text:
Micronations/Authors & Contributors

This list is updated automatically by AuthorsAndContributorsBot. Please do not update it manually.

 * 1) w>Gene Poole
 * 2) w>WLRoss
 * 3) w>Centauri
 * 4) w>SmackBot
 * 5) w>Gonda Attila
 * 6) w>Deathlibrarian
 * 7) w>Averette
 * 8) w>Chuq
 * 9) w>Northamerica1000
 * 10) w>Kingboyk
 * 11) w>Seb az86556
 * 12) w>Yopie
 * 13) w>AnomieBOT
 * 14) w>Adolphus79
 * 15) w>JW1805
 * 16) w>FairHair
 * 17) w>Dodi 8238
 * 18) w>Black Falcon
 * 19) w>Afterwriting
 * 20) w>Smile a While
 * 21) w>ClueBot NG
 * 22) w>Georgewilliamherbert
 * 23) w>Sasper
 * 24) w>Frukko
 * 25) w>Jonathunder
 * 26) w>Hiberniantears
 * 27) w>Nexusultima
 * 28) w>Whogue
 * 29) w>Cydebot
 * 30) w>CountryLad
 * 31) w>Shanebb
 * 32) w>Paul A
 * 33) w>Yobot
 * 34) w>Goustien
 * 35) w>Jc4xcat
 * 36) w>Good Olfactory
 * 37) w>Boston
 * 38) w>Zhujiangshuiguai
 * 39) w>Zidel333
 * 40) w>Monkbot
 * 41) w>Outback the koala
 * 42) w>V8americanpower
 * 43) w>MattHucke
 * 44) w>Lung salad
 * 45) w>Floridasand
 * 46) w>Infrogmation
 * 47) w>Addbot
 * 48) w>Hebel
 * 49) w>Mitch Ames
 * 50) w>InternetArchiveBot
 * 51) w>JackofOz
 * 52) w>Bender the Bot
 * 53) w>Jeff in CA
 * 54) w>Hazhk
 * 55) w>Valentinian
 * 56) w>Robert Merkel
 * 57) w>Mais oui!
 * 58) w>StAnselm
 * 59) w>Timwi
 * 60) w>DerBorg
 * 61) w>Light Millennia
 * 62) w>Christian Mac Juane
 * 63) w>Cnbrb
 * 64) w>Atrivo
 * 65) w>JJMC89
 * 66) w>Nightbringer
 * 67) w>Itai
 * 68) w>Tony Sidaway
 * 69) w>Mav
 * 70) w>Danlaycock
 * 71) w>Largoplazo
 * 72) w>Lvov
 * 73) w>Degen Earthfast
 * 74) w>Hmains
 * 75) w>Xigan
 * 76) w>CommonsDelinker
 * 77) w>Bearcat
 * 78) w>BG19bot
 * 79) w>Onecanadasquarebishopsgate
 * 80) w>Vortexentity
 * 81) w>Kintetsubuffalo
 * 82) w>GreenC bot
 * 83) w>KolbertBot
 * 84) w>Zriha
 * 85) w>Chipmunkdavis
 * 86) w>Cuchullain
 * 87) w>SelfQ
 * 88) w>ThiggyD
 * 89) w>Tigerman2005
 * 90) w>PubliusFL
 * 91) w>Finnusertop
 * 92) w>FrescoBot
 * 93) w>Enric Naval
 * 94) w>Bhardwaz
 * 95) w>CheckLips
 * 96) w>Fredgoat
 * 97) w>Saddhiyama
 * 98) w>Can't sleep, clown will eat me
 * 99) w>Auric
 * 100) w>Mujinga
 * 101) w>Lexicon
 * 102) w>Koavf
 * 103) w>Frietjes
 * 104) w>Zanimum
 * 105) w>Ryulong
 * 106) w>Leandrod
 * 107) w>Stravin
 * 108) w>Bierstube Katzen Keller
 * 109) w>Philip Cross
 * 110) w>Guffydrawers
 * 111) w>Pippo2001
 * 112) w>Rsquared906
 * 113) w>Mira
 * 114) w>Bromley86
 * 115) w>EmausBot
 * 116) w>Skinsmoke
 * 117) w>El C
 * 118) w>The Bushranger
 * 119) w>Ser Amantio di Nicolao
 * 120) w>Gaius Cornelius
 * 121) w>Gaia Octavia Agrippa
 * 122) w>Shuki
 * 123) w>Publius Martius
 * 124) w>YurikBot
 * 125) w>Rms125a@hotmail.com
 * 126) w>JeffVegas21
 * 127) w>Bus No. 8
 * 128) w>Lapsed Pacifist
 * 129) w>Pne
 * 130) w>Tpsoete
 * 131) w>Editor2020
 * 132) w>Ellipsis
 * 133) w>Owen
 * 134) w>Lightbot
 * 135) w>Wik
 * 136) w>Harvester
 * 137) w>Srnec
 * 138) w>Nicodemous44
 * 139) w>Alan Liefting
 * 140) w>The Anomebot2
 * 141) w>NewHikaru07
 * 142) w>Helpful Pixie Bot
 * 143) w>Orderinchaos
 * 144) w>OrphanBot
 * 145) w>Timothy Titus
 * 146) w>RjwilmsiBot
 * 147) w>Mulad
 * 148) w>Haploidavey
 * 149) w>Gzornenplatz
 * 150) w>Vzbs34
 * 151) w>AThing
 * 152) w>Micromaster
 * 153) w>3-k-fee
 * 154) w>Northernmost Territories
 * 155) w>Wfeidt
 * 156) w>Deb
 * 157) w>Carlomorino
 * 158) w>Poomfang
 * 159) w>Martinlemberg
 * 160) w>Sunray
 * 161) w>Conchspecialforces
 * 162) w>Nixdorf
 * 163) w>Bryan Derksen
 * 164) w>MartinHarper
 * 165) w>Ealdgyth
 * 166) w>BattyBot
 * 167) w>Pasfcm
 * 168) w>Rjwilmsi
 * 169) w>JonHarder
 * 170) w>Dl2000
 * 171) w>Garry Saint, Esquire
 * 172) w>AnonMoos
 * 173) w>Gob Lofa
 * 174) w>R Lowry
 * 175) w>Ortolan88
 * 176) w>Jao
 * 177) w>Splatt
 * 178) w>Gobonobo
 * 179) w>Karl schroeder
 * 180) w>Isomorphic
 * 181) w>Robin Patterson
 * 182) w>Aidan Work
 * 183) w>Kaiketsu
 * 184) w>Michael MacClancy
 * 185) w>Rich Farmbrough
 * 186) w>Peyre
 * 187) w>Shoy
 * 188) w>Legoktm
 * 189) w>Solar-Wind
 * 190) w>Donald Albury
 * 191) w>CristianoMacaluso
 * 192) w>Caillou's mom
 * 193) w>Capt.J.W.King
 * 194) w>RedBot
 * 195) w>Dbachmann
 * 196) w>RockmanYoshi
 * 197) w>B.Wind
 * 198) w>Neilbeach
 * 199) w>AtD
 * 200) w>Carlstak
 * 201) w>Goodheretic
 * 202) w>VeryVerily
 * 203) w>InfattiVedeteCheViDice
 * 204) w>Ncox
 * 205) w>Silkepølse
 * 206) w>Omnipaedista
 * 207) w>Ceoil
 * 208) w>Nohomers48
 * 209) w>Nihilo 01
 * 210) w>AvicBot
 * 211) w>Necessary Evil
 * 212) w>Giflesund
 * 213) w>Full-date unlinking bot
 * 214) w>Before My Ken
 * 215) w>Mike Rosoft
 * 216) w>Fyrael
 * 217) w>Cmadler
 * 218) w>Pavel Vozenilek
 * 219) w>Sugarandmee3
 * 220) w>RichardWeiss
 * 221) w>Airplaneman
 * 222) w>Mimich
 * 223) w>Dareeude
 * 224) w>Member
 * 225) w>RotlinkBot
 * 226) w>Captainktainer
 * 227) w>Alarob
 * 228) w>Daniel C. Boyer
 * 229) w>Zezizzebezt
 * 230) w>RussBot
 * 231) w>Credema
 * 232) w>Chobot
 * 233) w>Spitzl
 * 234) w>Tabletop
 * 235) w>Alexandru Stanoi
 * 236) w>Karada
 * 237) w>Sven Manguard
 * 238) w>Cyberbot II
 * 239) w>Chris the speller
 * 240) w>Aeiuo
 * 241) w>Alligators1974
 * 242) w>SpellMeRight
 * 243) w>John of Reading
 * 244) w>CactusWriter
 * 245) w>Unidyne
 * 246) w>Poccil
 * 247) w>Bellerophon5685
 * 248) w>BeenAroundAWhile
 * 249) w>Xanatos 2097
 * 250) w>XLinkBot
 * 251) w>Lovkal
 * 252) w>Flyer22 Reborn
 * 253) w>Foofbun
 * 254) w>Sir Steve
 * 255) w>Woohookitty
 * 256) w>Jandalhandler
 * 257) w>Pachucapress
 * 258) w>Isacooper
 * 259) w>IronGargoyle
 * 260) w>Iridescent
 * 261) w>Gpvos
 * 262) w>ImageRemovalBot
 * 263) w>Nick-D
 * 264) w>Ground Zero
 * 265) w>HALLO111689
 * 266) w>Jtrain98
 * 267) w>Lothar von Richthofen
 * 268) w>Thijs!bot
 * 269) w>The Aracuan
 * 270) w>Regulov
 * 271) w>Lebanese blond
 * 272) w>Deror avi
 * 273) w>The Rambling Man
 * 274) w>Deselliers
 * 275) w>Weidibrigi
 * 276) w>Rebrane
 * 277) w>Bluebot
 * 278) w>Jrapoport
 * 279) w>Doug Weller
 * 280) w>SV Resolution
 * 281) w>Slightsmile
 * 282) w>Eik Corell
 * 283) w>RJII
 * 284) w>Mrsexyassbeast12345
 * 285) w>Xaosflux ep
 * 286) w>Ekips
 * 287) w>E4024
 * 288) w>Shellwood
 * 289) w>Lacrimosus
 * 290) w>SieBot
 * 291) w>MadiZone
 * 292) w>Bkonrad
 * 293) w>L33tminion
 * 294) w>Magic links bot
 * 295) w>Liftarn
 * 296) w>Materialscientist
 * 297) w>PeterHuntington
 * 298) w>Blanes
 * 299) w>Sfan00 IMG
 * 300) w>Bfigura
 * 301) w>Shuipzv3
 * 302) w>Bagande
 * 303) w>Howcheng
 * 304) w>CentreLeftRight
 * 305) w>FlaBot
 * 306) w>QwertyCasual
 * 307) w>Ebyabe
 * 308) w>John Quincy Adding Machine
 * 309) w>Mregelsberger
 * 310) w>Eljefe3126
 * 311) w>Elmmapleoakpine
 * 312) w>Emandudeguyperson
 * 313) w>Eregli bob
 * 314) w>Escarbot
 * 315) w>Pjacobi
 * 316) w>Piledhigheranddeeper
 * 317) w>Filedelinkerbot
 * 318) w>Pgk
 * 319) w>DumZiBoT
 * 320) w>Mx. Granger
 * 321) w>Fram
 * 322) w>Myriad
 * 323) w>Jaxl
 * 324) w>Garion96
 * 325) w>OwenBlacker
 * 326) w>Graham87
 * 327) w>Greenshed
 * 328) w>OpenFuture
 * 329) w>Ileanadu
 * 330) w>Grutness
 * 331) w>Hu
 * 332) w>Duncharris
 * 333) w>R'n'B
 * 334) w>STGM
 * 335) w>Davenbelle
 * 336) w>Mic
 * 337) w>Chochopk
 * 338) w>Chris Weimer
 * 339) w>Christian List
 * 340) w>Civa61
 * 341) w>Khazar2
 * 342) w>Rosser1954
 * 343) w>Ronbarak
 * 344) w>Madglad
 * 345) w>Kendall-K1
 * 346) w>Cyde
 * 347) w>Modernantiquehistory
 * 348) w>RhoOphuichi
 * 349) w>RJFJR
 * 350) w>Dawnseeker2000
 * 351) w>Dcirovic
 * 352) w>JzG
 * 353) w>Jtkiefer
 * 354) w>RavenBran
 * 355) w>Raso mk
 * 356) w>Rapido
 * 357) w>Donner60
 * 358) w>DrKay
 * 359) w>DragonflySixtyseven
 * 360) w>Johnpacklambert
 * 361) w>RadicalBender
 * 362) w>Firsfron
 * 363) w>MacRusgail
 * 364) w>Thumbelina
 * 365) w>Wild for kicks
 * 366) w>Alan J. Villarruel
 * 367) w>SpringEvents
 * 368) w>Wikihonduras
 * 369) w>Unquietwiki
 * 370) w>Skomorokh
 * 371) w>Alex756
 * 372) w>Vycl1994
 * 373) w>Anil1956
 * 374) w>VolkovBot
 * 375) w>Zoe
