OpenLLM-France/wikimedia huggingface dataset:
# Ancient History/Ancient Near East/Anatolia/Hatti
## Hittite Kings

King List borrowed from Wikijunior:Ancient Civilizations/Hittites, created by Nivritchari
Pithana early 18th c. Anitta son of Pithana mid 18th c.
Labarna first known Hittite king 1680-1650 Hattusili I nephew/adopted son of Labarna 1650-1620 Mursili I grandson/adopted son of Hattusili I 1620-1590 Hantili assassin and brother-in-law of Mursili I 1590-1560 Zidanta I son-in-law of Hantili 1560-1550 Ammuna son of Hantili 1550-1530 Huzziya I son of Ammuna? 1530-1525 Telipinu son of Zidanta I?/brother-in-law of Ammuna 1525-1500 Tahurwaili ? Alluwamna son-in-law of Huzziya I Hantili II son of Alluwamna 1500-1450 Zidanta II ? Huzziya II ? Muwatalli I ? Tudhaliya II son of Huzziya II? 1450-1420 Arnuwanda I son-in-law of Tudhaliya II 1420-1400 Tudhaliya III son of Arnuwanda I 1400-1380 Tudhaliya son of Tudhaliya III 1380? Hattusili II ? ? Suppiluliuma I son of Tudhaliya III or Hattusili II 1380-1340 Arnuwanda II son of Suppiluliuma I 1340-1339 Mursili II son of Suppiluliuma I 1339-1306 Muwatalli II son of Mursili II 1306-1282 Mursili III son of Muwatalli II 1282-1275 Hattusili III son of Mursili II 1275-1250 Tudhaliya IV son of Hattusili III 1250-1220 Karunta son of Muwatalli/cousin of Tudhaliya IV ? Arnuwanda III son of Tudhaliya IV 1220-1215 Suppiluliuma II son of Tudhaliya IV 1215-1200
# Ancient History/Ancient Near East/Anatolia/Introduction

Because of its strategic location at the intersection of Asia and Europe, Anatolia has been a cradle for several civilizations since prehistoric ages, with Neolithic settlements such as Çatalhöyük (Pottery Neolithic), Çayönü (Pre-Pottery Neolithic A to pottery Neolithic), Nevali Cori (Pre-Pottery Neolithic B), Hacilar (Pottery Neolithic), Göbekli Tepe (Pre-Pottery Neolithic A) and Mersin. The settlement of Troy starts in the Neolithic and continues forward into the Iron Age. Major civilizations and peoples that have settled in or conquered Anatolia include the Colchians, Hattians, Luwians, Hittites, Phrygians, Cimmerians, Lydians, Persians, Celts, Tabals, Meshechs, Greeks, Pelasgians, Armenians, Romans, Goths, Kurds, Byzantines, Seljuk Turks, and Ottomans. These peoples belonged to many varied ethnic and linguistic traditions. Through recorded history, Anatolians have spoken both Indo-European and Semitic languages, as well as many languages of uncertain affiliation. In fact, given the antiquity of the Indo-European Hittite and Luwian languages, some scholars have proposed Anatolia as the hypothetical center from which the Indo-European languages have radiated. Other authors have proposed an Anatolian origin for the Etruscans of ancient Italy. Today the inhabitants of Anatolia are mostly native speakers of the Turkish language, which was introduced with the conquest of Anatolia by Turkic peoples and the rise of the Seljuk Empire in the 11th century. However, Anatolia remained multi-ethnic until the early 20th century (see Rise of Nationalism under the Ottoman Empire). The last population exchange "Exchange of populations between Greece and Turkey", as result of the Treaty of Lausanne, between Turkey and Greece eliminated the majority of Turks in Greece and Greeks in Turkey. A significant Kurdish ethnic and linguistic minority exists in the south eastern regions, while Armenians and Georgians used to have a presence in the northeast.
# Ancient History/Americas/Mayan Empire

* Origins
* Decline of the Maya
* Spanish conquest of the Mayas
# Ancient History/Ancient Near East/Levant/Phoenicia

Phoenicia was an ancient civilization centered in the north of ancient Canaan, with its heartland along the coastal regions of modern day Lebanon, extending to parts of Israel, Syria and the Palestinian territories. Phoenician civilization was an enterprising maritime trading culture that spread across the Mediterranean during the period 1550 BC to 300 BC. Though ancient boundaries of such city-centered cultures fluctuated, the city of Tyre seems to have been the southernmost. Sarepta (modern day Sarafand) between Sidon and Tyre, is the most thoroughly excavated city of the Phoenician homeland. The Phoenicians often traded by means of a galley, a man-powered sailing vessel and are credited with the invention of the bireme

# Introduction to Phoenicia

Phoenicia was an area containing today's Lebanon and areas above it, comprised of nine autonomous city-states. In spite of being divided as such, the Phoenicians were very closely confederated; that is to say that their societies were very similar to each other in script, religion, and inter-city games.
Geographically, Phoenicia was very well off. Right to the east there used to be a cedar forest, and further on there were hills. Except for the Romans (who caused the Phoenician civilization to become extinct), no other empire had ever dominated Phoenicia. This is due to the fact that the Phoenicians were commercially very important to other cultures.

