title: Nature (journal)

text: The enormous progress in science and mathematics during the 19th century was recorded in journals written mostly in German or French, as well as in English. Britain underwent enormous technological and industrial changes and advances particularly in the latter half of the 19th century. The most respected scientific journals of this time were the refereed journals of the Royal Society, which had published many of the great works from Isaac Newton and Michael Faraday to Charles Darwin. In addition, the number of popular science periodicals doubled from the 1850s to the 1860s. According to the editors of these popular science magazines, the publications were designed to serve as "organs of science", in essence, a means of connecting the public to the scientific world.


title: Nature (journal)

text: "Nature", first created in 1869, was not the first magazine of its kind in Britain. One journal to precede "Nature" was "Recreative Science: A Record and Remembrancer of Intellectual Observation", which, created in 1859, began as a natural history magazine and progressed to include more physical observational science and technical subjects and less natural history. The journal's name changed from its original title to "Intellectual Observer: A Review of Natural History, Microscopic Research, and Recreative Science" and then to the "Student and Intellectual Observer of Science, Literature, and Art". While "Recreative Science" had attempted to include more physical sciences such as astronomy and archaeology, the "Intellectual Observer" broadened itself further to include literature and art as well. Similar to "Recreative Science" was the scientific journal "Popular Science Review", created in 1862, which covered different fields of science by creating subsections titled "Scientific Summary" or "Quarterly Retrospect", with book reviews and commentary on the latest scientific works and publications. Two other journals produced in England prior to the development of "Nature" were the "Quarterly Journal of Science" and "Scientific Opinion", established in 1864 and 1868, respectively. The journal most closely related to "Nature" in its editorship and format was "The Reader", created in 1863; the publication mixed science with literature and art in an attempt to reach an audience outside of the scientific community, similar to "Popular Science Review".


title: Nature (journal)

text: These similar journals all ultimately failed. The "Popular Science Review" survived longest, lasting 20 years and ending its publication in 1881; "Recreative Science" ceased publication as the "Student and Intellectual Observer" in 1871. The "Quarterly Journal", after undergoing a number of editorial changes, ceased publication in 1885. "The Reader" terminated in 1867, and finally, "Scientific Opinion" lasted a mere 2 years, until June 1870.


title: Nature (journal)

text: Not long after the conclusion of "The Reader", a former editor, Norman Lockyer, decided to create a new scientific journal titled "Nature", taking its name from a line by William Wordsworth: "To the solid ground of nature trusts the Mind that builds for aye". First owned and published by Alexander Macmillan, "Nature" was similar to its predecessors in its attempt to "provide cultivated readers with an accessible forum for reading about advances in scientific knowledge." Janet Browne has proposed that "far more than any other science journal of the period, "Nature" was conceived, born, and raised to serve polemic purpose." Many of the early editions of "Nature" consisted of articles written by members of a group that called itself the X Club, a group of scientists known for having liberal, progressive, and somewhat controversial scientific beliefs relative to the time period. Initiated by Thomas Henry Huxley, the group consisted of such important scientists as Joseph Dalton Hooker, Herbert Spencer, and John Tyndall, along with another five scientists and mathematicians; these scientists were all avid supporters of Darwin's theory of evolution as common descent, a theory which, during the latter half of the 19th century, received a great deal of criticism among more conservative groups of scientists. Perhaps it was in part its scientific liberality that made "Nature" a longer-lasting success than its predecessors. John Maddox, editor of "Nature" from 1966 to 1973 and from 1980 to 1995, suggested at a celebratory dinner for the journal's centennial edition that perhaps it was the journalistic qualities of Nature that drew readers in; "journalism" Maddox states, "is a way of creating a sense of community among people who would otherwise be isolated from each other. This is what Lockyer's journal did from the start." In addition, Maddox mentions that the financial backing of the journal in its first years by the Macmillan family also allowed the journal to flourish and develop more freely than scientific journals before it.


title: Nature (journal)

text: Norman Lockyer, the founder of "Nature", was a professor at Imperial College. He was succeeded as editor in 1919 by Sir Richard Gregory. Gregory helped to establish "Nature" in the international scientific community. His obituary by the Royal Society stated: "Gregory was always very interested in the international contacts of science, and in the columns of "Nature" he always gave generous space to accounts of the activities of the International Scientific Unions." During the years 1945 to 1973, editorship of "Nature" changed three times, first in 1945 to A. J. V. Gale and L. J. F. Brimble (who in 1958 became the sole editor), then to John Maddox in 1965, and finally to David Davies in 1973. In 1980, Maddox returned as editor and retained his position until 1995. Philip Campbell became Editor-in-chief of all "Nature" publications until 2018. Magdalena Skipper has since become Editor-in-chief.


title: Nature (journal)

text: In 1970, "Nature" first opened its Washington office; other branches opened in New York in 1985, Tokyo and Munich in 1987, Paris in 1989, San Francisco in 2001, Boston in 2004, and Hong Kong in 2005. In 1971, under John Maddox's editorship, the journal split into "Nature Physical Sciences" (published on Mondays), "Nature New Biology" (published on Wednesdays), and "Nature" (published on Fridays). In 1974, Maddox was no longer editor, and the journals were merged into "Nature". Starting in the 1980s, the journal underwent a great deal of expansion, launching over ten new journals. These new journals comprise Nature Research, which was created in 1999 under the name Nature Publishing Group and includes "Nature", Nature Research Journals, Stockton Press Specialist Journals and Macmillan Reference (renamed NPG Reference). In 1996, "Nature" created its own website and in 1999 Nature Publishing Group began its series of "Nature Reviews". Some articles and papers are available for free on the Nature website, while others require the purchase of premium access to the site. , "Nature" claimed an online readership of about 3 million unique readers per month.


title: Nature (journal)

text: On 30 October 2008, "Nature" endorsed an American presidential candidate for the first time when it supported Barack Obama during his campaign in America's 2008 presidential election. In October 2012, an Arabic edition of the magazine was launched in partnership with King Abdulaziz City for Science and Technology. As of the time it was released, it had about 10,000 subscribers. On 2 December 2014, "Nature" announced that it would allow its subscribers and a group of selected media outlets to share links allowing free, "read-only" access to content from its journals. These articles are presented using the digital rights management system ReadCube (which is funded by the Macmillan subsidiary Digital Science), and does not allow readers to download, copy, print, or otherwise distribute the content. While it does, to an extent, provide free online access to articles, it is not a true open access scheme due to its restrictions on re-use and distribution. On 15 January 2015, details of a proposed merger with Springer Science+Business Media were announced.


title: Nature (journal)

text: In May 2015 it came under the umbrella of Springer Nature, by the merger of Springer Science+Business Media and Holtzbrinck Publishing Group's Nature Publishing Group, Palgrave Macmillan, and Macmillan Education. Since 2011, the journal has published Nature's 10 "people who mattered" during the year, as part of their annual review.


title: Nature (journal)

text: According to "Science", another academic journal, being published in "Nature" has been known to carry a certain level of prestige in academia. In particular, empirical papers are often highly cited, which can lead to promotions, grant funding, and attention from the mainstream media. Because of these positive feedback effects, competition among scientists to publish in high-level journals like "Nature" and its closest competitor, "Science", can be very fierce. "Nature"s impact factor, a measure of how many citations a journal generates in other works, was 42.778 in 2019 (as measured by Thomson ISI). However, as with many journals, most papers receive far fewer citations than the impact factor would indicate. "Nature"'s journal impact factor carries a long tail.


title: Nature (journal)

text: Studies of methodological quality and reliability have found that some high-prestige journals including "Nature" "publish significantly substandard structures", and overall "reliability of published research works in several fields may be decreasing with increasing journal rank".


title: Nature (journal)

text: As with most other professional scientific journals, papers undergo an initial screening by the editor, followed by peer review (in which other scientists, chosen by the editor for expertise with the subject matter but who have no connection to the research under review, will read and critique articles), before publication. In the case of "Nature", they are only sent for review if it is decided that they deal with a topical subject and are sufficiently ground-breaking in that particular field. As a consequence, the majority of submitted papers are rejected without review.


title: Nature (journal)

text: Many of the most significant scientific breakthroughs in modern history have been first published in "Nature". The following is a selection of scientific breakthroughs published in "Nature", all of which had far-reaching consequences, and the citation for the article in which they were published.


