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Now Current
something is wrong
Williams stuck on the story’s margins has little to do but brings her "formidable screen presence" as the "untouchably cool" real-life punk fashion pioneer and punk political icon Jordan (Sex Shop employee and designer Vivienne Westwood muse), "with a vertical sheet of peroxide blonde hair"
https://www.hollywoodreporter.com/tv/tv-reviews/fx-hulu-pistol-tv-review-1235153178/
https://www.empireonline.com/tv/reviews/pistol/
https://variety.com/2022/tv/reviews/fx-pistol-review-sex-pistols-1235278715/
https://www.slashfilm.com/857390/pistol-review-a-punk-rock-miniseries-as-raw-and-powerful-as-the-band-that-inspired-it/
Williams embraced Punk-Rock style for her Pistol press tour, What she love about Jordan was the way that she used clothing as a political statement. Williams was inspired by the way Jordan mixed "form and structure with flesh and her own body." Jordan used her body and fashion as a confrontational presence that “turn the male gaze in on itself in an overtly sexual way that made the onlooker feel uncomfortable, rather than herself.”
https://www.vogue.com/article/maisie-williams-pistol-punk-rock-style https://www.indiewire.com/2022/04/maisie-williams-resented-game-of-thrones-puberty-1234716099/
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“You’re in a position of playing a role that is very strong, a strong woman, and a woman set apart, really. I decided that I wanted to be me, like a walking work of art, if you like, and I was totally and utterly unshakable.”
Williams sparkles as the late Jordan in the glorious cold open but is otherwise underutilized
Williams sparkles in a glorious episode cold opening, when she recreates Jordan's journey through her seaside home town and by train wearing clear PVC top, to the horror of the more conservative folk around her. showing what punk did, rather than telling it, which the Guardian considered the best scene in the series.
https://www.theguardian.com/tv-and-radio/2022/may/31/pistol-review-danny-boyle-wonky-sex-pistols-show-is-like-punk-t he-panto
https://time.com/6182800/pistol-review-hulu-fx/
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Perhaps it’s understandable that biopics of singularly influential artists so rarely live up to the creative brio of their subjects
Williams has little to do but sit around looking "untouchably cool" as Jordan, one of the style icons of the punk movement. https://www.hollywoodreporter.com/tv/tv-reviews/fx-hulu-pistol-tv-review-1235153178/
It’ll settle for delivering established facts with entertaining swagger, and it’s successful enough in those aims to make for a breezy watch. But Pistol is too busy admiring the youthful rebellion of the past to recognize that, in doing so, it’s become the very thing its subjects once sneered at: a safe, mainstream crowd-pleaser.
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What Boyle manages to capture, through his naturally disorderly directing, is the rage accumulating within this safety-pinned cross-section of British youth.
Maisie Williams brings her "formidable screen presence" as Jordan, "with a vertical sheet of peroxide blonde hair and appetite for controversy.
https://www.empireonline.com/tv/reviews/pistol/
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and the mononymous muse Jordan (Maisie Williams) stuck on the story’s margins.
Amid the chaos of the dance floor, the Sex Pistols yearn to obliterate themselves, each other and their listeners. Even if what’s around these moments doesn’t consistently work, “Pistol” nails the thrill of learning to disappear into sound.
https://variety.com/2022/tv/reviews/fx-pistol-review-sex-pistols-1235278715/
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fashion and punk political protester Jordan (Maisie Williams),
Pistol" is a wildly kinetic, often brutal depiction of the three years of the Sex Pistol's reign, showcasing the highs and lows of leading the punk revolution. It's loud, chaotic, and extremely messy, just like the Pistols themselves. https://www.slashfilm.com/857390/pistol-review-a-punk-rock-miniseries-as-raw-and-powerful-as-the-band-that-inspired-it/
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and the live performance scenes give a desperately needed shot of energy. It sounds great, and hints at how thrilling it must have been to be in the room. A scene of the band’s gig at Chelmsford prison, in 1976, is genuinely tense, then strangely joyful. The other is MaisieWilliams as the late Jordan, who gets the best scene in the series, when she struts through her seaside home town wearing nothing but clear PVC, to the horror of the stuffy commuters and passersby. “Provocateuring does make one quite hungry,” she drawls. Her character is what could have been. She shows what punk did, rather than telling it. There’s a lot of ambition in Pistol, a lot of provocateuring, but it doesn’t spark.
https://www.theguardian.com/tv-and-radio/2022/may/31/pistol-review-danny-boyle-wonky-sex-pistols-show-is-like-punk-t he-panto
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Maisie Williams Embraced Punk-Rock Style For Her Pistol Press Tour
The actor plays Jordan, née Pamela Rooke, a real-life punk pioneer from the 1970s who often styled the Sex Pistols for performances and served as muse to the designer Vivienne Westwood, another fixture of the decade.
What I love so much about Jordan was the way that she used clothing as a political statement,” says Williams. Rooke rebuked the groovier clothes of the decade in favor of pieces with an edge.
“Throughout my entire life, I’ve felt that the way that I look is different to the way that I am,” says Williams. “People think I’m smaller personality-wise based on my exterior—but with Jordan, she had such a grand exterior, and with such nuance behind that.”
“It took many hands to get the wardrobe correct,” says Williams of her character’s look. “It was really exciting to me—every day was like dress-up, getting locked into these rubber outfits and materials that I’ve never worn before. It felt like I was becoming someone new.” Some of her favorite looks on the show included an all-yellow PVC look—with “rubber knickers and latex stockings”—as well as a skirt and top that reminded her of a memorable story Jordan once told her. “Jordan told this incredible story of one summer in London, where they were having the most outrageous heatwave,” says Williams. “She was wearing this rubber top and skirt, and it was so hot that the skirt basically just disintegrated and melted off of her body.” (Jordan served as a consultant on the series before her death in April.)
“I was inspired by the way Jordan mixes form and structure with flesh and her own body,” says Williams. “Growing up in this industry, I feel like I was sexualized from quite a young age, and for that reason, it made me want to hide my body. But with Jordan, she fixed the male gaze in on itself; She’s so confrontational in the way that she reveals her body, that it actually makes other people feel uncomfortable, rather than herself.”
https://www.vogue.com/article/maisie-williams-pistol-punk-rock-style https://www.indiewire.com/2022/04/maisie-williams-resented-game-of-thrones-puberty-1234716099/ ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZzzzzzz
who sparkles in one episode’s glorious cold open but is otherwise underutilized
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https://www.independent.co.uk/arts-entertainment/tv/news/maisie-williams-image-pistol-b2060675.html
Williams said she had got “lost” in external expectations of what is attractive.
post Game Of Thrones she has been seeking roles that “connect with all sides of my personality”.
Arya was written as hot-headed
“For the longest time, I was battling with wanting to look traditionally like what people picture as beautiful and I was getting really lost in that.
She rebelled against that and decided to do what suited her
Williams lives with boyfriend Reuben Selby in rural west Sussex
https://www.hollywoodreporter.com/tv/tv-news/game-of-thrones-maisie-williams-arya-stark-1235129398/
“I think that when I started becoming a woman, I resented Arya because I couldn’t express who I was becoming,” she tells the outlet. “And then I also resented my body, because it wasn’t aligned with the piece of me that the world celebrated.”
“Can I say none of it?” The actress clarifies that, although she “loved” her time on the fantasy series, she does not explicitly miss that period of her young life.
Williams likened the Game of Thrones aftermath to “being born again” and shared with the outlet that now is the time to embrace new characters.
