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Toy with Me
Script-assisted fixes: per CS1 and MOS:ITALICS ← Previous revision Revision as of 00:29, 18 April 2026 Line 43: Line 43: === Canceled tour === === Canceled tour === On the same day of the album's announcement, Trainor revealed plans for a supporting [[concert tour]] of thirty-three concerts, titled the Get in Girl Tour. It was scheduled commence on June 12, 2026, at [[Pine Knob Music Theatre]] in [[Clarkston, Michigan]], supported by Swedish duo [[Icona Pop]].<ref>{{cite web |last=Lapierre |first=Megan |url=https://exclaim.ca/music/article/meghan-trainor-taps-icona-pop-for-tour-behind-new-album-toy-with-me |title=Meghan Trainor Taps Icona Pop for Tour Behind New Album ''Toy with Me'' |website=[[Exclaim!]] |date=November 12, 2025 |access-date=November 13, 2025 |archive-url=https://web.archive.org/web/20251112153133/https://exclaim.ca/music/article/meghan-trainor-taps-icona-pop-for-tour-behind-new-album-toy-with-me |archive-date=November 12, 2025 |url-status=live}}</ref> The tour would have included stops in major cities such as [[New York City|New York]], [[Chicago]], and [[Boston]], before concluding on August 15, 2026, with a final performance at [[Kia Forum]] in [[Los Angeles|Los Angeles, California]].<ref name="judge" /><ref>{{cite web |last=Cerio |first=Michael |url=https://www.audacy.com/national/music/meghan-trainor-announces-the-get-in-girl-tour |title=Meghan Trainor set to celebrate her new album with 'The Get In Girl Tour' |publisher=[[Audacy]] |date=November 12, 2025 |access-date=April 9, 2026 |archive-url=https://web.archive.org/web/20251114072229/https://www.audacy.com/national/music/meghan-trainor-announces-the-get-in-girl-tour |archive-date=November 14, 2025 |url-status=live}}</ref> The tour was canceled on April 16, 2026. Explaining the cancelation on social media, Trainor wrote: "Balancing the release of a new album, preparing for a nationwide tour, and welcoming our new baby girl to our growing family of five has just been more than I can take on right now, and I need to be home and present for each and all of them at this time."<ref>{{cite magazine |last1=Vasquez |first1=Ingrid |title=Meghan Trainor Cancels Tour, Says It's the 'Right Decision for My Family' 3 Months After Welcoming Daughter |url=https://people.com/meghan-trainor-cancels-tour-says-its-the-right-decision-for-my-family-11952082 |magazine=[[People]] |access-date=April 16, 2026 |archive-url=https://web.archive.org/web/20260417005425/https://people.com/meghan-trainor-cancels-tour-says-its-the-right-decision-for-my-family-11952082 |archive-date=April 17, 2026 |date=April 16, 2026 |url-status=live}}</ref> On the same day of the album's announcement, Trainor revealed plans for a supporting [[concert tour]] of thirty-three concerts, titled the Get in Girl Tour. It was scheduled commence on June 12, 2026, at [[Pine Knob Music Theatre]] in [[Clarkston, Michigan]], supported by Swedish duo [[Icona Pop]].<ref>{{cite web |last=Lapierre |first=Megan |url=https://exclaim.ca/music/article/meghan-trainor-taps-icona-pop-for-tour-behind-new-album-toy-with-me |title=Meghan Trainor Taps Icona Pop for Tour Behind New Album ''Toy with Me'' |website=[[Exclaim!]] |date=November 12, 2025 |access-date=November 13, 2025 |archive-url=https://web.archive.org/web/20251112153133/https://exclaim.ca/music/article/meghan-trainor-taps-icona-pop-for-tour-behind-new-album-toy-with-me |archive-date=November 12, 2025 |url-status=live}}</ref> The tour would have included stops in major cities such as [[New York City|New York]], [[Chicago]], and [[Boston]], before concluding on August 15, 2026, with a final performance at [[Kia Forum]] in [[Los Angeles|Los Angeles, California]].<ref name="judge" /><ref>{{cite web |last=Cerio |first=Michael |url=https://www.audacy.com/national/music/meghan-trainor-announces-the-get-in-girl-tour |title=Meghan Trainor set to celebrate her new album with 'The Get In Girl Tour' |publisher=[[Audacy]] |date=November 12, 2025 |access-date=April 9, 2026 |archive-url=https://web.archive.org/web/20251114072229/https://www.audacy.com/national/music/meghan-trainor-announces-the-get-in-girl-tour |archive-date=November 14, 2025 |url-status=live}}</ref> The tour was canceled on April 16, 2026. Explaining the cancelation on social media, Trainor wrote: "Balancing the release of a new album, preparing for a nationwide tour, and welcoming our new baby girl to our growing family of five has just been more than I can take on right now, and I need to be home and present for each and all of them at this time."