title: William H. Nienhauser Jr.

abstract: William H. Nienhauser Jr. is an American academic, who has been Halls-Bascom Professor of Classical Chinese Literature at the University of Wisconsin-Madison since 1995. Nienhauser was born in St. Louis, Missouri. He first studied Chinese at the Army Language School (1963–64), and went on to major in Chinese literature at Indiana University and Bonn University (1968–69), receiving his BA, MA and Ph.D from Indiana. Although he began working on modern Chinese literature under Professor Liu Wuji 柳無忌 (1907-2002), the year he spent studying Tang literature under Professor Peter Olbricht at Bonn directed him towards working on Liu Zongyuan 柳宗元 (773-819) and Tang fiction. In 1973 Nienhauser edited a volume of essays on Liu published in the Twayne World Author Series and took up a position as assistant professor in the Department of East Asian Languages and Literature at the University of Wisconsin-Madison. In 1979 his P'i Jih-hsiu appeared (Twayne) and in 1985 and 1998 the two volumes of the Indiana Companion to Traditional Chinese Literature. The following year he began to edit what has now become eight volumes translating and commenting on 92 chapters of Sima Qian's Shiji 史記 in cooperation with nearly 70 scholars from the U.S., Germany, China, Japan, Romania, and Italy. The project continues in 2021 with a revised volume 7 just published. Promoted to full professor in 1983, in 1995 he was made Halls-Bascom Professor. In 2020 he retired. Later that year he won the Special Book Award of China as the only American among fifteen international winners for his work on the Shiji. His publications include the two-volume Indiana Companion to Traditional Chinese Literature and eight volumes of translations from the Shiji. In 1979 Nienhauser was a founding editor of Chinese Literature: Essays, Articles, Reviews (CLEAR), which he edited until 2009. He has taught or conducted research at several universities in Germany, at Academia Sinica in Taiwan, at Kyoto University, National Taiwan University, Peking University, and Nanyang Technical University (Singapore). In addition to grants from American Council of Learned Societies, Fulbright-Hays, the German Academic Exchange Service (DAAD), the German Research Foundation, the Alexander von Humboldt Foundation, the Japan Foundation, and the National Endowment for the Humanities, in 2003 he was awarded a Forschungspreis for lifetime achievement from the Humboldt Foundation.

text:
# William H. Nienhauser Jr.

**William H. Nienhauser Jr.** (Chinese: 倪豪士; pinyin: *Ní Háoshì*, born 1943) is an American academic, who has been Halls-Bascom Professor of Classical Chinese Literature at the University of Wisconsin-Madison since 1995.

Nienhauser was born in St. Louis, Missouri. He first studied Chinese at the Army Language School (1963–64), and went on to major in Chinese literature at Indiana University and Bonn University (1968–69), receiving his BA (Phi Beta Kappa), MA and Ph.D from Indiana (1966, 1968, and 1973). Although he began working on modern Chinese literature under Professor Liu Wuji 柳無忌 (1907-2002), the year he spent studying Tang literature under Professor Peter Olbricht at Bonn directed him towards working on Liu Zongyuan 柳宗元 (773-819) and Tang fiction. In 1973 Nienhauser edited a volume of essays on Liu published in the Twayne World Author Series and took up a position as assistant professor in the Department of East Asian Languages and Literature at the University of Wisconsin-Madison. In 1979 his *P'i Jih-hsiu* appeared (Twayne) and in 1985 and 1998 the two volumes of the *Indiana Companion to Traditional Chinese Literature*. The following year he began to edit what has now become eight volumes translating and commenting on 92 chapters of Sima Qian's *Shiji* 史記 in cooperation with nearly 70 scholars from the U.S., Germany, China, Japan, Romania, and Italy. The project continues in 2021 with a revised volume 7 just published. Promoted to full professor in 1983, in 1995 he was made Halls-Bascom Professor. In 2020 he retired. Later that year he won the Special Book Award of China as the only American among fifteen international winners for his work on the *Shiji*.

His publications include the two-volume *Indiana Companion to Traditional Chinese Literature* and eight volumes of translations from the *Shiji* (*The Grand Scribe’s Records*). In 1979 Nienhauser was a founding editor of *Chinese Literature: Essays, Articles, Reviews* (*CLEAR*), which he edited until 2009. He has taught or conducted research at several universities in Germany, at Academia Sinica in Taiwan, at Kyoto University, National Taiwan University, Peking University, and Nanyang Technical University (Singapore). In addition to grants from American Council of Learned Societies, Fulbright-Hays, the German Academic Exchange Service (DAAD), the German Research Foundation, the Alexander von Humboldt Foundation, the Japan Foundation, and the National Endowment for the Humanities, in 2003 he was awarded a Forschungspreis (Research Prize) for lifetime achievement from the Humboldt Foundation.

## Works

* William H. Nienhauser Jr. (1973). *Liu Tsung-yüan*. New York: Twayne Publishers.
* William H. Nienhauser Jr. (1979). *Pʻi Jih-hsiu*. Twayne's World Authors Series. ISBN 0-8057-6372-4.


title: William Dwelley House

abstract: The William Dwelley House is a historic house located in Hudson, Wisconsin. It is locally significant due to its association with William Dwelley and also its incorporation of the Italianate style of architecture. It is a two-story house on a stone foundation. It was added to the National Register of Historic Places in 1984.

text:
# William Dwelley House

The **William Dwelley House** (also known as the **Harry Kaminsky House**) is a historic house located in Hudson, Wisconsin. It is locally significant due to its association with William Dwelley and also its incorporation of the Italianate style of architecture.

It is a two-story house on a stone foundation.

It was added to the National Register of Historic Places in 1984.

## InfoBox

|  | |
| --- | --- |
| William Dwelley House | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | 1002 4th Street<br>Hudson, Wisconsin |
| Coordinates | 44°58′49″N 92°45′13″W / 44.98028°N 92.75361°W / 44.98028; -92.75361 |
| Area | less than one acre |
| Built | c. 1865 |
| Architectural style | Italianate |
| MPS | Hudson and North Hudson MRA |
| NRHP reference No. | 84000061 |
| Added to NRHP | October 4, 1984 |


abstract: William Courtenay, 1st Viscount Courtenay, also de jure 7th Earl of Devon, was a British peer. He was the son of William Courtenay, 6th Earl of Devon and 2nd Baronet Courtenay, and Lady Anne Bertie.

text:
# William Courtenay, 1st Viscount Courtenay

**William Courtenay, 1st Viscount Courtenay** (11 February 1709 – 16 May 1762), also *de jure* 7th Earl of Devon, was a British peer. He was the son of William Courtenay, 6th Earl of Devon and 2nd Baronet Courtenay, and Lady Anne Bertie.

## Life

Sir William Courtenay was educated at Westminster School and graduated from Magdalen College, Oxford University in 1731 with a Master of Arts. He succeeded to the title of 3rd Baronet Courtenay and *de jure* to the title of 7th Earl of Devon on 10 October 1735. He was awarded the honorary degree of Doctor of Civil Law by Magdalen College in 1739.

He held the office of Member of Parliament for Honiton as a Tory between 1734 and 1741 and for Devon from 1741 to 6 May 1762, when he was created 1st Viscount Courtenay of Powderham Castle.

## Marriage and children

He married on 2 April 1741 Lady Frances Finch (d.1761), daughter of Heneage Finch, 2nd Earl of Aylesford by his wife Mary Fisher (1690-1740), daughter and heiress of Sir Clement Fisher, 3rd Baronet (d.1729) of Packington Hall, Warwickshire. They had the following children:

## Death and burial

He was buried on 31 May 1762 at Powderham, Devon, England.

## Residences

His seats in Devon were Powderham Castle, which he greatly remodelled, and Forde House, Wolborough, near Newton Abbot. His townhouse in Exeter was the site of the present Devon and Exeter Institution at 7 Cathedral Close, on the north side of the Cathedral Green. It was at one time, like Forde, home of the Parliamentary general, Sir William Waller, whose daughter Margaret Waller was the wife of Courtenay's great-grandfather Sir William Courtenay, 1st Baronet (d.1702). Parts of Waller's building survive at the rear and the gatehouse range fronting the Close. The old hall and kitchen were demolished in 1813 to make way for the Institution and in their place and on the former courtyard are now situated the libraries.

## Overmantel in Exeter townhouse

Overmantel *circa* 1750, in former townhouse of Courtenays of Powderham, now home of the Devon and Exeter Institution, 7 Cathedral Close, Exeter. The left-hand painted panel shows the arms of William Courtenay, 1st Viscount Courtenay (1711-1762) impaling the arms of Finch, the family of his wife. The sinister supporter is one of the Finch heraldic griffins, the dexter one is the Courtenay boar. The Courtenay motto is shown underneath: *Ubi lapsus quid feci* ("Where did I slip what have I done"). The panel on the right shows the arms of Bishop Peter Courtenay (1432–1492), Bishop of Exeter and Winchester, of the Powderham family. His arms (Courtenay with each point of the label charged with three plates for difference) are impaled by the arms of the See of Winchester. The whole is circumscribed by the Garter. The supporters are: dexter, the Courtenay dolphin, sinister, the Courtenay boar. The motto beneath is: *Quod verum tutum* ("What is true is safe").

## InfoBox

| William Courtenay, 1st Viscount Courtenay | |
| --- | --- |
|  | |
| Member of Parliament for Devon | |
| **In office**
1741-1762 | |
| Member of Parliament for Honiton | |
| **In office**
1734-1741 | |
|  | |
| Personal details | |
| Born | (1709-02-11)11 February 1709 |
| Died | 16 May 1762(1762-05-16) (aged 53) |
| Spouse | Frances Finch  (m. 1741; died 1761) |
| Children | 3, including William |
| Parent |  |
| Relatives | Henry Courtenay (brother)
Francis Courtenay (grandfather) |
| Education | Magdalen College, Oxford |
|  | |


title: William J. Sebald

abstract: William Joseph Sebald was an American diplomat who served as United States Ambassador to Burma from April 1952 to July 1954, and to Australia from 1957 to 1961.

text:
# William J. Sebald

**William Joseph Sebald** (November 5, 1901 – August 10, 1980) was an American diplomat who served as United States Ambassador to Burma from April 1952 to July 1954, and to Australia from 1957 to 1961.

## Education and career

Sebald graduated from the U.S. Naval Academy in 1922. Sebald moved to Kobe, Japan in 1925 as part of an officer's language program. Sebald resigned from the Navy in 1930.

In 1933, Sebald earned his juris doctor degree specializing in international law from the University of Maryland. He moved back to Japan and practiced law at his father-in-laws firm from 1933 to 1939. Sebald also received an honorary doctor of laws degree from the University of Maryland for his study and work in Japanese law in 1949.

Sebald served during World War II with the Office of Naval Intelligence (ONI) back in the United States starting in 1939. Then he was on the staff of Admiral Ernest King. He was a political adviser to General Douglas MacArthur, with ambassador rank.

Sebald was U.S. Ambassador to Burma (1952–1954), Deputy Assistant Secretary of State for East Asian and Pacific Affairs (1954–1956), and Ambassador to Australia (1957–1961).

Sebald retired in 1961.

## Personal life and death

Sebald met his wife Edith France deBecker in Kobe, Japan. They were married in 1927. He died from emphysema in Naples, Florida, on August 10, 1980, at the age of 78.