# Economy

Phoenician economy was a civilization entirely based on maritime commerce and seafaring.

# Contributions

The Phoenicians had numerous special methods of boat-making that are still used to this day, including the design of a boat and how to make it impermeable.
More importantly, though, was the contribution of the first alphabet (originally used to ease communication with other people, giving rise to cognates and new scripts).
# Ancient History/Ancient Near East

* Introduction - The Ancient Near East
* The ancient Near East refers to early civilizations in a region roughly corresponding to the modern Middle East: Mesopotamia (modern Iraq and Syria), Anatolia (modern Turkey), the Levant (modern Syria, Lebanon, Israel, Palestine, and Jordan), as well as Persia (modern Iran), and Ancient Egypt, from the beginnings of Sumer in the 6th millennium BC until the region's conquest by Alexander the Great in the 4th century BC. This chapter will discuss the first three, while information on the latter two can be found in chapters nine and four, respectively.
* The ancient Near East is considered the cradle of civilization. It was the first to practice intensive year-round agriculture; it produced the first writing system, invented the potter's wheel and then the vehicular- and mill wheels, created the first centralized governments, law codes and empires, as well as introducing social stratification, slavery and organized warfare, and it laid the foundation for the fields of astronomy and mathematics.
* Due to the broad scope of this chapter, it is divided into three parts: Mesopotamia, Anatolia, and the Levant.
* Chapter 1 - Mesopotamia
* Mesopotamia, the "land between the rivers" lies in modern-day Iraq, Iran, Turkey, Syria, and Jordan. Here the first cities and the first civilizations began to emerge between four thousand and six thousand years before the present.
* Sumer, Akkad and the First Civilizations
* Babylon
* Upper Mesopotamia
* The Neo-Assyrian Empire
* The Neo-Babylonian Empire
* Chapter 2 - Anatolia
* insert summary here
* The Hatti
* The Hittites
* Syro-Hittite states
* Urartu
* Phrygia
* Lydia
* Chapter 3 - The Levant
* insert summary here
* Early Levantine City-States
* Canaan
* Phoenicia
* The Arameans
* Ancient Israel and Judah
<<Return to Ancient History table of contents
# Chrono Trigger/Walkthrough/Chapter 10

Chapter 10: The Hero Appears(600 A.D. second time)

## Defending Zeanan Bridge

Head through Truce Canyon once you warp in, you'll notice the monsters changed since the very first time you visited it. Talk to the townspeople to learn about the legendary hero, and go to Zenan bridge to learn they need supplies. Head through the forest and into the castle. Talk to the people there to find out the king is sick, and head into the kitchen and talk to the chef. He'll give you some jerky for the soldiers on Zenan bridge and a Power Tab for your troubles. Take it to the knight captain on Zenan bridge and offer to help him to get a gold helmet.
Fight through two battles of skeletons, both groups very strong against physical attacks, so use similar strategies as with the Heckran cave. Heal up, and get ready to fight Zombor. His body is immune to ice and his head is immune to fire. I generally have Crono use Cyclone to attack both parts, and everyone else use their best magic. Keep everyone's health above 50 if you can because it does some nasty attacks later on, and its last move before it dies is to drain the MP of the last player to attack it, so make sure you rest in an inn soon.
If you remembered to grab the Naga-ette Bromide in the cathedral in Chapter 3 or feel like going back for it, go in one of the residences that has a glowing blue dot shining a drawer nearby. Try to open the drawer, then talk to the old man to trade your bromide for a magic tab. Head south to poore, stopping by Fiona's villa if you want, and go in the Poore market to find a power tab on the left side. Head into the Cursed Woods if you like too. If you attack the snakes they'll eat the frogs to restore health, which is handy since the snakes have lower defense. Frog will claim he's no hero, and won't be able to help you.