<ref>{{cite magazine |last1=Vasquez |first1=Ingrid |title=Meghan Trainor Cancels Tour, Says It's the 'Right Decision for My Family' 3 Months After Welcoming Daughter |url=https://people.com/meghan-trainor-cancels-tour-says-its-the-right-decision-for-my-family-11952082 |magazine=[[People (magazine)|People]] |access-date=April 16, 2026 |archive-url=https://web.archive.org/web/20260417005425/https://people.com/meghan-trainor-cancels-tour-says-its-the-right-decision-for-my-family-11952082 |archive-date=April 17, 2026 |date=April 16, 2026 |url-status=live}}</ref> ==Track listing== ==Track listing==
Gerard Steenson
Death ← Previous revision Revision as of 00:29, 18 April 2026 Line 63: Line 63: The IPLO would later kill Emmanuel Gargan in the Hatfield Bar on the [[Ormeau Road#Start of the road|Lower Ormeau Road]] and Kevin Barry Duffy in [[Armagh]] in retaliation for the killing of Steenson. The IPLO would draw the ire of the Lower Ormeau community through the circumstances surrounding the killing of Gargan, with graffiti appearing in the area labelled "IPLOscum"<ref name=":0" /> The IPLO would later kill Emmanuel Gargan in the Hatfield Bar on the [[Ormeau Road#Start of the road|Lower Ormeau Road]] and Kevin Barry Duffy in [[Armagh]] in retaliation for the killing of Steenson. The IPLO would draw the ire of the Lower Ormeau community through the circumstances surrounding the killing of Gargan, with graffiti appearing in the area labelled "IPLOscum"<ref name=":0" /> On Halloween 1992, the [[Provisional IRA]] would carry out a [[Irish People's Liberation Organisation#Disbandment|large-scale operation]] (dubbed the ''"Night of Long Knives"'') with the goal of neutralising the IPLO. Following the operation and execution of [[Jimmy Brown (Irish republican)|Jimmy Brown]], both the Belfast Brigade and Army Council factions disbanded.<ref>{{Cite news |last=Haverty |first=Dan |date=8 November 2019 |title=IRA's Night of Long Knives' part in peace process |url=https://www.irishcentral.com/opinion/others/iras-night-long-knives-peace-process |access-date=28 May 2024 |work=Irish Central}}</ref><ref>{{Cite journal |last=Monaghan |first=Rachel |year=2002 |title=The Return of "Captain Moonlight": Informal Justice in Northern Ireland |url=https://pure.coventry.ac.uk/ws/portalfiles/portal/28441825/The_Return_of_Captain_Moonlight_.pdf |journal=Studies in Conflict & Terrorism |volume=25 |issue=1 |pages=41–56 |doi=10.1080/105761002753404140 |quote=... and in October 1992 took action against the Irish People’s Liberation Organisation (IPLO). The IPLO had a history of criminal activities including a gang rape of a woman in the Divis flats complex and involvement in the growing drug trade. The IRA’s action resulted in the execution of one IPLO member and the shooting of a further 20 members with assault rifles in Belfast. The IPLO disbanded shortly after this.}}</ref><ref name=":1">{{Cite news |last=Holland |first=Jack |author-link=Jack Holland (writer) |date=16 February 2011 |title=A View North Shocking! Paramilitaries running North's rackets |url=https://group.irishecho.com/2011/02/a-view-north-shocking-paramilitaries-running-norths-rackets-2/ |access-date=11 April 2024 |work=[[The Irish Echo]]}}</ref> On Halloween 1992, the [[Provisional IRA]] would carry out a [[Irish People's Liberation Organisation#Disbandment|large-scale operation]] (dubbed the "Night of Long Knives") with the goal of neutralising the IPLO. Following the operation and execution of [[Jimmy Brown (Irish republican)|Jimmy Brown]], both the Belfast Brigade and Army Council factions disbanded.