“I think that sometimes other people need a helping hand to see that you’re a different person.”
Williams said a tension was created between the world expecting her to look and act like her character and what her own form of self-expression looked like in the real world.
“I think that when I started becoming a woman, I resented Arya because I couldn’t express who I was becoming,” Williams said. “And then I also resented my body, because it wasn’t aligned with the piece of me that the world celebrated.”
https://ew.com/tv/maisie-williams-resented-game-of-thrones-character-womanhood/
"I look at it so fondly, and I look at it with such pride.
I think that when I started becoming a woman, I resented Arya because I couldn't express who I was becoming," she said. "And then I also resented my body, because it wasn't aligned with the piece of me that the world celebrated."
Around season 2 or 3, my body started to mature and I started to become a woman," Williams said. "But Arya was still very much trying to be disguised as a boy. I had really short hair and they'd constantly cover me in dirt and shade my nose so it looked really broad and I looked really manly. They'd also put this strap across my chest to flatten any growth that had started. I don't know, that just felt horrible for six months of the year, and I felt kind of ashamed for a while."
https://www.indiewire.com/2022/04/maisie-williams-resented-game-of-thrones-puberty-1234716099/
Arya’s adolescence, “Game of Thrones” had to slow down actress Maisie Williams’ puberty to mirror her character.
she “resented” her iconic “GoT” character during her teen years.
“I think that when I started becoming a woman, I resented Arya because I couldn’t express who I was becoming,” Williams said. “And then I also resented my body because it wasn’t aligned with the piece of me that the world celebrated.”
a “strap to reverse puberty” when Arya pretended to be male. “I was about 15 years old — like, I kind of just want a boyfriend, honestly,” Williams said at the time. “I don’t want to wear this.”
PP
And she is fully embracing her femininity in the upcoming FX for Hulu series “Pistols,” directed by Danny Boyle. The Sex Pistols origin story is set in 1970s London, where Williams plays punk model Jordan (i.e. Pamela Rooke). The role requires nudity, and Williams admitted she was hesitant to audition, “just because of everything that happens in the industry and all the horror stories I’ve heard…I want to be in this show because I’m the best person to do this, not because I’m the only girl who’ll take her top off.”
She said that director Boyle told her that “Jordan was a political statement” who worked to “turn the male gaze in on itself in an overtly sexual way that made other people feel ashamed.”
Old current
User:Crossroads is totally correct in that her essay and tweets were not just about about security in bathrooms/changing rooms. However the majority approach of the RS news sources listed at Wikipedia talk:Featured article review/J. K. Rowling/archive1/Archive 3#Best sources for Transgender people section mostly concentrated her views on trans people and their rights, especially concerning women only spaces. . The RS would not have published pieces on her empathy alone.
The section name was the result of several discussions, I do not support a change. It is already neutral. When covering a individual's (controversial) opinions regarding a minority of or other specific group of people (especially their civil and human rights) we should treat that group respectfully and not as some issue or topic. If the group in question were Jewish, Muslim, Black, Lesbian I do not think we would have a heading like Jewish topics, Muslim issues, Black probl.... (using a simple synonyms). Some sources use the word "Comments" in their heading ~ NYT "Ms. Rowling’s anti-transgender comments", BBC "comments about transgender people", Associated Press "JK Rowling’s tweets on transgender people", NBC "her controversial stance on the transgender community", USA Today "her recent anti-transgender comments." Due to the fact Rowling's publicly expressed opinions very clearly targeted at and affect trans people as a whole not just their civil rights but she also questions the very validity of both trans men and trans women. The section heading would remain more neutral as simply Transgender people.
When discussing a person's views on a section of society, especially their civil and human rights it is not OK to merely say gay issues, lesbian issues, black problem, disability issues, Jewish problem, women's issues in the title etc. Lets us be respectful, neutral and call, when referring to people and simply not call discussions about them 'issues' or 'problems'. To call someone an Issues in Wikipedia's voice (which a heading is) is not neutral and suggests that the is a problem with them.
The section heading would be far more neutral if it was just simply Transgender people. Because Rowling's tweets and political essay are very clearly targeted at and affect trans people as a whole not just their civil rights but she also questions the very validity of their existence, both trans men and trans women (quotes from her essay are available).
As Rab V points out on the other page - "Here is how some reliable sources do refer to Rowlings' comments; NYT "Ms. Rowling’s anti-transgender comments", BBC "comments about transgender people",Variety "Anti-Trans Tweets", Associated Press "JK Rowling’s tweets on transgender people", NBC "her controversial stance on the transgender community", The Guardian "her beliefs on transgender rights", USA Today "her recent anti-transgender comments." It seems like RS support that het comments pertain to transgender people and transgender rights."
International tours and success
Hester Goodman, Will Grove-White, Jonty Bankes, Peter Brooke Turner all joined the orchestra during the early 1990s.[1] In 1995 the Ukulele Orchestra of Great Britain performed at the 50th anniversary of the Victory in Europe Day celebrations in Hyde Park before an estimated audience of 170,000.[2] Leisa Rea joined in 2003.[1] In 2005 the Orchestra planned to release their popular reinterpretation of Kate Bush's classic avant-garde pop song Wuthering Heights, reworked as a swinging jazz number - complete with a Cab Calloway-style "Heathcliffe!" call and response,[3][4]as a single but were prevented from doing so, instead they released a prohibition-era honky-tonk rendition of Dy-Na-Mi-Tee (a 2002 hip hop song by Ms. Dynamite) the UOGB cover reached No. 78 in the official UK pop charts.[5][6][7]
For most of its existence the orchestra has been on actively touring the world from places ranging from Spitsbergen, Svalbard in the Arctic Circle to Chongqing Taindi Theatre in China. 1 [8] 2 [9] 3 [10]
They have performed at diverse venues and events from local village halls to world famous venues including Ronnie Scott's jazz club, The Royal Festival Hall, the UK Houses of Parliament, Cambridge Folk Festival, Edinburgh Festival, Hay Festival, Glastonbury Festival, New York's Carnegie Hall, and the Sydney Opera House.
A [2]
B [13]
C [14]
D [15]
E [16]
F [17]
On Tuesday 18 August 2009 the UOGB performed a prom a concert as part of the BBC Proms 2009 Season at London's Royal Albert Hall, where they were the fastest selling late night prom in history.[18] [19] [20]
The concert included a version of Beethoven's Ode to Joy in which at least 1000 audience members with Ukuleles participated.[21][22] The performance was broadcast live on BBC Radio 3 and received critical acclaim. They returned to the Albert Hall in 2012.[23][24][2] Ben Rouse joined the UOGB in 2014. For their 2014 tour of China, the British Council described the UOGB as an orchestra "celebrated for its rapport with audiences, and eliciting a joyous feel-good reaction".[10] In 2015 Kitty Lux retired from touring with the orchestra due to chronic ill health and died in 2017.[1] In 2016 the UOGB entertained Elizabeth II at Windsor Castle at a private party to celebrate the queen's 90th birthday.[2]
The Orchestra has appeared on a wide range of television and radio programs both in the UK and internationally.[25][26] Collaborations have included with David Bowie, Madness, Robbie Williams, Yusuf Islam (Cat Stevens), the Kaiser Chiefs, the Ministry of Sound, the film music composer David Arnold and in 2013 they issued a special collaboration with a music group called Ibiza Air for their cover of the song Bang Bang (My Baby Shot Me Down) with Kitty on vocals.[21][27] They released an EP (extended play) with 4 Remixes in different styles like Tech house and Chill-out.