## Works

* *With MacArthur in Japan: A Personal History of the Occupation*, Norton, 1965, ISBN 9780393336764

## InfoBox

| William J. Sebald | |
| --- | --- |
| Sebald in June 1957. | |
|  | |
| United States Ambassador to Japan | |
| **In office**
1947–1952 | |
| President | Harry S. Truman |
| Preceded by | Joseph Grew |
| Succeeded by | Robert D. Murphy |
| United States Ambassador to Burma | |
| **In office**
April 25, 1952  July 15, 1954 | |
| President | Harry S. Truman
Dwight D. Eisenhower |
| Preceded by | David McK. Key |
| Succeeded by | Joseph C. Satterthwaite |
| United States Ambassador to Australia | |
| **In office**
March 14, 1957  October 31, 1961 | |
| President | Dwight D. Eisenhower
John F. Kennedy |
| Preceded by | Douglas M. Moffat |
| Succeeded by | William C. Battle |
|  | |
| Personal details | |
| Born | (1901-11-05)November 5, 1901
Baltimore, Maryland, U.S. |
| Died | August 10, 1980(1980-08-10) (aged 78)
Naples, Florida, U.S. |
| Spouse | Edith Frances deBecker |
| Alma mater | U.S. Naval Academy |
| Profession | Lawyer, Diplomat |
|  | |


title: William J. Sharkey (US Navy officer)

abstract: William J. Sharkey was an officer in the United States Navy during World War I.

text:
# William J. Sharkey (US Navy officer)

**William J. Sharkey** (20 March 1885  5 October 1918) was an officer in the United States Navy during World War I.

## Biography

Born in Auburn, New York, Sharkey attained the enlisted rate of Chief Gunners Mate. He was appointed Ensign on 15 March 1918 and assigned to the submarine USS *O-5*.

On 5 October 1918, fumes were reported in the after battery room, and Lieutenant (junior grade) Sharkey was killed as he tried to prevent the explosion that followed.

## Namesake

*This article incorporates text from the public domain* Dictionary of American Naval Fighting Ships*.*


title: William Haines

abstract: Charles William Haines was an American actor and interior designer. Haines was discovered by a talent scout and signed with Goldwyn Pictures in 1922. His career gained momentum when he received favorable reviews for his role in The Midnight Express. He was cast in the 1926 film Brown of Harvard and his performance solidified his screen persona as a wisecracking, arrogant leading man. By the end of the 1920s, Haines had appeared in a string of successful films and was a popular box-office draw. Haines' acting career was cut short by the studios in the 1930s due to his refusal to deny his homosexuality. He quit acting in 1935 and started a successful interior design business with his life partner Jimmie Shields, and his work was widely patronized by friends in Hollywood. Haines died of lung cancer in December 1973 at the age of 73.

text:
# William Haines

**Charles William Haines** (January 2, 1900 – December 26, 1973) was an American actor and interior designer.

Haines was discovered by a talent scout and signed with Goldwyn Pictures in 1922. His career gained momentum when he received favorable reviews for his role in *The Midnight Express*. He was cast in the 1926 film *Brown of Harvard* and his performance solidified his screen persona as a wisecracking, arrogant leading man. By the end of the 1920s, Haines had appeared in a string of successful films and was a popular box-office draw.

Haines' acting career was cut short by the studios in the 1930s due to his refusal to deny his homosexuality. He quit acting in 1935 and started a successful interior design business with his life partner Jimmie Shields, and his work was widely patronized by friends in Hollywood. Haines died of lung cancer in December 1973 at the age of 73.

## Early life

Haines was born on January 2, 1900 (he claimed he was born on January 1) in Staunton, Virginia, the third child of George Adam Haines, a cigar maker, and Laura Virginia Haines (née Matthews). Two older siblings died in infancy. He had four younger siblings: Lillian, born in 1902; Ann, born in 1907; George, Jr., born in 1908; and Henry, born in 1917. He was baptized at the Trinity Episcopal Church in Staunton at the age of eight, where he later sang in the choir. He became fascinated with stage performance and motion pictures at an early age, spending hours watching early silent films in local theatres.

Haines ran away from home at the age of 14, accompanied by an unidentified young man whom Haines referred to as his "boyfriend". The pair went first to Richmond and then to Hopewell, which had a reputation for immorality. They both got jobs working at the local DuPont factory, producing nitrocellulose for $50 a week. To supplement their income, they opened a dance hall, which may have also served as a brothel. Haines' parents, frantic over his disappearance, tracked him through the police to Hopewell. Haines did not return home with them, remaining instead in Hopewell and sending money back home to help support the family. The couple remained in Hopewell until most of the town was destroyed by fire in 1915. Haines moved to New York City. Whether his boyfriend accompanied him is unclear.

Following the bankruptcy of the family business and the mental breakdown of George Sr., the family moved to Richmond in 1916. Haines moved there in 1917 to help support them. With his father recovered and employed, Haines returned to New York City in 1919, settling into the burgeoning gay community of Greenwich Village. He worked a variety of jobs and was for a time the kept man of an older woman before becoming a model. Talent scout Bijou Fernandez discovered Haines as part of the Goldwyn Pictures' "New Faces of 1922" contest, and the studio signed him to a $40-a-week contract (~$700 in 2022 terms). He traveled to Hollywood with fellow contest winner Eleanor Boardman in March of that year.

## Career

### Acting

Haines' career began slowly, as he appeared in extra and bit parts, mostly uncredited. His first significant role was in *Three Wise Fools* (1923). He attracted positive critical attention and the studio began building him up as a new star. However, he continued to play small, unimportant parts at Goldwyn. When his home studio lent him to Fox in 1923 for *The Desert Outlaw*, he got the opportunity to play a significant role. In 1924, MGM lent Haines to Columbia Pictures for a five-picture deal. The first of these, *The Midnight Express* (1924), received excellent reviews, and Columbia offered to buy his contract. The offer was refused and Haines continued in bit roles for Goldwyn. Haines scored his first big personal success with *Brown of Harvard* (1926) opposite Jack Pickford and Mary Brian. It was in *Brown* that he crystallized his screen image, a young arrogant man who is humbled by the last reel. He returned repeatedly to that formula for the next several years.

On a trip to New York in 1926, Haines met James "Jimmie" Shields. Haines convinced Shields to move to Los Angeles, promising to get him work as an extra. The pair soon began living together and viewed themselves as a committed couple, though newspapers did not mention their relationship.

Haines found box-office success with *Little Annie Rooney* (1925), co-starring Mary Pickford, and *Show People* (1928), costarring Marion Davies. He was a top-five box-office star from 1928 to 1932. He made a successful transition into "talkies" in the part-talking film *Alias Jimmy Valentine* (1928). He was forced to take elocution lessons for the film; he compared the coming of sound to "the discovery of clap in a nunnery." His first all-talking film, *Navy Blues*, was released the following year. He starred in *Way Out West* in 1930. The 1930 Quigley Poll, a survey of film exhibitors, listed Haines as the top box-office attraction in the country.

In 1933, Haines was arrested in a YMCA with a sailor he had picked up in Los Angeles' Pershing Square. Louis B. Mayer, the studio head at MGM, delivered an ultimatum to Haines: choose between a sham lavender marriage, his relationship with Shields or his relationship with the sailor. Haines chose Shields and they remained together in a private relationship for 47 years. Mayer then fired Haines and terminated his contract. He made a few minor films at Poverty Row studios and soon retired from acting. His final films were made in 1934 with Mascot Pictures, *Young and Beautiful* and *The Marines Are Coming*.

Haines continued to receive offers for film roles. During production of *Sunset Boulevard* (1950), he was offered a cameo role in the film, which he declined. He later said, "It's a rather pleasant feeling of being away from pictures and being part of them because all my friends are. I can see the nice side of them without seeing the ugly side of the studios."

### Interior design

Haines and Shields began a successful dual career as interior designers and antique dealers. Among their early clients were friends such as Joan Crawford, Gloria Swanson, Carole Lombard, Marion Davies, and George Cukor. After a neighbor accused the two of propositioning her son, about 30 local residents including members of a white supremacist group called "The White Legion" dragged the two men from their home in El Porto near the city of Manhattan Beach (this was before El Porto became a part of that city) and beat them. The incident was widely reported at the time, but the Los Angeles County Sheriff’s office never brought charges against the attackers. The child molestation accusations against Haines and Shields were unfounded and the case was dismissed due to a lack of evidence. In reality, the boy had been chasing Haines' dog on the beach and Haines paid the child six cents to go home; this was misinterpreted as a proposition. When Jack L. Warner remodeled his estate in 1937, he hired Haines as interior decorator. He also designed an office for Frank Sinatra and the Mocambo nightclub.

The couple finally settled in the west Los Angeles community of Brentwood and their business prospered until their retirement in the early 1970s, except for a brief interruption when Haines served in World War II.

Known for his impeccable taste in interior design and love for vintage pieces, Haines worked closely with his friend Joan Crawford — whom he teasingly called Cranberry — to renovate her Brentwood home. His unconventional choice of an all-white decor for her living room caused a sensation and helped launch his interior design career, working for Carole Lombard next. Later in 1956, he would decorate Crawford’s newly renovated two-floor apartment purchased with her new husband, Alfred Steele.

In the 60s and 70s, their clients included Betsy Bloomingdale and Ronald and Nancy Reagan when Reagan was governor of California. Haines and Ted Graber designed the interiors of Walter and Leonore Annenberg's "Sunnylands" estate in Rancho Mirage. The Annenbergs also hired Haines to work on the redecoration of Winfield House in London, where Walter was serving as U.S. Ambassador.

### Notable interior design clientele

General reference:

Celebrities including Cameron Diaz, Courteney Cox, Anne Heche and Ellen DeGeneres purchased pieces of Haines' furniture in 1999.

## Final years and death

Haines and Shields (1905–1974) remained together until Haines' death. Joan Crawford described them as "the happiest married couple in Hollywood."

In 1972 Shields and Haines both travelled to Europe. Haines was diagnosed with lung cancer in the summer of 1973. By December, Haines's long-time doctor requested he move into St John's Hospital. He would spend the month in hospital until he passed away on December 26, 1973, at 6:45 pm, of sudden cardiac arrest with Shields beside him.

Following Haines's death, his partner Shields struggled to cope. At 9:45 pm on March 6, 1974, Shields began drinking and died of acute barbiturate intoxication. He left a note, inscribed:

> "Goodbye to all of you who have tried so hard to comfort me in my loss of William Haines, whom I have been with since 1926. I now find it impossible to go it alone, I am much too lonely."

They are interred side by side in Woodlawn Memorial Cemetery in Santa Monica.

## Legacy

For his contribution to the motion-picture industry, William Haines has a star on the Hollywood Walk of Fame located at 7012 Hollywood Blvd.

William Haines Designs remains in operation, with main offices in West Hollywood and an additional showroom in New York.

In September 2023, Sunnylands Center & Gardens featured an exhibition titled "Variations to a Theme" dedicated to William Haines.

