(Redirected from Paradise Found)
Jump to: navigation, search
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (April 2009)
Title page of Paradise Regained (1671).
Paradise Regained is a poem by the 17th century English poet John Milton, published in 1671. It is connected by name to his earlier and more famous epic poem Paradise Lost, with which it shares similar theological themes. It deals with the subject of the Temptation of Christ.
The poem was composed in Milton’s cottage in Chalfont St Giles in Buckinghamshire, and was based on the Gospel of Luke’s version of the Temptation of Christ. Paradise Regained is four books in length, in contrast with Paradise Lost’s twelve.
One of the major concepts emphasized throughout Paradise Regained is the play on reversals. As implied by its title, Milton sets out to reverse the “loss” of Paradise. Thus, antonyms are often found next to each other throughout the poem, reinforcing the idea that everything that was lost in the first epic is going to be regained by the end of the mini-epic.
Additionally, this work focuses on the idea of “hunger”, both in a literal and in a spiritual sense. After wandering in the wilderness for forty days Jesus is starved of both food and the Word of God. Satan, too blind to see any non-literal meanings of the term, offers Christ food and various other temptations, but Jesus continually denies him.
References
Susanne Woods, introduction to Paradise Lost & Paradise Regained published by Signet Classic
External links
Wikiquote has a collection of quotations related to: Paradise Regained
Wikisource has original text related to this article: Paradise Regained
“Typology in Paradise Regained” by Gilbert McInnis
E-text from the John Milton Reading Room
Project Gutenberg text
Listen on-line at Librivox.org for free
(Recording) ‘The Pilgrim and the Liar’, A Narrative Song by Edward Waters (Grateful Acknowledgement to John Milton’s Paradise Regained)
(Lyrics) ‘The Pilgrim and the Liar’, A Narrative Song by Edward Waters (Grateful Acknowledgement to John Milton’s Paradise Regained)
Retrieved from “http://en.wikipedia.org/wiki/Paradise_Regained”
Categories: 1671 books | 1671 poems | Christian poetry | Early Modern English poems | Epic poems | Poetry by John MiltonHidden categories: Articles needing additional references from April 2009 | All articles needing additional references
The Boeing GA-1 (company designation Model 10) were armored triplanes. Designed in 1919, it was powered by a pair of modified Liberty engines driving pusher propellers. The first of the Engineering Division’s heavily-armored GAX series (ground attack, experimental) aircraft, the ponderous airplane was intended to strafe ground troops while remaining immune to attack from the ground as well as from other enemy aircraft. It was so well armored its five-ton weight proved excessive.
Contents
1History
1.1Origins
1.2Development
1.3Entry into service
2Design characteristics
3Variants
4Milestones
5Operators
6Specifications (GA-1)
7References
8External links
9See also
History
Origins
Soon after the end of WW I, the US Army sought to explore highly-armored and -armed specialist ground attack aircraft. This was a pet project of General William Mitchell. The Army Air Service Engineering Division issued requests for proposals to U.S. aircraft producers on October 15, 1919. There were no designs offered, so the Engineering Division ordered one of its engineers, Isaac M. Laddon, to attempt what the aviation industry clearly considered impossible. His design, designated GAX, first flew at McCook Field on May 26, 1920. The GAX was McCook Field Project P129 and wore AAS serial number 63272.
Development
On June 7, 1920, Boeing was awarded a contract for 20 production models designated GA-1. Before the first was delivered in May 1921, the order had been reduced to 10. The production aircraft wore Boeing constructors numbers 200-209 and AAC serial numbers 64146-64155. Number 64146 was evaluated at McCook as project P187.
Entry into service
The GA-1 were sent to Kelly Field, Texas, for service tests with the 3rd Attack Group. These tests showed the aircraft to be unacceptable. They had poor performance and visibility. The aircraft suffered from noise and vibrations caused by the 3/16-inch (4.75mm)-thick armor. Take-off runs were very long by the standards of the day. The GA-1s were extremely unpopular with the pilots conducting the evaluation.
Design characteristics
Aerodynamic cleanliness was sacrificed to fields of fire for its guns. The sturdy structure was able to carry a heavy load of ammunition along with about 2,200 lb (998 kg) of armor plate. The result was an angular machine of wire-braced wooden construction with plywood and fabric covering. A rectangular-section fuselage carried the forward gunner in an open nose position, the pilot in a semi-enclsed cockpit with armored shutters for forward vision, and the rear gunner in an open dorsal position. The engines were carried in mid-wing nacelles. At the front of each nacelle was a gunner’s position.
Variants
GA-1
GA-2
Milestones
It was rumored the GA-1s survived until surveyed on January 14, 1926 so Kelly Field pilots could be threatened with being forced to fly them for disciplinary infractions. All were scrapped in April 1926.