title: Nature (journal)

text: In 2017, "Nature" published an editorial entitled "Removing Statues of Historical figures risks whitewashing history: Science must acknowledge mistakes as it marks its past". The article commented on the placement and maintenance of statues honouring scientists with known unethical, abusive and torturous histories. Specifically, the editorial called on examples of J. Marion Sims, the 'Father of gynecology' who experimented on African American female slaves who were unable to give informed consent, and Thomas Parran Jr. who oversaw the Tuskegee Syphilis Experiment. The editorial as written made the case that removing such statues, and erasing names, runs the risk of "whitewashing history", and stated "Instead of removing painful reminders, perhaps these should be supplemented". The article caused a large outcry and was quickly modified by Nature. The article was largely seen as offensive, inappropriate, and by many, racist. "Nature" acknowledged that the article as originally written was "offensive and poorly worded" and published selected letters of response. The editorial came just weeks after hundreds of white supremacists marched in Charlottesville, Virginia in the Unite the Right rally to oppose the removal of a statue of Robert E. Lee, setting off violence in the streets and killing a young woman. When Nature posted a link to the editorial on Twitter, the thread quickly exploded with criticisms. In response, several scientists called for a boycott. On 18 September 2017, the editorial was updated and edited by Philip Campbell, the editor of the journal.


title: Nature (journal)

text: When Paul Lauterbur and Peter Mansfield won a Nobel Prize in Physiology or Medicine for research initially rejected by "Nature" and published only after Lauterbur appealed against the rejection, "Nature" acknowledged more of its own missteps in rejecting papers in an editorial titled, "Coping with Peer Rejection":


title: Nature (journal)

text: In June 1988, after nearly a year of guided scrutiny from its editors, "Nature" published a controversial and seemingly anomalous paper detailing Jacques Benveniste and his team's work studying human basophil degranulation in the presence of extremely dilute antibody serum. The paper concluded that less than a single molecule of antibody could trigger an immune response in human basophils, defying the physical law of mass action. The paper excited substantial media attention in Paris, chiefly because their research sought funding from homeopathic medicine companies. Public inquiry prompted "Nature" to mandate an extensive and stringent experimental replication in Benveniste's lab, through which his team's results were refuted.


title: Nature (journal)

text: Before publishing one of its most famous discoveries, Watson and Crick's 1953 on the structure of DNA, "Nature" did not send the paper out for peer review. John Maddox, "Nature"s editor, stated: "the Watson and Crick paper was not peer-reviewed by "Nature" ... the paper could not have been refereed: its correctness is self-evident. No referee working in the field ... could have kept his mouth shut once he saw the structure".


title: Nature (journal)

text: An earlier error occurred when Enrico Fermi submitted his breakthrough paper on the weak interaction theory of beta decay. "Nature" rejected the paper because it was considered too remote from reality. Fermi's paper was published by "Zeitschrift für Physik" in 1934.


title: Nature (journal)

text: The journal apologised for its initial coverage of the COVID-19 pandemic in which it linked China and Wuhan with the outbreak, which may have led to racist attacks.


title: Nature (journal)

text: A paper was published with important figure anomalies from an author with a past of publishing figure anomalies.


title: Nature (journal)

text: From 2000 to 2001, a series of five fraudulent papers by Jan Hendrik Schön was published in "Nature". The papers, about semiconductors, were revealed to contain falsified data and other scientific fraud. In 2003, "Nature" retracted the papers. The Schön scandal was not limited to "Nature"; other prominent journals, such as "Science" and "Physical Review", also retracted papers by Schön.


title: Nature (journal)

text: In 1999, "Nature" began publishing science fiction short stories. The brief "vignettes" are printed in a series called "Futures". The stories appeared in 1999 and 2000, again in 2005 and 2006, and have appeared weekly since July 2007. Sister publication "Nature Physics" also printed stories in 2007 and 2008. In 2005, "Nature" was awarded the European Science Fiction Society's Best Publisher award for the "Futures" series. One hundred of the "Nature" stories between 1999 and 2006 were published as the collection "Futures from Nature" in 2008. Another collection, "Futures from Nature 2", was published in 2014.


title: Nature (journal)

text: "Nature" is edited and published in the United Kingdom by a division of the international scientific publishing company Springer Nature that publishes academic journals, magazines, online databases, and services in science and medicine. "Nature" has offices in London, New York City, San Francisco, Washington, D.C., Boston, Tokyo, Hong Kong, Paris, Munich, and Basingstoke. Nature Research also publishes other specialized journals including "Nature Neuroscience", "Nature Biotechnology," "Nature Methods", the "Nature Clinical Practice" series of journals, "Nature Structural & Molecular Biology", "Nature Chemistry", and the "Nature Reviews" series of journals.


title: Nature (journal)

text: Since 2005, each issue of "Nature" has been accompanied by a "Nature Podcast" featuring highlights from the issue and interviews with the articles' authors and the journalists covering the research. It is presented by Kerri Smith and features interviews with scientists on the latest research, as well as news reports from "Nature"'s editors and journalists. The Nature Podcast was founded – and the first 100 episodes were produced and presented – by clinician and virologist Chris Smith of Cambridge and "The Naked Scientists".


title: Nature (journal)

text: Nature Research actively supports the self-archiving process and in 2002 was one of the first publishers to allow authors to post their contributions on their personal websites, by requesting an exclusive licence to publish, rather than requiring authors to transfer copyright. In December 2007, Nature Publishing Group introduced the Creative Commons attribution-non-commercial-share alike unported licence for those articles in Nature journals that are publishing the primary sequence of an organism's genome for the first time.


title: Nature (journal)

text: In 2008, a collection of articles from "Nature" was edited by John S. Partington under the title "H. G. Wells in Nature, 1893–1946: A Reception Reader" and published by Peter Lang.


title: Guinea (coin)

text: The guinea (; commonly abbreviated gn., or gns. in plural) was a coin, minted in Great Britain between 1663 and 1814, that contained approximately one-quarter of an ounce of gold. The name came from the Guinea region in West Africa, from where much of the gold used to make the coins was sourced. It was the first English machine-struck gold coin, originally representing a value of 20 shillings in sterling specie, equal to one pound, but rises in the price of gold relative to silver caused the value of the guinea to increase, at times to as high as thirty shillings. From 1717 to 1816, its value was officially fixed at twenty-one shillings.


title: Guinea (coin)

text: In the Great Recoinage of 1816, the guinea was demonetised and the word "guinea" became a colloquial or specialised term. Although the coin itself no longer circulated, the term "guinea" survived as a unit of account in some fields. Notable usages included professional fees (medical, legal, etc.), which were often invoiced in guineas, and horse racing and greyhound racing, and the sale of rams. In each case a guinea meant an amount of one pound and one shilling (21 shillings, £1.05 in decimal notation).


title: Guinea (coin)

text: The first guinea was produced on ; a proclamation of 27 March 1663 made the coins legal currency. One troy pound of (0.9133) fine gold (22 carat or 0.9167 pure by weight) would make guineas, each thus theoretically weighing 129.438 grains (8.385 grams crown gold, 7.688 grams fine gold, or 0.247191011 ozt (troy ounces) fine gold).


title: Guinea (coin)

text: The coin was originally worth twenty shillings (one pound), but an increase in the price of gold during the reign of King Charles II led to the market trading it at a premium. The price of gold continued to increase, especially in times of trouble, and by the 1680s, the coin was worth 22 silver shillings. Indeed, in his diary entries for 13 June 1667, Samuel Pepys records that the price was 24 to 25 shillings.


title: Guinea (coin)

text: The diameter of the coin was throughout Charles II's reign, and the average gold purity (from an assay done in 1773 of samples of the coins produced during the preceding year) was 0.9100. "Guinea" was not an official name for the coin, but much of the gold used to produce the early coins came from Guinea (largely modern Ghana) in West Africa.


title: Guinea (coin)

text: The coin was produced every year between 1663 and 1684, with an elephant appearing on some coins each year from 1663 to 1665 and 1668, and the elephant with a howdah on other coins minted from 1674 or 1675 onwards. The elephant, with or without a howdah, was the emblem of the Royal African Company (RAC), which had been granted a monopoly on English trade with Africa in slaves, gold and other goods, from 1672 until 1698; gold imported from Africa by the RAC bore the elephant emblem beneath the monarch's head on the coin.