## Filmography

| Year | Title | Role | Notes |
| --- | --- | --- | --- |
| 1922 | *Brothers Under the Skin* | Bit part | Uncredited
**Incomplete** film |
| 1923 | *Lost and Found on a South Sea Island* | Extra |  |
| | *Souls for Sale* | Pinkey – Assistant Director |  |
| | *Three Wise Fools* | Gordon Schuyler |  |
| 1924 | *Three Weeks* | Curate |  |
| | *True as Steel* | Gilbert Morse |  |
| | *The Midnight Express* | Jack Oakes |  |
| | *The Gaiety Girl* | Owen Tudor St. John | **Lost** film |
| | *Wine of Youth* | Hal Martin |  |
| | *Circe, the Enchantress* | William Craig |  |
| | *So This Is Marriage?* |  | **Lost** film |
| | *The Wife of the Centaur* | Edward Converse | **Lost** film |
| 1925 | *A Fool and His Money* | John Smart | **Lost** film |
| | *Who Cares* | Martin |  |
| | *The Denial* | Lover in flashback |  |
| | *A Slave of Fashion* | Dick Wayne | **Lost** film |
| | *Fighting the Flames* | Horatio Manly, Jr. | **Incomplete** film, missing final reel |
| | *The Tower of Lies* | August | **Lost** film |
| | *Little Annie Rooney* | Joe Kelley |  |
| | *Sally, Irene and Mary* | Jimmy Dungan |  |
| | *MGM Studio Tour* | Himself | Short subject made by MGM |
| 1926 | *Mike* | Harlan | **Lost** film |
| | *The Thrill Hunter* | Peter J. Smith | **Incomplete** film |
| | *Memory Lane* | Joe Field |  |
| | *Brown of Harvard* | Tom Brown |  |
| | *Lovey Mary* | Billy Wiggs | **Incomplete** film |
| | *Tell It to the Marines* | Private "Skeet" Burns |  |
| 1927 | *A Little Journey* | George Manning | **Lost** film |
| | *Slide, Kelly, Slide* | Jim Kelly (fictionalized version of Mike "King" Kelly) |  |
| | *Spring Fever* | Jack Kelly |  |
| 1928 | *West Point* | Brice Wayne |  |
| | *The Smart Set* | Tommy |  |
| | *Telling the World* | Don Davis |  |
| | *Excess Baggage* | Eddie Kane | **Lost** film |
| | *Show People* | Billy Boone |  |
| | *Alias Jimmy Valentine* | Jimmy Valentine | **Lost** film |
| 1929 | *The Duke Steps Out* | Duke | **Lost** film |
| | *A Man's Man* | Mel | **Lost** film |
| | *The Hollywood Revue of 1929* | Himself |  |
| | *Speedway* | Bill Whipple |  |
| | *Navy Blues* | Kelly | First Talkie |
| 1930 | *The Girl Said No* | Tom Ward |  |
| | *Free and Easy* | Himself – A Guest | Alternative title: *Easy Go* |
| | *Estrellados* | Himself |  |
| | *Way Out West* | Windy |  |
| | *Remote Control* | William J. Brennan |  |
| 1931 | *A Tailor Made Man* | John Paul Bart |  |
| | *The Stolen Jools* | Bill Haines |  |
| | *Just a Gigolo* | Lord Robert Brummel | Art director |
| | *New Adventures of Get Rich Quick Wallingford* | Wallingford |  |
| 1932 | *Fast Life* | Sandy |  |
| | *Are You Listening?* | Bill Grimes |  |
| 1934 | *Young and Beautiful* | Robert Preston | Set decorator |
| | *The Marines Are Coming* | Lt. William "Wild Bill" Traylor |  |

Haines' story is told in the 1998 biography *Wisecracker: The Life and Times of William Haines, Hollywood's First Openly Gay Star* by William J. Mann. His designs are the subject of Peter Schifando and Haines associate Jean H. Mathison's 2005 book *Class Act: William Haines Legendary Hollywood Decorator*.

World of Wonder produced *Out of the Closet, Off the Screen: The Life of William Haines*, which aired on American Movie Classics in 2001.

In October 2015, Karina Longworth chronicled Haines in the episode *William Haines and Hollywood's First Openly Gay Marriage*, which she included in her 15-part series of MGM stories for her podcast *You Must Remember This*. Haines was voiced by actor Wil Wheaton.

Playwright Claudio Macor created the biographical drama *The Tailor-Made Man* in the mid-1990s in London, telling the story of Haines' discovery in a talent contest, his movie career, its curtailment by Louis B. Mayer, and Haines' re-invention as an interior designer. The play tells the story of his 50-year relationship with Jimmie Shields. The play premiered at London's tiny Hen and Chickens theatre and quickly transferred to Battersea Arts Centre. Over the years the play has been produced at London's Cockpit Theatre, off-Broadway in New York, San Diego's Diversionary Theatre in California in 1995. It was revived in a successful anniversary production in 2017 at London's White Bear Theatre, directed by Bryan Hodgson. In 2013 a musical adaptation of *The Tailor-Made Man* opened at London's Arts Theatre in the West End with pop star Faye Tozer (Steps) as Marion Davies and Mike McShane as Mayer.

In 1994, *The Tailor-Made Man* was chosen for a workshop TV production for Thames Television Masterpiece Pilot Showcase, directed by Golden Rose of Montreux winner Chris Bould. Bould returned to direct the UK radio adaptation of the play starring Judd Hirsch as Mayer. In 2017, to tie-in with the anniversary production, the definitive playscript was published by theatrical publisher Oberon Books.

Citations  1. Rosenberg, David A. (February 3, 2002). "Bucking the System". *The Hour*. p. D1. Retrieved January 15, 2013.
2. Mann 1998, p. 2
3. Mann 1998, p. 8
4. Mann 1998, p. 29
5. Mann 1998, p. 9
6. Mann 1998, p. 16
7. Mann 1998, p. 18
8. Mann 1998, pp. 19–20
9. Mann 1998, p. 25
10. Mann 1998, p. 32
11. Mann 1998, p. 43
12. Mann 1998, pp. 48–49
13. Mann 1998, p. 98
14. Mann 1998, p. 100
15. Eyman, Scott. *The Speed of Sound: Hollywood and the Talkie Revolution 1926–1930*. Simon and Schuster, New York: 1997.
16. Stukin, Stacie (February 5, 2002). "Gentlemen preferred Haines". *The Advocate*. No. 1–8996. Here Publishing. p. 58.
17. Golden 2001, p. 48
18. "Bill Haines Beaten by Mob at Beach". *Spokane Daily Chronicle*. June 2, 1936. p. 1. Retrieved January 15, 2013.
19. Dennis 2003, pp. 30–31
20. Charles Lockwood (August 24, 2014). "Tour Jack L. Warner's House in Beverly Hills". Architectural Digest. Retrieved February 13, 2020.
21. Spindler, Amy M. (September 12, 1999). "Style; Hollywood And Divine". *The New York Times*. ISSN 0362-4331. Retrieved September 22, 2023.
22. Mann 1998, pp. 306–310
23. "Joan Crawford's decorator, The King of Hollywood Regency". *www.bypantheavine.com*. October 5, 2020. Retrieved April 23, 2023.
24. Mann 1998, p. 328
25. "Historic Estate". The Annenberg Foundation Trust at Sunnylands. Retrieved January 3, 2013.
26. "US Ambassador's Residence in London, Winfield House". *U.S. Embassy & Consulates in the United Kingdom*. Retrieved August 8, 2020.
27. "Forgotten Hollywood: William Haines". *Golden Globes*. June 24, 2023. Retrieved September 22, 2023.
28. *Movie mirror. (Vol. 4, June-Nov. 1933)*. MBRS Library of Congress. \[New York\], \[Macfadden Group\]. 1933.`{{cite book}}`: CS1 maint: others (link)
29. Spindler, Amy M. (September 12, 1999). "Style; Hollywood And Divine". *The New York Times*. ISSN 0362-4331. Retrieved January 17, 2024.
30. Golden 2001, p. 45
31. Adrich & Wotherspoon 2002, p. 235
32. Mann 1998.
33. "WILLIAM HAINES, 73, FILM COMEDIAN, DIES". *The New York Times*. December 28, 1973. ISSN 0362-4331. Retrieved January 17, 2024.
34. Stern 2009, p. 204
35. Wilson, Scott. *Resting Places: The Burial Sites of More Than 14,000 Famous Persons*, 3d ed.: 2 (Kindle Location 19262). McFarland & Company, Inc., Publishers. Kindle Edition.
36. "Hollywood Star Walk: William Haines". *Los Angeles Times*. Retrieved January 15, 2013.
37. "William Haines Designs". Retrieved March 9, 2009.
38. "Our Desert Past: William Haines and the Design of Sunnylands". *NBC Palm Springs*. September 21, 2023. Retrieved October 1, 2023.
39. Mark Deming. "Out of the Closet, Off the Screen: The William Haines Story (2001)". Movies & TV Dept. *The New York Times*. Archived from the original on February 16, 2013. Retrieved January 15, 2013.
40. Longworth, Katrina (October 12, 2015). "MGM Stories Part Five: William Haines and Hollywood's First Openly Gay Marriage". *You Must Remember This*. Retrieved February 18, 2016.
41. Fargnoli, Dave. "The Tailor-Made Man review at White Bear Theatre, London – 'scintillating performances'". *thestage.co.uk*. The Stage.
42. Macor, Claudio (2017). *The Tailor-Made Man*. Oberon Books. ISBN 978-1-78682-312-0.
Works cited

## InfoBox

| William Haines | |
| --- | --- |
| Haines in 1928 | |
| Born | Charles William Haines
(1900-01-02)January 2, 1900
Staunton, Virginia, U.S. |
| Died | December 26, 1973(1973-12-26) (aged 73)
Santa Monica, California, U.S. |
| Resting place | Woodlawn Memorial Cemetery, Santa Monica |
| Occupations | * Actor * interior designer |
| Years active | 1922–1973 |
| Partner | Jimmie Shields (1926–1973) |
| Website | williamhaines.com |


abstract: William Haines was a South Australian politician affectionately known as the "King of Tea Tree Gully".

text:
# William Haines (South Australian politician)

**William Haines** (6 April 1831  11 June 1902) was a South Australian politician affectionately known as the "King of Tea Tree Gully".

## History

William Haines was born in Trowbridge, Wiltshire, England, and migrated to South Australia with his parents William Haines snr. (c. 1811  6 November 1863) and Jane Haines (née Cook) (1804  11 January 1862) and five younger siblings on the *William Mitchell*, arriving on 27 August 1840.

Their first accommodation was in "Emigration Square" (later to become the Hindmarsh police barracks) then in a settlement on North Terrace near Holy Trinity Church. His father found employment at the Government House vegetable garden, then became head gardener at the Botanic Gardens.

Around 1853 the family moved to Tea Tree Gully, where they set up a market garden. William was granted the license for the Highercombe Hotel adjacent to the family cottage. He was a popular host and successful publican, but shortly after the death of his wife Mary, transferred the license to his brother Ephraim. Two cottages and the orchard were disposed of. The hotel closed in 1878 and was bought by the Government the following year.

On 6 April 1878 Haines stood successfully for the seat of Gumeracha in the House of Assembly, and held it until 7 April 1884 when he was defeated, perhaps on account of a road ("Haines's Folly") from Tea Tree Gully to Anstey's Hill which he advocated.

Haines was clerk of the Teatree Gully District Council for 37 years, an active member of the Royal Agricultural and Horticultural Society for 40 years, and was a member of the school board and the Central Board of Health.

## Family

Among William's brothers and sisters were:

* (Samuel) Ephraim Haines (c. 1835  27 July 1912) married Mary Ann Harmer (c. 1839  10 November 1914) on 28 May 1855
* Sarah Haines (c. 1832  21 November 1877) married William Trethowan Tregeagle (6 December 1834  18 June 1905) on 28 May 1855
* Maria Haines (c. 1834  31 May 1862) married William Harmer (9 February 1834  9 February 1901)
* Mary Ann Haines (28 Sep 1843  15 Jul 1931) married John Harmer (c. 1840  12 August 1914) on 13 October 1859

He married three times: (1) Mary Tozer (c. 1823  27 April 1876) on 11 December 1852 (2) Margaret Roger McKinley née Cleland (c. 1807  9 January 1888) on 5 July 1876 and (3) Ellen Atterton (c. 1847  9 May 1928) on 15 March 1890.