## Denadaro Mountains

When you're ready to move on, head off into the mountain range. You'll probably want Lucca for this part, since like someone in the town told you, if you meet a goblin with a hammer you can burn the hammer to make it a lot less dangerous. It's essential to lowering their defense and attack. So you've got Lucca, Crono, and either Robo or Marle along for healing purposes. In the first screen, talk the exit to the right of the later to find a chest with a miragehand for Robo partially obscured by leaves, then go back to take the ladder to run into Tata, the "legendary hero". Incidentally, as soon as you run into Tata you'll officially be in the "Tata and the Frog" segment of the game, so time to mosy into the next chapter.

## Challenging Lavos

While the save file still reads, the Hero Appears, head to the Millennial Fair if you want to fight Lavos at this point and get The Tata/Legendary Hero Ending. This ending is a funny little one where Tata goes off to challenge Magus single-handedly, convinced he's the legendary hero.
Continue to Chapter 11: Tata and the Frog(600 A.D. second time)
# Cello Handbook

This book is all about the cello! It is meant as a reference text, and will hopefully progress to be the world's first 'encyclopedia'! As this book is still new, a list of potential topics has been placed in the Table of Contents below, covering the obvious basics. However, there is so much to say that this simple preliminary plan could not possibly address everything.
So, even if you do not have the time to contribute article text, if you do think of a topic area that will be of interest to cellists at any level, please do add it to the table of contents! It will only take a minute! Just click 'edit this page' at the top - the code syntax is dead easy (almost plain text) and is obvious from what is already there.
Now, we all know that the idea of 'correct technique' is often a bitter feud between various schools of cellists. This means it will be very tempting to erase what is already in an article and replace it with something entirely different. As an editing guideline - please do NOT do this. Instead please conform to the Wikipedia convention of neutrality by providing your method as an alternative.
For example, state clearly that "There are three different approaches to this bowstroke", segregating each explanation to its own paragraph or bullet point. If something is obviously incorrect such as, "The bow is held at the tip" then of course, go ahead and edit. If you are unsure about something, you can always use the 'discuss' link under each page, or the Internet Cello Society Forums.
A further editing guideline in regard to the warning box below. Although this is perhaps against the Wiki convention, if you are a beginner cellist, even though your input is of course still absolutely welcome and valued, it may be better to stay away from editing pages concerning technique for the minute. Technique on stringed instruments is very complex, and it takes many years before you know exactly what you are doing and why.
Even when you think you know exactly where you are heading, it is often the case that it is only an intermediary step, or a 'substitute technique', a stand-in that will do for now while you are working on something else. For this reason, it is suggested that the editing of technical chapters is left to more experienced players, in order to prevent the spread of ideas which may lead to injury.

## Table of Contents

* Holding the Cello
* Left Arm
** Left Hand Basics
** Shifting
** Vibrato
** Scales
* Right Arm
** Bow Hold
** Bowing Basics
** Legato Bowing
** Sautille
** Detaché
** Martelé
** /Spiccato/
** Ricochet
** Tremolo
* Standard Repertoire
** Solo Cello
** Cello and Piano
** Cello and Orchestra
** Miscellaneous
** Technical
* Practice Technique
* Getting More Advanced and Finding a Teacher
* Hardware and Maintenance
** Parts of the Cello
** Cleaning
** Buzzing
** Repair
** The Bow
** The Bridge
** Strings
** Rosin
* Cello for Composers
# Cello Handbook/Cleaning

Cleaning of the Cello
When cleaning a cello, it is important to always keep the safety of the cello in mind. Never use any type of cleaner that is alcohol based because it can remove the varnish on the instrument, as well as make sure you aren't rubbing too hard, nor nearly not effectively cleaning the cello. A soft felt cloth is the best item to use to clean a cello, or any other strings instrument.
When done playing it is always recommended to rub down the cello to get the dust and rosin off the cello. As always, it is a good practice to keep the cello in a case to protect it. Storing it away will help keep it clean and healthy.
If questioning types of cleaner or methods, the best thing to do is contact your local violin shop and ask them for advice, or consult a trusted teacher or professional who has experience with instruments.
# Cello Handbook/Left Hand Basics

For a cello player, basic left hand technique is the basic foundation of all playing. Correct left hand technique will facilitate intonation, and will allow you to play notes over the whole range of the cello.
The purpose of the fingers of the left hand is to hold down the string, changing the note you are playing by changing the length of the string that can vibrate. Therefore, when you press your finger down to play a note, make sure you are pressing the string down enough to prevent vibration. However, you do not need to press too hard; only enough to hold the string against the surface of the fingerboard.
When holding down a note, you should also try to keep as little of the finger in contact with the string as possible. This will create a sharper, less muddy tone. One way to accomplish this goal is to curve the fingers, and playing on the ends of finger instead of the pads, where there is less flesh between the surface and the bone.
# Cello Handbook/Bow Hold