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BACK TO THE BEGINNING
Rowling's essay was criticised by, among others, the children's charity Mermaids (which supports transgender and gender non-conforming children and their parents), Stonewall, GLAAD and the feminist gender theorist Judith Butler.
Wikipedia:Citing sources WP:CITEMERGE Wikipedia:Citation overkill stage one
Repertoire and artistic style
A typical UOGB concert according to the New York Times is a "genre bending array" of musical covers. The orchestra is according to the Chicago Tribune "happy to pillage anything from the rich pageant of western music" as it roams freely across the wide range of Popular Music and Art musical genres .[32][24][33][34][35][36] Classic FM described the orchestra's performance of Ennio Morricone's The Good, The Bad And The Ugly "sprightly" and a "delightfully delicate rendition" that remained true to the epic composition, while the Australian Stage.com called it "jaw-dropping rendition".[37][32][14] The unofficial release of their cover of which on the internet was partially responsible for the orchestra’s international fame.[38]
The Ukulele Orchestra is known for reworking popular song classics, sometimes changing tunes' music genres so that the expectations of the audience are subverted.[24][16] For instance, the power pop Pinball Wizard turns into a harmonized a cappella with a vaudevillian lead vocal by Hinchliffe,[33] while the Sex Pistol's Anarchy in the UK is performed in the style of a Simon & Garfunkel cosy campfire sing-along folk song were the audience is encouraged to join in.[24][39][40] The group takes George Formby 1937 song Leaning on a Lamp-post, but turned it into "Lenin On A Lamppost" performed in a Russian Cossack style.[7][41]
The Kansas City Star considered the UOGB's medleys as "perhaps their most impressive feats, layering lyrics from disparate sources over a chord progression."[42] Several songs from different genres are combined in one "soup of contrasts" – for example, David Bowie's Life on Mars? is melded seamlessly with My Way, For Once in My Life, Born Free, Substitute, and more. In another piece after a mock argument about what to play next Hinchliffe plays a solo Handel's G Minor Suite No.7 for the Harpsichord," while all the other members sing in turn different songs on top the Handel base Fly Me To The Moon, Love Story (Where Do I Begin), Autumn Leaves, Killing Me Softly with His Song, Hotel California and I Will Survive, ending with all genre variations performed simultaneously in harmony together.[43][44][45]
All members generate ideas for new pieces and all play around with ways the piece work.[24] The limitations of the ukulele causes the orchestra to rethink creatively about how to cover a musical piece, popular tunes are broken down to their constituent parts and then with each musician sticking a distinct part, the combination of different soprano, tenor, baritone and base registers of ukuleles are used (with seperate members playing the melody, others the rhythm, others chords on the beat and offbeat etc) to recreate the musical piece anew.[16][2][17][38] the Australian stage described the UOGB cover of Wheatus' pop rock Teenage Dirtbag as the "same delicacy and finesse as Ludwig's 9th, giving it a whole new complexion"[14] Differentiation during a concert is further created by the fact that each member of the orchestra, each with their own singing style, takes turn to be vocal lead on a cover.[26] The Ukulele Orchestra will adapts its programme to match the location of the venue or the occasion, musical numbers with a regional flavour are often included especially when touring overseas, for instance. Sibelius’ Finlandia when they perform in Finland.[46][38]
The comedy element is of the old fashioned British dry and self-depreciating kind, supported by orchestra's musical close chemistry and their good timing.[14]The orchestra often light-heartedly mock the "ludicrousness and pretentiousness" of famous tunes with deadpan humour and pun-filled banter with numbers introduced with a light hearted humour, alternatively physical comedy is incorporated with the musicianship, for instance when up to five members bunch together to play a single small ukulele.[24][33][47][39]
Critical reception and legacy
The Ukulele Orchestra of Great Britain has received praise from press for its concerts.[24][48][49]Manchester Evening News said of the orchestra that it had "a beautiful chemistry that represents fun, innocence, daftness and a genuinely enjoyable showcase of unique talent."[50] The Kansas City Star considered the orchestra had "taken the comic aspects and musical capabilities of the ukulele and molded them into a well-honed act, delivered with marvellous nonchalance and impressive versatility."[42] The Financial Times Laura Battle applauded the orchestra members’ "consummate skill" and said that the "sophisticated sound they make both percussive and melodic is at once hilarious and heartfelt."[24]
BBC Radio 4 and the Canadian Now described the Ukulele Orchestra as a union of skilful musicianship with a subversive post punk delivery[51] [52] and the The Press (York) added that they used the limitations of the ukulele "to create a musical freedom that reveals unsuspected musical insights".[53] The Guardian and Gisewise noted that the orchestra's deadpan delivery had the ability to dismantle the pretensions the might be connected to a musical piece.[9][54]
The Ukulele Orchestra of Great Britain has been described by the Daily Telegraph, Guardian and others as a "much-loved" British institution" that has become a "worldwide phenomenon" with a "international cult status".[55][56][23][2][57][58] The Independent pointed out that orchestra is "often blamed for the current ukulele revival which is sweeping the globe", with other ukulele orchestras and groups, following UOGB's lead, have "spawned" over the years in most major cities around the world. The UOGB began the approach of orchestrating songs so that each ukulele played a separate part ~ “since then we’ve seen the concept of ensemble ukulele playing flourish right across the world.”[59][21][60][61][26][56][62][63] Asked by the Sydney Morning Herald to explain the success of his orchestra, Hinchcliffe replied "the world has gone ukulele mad".[64] The question Why is everyone suddenly playing the ukulele? is asked by a Daily Telegraph article. Research by ABRSM (Associated Board of the Royal Schools of Music), the exam board of the Royal Schools of Music, has found that the ukulele is replacing the recorder as the instrument of choice for school ensemble music lessons.[59] The are a multiple reasons for this, the ukulele has become a popular instrument to take up, with Hinchcliffe pointing out that the ukulele lends itself to social music making. The UOGB itself has donated large batches of ukuleles to schools over the years. The orchestra also often run Ukulele workshops for fellow ukulele players and school children in the afternoons before gigs, including playing with “thousands of aspiring young players in a stadium in New Zealand". Prior to gigs the orchestra also gives out advance notice of an audience participation tune so that those that wish to participate can bring along their own ukulele and play along with the orchestra.[22][65][66][67]
Current
WP:FRINGEIn Wikipedia parlance, the term fringe theory is used in a very broad sense to describe an idea that departs significantly from the prevailing views or mainstream views in its particular field.
.... We use the term fringe theory in a very broad sense to describe an idea that departs significantly from the prevailing views or mainstream views in its particular field. For example, fringe theories in science depart significantly from mainstream science and have little or no scientific support.
It is the stated goal of Wikipedia to mirror the current consensus of mainstream scholarship – in the words of WP:NOT, "accepted knowledge". Claims of "ROGD", especially in the context of this book, have been dismissed or outright rejected by practically every relevant medical organization.
You appear to be grandstanding, requesting citations for a exact word when evidence is so abundantly clear that the concept has been totally rejected by the relevant scientific community
""...not recognized by any major professional association as a valid mental health diagnosis""
working in the field.
- The relevant expert associations
"...supports eliminating the use of Rapid-Onset Gender Dysphoria"
"...there are no sound empirical studies of ROGD and it has not been subjected to rigorous peer-review processes that are standard for clinical science. Further, there is no evidence that ROGD aligns with the lived experiences of transgender children and adolescents."