* Only surviving son Walter Haines (19 February 1864 – c. 15 November 1932) married Anna Horsford (7 August 1864 – c. 12 June 1940) on 9 November 1885

## InfoBox

| William HainesMHA | |
| --- | --- |
| Born | (1831-04-06)6 April 1831
Trowbridge, Wiltshire, England |
| Died | 11 June 1902(1902-06-11) (aged 71)
Tea Tree Gully, South Australia |
| Occupation(s) | gardener, publican, politician |
| Spouse(s) | Mary Tozer (c. 1823 – 27 April 1876), Margaret Roger McKinley née Cleland (c. 1807 – 9 January 1888), Ellen Atterton (c. 1847 – 9 May 1928) |
| Parent(s) | William Haines snr. and Jane Haines (née Cook) |
|  | |
|  | |
| **In office**
6 April 1878  7 April 1884 | |
|  | |
|  | |
|  | |


abstract: The William Franklin and Rebecca Durell House is a historic house located at 408 West 5th Street in Vermont, Illinois. Local businessman William Franklin Durell and his wife Rebecca had the house built in 1872; at the time, West 5th Street was a desirable neighborhood for prominent Vermont residents known as "The Lane". The couple's house is designed in the Italianate style. Decorative porches project from the house at the front entrance and on the east side, and the house's windows are tall and narrow with segmental arched tops. The house's low hip roof features a cornice with paired brackets. A Victorian-inspired carriage house with a cross gable plan and a cupola is also part of the property. The house was added to the National Register of Historic Places on November 7, 1996.

text:
# William Franklin and Rebecca Durell House

The **William Franklin and Rebecca Durell House** is a historic house located at 408 West 5th Street in Vermont, Illinois. Local businessman William Franklin Durell and his wife Rebecca had the house built in 1872; at the time, West 5th Street was a desirable neighborhood for prominent Vermont residents known as "The Lane". The couple's house is designed in the Italianate style. Decorative porches project from the house at the front entrance and on the east side, and the house's windows are tall and narrow with segmental arched tops. The house's low hip roof features a cornice with paired brackets. A Victorian-inspired carriage house with a cross gable plan and a cupola is also part of the property.

The house was added to the National Register of Historic Places on November 7, 1996.

## InfoBox

|  | |
| --- | --- |
| William Franklin and Rebecca Durell House | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | 408 W. 5th St., Vermont, Illinois |
| Coordinates | 40°17′38″N 90°25′55″W / 40.29389°N 90.43194°W / 40.29389; -90.43194 |
| Area | less than one acre |
| Built | 1872 (1872) |
| Architectural style | Italianate |
| MPS | Vermont, Illinois MPS |
| NRHP reference No. | 96001292 |
| Added to NRHP | November 7, 1996 |


title: William H. Holcomb House

abstract: The William H. Holcomb House, also known by Carl Vandre House, is located in the Ogle County, Illinois city of Rochelle. An elegant Italianate structure, the Holcomb House has been listed on the National Register of Historic Places since 1973.

text:
# William H. Holcomb House

The **William H. Holcomb House**, also known by **Carl Vandre House**, is located in the Ogle County, Illinois city of Rochelle. An elegant Italianate structure, the Holcomb House has been listed on the National Register of Historic Places since 1973.

## Architecture

The William H. Holcomb House is a wood-frame brick house on a limestone foundation. The house was built in 1872 and is a significant example of Italianate style.

## Significance

The William H. Holcomb House was listed on the National Register of Historic Places on October 25, 1973, for its significance in the area of architecture.

William H. Holcomb (c. 1839–1908) was the general superintendent of the Chicago & Iowa Railroad and subsequently held the same position with the Chicago, Burlington & Northern Railway (part of the Chicago, Burlington and Quincy Railroad). In the 1880s he served as General Manager of the Oregon Railway and Navigation Company, and in 1893 was the General Manager of Transportation for the World's Columbian Exposition, in Chicago. He was also a vice-president and general manager with the Union Pacific Railroad.

## InfoBox

|  | |
| --- | --- |
| William H. Holcomb House | |
| U.S. National Register of Historic Places | |
|  | |
| The Italianate William H. Holcomb House in Rochelle, Illinois. | |
|  | |
| Location | 526 N. 7th St., Rochelle, Illinois |
| Coordinates | 41°55′24″N 89°3′56″W / 41.92333°N 89.06556°W / 41.92333; -89.06556 |
| Area | 1 acre (0.40 ha) |
| Built | c. 1872 |
| Architectural style | Italianate |
| NRHP reference No. | 73000714 |
| Added to NRHP | October 25, 1973 |


title: William Hinson Cole

abstract: William Hinson Cole was an American politician and Congressman from Maryland.

text:
# William Hinson Cole

**William Hinson Cole** (January 11, 1837 – July 8, 1886) was an American politician and Congressman from Maryland.

## Biography

Born in Baltimore, Maryland, Cole attended private school and studied medicine and law. He was admitted to the bar and commenced practice in Baltimore in 1857. He later moved to Kansas City, Kansas, to practice law, and also served as a member of the Kansas Territorial House of Representatives. He graduated from the University of Louisiana (present day Tulane University) in 1860.

During the American Civil War, Cole enlisted in the Confederate States Army as a surgeon of Francis S. Bartow's Eighth Georgia Regiment. He served in the Battle of Gettysburg, then took charge of the wounded in General James Longstreet's corps. He was captured and held as prisoner at Fort McHenry in Baltimore for six months, until he was returned South and acted as surgeon on the staff of Gen. Bradley Johnson of Maryland until the close of the war.

After the war, Cole was appointed deputy register of Baltimore in 1870, but resigned when he was elected chief clerk of the first branch of the Baltimore City council. He served as a reading clerk of the Maryland House of Delegates from 1874 to 1878, and later became a reporter on the *Baltimore Evening Commercial*, and later its proprietor. He connected with the *Baltimore Gazette*, and afterward with its successor, *The Baltimore Day*, continuing with the press until 1885. It was at this point he was elected as a Democrat to the Forty-ninth Congress, and served from March 4, 1885 until his death in Washington, D.C. He is interred in Bonnie Brae Cemetery of Baltimore.

*
* United States Congress. "William Hinson Cole (id: C000615)". *Biographical Directory of the United States Congress*. Retrieved on 2008-10-19

This article incorporates public domain material from the Biographical Directory of the United States Congress


title: William Kernahan Thomas

abstract: William Kernahan Thomas was a United States district judge of the United States District Court for the Northern District of Ohio.

text:
# William Kernahan Thomas

**William Kernahan Thomas** (February 15, 1911 – March 20, 2001) was a United States district judge of the United States District Court for the Northern District of Ohio.

## Education and career

Born in Columbus, Ohio, Thomas received a Bachelor of Arts degree from Ohio State University in 1932 and a Juris Doctor from Ohio State University Moritz College of Law in 1935. He was in private practice in Cleveland, Ohio from 1935 to 1944. He was a United States Naval Reserve Lieutenant during World War II, from 1944 to 1946. He was in private practice in Cleveland from 1946 to 1950. He was a judge of the Court of Common Pleas for Geauga County, Ohio from 1950 to 1953. He was a judge of the Court of Common Pleas for Cuyahoga County, Ohio from 1953 to 1966.

## Federal judicial service

Thomas was nominated by President Lyndon B. Johnson on January 19, 1966, to a seat on the United States District Court for the Northern District of Ohio vacated by Judge Paul Jones. He was confirmed by the United States Senate on March 4, 1966, and received his commission on March 7, 1966. He assumed senior status on February 15, 1981. Thomas served in that capacity until his death on March 20, 2001, in Cleveland.

## Sources

## InfoBox

| William Kernahan Thomas | |
| --- | --- |
| Judicial portrait of Thomas, 2001, by Steven Christopher Seward. | |
|  | |
| Senior Judge of the United States District Court for the Northern District of Ohio | |
| **In office**
February 15, 1981  March 20, 2001 | |
| Judge of the United States District Court for the Northern District of Ohio | |
| **In office**
March 7, 1966  February 15, 1981 | |
| Appointed by | Lyndon B. Johnson |
| Preceded by | Paul Jones |
| Succeeded by | John William Potter |
|  | |
| Personal details | |
| Born | William Kernahan Thomas
(1911-02-15)February 15, 1911
Columbus, Ohio |
| Died | March 20, 2001(2001-03-20) (aged 90)
Cleveland, Ohio |
| Education | Ohio State University (B.A.)
Ohio State University Moritz College of Law (J.D.) |
|  | |


title: William Lochead

abstract: William Lochead FRSE MWS was a Scottish surgeon and botanist. He served as the curator of the Saint Vincent and the Grenadines Botanic Gardens in the West Indies from 1811 to 1815, succeeding his friend Alexander Anderson.

text:
# William Lochead

**William Lochead** FRSE MWS (sometimes given as **Lochhead**; c.1753-1815) was a Scottish surgeon and botanist. He served as the curator of the Saint Vincent and the Grenadines Botanic Gardens in the West Indies from 1811 to 1815, succeeding his friend Alexander Anderson.

## Life

The son of John Lochead, William was born in Paisley in central Scotland around 1753. He graduated MD from the University of Glasgow in 1775 and served as a surgeon in Antigua in the West Indies.

In 1791 he was elected a Fellow of the Royal Society of Edinburgh. His proposers were John Walker, William Wright and Daniel Rutherford.

In 1794 he wrote extensively to Rev Dr John Walker concerning Guiana and the island of Demerara.

He died at St Vincent on 22 March 1815. His post in the Gardens was succeeded by George Caley.


title: Wild Down Under

abstract: Wild Down Under is a BBC nature documentary series exploring the natural history of the Australasian continent, first transmitted in the UK on BBC Two in September 2003. It was broadcast in Australia under the title Wild Australasia in February 2004. Each of the six episodes features a particular environment and, using a combination of aerial photography and traditional wildlife footage, reveals how physical forces and human activity have transformed Australasia from a lush green wilderness into an increasingly dry and harsh continent, troubled by unpredictable weather but still home to a huge array of creatures found nowhere else on Earth.. Wild Down Under was co-produced by the BBC Natural History Unit, the Australian Broadcasting Corporation (ABC) and Animal Planet. The series was produced for the BBC by Neil Nightingale and executive-produced for ABC by Dione Gilmour. The music was composed by Adrian Johnston and performed by the BBC Concert Orchestra. The series was narrated by Australian actor Matt Day. The series forms part of the Natural History Unit's Continents strand. It was preceded by Wild New World in 2002 and followed by Europe: A Natural History in 2005.

text:
# Wild Down Under

***Wild Down Under*** is a BBC nature documentary series exploring the natural history of the Australasian continent, first transmitted in the UK on BBC Two in September 2003. It was broadcast in Australia under the title ***Wild Australasia*** in February 2004.

Each of the six episodes features a particular environment and, using a combination of aerial photography and traditional wildlife footage, reveals how physical forces and human activity have transformed Australasia from a lush green wilderness into an increasingly dry and harsh continent, troubled by unpredictable weather but still home to a huge array of creatures found nowhere else on Earth..

*Wild Down Under* was co-produced by the BBC Natural History Unit, the Australian Broadcasting Corporation (ABC) and Animal Planet. The series was produced for the BBC by Neil Nightingale and executive-produced for ABC by Dione Gilmour. The music was composed by Adrian Johnston and performed by the BBC Concert Orchestra. The series was narrated by Australian actor Matt Day.

The series forms part of the Natural History Unit's *Continents* strand. It was preceded by *Wild New World* in 2002 and followed by *Europe: A Natural History* in 2005.

## Production

*Wild Down Under* is one of the most comprehensive surveys of Australasia's natural history ever filmed, with production of the series taking three years. The aerial photography used extensively in the series was shot by Damon Smith.

As well as mainland Australia, the production team visited other locations across the continent for the fifth episode, "Island Arks", including New Guinea, New Caledonia, Lord Howe Island and New Zealand.