 * 376) w>Year1888
 * 377) w>Tris2000
 * 378) w>Synthebot
 * 379) w>Tawkerbot2
 * 380) w>Twilsonb
 * 381) w>Tamfang
 * w>Δ
 * 1) w>Arminden
 * 2) w>TheNeon
 * 3) w>WWGB
 * 4) w>TheHistoryBuff101
 * 5) w>331dot
 * 6) w>Verne Equinox
 * 7) w>Ottre
 * 8) w>Golfy2013
 * 9) w>Otus scops
 * 10) w>No Guru
 * 11) w>Helohe
 * 12) w>Vapour
 * 13) w>Gimmetrow
 * 14) w>Wedgehead
 * 15) w>Gjks
 * 16) w>PCock
 * 17) w>VanishedUser ewrfgdg3df3
 * 18) w>Hephaestos
 * 19) w>Wavelength
 * 20) w>WAvegetarian
 * 21) w>H3llBot
 * 22) w>Ohconfucius
 * 23) w>Guanabot
 * 24) w>Omicronpersei8
 * 25) w>Nunh-huh
 * 26) w>Grantb
 * 27) w>Grandduke of
 * 28) w>Vicki Rosenzweig
 * 29) w>Nøkkenbuer
 * 30) w>Goodvac
 * 31) w>WebHamster
 * 32) w>Pascal
 * 33) w>Peruvianllama
 * 34) w>GaeilgeSpraoi
 * 35) w>PrimeBOT
 * 36) w>Ex1le
 * 37) w>Everyking
 * 38) w>EuropAir
 * 39) w>Pnu2001
 * 40) w>Toussaint
 * 41) w>Erauch
 * 42) w>Polylerus
 * 43) w>EoGuy
 * 44) w>Porsche-one
 * 45) w>Enok
 * 46) w>Emmette Hernandez Coleman
 * 47) w>Emcee N
 * 48) w>F382d56d7a18630cf764a5b576ea1b4810467238
 * 49) w>Tony1
 * 50) w>Tommybif
 * 51) w>PureBliss
 * 52) w>Tomaradze
 * 53) w>Titoxd
 * 54) w>Ed g2s
 * 55) w>QuartierLatin1968
 * 56) w>Quenhitran
 * 57) w>DuckGooseSwanPenguin199
 * 58) w>Plastikspork
 * 59) w>F705i
 * 60) w>GSoledade
 * 61) w>Francs2000
 * 62) w>GSTQ
 * 63) w>Fuortu
 * 64) w>FuneFeai
 * 65) w>Fundamentaldan
 * 66) w>Pdfpdf
 * 67) w>Pearle
 * 68) w>Peregrine981
 * 69) w>Hibernian
 * 70) w>Avabob
 * 71) w>Freakofnurture
 * 72) w>Tucson Arizona Mexico
 * 73) w>PineScented
 * 74) w>Fr33kman
 * 75) w>Fobia
 * 76) w>FoCuSandLeArN
 * 77) w>Flapdragon
 * 78) w>Finlay McWalter
 * 79) w>Phiwum
 * 80) w>Fernwood1990
 * 81) w>Fastifex
 * 82) w>Treaclecustard
 * 83) w>Pilotguy
 * 84) w>Trappist the monk
 * 85) w>Njk
 * 86) w>Austinplaysmms
 * 87) w>Weegeerunner
 * 88) w>Keylimepieismynamd
 * 89) w>Knight of Truth
 * 90) w>Klausok
 * 91) w>Mh26
 * 92) w>Kizor
 * 93) w>Kittybrewster
 * 94) w>Miami33139
 * 95) w>Kill me when i die
 * 96) w>Kieranandersn
 * 97) w>Kiefer IV
 * 98) w>Micronationalist1999
 * 99) w>Ken Gallager
 * 100) w>Kdammers
 * 101) w>Mild Bill Hiccup
 * 102) w>Yggiw
 * 103) w>KasparBot
 * 104) w>Kamalanand
 * 105) w>Mjpieters
 * 106) w>Mk5384
 * 107) w>Mkpumphrey
 * 108) w>KSFT
 * 109) w>Mliu92
 * 110) w>Moby Dick~enwiki
 * 111) w>Kolokol
 * 112) w>KriZe
 * 113) w>Mongonikol
 * 114) w>Magioladitis
 * 115) w>タチコマ robot
 * 116) w>Mandarax
 * 117) w>יובל מוזס
 * 118) w>Marchije
 * 119) w>Marechal Ney
 * 120) w>Look2See1
 * 121) w>Longhair
 * 122) w>Lightmouse
 * 123) w>Lgnlint
 * 124) w>MastiBot
 * 125) w>Krukouski
 * 126) w>Zumbo
 * 127) w>Lentower
 * 128) w>Matthewcurtis
 * 129) w>Laytar1
 * 130) w>Laurinavicius
 * 131) w>Mckinley99
 * 132) w>Meatsgains
 * 133) w>Medico80
 * 134) w>KylieTastic
 * 135) w>Kusunose
 * 136) w>Mogism
 * 137) w>XxMorboxX
 * 138) w>Where
 * 139) w>JForget
 * 140) w>WikitanvirBot
 * 141) w>Wikipeterproject
 * 142) w>WikiLeon
 * 143) w>WikiHannibal
 * 144) w>Nicholemacgregor
 * 145) w>Widr
 * 146) w>InTheRevolution2
 * 147) w>Ikiroid
 * 148) w>NantonosAedui
 * 149) w>Ihavenolife
 * 150) w>Ifrit
 * 151) w>Nicks100
 * 152) w>Nicodemous~enwiki
 * 153) w>Icairns
 * 154) w>Nightstallion
 * 155) w>Humorous1234
 * 156) w>Hughesdarren
 * 157) w>Horologium
 * 158) w>Hmoul
 * 159) w>Nikosgreencookie
 * 160) w>Narky Blert
 * 161) w>JamesAM
 * 162) w>Jrphayes
 * 163) w>Mrsexyassbeast123
 * 164) w>Jpgordon
 * 165) w>Joshua
 * 166) w>Moop2000
 * 167) w>Jonesey95
 * 168) w>Xqbot
 * 169) w>Moranaspells
 * 170) w>Johnsp1
 * 171) w>John Vandenberg
 * 172) w>Movses-bot
 * 173) w>MrX
 * 174) w>NJHeathen
 * 175) w>Jni
 * 176) w>Mtaylor848
 * 177) w>Xaosflux
 * 178) w>Jhf
 * 179) w>Mushin
 * 180) w>MusikAnimal
 * 181) w>Mxn
 * 182) w>JasterMereel
 * 183) w>Mz7
 * 184) w>Jarble
 * 185) w>Fred.e
 * 186) w>RN1970
 * 187) w>Sn0wflake
 * 188) w>Blue520
 * 189) w>BlueDome
 * 190) w>CzarJobKhaya
 * 191) w>Bobbinb
 * 192) w>Bobrayner
 * 193) w>Andrewman327
 * 194) w>Cybercobra
 * 195) w>Curps
 * 196) w>Curly Turkey
 * 197) w>Brettathus
 * 198) w>THB
 * 199) w>Secretlondon
 * 200) w>Critterkeeper
 * 201) w>Synchronism
 * 202) w>Snigbrook
 * 203) w>Syced
 * 204) w>RoPa
 * 205) w>DGG
 * 206) w>Robertcw72
 * 207) w>Betterkeks
 * 208) w>RhinoMind
 * 209) w>Bert Ernie1984
 * 210) w>TerraHikaru
 * 211) w>Tentinator
 * 212) w>Betacommand
 * 213) w>Tenebrae
 * 214) w>Aotearoa
 * 215) w>Smalljim
 * 216) w>Bgwhite
 * 217) w>Skysmith
 * 218) w>Danger
 * 219) w>Rjensen
 * 220) w>Dalia.negra
 * 221) w>Biotech2007
 * 222) w>Shadowjams
 * 223) w>Angry candy
 * 224) w>Seagull123
 * 225) w>Robertgreer
 * 226) w>BendelacBOT
 * 227) w>Sorenonilsson
 * 228) w>ChrisGualtieri
 * 229) w>CanisRufus
 * 230) w>Chooserr
 * 231) w>Agricolae
 * 232) w>Chiton magnificus
 * 233) w>Chetsford
 * 234) w>Che y Marijuana
 * 235) w>SD5bot
 * 236) w>Stevage
 * 237) w>Champlax
 * 238) w>SISPCM
 * 239) w>SUM1
 * 240) w>SpLoT
 * 241) w>SpringbokSam
 * 242) w>Salvationistdan
 * 243) w>Sageo
 * 244) w>Carlwev
 * 245) w>Ryan2085
 * 246) w>Camerong
 * 247) w>Scott
 * 248) w>Scott5114
 * 249) w>Complainer
 * 250) w>123452571727376r7
 * 251) w>4twenty42o
 * 252) w>CLCStudent
 * 253) w>CmdrObot
 * 254) w>CSouthcott
 * 255) w>ClueBot
 * 256) w>Camdenhaman
 * 257) w>Rumiton
 * 258) w>Calexico
 * 259) w>Straightpress
 * 260) w>Clarkk
 * 261) w>Rwessel
 * 262) w>Citation bot
 * 263) w>Straczynski
 * 264) w>ChuispastonBot
 * 265) w>Sjorford
 * 266) w>AlleborgoBot
 * 267) w>Babymissfortune
 * 268) w>Silvermoonx
 * 269) w>DeltaF508
 * 270) w>Rathfelder
 * 271) w>B4hand
 * 272) w>The ed17
 * 273) w>Ragib
 * 274) w>Dravecky
 * 275) w>Baumfreund-FFM
 * 276) w>Dori
 * 277) w>Bearnmyrthre
 * 278) w>Art LaPella
 * 279) w>Bearian
 * 280) w>Diego Grez Bot
 * 281) w>BatteryIncluded
 * 282) w>This is Paul
 * 283) w>Thebrad50o
 * 284) w>Republic Of Catholiques
 * 285) w>Dominic
 * 286) w>Dickus Maximus
 * 287) w>Ratemonth
 * 288) w>Dewritech
 * 289) w>Tholme
 * 290) w>Thewinchester
 * 291) w>Siafu
 * 292) w>Arceupins
 * 293) w>Ausir
 * 294) w>Deisenbe
 * 295) w>Atypicaloracle
 * 296) w>Shocktm
 * 297) w>Sherurcij
 * 298) w>Arielkoiman
 * 299) w>DepartedUser4
 * 300) w>Muro Bot
 * 301) w>Scanbus
 * 302) w>MarkiPoli
 * 303) w>Schmalls
 * 304) w>SimonArlott
 * 305) w>Sidar
 * 306) w>Mehrdad84h
 * 307) w>דוד שי
 * 308) w>Mashford
 * 309) w>Xoloz
 * 310) w>Mortein
 * 311) w>Scott Gregory Beach
 * 312) w>Mottengott
 * 313) w>Master Thief Garrett
 * 314) w>Xiaopo
 * 315) w>Xgu
 * 316) w>Ms2ger
 * 317) w>Masentaa
 * 318) w>Xezbeth
 * 319) w>Marx01
 * 320) w>Schuetzm
 * 321) w>Snowman304
 * 322) w>Schneelocke
 * 323) w>SnowyNinja
 * 324) w>Marudubshinki
 * 325) w>Wvlifeguard
 * 326) w>Marcocapelle
 * 327) w>Nakon
 * 328) w>Majora
 * 329) w>Sandstein
 * 330) w>רפאל גורי
 * 331) w>Wittylama
 * 332) w>Sidoroff-B
 * 333) w>😂
 * 334) w>Winston Spencer
 * 335) w>Sigehelmus
 * 336) w>WoffieWIKI
 * 337) w>Samboy
 * 338) w>Nasnema
 * 339) w>Wingsandsword
 * 340) w>Natalie Erin
 * 341) w>WingsOnceBot
 * 342) w>Spartaz
 * 343) w>Natalyakautz
 * 344) w>Nautilator
 * 345) w>Mallarme
 * 346) w>NGBates
 * 347) w>Soetermans
 * 348) w>Satori Son
 * 349) w>Sideup
 * 350) w>Manxruler
 * 351) w>Mutley29
 * 352) w>MuzikJunky
 * 353) w>Sawconqueredcame
 * 354) w>Ww
 * 355) w>My name is not dave
 * 356) w>Mysdaao
 * 357) w>Malo
 * 358) w>Woodywyatt
 * 359) w>MystBot
 * 360) w>Mangokeylime
 * 361) w>Woodlot
 * 362) w>Solitude
 * 363) w>Silverhill
 * 364) w>SassoBot
 * 365) w>N.M.Sheedy
 * 366) w>MorganHaggis
 * 367) w>Montrealais
 * 368) w>Moremarkable
 * 369) w>Zahid Abdassabur
 * 370) w>Miamiboyz
 * 371) w>McGehee
 * 372) w>ZappaOMatic
 * 373) w>Slashme
 * 374) w>Michael Hardy
 * 375) w>McGeddon
 * 376) w>Zppix
 * 377) w>Yst
 * 378) w>Zazaban
 * 379) w>Michig
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title: Micronations/Authors & Contributors