"'methodologically flawed and unethical'... [proceeding] from 'an overt ideological bias'"
"Empirical evidence consistently refutes claims that a child’s or adolescent’s gender can be ‘directed’ by peer group pressure or media influence, as a form of ‘social contagion’"
"...associations between more recent gender knowledge and factors hypothesized to be involved in rapid onset gender dysphoria were either not statistically significant, or were in the opposite direction to what would be hypothesized"
"Circumventing science through pseudoscience"
- The relevant expert associations
It is therefore outside "the prevailing views or mainstream views in its particular field"
. Normally the key threshold for including material in Wikipedia is that it is verifiable. This is only here because it is verified because as a unscientific theory it has became notable not that it has any scientific merit. The are ZERO reliable and independent sources substantiating claims that ROGD exists. There is not one such source. There are no serious scholars and reporters with reputations of responsibility and reliability in the field that support the ROGD. In an article on a fringe topic, if a notable fringe theory is primarily described by amateurs and self-published texts,
then verifiable and reliable criticism of the fringe theory need not be published in a peer reviewed journal.
No where does it say the exact word Fringe must be used. Fringe is a reasonable accurate one-word summary of all the high quality mainstream expert academic sources available working in the field. All that is required for it to be called "fringe" is that it be outside those mainstream specialists. WPATH, AusPATH, and the APA all reject the hypothesis. The clearest way to explain the concept to the reader is to present it explicitly as a fringe concept, to suggest that this political false theory is anything but Fringe ill informs the reader, it is a FALSEBALANCE position, that amounts to a betrayal of Wikipedia's core function.
This seems like a rather straightforward case where 1) a concept is considered fringe by mainstream science, and 2) the clearest way to explain the concept to the reader is to present it explicitly as a fringe concept
)))))))))))))))))))))) claim that "fringe" is WP:OR, which it manifestly isn't. The burden of proof lies on those making the claim that ROGD is an actual phenomenon. You can't just dismiss peer reviewed clinical trials out of hand simply because you personally believe them to be biased or that it is somehow an open question still under debate, which is absolutely not true and is unsupported by the article's sources.
You appear to be unreasonably attempting to water down language and push a minority view beyond the requirements of NPOOV, and giving undue equal weight to ROGD .
{{tq|There is no reason, other than political motivation, to believe a study, with a larger sample size or some variation of experimental design would not confirm a separate etiological subpopulation exists.}} Sounds like something a Fringe Theorist might say
Just because it is new and "Unproven", certainly does not mean it that it can not be correctly identified as Fringe, medical science is not proven true until confirmed to be false, especially when the existing supposed research behind the theory utterly failed to meet basic "evidence-based clinical guidelines," but is based on unscientific political/moral opinions of a selected sample that was known to have "an overt ideological bias" who are not even the subjects of the theory. [[WP:FRINGELEVEL]] [[WP:CRYSTALBALL]] Topics that {{tq|"cover controversial, disputed, or discounted ideas ...should document...the current level of their acceptance among the relevant academic community"}} not what we as editors think...ROGD is absolutely contrary to all known qualified expertise opinion in the field.
"Wikipedia primarily focuses on the state of knowledge today".
- Comment Wikipedia is clearly lost in anti scientific Orwellian 1984, the discussion ought to be short when the evidence is so abundantly straightforward when the scientifically, medically and socially unproven ROGD theory is overwhelmingly
" not recognized as a medical diagnosis by any major professional institution,"
leading associations or group of medical experts, or any international medical bodies working in the field. It is therefore outside"the prevailing views or mainstream views in its particular field"
and therefore is undoubtly WP:FRINGE.
xx
disconnected
Just because it is new, certainly does not mean it can be correctly identified as Fringe, medical science is not proven true until confirmed to be false, especially when the research behind the theory utterly failed to meet basic "evidence-based clinical guidelines," but is based on unscientific political/moral opinions of a selected sample that was known to have "an overt ideological bias" who are not even the subjects of the theory.
that failed to meet "evidence-based clinical guidelines," based on opinions of a disconnected sample selected only from sources that are The is zero evidence xxxxxx
"there is no evidence that aligns with the lived experiences of transgender children and adolescents".
xxxx
reported that it was trans women who receieved intense hostility
The lead section of MOS:LEAD clearly states that we should summarize the most important points of an article, including any prominent controversies. The notability of the article's subject is usually established in the first few sentences. As in the body of the article itself, the emphasis given to material in the lead should roughly reflect its importance to the topic, according to reliable, published sources
(note: not simply the amount of words in the article itself). The argument for WP:DUE is based on the WP:SUSTAINED and widespread coverage in the leading high quality global reliable news media that has gone well beyond a brief burst of news coverage in those WP:RSP. Further if we go back to those simple size comparisons i.e. the Trans section compared to other sections, the Trans section has been kept short in this article simply because of WP:SPLIT , the topic it is more fully covered in the [[Politics of J. K. Rowling]] article were it accounts to close to half of that articles content, with only a brief summary kept in the main article. The volume of RSP sources on this issue compared to any other 'controversy' clearly means the topic satisfies WP:WEIGHT to be in the lead.
Old currant
- Following the signing of Magna Carta (1215), King John’s reneging on the royal charter, the castle was besieged during the ensuing civil war, known as the First Barons' War, between King John and barons supported by Prince Louis (the future Louis VIII of France}, the French laid siege to Berkhamsted Castle in late December 2016. The king's constable of the castle was the German Walerand Teutonicus
- {{quote box
- | width = 80%
- | align = centre
- | quote = The contemporary chronicler, Roger of Wendover, who was based at St Albans abbey, only a dozen miles from Berkhamsted, described the siege as follows:
- “After reducing the castle of Hertford, Louis marched on St Nicholas’s day (6 December) to the castle of Berkhamsted and surrounded it with his engines of war. Whilst the English barons, after pitching their tents, were employed in setting them in order, the knights and soldiers of the garrison made a sally, seized the baggage and conveyances of the barons and gained possession of the standard of William de Mandeville, with which they returned to the castle, regretting that they could do no further injury to them. On the same day, whilst the barons were sitting at table, the knights and soldiers of the garrison again made a sally, and, in order to put the barons in confusion, they carried before them the standard which they had taken a short time before, and thought to come on them unawares, but the latter were forewarned of this, and drove them back to the castle. When the following day dawned Louis ordered the petrarie (stone-throwing machines) and other engines of war to be erected around the city, which being done, they kept up a destructive shower of stones: but Waleran, a German, well tried in warfare, made a brave resistance against them and caused great slaughter amongst the excommunicated French. }}
- However, Prince Louis introduced a new destructive siege engine to England and first used it at Berkhamsted: the counterweight trebuchet (or mangonel). After twenty days Walerand, after a protracted siege, by command of the King (the young King Henry III) ordered his constable to surrender surrendered the castle to Louis on the 20 December. After the siege Louis suffered numerous defeats until on 11 September 1217, Louis signed the Treaty of Lambeth, relinquishing his claim to the English throne and surrendering French-held castles including Berkhamsted. Walerand went on to hold several other posts including the senior position of Lord Warden of the Cinque Ports.
-
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- "A woman or girl assigned a male sex at birth." Harvard Medical School - Sexual and Gender Minority Health Equity Initiative
- "A person whose sex assigned at birth was male but whose gender identity is female" Planned Parenthood - Transgender Identity Terms and Labels
- "a person who is assigned male at birth and transitions to female" American Psychological Association -What does transgender mean?