## Episodes

Broadcast dates refer to the original UK transmission.

| No. | Title | Original air date |
| --- | --- | --- |
| 1 | "Wild Down Under" | 12 September 2003 (2003-09-12) |
| The first episode provides an overview of Australia's natural history. Tasmania gives a glimpse of Australia's lush forests of the past. A group of Tasmanian devils are filmed squabbling over a wallaby carcass. In eastern Australia, buckling formed the Australian Alps, high enough to attract snowfall. Wombats bulldoze the snow to reach buried grass and platypus hunt shrimp in the mountain streams. In the ancient tropical rainforest of the Top End, cassowaries, striped possums and sugar gliders are filmed. Kangaroos and koalas inhabit the more open eucalypt woodlands, and kookaburras feed their chicks in the nest hole. As Australia dried out, many rivers became intermittent or turned to creeks. Billabongs attract wildlife such as flocks of corella parrots, a sign of water to early explorers. They are curious, sociable birds, and are shown playing on branches and investigating the nest holes of budgerigars. In north Australia's wet season, the tropical wetlands of Kakadu attract millions of magpie geese and other water birds. When the land begins to dry out again, freshwater crocodiles must move to avoid being trapped in shrinking pools. Aerial photography is used to show features of Australia's deserts, such as parallel dunes and Uluru. A planigale hides from a taipan, the world's deadliest snake, and a sand goanna digs out a scorpion. The Great Barrier Reef was formed 10,000 years ago as sea levels rose. At certain tides after a full moon, its corals engage in the planet's greatest synchronised spawning event. | | | |
| 2 | "Desert Heart" | 19 September 2003 (2003-09-19) |
| The second episode examines the deserts of Australia's interior. These harsh environments make up two-thirds of the land area. Vast areas support nothing but tough spinifex grass, indigestible to most herbivores. Instead, termites are the grazers of these grasslands. Inside the termite mound, a whole ecosystem flourishes; centipedes eat the termites and knob-tailed geckos prey on both. Lizards are one of the most successful animals in Australia's deserts, and a thorny devil is shown waiting alongside a pathway of ants. Mammals here are nocturnal, staying underground during the heat of the day. Those featured include bilbies and malas. Waterholes attract huge numbers of birds, and zebra finches are shown being preyed on by a falcon. Nearby, black-footed rock wallabies hop around on the precipitous rock faces. The Finke River is an important water source in central Australia and red-tailed black cockatoos gather here in large flocks to breed. Camels were originally brought over for transport, but now half a million roam the desert. Meat ants and aggressive bulldog ants are shown hunting and scavenging on the desert floor. The Simpson Desert has the largest expanse of parallel sand dunes in the world, but red kangaroos survive even here. Once thought to be an inland sea, Lake Eyre is normally an inhospitable salt pan. Every 30 years or so, exceptional rains charge rivers which flow inland, filling the lake. The waters trigger a rush to breed, attracting birds such as pelicans in their thousands. | | | |
| 3 | "Southern Seas" | 26 September 2003 (2003-09-26) |
| The third instalment features the wildlife of Australasia's seas and coasts. On Western Australia's desert coastline, seas are lifeless apart from a few fertile pockets. Whale sharks feed close to shore at Ningaloo Reef. At Shark Bay, sharks and dogtooth tuna pin a sardine shoal to the shore, filmed from the air and underwater. A pair of Bryde's whales joins the feeding frenzy. Shallow, sandy bays are ideal conditions for seagrass, browsed by dugongs. In north Australia, monsoon rains flush rich sediment into the ocean. At low tide, golden ghost crabs and mudskippers emerge to feed on the exposed worms, snails and shellfish. The Leeuwin Current brings warm water to the south coast. Australian sea lions and southern right whales raise their young in the impoverished waters of the Great Australian Bight, while giant cuttlefish gather in the breeding season. The cold Southern Ocean skirts Australia's remote south west tip, where the seas are home to giant kelp forests and strange creatures. The leafy sea dragon is camouflaged as seaweed, while the handfish uses its fins to walk across the seabed. At night, female lobsters climb to high points on the reef to release their brood of larvae. In New Zealand's cold and nutrient-rich waters, gannets are filmed plunge-diving into a sardine shoal, which also attracts common dolphins. Hector's dolphins stay close to shore to avoid sharks. Snares Islands penguins must negotiate a steep granite rockface and patrolling Hooker's sealions to reach their nest burrows. | | | |
| 4 | "Gum Tree Country" | 3 October 2003 (2003-10-03) |
| Australia's eucalypt forests are the subject of the fourth programme. In the tropical north, male frilled lizards fight over territory, but retreat to the trees as a kite passes overhead. Gang-gang cockatoos stay above the snowline of the southern mountains to feed on the seed capsules of snow gums. On the misty lower slopes, better soils enable the mountain ash to reach 100 metres, the tallest hardwood in the world. Animals of these forests include superb lyrebirds, Leadbeater's possums and mountain brushtail possums. Some gum trees survive in the arid conditions of the interior; the ghost gum even clings to rocky gorges. The eucalypts provide essential resources for wildlife. Their flowers attract nectar feeders such as lorikeets, honeyeaters and flying foxes, which also act as pollinators. The koala has a special digestive system which enables it to stomach the toxic leaves. Yellow-bellied gliders are shown licking sap and sailing between trees, while termites attack the trees themselves. Gum trees are highly flammable and are adapted to cope with bushfires: fresh shoots grow from buds protected by the insulating bark within weeks of a blaze. Regent parrots nest deep inside the river red gums along the Murray River to avoid predatory lace monitors. The boughs can drop without warning, and those that fall into the river provide shelter for Murray cod. The final scenes show red kangaroos bounding through a flooded forest – without periodic floods, the trees would not survive. | | | |
| 5 | "Island Arks" | 10 October 2003 (2003-10-10) |
| The episode begins at Kakadu, a seasonal wetland and representative of the swamps that once stretched from north Australia to New Guinea. The lush tropical forests of New Guinea are home to creatures such as long-beaked echidnas, tree kangaroos and 38 kinds of bird of paradise, as well as richly varied human cultures. Male Raggiana birds of paradise are filmed displaying at a lek and mating. Further east, the submerged tips of extinct volcanoes support colourful reefs. Pygmy seahorses and razorfish use camouflage to avoid detection. Saltwater crocodiles can swim great distances, enabling them to colonise remote volcanic islands. No terrestrial mammals have made it this far, but fruit-eating bats such as the tube-nosed species feast on figs. On Lord Howe Island, the aerial displays of male tropicbirds are filmed, and adult sooty terns regurgitate meals for their chicks. New Caledonia is a remnant of the Australian land mass which broke away 80 million years ago. It has many unique species, especially lizards: the giant gecko is the largest of its kind. New Zealand lies on the edge of the continental land mass, and marine life drawn to its nutrient-rich seas include sperm whales and acrobatic dusky dolphins. On land, keas have colonised the Southern Alps and in the forests, kiwis and wētā occupy ecological niches normally associated with mammals. Introduced species have decimated the native fauna, but many species survive on offshore islands. The kākāpō, tūī, kaka, Fiordland penguin and sooty shearwater are all shown. | | | |
| 6 | "New Worlds" | 17 October 2003 (2003-10-17) |
| The final instalment, which explores man's impact on Australia's wildlife. The arrival of Europeans brought huge changes. Some creatures have benefited – golf courses provide perfect browse for kangaroos and a landfill site is an important feeding ground for ibises – but many have suffered. Early homesick colonisers tried to model the landscape on the English countryside, bringing with them animals which have since wreaked havoc. Millions of wild pigs now roam, destroying vegetation, damaging waterholes and eating birds' eggs. Rabbits, camels and cane toads were also introduced and are out of control. European honeybees are supplanting native bees in the competition for nectar, and foxes prey on small marsupials. 54 native frogs, birds and mammals, including the Tasmanian tiger, have become extinct. Some which were presumed extinct have since been rediscovered, including Australia's rarest mammal, Gilbert's potoroo. Scientists are still searching for the night parrot after a single dead specimen was reported in 1990, but the great desert skink, familiar to Aborigines, is more widespread than previously thought. On Barrow Island, rare fauna including golden bandicoots and burrowing bettongs live amongst the oil wells, and a perentie drinks from a dripping air-conditioning unit. On Tasmania, devils and tiger quolls are filmed scavenging food in a sheep farmer's shed. Modern cities can also be a refuge for wildlife. 30,000 grey-headed flying foxes roost in Melbourne's botanical gardens and feed on orchard fruit nearby, while paying tourists feed wild rainbow lorikeets in a Brisbane park. | | | |

## Merchandise

A DVD and book were released to accompany the TV series:

* A Region 2 and 4, 2-disc DVD set (BBCDVD1321) featuring all six full-length episodes was released on 27 October 2003. The bonus features on the DVD include an edition of *Wildlife on One* (*Possums – Tales of the Unexpected*), a fact file and the featurette *Wild – Penguin Paradise*. A Region 4 DVD with the same content was released under the title *Wild Australasia* in 2004.
* The accompanying hardcover book, *Wild Down Under* by Neil Nightingale, Mary Summerill, Hugh Pearson and Jeni Cleversy, was published by BBC Books on 18 September 2003 (ISBN 0-563-48822-0). The foreword is written by Tim Flannery. In Australia the book was released under the title *Wild Australasia*.

## InfoBox

| *Wild Down Under* | |
| --- | --- |
| Series title card from UK broadcast | |
| Also known as | *Wild Australasia* |
| Genre | Nature documentary |
| Narrated by | Matt Day |
| Composer | Adrian Johnston |
| Country of origin | United Kingdom |
| Original language | English |
| No. of episodes | 6 |
| Production | |
| Executive producers | Neil Nightingale (BBC)
Dione Gilmour (ABC) |
| Running time | 50 minutes |
| Production companies | BBC Natural History Unit
Animal Planet
ABC |
| Original release | |
| Network | BBC Two |
| Release | 12 September (2003-09-12)
17 October 2003 (2003-10-17) |
| Related | |
|  | |


title: Max Volkhart

abstract: Max Volkhart was a German genre painter and etcher; associated with the Düsseldorfer Malerschule. He was heavily influenced by the Dutch Masters and many of his works are set in the 17th and 18th centuries.

text:
# Max Volkhart

**Max Volkhart** (17 October 1848, Düsseldorf \- 1924, Düsseldorf) was a German genre painter and etcher; associated with the Düsseldorfer Malerschule. He was heavily influenced by the Dutch Masters and many of his works are set in the 17th and 18th centuries.

## Biography

His father was the history painter Wilhelm Volkhart, who was his first teacher. Later, he followed his father's example and enrolled at the Kunstakademie Düsseldorf, where he studied with Heinrich Lauenstein, Andreas Müller and Julius Roeting, whose daughter, Anna, he would later marry. Afterwards, he took private lessons from Eduard von Gebhardt. His first major painting, "The Wounded at Gravelotte" was inspired by the Franco-Prussian War and was later acquired by Kaiser Wilhelm I.

This period was followed by an extended trip to Belgium and the Netherlands, where he focused on studies from nature. In 1881 at Rotterdam, he presented a Panorama depicting the victory of Maurice, Prince of Orange over the Spaniards at the Battle of Nieuwpoort.

In 1883, he became a member of the "Düsseldorfer Ruderverein 1880" (Rowing association), which had a boathouse in the harbor next to the Kunstakademie, and participated in numerous rowing competitions with some of his fellow artists.

He was also a member of "Malkasten", a progressive artists' association that grew out of the Revolution of 1848. He participated in many of their regular festivities, which included an annual masked ball, and directed their "Doppelhochzeitsfeier" (Double wedding) in 1898.

In his later years, he apparently faded into obscurity, as the exact date of his death seems to have been unrecorded and several sources give his year of death as 1935, rather than 1924.

## Selected paintings

* Hans Paffrath, Martina Sitt and Imke Valentien (eds.) *Lexikon der Düsseldorfer Malerschule*, Bruckmann, 1998 ISBN 3-7654-3011-0
* Biographical notes from *Europas konstnärer* @ Projekt Runeberg


# National Territorial Commanders Committee

## NTCC - National Territorial Commanders Committee

The National Territorial Commanders Committee, or NTCC, is an informal forum for the exchange of information and for the consultation on multinational issues of mutual (military) interest. The NTCC coordinates host nation support and establishes guidelines to facilitate reception, staging and onward movement (RSOM) of transiting or operating allied and partner nation forces; coordinates operational access to national lines of communication; and coordinates delivery of defense and intergovernmental resources for operations, exercises and contingencies of sending nations.