text:
Women's Writing Before Woolf: A Social Reference/Hannah More (1745–1833)

= Hannah More (1745 - 1833) = Hannah More was a British writer, renowned for her playwriting and poetry, as well as her accomplishments in the fields of abolishment, philanthropy and religion. Remembered for her traditionally-conservative ideologies, More's work focused primarily on the impression of moral, religious and political understandings throughout her literature, and the education of the poor through the public distribution of her writing.

Early Life
The second youngest of five daughters to Jacob More, Hannah More was born into the parish of Stapleton, Gloucestershire in England on 2nd February 1745. Throughout her early life and childhood, More was exposed and heavily influenced by the world of educators and the Presbyterian Church, led by her father - who was a schoolmaster in nearby Bristol. Alongside her sisters, More was initially home-schooled by her father and older siblings in Latin, mathematics, French and rhetoric, and in turn, began writing from a young age. In 1758, her father established a girls' boarding school in Bristol, in which More was enrolled from the age of twelve and remained a pupil into her young adulthood.

Marriage and Later Life
In 1767, More gave up her share in the school when she became engaged to William Turner of the Belmont Estate, Wraxall in Somerset, whom she had met when he began teaching her cousins. After six years their wedding had not taken place. Turner seemed reluctant to name a date and in 1773 the engagement was broken off. It seems this led More into a nervous breakdown, from which she recuperated in Uphill, near Weston-super-Mare. She was persuaded to accept a £200 annuity from Turner as compensation, which freed her for literary pursuits.

In the winter of 1773–1774, she went to London with her sisters, Sarah and Martha – the first of many such trips at yearly intervals. Some verses she had written on David Garrick's 'King Lear' led to an acquaintanceship with him.

She later moved to Bath where she lived between 1792–1802 on Great Pulteney Street.

An overall influence of growing up in an environment of loving, intellectual and predominantly female environment plays a vital role in the topics and penmanship that More displays within her writings[2].

Death
Hannah More lived until the age of 88 and passed away on the 7th September 1833, in Bristol Gloucestershire. She is also notably the first female writer in recorded history to have made profit from her writings, leaving behind 30,000 pounds which she bespoke to a number of charities and religious societies. Even in her death, she was remembered for her generosity and outreach, especially to those that were considered less fortunate within her local community[3].

Her Literary Career and Other Work
Hannah More’s work extended far beyond her works in education and charity, writing some of the most acclaimed literature by a female writer during her time. The piece of poetry that acted as a catalyst towards her success in British literature - a predominantly male-centric field - was ‘The Bleeding Rock’. This poem was inspired by the rocks present in her Belmont estate, and encompassed a number of religious references and influences. In particular, it made note to purity, raptures and an absence of vanity - displaying the Christian views held by many of the time period - and as such, resonated quite strongly with the British public.

Early Writing and Publication
Still in her teens and young adulthood, More began to publish a number of her playwrights during the 1770s and early 1780s, several of which were staged by small theatre companies and schools throughout Britain. Some of her early work included a pastoral and moral dialogue for girls titled A Search After Happiness (published in 1773), and a set of verse plays on biblical allegories known as Her Sacred Dramas (1782) which remained in print until the mid-19th Century [5]. Her first known play to be performed live was the blank verse poem, The Inflexible Captive, which was stage in Bath in 1775 and detailed the life of Roman consul, Marcus Atilius Regulus, and his prominent role in the Roman wars against Carthage.

The Demise of her Career
During the late 1770s and early 1780s, More then moved to London to further pursue her career in writing. Throughout this period, she was able to make acquaintance with a number of notable political and societal figures. The remainder of More’s time in London consisted of continuing to produce a number of her plays. She was able to produce and stage Percy: A Tragedy (1777), but not long after decided to give up playwriting at the death of her mentors Garrick and Johnson. During this period, many also considered her final play, The Fatal Falsehood (1779) to be a failure.

More's Philanthropy
Despite her withdrawal from writing, More remained in London where she involved herself with a number of religious figures, as well as a group of evangelical Christians who were against the slave trade. These experiences, as well as the influences of the individuals around her, prompted More's conversion to evangelical Christianity and the beginning her work towards abolishment of the Slave Trade. Her benvolent work following this religious transition still resonates today and is recognised as having enduring significance to the history of slavery in Britain.

After a period of time spent in London, More then decided to return home to Bristol. Despite leaving London, she still had a relationship to notable figures in abolishment such as William Wilberforce and John Newton. In Bristol, More resumed her composition of a number of poems underpinned by her political impression of the foundational need to abolish slavery. In particular, her poem, Slavery, A Poem (1788) was written to coincide with William Wilberforce’s appeal to Parliament regarding the dismantlement of the slave trade. In the years to follow, More wrote a similar poem in regard to slavery titled The Sorrow of Yamba (1795), which detailed the story of an enslaved woman.