- "a woman who was identified as male at birth" Merriam Webster - Trans Woman
- "A transgender woman lives as a woman today, but was thought to be male when she was born" National Center for Transgender Equality - Frequently Asked Questions about Transgender People
- "A child or adult who was born anatomically male but has a female gender identity" Princeton University: LGBT Center - The Language of Gender
- "Someone assigned the male gender at birth who identifies on the female spectrum." Johns Hopkins University, School of Medicine - Glossary of Transgender Terms
- "A person whose sex assigned at birth was male, but who identifies as a woman" American Psychological Association - Guidelines for Psychological Practice with Transgender and Gender Nonconforming People
- "Generally refers to someone who was identified male at birth but who identifies and portrays her gender as female." Glossary of Gender and Transgender Terms - Fenway Health
- "A male-to-female transsexual." Lexico - Powered by Oxford
- "people who were assigned the male sex at birth but identify as women" Centers for Disease Control and Prevention
- "Children assigned male at birth who identify themselves as girls" American Academy of Pediatrics
- "Transgender women-those who were assigned male at birth" Newsweek - Transgender Women May Soon Have Babies, Fertility Expert Says
- "A transgender female or transwoman identifies her gender as female, but was biologically considered a male at birth." Family Dynamics and Romantic Relationships in a Changing Society - IGI Global
- "A term to describe a person who was identified male at birth but who identifies and portrays her gender as female" Lesbian, Gay, Bisexual, and Transgender Healthcare: A Clinical Guide to Preventive, Primary, and Specialist Care - Springer
- "A person assigned male at birth who identifies as a woman or in similar terms (eg, as a “trans woman” or “woman of transgender experience”)." Transgender people: health at the margins of society - The Lancet
- "Trans women are women who were assigned male at birth and identify as women." Fired Up About Reproductive Rights - Jane Kirby - Between the Lines
- "individuals assigned male at birth who identify as female." Cornell University
- "an adult who was born male but whose gender identity is female." Dictionary.com
- "a transgender or transsexual woman" Collins Dictionary
- "A transgender person who identifies as a woman." American Heritage Dictionary of the English Language
- "Transgender woman": "This category includes persons whose sex assigned at birth was reported as male and whose current gender was reported as female. It also includes persons whose current gender was indicated as transwoman." Statistics Canada: Classification of cisgender and transgender
- "a transgender woman may be assigned male at birth, but transition to living as a woman consistent with her gender identity" US Department of Labor's Occupational Safety and Health Administration (OSHA)
- "Transgender Woman or Male-to Female (MTF): A person who transitions from male to female, meaning a person who was assigned male at birth, but identifies and lives as female or as a woman." Seattle Police Department Manual
- "The term transgender woman typically is used to refer to someone who was assigned the male sex at birth but who identifies as a female." U.S. Equal Employment Opportunity Commission: "Fact Sheet: Bathroom Access Rights for Transgender Employees under Title VII of the Civil Rights Act of 1964"
- "A trans woman is a woman assigned male at birth."American Society for Engineering Education
- "MtF: an abbreviation for male-to-female. It refers to a transgender person who was assigned male at birth, and whose gender identity is that of a woman. This person would also be known as a transwoman. Egale Human Rights Trust (Canada)
- "A trans woman is a woman who was assigned male at birth. Some trans women prefer to simply be referred to as women, whereas others feel being trans is an important part of their gender label." Victoria, Australia
- "those assigned male at birth but living as a woman" BBC
- "Trans woman: A woman who was assigned male at birth." BC Centre for Disease Control, Canada
- "Transgender woman: A term used to describe someone who is assigned male at birth but identifies and lives as a woman. This may be shortened to trans woman"Stonewall, a UK LGBT charity
- "‘trans women’ are those born with male appearance but identifying as women." GIRES - trans education and research charity
- "A person with a female gender identity and male assigned sex would be referred to as a 'transgender girl/woman,' 'transfemale,' or MTF (male to female)" "Transgender youth: current concepts", Annals of Pediatric Endocrinology & Metabolism
- "Transgender woman/transwoman/transfeminine individual - Person with a feminine gender identity who was designated a male sex at birth" UpToDate, clinical decision support resource
- "This refers to individuals assigned male at birth but who identify and live as women" "Endocrine Treatment of Gender-Dysphoric/Gender-Incongruent Persons: An Endocrine Society Clinical Practice Guideline", Journal of Clinical Endocrinology & Metabolism
- "We use 'trans woman' for someone who was registered male at birth and now identifies as a woman" NHS Digital Service Manual: Inclusive language
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{{cleanup |1=section |reason={{{reason| inclusion of the information in this section is disputed, it covers recent events that may date quickly and become unclear. Please join the discussion of this issue on the talk page, where editors are trying to reach a consensus.}}} |date={{{date|}}} |small={{{small|no}}} |talksection={{{talksection|}}} |nocat={{{nocat|}}} |demospace={{{demospace|<noinclude>main</noinclude>}}} }} {{unclear date}} {{POV section}} {{disputed category}}
***Wikipedia is Neutral*** it is not a repository of poorly sourced information or baseless insinuations in biographies
It should be noted that many countries now legally recognise trans people by permitting a change of legal gender on an individual's birth certificate and other legal documents with no record of their birth Deadname. If the
Regards whether Page is immune from suffering misgendering deadname attacks just because he is famous, these are his words "My joy is real but it is also fragile … I am also scared, scared of the invasiveness, the hate, the ‘jokes’ and of the violence.”
aLFRED
Further reading
- Discenza, Nicole; Szarmach, Paul, eds. (2015). A Companion to Alfred the Great. Leiden, Netherlands: Brill. ISBN 978-90-04-27484-6.
{{cite book}}: Cite has empty unknown parameter:|1=(help) - Fry, Fred (2006). Patterns of Power: The Military Campaigns of Alfred the Great. ISBN 978-1-905226-93-1.
- Giles, J. A., ed. (1858). The Whole Works of King Alfred the Great (Jubilee in 3 vols ed.). Oxford and Cambridge.
- Godden, M. R. (2007). "Did King Alfred Write Anything?". Medium Ævum. 76 (1): 1–23. ISSN 0025-8385. Archived from the original on 4 July 2020. Retrieved 4 July 2020.
- Heathorn, Stephen (December 2002). "The Highest Type of Englishman: Gender, War, and the Alfred the Great Commemoration of 1901". Canadian Journal of History. 37 (3): 459–84. doi:10.3138/cjh.37.3.459. PMID 20690214.
- Irvine, Susan (2006). "Beginnings and Transitions: Old English". In Mugglestone, Lynda (ed.). The Oxford History of English. Oxford, UK: Oxford University Press. ISBN 978-0-19-954439-4.
- Pollard, Justin (2006). Alfred the Great: the man who made England. ISBN 0-7195-6666-5.
- Reuter, Timothy, ed. (2003). Alfred the Great. Studies in early medieval Britain. ISBN 978-0-7546-0957-5.
Sources
- Abels, Richard P. (1988). Lordship and Military Obligation in Anglo-Saxon England. British Museum Press. pp. 58–78. ISBN 978-0-7141-0552-9.
{{cite book}}: Invalid|ref=harv(help) - Abels, Richard (1998). Alfred the Great: War, Kingship and Culture in Anglo-Saxon England. Longman. ISBN 978-0-582-04047-2.