The NTCC was first established in 1986 by six nations, and today it is composed of senior logistical military commanders and representatives from more than 20 allied and partner nations. The NTCC is staffed with observers from the North Atlantic Treaty Organization (NATO), Supreme Headquarters Allied Powers Europe(SHAPE), the European Union(EU) military staff and the United States European Command(EUCOM). The organization seeks to improve host nation cooperation and enhance NTCC member capabilities to responsively meet allied and partner sending nation support requirements for exercises, contingencies or operations.

### Mission and Vision

The NTCC mission is to streamline host nation support (HNS) coordination between member nations. The organization's vision is to be the leading multinational network for host nation support.

### Focus Areas

Through information sharing and capturing lessons learned, the members of the NTCC seek to transform operational processes to create a system of best practices to govern host nation support procedures and capabilities.

The primary NTCC focus areas are:

* Enhance North Atlantic Treaty Organization (NATO) integration with allies and partner forces
* Facilitate logistics change initiatives
* Enable knowledge/information sharing
* Improve host nation support capabilities, capacity, and activity
* Assist partner nations in planning, managing and executing logistics support

### Role

The NTCC does not replace bilateral or joint agreements between nations, nor does its capabilities supersede those of NATO or other formal documents/organizations.

Members seek to exchange and share information on issues of common concern, with the end goal of streamlining processes and procedures to ensure rapid response of host nation support during military operations, exercises, crises and in times of peace. The experts of the NTCC facilitate the development and acceptance of bilateral and multilateral logistics arrangements/agreements and liaise with organizations across the spectrum on matters related/adjacent to host nation support matters.

Through participation in multinational logistics planning conferences, NATO Schools and in allied and joint exercises, the NTCC helps bolster regional and partner confidence in planning, managing and implementing host nation logistics support.

### Organization

The Commanders of the NTCC meet annually for the National Territorial Commanders Committee Meeting. During this meeting, the Commanders vote on issues of importance to the organization and affirm/execute the guidance and tasks brought forward by the NTCC Steering Committee.

The NTCC Steering Committee meets twice annually and is composed of national single points of contact (SPOCs) who liaise on behalf of their commanders/nations on the day-to-day business of host nation support logistics. The steering committee is chaired by a permanent secretary (PERMSEC) who coordinates the issues of the NTCC and SPOCs in accordance with the official NTCC Terms of Reference.

There are three levels of participation in the NTCC Forum:

* Members: Belong to the signing nations and have full voting status in the NTCC. Members must be unanimously voted in by the member nations of the forum
* Observers: Organizations, agencies or commands who can observe and contribute to the NTCC but possess no voting rights
* Invitees: Invited to observe the activities and procedures of the NTCC, with the option of seeking full membership through official vote by NTCC Members

1. "NTCC bolsters host-nation support in Belgium | Article | The United States Army".
2. "NTCC meets in Warsaw to improve Host Nation Support | Article | The United States Army".
3. "Allied leaders talk host nation support logistics in Slovenia | Article | The United States Army".
4. "NATO Logistics Handbook: Chapter 12: Host Nation Support".


title: Motive (algebraic geometry)

abstract:
In algebraic geometry, motives is a theory proposed by Alexander Grothendieck in the 1960s to unify the vast array of similarly behaved cohomology theories such as singular cohomology, de Rham cohomology, etale cohomology, and crystalline cohomology. Philosophically, a "motif" is the "cohomology essence" of a variety. In the formulation of Grothendieck for smooth projective varieties, a motive is a triple, where X is a smooth projective variety, p : X ⊢ X is an idempotent correspondence, and m an integer, however, such a triple contains almost no information outside the context of Grothendieck's category of pure motives, where a morphism from to is given by a correspondence of degree n − m. A more object-focused approach is taken by Pierre Deligne in Le Groupe Fondamental de la Droite Projective Moins Trois Points. In that article, a motive is a "system of realisations" – that is, a tuple
  - consisting of modules
  - M B, M D R, M A f, M cris, p over the rings
  - Q, Q, A f, Q p, respectively, various comparison isomorphisms
  - comp D R, B, comp A f, B, comp cris  p, D R between the obvious base changes of these modules, filtrations W, F, a Gal
-action ϕ on M A f, and a "Frobenius" automorphism ϕ p of M cris, p. This data is modeled on the cohomologies of a smooth projective Q
-variety and the structures and compatibilities they admit, and gives an idea about what kind of information is contained in a motive.

text:
# Motive (algebraic geometry)

In algebraic geometry, **motives** (or sometimes **motifs**, following French usage) is a theory proposed by Alexander Grothendieck in the 1960s to unify the vast array of similarly behaved cohomology theories such as singular cohomology, de Rham cohomology, etale cohomology, and crystalline cohomology. Philosophically, a "motif" is the "cohomology essence" of a variety.

In the formulation of Grothendieck for smooth projective varieties, a motive is a triple $(X,p,m)$, where $X$ is a smooth projective variety, $p:X\vdash X$ is an idempotent correspondence, and *m* an integer, however, such a triple contains almost no information outside the context of Grothendieck's category of pure motives, where a morphism from $(X,p,m)$ to $(Y,q,n)$ is given by a correspondence of degree $n-m$. A more object-focused approach is taken by Pierre Deligne in *Le Groupe Fondamental de la Droite Projective Moins Trois Points*. In that article, a motive is a "system of realisations" – that is, a tuple

$$\left(M\_{B},M\_{\mathrm {DR} },M\_{\mathbb {A} ^{f},M\_{\operatorname {cris} ,p},\operatorname {comp} \_{\mathrm {DR} ,B},\operatorname {comp} \_{\mathbb {A} ^{f},B},\operatorname {comp} \_{\operatorname {cris} p,\mathrm {DR} },W,F\_{\infty },F,\phi ,\phi \_{p}\right)}$$

consisting of modules

$$M\_{B},M\_{\mathrm {DR} },M\_{\mathbb {A} ^{f},M\_{\operatorname {cris} ,p}}$$

over the rings

$$\mathbb {Q} ,\mathbb {Q} ,\mathbb {A} ^{f},\mathbb {Q} \_{p},$$

respectively, various comparison isomorphisms

$$\operatorname {comp} \_{\mathrm {DR} ,B},\operatorname {comp} \_{\mathbb {A} ^{f},B},\operatorname {comp} \_{\operatorname {cris} p,\mathrm {DR} }$$

between the obvious base changes of these modules, filtrations $W,F$, a $\operatorname {Gal} ({\overline {\mathbb {Q} },\mathbb {Q} )}$-action $\phi $ on $M\_{\mathbb {A} ^{f},}$ and a "Frobenius" automorphism $\phi \_{p}$ of $M\_{\operatorname {cris} ,p}$. This data is modeled on the cohomologies of a smooth projective $\mathbb {Q} $-variety and the structures and compatibilities they admit, and gives an idea about what kind of information is contained in a motive.

## Introduction

The theory of motives was originally conjectured as an attempt to unify a rapidly multiplying array of cohomology theories, including Betti cohomology, de Rham cohomology, *l*-adic cohomology, and crystalline cohomology. The general hope is that equations like

* \[projective line\] = \[line\] + \[point\]
* \[projective plane\] = \[plane\] + \[line\] + \[point\]

can be put on increasingly solid mathematical footing with a deep meaning. Of course, the above equations are already known to be true in many senses, such as in the sense of CW-complex where "+" corresponds to attaching cells, and in the sense of various cohomology theories, where "+" corresponds to the direct sum.

From another viewpoint, motives continue the sequence of generalizations from rational functions on varieties to divisors on varieties to Chow groups of varieties. The generalization happens in more than one direction, since motives can be considered with respect to more types of equivalence than rational equivalence. The admissible equivalences are given by the definition of an adequate equivalence relation.

## Definition of pure motives

The category of pure motives often proceeds in three steps. Below we describe the case of Chow motives $\operatorname {Chow} (k)$, where *k* is any field.

### First step: category of (degree 0) correspondences, Corr(*k*)

The objects of $\operatorname {Corr} (k)$ are simply smooth projective varieties over *k*. The morphisms are correspondences. They generalize morphisms of varieties $X\to Y$, which can be associated with their graphs in $X\times Y$, to fixed dimensional Chow cycles on $X\times Y$.

It will be useful to describe correspondences of arbitrary degree, although morphisms in $\operatorname {Corr} (k)$ are correspondences of degree 0. In detail, let *X* and *Y* be smooth projective varieties and consider a decomposition of *X* into connected components:

$$X=\coprod \_{i}X\_{i},\qquad d\_{i}:=\dim X\_{i}.$$

If $r\in \mathbb {Z} $, then the correspondences of degree *r* from *X* to *Y* are

$$\operatorname {Corr} ^{r}(k)(X,Y):=\bigoplus \_{i}A^{d\_{i}+r}(X\_{i}\times Y),$$

where $A^{k}(X)$ denotes the Chow-cycles of codimension *k*. Correspondences are often denoted using the "⊢"-notation, e.g., $\alpha :X\vdash Y$. For any $\alpha \in \operatorname {Corr} ^{r}(X,Y)$ and $\beta \in \operatorname {Corr} ^{s}(Y,Z),$ their composition is defined by

$$\beta \circ \alpha :=\pi \_{XZ\*}\left(\pi \_{XY}^{\*}(\alpha )\cdot \pi \_{YZ}^{\*}(\beta )\right)\in \operatorname {Corr} ^{r+s}(X,Z),$$

where the dot denotes the product in the Chow ring (i.e., intersection).

Returning to constructing the category $\operatorname {Corr} (k),$ notice that the composition of degree 0 correspondences is degree 0. Hence we define morphisms of $\operatorname {Corr} (k)$ to be degree 0 correspondences.

The following association is a functor (here $\Gamma \_{f}\subseteq X\times Y$ denotes the graph of $f:X\to Y$):

$$F:{\begin{cases}\operatorname {SmProj} (k)\longrightarrow \operatorname {Corr} (k)\\X\longmapsto X\\f\longmapsto \Gamma \_{f}\end{cases}}$$

Just like $\operatorname {SmProj} (k),$ the category $\operatorname {Corr} (k)$ has direct sums (*X**Y* := *X**Y*) and tensor products (*X**Y* := *X* × *Y*). It is a preadditive category. The sum of morphisms is defined by

$$\alpha +\beta :=(\alpha ,\beta )\in A^{\*}(X\times X)\oplus A^{\*}(Y\times Y)\hookrightarrow A^{\*}\left(\left(X\coprod Y\right)\times \left(X\coprod Y\right)\right).$$

### Second step: category of pure effective Chow motives, Choweff(*k*)

The transition to motives is made by taking the pseudo-abelian envelope of $\operatorname {Corr} (k)$:

$\operatorname {Chow} ^{\operatorname {eff} }(k):=Split(\operatorname {Corr} (k))$.

In other words, effective Chow motives are pairs of smooth projective varieties *X* and *idempotent* correspondences α: *X**X*, and morphisms are of a certain type of correspondence:

$$\operatorname {Ob} \left(\operatorname {Chow} ^{\operatorname {eff} }(k)\right):=\\{(X,\alpha )\mid (\alpha :X\vdash X)\in \operatorname {Corr} (k){\mbox{ such that }\alpha \circ \alpha =\alpha \\}.}$$

$$\operatorname {Mor} ((X,\alpha ),(Y,\beta )):=\\{f:X\vdash Y|f\circ \alpha =f=\beta \circ f\\}.$$

Composition is the above defined composition of correspondences, and the identity morphism of (*X*, *α*) is defined to be *α* : *X**X*.

The association,

$h:{\begin{cases}\operatorname {SmProj} (k)&\longrightarrow \operatorname {Chow^{eff} (k)\\X&\longmapsto \[X\]:=(X,\Delta \_{X})\\f&\longmapsto \[f\]:=\Gamma \_{f}\subset X\times Y\end{cases}}}$,

where Δ*X* := \[*idX*\] denotes the diagonal of *X* × *X*, is a functor. The motive \[*X*\] is often called the *motive associated to the variety* X.