The bow is held by the right hand, at the frog, the black endpiece of the bow. Bowhand is not a strict requirement that must be conformed to exactly. Obviously, as one plays and learns from their experience, they will develope a more personalized bowhand.
However, the bowhand remains mostly the same for each player. The thumb is placed on the gap between the bowgrip, the rubber grip on the bottom portion of the bow and the frog.
The index finger is placed ahead of the thumb, near the middle of the bowgrip. The middle finger is positioned roughly on the line between the end of the frog and the start of the bow hair. The ring finger is placed in the middle of the frog. Finally, the pinky is placed on the side of the screw. The bow should also be held with a straight wrist.
# Cello Handbook/Buzzing

Apart from external causes of buzzing, such as a button on your clothes vibrating against the cello or even something in the room vibrating in sympathy as you play, buzzes can be caused by almost any part of the cello. Below is a list of the most common buzzes and possible causes. Buzzing on only one string
* There may be a loose string winding – if so replace the string.
* A stopped string may buzz because of an oversized string groove at the
bridge; an open string buzz that disappears when the string is stopped suggests an oversized string groove at the nut Buzzing only on certain notes
Your fingerboard may be uneven and the strings may catch on the bumps when you stop certain notes. If so, ask a luthier to smooth (‘true’ or ‘re-shoot’) the fingerboard for you. Intermittent buzzing
Buzzes caused by loose purfling or open seams can disappear in damp weather and reappear in dryer weather as the glue softens and hardens. If in doubt, consult a luthier. Other common causes of buzzing
* The end of the tail-gut is buzzing against the tailpiece
* Fingerboard is coming unglued
* Loose adjuster – try tightening it down
* Loose bridge vellums
* Loose end pin (spike)
* Loose end of a string buzzing inside the peg box
* Loose decorations on pegs
* Loose plastic sleeve bridge protector; either remove it or push it firmly down over the silk at the bottom of the string
* Open (unglued or fresh) cracks
* Poor contact between the bridge feet and cello front
* Tail-gut vibrating in an over-sized hole in the tailpiece
* Mute not placed correctly. If you are using a mute, ensure that it is secured.
# Cello Handbook/Cello and Piano
## List of Cello Sonatas

* Samuel Barber
** Cello Sonata Op. 6 in C minor (1932)
* Rami Bar-Niv
** Improvisation for cello and piano (11 min) (2001)
** Longing for my Father - 7 songs without words for cello and piano (26 min) (2002)
** Blue-Rag for cello and piano (5 min) (1998)
** Blue-Rag for 2 cellos (or cello and violin/viola/flute/clarinet/trumpet/oboe/saxophone) and piano (5 min) (1998)
** Shmateh-Rag for cello and piano (5 min) (2004)
** Vocalise on Prelude #1 by Bach, for cello and piano (5 min) (1998)
* Ludwig van Beethoven
** Cello Sonata Op. 5 No. 1 in F major (1796)
** Cello Sonata Op. 5 No. 2 in G minor (1796)
** Cello Sonata Op. 69 in A (1808)
** Cello Sonata Op. 102 No. 1 in C (1815)
** Cello Sonata Op. 102 No. 2 in D (1815)
* Easley Blackwood
** Cello Sonata, Op. 31
* Johannes Brahms
** Cello Sonata Op. 38 in E minor (1862–5)
** Cello Sonata Op. 99 in F (1886)
** Violin Sonata "Rain" Op. 78 (1878–9) is sometimes transcribed for cello.
* Frank Bridge
** Cello sonata in D minor, H. (Hindmarsh) 125 (1913-7)
* Benjamin Britten
** Cello Sonata Op. 65 in C (1961)
* Elliot Carter
** Cello Sonata (1948)
* Frédéric Chopin
** Cello Sonata Op. 65 in G minor (1845–6)
* Claude Debussy
** Cello Sonata in D minor (1915)
* Felix Draeseke
** Cello Sonata op. 51 in D (1890)
* Antonín Dvořák
** Cello Sonata in F (1865) lost (cello part extant)
* Gabriel Fauré
** Cello Sonata Op. 109 in D minor (1917)
** Cello Sonata Op. 117 in G minor (1921)
* Edvard Grieg
** Cello Sonata (Grieg)|Cello Sonata Op. 36 in A minor (1883)
* Zoltan Kodaly
** Cello Sonata op.4 (1907)
** Cello Sonatine(1923)
* Felix Mendelssohn
** Cello Sonata Op. 45 in B-flat (1838)
** Cello Sonata Op. 58 in D (1842–3)
* E.J. Moeran
** Cello Sonata (1947)
* Sergei Prokofiev
** Cello Sonata Op. 119 in C (1949)
** Sonata for Solo Cello in C# minor, Op. 134 (unfinished)
* Sergei Rachmaninov
** Cello Sonata Op. 19 in G minor (1901)
* Franz Schubert
** Sonata for Arpeggione D.821 in A minor is often transcribed for cello.
* Alfred Schnittke
** Cello Sonata (Schnittke) (1978)
* Dmitri Shostakovich
** Cello Sonata Op. 40 in D minor (1934)
# Cello Handbook/Holding the Cello