title: Guinea (coin)

text: The obverse and reverse of this coin were designed by John Roettiers (1631–). The obverse showed a fine right-facing bust of Charles II wearing a laurel wreath (amended several times during the reign), surrounded by the legend ("Charles II by the grace of God"), while the reverse showed four crowned cruciform shields bearing the arms of England, Scotland, France, and Ireland, between which were four sceptres, and in the centre were four interlinked "C"s, surrounded by the inscription ("Of Great Britain, France, and Ireland King"). The edge was milled to deter clipping or filing, and to distinguish it from the silver half-crown which had edge lettering. Until 1669 the milling was perpendicular to the edge, giving vertical grooves, while from 1670 the milling was diagonal to the edge.


title: Guinea (coin)

text: John Roettiers continued to design the dies for this denomination during the reign of King James II. In this reign, the coins weighed with a diameter of , and were minted in all years between 1685 and 1688, with an average gold purity of 0.9094. Coins of each year were issued both with and without the elephant-and-castle mark. The king's head faces left in this reign, and is surrounded by the inscription ("James II by the grace of God"), while the reverse is the same as in Charles II's reign except for omitting the interlinked "C"s in the centre of the coin. The edge of the coins are milled diagonally.


title: Guinea (coin)

text: With the removal of James II in the Glorious Revolution of 1688, his daughter Mary and her husband Prince William of Orange reigned jointly as co-monarchs. Their heads appear conjoined on the guinea piece in Roman style, with William's head uppermost, with the legend ("William and Mary by the grace of God"). In a departure from the previous reigns, the reverse featured a totally new design of a large crowned shield which bore the arms of England and France in the first and fourth quarters, of Scotland in the second quarter, and of Ireland in the third quarter, the whole ensemble having a small shield in the centre bearing the rampant lion of Nassau; the legend on the obverse read (Of "Magna Britannia" Great Britain, "Francia" France and "Hibernia" Ireland King and Queen) and the year. By the early part of this reign the value of the guinea had increased to nearly 30 shillings. The guineas of this reign weighed , were in diameter, and were the work of James and Norbert Roettiers. They were produced in all years between 1689 and 1694 both with and without the elephant and castle; in 1692 and 1693 the mark of the elephant alone was also used.


title: Guinea (coin)

text: Following the death of Queen Mary from smallpox in 1694, William continued to reign as William III. The guinea coin was produced in all years from 1695 to 1701, both with and without the elephant and castle, the design probably being the work of Johann Crocker, also known as John Croker, since James Roettiers had died in 1698 and his brother Norbert had moved to France in 1695.


title: Guinea (coin)

text: The coins of William III's reign weighed with an average gold purity of 0.9123. The diameter was until 1700 and in 1701. William's head faces right on his coins, with the legend , while the reverse design of William and Mary's reign was judged to be unsuccessful, so the design reverted to that used by Charles II and James II, but with a small shield with the lion of Nassau in the centre, with the legend and the year. The coin had a diagonal milled edge.


title: Guinea (coin)

text: During the reign of Queen Anne (1702–1714) guineas were produced in all years between 1702 and 1714 except for 1704. The 1703 guinea bears the word under the Queen's bust, to commemorate the origin of the gold taken from Spanish ships captured at the Battle of Vigo Bay.


title: Guinea (coin)

text: With the Acts of Union 1707 creating a unified Kingdom of Great Britain through the union of the Parliament of Scotland with the Parliament of England, the design of the reverse of the first truly British guinea was changed. Until the Union, the cruciform shields on the reverse showed the arms of England, Scotland, France, and Ireland in order, separated by sceptres and with a central rose, and the legend ("Of Great Britain, France, and Ireland Queen") and the year. With the Act of Union, the English and Scottish arms appear conjoined on one shield, with the left half being the English arms and the right half being the Scottish arms, and the order of arms appearing on the shields becomes England and Scotland, France, England and Scotland, Ireland. The elephant and castle can appear on the coins of 1708 and 1709. The centre of the reverse design shows the Star of the Order of the Garter.


title: Guinea (coin)

text: The coins weighed , were in diameter, and had a gold purity of 0.9134. The edge of the coin is milled diagonally.


title: Guinea (coin)

text: The dies for all guineas of Queen Anne and King George I were engraved by John Croker, an immigrant originally from Dresden in the Duchy of Saxony.


title: Guinea (coin)

text: King George I's guinea coins were struck in all years between 1714 and 1727, with the elephant and castle sometimes appearing in 1721, 1722, and 1726. His guineas are notable for using five different portraits of the king, and the 1714 coin is notable for declaring him to be "Prince Elector of the Holy Roman Empire". The coins weighed 8.3–8.4 grams, were 25–26 millimetres in diameter, and the average gold purity was 0.9135.


title: Guinea (coin)

text: The 1714 obverse shows the right-facing portrait of the king with the legend ("George, by the grace of God of Great Britain, France, and Ireland King, Fidei Defensor"), while the later coins bear the legend . The reverse follows the same general design as before, except the order of the shields is England and Scotland, France, Ireland, and Hanover, with the legend in 1714 ("Duke of Brunswick and Lueneburg, Arch-Treasurer and Prince Elector of the Holy Roman Empire") and the year, and in other years ("Duke of Brunswick and Lueneburg, Arch-Treasurer and Elector of the Holy Roman Empire") and the year. The edge of the coin is milled diagonally.


title: Guinea (coin)

text: The value of the guinea had fluctuated over the years from 20 to 30 shillings and back down to 21 shillings and sixpence by the start of George's reign. In 1717, Great Britain adopted the gold standard, at a rate of one guinea to 129.438 grains () of crown gold, which was 22 carat gold, and a royal proclamation in December of the same year fixed the value of the guinea at 21 shillings.


title: Guinea (coin)

text: King George II's guinea pieces are a complex issue, with eight obverses and five reverses used through the 33 years of the reign. The coins were produced in all years of the reign except 1742, 1744, 1754, and 1757. The coins weighed , and were in diameter except for some of the 1727 coins which were 24–25 mm. The average gold purity was 0.9140. Some coins issued between 1729 and 1739 carry the mark under the king's head, to indicate the gold was provided by the East India Company, while some 1745 coins carry the mark to indicate the gold came from Admiral George Anson's round-the-world voyage. In the early part of the reign the edge of the coin was milled diagonally, but from 1739 following the activities of a particularly bold gang of guinea filers for whom a reward was posted, the milling was changed to produce the shape of a chevron or arrowhead. In 1732 the old hammered gold coinage was demonetised, and it is thought that some of the old coins were melted down to create more guineas.


title: Guinea (coin)

text: The obverse has a left-facing bust of the king with the legend ( between 1739 and 1743), while the reverse features a single large crowned shield with the quarters containing the arms of England+Scotland, France, Hanover, and Ireland, and the legend ("King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Lüneburg, Arch-Treasurer and Elector of the Holy Roman Empire").


title: Guinea (coin)

text: Unlike the two-guinea and five-guinea coins, production of the guinea continued through much of the long reign of King George III.


title: Guinea (coin)

text: The guineas of King George III weighed and were in diameter, with an average gold purity (at the time of the 1773 assay) of 0.9146 (meaning it contained of gold). They were issued with six different obverses and three reverses in 1761, 1763–79, 1781–99, and 1813. All the obverses show right-facing busts of the king with the legend with different portraits of the king. The reverse of guineas issued between 1761 and 1786 show a crowned shield bearing the arms of England+Scotland, France, Ireland and Hanover, with the legend and the date ("King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Lüneburg, Arch-Treasurer and Elector of the Holy Roman Empire"). In 1787 a new design of reverse featuring a spade-shaped shield was introduced, with the same legend; this has become known as the "spade guinea".


title: Guinea (coin)

text: In 1774 almost 20 million worn guineas of King William III and Queen Anne were melted down and recoined as guineas and half-guineas.


title: Guinea (coin)

text: Towards the end of the century gold began to become scarce and rise in value. The French Revolution and the subsequent French Revolutionary Wars had drained gold reserves and people started hoarding coins. Parliament passed a law making banknotes legal tender in any amount, and in 1799 the production of guineas was halted, although half- and third-guineas continued to be struck. Following the Act of Union between Great Britain and Ireland in 1800, the king's titles changed, and an Order in Council of 5 November 1800 directed the Master of the Mint to prepare a new coinage, but although designs were prepared, the production of guineas was not authorised.