The final additions to Hannah More’s work continued to address topics of religion, most notable of which being her book ‘Village Politics’ (1792)[4]. This piece especially addressed the public of Britain at the time with a particular focus on encouraging the poor to have faith, repent and turn to God. While still holding on to her beliefs of the importance of education, More also opened schools for children and literary clubs for women where she worked alongside others to teach literacy and religious doctrine.

Reputation and Legacy
Much of Hannah More’s legacy impacted the people of her time, but her influence in the school of education is still prevalent in the modern world today. In terms of her works in being an evangelical Christian, More’s writings and works for Christians of the time is seen as a beacon of expression and allowed for the people of the time to resonate with her works.

Within the field of education More provided education for the low-socioeconomic people of Britain and she has several schools in the modern world such as ‘Hannah More Public School’, in her hometown of Bristol. Furthermore More’s works in the abolishment of the slave trade in the context of Britain also remains a focal point of her works and legacy that extend beyond just her works and writings.

The use of her platform as well as her talents in writing contributing towards the act of abolishing the slave trade symbolises the character, generosity and values that Hannah More withheld and why she is seen as the most successful women’s writer of the time. Although her health prohibited her from having a direct role in the slave abolishment bill that was passed in the year 1806, it is without question that the literature created by More had an influence over the passing of this law[5].

Further Readings
[https://www.jstor.org/stable/40755336#metadata_info_tab_contents Nardin, Jane. “Hannah More and the Problem of Poverty.” Texas Studies in Literature and Language, vol. 43, no. 3, 2001, pp. 267–84. JSTOR].

This academic article addresses the philanthropic and evangelical actions of Hannah More, elaborating upon the financial aid she received, and the extents in which she exerted herself. This article is largely biographical, foremostly detailing her deeds in the town of Cheddar over a fourteen year period (e.g., establishing schools, and financial benefit schemes for those that had attended). It makes particular mention of her belief in popular education, and opposition to those who feared "a literary working class would have access to propaganda" (p.268). This article is exceptional in highlighting the atypical beliefs and actions of Hannah More during her period of generosity and philanthropy, though also makes note of the criticisms that proceed her work, including the note that her education system made no attempt to improve the material position of those within it.

[https://www.tandfonline.com/doi/pdf/10.1080/09612020100200286 Nardin, Jane. "Hannah More and the Rhetoric of Educational Reform." Womens History Review, 2001, 10:2, 211-228]

This article makes particular note of the Evangelical, educational reforms that Hannah More attempted to make, utilising the following works as examples for such;

 * In Strictures on the Modern System of Female Education (1799)

 * Hints Toward Forming the Character of a Princess (1805)

 * Coelebs in Search of a Wife (1808),

It is particularly critical of the inculcation of Christian principals within her pedagogical doctrine, and highlights the features of her female centric reforms. Most interesting to this article is that it notes her agreeance with eighteenth-century pedagogical theories, which were incoherent with the theoretical ideals of her writings. It suggests that this was done in order to promote her program both effectively and practically.

"This rhetorical strategy was a success in practical terms, but prevented her from achieving coherence as an educational theorist" (211).

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


text:
User talk:Johnkop4

Welcome, Johnkop4!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally.

--Xania   talk 01:36, 3 November 2022 (UTC)

title: User talk:Johnkop4


text:
User talk:190.151.165.110

You cannot edit for 3 days due to disruptive editing. You are welcome to contribute constructively when editing privileges are restored. You may appeal this action with a reasonable argument by adding the text below.

--Xania   talk 05:13, 3 November 2022 (UTC)

title: User talk:190.151.165.110


text:
Wikijunior:Raspberry Pi/Raspberry Pi Enigma Machine

Presentation
GCHQ and Raspberry Pi Foundation CC-BY-SA 4.0

Based on the Raspberry Pi OctoPi tutorial: https://projects.raspberrypi.org/en/projects/octapi-brute-force-enigma

What is the Enigma machine?
An Enigma machine is a device used for encrypting and decrypting messages. It was developed in the early 20th century and was used extensively by the Germans during World War II to encode their military communications.

The Enigma machine was famously broken by Alan Turing and his team at Bletchley Park, who developed techniques for cracking the Enigma code. This played a crucial role in the Allied victory in World War II, as it allowed them to intercept and decode important messages sent by the Germans.

How does the Engima machine work?
YouTube

The Enigma machine consists of:
 * a keyboard for typing in the message
 * a series of rotors that perform the encryption and decryption
 * a reflector that bounces the electrical current back through the rotors in the opposite direction

The rotors can be set in different positions, allowing for a large number of possible combinations and making it difficult for an attacker to decode the message.

Worksheet
Consulting your Enigma settings sheet, you find out that the settings for today are as follows:

What is the decrypted message?
Here is the secret message:
 * 1) Open Python 3, then open the file called
 * 2) Type in the chosen rotors between the green quote marks   next to.
 * 3) Now type in the letters for the rotor start position between the green quote marks   next to.
 * 4) Type in the message key   between the green quote marks   next to.
 * 5) Type in the plaintext which is the secret message.
 * 6) Run the program by pressing the F5 key (say yes to saving).

Can you decrypt this message?
Use the same Enigma settings but don’t forget to change the message key:

Encrypt a message

 * 1) Open Python 3, then open the file called
 * 2) Type in the chosen rotors and the rotor start position again from the settings sheet
 * 3) Type in the message key   between the green quote marks   next to.
 * 4) Run the program and check it works – the resulting cipher text should be   for the plain text.

Now it’s time to encrypt your own message!

 * Choose a different three letter  and type it in
 * Choose a different plaintext message and type it in. Make sure there are no spaces!
 * Run the program, then write down the encrypted key and the cipher text and give it to someone else to decrypt

Challenge
Decrypt this message:

Brute force attack
You need to know the Enigma settings to be able to decrypt the message!

Here are today's settings. Unfortunately, someone has spilt some ink on the rotor settings 😟

Crib text is where you know both the plain text and the cipher text. Crib text: WEATHER Cipher text: VZTLMPU Can you decrypt this message using a brute force attack if you know the crib text and part of the settings?

Brute force attack

 * 1) Open Python 3, then open the file called.
 * 2) Type in the crib text and the corresponding cipher text.
 * 3) Run the brute force attack to find the rotors and the message key.

Decrypt the message
Now open the  program you used before. Type in the  setting, and this time you will need to type in the ring and plug board settings from the settings sheet as well. Type in the  you found via the brute force attack. This time we already know the decrypted message key. Find this line of code: .

Change it to say  where   is the three-letter key you found in the brute force attack.
 * What is the secret message?

Final challenge
18/05/18

Setup
This tutorial uses the py-enigma module by Brian Neal to provide the Enigma machine functionality.

You can install a copy of py-enigma on your Raspberry Pi (or your computer) by running this command from the Terminal:

Files
The original PDFs for this tutorial are available on Wikicommons:


text:
ORCID Advocacy Toolkit/Audiences

Who is your audience?
Are you promoting the benefits of ORCID to researchers or writing an elevator pitch to senior leadership?

The information you need will vary depending on your audience.

This section provides guidance based on the following audience types.

Researchers
Researchers can be divided both by subject / discipline and career stage -

The Researcher Audience section looks deeper into those profiles, at the differing messages and appropriate means of communication

title: ORCID Advocacy Toolkit/Audiences


text:
ORCID Advocacy Toolkit/So you would like to....

Plan a special promotion on ORCID with some prizes?

 * See some examples

Create some attractive visuals to promote ORCID?

 * See some examples

Use Twitter to promote ORCID?

 * The UK ORCID Community Space on Teams has some examples of using Twitter. Please contact help@jisc.ac.uk for access.
 * See some examples of Twitter.

Include ORCID in institutional policy?
See examples


text:
Guide to the Godot game engine/Authors & Contributors

This list is updated automatically by AuthorsAndContributorsBot. Please do not update it manually.


text: User talk:96.42.214.122

title: User talk:96.42.214.122


text:
Women's Writing Before Woolf: A Social Reference/Mary Prince (1788–1833)/2

= Mary Prince (1788-1833) =

Biography
Mary Prince was born at Brackish-Pond, Bermuda on the 1st of October 1788 to an African slave family. Her mother was a house-servant of Charles Myners. Her father was a sawyer owned by David Trimmingham. And Prince had three brothers and two sisters.

In her early life she was sold multiple times around the Caribbean, notably in 1800, to Captain John Ingham and his cruel wife, who flogged their servants often as “an ordinary punishment for even a slight offence” (Prince & Strickland, 1831). Prince was then sold to a salt raker in 1806. The conditions were poor and then were “often forced to work up to 17 hours” ("Mary Prince", 2022). In 1810, a Bermuda master and his daughter bought Prince and she recalled being physically abused by her master often and was forced to wash him to avoid more beatings. In 1815, Mary was sold once more to John Adams Wood. She worked as a domestic slave and began to suffer from rheumatism, which hindered her ability to work ("Mary Prince", 2022).

In 1817 she was baptized as part of the English Church.

In Antigua, 1826, “Prince married Daniel James, a former slave who had bought his own freedom” ("Mary Prince", 2022).

Eventually Prince was brought to England in 1828, continuing as a servant to the Woods family. Adams Wood refused to emancipate Prince, this meant as slavery remained legal in Antigua, Prince could not go back to her hometown, and her husband, without being captured and given back to Wood.

Literary Works
Prince was illiterate, but told the story of her life to Susanna Strickland, a lady who served as secretary to London’s Anti-Slavery Society. Strickland wrote Prince’s slave history and life, and it was published as ‘The History of Mary Prince’ in 1831. It is known to be the first account of a black female slave in the United Kingdom. The written accounts of the brutal reality of enslavement and the cruelty Prince faced were a considerable influence on the growing anti-slavery movement.

After the publishing of Prince’s account and the commotion it caused, and her freedom from a life of slavery in roughly 1828, it is not known if she ever returned to her husband in Antigua. Very little is known about her life after her book was published. Scholar MacFadyen notes that “…there is a very strong possibility that she returned to Antigua in the fall of that year. [1833]” (Maddison-MacFadyen, 2010) but there are no actual records of her later life and movements.