Operators
United States
United States Army Air Service
Specifications (GA-1)
Data from “The Complete Encyclopedia of World Aircraft”
General characteristics
Crew: 5
Length: 33 ft 7 in (10.25 m)
Wingspan: 65 ft 6 in (19.97 m)
Height: 14 ft 3 in (4.34 m)
Wing area: 1016 ft² (94.39 m²)
Empty weight: 7,834 lb (3,553 kg)
Gross weight: 10,426 lb (4,729 kg)
Powerplant: 2 × Liberty L-12A Pusher, 435 hp (324 kW) each each
Performance
Maximum speed: 105 mph (169 km/h)
Cruise speed: 95 mph (153 km/h)
Range: 350 miles (563 km)
Service ceiling: 11,500 ft (3,505 m)
Rate of climb: 600 ft/min (3.05 m/s)
Armament
1 x 37 mm Baldwin cannon
8 x .30 cal. Browning machine guns
With some machine guns removed, 10 small fragmentation bombs could be carried.
References
^ abcd Ray Wagner, 1968
^ ab Eden & Moeng, 2002, page 314.
Wagner, Ray. American Combat Planes. Garden City, NY: Hanover House, 1968. ISBN 0385041349
Eden, Paul, & Moeng, Soph, editors. The Complete Encyclopedia of World Aircraft. London: Amber Books Ltd., 2002. ISBN 0-7607-3432-1
Retrieved from “http://en.wikipedia.org/wiki/Boeing_GA-1″
Categories: Boeing aircraft | Triplane aircraft | United States attack aircraft 1920-1929Hidden categories: Pusher aircraft
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
Languages
Ti?ng Vi?t
This page was last modified on 4 January 2010 at 20:55.
The Hostage Response Group (HRG) is the tactical and special operations unit of the New South Wales Department of Corrective Services. Corrective Services facilities have their own Immediate Action Teams (riot and emergency units), and larger ‘on-call’ Regional Security Units and the K9 units for major disturbances.
The roles of the HRG though are similar to that of the NSW Police Tactical Operations Unit, that is, to provide specialist tactical support and solutions in high risk operations involving Corrective Services facilities and/or staff .
Principal Roles
Resolving siege and hostage situations ;
Providing a negotiation service in high risk and critical situations;
Escorting and securing dangerous prisoners in high risk situations;
Undertaking searches of cells in high risk situations;
Armed escort of high risk offenders in custody;
Specialist surveillance operations;
See also
Department of Corrective Services
New South Wales Police Force
Police Tactical Group
Australian Federal Police - Specialist Response and Security Team
New South Wales - Tactical Operations Unit
Northern Territory - Territory Response Group
Queensland - Special Emergency Response Team
South Australia - Special Tasks and Rescue Group
Tasmania - Special Operations Group
Victoria - Special Operations Group
Western Australia - Tactical Response Group
Armed Offenders Squad (AOS), New Zealand
Special Tactics Group (AOS), New Zealand
SWAT
Tactical Response Group - Former NSW Police Force unit
Special Weapons and Operations Squad - Former NSW Police Force unit
External links
Department of Corrective Services
Retrieved from “http://en.wikipedia.org/wiki/Hostage_Response_Group”
Categories: Police units of Australia
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
This page was last modified on 12 March 2008 at 09:02.
This article is written like a personal reflection or essay and may require cleanup. Please help improve it by rewriting it in an encyclopedic style. (May 2009)
In historical reenactment, authenticity (sometimes referred to as the A-factor or simply A) is a measure of how close an item, prop, action, weapon, or custom is, to what would actually have been used or done in the time period being depicted.
For example, in medieval reenactment cotton is an inauthentic material—as opposed to wool or linen—though it would be authentic in more modern periods and events, such as American Civil War reenactment or World War II reenactment. Likewise, pop culture references and talking about modern events or objects (e.g., wrist watches, mobile phones, or President Barack Obama) is inauthentic.
Generally, the ratio of events and groups enforcing strict authenticity to those permitting (limited) inauthenticity among the participating reenactors is estimated to be half-half, i.e., there are approximately as many groups enforcing historical accuracy as there are permitting a more liberal use of the term “authentic”. This does, however, vary from country to country.
Reenactors are commonly divided (or self-divide) into three categories, based on the level of concern for authenticity.
Farbs
Main article: Farb (reenactment)
An American Civil War reenactor talks about life in a typical army field camp. Hard-core reenactors could consider him “farby” because of his weight, as well as the modern cigarette he is holding.
Some, called “Farbs” or “polyester soldiers” are reenactors who spend relatively little of their time or money maintaining authenticity with regard to uniforms, accessories, or even period behavior. The ‘Good Enough’ attitude is pervasive among farbs, although even casual observers may be able to point out flaws.
