ABBA, designed by Jean Paul Gaultier, and was joined by five couples dancing "mild-mannered steps lifted from a Broadway ballroom scene". Slant Magazine's Ed Gonzalez opined that, "her performance of Stuart Price's 'You Thrill Me' remix of 'Erotica' is a smash: She disco-fies the song but keeps its sex appeal, choreographing it to simple, Latin-infused dance maneuvers that are ecstatic". The performance from the August 15–16 London concerts was included on the singer's second live album The Confessions Tour (2007).

"The Erotic Candy Shop", a medley of "Erotica" and "Candy Shop"―from Hard Candy (2008)―was included on the MDNA Tour of 2012. Madonna sang as a male dancer groped her. The Jerusalem Post's Niv Elis highlighted the performance, which he felt showcased the singer "at her visual best"; on the contrary, Emrah Güler from the Hürriyet Daily News said it was one number that "could have been left out". The performances at the November 19–20 shows in Miami were recorded and released in the MDNA World Tour live album (2013).

Four 2023–2024's the Celebration Tour, "Erotica" was given a boxing theme. The stage had a ring crafted from lasers, while Madonna―who donned a slip dress underneath a boxing robe―cavorted around shirtless dancers wearing glittery gloves. The performance ended with the singer masturbating on a red velvet, flanked by a drag queen dressed in the Jean Paul Gaultier-designed gold corset from 1990's Blond Ambition World Tour. From the BBC News, Mark Savage saw the number as "a reminder of her tumultuous relationships", as the backdrop screens depicted Madonna's current boyfriend, boxing coach Josh Popper.

Other versions and usage in media
The Sex book, the single and its music video, have been parodied several times: in the October 1992 edition of Paper, actress Ann Magnuson said she was going to release a Sex book to accompany her album, Neurotica; "Neurotica" was also the name used to spoof the song and its video on the Fox sketch comedy series In Living Color. In The Edge, also from Fox, Julie Brown―who had previously parodied Madonna's 1991 film Truth or Dare―played the singer discussing Sex on a talk show, and did a spoof of the "Erotica" video; when Sandra Bernhard brought her stand-up show Giving Til It Hurts to New York, she did a short spoof of the song, also called "Neurotica", about a woman who obsessively cleans her house. The Village Voice columnist Michael Musto recreated the nude hitchhiking scene from the Sex book and the "Erotica" music video on the streets of Jersey City; the newspaper sold the posters of the photo for $5-profits, which went to New York's Community Research Initiative on AIDS.

Covers by Pornoland and Razed in Black were included in the 2000 tribute albums Virgin Voices 2000: A Tribute To Madonna, and The Material Girl: A Tribute to Madonna, respectively. Of the latter, AllMusic's Al Campbell said it was one of the album's "more attention-grabbing cuts". In 2005, a cover by Adam Marano was recorded for Tribute to Madonna (Golden Sound); three years later, "Erotica" was covered by Clueless and The Sunset Lounge. "Erotica" was featured in a scene of Madonna's directorial debut Filth and Wisdom (2008).

Track listing and formats

 * US 7-inch and cassette single; Japanese 3-inch CD single
 * 1) "Erotica" (album version) – 5:17
 * 2) "Erotica" (instrumental) – 5:17

 * UK and European 7-inch and cassette single
 * 1) "Erotica" (radio edit) – 4:32
 * 2) "Erotica" (instrumental) – 5:17

 * US CD maxi-single; Japanese CD EP; Digital single (2020)
 * 1) "Erotica" (radio edit) – 4:32
 * 2) "Erotica" (Kenlou B-Boy mix) – 6:27
 * 3) "Erotica" (William Orbit 12-inch) – 6:12
 * 4) "Erotica" (Underground Club mix) – 4:57
 * 5) "Erotica" (Masters at Work dub) – 4:57
 * 6) "Erotica" (Jeep Beats) – 5:53
 * 7) "Erotica" (Madonna's in My Jeep mix) – 5:50

 * UK 12-inch vinyl and 12-inch picture disc; European 12-inch vinyl and CD single
 * 1) "Erotica" (album version) – 5:17
 * 2) "Erotica" (instrumental) – 5:12
 * 3) "Erotica" (radio edit) – 4:33

