User:Deisenbe
This user received the Editor of the Week award. |
Helpful pages[edit]
Contributing to Wikipedia (Tutorial) |
---|
Policies and guidelines |
Introductions |
How-to pages |
Writing advice |
Community |
Directories and indexes |
Interactive help |
Sources, links, personal info
|
---|
|
Wikitools
|
---|
|
Extended content
| |||
---|---|---|---|
|
Views of this page
|
---|
GA toolbox |
---|
Reviewing |
Barnstars[edit]
The Editor's Barnstar | |
The coverage of American history on Wikipedia is significantly better because of your research and writing. By creating or improving myriad articles ranging from Moses Jacob Ezekiel in recent weeks,[20] to bigger efforts like Negro Fort or biographies of interesting characters and places like Addison Mizner and Mineshaft, you've illuminated fascinating and important stories and facts. And you've done it with very little controversy. On behalf of Wikipedia readers, "Keep up the good work!" Mobi Ditch (talk) 09:19, 4 February 2019 (UTC) |
La Insignia de Diligencia (Barnstar for Diligence) | |
Gracias. Reficul18nov1974 (discusión) 12:20 10 nov 2015 (UTC) |
The Original Barnstar | ||
Thank you for creating the Texas Civil War Museum!Zigzig20s (talk) 13:34, 13 June 2018 (UTC) |
The Content Creativity Barnstar | ||
For the creation of Union Literary Institute apparently from scratch in a short time. While there is no doubt further work to be done, this is an excellent addition to Wikipedia. DES (talk)DESiegel Contribs 02:12, 8 October 2019 (UTC) |
A cup of coffee for you![edit]
I like and I commented on your essay at Wikipedia:Editing Wikipedia is like visiting a foreign country. Thanks for writing it. Blue Rasberry (talk) 20:52, 1 March 2020 (UTC) |
Personal information[edit]
My name is Daniel Eisenberg. I grew up and attended elementary and high school in Canisteo, New York, though due to my father's participation in the Korean War, I attended third grade (1953-54) in a U.S. Army school in Sendai, Japan. I have a B.A. in Romance Languages from Johns Hopkins University and a Ph.D. in Spanish from Brown University. I was from 2000 to 2008 the editor of the journal Cervantes, published by the Cervantes Society of America (http://cervantesjournal.com or https://web.archive.org/web/20140801155459/http://users.ipfw.edu/jehle/cervante/bcsalist.htm). In 1976 I founded and until 1992 edited and published the Journal of Hispanic Philology. I was a Contributing Editor of the Encyclopedia of Homosexuality, published by Garland in 1990.
I was Distinguished Research Professor at Florida State University, where I taught from 1974 to 1996. I am now retired.
I enjoy editing and writing articles on a wide variety of subjects centered on the history, literature, or politics of Spain, the southern United States; African Americans; sexual minorities; pornography. But I get pretty far afield, like Golden Age of Radio or IBM MT/ST, the latter of which was my first article. (I owned an MT/ST.)
You can find my personal page at https://fsu.academia.edu/DanielEisenberg. My prior home page was https://web.archive.org/web/*/http://users.ipfw.edu/jehle/deisenbe/ That contains the text of most of my writings, although those writings, plus others newly digitized, are in the process (2017) of being posted on the new site. You can find my Vita (Résumé) there. My articles on homosexual topics are at https://web.archive.org/web/*/http://users.ipfw.edu/jehle/deisenbe/INDEX-S.HTM, though an article from the "Encyclopedia of Medieval Iberia" is on my main page. Also there is a page on me in the Spanish Biblioteca Virtual Cervantes (http://www.cervantesvirtual.com/FichaAutor.html?Ref=2987). My email address at present (2018) is danielbeisenberg(at)gmail.com.
Correspondence and other papers of mine are found primarily in the Florida State University archives, Special Collections, Strozier Library, both under my name and under Journal of Hispanic Philology. Some early correspondence is at the Hispanic Society of America.
Wikipedia's principles[edit]
The following are principles of Wikipedia which appeal to me very much. I have deduced these from people's behavior, though no doubt they are written somewhere, or somewheres.
- It is totally democratic. No one is better than anyone else.
- Work is recognized.
- It is the most anarchic organization, and I mean that in a good sense, that I've ever heard of. No one rules. There are no elections. The people themselves set up the structure. (Curiously, the only country in which Anarchism has been a real political force was Spain.)