title: Guinea (coin)

text: In 1813 it was necessary to strike 80,000 guineas to pay the Duke of Wellington's army in the Pyrenees, as the local people would accept only gold in payment. This issue has become known as the "Military Guinea". At this time, gold was still scarce and the guinea was trading on the open market for 27 shillings in paper money, so the coining of this issue for the army's special needs was a poor deal for the government, and this was the last issue of guineas to be minted. The reverse of the military guinea is a unique design, showing a crowned shield within a Garter, with on the Garter, and ("King of the Britains, Defender of the Faith") around the edge, and "1813" between the edge inscription and the garter.


title: Guinea (coin)

text: In the Great Recoinage of 1816, the guinea was replaced by the pound as the major unit of currency, and in coinage by the sovereign.


title: Guinea (coin)

text: After the guinea coin ceased to circulate, the "guinea" continued in use as a unit of account worth 21 shillings (£1.05 in decimalised currency). The guinea had an aristocratic overtone, so professional fees, and prices of land, horses, art, bespoke tailoring, furniture, white goods and other "luxury" items were often quoted in guineas until a couple of years after decimalisation in 1971. The guinea was used in a similar way in Australia until that country converted to decimal currency in 1966, after which it became worth A$2.10.


title: Guinea (coin)

text: Bids are still made in guineas for the sale of racehorses at auction, at which the purchaser will pay the guinea-equivalent amount but the seller will receive only that number of pounds. The difference (5p in each guinea) is traditionally the auctioneer's commission (which thus, effectively, amounts to 5% on top of the sales price free from commission). Many major horse races in Great Britain, Ireland, Canada, New Zealand and Australia bear names ending in "Guineas", even though the nominal values of their purses today are much higher than the £1,050 or £2,100 suggested by their names.


title: Guinea (coin)

text: In 2013 the Royal Mint issued a £2 coin to celebrate the 350th anniversary of the minting of the first guinea coin. The new coin was designed by the artist Anthony Smith and features a reworking of the "spade guinea" from the late 18th century. The edge of the coin contains a quotation from the writer Stephen Kemble (1758–1822): ""What is a guinea? ‘Tis a splendid thing."" This was the first time in the United Kingdom that one coin has been used to celebrate another.


title: Dogma

text: Dogma is a belief or set of beliefs that is accepted by the members of a group without being questioned or doubted. It may be in the form of an official system of principles or doctrines of a religion, such as Roman Catholicism, Judaism, Islam or Protestantism, as well as the positions of a philosopher or of a philosophical school such as positivism, postmodernism, egalitarianism, and dark enlightenment. It may also be found in political belief-systems, such as Marxism, communism, capitalism, progressivism, liberalism, conservatism, and fascism.


title: Dogma

text: In the pejorative sense, dogma refers to enforced decisions, such as those of aggressive political interests or authorities. More generally, it is applied to some strong belief which its adherents are not willing to discuss rationally. This attitude is named as a dogmatic one, or as dogmatism; and is often used to refer to matters related to religion, but is not limited to theistic attitudes alone and is often used with respect to political or philosophical dogmas.


title: Dogma

text: The word "dogma" was adopted in the 17th century from Latin "dogma" meaning "philosophical tenet or principle", derived from the and the verb "dokein", "to seem good". The plural, based on the Greek, is "dogmata", though "dogmas" may be more commonly used in English.


title: Dogma

text: In Pyrrhonist philosophy "dogma" refers to assent to a proposition about a non-evident matter. The main principle of Pyrrhonism is expressed by the word "acatalepsia", which connotes the ability to withhold assent from doctrines regarding the truth of things in their own nature; against every statement its contradiction may be advanced with equal justification. Consequently, Pyrrhonists withhold assent with regard to non-evident propositions, i.e., dogmas. Pyrrhonists argue that dogmatists, such as the Stoics, Epicureans, and Peripatetics, have failed to demonstrate that their doctrines regarding non-evident matters are true.


title: Dogma

text: Epicureanism is a dogmatic philosophy teaching that truth is knowable and that there are knowable, measurable, observable truths. Its philosophical dogmatism is grounded on the Epicurean view of empiricism and based on the evidence of the senses.


title: Dogma

text: In Stoicism "dogma" (δόγμα) is a principle established by reason and experience. Stoicism has many dogmas, such as the well-known Stoic dogma "the only good is moral good, and the only evil is moral evil".


title: Dogma

text: Formally, the term dogma has been used by some theistic religious groups to describe the body of positions forming the group's most central, foundational, or essential beliefs, though the term may also be used to refer to the entire set of formal beliefs identified by a theistic or non-theistic religious group. In some cases dogma is distinguished from religious opinion and those things in doctrine considered less significant or uncertain. Formal church dogma is often clarified and elaborated upon in its communication.


title: Dogma

text: View or position (Pali ', Sanskrit ') is a central idea in Buddhism that corresponds with the Western notion of dogma. In Buddhist thought, a view is not a simple, abstract collection of propositions, but a charged interpretation of experience which intensely shapes and affects thought, sensation, and action. Having the proper mental attitude toward views is therefore considered an integral part of the Buddhist path, as sometimes correct views need to be put into practice and incorrect views abandoned, while othertimes all views are seen as obstacles to enlightenment.


title: Dogma

text: In the Christian Church, "dogma" means a belief communicated by divine revelation and defined by the Church, In the narrower sense of the church's official interpretation of divine revelation, theologians distinguish between defined and non-defined dogmas, the former being those set out by authoritative bodies such as the Roman Curia for the Catholic Church, the latter being those which are universally held but have not been officially defined, the nature of Christ as universal redeemer being an example. The term originated in late Greek philosophy legal usage, in which it meant a decree or command, and came to be used in the same sense in early Christian theology.


title: Dogma

text: Christianity is defined by a set of core beliefs shared by virtually all Christians, though how those core beliefs are implemented and secondary questions vary within Christianity. When formally communicated by the organization, these beliefs are sometimes referred to as 'dogmata'. The organization's formal religious positions may be taught to new members or simply communicated to those who choose to become members. It is rare for agreement with an organization's formal positions to be a requirement for attendance, though membership may be required for some church activities. Protestants to differing degrees are less formal about doctrine, and often rely on denomination-specific beliefs, but seldom refer to these beliefs as dogmata. The first unofficial institution of dogma in the Christian church was by Saint Irenaeus in his "Demonstration of Apostolic Teaching", which provides a 'manual of essentials' constituting the 'body of truth'.


title: Dogma

text: For Catholicism and Eastern Christianity, the dogmata are contained in the Nicene Creed and the canon laws of two, three, seven, or twenty ecumenical councils (depending on whether one is Church of the East, Oriental Orthodox, Eastern Orthodox, or Roman Catholic). These tenets are summarized by John of Damascus in his "Exact Exposition of the Orthodox Faith", which is the third book of his main work, titled "The Fount of Knowledge". In this book he takes a dual approach in explaining each article of the faith: one, directed at Christians, where he uses quotes from the Bible and, occasionally, from works of other Church Fathers, and the second, directed both at members of non-Christian religions and at atheists, for whom he employs Aristotelian logic and dialectics.


title: Dogma

text: The decisions of fourteen later councils that Catholics hold as dogmatic and a small number of decrees promulgated by popes exercising papal infallibility (for examples, see Immaculate Conception and Assumption of Mary) are considered as being a part of the Catholic Church's sacred body of doctrine.


title: Dogma

text: In Islam the belief is based on evidences (bayinaat or ayaat). Muslims believe that Quran is miraculous which according to them is verifiable.


title: Dogma

text: Allah says in Quran 17:36 : "Follow not that of which you have no knowledge. Indeed, the hearing, the sight, and the heart, of each of those you will be interrogated (by Allâh on the 'Day of Judgment'). Do not pursue that of which you have no knowledge. Indeed, the hearing, the sight, and the heart will be questioned."


title: Dogma

text: In Jewish Kabbalah "dogma" has the same origin as the word "archetype": this is the "Sod" of Jewish exegesis in the inner dimensions of Torah, i.e. the Pardes or "Torah Nistar", the secrets of Bible.


title: Dogma

text: In the commentary of Jewish tradition of logic-thought, "dogma" is a principle by which the Rabbanim of Talmud and after Talmud-Era can try the proves of faith, about existence of God and truth, etc. Joseph Albo uses the word "dogma" to explain these and other principles of Judaism; "Dogma" is the "fundament" necessarly true for rational thinking, also in the Jewish book "Fons Vitae" of Solomon ibn Gabirol.