Reputation and Legacy
Prince’s book had critical effects on the publics’ opinion. It was printed three times in its first year. Prince’s personal recount was something that touched many people as anti-slavery was a growing movement at the time. Although there were people that said it was a great inaccuracy. James MacQueen, editor of The Glasgow Courier, and “large critic of the anti-slavery movement”, framed Prince as a “despicable” tool of the movement ("Mary Prince", 2022). On the other hand, in more recent history, “In 2012, Mary Prince was recognized as a National Hero of Bermuda, and beginning in 2020, August 2nd is celebrated as Mary Prince Day in Bermuda.” (Maddison-MacFadyen, 2010).

Prince was a rebel who influenced a crucial political and social movement, that changed the world dramatically. “In 2007, the Museum in Docklands opened a new gallery and permanent exhibition entitled London, Sugar & Slavery, which credits Prince as an author who "played a crucial role in the abolition campaign".” ("Mary Prince", 2022). To this day Prince’s legacy lives on, in 2018, to mark her 230th birthday a Google Doodle was dedicated to her. ("Mary Prince", 2022).


text:
Women's Writing Before Woolf: A Social Reference/Kim F. Hall/2

= Kim F. Hall =

Biography
Professor/Doctor Kim F. Hall was born in 1961 in Baltimore, Marland. Her mother is the Honourable Vera Hall (The Honorable Vera Hall’s Biography, 2004.), and her grandmother Drusilla Hall. (Kim F. Hall | Duke Forum for Scholars and Publics, n.d.). Little is known of Hall’s early life.

Education
Hall attended Hood College as an undergraduate. Afterwards, she studied for her PhD at the University of Pennsylvania, focusing on sixteenth and seventeenth-century English Literature (Wikipedia contributors, 2020).

Career
Hall went on to teach at the University of Pennsylvania, Swathmore College, Georgetown University and Fordham University (Wikipedia contributors, 2020)

Her academic focuses are listed as follows:

●“Shakespeare and Renaissance literature

●Black feminism

●Critical race theory

●Slavery

●Material culture

●Depictions of race in literature”

(Kim F. Hall | Barnard College, n.d.)

Literary Works
Hall's first publication was ‘Things of Darkness’ in 1996, which is described as “evocations of blackness in the contexts of sexual politics, imperialism, and slavery in early modern England.” (Hall, 1996)

Her second book ‘Othello, the Moor of Venice: Texts and Contexts’ from 2007, is described by the publisher as follows, “The primary documents contextualize race and religion in the Renaissance, gender relations, military life, the passions, the notion of the "Other" in early modern England” (Othello, the Moor of Venice: Texts and Context, 2007.).

Reputation and Legacy
Professor Hall is currently “Lucyle Hook Chair, Professor of English and Africana Studies, at Barnard College” (Marshood, 2021) and is currently working on “a book, tentatively entitled Sweet Taste of Empire, which examines women, labour, and race in the Anglo-Caribbean sugar trade during the seventeenth century.” (Marshood, 2021)

On the Barnard University website, they go into detail about their current employee and their achievements. She joined Barnard in 2006 and is still there in 2022.

“In 2014, Barnard Library and Academic  Information Services (BLAIS) recognized her as their Inaugural Library Partner of the Year” (Kim F. Hall | Barnard College, n.d.)

“In 2015 she won a Tow Award for Innovative Pedagogy for The Digital Shange Project.” (Kim F. Hall | Barnard College, n.d.)

“Professor Hall has won several prestigious fellowships, including a National Humanities Center Fellowship; a  Fellowship at the Schomburg Center for Research in Black Culture; an NEH fellowship at the Newberry Library in Chicago; and an ACLS fellowship.” (Kim F. Hall | Barnard College, n.d.)

“Hall was named one of 25 "Women Making a Difference in Higher Education and Beyond" by Diverse Issues in Higher Education for 2016 and Alumnae of the Year for Hood College in 2018.” (Kim F. Hall | Barnard College, n.d.)


text:
Salut, Jonathan!/Kapitl 4

Kapitl kuatrim (kapitl 4)
Keloke es Jonathan? Eske li stand in Wien? No, il stand in otr urb. Il stand in Bistrița. Kekos es Bistrița? It es urb in Rumania. Voyaj komens sitempe in Rumania.

Jonathan skrib in sue diurnlibr. “In unim mai mi esav in München. In duim mai mi esav in Wien. Mi esav posteriore in Budapest. Budapest esav bel. Ma mi no avav temp in Budapest. Mi visav strad in Budapest. In Budapest, mi pensav: uest fini siloke, e ost komens siloke. Budapest es diferant.”

Il pens nemulte plu di Budapest. Il pens: “Mi es hom, kel veni eks Anglia, eks London. Mi parl lingu anglik, kause homi in Anglia parl lingu anglik. Ma in Budapest, mi no parlav lingu anglik ko homi; mi parlav lingu german. Mi no konos bene lingu german, ma homi in Budapest no parl lingu anglik. Noi parlav in lingu german. It es interesant, ke homi in Budapest parl lingu german.”

Jonathan pens sitempe di sue voyaj. Il pens: “Mi esav in musé in London. In musé esav libri di otr land. Mi lektav libri. In musé esav karti geografiik di otr land. Mi visav karti geografiik. Libri e karti geografiik dik, ke otr land es distant, ma it es interesant. In otr land es homi mult, homi diferant mult.”

Jonathan pens plu di sue voyaj. Il pens: “Mi esav presidiurne in Klausenbeg. Mi edav in Klausenberg. Nom de edad esav “paprika hendl”. Edad in Klausenburg es multe bon. Hotel esav bon, ma mi no dormav bene. Ma land es multe bel! In tren mi visav burgi mult e kasteli mult. Urb es plu grand ka burg, ma burgi es multe bel. Kastel es plu grand ka hotel, e it es plu bel ka hotel! Burgi es minu grand ka urbi, ma ili es bel, e hoteli es minu grand ka kasteli.”

Jonathan skrib plu in sue diurnlibr: “Bistrița es lok interesant. Bistrița es lok ansian – plu ansian ka otr loki. Mie hotel in Bistrița es et ansian – plu ansian ka otr hoteli. In hotel mi dikav mie nom: ‘Mi es Jonathan Harker’ e ili dikav a mi: ‘Velkom a hotel.’ In hotel mi visav letr pro mi. Mi lektero sitempe mie letr.” Jonathan lekt sue letr. It dik:

“Mie amik – Velkom. Dorma bene. Mi es in Bukovina, venia a Bukovina if it plis. Eske voyaj eks London esav bon? Mie land es multe bel. Vilkom a mie land.

Votr amik, DRACULA.”

Jonathan lekt letr e il pens di sue amik, Komt Dracula. Ki il es? Jonathan no konos, ma sie amik es interesant. Burg de Bistrița es et interesant. Jonathan es felis e il pens di sue amik. Il dorm posteriore.

-a (= !)

 * Dracula dik a Jonathan: “Venia a Bukovina!” → Jonathan voyajero a Bukovina.

bene

 * Homi in Anglia parl bene lingu anglik, ma ili no parl bene lingu german.

et

 * Urb es ansian. Hotel es et ansian. (Urb es ansian, et hotel es ansian).
 * Amik de Jonathan es interesant. Bistrița es et interesant. (Amik de Jonathan es interesant, et Bistrița es interesant).

ili

 * Un vir es “il”. Du, tri, kuatr... viri es “ili”.
 * Un libr es “it”. Du, tri, kuatr... libri es “ili”.
 * Un vir e un libr es “ili”.

kause

 * Jonathan voyajero a Bukovina, kause Dracula dikav a il: “Venia a Bukovina!”
 * Jonathan es felis, kause Bistrița es interesant.

ki?

 * “Ki” es pro homi: Ki es Dracula? Il es amik de Jonathan.

ko

 * Jonathan es in tren, et sie amik es in tren. Jonathan dik: “Mi es ko mie amik.”

plu ka, minu ka

 * plu ka: >
 * Jonathan es plu grand ka diurnlibr. = Jonathan > diurnlibr (Jonathan es grand, diurnlibr no es grand).
 * Edar bifstek es plu bon ka no edar bifstek. = Edar bifstek > No edar bifstek (It es bon edar bifstek; it no es bon no edar bifstek).
 * minu ka: <
 * Dom es minu grand ka kastel. = dom < kastel (Kastel es grand, dom no es grand).
 * Edar diurnlibr es minu bon ka edar bifstek. = edar diurnlibr < edar bifstek (It es bon edar bifstek; it no es bon edar diurnlibr).

plural
Plural es -i.

 * Un libr. Du, tri, kuatr... libri.
 * Un lok. Du, tri, kuatr... loki.
 * Un urb. Du, tri, kuatr... urbi.

sie, sue
il, it → sie (sue)

 * Jonathan am land de Komt Dracula. Jonathan am sie land (= land de Komt Dracula).
 * Jonathan av letr. Jonathan lekt letr. Jonathan lekt sue letr (= letr de Jonathan).

vo, votr

 * Jonathan ed edad. Hom dik: “Vo ed. Eske votr edad es bon?” (votr = de Jonathan).
 * Jonathan pens di Dracula. Il pens: “Dracula, vo es vir bon. Votr land es multe bel.” (votr = de Dracula).

Paroli

 * amik
 * anglik, Anglia
 * lingu anglik 💬 🇬🇧
 * Angl·ia 🇬🇧
 * burg: urb, kel no es grand.
 * diferant: ≠
 * difer·ant
 * distant
 * Jonathan es sidiurne in tren, il esav presidiurne in tren, e il esero posidiurne in tren. Rumania es distant.

 * dom: 🏠

 * dormar 💤
 * edad: 🍱
 * german, Germania
 * lingu german 💬 🇩🇪
 * German·ia 🇩🇪
 * hom:🧍
 * hotel
 * ili
 * kart geografiik: 🗺
 * kastel: 🏰
 * ko
 * komensar
 * komt: vir, kel av kastel.
 * land
 * letr
 * libr
 * lingu
 * lok
 * musé 🏛: dom grand, kel av libri ansian e karti geografiik ansian.
 * nemulte: no multe
 * nom
 * ost: 🧭→
 * otr
 * Jonathan veni eks Anglia. Il no veni eks Rumania. Rumania es otr land. (= Rumania no es Anglia, it es otr land).
 * parlar: 💬
 * sie, sue
 * siloke
 * strad
 * uest: 🧭←
 * velkom
 * veni

title: Salut, Jonathan!/Kapitl 4


text:
SPM/Julia

SPM and Julia
Julia is a modern programming language with excellent numerical computing abilities.