<ref>{{Cite news |last=Haverty |first=Dan |date=8 November 2019 |title=IRA's Night of Long Knives' part in peace process |url=https://www.irishcentral.com/opinion/others/iras-night-long-knives-peace-process |access-date=28 May 2024 |work=Irish Central}}</ref><ref>{{Cite journal |last=Monaghan |first=Rachel |year=2002 |title=The Return of "Captain Moonlight": Informal Justice in Northern Ireland |url=https://pure.coventry.ac.uk/ws/portalfiles/portal/28441825/The_Return_of_Captain_Moonlight_.pdf |journal=Studies in Conflict & Terrorism |volume=25 |issue=1 |pages=41–56 |doi=10.1080/105761002753404140 |quote=... and in October 1992 took action against the Irish People’s Liberation Organisation (IPLO). The IPLO had a history of criminal activities including a gang rape of a woman in the Divis flats complex and involvement in the growing drug trade. The IRA’s action resulted in the execution of one IPLO member and the shooting of a further 20 members with assault rifles in Belfast. The IPLO disbanded shortly after this.}}</ref><ref name=":1">{{Cite news |last=Holland |first=Jack |author-link=Jack Holland (writer) |date=16 February 2011 |title=A View North Shocking! Paramilitaries running North's rackets |url=https://group.irishecho.com/2011/02/a-view-north-shocking-paramilitaries-running-norths-rackets-2/ |access-date=11 April 2024 |work=[[The Irish Echo]]}}</ref> ==See also== ==See also==
Surplus value
minor grammar fix ← Previous revision Revision as of 00:29, 18 April 2026 Line 80: Line 80: == Definition == == Definition == In Marxian economics, surplus value is the difference in value created by workers in the process of production and the wages they receive in exchange for their labor. In a capitalist system of production, workers sell their labor power to capitalists in exchange for their wages. However, the value produced by workers during a workday exceeds the amount required to reproduce the workers' labor power, as embodied by their wages. This excess value is kept by the capitalists as profit. Marx regarded this not as a symptom of fair exchange, but as a structural feature of capitalist production. Because workers do not own the means of production, they are required to sell their labor at a wage less than the value they create, enabling capitalists to grow wealth over time by reinvesting this surplus value. Marx linked this process and broader patterns of inequality, arguing it contributes to the concentration of wealth and continued class division within capitalist societies, and saw surplus value as central to understanding how economic growth can occur alongside unequal outcomes.<ref>Marx, Karl. ''Capital: A Critique of Political Economy'', Vol. 1 (1867).</ref> In Marxian economics, surplus value is the difference in value created by workers in the process of production and the wages they receive in exchange for their labor. In a capitalist system of production, workers sell their labor power to capitalists in exchange for their wages. However, the value produced by workers during a workday exceeds the amount required to reproduce workers' labor power, as embodied by their wages. This excess value is kept by the capitalists as profit. Marx regarded this not as a symptom of fair exchange, but as a structural feature of capitalist production. Because workers do not own the means of production, they are required to sell their labor at a wage less than the value they create, enabling capitalists to grow wealth over time by reinvesting this surplus value. Marx linked this process and broader patterns of inequality, arguing it contributes to the concentration of wealth and continued class division within capitalist societies, and saw surplus value as central to understanding how economic growth can occur alongside unequal outcomes.<ref>Marx, Karl. ''Capital: A Critique of Political Economy'', Vol. 1 (1867).</ref> ''Total'' surplus-value in an economy (Marx refers to the ''mass'' or volume of surplus-value) is basically equal to the sum of net distributed and undistributed [[profit (economics)|profit]], net [[interest]], net [[Renting|rents]], net [[tax]] on production and various net receipts associated with [[royalties]], [[licensing]], leasing, certain honorariums etc. (see also [[value product]]). ''Total'' surplus-value in an economy (Marx refers to the ''mass'' or volume of surplus-value) is basically equal to the sum of net distributed and undistributed [[profit (economics)|profit]], net [[interest]], net [[Renting|rents]], net [[tax]] on production and various net receipts associated with [[royalties]], [[licensing]], leasing, certain honorariums etc. (see also [[value product]]).