- A principle is "don't assume the worst, assume the best".
- Knowledge is an unqualified good.
- If you know something, you'll probably want to share it. In fact, there's a subtle pressure on you to share what you know.
- No field of knowledge is better than any other. It doesn't matter what crazy thing you're interested in, if it's significant, write it up.
- This is more than an encyclopedia project.
- Interactions with other Wikipedia editors feel like a brain talking to someone else's brain.
Here are two things I don't like, or at least am ambiguous about:
- The burden of ascertaining the truth of Wikipedia's contents has been offloaded to externals: journals' editors and editorial boards, newspaper editors, and the like. I don't know a better system, but journal editors, newspaper editors, etc., are not exempt from influences on: what is acceptable, what will sell more papers, what is "politically correct", what will lead to the editor's career success.
- Wikipedia does not want original research. Because it would then have to set up a structure to determine whether the original research was correct.
The following addition of mine was reversed in the article "Campaign for 'Santorum' neologism" because it constituted original research:
- "After Savage began his campaign, Santorum was never to win another election, although the extent to which Savage contributed to the defeats has not been studied."
The election results are public documents and easily accessible, but I had to find _someone else_ who had made this observation. This may be according to policy, but I don't think it's good policy if it prohibits this.
Also there is a case cited somewhere in which an author was not allowed to say what was in his own book, it had to be said by a third party. This is silly and wastes time, at least as seen from the small part of Wikipedia that I hang out in. If the question is authentification (is that really the author?) then attack that.
As we have seen in the case of computer viruses (originally there were none), there is something criminal, evil, or at least mean in human nature -- not in everyone, but certainly in some -- and that shows up in Wikipedia just like it does in other places. Yet there is lots of altruism too.
(This added later.) Wikipedia's software is a delight. Fast, clean, and so intuitive! (That's a computer term for "makes sense" "easy to understand and use" "The command you think will probably work, it'll work.")
I would encourage everyone to read Criticism of Wikipedia and Wikipedia:Systemic bias.
My contributions[edit]
For my contributions in Spanish to the Spanish Wikipedia, see es:Usuario:Deisenbe
Paragraphs I wrote that were reverted
|
---|
Paragraphs I wrote that were reverted[edit]Slavery in the United States[edit]Unique features[edit]Slavery in the United States developed a number of features that distinguished it, sometimes positively and sometimes negatively, from slavery as practiced in other countries and time periods.
NEED TO ADD: chattel deisenbe (talk) 16:23, 26 October 2019 (UTC) José María Casasayas[edit]Le sobrevino un incidente a que llamaba su desgracia: al volante en el campo, acompañado por Jean Canavaggio, se adormeció, dejó que el coche saliera de la carretera, causando la muerte de su esposa. Accidente de un solo coche. Pocos años después perdió la voz por una intervención quirúrgica originado en cábcer de la gargante. Lo vio como un castigo. Los cervantistas no le permitieron jubilarse; continuó organizando congresos aunque casi mudo y visiblemente mermado de fuerzas. Vivió solo, en la ciudad vieja de Palma, y antes de morirse estuvo tres días boca abajo en el suelo antes de que alguien le buscara. Esquivias[edit]1 Cervantes y Esquivias Todo el texto siguiente, contribución de un servidor, fue borrado por usuario:Enrique_Cordero, no porque sea incorrecto o indocumentado, sino porque demuestra mi "voluntad polémica". Culpable, y mucha honra. __________________________________________
Además, Esquivias, en cuanto a Cervantes, acompaña a los monumentos auténticos — la iglesia en que se casó, la casa de los padres de Catalina de Palacios, la desprotegida casa en que vivió el matrimonio — con una serie de fantasías convertidas en leyendas convertidas en historias. Que hay un feísimo conjunto designado como el "Centro Comercial La Galatea", y las calles designadas El licenciado Vidriera, Rinconete y Cortadillo, Doña Catalina, Teresa Panza, del Cura Pero Pérez y "de la Dulcinea", no perjudica a nada, y las calles de Pedro Laínez (maestro poético de Cervantes, cuya viuda era esquiviana) y Lope de Rueda son elegantes de nombre. Pero decir que los personajes de Don Quijote están enterrados en la iglesia — como afirma, entre otros muchos disparates, www.esquivas.org3 — deja el municipio en ridículo. La Sociedad Cervantina de Esquivias increíblemente sigue