 * US cassette maxi-single
 * 1) "Erotica" (Kenlou B-Boy mix) – 6:23
 * 2) "Erotica" (Jeep Beats) – 5:48
 * 3) "Erotica" (Madonna's in My Jeep mix) – 5:46
 * 4) "Erotica" (William Orbit 12-inch) – 6:07
 * 5) "Erotica" (Underground club mix) – 4:53
 * 6) "Erotica" (Bass Hit dub) – 4:47

 * European CD maxi-single
 * 1) "Erotica" (William Orbit 12-inch) – 6:07
 * 2) "Erotica" (Kenlou B-Boy mix) – 6:25
 * 3) "Erotica" (Underground club mix) – 4:53
 * 4) "Erotica" (William Orbit dub) – 4:53
 * 5) "Erotica" (Madonna's in My Jeep mix) – 5:46

Credits and personnel
Credits are adapted from the album's liner notes.
 * Madonna – lead vocals, songwriter, producer
 * Shep Pettibone – songwriter, producer, sequencing, keyboard, programming
 * Anthony Shimkin – songwriter, sequencing, keyboards, programming
 * Joe Moskowitz – keyboard
 * Dennis Mitchell – recording engineer
 * Robin Hancock – recording engineer
 * George Karras – mixing engineer

title: Erotica (song)


text:
Biblical genre

A Biblical genre is a classification of Bible literature according to literary genre. The genre of a particular Bible passage is ordinarily identified by analysis of its general writing style, tone, form, structure, literary technique, content, design, and related linguistic factors; texts that exhibit a common set of literary features (very often in keeping with the writing styles of the times in which they were written) are together considered to be belonging to a genre. In Biblical studies, genres are usually associated with whole books of the Bible, because each of its books comprises a complete textual unit; however, a book may be internally composed of a variety of styles, forms, and so forth, and thus bear the characteristics of more than one genre (for example, chapter 1 of the Book of Revelation is prophetic/visionary; chapters 2 and 3 are similar to the epistle genre; etc.).

Academic debate
Within the discipline of literary analysis, the existence and subjectivity of genres are a matter of some debate. This is reflected in academic discussion of Biblical genres. However, isolating the broad genres of the Bible and discerning which books/passages belong to which genre is not a matter of complete agreement; for instance, scholars diverge over the existence and features of such Bible genres as gospel and apocalyptic. Furthermore, some detect subgenres—more narrowly defined compositional categories within a genre—in surrounding historical literature, and speculate that certain books and passages of the Bible may be better denominated by subgenre (e.g., it may be claimed that the book of Philemon is not simply a generic letter, but a personal letter). Despite such differences of opinion within the community of Bible scholars, the majority acknowledges that the concept of genre and subgenre can be useful in the study of the Bible as a guide to the tone and interpretation of the text.

Genres in the Bible
Some of the more generally recognized genres and categorizations of the Bible (note that other systems and classifications have also been advanced) include:

 * Historical narrative/epic:Joshua, Judges, Ruth, 1 and 2 Samuel, 1 and 2 Kings, 1 and 2 Chronicles, Ezra, Nehemiah, Esther, Genesis and the first half of Exodus, Numbers, Jonah, and possibly Acts
 * The Law: the last half of Exodus; also Leviticus, Deuteronomy
 * Wisdom literature: Job, Proverbs, Ecclesiastes
 * Psalms: Psalms, Song of Solomon, Lamentations
 * Prophecy: Isaiah, Jeremiah, Ezekiel, Daniel, Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, Habakkuk, Zephaniah, Haggai, Zechariah, Malachi
 * Apocalyptic literature: Daniel, Revelation
 * Gospel: Matthew, Mark, Luke, John
 * Acts of the Apostles (genre): Book of Acts
 * Epistle (letter): Romans, 1 and 2 Corinthians, Galatians, Ephesians, Philippians, Colossians, 1 and 2 Thessalonians, 1 and 2 Timothy, Titus, Philemon, Hebrews, James, 1 and 2 Peter, 1, 2, and 3 John, Jude

Note also:
 * Fables such as the tale of Jotham (Judges 9:7-15)
 * Parables (2 Samuel 12:1-4, 14:4-9; 1 Kings 20:39 and following; synoptic Gospels)
 * Riddles (Judges 14:14 and following; Proverbs 30:11 and following)
 * Maxims (1 Samuel 15:22, 24:14, and the greater part of Proverbs)
 * Monologues and dialogues in Job 3:3 and following

title: Biblical genre


text:
Airlie

Airlie may refer to:

Places

 * In Canada
 * Airlie, Ontario, Canada

 * In Scotland
 * Airlie, Angus
 * Airlie Castle

 * In the United States
 * Airlie, Oregon
 * Airlie, Minnesota
 * Airlie, Virginia

People

 * Airlie (surname)
 * Earl of Airlie, in the Peerage of Scotland

Other uses

 * Airlie, South Yarra, Melbourne, Australia, a historic house
 * Airlie Beach, an inhabited place in Queensland, Australia
 * Airlie (Natchez), a historic house in Natchez, Mississippi, United States

title: Airlie


text:
Wikipedia:Articles for deletion/Enkephaline

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent 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 Redirect to Endorphin -- (drini's page| ☎ ) 21:13, 19 October 2005 (UTC)

Enkephaline
hoax... user created a few fake neurotransmitters Qaz  ( talk ) 12:11, 9 October 2005 (UTC)

 * Is there anyone here who knows enough about (bio)chemistry to back this claim up? I found it being 'quickdeleted' but it is not obviously a pack of nonsense. If it turns out to be a hoax, I`ll vote 'delete(of course) --Isolani 12:34, 9 October 2005 (UTC)
 * btw isnt Enkephaline just another spelling (german / dutch) for EnCephaline (which acc. to google is a neurtransmitter.. wouldn`t a 'redirect' do?, my 2 cents --Isolani 12:37, 9 October 2005 (UTC)
 * I would think so to if the author had not also tried to pass off Gencer and Cigdem too. Look at the edit history of user 144.122.113.14. Qaz  ( talk ) 13:29, 9 October 2005 (UTC)
 * hmm, I see. best make it a delete, can`t be an accident ! --Isolani 14:26, 9 October 2005 (UTC)
 * The motivation of the person who created the page is unknown and irrelevant. "Enkephaline" is found by the PubMed Search Engine in about 80 published articles; ten of them have "Enkephaline" in the title such as: "The effects of met-enkephaline, leu-enkephaline and tuftsine on guinea pig peritoneal granulocyte functions in vitro". Simply turn the page into a redirect to Endorphin. --JWSchmidt 14:42, 9 October 2005 (UTC)
 * The spelling I recall is enkephalin, which is already a redir. Redirect as above. --Trovatore 14:47, 9 October 2005 (UTC)
 * It's not a 'fake neurotransmitter'. Enkephaline can be found under Endorphin and Neurotransmitter. It's also in basic Biology 30 brain study. -- comment added by User:24.71.223.140

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Airlie, Angus

Airlie (Iarlaidh) is a civil parish in the Scottish council area of Angus. It is the seat of the Earl of Airlie, and the location of Airlie Castle. It comprises Craigton of Airlie, Baitland of Airlie and Kirkton of Airlie. There is a standing stone in a field just east of the Baitland; various Pictish and Roman relics (stone coffins etc.) have been uncovered and the primary school is reputed to have been built on the site of an old graveyard. Airlie also contains one of the finest examples of a Pictish souterrain in Scotland, with the carving of a snake clearly visible in the ceiling.

Airlie Castle is not currently open to the public, however it is remembered in the song The Bonnie Hoose o' Airlie which is mentioned in Robert Louis Stevenson's novel Kidnapped. The song commemorates the burning of the castle (some of the stonework is still black) by the Earl of Argyll, claiming to act on behalf of the anti-royalists, while the earl was away fighting for the Jacobite cause. However, it is also claimed that Forter Castle in Glen Isla was the "bonnie hoose" destroyed in 1640. It is also mentioned in the song Wha'll be King but Charlie?, as performed by The Corries, presumably because it is a good rhyme for "Chairlie".

title: Airlie, Angus


text:
Kalamaki

Kalamaki is the Greek word for a small reed, and thus for a skewer or drinking straw, and may refer to:

 * an alternative name for souvlaki
 * places in Greece:
 * Kalamaki, Attica, a neighborhood of Alimos in South Athens
 * Kalamaki, a village in the community of Limnochori, Achaea
 * Kalamaki, Zakynthos, a resort town on the island of Zakynthos
 * Kalamaki, Patras, a neighbourhood of Patras, Achaea
 * Kalkan, a town in Turkey formerly called Kalamaki

title: Kalamaki


text:
User:Heezy

Below are a few good links for newcomers.

 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Avoid Weasel Terms
 * How to deal with Vandalism?

title: User:Heezy