Wisconsin Mr. Basketball
Annual award winners ← Previous revision Revision as of 00:29, 18 April 2026 Line 197: Line 197: |---- |---- |2004 |2004 |Harris Nelson |Michael Nelson |[[James Madison Memorial High School|Madison Memorial]] |[[James Madison Memorial High School|Madison Memorial]] |[[North Dakota State Bison men's basketball|North Dakota State]] |[[North Dakota State Bison men's basketball|North Dakota State]]
User talk:Dafootballguy
Adminhelp needed: Reply ← Previous revision Revision as of 00:29, 18 April 2026 Line 146: Line 146: :Please ping me for the reply. [[User:Dafootballguy|'''<span style="color:#FFA499">Dafootballguy</span>''']] | [[User talk:Dafootballguy|'''<span style="color:#FFA499">Want to talk?</span>''']] 23:44, 17 April 2026 (UTC) :Please ping me for the reply. [[User:Dafootballguy|'''<span style="color:#FFA499">Dafootballguy</span>''']] | [[User talk:Dafootballguy|'''<span style="color:#FFA499">Want to talk?</span>''']] 23:44, 17 April 2026 (UTC) ::@[[User:Toadspike|Toadspike]], can you help please? [[User:Dafootballguy|'''<span style="color:#FFA499">Dafootballguy</span>''']] | [[User talk:Dafootballguy|'''<span style="color:#FFA499">Want to talk?</span>''']] 00:29, 18 April 2026 (UTC)
Angelo Mai
← Previous revision Revision as of 00:29, 18 April 2026 Line 7: Line 7: | honorific-suffix = | honorific-suffix = | title = | title = | image = Bust of Angelo Mai by Pietro Tenerani.jpg | image = Bust of Angelo Mai - Pietro Tenerani.jpg | caption = Bust of Angelo Mai by [[Pietro Tenerani]], 1846 | caption = Bust of Angelo Mai by [[Pietro Tenerani]], 1846 | province = | province =
User:Sphilbrick/Sandbox for general testing
testing ← Previous revision Revision as of 00:29, 18 April 2026 Line 3: Line 3: Test<ref>{{Cite web |title=2025-26 American Women's Basketball Record Book (PDF) - American Conference |url=https://theamerican.org/documents/2025/8/20/2025_26_WBB_Record_Book.pdf |access-date=2026-04-17 |website=theamerican.org |page=9 |language=en |quote=CONSECUTIVE CONFERENCE WINS 118 UConn 12/29/13-3/2/20}}</ref> Test<ref>{{Cite web |title=2025-26 American Women's Basketball Record Book (PDF) - American Conference |url=https://theamerican.org/documents/2025/8/20/2025_26_WBB_Record_Book.pdf |access-date=2026-04-17 |website=theamerican.org |page=9 |language=en |quote=CONSECUTIVE CONFERENCE WINS 118 UConn 12/29/13-3/2/20}}</ref> <ref>{{Cite web |title=2025-26 American Women's Basketball Record Book (PDF) - American Conference |url=https://theamerican.org/documents/2025/8/20/2025_26_WBB_Record_Book.pdf |access-date=2026-04-17 |website=theamerican.org |page=9 |language=en |quote=CONSECUTIVE CONFERENCE WINS 118 UConn 12/29/13-3/2/20}}</ref> <ref>{{Cite web |title=2025-26 American Women's Basketball Record Book (PDF) - American Conference |url=https://theamerican.org/documents/2025/8/20/2025_26_WBB_Record_Book.pdf |access-date=2026-04-17 |website=theamerican.org |page=10 |language=en |quote=CONSECUTIVE CONFERENCE WINS 118 UConn 12/29/13-3/2/20}}</ref> BE Media guide<ref>{{Cite web |title=2025-26 WBB Media Guide (PDF) - Big East Conference |url=https://www.bigeast.com/documents/2025/11/12/2025_26_WBB_Media_Guide.pdf |access-date=2026-04-16 |website=www.bigeast.com |page=86 |language=en |quote=BE Consecutive regular season wins 47, UConn (Jan. 4, 1996 - Feb. 7, 1998)}}</ref><ref>{{Cite web |title=2025-26 WBB Media Guide (PDF) - Big East Conference |url=https://www.bigeast.com/documents/2025/11/12/2025_26_WBB_Media_Guide.pdf |access-date=2026-04-16 |website=www.bigeast.com |page=86 |language=en |quote=Most consecutive winning seasons: 31, UConn (1986-87 through 2012-13, 2020-23) 10, Notre Dame (1995-96 through 2004-05)}}</ref><ref>{{Cite web |title=2025-26 WBB Media Guide (PDF) - Big East Conference |url=https://www.bigeast.com/documents/2025/11/12/2025_26_WBB_Media_Guide.pdf |access-date=2026-04-16 |website=www.bigeast.com |page=86 |language=en |quote=Undefeated seasons: Miami, 18-0 (1991-92); Connecticut, 18-0 (1994-95, 1996-97, 1999-00, 2020-21, 23-24, 24-25); Connecticut, 16-0 (2001-02, 2002-03, 2006-07, 2008-09, 2009-10, 2010-11); Rutgers, 16-0 (2005-06), Notre Dame (2012-13)}}</ref> BE Media guide<ref>{{Cite web |title=2025-26 WBB Media Guide (PDF) - Big East Conference |url=https://www.bigeast.com/documents/2025/11/12/2025_26_WBB_Media_Guide.pdf |access-date=2026-04-16 |website=www.bigeast.com |page=86 |language=en |quote=BE Consecutive regular season wins 47, UConn (Jan. 4, 1996 - Feb. 7, 1998)}}</ref><ref>{{Cite web |title=2025-26 WBB Media Guide (PDF) - Big East Conference |url=https://www.bigeast.com/documents/2025/11/12/2025_26_WBB_Media_Guide.pdf |access-date=2026-04-16 |website=www.bigeast.com |page=86 |language=en |quote=Most consecutive winning seasons: 31, UConn (1986-87 through 2012-13, 2020-23) 10, Notre Dame (1995-96 through 2004-05)}}</ref><ref>{{Cite web |title=2025-26 WBB Media Guide (PDF) - Big East Conference |url=https://www.bigeast.com/documents/2025/11/12/2025_26_WBB_Media_Guide.pdf |access-date=2026-04-16 |website=www.bigeast.com |page=86 |language=en |quote=Undefeated seasons: Miami, 18-0 (1991-92); Connecticut, 18-0 (1994-95, 1996-97, 1999-00, 2020-21, 23-24, 24-25); Connecticut, 16-0 (2001-02, 2002-03, 2006-07, 2008-09, 2009-10, 2010-11); Rutgers, 16-0 (2005-06), Notre Dame (2012-13)}}</ref>
Prairie Public Television
Manitoba ← Previous revision Revision as of 00:29, 18 April 2026 Line 33: Line 33: ==Manitoba== ==Manitoba== Prairie Public is carried on cable systems in [[southern Manitoba]], including [[Winnipeg]]. Manitoba has historically been a significant supporter of Prairie Public. Indeed, the network's audience there is far larger than its American one; the Winnipeg area alone has a population greater than the entire state of North Dakota. Prairie Public is carried on cable systems in [[southern Manitoba]], including [[Winnipeg]]. Manitoba has historically been a significant supporter of Prairie Public. Indeed, the network's audience there is far larger than its American one; the Winnipeg area alone has a population almost as large as the entire state of North Dakota. Prairie Public has produced numerous local documentaries, including many about southern Manitoba, including ''Portage Avenue: Dreams of Castles in the Sky'', ''Red River Divide'', ''Assiniboine Park: A Park for all Seasons'', ''Lake Winnipeg's Paradise Beaches'', among others. Prairie Public has produced numerous local documentaries, including many about southern Manitoba, including ''Portage Avenue: Dreams of Castles in the Sky'', ''Red River Divide'', ''Assiniboine Park: A Park for all Seasons'', ''Lake Winnipeg's Paradise Beaches'', among others.
User:Kamakou/sandbox
Production ← Previous revision Revision as of 00:29, 18 April 2026 Line 11: Line 11: The series began as a self-published [[web novel]] by Piero Karasu on the website [[Shōsetsuka ni Narō]], under a different title: {{Nihongo|''The Reincarnated Princess Continues to Long for Magic''|転生王女様は魔法に憧れ続けている|Tensei Ōjo-sama wa Mahō ni Akogare Tsuzuketeiru}}.<ref name="akiba-ln">{{Cite web |date=January 19, 2020 |title=転生王女と天才令嬢の魔法革命 「天真爛漫王女×クール令嬢の王宮百合ファンタジー!」 |url=https://akibablog.blog.jp/archives/51597155.html |access-date=2026-04-14 |website=Akiba Blog}}</ref> From the story's outset, Karasu wanted to break from genre conventions that were present in other [[isekai]] web novels. While other stories left their main character's personality largely unchanged after their reincarnation, Karasu limited the continuity between Anisphia's past and new life to only a few retained memories. Rainie was also designed as a subversion of the villainess archetype; despite her antagonistic position at the start of the story, she was written to be more sympathetic by being unaware of her role in Algard and Euphyllia's broken engagement.<ref name="megami">{{cite magazine |date=2023-02-28 |title=転生王女と天才令嬢の魔法革命 |issue=4 #275 |pages=22-33 |magazine=[[Megami Magazine]] |location=Japan |publisher=[[Gakken|Gakken Plus]]}}</ref> The series began as a self-published [[web novel]] by Piero Karasu on the website [[Shōsetsuka ni Narō]], under a different title: {{Nihongo|''The Reincarnated Princess Continues to Long for Magic''|転生王女様は魔法に憧れ続けている|Tensei Ōjo-sama wa Mahō ni Akogare Tsuzuketeiru}}.<ref name="akiba-ln">{{Cite web |date=January 19, 2020 |title=転生王女と天才令嬢の魔法革命 「天真爛漫王女×クール令嬢の王宮百合ファンタジー!」 |url=https://akibablog.blog.jp/archives/51597155.html |access-date=2026-04-14 |website=Akiba Blog}}</ref> From the story's outset, Karasu wanted to break from genre conventions that were present in other [[isekai]] web novels. While other stories left their main character's personality largely unchanged after their reincarnation, Karasu limited the continuity between Anisphia's past and new life to only a few retained memories. Rainie was also designed as a subversion of the villainess archetype; despite her antagonistic position at the start of the story, she was written to be more sympathetic by being unaware of her role in Algard and Euphyllia's broken engagement.<ref name="megami">{{cite magazine |date=2023-02-28 |title=転生王女と天才令嬢の魔法革命 |issue=4 #275 |pages=22-33 |magazine=[[Megami Magazine]] |location=Japan |publisher=[[Gakken|Gakken Plus]]}}</ref> Karasu was inspired by the anime series ''[[Neon Genesis Evangelion]]'' and ''[[Magical Girl Lyrical Nanoha]]'',<ref name="Kober-2024">{{Cite web |last=Kober |first=Marcel |date=2024-01-19 |title=Piero Karasu, Tenten Kakumei Author, Talks Yuri, Magical Revolutions and Reincarnated Princesses |url=https://animecorner.me/piero-karasu-tenten-kakumei-author-talks-yuri-magical-revolutions-and-reincarnated-princesses/ |access-date=2026-04-11 |website=Anime Corner |language=en-us}}</ref> as well as [[tabletop role-playing games]] that he had played in the past. ''Nanoha'' was a particular influence on Anisphia and Euphyllia's relationship, as it featured a similarly close bond between two female protagonists. Though Karasu did not set out to write a ''[[Yuri (genre)|yuri]]'' work, the romance between the two female leads gradually became central to the story as he serialized it online.<ref name="megami"/> After the release of the anime adaptation, head writer [[Wataru Watari]] stated that Anisphia and Euphyllia's onscreen kiss was "just another scene we worked on out of many." Karasu was inspired by the anime series ''[[Neon Genesis Evangelion]]'' and ''[[Magical Girl Lyrical Nanoha]]'',<ref name="Kober-2024">{{Cite web |last=Kober |first=Marcel |date=2024-01-19 |title=Piero Karasu, Tenten Kakumei Author, Talks Yuri, Magical Revolutions and Reincarnated Princesses |url=https://animecorner.me/piero-karasu-tenten-kakumei-author-talks-yuri-magical-revolutions-and-reincarnated-princesses/ |access-date=2026-04-11 |website=Anime Corner |language=en-us}}</ref> as well as [[tabletop role-playing games]] that he had played in the past. ''Nanoha'' was a particular influence on Anisphia and Euphyllia's relationship, as it featured a similarly close bond between two female protagonists. Though Karasu did not set out to write a ''[[Yuri (genre)|yuri]]'' work, the romance between the two female leads gradually became central to the story as he serialized it online.<ref name="megami"/> After the release of the anime adaptation, head writer [[Wataru Watari]] stated that Anisphia and Euphyllia's onscreen kiss was "just another scene we worked on out of many."<ref>{{Cite web |last=Kaiser |first=Vrai |date=2023-08-16 |title=Author and scriptwriter Watari Wataru on cynical heroines, getting a lesbian kiss onscreen, and keeping his day job |url=https://www.animefeminist.com/author-and-scriptwriter-watari-wataru-on-cynical-heroines-getting-a-lesbian-kiss-onscreen-and-keeping-his-day-job/ |access-date=2026-04-18 |website=Anime Feminist |language=en-US}}</ref> The series went through considerable revisions before it was published as a light novel, but the plot structure of the original was retained throughout.<ref name="akiba-ln"/> Anisphia and Euphyllia's character designs were tweaked; per Karasu, the two were relatives in the web novel and were both blonde, but Euphyllia's hair was changed to silver in the light novel to differentiate her from Anisphia.<ref name="megami"/> Likewise, the first episode of the anime adaptation also diverged from the light novel and manga; while the previous adaptations began the story with Algard breaking his engagement to Euphyllia, the anime included original scenes to introduce the main characters before Algard breaks his engagement. The anime's character designs, created by Naomi Ide, was based on illustrations in the light novels instead of the manga; Director Shingo Tamaki belived that the light novel illustrations were a closer match to Ide's art style.