SPM.jl

 * SPM.jl

title: SPM/Julia


text:
Women's writing Before Woolf: A Social Reference/Maria Edgeworth (1768-1849) (2)

= Maria Edgeworth (1768-1849) =

Biography
Maria Edgeworth (January 1, 1768 – May 22, 1849) was an English writer, most well-known for her literary children’s books, as well as her views on politics, education, and civil life. She was born in Black Bourton, a small village in Oxfordshire, England. Her father, Richard Lovell Edgeworth, was a distinguished writer, politician and inventor. Her mother, Anna Maria Edgeworth, passed away when Maria was only five years of age, at which time Maria left England to live with her father and stepmother in County Longford, Ireland, at the Edgeworth estate (Ó Gallchoir 717).

From an early age, Maria was influenced by intellectuals, and learned members of the Lunar Society. Her father initiated her education by teacher her about economics, law, literature, and science. She would later become her father’s assistant in managing their family estate, and later still, would collaborate with her father in an academic sphere – where she excelled, even beyond her father.

Edgeworth’s work was in many respects ahead of her time, and her educational research and theories were again brought to prominence in the second half of the twentieth century, with Jerome Bruner’s work on scaffolding (Jeung and Kellog 510).

Works
Maria’s work has been marked by her talent for social and character observation, a notable theme which had made Edgeworth a popular literary figure (Harmon 324). This practical and evidential writing style gave her work authority. Her first published work is recognised as Castle Rackrent, which follows four generations of the Rackrent family through their lives revolving around their estate (Connolly 668). The first unpublished work, which has come to the knowledge and recognition of modern scholars, is ‘The Double Disguise’, written in 1786. This juvenilia text is an example of how Edgeworth’s later work was influenced by early formations of understanding and thought in language. This play centres around Charles Westbrook, a returning soldier from war, who twice disguises himself, as a way to test the integrity and fidelity of his wife -to-be, Dolly. In the play, Edgeworth toyed with Irish colloquialisms and regional dialects (UNSW).

Maria’s follow up works include two articles ‘Letters for Literary Ladies’ written in 1795, and ‘Practical Education’, written later in 1798. The first of these articles, ‘Letters for Literary Ladies’, was a comment on the power relations between men and women in the eighteenth-century, and while the ideas discussed sought to advance women in society, they were nonetheless criticised by some women. These contemporaries offered the argument that Edgeworth’s work does little to advance women, and may even be detrimental to the integrity of women novelists (Mullen 234).

‘Practical Education’ is the first research work by Edgeworth, and focuses on educational reforms and new practices. These theories and strategies were trialled at the family estate in Ireland, on around ten of the children residing there at the time. This work draws on ideas from educational scholars such as John Locke and Jean-Jacques Rousseau, and puts forth the argument that early childhood experiences are formative to the future development of humans (Chandler 95). The theories speculated also consider the process of aiding children in developing their knowledge through play, and the disadvantages of rote in certain contexts. These are theories which have been established as accepted and educational practices in the twentieth and twenty-first century (Ridout et al. 860, Ulfers et al. 1475). Edgeworth was encouraged by her father Richard, and this exemplifies the importance which a nurturing figure had in her development. Although it is noted by some scholars that Edgeworth was in a way always spurred on, by encouragement from her father, rather than taking interest in writing inherently.

Legacy
Maria Edgeworth was a prominent figure in educational research, and the theories which she agreed on and those which she formed herself, have in many cases been accepted in modern educational research, ratifying her observational power in relation to childhood (Jeung and Kellog). Edgeworth was also an outspoken and critical voice in the role of women in society, and the power relations which dictated women’s lives in her time. Furthermore, Edgeworth’s sympathies for the Irish made her a non-explicit protestor for the colonial rule which England enforced on its neighbour (Manly 770).

Edgeworth may also be considered as a forebearer of Young Adult fiction, and her ability to immerse herself in narrative, and form realistic and believable characters outside of herself, is a testament to her creative skill. Her experience with a large number of siblings may certainly have contributed to her understanding of the varying child identities and spectrums that exist. These multitudes of voices may have given her a small sample of what childhood across society.

Through her works, Edgeworth presented to readers the importance of civic duties, which included the relationships between humans, and the need to for patience and kindness, to grow better opportunities for future generations.

Edgeworth’s questioning of Irish identity, and identity in general, as well as pressing questions on the direction of education, made her a leading expert. Many people in Britain, Ireland, and the rest of Europe, saw her work as an important, building on the ideas of renaissance thinkers and theorists.


text:
Saluto, Jonathan!/Chapitre 4

Chapitres – Chapitre 3 – Chapitre 4 – Chapitre 5

Quaresmi chapitre (4.esmi chapitre)
Vor es Jonathan? Ob lo stea in Wien? No, lo stea in diferanti urbe. Lo stea in Bistrița. Quum es Bistrița? Lum es urbe in Rumania. Nun komensa li voyaje in Rumania.

Jonathan skripte in lon jurnale: "Li unesmi maye me esed in München. Li duesmi maye me esed in Wien. Aftru me esed in Budapest. Budapest esed beli. Ma me non have tempe in Budapest. Me vidad li strade in Budapest. In Budapest me pensad: hir fina li veste, e hir komensa li este. Budapest es diferanti."

Lo pensa pokim plu pri Budapest. Lo pensa: "Me es persone quo veni de Anglia, de London. Me parla anglum, pro li persones in Anglia parla anglum. Ma in Budapest me non parlad kun li persones in anglum; me parlad in germanum. Men germanum non es boni, ma li persones in Budapest non parla anglum. Nus parlad in germanum. Es interesanti ke li persones in Budapest parla germanum."

Nun Jonathan pensa pri lon voyaje. Lo pensa: "Me esed in li musee in London. In li musee esed libres pri altri lande. Mi lekted li libres. In li musee esed kartes pri altri lande. Me vidad li kartes. Li libres e li kartes dikted ke li altri lande es ferni, ma interesanti. In li altri lande es multi persones, multi diferanti persones."

Nun Jonathan pensa plu pri lon voyaje. Lo pensa: "Yer me esed in Cluj-Napoca. Me manjad in Cluj-Napoca. Li nome del manjaje esed "paprika hendl". Lum es tre boni, li manjaje in Cluj-Napoca. Li hotele esed boni, ma me non dormid bonim. Ma li lande es tre beli! In li trene me vidad multi burges e multi kasteles. Urbe es plu grandi kam burge, ma li burges es tre beli. Kastele es plu grandi kam hotele, e plu beli kam hotele! Burges es min grandi kam urbe, ma les es beli, e hoteles es min grandi kam kasteles."

Jonathan skripte plu in lon jurnale: "Bistrița es interesanti loke. Bistrița es oldi loke, plu oldi kam altri lokes. Anke men hotele in Bistrița es oldi, plu oldi kam altri hoteles. In li hotele me dikted men nome: "Me es Jonathan Harker" e les dikted a me: "Bonvenio al hotele." In li hotele me vidad letre por me. Nun me sal lekte men letre."

Jonathan lekte lon letre. Lum dikte:

"Men amiko. — Bonvenio. Dormi bonim. Me es in Bukovina, plesa veni a Bukovina. Ob li voyaje de London esed boni? Men lande es tre beli. Bonvenio a men lande.

Vun amiko, DRACULA."

Jonathan lekte li letre e pensa pri lon amiko Komto Dracula. Quo es lo? Lo non sava. Ma lon amiko es interesanti. Anke li burge Bistrița es interesanti. Jonathan es felisi, e pensa pri lon amiko. Aftru lo dormi.

title: Saluto, Jonathan!/Chapitre 4


text:
User:Wikibook3213/sandbox

= I am the page title =

title: User:Wikibook3213/sandbox


text:
Saluto, Jonathan!/Chapitre 5

Chapitres – Chapitre 4 – Chapitre 5 – Chapitre 6

Quaresmi maye (= 4 maye)
Disdi Jonathan sal voyaja a Komto Dracula. In li hotele lo vida li hotelero, e vida letre de Komto Dracula in li manu del hotelero. Lo dikte al hotelero in germanum: "Saluto, plesa dona li letra a me." Li hotelero dona li letre a lo.

Aftru lo questiona in germanum: "Quum es li letre? Quum Dracula skripted in li letre?" Ma li hotelero dikte: "Me non parla germanum, me non parla germanum." Jonathan pensa: "Stranji! Yer me parlad kun li hotelero in germanum, e nun lo dikte ke lo non parla germanum! Pro quum?" Lo questiona li hotelero: "Ob vu sava quo es Komto Dracula?" ma nun li hotelero non parla.

Jonathan pensa: "Stranji! Me parlad kun li hotelero in germanum. Lo deve parla germanum, ma lo dikte ke lo non parla lum! Me deve questiona lo plu, ma me non have tempe. Me deve departa."

Nun Jonathan es in lon chambre in li hotele. Un hore after nun lo deve departa. Ma regarda! Oldi fema veni a lon chambre.

Li oldi fema: "Pro quum vu departa? Plesa non departa! Disdi non es boni die! Es mali die, die kun mali koses!"

Jonathan: "Me es bon, me vada tu vida amiko. Plesa non parla pri mali koses."

Li oldi fema: "Ob vu non sava ke disdi es li die de Sankto George? Klok dekdu (12) li mali koses sal veni! Ob vu sava vor vu vada?"

Jonathan: "No no, oldi fema, omnum es boni. Me es boni, e disdi non sal veni mali koses."

Li oldi fema: "Plesa non departa! Plesa non departa!"

Jonathan: "No, me deve departa. Plesa non plora."

Li oldi fema: "Hir es krusifixe. Li krusifixe es por vu."

Jonathan: "Ah…li angles non ama krusifixes…ma danko. Plesa non plora." Jonathan pensa: "In Anglia nus ama kroses, ma non krusifixes. In Rumania li persones ama krusifixes, non kroses."

Nun li oldi fema vada e Jonathan es soli in lon chambre. Lo pensa: "Disi loke es stranji! Un oldi fema qua dona krusifixes! Ma me deve departa."

title: Saluto, Jonathan!/Chapitre 5


text:
Saluto, Jonathan!/Chapitre 6

Chapitres – Chapitre 5 – Chapitre 6 – Chapitre 7

Sinkesmi maye (5 maye) — Li kastele.
Disdi Jonathan sal vada al kastele de lon amiko Komto Dracula. Li voyaje al kastele komensa nun. Jonathan stea devan li dilijense e varta li dilijensero. "Vor es li dilijensero?" lo pensa. "Ah, hir es li dilijensero — lo parla kun li hotelero. Pri quum los parla? Me non have tempe e me deve departa."