{{cite book}}: Invalid|ref=harv(help) - Abels, Richard (2002). "Royal Succession and the Growth of Political Stability in Ninth-Century Wessex". The Haskins Society Journal: Studies in Medieval History. 12: 83–97. ISBN 978-1-84383-008-5.
{{cite journal}}: Invalid|ref=harv(help) - Attenborough, F.L., ed. (1922). The laws of the earliest English kings. Cambridge University Press. pp. 52–53, 62–93, 98–101. Archived from the original on 10 October 2016. Retrieved 17 August 2016.
{{cite book}}: Invalid|ref=harv(help) - Bately, Janet (1970). "King Alfred and the Old English Translation of Orosius". Anglia. 88: 433–60.
{{cite journal}}: Invalid|ref=harv(help) - Bately, Janet (1990). "'Those books that are most necessary for all men to know': The Classics and late ninth-century England: a reappraisal". In Bernardo, Aldo S.; Levin, Saul (eds.). The Classics in the Middle Ages. Binghamtion, New York. pp. 45–78.
{{cite book}}: Invalid|ref=harv(help)CS1 maint: location missing publisher (link) - Bately, Janet M. (2014). "Alfred as Author and Translator". In Nicole Guenther Discenza; Paul E. Szarmach (eds.). A Companion to Alfred the Great. Leiden: Brill. pp. 113–42. doi:10.1163/9789004283763_006.
{{cite book}}: Invalid|ref=harv(help) - Blackburn, M.A.S. (1998). "The London mint in the reign of Alfred". In Blackburn, M.A.S.; Dumville, D.N. (eds.). Kings, Currency and Alliances: History and Coinage of Southern England in the 9th Century. pp. 105–24.
{{cite book}}: Invalid|ref=harv(help) - "Bones confirmed as those of Saxon Princess Eadgyth". Bristol University. 17 June 2010. Archived from the original on 24 August 2010. Retrieved 3 September 2010.
- Bradshaw, Anthony (1999). The Burghal Hidage: Alfred's Towns. Archived from the original on 16 July 2011. Retrieved 10 July 2011.
{{citation}}: Invalid|ref=harv(help) - Brooks, Nicholas (1984). The Early History of the Church of Canterbury: Christ Church from 597 to 1066. pp. 172–73.
{{cite book}}: Invalid|ref=harv(help) - Brooks, N.P.; Graham-Campbell, J.A. (1986). "Reflections on the Viking-age silver hoard from Croydon, Surrey". Anglo-Saxon Monetary History: Essays in Memory of Michael Dolley. pp. 91–110.
{{cite book}}: Invalid|ref=harv(help)
- Charles-Edwards, T. M. (2013). Wales and the Britons 350–1064. Oxford, UK: Oxford University Press. ISBN 978-0-19-821731-2.
{{cite book}}: Invalid|ref=harv(help) - Cornwell, Bernard (2009). The Burning Land. Harper.
{{cite book}}: Invalid|ref=harv(help)
- "HomeHistory of the Monarchy: English Monarchs (400 AD – 1603): The Anglo-Saxon kings:Alfred 'The Great' (r. 871–899)". The official website of the British Monarchy. 2011. Archived from the original on 1 October 2017. Retrieved 23 August 2016.
{{cite web}}: Invalid|ref=harv(help) - Craig, G (May 1991). "Alfred the Great: a diagnosis". Journal of the Royal Society of Medicine. 84 (5): 303–05. doi:10.1177/014107689108400518. PMC 1293232. PMID 1819247.
{{cite journal}}: Invalid|ref=harv(help)
- "Great Britons 11–100". BBC. 21 August 2002. Archived from the original on 4 December 2002. Retrieved 1 August 2012.
- Dumville, David (1992). Wessex and England from Alfred to Edgar : six essays on political, cultural, and ecclesiastical revival. Woodbridge, Suffolk: Boydell Press. ISBN 978-0-85115-308-7.
{{cite book}}: Invalid|ref=harv(help) - Dumville, David (1979). "The ætheling: a study in Anglo-Saxon constitutional history". Anglo-Saxon England. 8: 1–33. doi:10.1017/s026367510000301x.
{{cite journal}}: Invalid|ref=harv(help) - Dumville, David (1986). "The West Saxon Genealogical List: Manuscripts and Texts". Anglia. 104: 1–32. ISSN 0340-5222.
{{cite journal}}: Cite has empty unknown parameter:|1=(help) - Dumville, David (1996). Fryde, E. B.; Greenway, D. E.; Porter, S.; Roy, I (eds.). Handbook of British Chronology (3rd with corrections ed.). Cambridge: Cambridge University Press. ISBN 0 521 56350 X.
- Dunstan, St (1992). Ramsey, Nigel; Sparks, Margaret; Tatton-Brown, Tim (eds.). St Dunstan:His Life, Times, and Cult. Woodbridge, Suffolk, UK: Boydell Press. ISBN 0-8511-5301-1.
{{cite book}}: Invalid|ref=harv(help) - Edwards, Heather (2004). "Ecgberht [Egbert] (d. 839)". Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/8581. Archived from the original on 21 June 2020. Retrieved 18 February 2020.
{{cite encyclopedia}}: Invalid|ref=harv(help) (subscription or UK public library membership required) - Fleming, Robin (1985). "Monastic lands and England's defence in the Viking Age". English Historical Review. 100 (395): 247–65. doi:10.1093/ehr/C.CCCXCV.247.
{{cite journal}}: Invalid|ref=harv(help) - Foot, Sarah (2011). Æthelstan: The First King of England. New Haven and London: Yale University Press. ISBN 978-0-300-12535-1.
{{cite book}}: Invalid|ref=harv(help) - Gifford, Edwin; Gifford, Joyce (2003). "Alfred's new longships". In Reuter, Timothy (ed.). Alfred the Great (Studies in early medieval Britain). pp. 281–89. ISBN 978-0-7546-0957-5.
{{cite book}}: Invalid|ref=harv(help) - Giles, J. A.; Ingram, J., eds. (1996). The Anglo-Saxon Chronicle. Project Gutenberg. Archived from the original on 29 June 2011. Retrieved 7 February 2016.
{{cite book}}: Invalid|ref=harv(help) — "Note: This electronic edition [of the Anglo-Saxon Chronicle] is a collation of material from nine diverse extant versions of the Chronicle. It contains primarily the translation of Rev. James Ingram, as published in the [1847] Everyman edition". It was "Originally compiled on the orders of King Alfred the Great, approximately A.D. 890, and subsequently maintained and added to by generations of anonymous scribes until the middle of the 12th Century". - Gransden, Antonia (1996). Historical Writing in England: c. 500 to c. 1307. London: Routledge. ISBN 0-415-15124-4.
{{cite book}}: Invalid|ref=harv(help) - Gregory I, Pope; Alfred, King of England (1871). Sweet, Henry (ed.). King Alfred's West-Saxon version of Gregory's Pastoral care. London: N. Trübner & Company for the Early English text society. Archived from the original on 22 March 2016. Retrieved 17 August 2016.
- Hollister, C. Warren (1962). Anglo-Saxon Military Institutions on the Eve of the Norman Conquest. Oxford: Clarendon Press.
{{cite book}}: Invalid|ref=harv(help) - Horspool, David (2006). Why Alfred Burned the Cakes. London: Profile Books. ISBN 1-8619-7786-7.
{{cite book}}: Invalid|ref=harv(help) - Hull, Lise E. (2006). Britain's Medieval Castles. Westport, CT: Praeger. ISBN 978-0-275-98414-4.