afirmando que están basados en figuras de Esquivias el cura Pero Pérez, el Bachiller Sansón Carrasco (en Argamasilla de Alba hubo otra casa "suya"), Teresa Panza, el morisco Ricote, Aldonza Lorenzo, el anónimo vizcaíno de Don Quijote, I, capítulos 8 y 9 y el labrador Pedro Alonso del capítulo 5.4 En www.esquivias org se añade que Sancho Panza "estaba inspirado en un criado llamado tío Zancas", desde luego esquiviano.5 Ni un solo cervantista, ni en realidad nadie fuera de Esquivias, cree en estos absurdos. En las páginas esquivianas citadas se dice que todo ello está apoyado por numerosos cervantistas de relieve, pero nunca se cita la página de ningún libro de ellos donde se puede encontrar. Ningún cervantista fuera de Esquivias ha escrito que Miguel y Catalina vivieron en la Casa-Museo de Cervantes.6 Tan desprestigiada está Esquivias entre los cervantistas que, aunque los cervantistas del mundo se han reunido en varios lugares asociados con Cervantes — Argamasilla de Alba, El Toboso, Alcalá de Henares, Barcelona, Lepanto — no se han reunido nunca en Esquivias. Las únicas actividades cervantinas en Esquivias son locales. El Ayuntamiento de Esquivias, cuya página oficial antes señalaba como no sólo los arriba dichos sino también Juana Gutiérrez, Mari Gutiérrez, y Teresa Cascajo aparecen en documentos de la parroquia de Esquivias,7 ha borrado todo lo cervantino, y todo el apartado "Cultura", de su página oficial, http://www.esquivias.es. ↑ Véase Thomas Lathrop, "Cervantes' Treatment of the False Quijote", Kentucky Romance Quarterly, vol. 32, 1985, pp. 213-217. ↑ http://www.esquivias.org/casacervantes/index.html ↑ http://www.esquivias.org/cervantes_esquivias.html, consultado 5 mayo 2015. ↑ http://cervantinaesquivias.org, página actualizada en 2015 según la fecha en ella, consultado 5 mayo 2015. ↑ http://www.esquivias.org/cervantes_esquivias.html, consultado 5 mayo 2015. ↑ Sin embargo, esto es lo que se dice en Esquivias: "Casa-museo donde Catalina vivió con Cervantes en Esquivias" (Jaime García, "Catalina de Palacios, una mujer ejemplar", ABC, 28/06/2015, http://www.abc.es/toledo/ciudad/20150627/abci-catalina-palacios-mujer-ejemplar-201506271410.html, consultado 14 julio 2015.) ↑ https://web.archive.org/web/20120626140415/http://www.esquivias.es, consultado 5 mayo 2015 _______________________________ Deisenbe (discusión) 10:31 18 ago 2015 (UTC) Bueno, lo borré por eso y porque Deisenbe no tiene muy claro lo de que Wikipedia no es un foro donde uno vierte sus opiniones y se toma sus revanchas. Saludos, --Enrique Cordero (discusión) 11:56 18 ago 2015 (UTC) Esto lo tomo por ofensivo. La palabra "feísima" es una opinión, supongo. Se podría suprimir. Hablar de "cervantomanía", puede que lo sea también. Pero que no existe ningún cervantista, fuera de Esquivias, que diga que Esquivias es cuna del Quijote, como se anuncia a la entrada del pueblo, y que Miguel y Catalina vivieron en la "Casa-Museo", no es una opinión, es un hecho. El mismo Luis Astrana Marín, el mayor biógrafo de Cervantes, identificó en su biografía su verdadera casa, que ha sido reformada dos veces desde la foto publicada por Astrana, pues la casa genuina está, como dije, desprotegida. Ni tiene una placa. Que la Asociación de Cervantistas se haya reunido en El Toboso, Argamasilla de Alba, Barcelona, Alcalá de Henares y Lepanto, pero desde su fundación en 1989 no se ha reunido nunca en Esquivias, es un hecho, no una opinión. Que en la "Casa-Museo" hay etiquetas identificando la biblioteca de Cervantes y también el dormitorio de Alonso Quijada, es un hecho. Que estoy tomando "una revancha" - esto es absurdo. No tengo enemistad personal con nadie, pues no conozco a ningún esquiviano, ni en persona ni por escrito. ¿Revancha de qué, y para qué? Por tergiversar los hechos, eso sí, y despistar a los novatos - si esto es revancha de mi parte, lo confieso. Deisenbe (discusión) 12:20 18 ago 2015 (UTC) Y que usted tiene muchas ganas de discutir también es un hecho evidente.--Enrique Cordero (discusión) 12:50 18 ago 2015 (UTC) 2 Enlaces rotos Knoxville, Summer of 1915:[edit]Removal of more than half the article Agee's text as excerpted by Barber[edit]Barber chose only excerpts of "Knoxville" for his composition, but his Knoxville, Summer of 1915, in many ways, parallels Agee's text. Agee was touched by the death of his father in his childhood, while Barber was, during the time of composition, enduring his father's deteriorating health. The two men were similarly aged. Most importantly, however, the two men were so compelled by nostalgia and inspiration that they (supposedly) wrote their pieces quickly and without much revision. The spontaneity of both the text and the music illustrate this reverie of the American south with an ease and honesty that sharply contrasts the paradigm of "multiple-draft writing," but with technical mastery nonetheless. Summary[edit]The