The origin of the word “farb” (and the derivative adjective “farby”) is unknown, though it appears to date to early centennial reenactments in 1960 or 1961. Some think that the origin of the word is a truncated version of “Far be it from authentic.” An alternative definition is “Far Be it for me to question/criticise”, or “Fast And Researchless Buying”. Some early reenactors assert the word derives from German Farbe, color, because inauthentic reenactors were over-colorful compared with the dull blues, greys or browns of the real Civil War uniforms that were the principal concern of American reenactors at the time the word was coined, or the German farbische, manufactured, indicating obviously modern items. According to Mr. Burton K. Kummerow, a member of “The Black Hats, CSA” reenactment group in the early 1960s, he first heard it used as a form of fake German to describe a fellow reenactor. The term was picked up by George Gorman of the 2nd North Carolina at the Centennial Manassas Reenactment in 1961, and has been used by reenactors ever since.
Mainstream
A mainstream Federal artillery reenactor.
Another group of reenactors often is called “Mainstream.” These reenactors are somewhere between farb and authentic. They are more common than either farbs or authentics.
Most mainstream reenactors make an effort at appearing authentic, but may come out of character in the absence of an audience. Visible stitches are likely to be sewn in a period-correct manner, but hidden stitches and undergarments may not be period-appropriate. Food consumed before an audience is likely to be generally appropriate to the early 1860s, but it may not be seasonally and locally appropriate. Modern items are sometimes used “after hours” or in a hidden fashion. The common attitude is to put on a good show, but that accuracy need only go as far as others can see.
Progressive
At the other extreme from farbs are “hard-core authentics” or “progressives,” as they prefer to be called. Sometimes derisively called “stitch counters” or even “stitch nazis”, many people have misconceptions about hardcore reenactors, which spawn from a published book about hardcore American Civil War reenactors, Confederates in the Attic. Hard-cores generally seek an “immersive” reenacting experience, trying to live, as much as possible, as someone of the 1860s might have. This includes eating seasonally and regionally appropriate food, sewing inside seams and undergarments in a period-appropriate manner, and staying in character throughout an event.
Hard-core reenactors generally value thorough research, and sometimes deride mainstream reenactors for perpetuating inaccurate “reenactorisms”.
The historical persona
To make their equipment authentic, a reenactor must first decide on the time period, geographic location, and social status they wish to portray. The collection of clothing and equipment is typically called a “kit” and the fictional alter ego is called a “persona”.
Sometimes when a person has interests that a single persona can’t reasonably encompass, for the sake of being authentic, they might create more than one persona. For example, someone might be interested in Norse (”Viking”) cultures but also be interested in economics and social history that led to the Landsknecht, might create two separate personae and kits. They can then choose the persona they will portray according to which hobby they want to do, the location of the reenactment, or the weather (cultures that wore a lot of wool and fur are more popular to reenact in winter than summer).
The quest for authenticity
Since authenticity of certain equipment vary between periods and regions (plate armour is inappropriate for Vikings), it is difficult to ensure an entire set or kit of clothing and gear is authentic for a particular historical persona.
Authenticity can apply to other things. For example a card game, song, or military tactic is authentic if known to be popular during the period.
The quest for authentic clothes and equipment often requires archaeological evidence and other historical sources that reveal what was used at the time. A reenactor may become a scholar of history in pursuit of an accurate persona.
Several factors commonly limit the attainable level of authenticity. These include:
Safety considerations
Climate/weather
Available information
Cost in money and/or time
Enforcement of authenticity
The strictness with which authenticity is enforced varies widely with different events and groups. While some consider only documented historical use to be authentic, and ban all inauthentic gear and behaviour from reenactment activities, others permit materials that plausibly could have existed, others permit inauthentic materials that can’t be seen by the public, and still others only require that “it has to look authentic from 10 meters away” (i.e. from a distant audience’s perspective).
Similarly, many groups permit equipment combined from a wider range of centuries than what could be considered historically accurate (e.g. 12th century soldiers wearing barbute helmets). This sometimes results from safety rules that require protective gauntlets and helmets, even when this interferes with historical accuracy.
In addition to mixing multiple centuries of a general period in a single event (usually to ensure a larger number of participants), some events feature more than a single period, especially if the event strongly focuses on combat displays or battles. In such cases, it is not unusual that the same reenactor participates in more than one show, sometimes with only slightly altered gear (depending on how strictly authenticity is enforced). A typical example is a clankie (a reenactor in full plate armour) removing his armour, picking up a round shield and participating in a Dark Age battle.
Many groups, especially in medieval reenactment, heavily promote the use of “market speech”, i.e., talking in a way that sounds appropriate for the period. Inauthentic equipment and behaviour is often referred to via descriptive phrases like “pocket dragon” (for a lighter or box of matches) and “horseless carriage” (for a car or other engine-powered vehicle) to circumvent strict enforcement of authentic speech. Other groups expect reenactors to stay fully in-character throughout an event, and refrain from commenting on non-period items. To adequately explain activities to an audience, many such groups designate one or two people as “interpreters” who can step out of character to discuss things from a modern perspective.