{{cite book}}: Invalid|ref=harv(help) - Hunt, William (1889). . In Stephen, Leslie (ed.). Dictionary of National Biography. Vol. 18. London: Smith, Elder & Co. p. 16.
{{cite encyclopedia}}: Invalid|ref=harv(help) - Huntingdon, Henry (1969). "Histories". In Giles, J.A. (ed.). Memorials of King Alfred: being essays on the history and antiquities of England during the ninth century, the age of King Alfred, by various authors. Burt Franklin research & source works series. New York: Burt Franklin.
{{citation}}: Invalid|ref=harv(help) - Huscroft, Richard (2019). Making England 796-1042. Abingdon, UK: Routledge. ISBN 978-1-138-18246-2.
{{cite book}}: Cite has empty unknown parameter:|1=(help) - Jackson, F I (January 1992). "Letter to the editor: Alfred the Great: a diagnosis". Journal of the Royal Society of Medicine. 85 (1): 58. PMC 1293470. PMID 1610468.
{{cite journal}}: Invalid|ref=harv(help) - Kalmar, Tomas (2016a). "Born in the Margin: The Chronological Scaffolding of Asser's Vita Ælfredi". Peritia. 17: 79–98. ISSN 0332-1592.
- Kalmar, Tomas (2016b). "Then Alfred took the Throne and then what? Parker's Error and Plummer's Blind Spot". In Volodarskaya, Emma; Roberts, Jane (eds.). Language, Culture and Society in Russian/English Studies: the Proceedings of the Sixth Conference 27-28 July 2015. London, Senate House: University of London. pp. 37–83. ISBN 978-5-88966-097-2. Archived from the original on 28 June 2020. Retrieved 25 June 2020.
- Keynes, Simon; Lapidge, Michael (1983). Alfred the Great, Asser's Life of King Alfred and other contemporary sources. Harmondsworth, England: Penguin. ISBN 0-14-044409-2.
{{cite book}}: Invalid|ref=harv(help) - Keynes, Simon (1993). "The Control of Kent in the Ninth Century". Early Medieval Europe. 2 (2): 111–31. doi:10.1111/j.1468-0254.1993.tb00013.x. ISSN 1468-0254.
{{cite journal}}: Invalid|ref=harv(help) - Keynes, Simon (1995). "England, 700–900". In McKitterick, Rosamond (ed.). The New Cambridge Medieval History. Vol. II. Cambridge, UK: Cambridge University Press. pp. 18–42. ISBN 978-0-521-36292-4.
{{cite book}}: Invalid|ref=harv(help) - Keynes, Simon (1998). "Alfred and the Mercians". In Blackburn, Mark A.S.; Dumville, David N. (eds.). Kings, currency, and alliances: history and coinage of southern England in the ninth century. Woodbridge: Boydell & Brewer. pp. 1–46. ISBN 978-0-85115-598-2.
{{citation}}: Invalid|ref=harv(help) - Keynes, Simon (1999). "King Alfred the Great and Shaftesbury Abbey". Studies in the Early History of Shaftesbury Abbey. Dorset County Council. ISBN 9780852168875. OCLC 41466697.
{{cite book}}: Invalid|ref=harv(help) - Keynes, Simon (2014). "Asser". In Lapidge, Michael; Blair, John; Keynes, Simon; Scragg, Donald (eds.). The Wiley Blackwell Encyclopedia of Anglo-Saxon England (Second ed.). Chichester, UK: Blackwell Publishing. pp. 51–52. ISBN 978-0-470-65632-7.
- Kirby, D. H. (2000). The Earliest English Kings (Revised ed.). London: Routledge. ISBN 978-0-415-24211-0.
{{cite book}}: Invalid|ref=harv(help) - Kiernan, Kevin S. (1998). "Alfred the Great's Burnt Boethius". In Bornstein, George; Tinkle, Theresa (eds.). The Iconic Page in Manuscript, Print, and Digital Culture. Ann Arbor: University of Michigan Press.
{{cite book}}: External link in|chapterurl=|ref=harv(help); Unknown parameter|chapterurl=ignored (|chapter-url=suggested) (help) - Lapidge, Michael (2001). Blair, John; Keynes, Simon; Scragg, Donald (eds.). The Blackwell Encyclopaedia of Anglo-Saxon England. London, UK: Blackwell. ISBN 0-631-22492-0.
{{cite book}}: Invalid|ref=harv(help) - Lavelle, Ryan (2010). Alfred's Wars: Sources and Interpretations of Anglo-Saxon Warfare in the Viking Age. Woodbridge, Suffolk: Boydel Press. ISBN 978-1-84383-569-1.
{{cite book}}: Invalid|ref=harv(help) - Loyn, H.R (1991). Anglo-Saxon England and the Norman Conquest. Harlow, Essex: Longman Group. ISBN 0-582-07297-2.
{{cite book}}: Invalid|ref=harv(help) - Lavelle, Ryan (2003). Fortifications in Wessex c. 800-1066. Oxford: osprey Publishing. ISBN 978-1-84176-639-3.
{{cite book}}: Invalid|ref=harv(help) - Malmesbury, William (1904). Giles, J.A. (ed.). Chronicle of the Kings of England. London: George Bell and Sons. Archived from the original on 25 February 2013. Retrieved 14 November 2019.
{{cite book}}: Invalid|ref=harv(help) - Miller, Sean (2004). "Æthelred [Ethelred] I (d. 871)". Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/8913. Archived from the original on 19 February 2020. Retrieved 1 March 2019.
{{cite encyclopedia}}: Invalid|ref=harv(help) (subscription or UK public library membership required) - Merkle, Benjamin (2009). The White Horse King: The Life of Alfred the Great. New York: Thomas Nelson. p. 220. ISBN 978-1-59555-252-5.
{{cite book}}: Invalid|ref=harv(help) - Morgan, Kenneth O.; Corbishley, Mike; Gillingham, John; Kelly, Rosemary; Dawson, Ian; Mason, James (1996). "The kingdoms in Britain & Ireland". The Young Oxford History of Britain & Ireland. Walton St., Oxford: Oxford University Press. ISBN 019-910035-7.
{{cite book}}: Invalid|ref=harv(help) - Nares, Robert (1859). A Glossary; or Collection of Words, Phrases, Names and Allusions to Customs, Proverbs, etc., Which Have Been Thought to Require Illustration in the Works of English Authors, Particularly Shakespeare and His Contemporaries. London: John Russel Smith.
{{cite book}}: Invalid|ref=harv(help) - Nelson, Janet (1999). Rulers and Ruling Families in Early Medieval Europe. Aldershot: Ashgate. ISBN 0-86078-802-4.
{{cite book}}: Invalid|ref=harv(help) - Nelson, Janet (2003). "Alfred's Carolingian Contemporaries". In Reuter, Timothy (ed.). Alfred the Great. Aldershot, UK: Ashgate. pp. 293–310. ISBN 978-0-7546-0957-5.
{{cite book}}: Invalid|ref=harv(help) - Nelson, Janet (2004). "Æthelwulf (d. 858)". Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/8921. Retrieved 1 March 2019.
{{cite encyclopedia}}: Invalid|ref=harv(help) (subscription or UK public library membership required) - Peddie, John (1989). Alfred the Good Soldier. Bath, UK: Millstream Books. ISBN 978-0-948975-19-6.
{{cite book}}: Invalid|ref=harv(help) - Orosius, Paulus; Hampson, Robert Thomas (1855). A Literal Translation of King Alfred's Anglo-Saxon Version of the Compendious History of the World. Longman. p. 16.