text of Knoxville, Summer of 1915 does not tell a story. It is a poetic evocation of life as seen from the perspective of a small boy. It is full of alliteration ("people in pairs", "parents on porches", "sleep, soft smiling", "low on the length of lawns"). The point is that nothing is happening; the adults sit on the porch and talk "of nothing in particular, of nothing at all". Their voices are "gentle and meaningless, like the voices of sleeping birds". A horse and a buggy go by, a loud auto, a quiet auto, a noisy streetcar. The members of the family lie on quilts, in the yard (as was not unusual on a hot summer evening, before air conditioning). "The stars are wide and alive, they all seem like a smile of great sweetness, and they seem very near". The family members are described as a child would, quoting a grown-up: "One is an artist, he is living at home. One is a musician, she is living at home." The key people are the parents, his father and mother, who are both "good to me". The boy is "one familiar and well-beloved in that home". The text alludes to some tragedy to come: "May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away". The boy includes philosophical commentary: "By chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night". He is "taken in and put to bed", and is received by sleep. Yet the one thing he can never learn in that house, that no one will ever tell him, is "who I am". With this sense of lack, of future, of responsibility, the piece ends. Musical structure[edit]The beginning of the piece, describing a warm summer's evening, is particularly lyrical in comparison to Agee's earlier passages in the same work. Barber capitalizes on the lyricism of this section through his use of word painting: "Talking casually" in measures 23–24, "increasing moan" in measures 65–66, "the faint swinging bell rises again..." in measure 79. The introduction concludes, and the reverie is interrupted abruptly; we are thrown into an allegro agitato, where Barber carries a simple horn-like motive in the woodwinds and horns. Staccato and pizzicato lines add to the chaos. Like the introduction, the imagery is vivid but intangible yet—this passage has all the clearness of a dream, but we are unclear what it means. The soprano again clarifies the imagery: "a streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan." The noisy, metallic texture persists, interrupted by a notably pointed excursion, "like a small malignant spirit set to dog its tracks." Describing the spark above the trolley car as a spirit following it closely, Barber uses staccato woodwinds and pizzicato strings in walking chromaticism to illustrate this image. After the streetcar fades, the soprano begins a lyrical passage "now is the night one blue dew." Here the soprano reaches the highest note of the entire work, a B-flat sung piano. After this, we return to a rough interpretation of the first theme; this time the harp carries the "rocking" theme alone. This brief return to familiarity smoothly transitions into a passage where the narrator has changed from describing the summer's eve to contemplating grander things: "On the rough wet grass of the backyard my father and mother have spread quilts..." As was common before air conditioning, people would spend evenings outside their houses. Here adults and the narrator are lying down on quilts, talking sparsely and idly. In relative silence, the narrator, still a child, contemplates the vastness of the stars and "his people," sitting quietly with "larger bodies than mine." Thematically, the orchestra is closest to the introductory section before the rocking, consisting of a repetitive exchange between the bassoon and the other woodwinds. The section ends particularly poignantly, with the narrator counting off the people present, ending with "one is my father who is good to me." The orchestra breaks into an agitated section, characterized musically by leaps of ninths and seconds. We see here that the text has struck a chord with Barber, whose father was grievously ill at the time, drawing a parallel between Agee's father (his text is "strictly autobiographical") in 1915 and Samuel Barber's father at the time of writing in 1947. The childlike recollection of the summer's evening now turns abruptly, seriously "who shall ever tell the sorrow of being on this earth," again hitting the high B-flat. The narrator then asks for the blessing of the aforementioned people, and moves into a final re-entry of the original theme, while the narrator talks about being put to bed. The piece ends with the instruments calmly rising, almost floating, reinforcing the dreamlike aspects of the piece. Agee's text as excerpted by Barber[edit]Barber chose only excerpts of "Knoxville" for his composition, but his Knoxville, Summer of 1915, in many ways, parallels Agee's text. Agee was touched