The most fundamental thing about playing the cello, of course, is how to hold it while playing. The cello is held with the sides of the kneecaps resting on the bottom points of each c-bout, with the C-peg resting just behind the left ear.
The left hand is used to press the strings, and should be angled so that the thumb is roughly in the middle of the neck and directly behind the middle finger, and the wrist is roughly straight.
The feet are not a critical part of playing technique, and while many recommend placing the feet flat on the floor to fascilitate good posture, or simply out of etiquette, many players are known to use their foot as a makeshift metronome to tap out a time.
Proper technique will develop in the individual based on personal preference and style, so although there is a correct posture for the cello, don't let that stop you from developing your own style. With certain parts of posture, like foot positioning, if there is no widely accepted "way" to position yourself in that aspect, roll with what works best for you.
The back should be kept straight while playing. Slumping or slouching while playing will not only decrease your ability to manoeuver the bow arm and left hand, but will cause lower back pain if continued for long periods of time.
It is recommended that the player sit near the edge of his/her chair while playing. It can help make playing more comfortable and the arms easier to manoeuver about the instrument, as well as prevent the back of the cello from hitting the chair, which can make playing uncomfortable, and can damage the instrument.
# Electrodynamics/Magnetization
## Magnetization Field

We can define two new vector fields to help aide us in further studies of magnetics. The first new field is the magnetization field M. This field represents the magnetic moment per unit volume of a magnetized substance. The second, H is known occasionally as the "magnetic field strength" and is used here primarily as a simplifying agent.

## Magnetization

We can define the magnetic moment in terms of the magnetization as:
    $\mathbf {m} =\mathbf {M} (\mathbf {r} ')dV'$
    $\mathbf {A} (\mathbf {r} ')=-\int \mathbf {M} (\mathbf {r} ')\times \nabla {\frac {1}{|\mathbf {r} -\mathbf {r} '|}}dV'$
    $\mathbf {A} (\mathbf {r} )=\int {\frac {\nabla \times \mathbf {M} (\mathbf {r} ')}{|\mathbf {r} -\mathbf {r} '|}}dV'$
    $\mathbf {j} _{M}=\nabla \times \mathbf {M}$

## H Field

    $\mathbf {H} =\mathbf {B} -4\pi \mathbf {M}$
    $\nabla \times \mathbf {H} =4\pi \mathbf {j} _{M}$
    $\oint _{C}\mathbf {H} \cdot d\mathbf {l} =4\pi \int _{C}\mathbf {j} _{F}\cdot \mathbf {n} dA$
# Electrodynamics/Magnetic Stress Tensor
## Differential Version

    $\mathbf {F} ={\frac {q}{c}}\mathbf {v} \times \mathbf {B}$

## Volume Integral Version

    $\mathbf {F} =\int _{V}(\mathbf {j} \times \mathbf {B} )dV$

## Magnetic Stress Tensor

    $\mathbb {T} _{M}={\frac {1}{4\pi }}{\begin{bmatrix}B_{x}^{2}-{\frac {B^{2}}{2}}&B_{x}B_{y}&B_{x}B_{z}\\B_{x}B_{y}&B_{y}^{2}-{\frac {B^{2}}{2}}&B_{y}B_{z}\\B_{x}B_{z}&B_{y}B_{z}&B_{z}^{2}-{\frac {B^{2}}{2}}\end{bmatrix}}$

## Surface Integral Version

    $\mathbf {F} =\int _{S}\mathbb {T} _{M}\mathbf {n} dA$

## Electromagnetic Stress Tensor

If we add our two stress tensors together, piece-wise, we will get a combined electromagnetic stress tensor:
    $\mathbb {T} _{EM}=\mathbb {T} _{E}+\mathbb {T} _{M}$