{{cite book}}: Invalid|ref=harv(help) - Parker, Joanne (2007). 'England's Darling'. Manchester: Manchester University Press. ISBN 978-0-7190-7356-4.
{{cite book}}: Invalid|ref=harv(help) - Paul, Suzanne (2015). "Alfred the Great's Old English translation of Gregory the Great's Pastoral Care (MS Ii.2.4)". Cambridge Digital Library. Archived from the original on 3 July 2015. Retrieved 3 July 2015.
{{cite web}}: Invalid|ref=harv(help) - Pratt, David (2007). The political thought of King Alfred the Great. Cambridge Studies in Medieval Life and Thought: Fourth Series. Vol. 67. Cambridge University Press. ISBN 978-0-521-80350-2.
{{cite book}}: Invalid|ref=harv(help) - Preston, Richard A; Wise, Sydney F; Werner, Herman O (1956). Men in Arms: A History of Warfare and Its Interrelationships with Western Society. New York: Frederick A. Praeger.
{{cite book}}: Invalid|ref=harv(help) - Hill, David; Rumble, Alexander R., eds. (1996). The Defence of Wessex: The Burghal Hidage and Anglo-Saxon Fortifications. Manchester: Manchester University Press. ISBN 0-719-03218-0.
{{cite book}}: Invalid|ref=harv(help) - Ranft, Patricia (2012). How the Doctrine of Incarnation Shaped Western Culture. Plymouth, England: Lexington Books. ISBN 978-0-7391-7432-6.
{{cite book}}: Invalid|ref=harv(help) - Savage, Anne (1988). Anglo-Saxon Chronicles. Papermac. p. 288. ISBN 0-333-48881-4.
{{cite book}}: Invalid|ref=harv(help) - Schepss, Dr. G. (1895). "Zu König Alfreds Boethius". Archiv für das Studium der neueren Sprachenv. xciv: 149–60.
{{cite journal}}: Invalid|ref=harv(help) - Sedgefield, W.J. (1900). King Alfred's version of the Consolations of Boethius. Oxford: Clarendon Press.
{{cite book}}: Invalid|ref=harv(help) - Smyth, Alfred P. (1995). King Alfred the Great. Oxford: Oxford University Press. ISBN 0-19-822989-5.
{{cite book}}: Invalid|ref=harv(help) - Stenton, Frank M. (1971). Anglo-Saxon England (3rd ed.). Oxford: Oxford University Press. ISBN 978-0-19-280139-5.
{{cite book}}: Invalid|ref=harv(help) - Swanton, Michael, ed. (2000). The Anglo-Saxon Chronicles. London, UK: Phoenix. ISBN 978-1-84212-003-3.
{{cite book}}: Invalid|ref=harv(help); Unknown parameter|editorlink=ignored (|editor-link=suggested) (help)
- Welch, Martin (1992). Anglo-Saxon England. London: English Heritage. ISBN 0-7134-6566-2.
{{cite book}}: Invalid|ref=harv(help) - Whitelock, Dorothy, ed. (1996). English historical documents. Volume 1, C. 500–1042 (2nd ed.). Routledge. ISBN 978-0-203-43950-0.
{{cite book}}: Invalid|ref=harv(help) - Woodruff, Douglas (1993). The Life And Times of Alfred the Great. London, UK: Weidenfeld and Nicolson. ISBN 978-0-297-83194-5.
{{cite book}}: Invalid|ref=harv(help) - Wormald, Patrick (2001) [1999]. The Making of English Law: King Alfred to the Twelfth Century. p. 528. ISBN 978-0-631-22740-3.
{{cite book}}: Invalid|ref=harv(help)
- Wormald, Patrick (2006). "Alfred [Ælfred] (848/9–899)". Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/183. Archived from the original on 7 May 2019. Retrieved 17 April 2020. (subscription or UK public library membership required)
- Yorke, Barbara (1990). Kings and Kingdoms of Early Anglo-Saxon England. London, UK: Routledge. ISBN 978-0-415-16639-3.
{{cite book}}: Invalid|ref=harv(help) - Yorke, Barbara (1995). Wessex in the early Middle Ages. Leicester: Leicester University Press. ISBN 978-0-7185-1856-1.
{{cite book}}: Invalid|ref=harv(help) - Yorke, Barbara (1999). "Alfred the Great: The Most Perfect Man in History?". History Today. Archived from the original on 9 February 2016.
{{cite magazine}}: Invalid|ref=harv(help) - Yorke, Barbara (2004). "Cerdic (fl. 6th cent.". Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/5003. Archived from the original on 19 June 2020. Retrieved 21 February 2020.
{{cite encyclopedia}}: Invalid|ref=harv(help) (subscription or UK public library membership required) - Yorke, B.A.E. (2001). "Alfred, king of Wessex (871–899)". In Lapidge, Michael; et al. (eds.). The Blackwell Encyclopaedia of Anglo-Saxon England. Blackwell Publishing. pp. 27–28. ISBN 978-0-631-15565-2.
{{citation}}: Invalid|ref=harv(help)
Films
Depictions on film and television screen include:
| Date | Title | Format | Notes | Ref |
|---|---|---|---|---|
| 1969 | *Alfred the Great | film | Directed by Clive Donner, with David Hemmings playing Alfred. | [68] |
| 1971 | *The Raven and the Cross | a children's TV serial | by John A. Tully, about Alfred's conflict with Guthrum. | [69][70] |
| 1974 | *King Alfred | episode 4 of Churchill's People | Alfred is played by Alan Howard. | |
| 2015-present | In Vikings (2013 TV series) | TV series | From season 3 onwards, Alfred is portrayed by various actors through the course of his life; however, he is depicted as the bastard son of Athelstan by Aethelwulf's wife Judith (based on Judith of Flanders), but is nonetheless raised as Aethelwulf's legitimate son. | [71] |
| 2009 and 2015 | *Horrible Histories and their rebooted series | Children's TV series | In this light hearted children's educational history sketch series Alfred is portrayed in various episodes by Mathew Baynton/Tom Rosenthal | [72] |
| 2015 -2018 | *The Last Kingdom | A TV series adaptation of The Saxon Stories | Alfred is played by David Dawson for the first three seasons of the series. | [73][74] |
| Date | Title | Composer/Writer | Genre | Notes |
|---|---|---|---|---|
| (1740—1753) | * Alfred | music by Thomas Arne and a libretto by David Mallet and James Thomson. | a masque/Opera | This work was first performed on 1 August 1740, at Cliveden, country home of Frederick, Prince of Wales, as a celebration of the anniversary of his grandfather's, King George I's royal accession to the throne of Great Britain. From this work the patriotic anthem "Rule, Britannia!" originates. During the French Wars (1793-1815), patriotic plays, opera and ballets about Alfred became popular often concluding with a rousing rendition of the Thompson's and Arne’s ‘Rule Britannia’, as the new anthem became a favoured way to express allegiance to the sovereign.[75][76][77] |
| (1827) | *Alfred the Great; or, the Enchanted Standard | Issac Pocock | light operatic comedy | A musical drama, in two acts [78] |
| (1829) | *Alfred the Great | Sarah Hamilton | a drama; in five acts | [79] |
| (1837) | *Alfred the Great; or The Patriot King | James Sheridan Knowles | Drama | [80] |
|
Bodney: Subpages · Contribs · Edit count · SUL Info · Global Contribs |
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