by the death of his father in his childhood, while Barber was, during the time of composition, enduring his father's deteriorating health. The two men were similarly aged. Most importantly, however, the two men were so compelled by nostalgia and inspiration that they (supposedly) wrote their pieces quickly and without much revision. The spontaneity of both the text and the music illustrate this reverie of the American south with an ease and honesty that sharply contrasts the paradigm of "multiple-draft writing," but with technical mastery nonetheless. Musical structure[edit]The beginning of the piece, describing a warm summer's evening, is particularly lyrical in comparison to Agee's earlier passages in the same work. Barber capitalizes on the lyricism of this section through his use of word painting: "Talking casually" in measures 23–24, "increasing moan" in measures 65–66, "the faint swinging bell rises again..." in measure 79. The introduction concludes, and the reverie is interrupted abruptly; we are thrown into an allegro agitato, where Barber carries a simple horn-like motive in the woodwinds and horns. Staccato and pizzicato lines add to the chaos. Like the introduction, the imagery is vivid but intangible yet—this passage has all the clearness of a dream, but we are unclear what it means. The soprano again clarifies the imagery: "a streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan." The noisy, metallic texture persists, interrupted by a notably pointed excursion, "like a small malignant spirit set to dog its tracks." Describing the spark above the trolley car as a spirit following it closely, Barber uses staccato woodwinds and pizzicato strings in walking chromaticism to illustrate this image. After the streetcar fades, the soprano begins a lyrical passage "now is the night one blue dew." Here the soprano reaches the highest note of the entire work, a B-flat sung piano. After this, we return to a rough interpretation of the first theme; this time the harp carries the "rocking" theme alone. This brief return to familiarity smoothly transitions into a passage where the narrator has changed from describing the summer's eve to contemplating grander things: "On the rough wet grass of the backyard my father and mother have spread quilts..." As was common before air conditioning, people would spend evenings outside their houses. Here adults and the narrator are lying down on quilts, talking sparsely and idly. In relative silence, the narrator, still a child, contemplates the vastness of the stars and "his people," sitting quietly with "larger bodies than mine." Thematically, the orchestra is closest to the introductory section before the rocking, consisting of a repetitive exchange between the bassoon and the other woodwinds. The section ends particularly poignantly, with the narrator counting off the people present, ending with "one is my father who is good to me." The orchestra breaks into an agitated section, characterized musically by leaps of ninths and seconds. We see here that the text has struck a chord with Barber, whose father was grievously ill at the time, drawing a parallel between Agee's father (his text is "strictly autobiographical") in 1915 and Samuel Barber's father at the time of writing in 1947. The childlike recollection of the summer's evening now turns abruptly, seriously "who shall ever tell the sorrow of being on this earth," again hitting the high B-flat. The narrator then asks for the blessing of the aforementioned people, and moves into a final re-entry of the original theme, while the narrator talks about being put to bed. The piece ends with the instruments calmly rising, almost floating, reinforcing the dreamlike aspects of the piece. Agreement (linguistics)[edit]In Classical Latin the order of elements in a sentence can differ dramatically from that of English. Perceiving the grammatical agreement of elements in a sentence is necessary to determine a sentence's structure, and thus its meaning. In a simple example, magna cum laude means "with great praise", but with an order that seems strange to English speakers: "great with praise". The fact that "great" (magna) is modifying "praise" (laude), that it is telling you something about the praise, is implied by the grammatical agreement of "magna" and "laude": both are female, singular, and ablative. Since the two words are so strongly linked they do not have to be adjacent, and in Classical Latin some authors, to beautify sentences as they understood beauty, deliberately made sentences more complex by separating elements in grammatical agreement, forcing the reader to use agreement to analyze and thus understand a sentence. "Magna cum laude" is more complex, and therefore more elegant, than "cum magna laude", and to be understood requires perception of the grammatical agreement of "magna" and "laude".