title: Dogma

text: In the relation between "logical thinking" and "rational Kabbalah" the "Partzuf" is the axiom to understand what is "dogma".


title: Piano Sonata No. 14 (Beethoven)

text: The Piano Sonata No. 14 in C-sharp minor, marked Quasi una fantasia, Op. 27, No. 2, is a piano sonata by Ludwig van Beethoven. It was completed in 1801 and dedicated in 1802 to his pupil Countess Giulietta Guicciardi. The popular name Moonlight Sonata goes back to a critic's remark after Beethoven's death.


title: Piano Sonata No. 14 (Beethoven)

text: The piece is one of Beethoven's most popular compositions for the piano, and it was a popular favourite even in his own day. Beethoven wrote the "Moonlight Sonata" in his early thirties, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata.


title: Piano Sonata No. 14 (Beethoven)

text: The first edition of the score is headed "Sonata quasi una fantasia", the same title as that of its companion piece, Op. 27, No. 1. Grove Music Online translates the Italian title as "sonata in the manner of a fantasy". "The subtitle reminds listeners that the piece, although technically a sonata, is suggestive of a free-flowing, improvised fantasia."


title: Piano Sonata No. 14 (Beethoven)

text: The name "Moonlight Sonata" comes from remarks made by the German music critic and poet Ludwig Rellstab. In 1832, five years after Beethoven's death, Rellstab likened the effect of the first movement to that of moonlight shining upon Lake Lucerne. Within ten years, the name "Moonlight Sonata" (""Mondscheinsonate"" in German) was being used in German and English publications. Later in the nineteenth century, the sonata was universally known by that name.


title: Piano Sonata No. 14 (Beethoven)

text: Many critics have objected to the subjective, romantic nature of the title "Moonlight", which has at times been called "a misleading approach to a movement with almost the character of a funeral march" and "absurd". Other critics have approved of the sobriquet, finding it evocative or in line with their own interpretation of the work. "Gramophone" founder Compton Mackenzie found the title "harmless", remarking that "it is silly for austere critics to work themselves up into a state of almost hysterical rage with poor Rellstab", and adding, "what these austere critics fail to grasp is that unless the general public had responded to the suggestion of moonlight in this music Rellstab's remark would long ago have been forgotten." Donald Francis Tovey thought the title of "Moonlight" was appropriate for the first movement but not for the other two.


title: Piano Sonata No. 14 (Beethoven)

text: Carl Czerny, Beethoven's pupil, described the first movement as "a ghost scene, where out of the far distance a plaintive ghostly voice sounds".


title: Piano Sonata No. 14 (Beethoven)

text: Although no direct testimony exists as to the specific reasons why Beethoven decided to title both the Op. 27 works as "Sonata quasi una fantasia", it may be significant that the layout of the present work does not follow the traditional movement arrangement in the Classical period of fast–slow–[fast]–fast. Instead, the sonata possesses an end-weighted trajectory, with the rapid music held off until the third movement. In his analysis, German critic Paul Bekker states: "The opening sonata-allegro movement gave the work a definite character from the beginning ... which succeeding movements could supplement but not change. Beethoven rebelled against this determinative quality in the first movement. He wanted a prelude, an introduction, not a proposition".


title: Piano Sonata No. 14 (Beethoven)

text: The first movement, in C minor and alla breve, is written in modified sonata-allegro form. Donald Francis Tovey warned players of this movement to avoid "taking [it] on a quaver standard like a slow ".


title: Piano Sonata No. 14 (Beethoven)

text: The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a "lamentation", mostly by the left hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand.


title: Piano Sonata No. 14 (Beethoven)

text: The movement is played "pianissimo (pp)" or "very quietly", and the loudest it gets is "piano (p)" or "quietly".


title: Piano Sonata No. 14 (Beethoven)

text: The "adagio sostenuto" tempo has made a powerful impression on many listeners; for instance, Berlioz commented that it "is one of those poems that human language does not know how to qualify". Beethoven's student Carl Czerny called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance". The movement was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, "Surely I've written better things".


title: Piano Sonata No. 14 (Beethoven)

text: the renowned pianist Edwin Fischer suggests that this movement of this sonata is based on Mozart's ""Ah Soccorso! Son Tradito"" of his opera Don Giovanni, which comes just after the Commendatore’s murder. He claims to have found, in the archives of the Wiener Musikverein, a sketch in Beethoven's handwriting of a few lines of Mozart's music (which bears the same characteristic triplet figuration) transposed to C minor, the key of the sonata. "In any case, there is no romantic moon-light in this movement: it is rather a solemn dirge", writes Fischer.


title: Piano Sonata No. 14 (Beethoven)

text: The second movement is a relatively conventional scherzo in triple time, with the first section of the scherzo not repeated. It is a seeming moment of relative calm written in D major, the more easily notated enharmonic equivalent of C major, the parallel major of the first movement's key, C minor. Franz Liszt is said to have described the second movement as "a flower between two chasms". The slight majority of the movement is in "piano (p)", but a handful of "sforzandos (sfz)" and "fortepianos" ("fp)" helps to maintain the movement's cheerful disposition.


title: Piano Sonata No. 14 (Beethoven)

text: This movement is described by many as the least popular movement, as most people recognize the first movement and the third movement more.


title: Piano Sonata No. 14 (Beethoven)

text: The stormy final movement (C minor), in sonata form and common time, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata Opus 27, No. 1 and later on in Opus 101), namely, placement of the most important movement of the sonata last. The writing has many fast arpeggios/broken chords, strongly accented notes, and fast alberti bass sequences that fall both into the right and left hands at various times. An effective performance of this movement demands lively and skillful playing, great stamina, and is significantly more demanding technically than the 1st and 2nd movements.


title: Piano Sonata No. 14 (Beethoven)

text: Of the final movement, Charles Rosen has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing".


title: Piano Sonata No. 14 (Beethoven)

text: Beethoven's heavy use of "sforzando (sfz)" notes, together with just a few strategically located "fortissimo (ff)" passages, creates the sense of a very powerful sound in spite of the predominance of "piano (p)" markings throughout.


title: Piano Sonata No. 14 (Beethoven)

text: At the opening of the first movement, Beethoven included the following direction in Italian: "Si deve suonare tutto questo pezzo delicatissimamente e senza sordino" ("This whole piece ought to be played with the utmost delicacy and without damper[s]"). The way this is accomplished (both on today's pianos and on those of Beethoven's day) is to depress the sustain pedal throughout the movement – or at least to make use of the pedal throughout, but re-applying it as the harmony changes.


title: Piano Sonata No. 14 (Beethoven)

text: The modern piano has a much longer sustain time than the instruments of Beethoven's time, so that a steady application of the sustain pedal creates a dissonant sound. In contrast, performers who employ a historically based instrument (either a restored old piano or a modern instrument built on historical principles) are more able to follow Beethoven's direction literally.


title: Piano Sonata No. 14 (Beethoven)

text: The C minor sonata, particularly the third movement, is held to have been the inspiration for Frédéric Chopin's "Fantaisie-Impromptu", and the "Fantaisie-Impromptu" to have been in fact a tribute to Beethoven. It manifests the key relationships of the sonata's three movements, chord structures, and even shares some passages. Ernst Oster writes: "With the aid of the "Fantaisie-Impromptu" we can at least recognize what particular features of the C minor Sonata struck fire in Chopin. We can actually regard Chopin as our teacher as he points to the coda and says, 'Look here, this is great. Take heed of this example!' ... The "Fantaisie-Impromptu" is perhaps the only instance where one genius discloses to us – if only by means of a composition of his own – what he actually hears in the work of another genius."


title: Piano Sonata No. 14 (Beethoven)

text: Carl Bohm composed a piece for violin and piano called "Meditation", Op. 296, in which he adds a violin melody over the unaltered first movement of Beethoven's sonata.


title: Revolutionary Girl Utena

text: The series follows Utena Tenjou, an orphaned teenage girl who expresses her childhood desire to be a prince through her strong-willed personality and tomboyish manner of dress. She finds herself drawn into a series of sword duels to win the hand of Anthy Himemiya, a mysterious girl known as the "Rose Bride" who possesses the "power to revolutionize the world".


title: Revolutionary Girl Utena

text: "Revolutionary Girl Utena" has received widespread critical acclaim. The series has spawned a range of spin-off and adapted media, including a light novel series, a video game, and multiple stage musicals.