As intended, Choweff(*k*) is a pseudo-abelian category. The direct sum of effective motives is given by

$$(\[X\],\alpha )\oplus (\[Y\],\beta ):=\left(\left\[X\coprod Y\right\],\alpha +\beta \right),$$

The tensor product of effective motives is defined by

$$(\[X\],\alpha )\otimes (\[Y\],\beta ):=(X\times Y,\pi \_{X}^{\*}\alpha \cdot \pi \_{Y}^{\*}\beta ),$$

where

$$\pi \_{X}:(X\times Y)\times (X\times Y)\to X\times X,\quad {\text{and}\quad \pi \_{Y}:(X\times Y)\times (X\times Y)\to Y\times Y.}$$

The tensor product of morphisms may also be defined. Let *f*1 : (*X*1, *α*1) → (*Y*1, *β*1) and *f*2 : (*X*2, *α*2) → (*Y*2, *β*2) be morphisms of motives. Then let *γ*1*A**(*X*1 × *Y*1) and *γ*2*A**(*X*2 × *Y*2) be representatives of *f1* and *f2*. Then

$f\_{1}\otimes f\_{2}:(X\_{1},\alpha \_{1})\otimes (X\_{2},\alpha \_{2})\vdash (Y\_{1},\beta \_{1})\otimes (Y\_{2},\beta \_{2}),\qquad f\_{1}\otimes f\_{2}:=\pi \_{1}^{\*}\gamma \_{1}\cdot \pi \_{2}^{\*}\gamma \_{2}$,

where *πi* : *X*1 × *X*2 × *Y*1 × *Y*2*Xi* × *Yi* are the projections.

### Third step: category of pure Chow motives, Chow(*k*)

To proceed to motives, we adjoin to Choweff(*k*) a formal inverse (with respect to the tensor product) of a motive called the Lefschetz motive. The effect is that motives become triples instead of pairs. The Lefschetz motive *L* is

$L:=(\mathbb {P} ^{1},\lambda ),\qquad \lambda :=pt\times \mathbb {P} ^{1}\in A^{1}(\mathbb {P} ^{1}\times \mathbb {P} ^{1})$.

If we define the motive **1**, called the *trivial Tate motive*, by **1** := h(Spec(*k*)), then the elegant equation

$$\[\mathbb {P} ^{1}\]=\mathbf {1} \oplus L$$

holds, since

$$\mathbf {1} \cong \left(\mathbb {P} ^{1},\mathbb {P} ^{1}\times \operatorname {pt} \right).$$

The tensor inverse of the Lefschetz motive is known as the *Tate motive*, *T* := *L*−1. Then we define the category of pure Chow motives by

$\operatorname {Chow} (k):=\operatorname {Chow} ^{\operatorname {eff} }(k)\[T\]$.

A motive is then a triple

$$(X\in \operatorname {SmProj} (k),p:X\vdash X,n\in \mathbb {Z} )$$

such that morphisms are given by correspondences

$$f:(X,p,m)\to (Y,q,n),\quad f\in \operatorname {Corr} ^{n-m}(X,Y){\mbox{ such that }f\circ p=f=q\circ f,}$$

and the composition of morphisms comes from composition of correspondences.

As intended, $\operatorname {Chow} (k)$ is a rigid pseudo-abelian category.

### Other types of motives

In order to define an intersection product, cycles must be "movable" so we can intersect them in general position. Choosing a suitable equivalence relation on cycles will guarantee that every pair of cycles has an equivalent pair in general position that we can intersect. The Chow groups are defined using rational equivalence, but other equivalences are possible, and each defines a different sort of motive. Examples of equivalences, from strongest to weakest, are

* Rational equivalence
* Algebraic equivalence
* Smash-nilpotence equivalence (sometimes called Voevodsky equivalence)
* Homological equivalence (in the sense of Weil cohomology)
* Numerical equivalence

The literature occasionally calls every type of pure motive a Chow motive, in which case a motive with respect to algebraic equivalence would be called a *Chow motive modulo algebraic equivalence*.

## Mixed motives

For a fixed base field *k*, the category of **mixed motives** is a conjectural abelian tensor category $MM(k)$, together with a contravariant functor

$$\operatorname {Var} (k)\to MM(k)$$

taking values on all varieties (not just smooth projective ones as it was the case with pure motives). This should be such that motivic cohomology defined by

$$\operatorname {Ext} \_{MM}^{\*}(1,?)$$

coincides with the one predicted by algebraic K-theory, and contains the category of Chow motives in a suitable sense (and other properties). The existence of such a category was conjectured by Alexander Beilinson.

Instead of constructing such a category, it was proposed by Deligne to first construct a category *DM* having the properties one expects for the derived category

$D^{b}(MM(k))$.

Getting *MM* back from *DM* would then be accomplished by a (conjectural) *motivic t-structure*.

The current state of the theory is that we do have a suitable category *DM*. Already this category is useful in applications. Vladimir Voevodsky's Fields Medal-winning proof of the Milnor conjecture uses these motives as a key ingredient.

There are different definitions due to Hanamura, Levine and Voevodsky. They are known to be equivalent in most cases and we will give Voevodsky's definition below. The category contains Chow motives as a full subcategory and gives the "right" motivic cohomology. However, Voevodsky also shows that (with integral coefficients) it does not admit a motivic t-structure.

### Geometric Mixed Motives

#### Notation

Here we will fix a field k of characteristic 0 and let $A=\mathbb {Q} ,\mathbb {Z} $ be our coefficient ring. Set $\mathcal {Var}/k$ as the category of quasi-projective varieties over k are separated schemes of finite type. We will also let $\mathcal {Sm}/k$ be the subcategory of smooth varieties.

#### Smooth varieties with correspondences

Given a smooth variety X and a variety Y call an integral closed subscheme $W\subset X\times Y$ which is finite over X and surjective over a component of Y a **prime correspondence** from X to Y. Then, we can take the set of prime correspondences from X to Y and construct a free A-module $C\_{A}(X,Y)$. Its elements are called **finite correspondences**. Then, we can form an additive category $\mathcal {SmCor}$ whose objects are smooth varieties and morphisms are given by smooth correspondences. The only non-trivial part of this "definition" is the fact that we need to describe compositions. These are given by a push-pull formula from the theory of Chow rings.

##### Examples of correspondences

Typical examples of prime correspondences come from the graph $\Gamma \_{f}\subset X\times Y$ of a morphism of varieties $f:X\to Y$.

#### Localizing the homotopy category

From here we can form the homotopy category $K^{b}({\mathcal {SmCor})}$ of bounded complexes of smooth correspondences. Here smooth varieties will be denoted $\[X\]$. If we localize this category with respect to the smallest thick subcategory (meaning it is closed under extensions) containing morphisms

$$\[X\times \mathbb {A} ^{1}\]\to \[X\]$$

and

$$\[U\cap V\]{\xrightarrow {j\_{U}'+j\_{V}'}\[U\]\oplus \[V\]{\xrightarrow {j\_{U}-j\_{V}\[X\]}}}$$

then we can form the triangulated category of effective geometric motives $\mathcal {DM}\_{\text{gm}^{\text{eff}(k,A).}}$ Note that the first class of morphisms are localizing $\mathbb {A} ^{1}$-homotopies of varieties while the second will give the category of geometric mixed motives the Mayer–Vietoris sequence.

Also, note that this category has a tensor structure given by the product of varieties, so $\[X\]\otimes \[Y\]=\[X\times Y\]$.

#### Inverting the Tate motive

Using the triangulated structure we can construct a triangle

$$\mathbb {L} \to \[\mathbb {P} ^{1}\]\to \[\operatorname {Spec} (k)\]{\xrightarrow {\[+1\]}}$$

from the canonical map $\mathbb {P} ^{1}\to \operatorname {Spec} (k)$. We will set $A(1)=\mathbb {L} \[-2\]$ and call it the **Tate motive**. Taking the iterative tensor product lets us construct $A(k)$. If we have an effective geometric motive M we let $M(k)$ denote $M\otimes A(k).$ Moreover, this behaves functorially and forms a triangulated functor. Finally, we can define the category of geometric mixed motives $\mathcal {DM}\_{gm}$ as the category of pairs $(M,n)$ for M an effective geometric mixed motive and n an integer representing the twist by the Tate motive. The hom-groups are then the colimit

$$\operatorname {Hom} \_{\mathcal {DM}((A,n),(B,m))=\lim \_{k\geq -n,-m}\operatorname {Hom} \_{{\mathcal {DM}\_{gm}^{\operatorname {eff} }(A(k+n),B(k+m))}}}$$

## Examples of motives

### Tate motives

There are several elementary examples of motives which are readily accessible. One of them being the Tate motives, denoted $\mathbb {Q} (n)$, $\mathbb {Z} (n)$, or $A(n)$, depending on the coefficients used in the construction of the category of Motives. These are fundamental building blocks in the category of motives because they form the "other part" besides Abelian varieties.

### Motives of curves

The motive of a curve can be explicitly understood with relative ease: their Chow ring is just $\mathbb {Z} \oplus {\text{Pic}(C)}$for any smooth projective curve $C$, hence Jacobians embed into the category of motives.

## Explanation for non-specialists

A commonly applied technique in mathematics is to study objects carrying a particular structure by introducing a category whose morphisms preserve this structure. Then one may ask when two given objects are isomorphic, and ask for a "particularly nice" representative in each isomorphism class. The classification of algebraic varieties, i.e. application of this idea in the case of algebraic varieties, is very difficult due to the highly non-linear structure of the objects. The relaxed question of studying varieties up to birational isomorphism has led to the field of birational geometry. Another way to handle the question is to attach to a given variety *X* an object of more linear nature, i.e. an object amenable to the techniques of linear algebra, for example a vector space. This "linearization" goes usually under the name of *cohomology*.

There are several important cohomology theories, which reflect different structural aspects of varieties. The (partly conjectural) **theory of motives** is an attempt to find a universal way to linearize algebraic varieties, i.e. motives are supposed to provide a cohomology theory that embodies all these particular cohomologies. For example, the genus of a smooth projective curve *C* which is an interesting invariant of the curve, is an integer, which can be read off the dimension of the first Betti cohomology group of *C*. So, the motive of the curve should contain the genus information. Of course, the genus is a rather coarse invariant, so the motive of *C* is more than just this number.

## The search for a universal cohomology

Each algebraic variety *X* has a corresponding motive \[*X*\], so the simplest examples of motives are:

* \[point\]
* \[projective line\] = \[point\] + \[line\]
* \[projective plane\] = \[plane\] + \[line\] + \[point\]

These 'equations' hold in many situations, namely for de Rham cohomology and Betti cohomology, *l*-adic cohomology, the number of points over any finite field, and in multiplicative notation for local zeta-functions.

The general idea is that one **motive** has the same structure in any reasonable cohomology theory with good formal properties; in particular, any **Weil cohomology** theory will have such properties. There are different Weil cohomology theories, they apply in different situations and have values in different categories, and reflect different structural aspects of the variety in question:

All these cohomology theories share common properties, e.g. existence of Mayer-Vietoris sequences, homotopy invariance $H^{\*}(X)\cong H^{\*}(X\times \mathbb {A} ^{1}),$ the product of *X* with the affine line) and others. Moreover, they are linked by comparison isomorphisms, for example Betti cohomology $H\_{\text{Betti}^{\*}(X,\mathbb {Z} /n)}$ of a smooth variety *X* over $\mathbb {C} $ with finite coefficients is isomorphic to *l*-adic cohomology with finite coefficients.

The **theory of motives** is an attempt to find a universal theory which embodies all these particular cohomologies and their structures and provides a framework for "equations" like

\[projective line\] = \[line\]+\[point\].