<ref name="newtype-mag">{{cite magazine |date=2023-01-10 |title=転生王女と天才令嬢の魔法革命 |issue=2 |volume=39 |pages=24-25 |magazine=[[Newtype]] |location=Japan |publisher=[[Kadokawa Shoten]]}}</ref> The series went through considerable revisions before it was published as a light novel, but the plot structure of the original was retained throughout.<ref name="akiba-ln"/> Anisphia and Euphyllia's character designs were tweaked; per Karasu, the two were relatives in the web novel and were both blonde, but Euphyllia's hair was changed to silver in the light novel to differentiate her from Anisphia.<ref name="megami"/> Likewise, the first episode of the anime adaptation also diverged from the light novel and manga. While the previous adaptations began the story with Algard breaking his engagement to Euphyllia, the anime included original scenes to introduce the main characters before Algard breaks his engagement. The anime's character designs, created by Naomi Ide, was based on illustrations in the light novels instead of the manga; Director Shingo Tamaki believed that the light novel illustrations were a closer match to Ide's art style.<ref name="newtype-mag">{{cite magazine |date=2023-01-10 |title=転生王女と天才令嬢の魔法革命 |issue=2 |volume=39 |pages=24-25 |magazine=[[Newtype]] |location=Japan |publisher=[[Kadokawa Shoten]]}}</ref>
Die glückliche Hand
Background and creation: img move ← Previous revision Revision as of 00:29, 18 April 2026 Line 32: Line 32: Working with [[monologist]]s at the [[Überbrettl]] cabaret (1901–02) may have influenced his use of {{lang|de|[[Sprechstimme]]}} (half speech, half song), including in ''Lucky Hand''.{{sfn|Shawn|2003|loc=25, 36–42, 142–143, 157}}{{efn|[[Engelbert Humperdinck (composer)|Engelbert Humperdinck]] first used {{lang|de|[[Sprechstimme]]}} in ''[[Königskinder]]'' (1897).{{sfn|Shawn|2003|loc=25}} Schoenberg asked that his 1899 [[musical setting]] of [[Hugo von Hofmannsthal]]'s "Die Beiden" be "less sung than declaimed"{{sfn|Shawn|2003|loc=143}} and first used {{lang|de|Sprechstimme}} in ''[[Gurre-Lieder]]''.{{sfn|Shawn|2003|loc=25}}}} This and his work orchestrating many [[operetta]]s during their Silver Age heyday may have led to his evocative and sometimes [[spatial music|spatial]] use or [[parody]] of [[light music]], not unlike [[Gustav Mahler]] or [[Charles Ives]].{{sfnm|Paland|2002|1loc=27–28, 57|Shawn|2003|2loc=8, 33, 37–42, 105–110, 136–141, 265, 281}} In ''Lucky Hand'', he used derisive laughter, often with a small, [[Offstage instrument or choir part in classical music|off-stage]] wind band, as [[foreshadowing|prolepsis]] (scene 1 m. 26; obliquely: scene 3 mm. 104 and 125) and [[anagnorisis]] ([[reprise]]: scene 3 m. 200).{{sfnm|Paland|2002|1loc=38–39, 92, 125, 169|Shawn|2003|2loc=159, 161, 163–164}}{{efn|Op. 16/iv "Peripetie" ("[[Peripeteia]]") has been interpreted as being about his turns of fortune, including in terms of [[audience reception]].{{cn|date=September 2025}}}} [[Waltz]]-like passages, often involving violin, are like [[leitmotif]]s for the Woman (e.g., scene 2 m. 30, scene 3 m. 156).{{sfnm|Paland|2002|1loc=68–71|Shawn|2003|2loc=163}} Working with [[monologist]]s at the [[Überbrettl]] cabaret (1901–02) may have influenced his use of {{lang|de|[[Sprechstimme]]}} (half speech, half song), including in ''Lucky Hand''.{{sfn|Shawn|2003|loc=25, 36–42, 142–143, 157}}{{efn|[[Engelbert Humperdinck (composer)|Engelbert Humperdinck]] first used {{lang|de|[[Sprechstimme]]}} in ''[[Königskinder]]'' (1897).{{sfn|Shawn|2003|loc=25}} Schoenberg asked that his 1899 [[musical setting]] of [[Hugo von Hofmannsthal]]'s "Die Beiden" be "less sung than declaimed"{{sfn|Shawn|2003|loc=143}} and first used {{lang|de|Sprechstimme}} in ''[[Gurre-Lieder]]''.{{sfn|Shawn|2003|loc=25}}}} This and his work orchestrating many [[operetta]]s during their Silver Age heyday may have led to his evocative and sometimes [[spatial music|spatial]] use or [[parody]] of [[light music]], not unlike [[Gustav Mahler]] or [[Charles Ives]].{{sfnm|Paland|2002|1loc=27–28, 57|Shawn|2003|2loc=8, 33, 37–42, 105–110, 136–141, 265, 281}} In ''Lucky Hand'', he used derisive laughter, often with a small, [[Offstage instrument or choir part in classical music|off-stage]] wind band, as [[foreshadowing|prolepsis]] (scene 1 m. 26; obliquely: scene 3 mm. 104 and 125) and [[anagnorisis]] ([[reprise]]: scene 3 m. 200).