Other ways to circumvent the need for authentic equipment include “hiding” plastic bottles (usually by wrapping them in cloths or furs), using “bindings” (long straps of cloth or fur) to make inauthentic footgear look more adequate, or simply hiding coolboxes inside wooden chests.
For safety and comfort, authenticity is usually restricted to designated public areas, thus allowing for the use of portable toilets and inauthentic tenting by reenactors outside these areas.
A typical issue among strictly authentic reenactors is the inclusion of female combatants, as this is a clash between authenticity (there were no female combatants in most reenacted periods) and modern concepts of sexual equality.
Similarly some groups enforce authentic hairstyles (e.g., 20th century soldiers are usually not expected to wear long hair or beards) and often (inauthentic) jewelry is not permitted—although in combat reenactment this is often more of a safety issue than a question of authenticity.
See also
Living history
Farb (reenactment)
References
^Stanton, Cathy (1999-11-01). “Reenactors in the Parks: A Study of External Revolutionary War Reenactment Activity at National Parks” (PDF). National Park Service. p. 34. http://www.nps.gov/revwar/reenactors. Retrieved 2008-07-28.
^ Hadden p 209 and p 219
^ Hadden p 8 Ross M. Kimmel states that it was used at the Manassas reenactment in 1961…George Gorman and his 2nd North Carolina picked up the term at the First Manassas Reenactment in 1961 and enjoyed using it constantly with condescension and sarcasm directed toward other units.
^ Hadden, p 8
^
^ Hadden p 8 Juanita Leisch calls it “Fast And Researchless Buying,” and other sources insist it came from the Bicentennial and Revolutionary War groups and means “Fairly Authentic Royal British.”
^ ab Hadden p8
^
^ Hadden, p 219-220
^ Hadden p 138
^ Hadden p 224
^ Hadden, p 138 “The hard-core movement is often misunderstood and sometimes maligned.”
^ Hadden p 138 “Like soldiers of the Civil War, progressives experience the same poor conditions that the original soldiers did, camping without tents and sleeping out exposed to the cold and rain. They spend weekends eating bad and insufficient food, and they practice a steady regimen of work, marching, and drill. They suffer the cold, carrying insufficient clothing and blankets as well as sleeping campaign-style by spooning with each other for warmth.”
^McConnell, Megan (2001-01-26). “Safety - Is it more important than Authenticity?”. Suite101.com. http://www.suite101.com/article.cfm/historical_reenactment/58426/1. Retrieved 2009-05-05.
^ See, for example, the discussions by American Civil War reenactors at and .
External links
canadiansoldiers.com article on ‘farbs’
The Young Campaigner - A resource for young people interested in learning more about reenacting
Retrieved from “http://en.wikipedia.org/wiki/Authenticity_(reenactment)”
Categories: Historical reenactmentHidden categories: Wikipedia articles needing style editing from May 2009 | All articles needing style editing | All articles with unsourced statements | Articles with unsourced statements from July 2008 | Articles with unsourced statements from May 2008
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
This page was last modified on 15 January 2010 at 20:18.
Smyrna is a town in Aroostook County, Maine, United States. The population was 415 at the 2000 census.
Contents
1Geography
2Demographics
3References
4External links
Geography
According to the United States Census Bureau, the town has a total area of 35.3 square miles (91.3 km²), of which, 35.2 square miles (91.1 km²) of it is land and 0.1 square miles (0.2 km²) of it (0.26%) is water.
Demographics
As of the census of 2000, there were 415 people, 155 households, and 110 families residing in the town. The population density was 11.8 people per square mile (4.6/km²). There were 184 housing units at an average density of 5.2/sq mi (2.0/km²). The racial makeup of the town was 99.28% White, 0.24% Native American, 0.24% Asian, and 0.24% from two or more races.
There were 155 households out of which 33.5% had children under the age of 18 living with them, 60.6% were married couples living together, 7.1% had a female householder with no husband present, and 29.0% were non-families. 25.8% of all households were made up of individuals and 14.2% had someone living alone who was 65 years of age or older. The average household size was 2.68 and the average family size was 3.25.
In the town the population was spread out with 27.0% under the age of 18, 8.9% from 18 to 24, 28.7% from 25 to 44, 20.5% from 45 to 64, and 14.9% who were 65 years of age or older. The median age was 37 years. For every 100 females there were 93.9 males. For every 100 females age 18 and over, there were 89.4 males.
The median income for a household in the town was $25,625, and the median income for a family was $27,917. Males had a median income of $23,625 versus $20,313 for females. The per capita income for the town was $11,751. About 16.4% of families and 20.3% of the population were below the poverty line, including 24.1% of those under age 18 and 26.7% of those age 65 or over.