title: Revolutionary Girl Utena

text: After the death of her parents, Utena Tenjou was given a rose-engraved signet ring by a traveling prince. The prince promised Utena that they would one day meet again; inspired by his noble demeanor, Utena decided to one day become a prince herself. Years later, Utena's search for the prince leads her to Ohtori Academy, where she enrolls as a student. She finds herself drawn into a dueling tournament with the school's Student Council, whose members wear signet rings identical to Utena's. Victors of the duel become engaged to Anthy Himemiya, a mysterious girl known as the "Rose Bride" who possesses the "power to revolutionize the world". Utena emerges victorious; forced to defend her position as the Rose Bride's fiancée, she decides to remain in the tournament in order to protect Anthy from the other duelists. As Utena and Anthy grow closer, she learns that Anthy is connected to "End of the World," the mysterious organizer of the duels.


title: Revolutionary Girl Utena

text: "Revolutionary Girl Utena" is a surrealist story that makes heavy use of allegory and symbolism, with many aspects of its plot revealed indirectly or in a manner that is open to audience interpretation. The anime series is divided into four story arcs, in each of which Utena comes to face a different challenge at Ohtori Academy:


title: Revolutionary Girl Utena

text: The "Utena" franchise was conceived by Be-Papas, a production group composed of talents from various corners of the manga and anime universe. Most notably, the 39-episode "Revolutionary Girl Utena" TV series was created by some of the same production staff responsible for "Sailor Moon", including writer and director Kunihiko Ikuhara. Ikuhara was already well known for his role in the production of "Sailor Moon", including his contributions to the highly acclaimed third season, "Sailor Moon S". When working on "Utena", Ikuhara was unsure if he would be fit for the role as producer and worried about the financial risk involved. Believing it may be the last show he ever worked on, Ikuhara set out to make "Utena" the pinnacle of his work. The member of Be-Papas responsible for the manga version of "Utena" was Chiho Saito, a well-established shōjo manga author. Though she and the other members of Be-Papas discussed concepts together, Saito had little influence on the direction of the anime, and faced a great deal more scrutiny by publishers to censor the LGBT themes in the content of the manga. She went through 4 editors during the production of the manga due to this, despite it being far more tame than the television series.


title: Revolutionary Girl Utena

text: Ikuhara did not conceive of the idea for the movie, "Adolescence of Utena", until watching the final episodes of the television series on broadcast TV. Once again, Be-Papas convened to discuss concepts, and Saito would go on to create a manga adaptation of the film. The film can be interpreted either as the end of the story initiated by the TV series, or as a condensed retelling with the same themes and characters, although it goes in a very different direction. Its structure is in many ways parallel to that of the series, but the roles of the leads are subtly switched. If the television series riffs on themes from theater and mythology, it could be said that the movie riffs on themes from the series. Familiarity with the television series is assumed, and the movie version is even more visually bizarre than the original "Utena", enough so that it earned the good-natured nickname "The End of Utena," after the similarly abstract but much less cheerful "The End of Evangelion".


title: Revolutionary Girl Utena

text: Another incarnation of "Utena" came in the form of a number of one-shot theatrical productions. The Takarazuka-style ""Musical Shōjo Kakumei Utena"," also known as "Comédie Musicale Utena la fillette révolutionnaire," played in 1997, and the second disc of "Shōjo Kakumei Utena OST 5", "Engage Toi a Mes Contes" (Engage With My Stories), contains many of the songs from this musical. At Animazement '00, Ikuhara was said to be working on a later musical, ""Shōjo Kakumei Utena, Makai Tensei Mokushiroku hen, Reijin Nirvana Raiga"," with the theatrical group Gesshoku Kageki Dan.


title: Revolutionary Girl Utena

text: "Revolutionary Girl Utena" has been described as a postmodern fairy tale and a deconstruction of the "shōjo" manga and magical girl genres, relying heavily on metaphor and symbolism, with surreal and psychological themes. It has been noted for its queer and feminist themes, with its focus on deconstructing gender norms and heteronormativity.


title: Revolutionary Girl Utena

text: Ikuhara felt episodes like "On the Night of the Ball", where "Utena" stressed itself as a ""shōjo" manga anime", were "absolutely necessary" for the show's later development.


title: Revolutionary Girl Utena

text: "Utena" has been compared to "Neon Genesis Evangelion", with both shows having been aired in the late 1990s, with Ikuhara and "Evangelion" creator Hideaki Anno being close friends, and with both shows sharing thematic and stylistic similarities.


title: Revolutionary Girl Utena

text: Riyoko Ikeda's "The Rose of Versailles" has often been speculated as an established source of inspiration for the visual style of "Utena". Scenes involving sliding mirrors and unsupported staircases appear during character introspections in "The Rose of Versailles", while in "Utena" very similar scenes are part of the surreal landscape. However, director Ikuhara has denied this on several occasions, including the director's commentary on the final DVD "Finale" of the American release.


title: Revolutionary Girl Utena

text: Ikuhara cites prolific playwright, poet, and director Shūji Terayama as a major influence. Terayama was a long-time collaborator with J. A. Seazer, who wrote the music for his plays. Ikuhara worked with Seazer for the most well-known music of "Utena". He has stated that the concept for "Revolutionary Girl Utena" came from his "End of the World"-themed "". His original ideas for the film were not used, as he left the project prematurely.


title: Revolutionary Girl Utena

text: Color schemes and filters are some of the show's most extensively used symbols. Yellow imagery and framing appear in depictions of nostalgia, idealism, and emotional turbulence. Orange imagery appears almost invariably during scenes of confrontation or during the episode's rising action. Similarly, the color red is used liberally throughout the series to symbolize the ambition or emotional intensity of the characters.


title: Revolutionary Girl Utena

text: The "Revolutionary Girl Utena" manga series was written by Be-Papas and illustrated by Chiho Saito. It began serialization in the June 1996 issue of Shogakukan's monthly "shōjo" manga magazine "Ciao". The series ended in 1998, with five "tankōbon" volumes being released. It was licensed for an English-language release in North America by Viz Media in 2000, first


title: Revolutionary Girl Utena

text: serialized in Viz's manga magazine "Animerica Extra" and later published in five trade paperback volumes (with a sixth for the alternative retelling, "Adolescence of Utena") from 2003 to 2004. Viz re-released the series in a two-volume hardcover box set on April 11, 2017.


title: Revolutionary Girl Utena

text: On May 20, 2017, Shogakukan announced that a new chapter of the manga would be published in the September issue of its monthly "josei" manga magazine "Flowers". Two more chapters were published in the March and May 2018 issues, depicting the lives of the primary cast 20 years after the events of the original series. Shogakukan collected all three chapters into a single "tankōbon" volume under the title "Revolutionary Girl Utena: After the Revolution" on May 10, 2018. An English-language translation of "After the Revolution" was published by Viz Media on October 6, 2020.


title: Revolutionary Girl Utena

text: The anime series of "Revolutionary Girl Utena" was produced by the Japanese animation studio J.C.Staff and directed by Kunihiko Ikuhara. The series aired between April 2, 1997, and December 24, 1997, on TV Tokyo in Japan and spanned 39 episodes.


title: Revolutionary Girl Utena

text: A "Revolutionary Girl Utena" feature film, "Adolescence of Utena", was released in theaters in Japan on August 14, 1999. The film is a compressed re-telling of the story of the television series, though with significant differences in plot execution (for example, the relationship between Utena and Anthy is rendered as overtly romantic) and with heightened thematic content. The film occupies an ambiguous place in the broader "Utena" canon, and has been alternately interpreted by critics as a stand-alone adaptation of the anime and manga that exists in its own continuity, and as a sequel that is contiguous with the events of the anime series.


title: Revolutionary Girl Utena

text: In 2001, Central Park Media released the film as "Revolutionary Girl Utena: The Movie" on VHS and DVD. In 2007, Funimation acquired broadcasting for "Adolescence of Utena" and aired the film on Funimation Channel. Following Central Park Media's dissolution in 2009, North American distribution rights for the film have been held by Right Stuf since 2010.


title: Revolutionary Girl Utena

text: Avant-garde composer and theater director J. A. Seazer composed the song , which is repeated every time Utena ascends to the dueling arena, and the choral rock pieces played during the duels. Ikuhara has said that, despite objections to the dueling choruses on the part of his BePapas collaborators and sponsors, Seazer's music "sealed the fate of the project" and was well received. The texture of the chorus is primarily monophonic, although there is some homophony within the inner voices of the chorus. The melody of the chorus is written in transposed Aeolian mode or natural minor. The melody does not use a major five chord at the cadence which is usually the norm for minor mode; it uses a minor five chord instead. The lyrics that often appear to be little more than themed words strung together.