{{sfnm|Paland|2002|1loc=38–39, 92, 125, 169|Shawn|2003|2loc=159, 161, 163–164}}{{efn|Op. 16/iv "Peripetie" ("[[Peripeteia]]") has been interpreted as being about his turns of fortune, including in terms of [[audience reception]].{{cn|date=September 2025}}}} [[Waltz]]-like passages, often involving violin, are like [[leitmotif]]s for the Woman (e.g., scene 2 m. 30, scene 3 m. 156).{{sfnm|Paland|2002|1loc=68–71|Shawn|2003|2loc=163}} Like ''Erwartung'', ''Pierrot'', and parts of ''[[Moses und Aron]]'' (1923–37), ''Lucky Hand'' may be considered a dreamlike [[monodrama]].{{sfn|Shawn|2003|loc=93–99, 157, 228}} But it should be more [[abstraction|abstract]] and [[surrealism|surreal]] than a dream, Schoenberg wrote his publisher [[Emil Hertzka]] at [[Universal Edition]].{{sfn|Krones|2004|loc=25–26, quoting Schoenberg: "{{lang|de|italics=no|Höchste Unwirklichkeit [...] nicht wie ein Traum [... sondern] wie Akkorde [...] als Spiel [...] von Farben und Formen}}" ("highest unreality [...] not like a dream [... rather] like [[chord (music)|chord]]s ... a game [...] of colors and forms")}} Some would have known [[psychoanalysis|psychoanalyst]] Sigmund Freud's ''[[The Interpretation of Dreams]]'' (1900),{{sfn|Shawn|2003|loc=6–8, 94}}{{efn|[[Sigmund Freud]] and physician [[Josef Breuer]] discussed [[Bertha Pappenheim]], ''Erwartung'' librettist [[:de:Marie Pappenheim|Marie Pappenheim]]'s cousin, as "Anna O." in ''[[Studies on Hysteria]]'' (1895).{{sfn|Shawn|2003|loc=94}}}} and many consulted, whether for guidance or [[gambling]], more popular [[dream dictionary|dream books]] ({{lang|de|[[:de:Losbuch|Losbücher]]}}), shaping cultural imagination.{{sfn|Krones|2004|loc=25–27}} In writing ''Lucky Hand'', Schoenberg may have used these latter books' [[color symbolism]] and [[numerology]], purportedly drawn from ancient works like Artemidorus' ''[[Oneirocritica]]''.{{sfn|Krones|2004|loc=25–33}}{{multiple image|total_width=200|image1=Aunt Sally's Policy Players Dream Book 1889 4-11-44.jpg|image2=Complete Fortune-Teller and Dream-Book, or, An Infallible Guide to the Hidden Decrees of Fate- Being a New and Regular System for Foretelling Future Events, by Dreams, Moles, &c. &c - DPLA - 204a3f7ac6a491feea41483aa102d65f (page 1).jpg|footer=19th-century dream books showing a gambling play (left) and promising an "infallible" fate [[divination]] system (right)}} {{multiple image|total_width=200|image1=Aunt Sally's Policy Players Dream Book 1889 4-11-44.jpg|image2=Complete Fortune-Teller and Dream-Book, or, An Infallible Guide to the Hidden Decrees of Fate- Being a New and Regular System for Foretelling Future Events, by Dreams, Moles, &c. &c - DPLA - 204a3f7ac6a491feea41483aa102d65f (page 1).jpg|footer=19th-century dream books showing a gambling play (left) and promising an "infallible" fate [[divination]] system (right)}}Like ''Erwartung'', ''Pierrot'', and parts of ''[[Moses und Aron]]'' (1923–37), ''Lucky Hand'' may be considered a dreamlike [[monodrama]].{{sfn|Shawn|2003|loc=93–99, 157, 228}} But it should be more [[abstraction|abstract]] and [[surrealism|surreal]] than a dream, Schoenberg wrote his publisher [[Emil Hertzka]] at [[Universal Edition]].{{sfn|Krones|2004|loc=25–26, quoting Schoenberg: "{{lang|de|italics=no|Höchste Unwirklichkeit [...] nicht wie ein Traum [... sondern] wie Akkorde [...] als Spiel [...] von Farben und Formen}}" ("highest unreality [...] not like a dream [... rather] like [[chord (music)|chord]]s ... a game [...] of colors and forms")}} Some would have known [[psychoanalysis|psychoanalyst]] Sigmund Freud's ''[[The Interpretation of Dreams]]'' (1900),{{sfn|Shawn|2003|loc=6–8, 94}}{{efn|[[Sigmund Freud]] and physician [[Josef Breuer]] discussed [[Bertha Pappenheim]], ''Erwartung'' librettist [[:de:Marie Pappenheim|Marie Pappenheim]]'s cousin, as "Anna O." in ''[[Studies on Hysteria]]'' (1895).{{sfn|Shawn|2003|loc=94}}}} and many consulted, whether for guidance or [[gambling]], more popular [[dream dictionary|dream books]] ({{lang|de|[[:de:Losbuch|Losbücher]]}}), shaping cultural imagination.{{sfn|Krones|2004|loc=25–27}} In writing ''Lucky Hand'', Schoenberg may have used these latter books' [[color symbolism]] and [[numerology]], purportedly drawn from ancient works like Artemidorus' ''[[Oneirocritica]]''.{{sfn|Krones|2004|loc=25–33}} ===Literary–dramatic connections=== ===Literary–dramatic connections===