References
^“American FactFinder”. United States Census Bureau. http://factfinder.census.gov. Retrieved 2008-01-31.
External links
http://www.aroostook.me.us/smyrna/index.html
v•d•e
Municipalities and communities of
Aroostook County, Maine
County seat: Houlton
Cities
Caribou |Presque Isle
Towns
Allagash |Amity |Ashland |Bancroft |Blaine |Bridgewater |Castle Hill |Caswell |Chapman |Crystal |Dyer Brook |Eagle Lake |Easton |Fort Fairfield |Fort Kent |Frenchville |Grand Isle |Hamlin |Hammond |Haynesville |Hersey |Hodgdon |Houlton |Island Falls |Limestone |Linneus |Littleton |Ludlow |Madawaska |Mapleton |Mars Hill |Masardis |Merrill |Monticello |New Canada |New Limerick |New Sweden |Oakfield |Orient |Perham |Portage Lake |St. Agatha |St. Francis |Sherman |Smyrna |Stockholm |Van Buren |Wade |Wallagrass |Washburn |Westfield |Westmanland |Weston |Woodland
This article does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2007)
Liberal Party ???
Jiy?t?
President
Ichiro Ozawa
Secretary general
Takeshi Noda
Founded
1998
Dissolved
2003
Ideology
Social liberalism, centrism
International affiliation
Liberal International
Official colours
Blue (informally)
Councillors
12 (as of 1998)
Representatives
42 (as of 1998)
Politics of Japan
Political parties
Elections
The Liberal Party(???,Jiy?-t??)was a Japanese liberal party (not to be confused with the conservative Liberal Democratic Party) formed in 1998 by Ichir? Ozawa and Hirohisa Fujii. It is now defunct, having joined the Democratic Party of Japan in 2003.
The Liberal Party was formed from remnants of the New Frontier Party after it dissolved in 1998. The party did do quite well for a new party, joining the opposition led by the Democratic Party of Japan and also including the New Clean Government Party (New K?meit?), the Social Democratic Party and Japanese Communist Party, and thus helped contest elections against the ruling Liberal Democrats (LDP).
In January 1999, it formed a coalition with the ruling LDP under Keiz? Obuchi. Takeshi Noda as Minister for Home Affairs became its only member in the realigned Obuchi cabinet, later replaced by Toshihiro Nikai as Minister of Transportation. Later that year, the New K?meit? joined the coalition as well, and party president Ichir? Ozawa decided to lead the Liberals back into the opposition as he saw his party’s position endangered. But some members of the coalition wanted to stay in the government and eventually formed the breakaway Conservative Party.
In October 2003, because of the upcoming election, the Liberal Party finally merged with the more moderate social-democratic and liberal Democratic Party of Japan and all its members joined the new party, making an influential grouping within the party. The Democrat Party did tremendously well, and Hirohisa Fujii became the Secretary General of the Democrat Party, while Ichiro Ozawa led the Liberal Party Group within the DPJ.
References
^“Obuchi puts happy face on minority coalition launch”. The Japan Times. 1999-01-14. http://search.japantimes.co.jp/cgi-bin/nn19990114a1.html. Retrieved 2009-02-02.
^“Liberal Party left in limbo after abandonment of bill”. The Japan Times. 1999-12-15. http://search.japantimes.co.jp/cgi-bin/nn19991215a1.htmlhtml. Retrieved 2009-02-02.
^“Noda faction names party Conservative”. The Japan Times. 2000-04-04. http://search.japantimes.co.jp/cgi-bin/nn20000404a4.html. Retrieved 2009-02-02.
^“The Democratic Party of Japan”. Democratic Party of Japan. 2006. http://www.dpj.or.jp/english/about_us/dpj_profile.html. Retrieved 2008-09-06.
See also
Liberalism
Contributions to liberal theory
Liberalism worldwide
List of liberal parties
Liberal democracy
Liberalism in Japan
Democratic Party of Japan
Retrieved from “http://en.wikipedia.org/wiki/Liberal_Party_(Japan,_1998)”
Categories: Defunct liberal political parties | Defunct political parties in Japan | Political parties established in 1998 | Political parties disestablished in 2003Hidden categories: Articles lacking sources from December 2007 | All articles lacking sources
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
Languages
Deutsch
Español
Français
???
???
This page was last modified on 4 February 2010 at 03:25.