Jonathan vida sirk li dilijense, e vida multi persones. Li persones parla multim, ma lo non komprenda li persones. Jonathan pensa: "Pro quum les es tristi? Me non es tristi. Me pensa ke disum es stranji loke, ma me non es tristi." Lo vida ke li persones parla, e mova li manus. Lo vida lesen manus…quum les fa kun lesen manus? Ah! Nun lo komprenda. Les mova lesen manus kom krusifixe. Lesen manus non es krusifixes, lesen manus es kom krusifixes.

Li dilijensero veni. Nun komensa li voyaje. Jonathan sida se in li dilijense. Anke li altri persones sida se in li dilijense. Jonathan vida li lande sirk lo, e pensa ke lum es beli. Es multi arbres. In disi lande es multi pomes, e multi prunes, pro ke es multi pomieres e prunieres. Lo dikte: "Mmm! Li pomieres es tre beli, e me voli manja lesen pomes." Lo vida anke pires, pro ke es multi pirieres in dis lande. Lo dikte: "Tre boni! Li pirieres es tre beli, e me voli manja lesen pires. Me ama li arbres del foreste." Ma li dilijense kontinua, e kontinua…lum es tre rapidi dilijense! Pro quum li dilijense vada rapidim? Lo vida li vie, kel non es boni vie; lum es oldi. Ma li dilijense vada rapidim! "Ob li dilijense deve vada rapidim si li vie es oldi e non es boni vie?" lo pensa. Li dilijensero ama vada rapidim, lo pensa.

Nun li dilijense vada in foreste. Fernim lo vida montes. Li montes es tre grandi, e anke li foreste es tre grandi. Jonathan pensa pri li montes in Anglia. Lo pensa ke li montes in Anglia es tre mikri, plu mikri kam li montes in Rumania.

Sirk li dilijense Jonathan vida, de tempe a tempe, altri persones. Les es persones de disi lande. Disi lande have diferanti persones fro li persones in ti lande Anglia. Li persones in disi lande viva in li foreste, ma li persones in ti lande, Anglia, viva in li grandi urbes. E lo pensa pri li krose e li krusifixe. Yes, li persones in disi lande, Rumania, ama krusifixes, ma li persones in ti lande, Anglia, ama kroses.

Qui klok es? Es klok six. Kand Jonathan sidad se in li dilijense, esed li matine. Plu tardi venid medidie. Medidie es klok 12. After venid after-medidie; after-medidie es li tempe after klok 12. Ma nun es vespre. Quum es vespre? Vespre es li tempe kand li sune non es alti, ma es basi. Nun li sune es tre basi.

Kand Jonathan esed in li dilijense ye medidie, esed varmi. Ye medidie Jonathan pensad: "Me senti varmi! Me deve drinka!" Ma nun, kand es klok six, li sune es basi, e non es varmi; es koldi. Nun lo pensa: "Me senti koldi! Vor es li sune?" Kand Jonathan senti varmi, es varmi, e kand lo senti koldi, es koldi. Jonathan non voli senti varmi, ma lo non voli anke senti koldi. Lo non amad senti varmi, ma nun lo non ama senti koldi.

Jonathan denove dikte: "Vor es li sune?" e lo dikte: "Quand li voyaje fine? Vor es li kastele de men amiko Komto Dracula?"

title: Saluto, Jonathan!/Chapitre 6


text: Saluto, Jonathan!/Printable version

title: Saluto, Jonathan!/Printable version


text:
Salut, Jonathan!/Kapitl 5

Kuatrim mai (4 mai)
Jonathan voyajero sidiurne a Komt Dracula. In hotel, il vis hoteler, e il vis letr de Komt Dracula in manu de hoteler. Il dik a hoteler in lingu german: “Salut, dona letr a mi if it plis.” Hoteler don letr a li.

Posteriore, il interog in lingu german: “Kekos es letr? Kekos Dracula skribav in letr?” Ma hoteler dik: “Mi no parl lingu german, mi no parl lingu german.” Jonathan pens: Kuale estran! Mi parlav presidiurne ko hoteler in lingu german, e il dik sitempe, ke il no parl lingu german! Kekause? Il interog hoteler: “Eske vo konos, ki es Komt Dracula?” Ma hoteler sitempe no parl.

Jonathan pens: “Kuale estran! Mi parlav ko hoteler in lingu german. Il deb parlar lingu german, ma il dik, ke il no parl it! Mi deb interogar il plu, ma mi no av temp. Mi deb partar.”

Jonathan es sitempe in sue kamr in hotel. Il deb partar po un hor. Ma ekse! Femin ansian veniav a sie kamr.

Femin ansian: “Kekause vo part? No parta, if it plis! It no es sidiurne diurn bon! It es diurn mal, diurn ko kosi mal!”

Jonathan: “Mi es bon. Mi and visar amik. No parla di kosi mal.”

Femin ansian: “Eske vo no konos, ke it es sidiurne diurn de Sankt George? In hor desdu (12), kosi mal veniero! Eske vo konos, keloke vo and?”

Jonathan: “No, femin ansian, omnikos es bon. Mi es bon, e kosi mal no veniero sidiurne.”

Femin ansian: “No parta! No parta!”

Jonathan: “No, mi deb partar. No lakrima.”

Femin ansian: “Ekse krusifiks. Krusifiks es pro vo.”

Jonathan: “A! Angliani no am krusifiksi, ma mi mersi vo. No lakrima, if it plis.” Jonathan pens: “In Anglia, noi am krusi, ma noi no am krusifiksi. In Rumania, homi am krusifiksi, ma ili no am krusi.”

Femin ansian sitempe and, e Jonathan es sol in sue kamr. Il pens: “Ist lok estran! Femin ansian, kel don krusifiksi! Ma mi deb partar.”

kos

 * kosi:
 * vir, hotel, krus, krusifiks, anglian, sankt...
 * no kosi:
 * pensar, lakrimar, ekse, ma, if it plis...
 * Ili av un, du, -i: un (1) vir, du (2) hoteli, un (1) krusifiks, tri (3) angliani, sankt... ili es kosi.
 * Ili no av un, du, -i: pensar, lakrimar, vo, ma, ples...ili no es kosi.

-er
Vir, kel av hotel, es hoteler. Jonathan and a hotel e il parl a hoteler.

debar
debar + infinitiv de verb:

 * Jonathan no have temp; il deb partar.
 * Ma hoteler konos lingu german; il deb parlar lingu german!

ekse
ekse = visa, it es...

 * Ekse femin = Visa, it es femin.
 * Ekse hotel = Visa, it es hotel.

-ian
-ian = vir, kel veni da land.

 * Jonathan veni da Anglia (Angl·ia); il es anglian (angl·ian).

Pro femin: -iana.

 * Femin ansian es rumaniana (ruman·ian·a)

ist

 * It es sidiurne 4 mai. Ist diurn es 4 mai.

mersiar

 * Hoteler don letr a Jonathan. Jonathan dik: “Mersi!” u “Mi mersi vo!”

omnikos

 * Omnikos es bon = no es kos mal (es des kosi, e des kosi es bon).
 * Omnikos es mal = no es kos bon (es deskuink kosi, e deskuink cosi es mal).
 * Mi konos omnikos = no es kos, kel mi no konos.

Paroli

 * andar: andar ⟷ veniar
 * anglian: 🧍♂🇬🇧
 * donar
 * deber
 * ekse: 👀❗
 * estran
 * femin: vir ↔ femin
 * hoteler
 * interogar: 💬❓
 * kamr
 * kekause
 * kos
 * krus ✝, krusifiksi
 * lakrimar: 😢
 * ma
 * mal 👎: bon ↔ mal
 * manu: 🖐
 * mersiar
 * omnikos
 * plis
 * sankt: 😇
 * sol
 * Jonathan e femin es in kamr. Jonathan no es sol.
 * Jonathan es in kamr, ma femin no es in kamr. Jonathan es sol.

title: Salut, Jonathan!/Kapitl 5


text:
User talk:Jorjamichele

Welcome, Jorjamichele!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally.

--Xania   talk 01:27, 4 November 2022 (UTC)

title: User talk:Jorjamichele


text:
User talk:Stocator

The game is ended if you outside the tunnel
In this state, operations can go on indefinitely. For the players, energy tiles are spread out along the path Stumble guys. Additionally, it's important to keep an eye on your moves because if you leave the tunnel, the game is over. Stocator (discuss • contribs) 01:48, 4 November 2022 (UTC)

title: User talk:Stocator


text:
Women's Writing Before Woolf: A Social Reference/Betty Travitsky

 Betty Travitsky (1942-)

 Bibliography:

Betty Travitsky (who also writes as Betty S. Travitsky, Professor Betty and Dr Betty S. Travitsky). Born in 1942, Travitsky is an American Scholar, who writes from within New York City. Travitsky has been academically active across many decades, with her publication timeline beginning scholarly activity in 1976 and continuing up until 2020. Travitsky’s roles in academic publication include scholarly writings, reviews, journal articles, editorial roles, and accomplishments as publishing director. In light of this broad plethora of roles and contributions, Travitsky is an Independent Scholar and has remained so throughout her academic career, despite many contributions to institutions such as the Arizona Centre for Medieval and Renaissance Studies. Travitsky has to her name 232 scholarly works which span across 592 publications. Travitsky’s work centres around the early writings of women and authorship, examining renaissance and early works and their context. Travitsky, within her scholarly career, has re-examined the canonical understanding of renaissance writings and the voices of both men and women, examining interstices and authenticities. Betty Travitsky was a founding member of the Society for the Study of Women in the Renaissance, as well as the Attending to Women Conferences, held at the University of Maryland. Travitsky, within her academic timeline, was also a member of the Advisory Board of the Centre for Renaissance & Baroque Studies, also at the University of Maryland.