title: Revolutionary Girl Utena

text: The rest of the score was composed by Shinkichi Mitsumune, and is largely orchestral in character, though it often features significant jazz influences. One notable song is "The Sunlit Garden", a recurring duet piano piece which plays during nostalgic scenes. Mitsumune also handled the arrangement of the first eight duel choruses.


title: Revolutionary Girl Utena

text: The soundtrack of "Adolescence of Utena" is similar in style to the series, containing a mixture of orchestral pieces and choral rock. Masami Okui's track, the J-pop ballad "Toki ni Ai wa" ("At Times Love Is..."), is however atypical of the series' sound.


title: Revolutionary Girl Utena

text: In 2017, Gekidan Inu Curry illustrated a new "Utena" image album by J.A. Seazer. Another album is planned for 2019 to be illustrated by another artist.


title: Revolutionary Girl Utena

text: Five stage productions of "Revolutionary Girl Utena" have been produced. The first musical in the series, "Revolutionary Girl Utena, the Musical Comedy", features an all-female Takarazuka-style cast. A new musical adaptation was announced in November 2017 as part of a commemoration project to mark the 20th anniversary of the "Revolutionary Girl Utena" anime. The musical, "Revolutionary Girl Utena: Bud of the White Rose", was staged in 2018 and adapts the Student Council Saga from the original anime. A sequel adapting the Black Rose Saga, "Revolutionary Girl Utena: Blooming Rose of Deepest Black", was staged in 2019, with the cast and director of "Bud of the White Rose" reprising their roles.


title: Revolutionary Girl Utena

text: Two light novels written by Ichirō Ōkouchi with illustrations by Chiho Saito, and , were published by Shogakukan in 1997 and 1998, respectively. The non-canonical novels expand on material from the television series, with "Twin Saplings" focusing on the first five episodes of the series and "Verdant Hopes" focusing on Wakaba's Black Rose character arc.


title: Revolutionary Girl Utena

text: A video game, , was developed and published by Sega for the Sega Saturn in 1998. A visual novel with dating sim elements, the game tells an original story about the player character (voiced by Kaoru Fujino), a transfer student at Ohtori Academy. The voice cast of the anime series reprise their roles for "Story of the Someday Revolution". Though the game was never officially published outside of Japan, a fan translation was released in 2015.


title: Revolutionary Girl Utena

text: Enoki Films USA acquired North American licensing rights for "Revolutionary Girl Utena" in 1997. The company produced a proof of concept for potential distributors that localized the series for Western audiences, giving the characters English names and re-titling the series "Ursula's Kiss". However, the American distributor, Central Park Media, chose to use the original title and character names. The dubbed and subbed versions were released to VHS in 1998 by Central Park Media under their Software Sculptors label. There were a total of four releases each containing either three or four episodes. These same episodes were released to two bilingual DVD volumes in 1999 with six or seven episodes each. These DVDs were known as the "Rose Collection". However, after releasing the first 13 episodes to VHS and DVD, Central Park Media had difficulties licensing the remaining 26 episodes and the dub was put on hiatus despite the show's popularity. After settling all legal issues, they released the remaining 26 episodes of the anime series to bilingual DVDs in 2002 and 2003, though the show's popularity had declined in the years since. The entire series was later sold in the form of three DVD box sets.


title: Revolutionary Girl Utena

text: With the complete shutdown of Central Park Media in 2009, the distribution rights to the series were put up for liquidation. At Anime Expo 2010, Right Stuf Inc. announced that they have rescued the "Utena" TV series and subsequently re-released the series in three remastered sets in 2011. The anime is also being distributed in Australia for the first time by the anime distributor Hanabee.


title: Revolutionary Girl Utena

text: King Records released two Blu-ray box sets of "Utena" in Japan with HD remastered video in 2013, subsequently getting a three volume release in the United States by Right Stuf. In 2018, Right Stuf released the Blu-ray version of the series under their Nozomi Entertainment label, with edits made to the subtitle script, as it announced in early 2017. The limited edition box set included two rose crest rings and a large book of production notes, interviews, and artwork. In 2020, three equivalent Blu-ray volumes to Right Stuf's prior US version saw a limited collector's edition release in the UK by Anime Limited. Complete sets including repackaged Right Stuf rings and a book were limited to eighty units, with a further hundred sets sold without the rings and book.


title: Revolutionary Girl Utena

text: Hawaii-based TV station KIKU aired the Central Park Media-licensed version of the series during the January/March and July/August periods of 2007. Back in 2006, Funimation had previously acquired broadcast rights for "Revolutionary Girl Utena" from Enoki Films USA and aired it on their channel, the Funimation Channel (now operates as a streaming service since 2016), multiple times. Comcast's Anime Selects on Demand also showed episodes of the first and second season for a brief period. It also aired on Sci-Fi Channel for a short time. Anime Network on Demand began streaming the series on VOD on August 6, 2009.


title: Revolutionary Girl Utena

text: "Revolutionary Girl Utena" won "Best TV Animation Award" at Animation Kobe in 1997. Mike Toole of Anime News Network named "Revolutionary Girl Utena" as one of the most important anime of the 1990s, alongside "Serial Experiments Lain", "Cowboy Bebop", and "Trigun".


title: Revolutionary Girl Utena

text: Some reviewers stated that the series "explores a range of themes from feminism to queer topics to deconstructing the prince fairytale genre." Others said that Utena and Anthy had one of the best LGBTQ+ relationships in anime and that while the show isn't for first-time anime viewers, others said it bends the "boundaries of reality and science fiction," with a storyline about punishing and emotional obstacles in the lives of characters. Pride.com called the series "groundbreaking" for having bisexual female leads, has a "sympathetic lesbian storyline," and its influence on later works like "Steven Universe".


title: Revolutionary Girl Utena

text: "Revolutionary Girl Utena" has been argued to be a major influence on series , "Steven Universe", and "Steven Universe Future". It has also been said that the series influenced the work of ND Stevenson.


title: Revolutionary Girl Utena

text: Rebecca Sugar watched the show, distributed in the U.S. by Central Park Media, who released it in 1998, 2002 and 2003. The show strongly influenced Sugar, who would themself impact LGBTQ+ animation through their work on "Adventure Time" and "Steven Universe". In a July 2017 interview with Shamus Kelly of Den of Geek, Sugar described how the show affected them:


title: Kyogo Furuhashi

text: , often known mononymously as Kyogo, is a Japanese professional footballer who plays as a forward or a winger for Scottish Premiership club Celtic and the Japan national team.


title: Kyogo Furuhashi

text: On 1 August 2018, it was confirmed that Furuhashi would join the J1 League club Vissel Kobe for the rest of the 2018 season


title: Kyogo Furuhashi

text: In the club's Emperor's Cup semi-final match against Shimizu S-Pulse on 21 December 2019, Furuhashi scored Vissel's third goal to seal a 3–1 victory and a spot in their first ever major cup final. Vissel would go on to defeat Kashima Antlers in the final on 1 January 2020.


title: Kyogo Furuhashi

text: Furuhashi scored Vissel Kobe's second goal in their 2020 Japanese Super Cup victory over Yokohama F. Marinos on 8 February 2020. Four days later in Vissel Kobe's first ever match in a continental competition against Malaysia Super League champions JDT, Furuhashi scored again in a 5–1 victory. Furuhashi netted the lone goal in the second group stage match against Suwon Samsung Bluewings on 19 February.


title: Kyogo Furuhashi

text: On 16 July 2021, Furuhashi joined Scottish Premiership side Celtic for £4.5 million, signing a four-year deal. He scored his first goal for the club on his debut against Jablonec in the UEFA Europa League third qualifying round on 5 August 2021. Three days later, Furuhashi scored his first Scottish Premiership goals, netting a 67-minute hat-trick in a 6–0 win against Dundee. He followed up his excellent run of form by scoring against Hearts, and again in the UEFA Europa League against AZ Alkmaar.