(Redirected from Locations in Ranma ½)
Jump to: navigation, search
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (February 2008)
Ranma ½
???½
(Ranma Nibun-no-Ichi)
Genre
Martial arts, Romantic comedy
Manga
Author
Rumiko Takahashi
Publisher
Shogakukan
English publisher
Viz Media
Other publishers:
Egmont Elex Media Komputindo Granata Press & Star Comics Editorial Toukan Glénat Egmont Kärnan AB Egmont Kustannus Ivrea Egmont Sakura Press Animangá (discontinued), JBC Tora Aman
Kitty Films, Shogakukan Productions, Pony Canyon Viz Films Madman Entertainment
Released
1992-08-01
1998-10-16 (DVD) 2005-12-05 (DVD)
Runtime
65 minutes
Anime and Manga Portal
Ranma ½(???½,Ranma Nibun-no-Ichi?, pronounced Ranma One-Half) is a Japanese manga series written and illustrated by Rumiko Takahashi with an anime adaptation. The story revolves around a 16-year old boy named Ranma Saotome who was trained from early childhood in martial arts. As a result of an accident during a training journey, he is cursed to become a girl when splashed with cold water, but hot water will change him back into a boy.
In Japan, the manga was serialized in Shogakukan’s Sh?nen Sunday where it ran from 1987–1996. Takahashi has stated in interviews that she wanted to produce a story that would be popular with children. Ranma’s main audience was boys from elementary to junior high school age.
Ranma ½ was extremely popular among American anime fans in the 1990s and popularized many of anime’s most common visual gags. The infamous ‘cursed springs’ plot device has even come up in anime-themed custom role playing games as a quick transgender device.
Ranma ½ had a comedic formula and a gender-swapping main character, who often willfully changes into a girl to advance his goals. Ranma ½ also contains many other characters, whose intricate relationships with each other, unusual characteristics and eccentric personalities drive most of the stories. Although the characters and their relationships are complicated, they rarely change once the characters are firmly introduced and settled into the series.
Contents
1Plot
2Development
3Characters
3.1Saotome family
3.2Tendo family
3.3The Chinese
3.4Kuno family
3.5Notable Nerima residents
3.6Martial artists
4Manga
4.1Origins
4.2Japanese publication
4.3United States publication
5Anime
6Video games
7Reception
8References
9External links
Plot
On a training journey in the Bayankala Mountain Range in the Qinghai Province of China, Ranma Saotome and his father Genma fall into the cursed springs at Jusenkyo. When someone falls into a cursed spring, they take the physical form of whatever drowned there hundreds or thousands of years ago whenever they come into contact with cold water. The curse will revert when exposed to hot water until their next cold water exposure. Genma fell into the Spring of the Drowned Panda while Ranma fell into the Spring of the Drowned Girl.
Upon returning to Japan, the pair settle in the dojo of Genma’s old friend Soun Tendo, a fellow practitioner of Musabetsu Kakut? Ry? or “Anything-Goes” school of martial arts which Genma passed on to Ranma. Genma and Soun agreed years ago that their children would marry and carry on the Tendo Dojo. Soun has three teenaged daughters: Kasumi, Nabiki and the hot-tempered, but helpful, martial arts practicing Akane. As Akane is Ranma’s age she is appointed for bridal duty by her sisters. Their reasoning is that Akane dislikes men, and that Ranma is only a man half of the time; therefore, they are perfect together. Although both initially refuse the engagement having not been consulted on the decision, they are generally treated as betrothed and end up helping or saving each other on numerous occasions. They are frequently found in each other’s company and are constantly arguing in their trademark awkward love-hate manner that is a franchise focus.
The Ranma½ cast
Ranma goes to school with Akane at Furinkan High, where he meets his recurring opponent Tatewaki Kuno, the kendo team captain who is aggressively pursuing Akane, but who also falls in love with Ranma’s female form without discovering his curse. Furinkan serves as a backdrop for more martial arts mayhem with the introduction of Ranma’s regular rivals, the eternally lost Ryoga Hibiki, the nearsighted Mousse, and Ranma’s perverted grandmaster Happosai. His prospective paramours include the martial arts rhythmic gymnastics champion Kodachi Kuno, and his second fiancée and childhood friend Ukyo Kuonji the okonomiyaki vendor, along with the Chinese Amazon Shampoo, supported by her great-grandmother Cologne. As the series progresses, the school becomes more eccentric with the return of the Hawaii-obsessed Principal Kuno and the placement of the power-leeching alternating child/adult Hinako Ninomiya as Ranma’s English teacher.
Development
Rumiko Takahashi, the author of Ranma ½, purposefully aimed the series to be popular with women and children. In 2000 an Animerica interviewer talking with Takahashi asked her if she intended Ranma ½ “as an effort to enlighten a male-dominated society.” Takahashi said that she does not think in terms of societal agendas and that she created the Ranma ½ concept because she wanted one that may be “a simple, fun idea.” She added that she, as a woman and while recalling what comics she liked to read as a child, felt that “humans turning into animals might also be fun and märchenhaft…you know, like a fairy tale.”