 Works:

Travitsky’s work on Renaissance women’s literature spans from 1976 to 2020, providing forty four years of contribution to the historical and literary understandings of women in early literature, and opening the conversation which disrupts canonical understanding. Apart from journal articles and other scholarly reflections, Travitsky has published or edited over 35 books that are currently available. Some of Travitsky’s most reputable and popular works include but are not limited to:

The Paradise of women : writings by Englishwomen of the Renaissance

In this anthology, Travitsky outlines and pulls apart to work and writings of Englishwomen in the Renaissance period, using this work to build and identify a typical lifestyle for the average woman. Travitsky provides identification of the conflicting social nature of women in society – amongst themselves and within the patriarchy. The clashing relationships between women of different classes or backgrounds and the clashing relationships between women and men are explored. Travitsky particularly focuses on the alignment with women as individuals, wives and especially mothers.

The Renaissance Englishwoman in print : counterbalancing the canon

Betty Travitsky, along with co-author Anne Haselkorn, focus on five authors in this series of essays to examine commonalities and contrasts within these authors and their canonical places in the historical and literary understandings of early women’s writings. The authors centralise their examination on the authors Mary Wroth, Elizabeth Cary, Mary Sidney, Rachel Speght and Elizabeth Egerton. These examinations enlighten the reader on the impact of male judgement and power, not only in a patriarchal environment but in an environment of authorship and publication. The essays attempt to bring these authors to the level of their contemporary counterparts and compare and contrast the contemporary subjectivity.

Subordination and authorship in early modern England : the case of Elizabeth Cavendish Egerton and her "loose papers"

In this work, Betty Travitsky explores the ‘loose papers’ of Elizabeth Cavendish Edgerton, alongside her ublished authorship. Authorship is something which Travitsky expresses much frustration about surrounding Elizabeth Cavendish Egerton in this book, describing difficulty with unfinished and undocumented archives, which presented gaps in history as well as low quality papers digitised papers which could not be deciphered due to methods of ill-preservation. Travitsky follows the same path as she did in ‘The Paradise of women : writings by Englishwomen of the Renaissance’ in this book, with a more centralised focus and attempted identification of points of authorship throughout Cavendish’s life.

 Reputation/ Legacy:

Betty Travitsky, as an Independent Scholar, is one of the most trusted and cited voices in the current study of Renaissance and early women’s writing. Having such a long and spanned academic career as an Independent Scholar has eventuated in Travitsky being a central and leading voice in the understanding of early women’s writing, referenced often in regard to her analysis of manuscripts and letters, and celebrated for her strong de-canonisation of the understanding of women’s voices. Travitsky’s establishment as a founding member of both the Society for the Study of Women in the Renaissance and Attending to Women Conferences has created a longevity and sustainable community, providing centrality to the study of early women’s writings and an opportunity for students and scholars to network. Betty Travitsky remains one of the strongest and most influential voices in the study of Renaissance and early women’s writing.

 References:

“Betty Travitsky.” Library Thing, https://www.librarything.com/author/travitskybetty.

“Betty Travitsky.” Oxford Bibliographies, https://www-oxfordbibliographies-com.ezproxy.newcastle.edu.au/ViewContributor/document/obo-9780195399301/obo-9780195399301-0136.xml?id=con0832.

Egerton Elizabeth Cavendish and Betty Travitsky. Subordination and Authorship in Early Modern England : The Case of Elizabeth Cavendish Egerton and Her "Loose Papers". Arizona Center for Medieval and Renaissance Studies 1999.

Kennedy, Gwynne. Renaissance Quarterly, vol. 46, no. 1, 1993, pp. 168–70. JSTOR, https://doi.org/10.2307/3039157. Accessed 18 Oct. 2022.

Haselkorn Anne M and Betty Travitsky. The Renaissance Englishwoman in Print : Counterbalancing the Canon. University of Massachusetts Press 1990. I https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=22395. Accessed 18 Oct. 2022

Schnell, Lisa J. "A review of" Subordination and Authorship in Early Modern England:" by Betty S. Travitsky." (2002).

Travitsky Betty. The Paradise of Women : Writings by Englishwomen of the Renaissance. Greenwood Press 1981.

“Travitsky, Betty 1942.” [WorldCat Identities], 1 Jan. 1990, http://worldcat.org/identities/lccn-n80084133/.

Wright, Elizabeth. Review of "The Paradise of Women: Writings by Englishwomen of the Renaissance", ed. Betty Travisky (Book Review), Review of The Paradise of Women : Writings by Englishwomen of the Renaissance by Betty Travitsky Renaissance and Reformation, vol. 8, no. 1, p. 52.

 Further Reading:

Cavendish, Elizabeth, and Betty Travitsky. "Subordination and Authorship in Early Modern England: The Case of Elizabeth Cavendish Egerton and Her "Loose Papers"." Medieval and Renaissance Texts and Studies, vol. 208, 1999.

Haselkorn, Anne M., and Betty Travitsky. The Renaissance Englishwoman in Print: Counterbalancing the Canon. University of Massachusetts Press, 1990.

Travitsky, Betty. The Paradise of Women: Writings by Englishwomen of the Renaissance. Columbia University Press, 1989.


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Women's Writing Before Woolf: A Social Reference/Alexander Dyce (2)

Biography:
Alexander Dyce, born on June 30th, 1789, was a Scottish editor who took interest a number of writers works, most notably William Shakespeare. Throughout Dyce’s time analysing and editing the works of prominent individuals of his time, his work is described to be extremely honest and detailed, considered in the eyes of scholars to contain immense integrity[1]. Alexander Dyce was born in Edinburgh where he spent majority of his childhood and received his high school education. Dyce later moved to London to receive his higher education, becoming a student at the University of Oxford in which he studied a Bachelor of Arts and immersed himself deeply in the world of literature. This point in Dyce’s life holds extreme significance as it provided him the knowledge to further improve his literary skills making him a credible writer and allowing him to interpret texts of prominent figures of this period. During his time as an undergraduate Dyce edited a dictionary of the language of Shakespeare, acting as his first notable piece of work in the world of literature. For a short period of time after graduating from the University of Oxford, Dyce served as a curate in Cornwall and Suffolk, this was seen as common from a number of figures within this context of 19th century England due to the influence religious factors had upon individuals of the public. After serving in religious duties Dyce then settled in London where he devoted himself to literature and published majority of his works. Dyce then died on May 15th, 1869, living to the age of 80 and dying in London, the region in which he spent majority of his lifetime as an editor and writer.

Works:
Throughout Alexander Dyce’s lifetime he was responsible for publishing a plethora of texts ranging from poetic analysis, editorial texts as well as a number of his own personal play writes. The National Art Library, located in London England possesses ‘The Dyce Collection’,[2] a text that withholds a vast array of Alexander Dyce’s work. This collection holds literacy from a number of topics and authors of the period in which Dyce was undertaking study in literature. The text contains an abundance of classic secular scholarly works that Dyce closely analysed during his time of writing. Although this collection is not original writings from Dyce himself it still acts as a reflection of his character and the works that he considered significant during his time devoting himself to writing in London. Upon the multitude of works created by Dyce, his most notable piece of writing was his six-volume edition of the works of Shakespeare [3](1857; rev. 1864-67) which was seen as a significant contribution to 19th century Shakespearean scholarship. Chronologically speaking Dyce’s first books were that of translations of the following texts including,’ Quintus Smyrnaeus’ (1821), and ‘Specimens of British Poetesses ‘(1825), establishing himself in the world of poetic analysis. Additionally, other aspects of Dyce’s work that was critically acclaimed was his annotated editions of works from a multitude of authors. This includes the works of significant figures such as George Peele, Robert Greene, John Webster, Thomas Middleton, Marlowe and Beaumont and Fletcher. In the later years of his career Dyce published an edition of the works of John Skelton (1843), a British born satirical poet and in doing this revived his interest in this particular 16th century poet[4]. Through his close ties with a number of literary societies Dyce was also able to undertake the publishing of a number plays from this specific period. Due to his presence within literary societies Dyce was able to publish ‘Kemp’s Nine Days’ Wonder for the Camden Society, a writing that depicts the rather odd actions of one of the individuals who had resigned from Shakespeare’s company. Other notable works that links Dyce to Shakespeare was his publication of the old plays including ‘Timon of Athens’ (1842), and ‘Sir Thomas More’ both published by him for the Shakespeare society. Alexander Dyce’s career depicts that of an individual who took care and integrity while analysing a number of works from a number of writers, ensuring that his texts were viewed through a lens of approval from fellow scholars. His close ties to a number of literary societies made him a valuable figure to a number of the cultures active during 19th century English literature.

Reputation/Legacy:
Through the eyes of modern-day scholars, Alexander Dyce is viewed as a writer who has produced a number of highly credible pieces of literature. It is also stated that he contributed to the works of women’s writers during the time which is often overlooked due to his other works associated with Shakespeare to have claimed more fame. It is stated Dyce “published a remarkable anthology of poetry by women writers from Juliana Berners to L.E. Landon”[5], (Salzman, 2018). He was also viewed as a credible source in depicting his context and the texts within it with Salzman writing “Dyce’s volume not only exemplifies the remarkably catholic taste of the nineteenth century editor, but it also serves as a paradigm for how the transmission of texts by the early modern women continued into the nineteenth century”. This further solidifies the overall positive reputation and legacy that Alexander Dyce’s writings hold due to the fact it touches on a multitude of components of early modern literature, ranging from renaissance poetry and extending into the women’s writings that was prominent throughout his career as a writer. These comments made by a modern-day scholar as well as the republication of his works of ‘Will Kemp’s 9 Days Wonder’, illustrates that his works are viewed to have attained textual integrity, still resonating with modern day readers and has solidified himself as a prominent writer of the 19th century. [1] The Editors of Encyclopaedia Britannica (2022), ‘Alexander Dyce’.

[2] Victoria and Albert Museum (2022), ‘National Art Library Dyce Collection’.

[3] The Editors of Good Reads (2016), ‘The Poetical Works of William Collins, Alexander Dyce’.

[4] The Editors of Encyclopaedia Britannica (2022), ‘John Skelton’.

[5] Paul Salzman (2018), ‘How Alexander Dyce Assembled Specimens of British Poetesses: A Key Moment in the Transmission of Early Modern Women’s Writing.


text:
User talk:156.3.33.28

--Xania   talk 02:35, 4 November 2022 (UTC)

title: User talk:156.3.33.28


text:
User talk:Omnihom

Welcome, Omnihom!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally.

--Xania   talk 02:57, 4 November 2022 (UTC)

title: User talk:Omnihom