Mulholland Drive[edit]Mulholland Drive is...significant because it runs along the spine (the peak) of the mountains. It has the best views in the county and is easily, along with the Pacific Coast Highway, the most dramatic highway in the state. Holy Roman Empire[edit]The title was prestigious and conferred a tradition and a type of legitimacy on a monarch; thus several (like Alfonso X of Castile) went to great, even ruinous lengths to get elected. ... (At the time the Pope was perceived differently; he was not just a religious leader, carrying out God's will, but ruler over several small papal states, and governed from the royal palace, what today (2018) is the Vatican City.) ... His only power was that of conferring prestige — the link, via him and the Pope, with both God and the Roman emperors — on his vassals, and others. ... Voltaire famously remarked that the Holy Roman Empire wasn't holy, wasn't Roman, and wasn't an empire (reference below). Late Night with David Letterman[edit]
Utica, New York[edit]
|
Minor edits only (very small selection)
|
---|
|
list of articles I once intended to work on
|
---|
Old: |
Userboxes[edit]
This user is a Wikipedian in the United States of America
|
This user is a member of WikiProject Spain. |
fr-2 | Cet utilisateur peut contribuer avec un niveau intermédiaire en français. |
This user is a member of WikiProject LGBT studies. |
This user is a member of WikiProject Florida. |
T & F | This user has access to Taylor & Francis through The Wikipedia Library. |
NEWS | This user has access to Newspapers.com through The Wikipedia Library |
NA | This user accesses Newspaper Archive via The Wikipedia Library |
Q | This user used to have access to Questia through The Wikipedia Library. |
MUSE | This user has access to Project MUSE through The Wikipedia Library. |
Gale | This user has access to Gale through The Wikipedia Library. |
OUP | This user has access to Oxford University Press through The Wikipedia Library. |
EBSCO | This user has access to EBSCO resources through The Wikipedia Library. |
This user has access to JSTOR through The Wikipedia Library. |
EBSCO | This user has access to EBSCO resources through The Wikipedia Library. |
This user plays the piano. |
This user plays the clarinet. |
This user plays the organ. |
This user is of Ashkenazi Jewish ancestry but is an Atheist. Confusing, huh? |
JHU | This user attends or attended Johns Hopkins University |
B | This user attends or attended Brown University. |
PhD | This user has a Doctor of Philosophy degree. |
This user has published peer-reviewed articles in academic journals. |
This user teaches at a university or other institution of higher education. |
¶ | This user is a professional editor. |
This user is a linguist. |
This user is ranked 4242 on the list of Wikipedians by articles created. |
0.0026% | This user has created 166 of the 6,483,235 articles on the English language Wikipedia. |
{{User Copy Edit}}
- ^ "Guest appearance of Donald Trump". Late Show with David Letterman. January 8, 2015. CBS.
- ^ "The Nut Museum". Roadside America. 2012. Retrieved July 3, 2018.
- Wikipedians in the United States
- WikiProject Spain participants
- Wikipedians interested in Spain
- User es-3
- User pt-2
- User ca-1
- User fr-2
- WikiProject LGBT studies members
- WikiProject Florida members
- Wikipedians interested in Florida
- Wikipedians who have access to Taylor & Francis
- Wikipedians who have access to Newspapers.com
- Wikipedians who have access to Newspaperarchive.com
- Wikipedians who have access to Project MUSE
- Wikipedians who have access to Gale
- Wikipedians who have access to Oxford University Press
- Wikipedians who have access to EBSCO
- Wikipedians who have access to JSTOR
- Wikipedian pianists
- Wikipedian clarinetists
- Wikipedian organists
- Ashkenazi Wikipedians
- Atheist Wikipedians
- Wikipedians by alma mater: Johns Hopkins University
- Wikipedians by alma mater: Brown University
- Wikipedians with PhD degrees
- Wikipedian university teachers
- Wikipedian linguists