Characters
Main article: List of Ranma ½ characters
Ranma ½ features a large and diverse cast of characters, the largest cast of any Rumiko Takahashi series created so far. The following table lists the major characters present in both the manga and anime series with images taken from the manga. Japanese names are in the Western order (given name, then family name).
Happosai(???,Happ?sai?)Voiced by: Ichir? Nagai (Japanese), Paul Dobson (English)
Pantyhose Taro(??????,Pansuto-Tar??)Voiced by: Shinnosuke Furumoto (Japanese), Matt Hill (English)
Manga
Origins
Takahashi drew inspiration for Ranma ½ from a variety of real-world objects. Some of the places frequently seen in Furinkan are modeled after actual locations in Nerima, Tokyo, Japan (both the home of Takahashi and the setting of Ranma ½). In addition, links have been shown between the manga and people, paintings, and even films.
Japanese publication
Ranma ½ began publication in September 1987, appearing in Sh?nen Sunday, following the ending of Takahashi’s previous major work Urusei Yatsura. From September 1987 until March 1996, Ranma ½ was published on a near weekly basis with the occasional colorized page to spruce up the usually black and white manga stories. After nearly a decade of storylines, Ranma ½’s final chapter was published in Sh?nen Sunday 1996, Volume 12.
Following publication in Sh?nen Sunday, were then published in book form until 1996 the pages were published in normal black and white. Ranma ½ was eventually serialized into 38 of these volumes. In 2002, Shogakukan opted to republish these under a new format, the shins?ban. These were essentially the same as the tank?ban save for a different cover.
In addition to the regular storylines, Ranma ½ has had several special releases. First, The Ranma ½ Memorial Book was published just as the manga ended in 1996. Acting as an end-cap to the series, it collects various illustrations from the series, features an interview with Rumiko Takahashi, and includes tidbits about Ranma: summaries of his battles, his daily schedule, trivia, and a few exclusive illustrations. Second, a Movie + OVA Visual Comic was released to illustrate the OVA episodes “The One to Carry On” (both parts) and the theatrical movie “Team Ranma vs. the Legendary Phoenix.” It also included information on the seiy?, character designs, and a layout of the Tendo dojo. Finally, guidebooks were released for three of the Ranma ½ games; these included not only strategies, but also interviews.
United States publication
VIZ Media, a company owned by Shogakukan and Shueisha, published the English version of the Ranma ½ manga. Viz started publishing the Ranma ½ in 1993 in a monthly comic book format. Because of the time needed to accumulate material, subsequent volumes became relatively slow to come. Each graphic novel covers roughly the same amount of material as a tank?bon, but Viz incorporated minor differences in grouping so that the English language version spans 36 volumes rather than the Japanese number of 38. Volume 36, the final volume, was released in stores on November 14, 2006, thus making it Viz’s longest running manga, spanning over 13 years.
On March 18, 2004, Viz announced that it would reprint a number of its graphic novels. The content remained the same, but the novels moved to a smaller format with different covers. In the case of Ranma ½, the covers shifted from a variegated style to a more uniform cover. In addition, the price dropped to $9.95. However, the title would still retain its “flipped”, left-to-right format, like the first edition.
Anime
Main article: List of Ranma ½ episodes
The TV series stays true to the above description but does diverge from the rest of the series by keeping Ranma’s gender transformation a secret to the high school students at least throughout most of its length (in both versions, the Kuno family act as if there were two Ranmas). The TV series also does not introduce Hikaru Gosunkugi until very late in the series, and his character is slightly altered in the anime version, whereas Gosunkugi is an important rival for Akane’s affections in the early manga. Instead, the TV series introduces a major recurrent character: Sasuke Sarugakure, diminutive ninja retainer of the Kuno family. Sasuke fills a number of Gosunkugi’s roles in early storylines but is a major character in his own right.
The TV series also alters the placement of many story arcs; one of the earliest, Martial Arts Tea Ceremony, appears in the fifth volume (in English) of the manga but does not appear until the TV series’ fifth season. The anime also contains numerous original episodes and characters not adapted from the manga.
Video games
Main article: List of Ranma ½ video games
Reception
Rumiko Takahashi, the author of the series, said that the series became popular with girls, but did not become popular with boys. Ranma ½’s peak readership figures were with 15-year olds, but the distribution of readers was skewed towards younger females. In 2000 an Animerica interviewer talking with Takahashi said that the staff of Animerica would feel happy if Ranma ½ increased the number of female readers in the American manga market.
In November 2006, the New York Comic Con announced that it would host the first-ever American Anime Awards. Anime fans had the chance to vote for their favorites online during the month of January 2007. Only the five nominees receiving the most votes were announced February 5 for each category. Among the 12 different categories, Ranma ½ was voted into the “Best Comedy Anime” category, and the Ranma ½ OVA series was voted into the “Best Short Series” category.