In particular, calculating the motive of any variety *X* directly gives all the information about the several Weil cohomology theories *H**Betti(*X*), *H**DR(*X*) etc.

Beginning with Grothendieck, people have tried to precisely define this theory for many years.

### Motivic cohomology

*Motivic cohomology* itself had been invented before the creation of mixed motives by means of algebraic K-theory. The above category provides a neat way to (re)define it by

$$H^{n}(X,m):=H^{n}(X,\mathbb {Z} (m)):=\operatorname {Hom} \_{DM}(X,\mathbb {Z} (m)\[n\]),$$

where *n* and *m* are integers and $\mathbb {Z} (m)$ is the *m*-th tensor power of the Tate object $\mathbb {Z} (1),$ which in Voevodsky's setting is the complex $\mathbb {P} ^{1}\to \operatorname {pt} $ shifted by –2, and *\[n\]* means the usual shift in the triangulated category.

The standard conjectures were first formulated in terms of the interplay of algebraic cycles and Weil cohomology theories. The category of pure motives provides a categorical framework for these conjectures.

The standard conjectures are commonly considered to be very hard and are open in the general case. Grothendieck, with Bombieri, showed the depth of the motivic approach by producing a conditional (very short and elegant) proof of the Weil conjectures (which are proven by different means by Deligne), assuming the standard conjectures to hold.

For example, the *Künneth standard conjecture*, which states the existence of algebraic cycles *πi**X* × *X* inducing the canonical projectors *H**(*X*) → *Hi*(*X*) ↣ *H**(*X*) (for any Weil cohomology *H*) implies that every pure motive *M* decomposes in graded pieces of weight *n*: *M* = ⨁*GrnM*. The terminology *weights* comes from a similar decomposition of, say, de-Rham cohomology of smooth projective varieties, see Hodge theory.

*Conjecture D*, stating the concordance of numerical and homological equivalence, implies the equivalence of pure motives with respect to homological and numerical equivalence. (In particular the former category of motives would not depend on the choice of the Weil cohomology theory). Jannsen (1992) proved the following unconditional result: the category of (pure) motives over a field is abelian and semisimple if and only if the chosen equivalence relation is numerical equivalence.

The Hodge conjecture, may be neatly reformulated using motives: it holds iff the *Hodge realization* mapping any pure motive with rational coefficients (over a subfield $k$ of $\mathbb {C} $) to its Hodge structure is a full functor $H:M(k)\_{\mathbb {Q} }\to HS\_{\mathbb {Q} }$ (rational Hodge structures). Here pure motive means pure motive with respect to homological equivalence.

Similarly, the Tate conjecture is equivalent to: the so-called Tate realization, i.e. ℓ-adic cohomology, is a full functor $H:M(k)\_{\mathbb {Q} \_{\ell }\to \operatorname {Rep} \_{\ell }(\operatorname {Gal} (k))}$ (pure motives up to homological equivalence, continuous representations of the absolute Galois group of the base field *k*), which takes values in semi-simple representations. (The latter part is automatic in the case of the Hodge analogue).

## Tannakian formalism and motivic Galois group

To motivate the (conjectural) motivic Galois group, fix a field *k* and consider the functor

finite separable extensions *K* of *k* → non-empty finite sets with a (continuous) transitive action of the absolute Galois group of *k*

which maps *K* to the (finite) set of embeddings of *K* into an algebraic closure of *k*. In Galois theory this functor is shown to be an equivalence of categories. Notice that fields are 0-dimensional. Motives of this kind are called *Artin motives*. By $\mathbb {Q} $-linearizing the above objects, another way of expressing the above is to say that Artin motives are equivalent to finite $\mathbb {Q} $-vector spaces together with an action of the Galois group.

The objective of the **motivic Galois group** is to extend the above equivalence to higher-dimensional varieties. In order to do this, the technical machinery of Tannakian category theory (going back to Tannaka–Krein duality, but a purely algebraic theory) is used. Its purpose is to shed light on both the Hodge conjecture and the Tate conjecture, the outstanding questions in algebraic cycle theory. Fix a Weil cohomology theory *H*. It gives a functor from *Mnum* (pure motives using numerical equivalence) to finite-dimensional $\mathbb {Q} $-vector spaces. It can be shown that the former category is a Tannakian category. Assuming the equivalence of homological and numerical equivalence, i.e. the above standard conjecture *D*, the functor *H* is an exact faithful tensor-functor. Applying the Tannakian formalism, one concludes that *Mnum* is equivalent to the category of representations of an algebraic group *G*, known as the motivic Galois group.

The motivic Galois group is to the theory of motives what the Mumford–Tate group is to Hodge theory. Again speaking in rough terms, the Hodge and Tate conjectures are types of invariant theory (the spaces that are morally the algebraic cycles are picked out by invariance under a group, if one sets up the correct definitions). The motivic Galois group has the surrounding representation theory. (What it is not, is a Galois group; however in terms of the Tate conjecture and Galois representations on étale cohomology, it predicts the image of the Galois group, or, more accurately, its Lie algebra.)

### Survey Articles

* Beilinson, Alexander; Vologodsky, Vadim (2007), *A DG guide to Voevodsky's motives*, p. 4004, arXiv:math/0604004, Bibcode:2006math......4004B (technical introduction with comparatively short proofs)
* Motives over Finite Fields \- J.S. Milne
* Mazur, Barry (2004), "What is ... a motive?" (PDF), *Notices of the American Mathematical Society*, **51** (10): 1214–1216, ISSN 0002-9920, MR 2104916 (motives-for-dummies text).
* Serre, Jean-Pierre (1991), "Motifs" (PDF), *Astérisque* (in French) (198): 11, 333–349 (1992), ISSN 0303-1179, MR 1144336, archived from the original (PDF) on 2022-01-10 (high-level introduction to motives in French).
* Tabauda, Goncalo (2011), "A guided tour through the garden of noncommutative motives", *Journal of K-theory*, arXiv:1108.3787

### Books

### Reference Literature

### Future directions


title: 1960 Polish speedway season

abstract: The 1960 Polish Speedway season was the 1960 season of motorcycle speedway in Poland.

text:
# 1960 Polish speedway season

The **1960 Polish Speedway season** was the 1960 season of motorcycle speedway in Poland.

## Individual

### Polish Individual Speedway Championship

The 1960 Individual Speedway Polish Championship was held on 28 August at Rybnik.

| Pos. | Rider | Club | Total | Points |
| --- | --- | --- | --- | --- |
| 1 | Konstanty Pociejkewicz | Wrocław | 15 | (3,3,3,3,3) |
| 2 | Marian Kaiser | Gdańsk | 13+3 | (2,3,3,2,3) |
| 3 | Bernard Kacperak | Częstochowa | 13+2 | (3,2,3,3,2) |
| 4 | Paweł Waloszek | Gdańsk | 13+1 | (3,2,2,3,3) |
| 5 | Joachim Maj | Rybnik | 11 | (1,3,1,3,3) |
| 6 | Jan Malinowski | Rzeszów | 9 | (3,2,0,2,2) |
| 7 | Bronisław Rogal | Gorzów Wlkp. | 8 | (2,3,2,1,d) |
| 8 | Kazimierz Bentke | Leszno | 6 | (0,1,3,1,1) |
| 9 | Stanisław Rurarz | Częstochowa | 6 | (1,1,2,u,2) |
| 10 | Roman Gąsior | Krosno | 5 | (0,2,2,0,1) |
| 11 | Wiesław Rutkowski | Piła | 5 | (1,1,0,1,2) |
| 12 | Edward Kupczyński | Bydgoszcz | 4 | (1,0,1,2,0) |
| 13 | Janusz Kościelak | Rzeszów | 3 | (2,0,1,u,0) |
| 14 | Norbert Świtała | Bydgoszcz | 3 | (0,d,d,2,1) |
| 15 | Rajmund Świtała | Bydgoszcz | 2 | (2,0) |
| 16 | Stanisław Kaiser | Gdańsk | 2 | (0,1,1,d,d) |
| 17 | Bronisław Idzikowski (res) | Częstochowa | 1 | (0,1) |
| 18 | Marian Philipp (res) | Rybnik |  | (ns) |
| 19 | Stefan Kwoczała (res) | Częstochowa |  | (ns) |
| 20 | Stefan Kępa (res) | Rzeszów |  | (ns) |

### Criterium of Aces

The Criterium of Aces was won by Marian Rose.

## Team

### Team Speedway Polish Championship

The 1960 Team Speedway Polish Championship was the 13th edition of the Team Polish Championship. Stal Rzeszów won the gold medal.

#### First League

| Pos | Club | Pts | W | D | L | +/− |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | Stal Rzeszów | **24** | 12 | 0 | 2 | +176 |
| 2 | Legia Gdańsk | **19** | 9 | 1 | 4 | +143 |
| 3 | Polonia Bydgoszcz | **18** | 8 | 2 | 4 | +114 |
| 4 | Włókniarz Częstochowa | **17** | 8 | 1 | 5 | +115 |
| 5 | Górnik Rybnik | **12** | 6 | 0 | 8 | –27 |
| 6 | Unia Leszno | **12** | 6 | 0 | 8 | –66 |
| 7 | Unia Tarnów | **10** | 5 | 0 | 9 | –128 |
| 8 | Start Gniezno | **0** | 0 | 0 | 14 | –327 |

#### Second League (East)

| Pos | Club | Pts | W | D | L | +/− |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | Wanda Nowa Huta | **14** | 7 | 0 | 2 | +30 |
| 2 | Tramwajarz Łódź | **12** | 6 | 0 | 3 | +107 |
| 3 | Legia Krosno | **11** | 5 | 1 | 3 | +100 |
| 4 | Śląsk Świętochłowice | **10** | 5 | 0 | 4 | +119 |
| 5 | Cracovia Kraków | **3** | 1 | 1 | 7 | –106 |
| 6 | CKS Czeladź | *not classified* | | | | |

#### Second League (West)

| Pos | Club | Pts | W | D | L | +/− |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | Sparta Wrocław | **18** | 9 | 0 | 1 | +186 |
| 2 | Stal Gorzów Wielkopolski | **16** | 8 | 0 | 2 | +150 |
| 3 | Polonia Piła | **10** | 5 | 0 | 5 | –4 |
| 4 | LPŻ Zielona Góra | **6** | 3 | 0 | 7 | –81 |
| 5 | Sparta Śrem | **6** | 3 | 0 | 7 | –104 |
| 6 | LPŻ Toruń | **4** | 2 | 0 | 8 | –147 |

**Play off**

* Sparta Wrocław v Wanda Nowa Huta 46–32, 49-29

## InfoBox

| 1960 Polish speedway season | |
| --- | --- |
|


title: Motive Power

abstract: Motive Power is a bi-monthly railway related magazine that focuses on diesel locomotives in Australia. The first issue was published on 23 August 1998. Its headquarters is in Sydney. The content includes photographs of locomotives & trains, news about newly delivered and repainted locomotives, technical articles, and fleet listings of the various Australian railway operators. Articles about railway photography itself are sometimes included, as well as articles and advertisements about railway modelling.

text:
# Motive Power

***Motive Power*** is a bi-monthly railway related magazine that focuses on diesel locomotives in Australia. The first issue was published on 23 August 1998. Its headquarters is in Sydney. The content includes photographs of locomotives & trains, news about newly delivered and repainted locomotives, technical articles, and fleet listings of the various Australian railway operators. Articles about railway photography itself are sometimes included, as well as articles and advertisements about railway modelling.

## Parameters

* Size  : A4
* Issue  : Number 111 is May/Jun 2017
* Issue  : Number 143 is Jan/Feb 2023 Year 2022 Pictorial issue (84 pages)
* Issue  : Number 154 is Jul/Aug 2024 Price $14.50
* Coverage  : Australia & some modelling
* ISSN  : 1442-7079
* Publisher : Motive Power Publications Pty. Ltd.