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==
Source - Wikipedia - Recent changes [en]
Track the most recent changes to the wiki in this feed.
Death
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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==
minor grammar fix
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== 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]]).
Annual award winners
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|----
|----
|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]]
Adminhelp needed: Reply
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: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)
← 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 =
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>
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.
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>
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===