References
^ ab “Rumiko Takahashi Interview”. Viz Media. March 2, 2000. p. 3. Retrieved on October 5, 2009.
^ ab “Rumiko Takahashi Interview”. Viz Media. March 2, 2000. p. 4. Retrieved on October 5, 2009.
^“Miscellaneous - Inspirations”. Ranma ½ Perfect Edition. April 25, 2006. http://www.furinkan.com/ranma/misc/inspirations.html.
^“Ranma ½ (manga)”. Anime News Network. April 25, 2006. http://www.animenewsnetwork.com/encyclopedia/manga.php?id=2436.
^“Interview with Rumiko Takahashi from the Memorial Book”. Ranma ½ FAQ. April 25, 2006. http://www.wot-club.org.uk/RanmaFAQ/rt_mbiv.html. Archive copy at the Internet Archive
^“Manga Summaries”. Ranma ½ Perfect Edition. April 25, 2006. http://www.furinkan.com/ranma/manga/about.html.
^“Product page for volume 36″. Viz Media. October 20, 2006. http://www.viz.com/products/products.php?product_id=5766.
^“2004 Press Releases”. Viz Media. April 25, 2006. http://www.viz.com/news/newsroom/2004/03_secondedition.php.
^“New York Comic Con AAA Finalists”. American Anime Awards. May 19, 2007. http://www.americananimeawards.com/news/pr_finalist.asp. Archive copy at the Internet Archive
External links
(Japanese) Sh?nen Sunday Museum
Viz Media North American publisher of both anime and manga.
Ranma ½ (manga) at Anime News Network’s Encyclopedia
Ranma ½ (anime) at Anime News Network’s Encyclopedia
J-pop.com review of Ranma music
v•d•e
Ranma ½ by Rumiko Takahashi
Episodes • Video games • Characters (Ranma Saotome · Akane Tendo) • DoCo
v•d•e
The works of Rumiko Takahashi
Major works
Urusei Yatsura • Maison Ikkoku • Ranma ½ • InuYasha • Rin-ne
Fire Tripper • Maris the Chojo • The Laughing Target • Rumic Theater
Retrieved from “http://en.wikipedia.org/wiki/Ranma_%C2%BD”
Categories: Manga series | Anime series | Anime OVAs | Anime films | 1987 works | 1989 television series debuts | 1996 television series endings | Anime of 1989 | Anime of 1990 | Anime of 1991 | Anime of 1992 | Anime of 1993 | Anime of 1994 | Anime of 1995 | Anime of 1996 | Anime distributed by Madman Entertainment | Chinese mythology in anime and manga | Harem anime and manga | Manga of 1987 | Martial arts anime and manga | Ranma ½ | Romantic comedy anime and manga | Shapeshifting in fiction | Sh?nen | Transgender and transsexual-related anime and manga | Viz Media anime | Viz Media mangaHidden categories: All articles with dead external links | Articles with dead external links from November 2009 | Articles needing additional references from February 2008 | All articles needing additional references | Articles containing Japanese language text | All articles with unsourced statements | Articles with unsourced statements from January 2010
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
Languages
Català
Dansk
Deutsch
Español
Esperanto
?????
Français
???
Hrvatski
Bahasa Indonesia
Italiano
?????
Magyar
Bahasa Melayu
Nederlands
???
?Norsk (bokmål)?
Polski
Português
???????
Shqip
Simple English
Suomi
Svenska
Tagalog
???
Ti?ng Vi?t
??
This page was last modified on 3 February 2010 at 17:08.
Guillaume Raoux (born February 14, 1970 in Bagnol-sur-Ceze) is a former tennis player from France, who turned professional in 1989. He represented his native country at the 1996 Summer Olympics in Atlanta, Georgia, where he was defeated in the first round by Zimbabwe’s Byron Black. The right-hander won one singles career title (Brisbane, 1992), and reached his highest singles ATP-ranking on June 8, 1998, when he became the number 35 of the world.
He was the first man to be beaten by Roger Federer on the ATP Tour.
References
^ http://www.tennisgrandstand.com/archives/5252
External links
Profile at ATP-site
This biographical article relating to French tennis is a stub. You can help Wikipedia by expanding it. v•d•e
Retrieved from “http://en.wikipedia.org/wiki/Guillaume_Raoux”
Categories: 1970 births | Living people | French tennis players | Tennis players at the 1996 Summer Olympics | Olympic tennis players of France | French tennis biography stubs
Views
Article
Discussion
Edit this page
History
Personal tools
Try Beta
Log in / create account
Navigation
Main page
Contents
Featured content
Current events
Random article
Interaction
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Donate to Wikipedia
Help
Toolbox
What links here
Related changes
Upload file
Special pages
Printable version
Permanent link
Cite this page
Languages
Español
Français
Polski
Sloven?ina
This page was last modified on 9 December 2009 at 05:37.
Maine