title: Kyogo Furuhashi

text: In the lead up to a game against Rangers on 29 August 2021, a video featuring Rangers supporters racially abusing Kyogo over his ethnicity was posted on social media. This led to an outpouring of support for the striker. He picked up an injury while on international duty with Japan in September, but returned after five games, scoring on 3 October in a 2–1 victory against Aberdeen and netting the only goal of the game in a home league win against Hearts on 2 December. On 19 December 2021, Furuhashi scored twice against Hibernian in the final of the Scottish League Cup. The game ended 2–1, winning Furuhashi his first trophy with Celtic. On 28 August 2022, he scored a hat-trick in a 9–0 away win against Dundee United.


title: Kyogo Furuhashi

text: Furuhashi earned his first Japan cap in against Venezuela on 19 November 2019 in the 2019 edition of the Kirin Cup. The result was a 1–4 home loss at the Panasonic Stadium Suita.


title: Pedro Martínez

text: Pedro Jaime Martínez (born October 25, 1971) is a Dominican-American former professional baseball starting pitcher, who played in Major League Baseball (MLB) from to , for five teams—most notably the Boston Red Sox from to .


title: Pedro Martínez

text: At the time of his retirement as an active player, his career record of 219 wins and 100 losses placed him fourth-highest in winning percentage in MLB history, and was the highest such achievement by a right-hander since the modern pitching era began, in . Martínez ended his career with an earned run average (ERA) of 2.93, the sixth-lowest by a pitcher with at least 2,500 innings pitched, since 1920. He reached the 3,000 strikeout mark in fewer innings than any pitcher except Randy Johnson, and is the only pitcher to compile over 3,000 career strikeouts with fewer than 3,000 innings pitched; Martínez's career strikeout rate of 10.04 per nine innings trails only Johnson (10.61) among pitchers with over 1,500 innings.


title: Pedro Martínez

text: An eight-time All-Star, Martínez was at his peak from to , establishing himself as one of the most dominant pitchers in baseball history. He won three Cy Young Awards (1997, 1999, 2000) and was runner-up twice (1998, 2002), posting a cumulative record of 118–36 (.766) with a 2.20 ERA, while leading his league in ERA five times and in winning percentage and strikeouts three times each. In , Martínez was runner-up for the American League (AL) Most Valuable Player Award, after winning the pitching Triple Crown with a 23–4 record, 2.07 ERA, and 313 strikeouts, and—along with Johnson—joined Gaylord Perry in the rare feat of winning the Cy Young Award in both the American and National Leagues (a feat since accomplished by Roger Clemens, Roy Halladay, and Max Scherzer). He is also the record holder for the lowest single-season WHIP in major league history (0.737 in ), and is the record holder for the lowest single-season Fielding Independent Pitching (FIP) in the live ball era (1.39 in 1999). Although his performance suffered a steep decline in 2004, Martínez ended the season memorably, by helping the Red Sox end a long drought in winning their first World Series title in 86 years.


title: Pedro Martínez

text: Officially listed at and , Martínez was unusually small for a modern-day power pitcher, and is believed to have been somewhat smaller than his officially listed height and weight. In his early 30s, injuries began to keep him off the field to an increasing extent, with his appearances and success dropping off sharply, in his final seasons. Modern sabermetric analysis has strongly highlighted Martínez's achievements; his WHIP is the lowest of any live-ball era starting pitcher, his adjusted ERA+ is the best of any starting pitcher in major league history, and he has the third-highest strikeout-to-walk ratio in modern history. He dominated while pitching most often in a hitter-friendly ballpark and facing some of the toughest competition during the steroid era, which is generally thought to have favored batters. His dominance, reflected by modern statistics, has led many to consider Martínez as one of the greatest pitchers in MLB history. He was elected to the Baseball Hall of Fame in 2015 in his first year of eligibility, joining Juan Marichal as the second Dominican to be enshrined; his number (45) was retired by the Red Sox in a ceremony, two days after his Hall induction.


title: Pedro Martínez

text: Martínez grew up in the Dominican Republic in the Santo Domingo suburb of Manoguayabo. He was the fifth of six siblings living in a palm wood house with a tin roof and dirt floors. His father, Pablo Jaime Abreu, worked odd jobs. His mother, Leopoldina Martínez, worked for traditionally wealthy families, washing their clothes. When Pedro was old enough to work, he held a job as a mechanic.


title: Pedro Martínez

text: He did not have enough money to afford baseballs, so he improvised with oranges. His older brother, Ramón Martínez, was pitching at a Los Angeles Dodgers baseball camp in the Dominican Republic. As a young teenager, Martínez carried his brother's bags at the camp. One day at the camp, Ramón Martínez clocked his 14-year-old brother's pitches at between 78 and 80 miles per hour.


title: Pedro Martínez

text: Martínez debuted professionally with the Tigres del Licey of the Dominican Winter League during the 1989–90 season. He then pitched briefly for the Azucareros del Este, before rejoining Licey in 1991–92 in a nine-player transaction that included George Bell, José Offerman and Julio Solano, among others.


title: Pedro Martínez

text: Martínez was originally signed by the Dodgers as an amateur free agent in 1988. In his first season in the minors he was assigned to the Great Falls Dodgers where he worked with coach Guy Conti to develop a circle changeup which Conti had learned from Johnny Podres. Conti also worked with the young pitcher on his English and helped him assimilate to the United States; Martínez later described Conti as his "white daddy." As a minor leaguer in the Dodgers farm system, he was a highly touted prospect although some talent evaluators took issue with his "poise" despite his having a "great fastball and circle-changeup." He made his MLB debut on September 24, 1992, for the Dodgers against the Cincinnati Reds, working two scoreless innings of relief. He made his first start for the Dodgers on September 30, taking the loss while giving up two runs in a 3–1 loss to the Reds.


title: Pedro Martínez

text: Although Pedro's brother Ramón, then a star pitcher for the Dodgers, declared that his brother was an even better pitcher than he, the younger Martínez was thought by manager Tommy Lasorda too small to be an effective starting pitcher at the MLB level; Lasorda used Pedro Martínez almost exclusively as a relief pitcher. Lasorda was not the first to question Martínez's stature and durability; in the minor leagues, the then-135-pound pitcher was threatened with a $500 fine if he was caught running. Martínez turned in a strong 1993 season as the Dodgers' setup man, going 10–5 with a 2.61 ERA and 119 strikeouts, in 65 games; his 107 innings led all NL relievers. With the Dodgers in need of a second baseman after a contract dispute with Jody Reed, Martínez was traded to the Montreal Expos for Delino DeShields before the 1994 season.


title: Pedro Martínez

text: It was with the Expos that Martínez developed into one of the top pitchers in baseball. Despite possessing a live fastball, he had difficulty maintaining control. It was during a bullpen session that manager Felipe Alou encouraged him to modify his primary grip on the fastball from two-seam to four-seam. The transformation was dramatic: the fastball − already among the fastest in the game − now was thrown with near-impeccable control and break that routinely overwhelmed hitters. On April 13, 1994, Martínez took a perfect game through innings until throwing a brushback pitch at Reggie Sanders that led Sanders to immediately charge the mound, starting a bench-clearing brawl. Martínez ended up with a no-decision in the game, which the Expos eventually won 3–2.


title: Pedro Martínez

text: On June 3, 1995, Martínez pitched nine perfect innings in a game against the San Diego Padres, before giving up a hit in the bottom of the 10th inning. He was immediately removed from the game, and was the winning pitcher in Montreal's 1–0 victory. [See "Memorable Games"]


title: Pedro Martínez

text: In 1996, during a game against the Philadelphia Phillies, Mike Williams attempted to hit Martínez with retaliatory pitches for an earlier hit batter but failed with two consecutive attempts. After the second attempt, Martínez charged the mound, and started a bench-clearing fight.


title: Pedro Martínez

text: In 1997, Martínez posted a 17–8 record for the Expos, and led the league in half a dozen pitching categories, including a 1.90 ERA, 305 strikeouts and 13 complete games pitched, while becoming the only Expo ever to win the National League Cy Young Award. The 13 complete games were tied for the second-highest single-season total in the modern era of baseball since Martínez's career began (Curt Schilling had 15 in 1998; Chuck Finley and Jack McDowell also reached 13 in a year). However, this 1997 total is by far the highest in Martínez's career, as he only completed more than five games in one other season (seven, in 2000). Martínez was the first right-handed pitcher to reach 300 strikeouts with an ERA under 2.00 since Walter Johnson in 1912.


title: Pedro Martínez

text: Approaching free agency, Martínez was traded to the Boston Red Sox in November 1997 for Carl Pavano and Tony Armas Jr., and was soon signed to a six-year, $75 million contract (with an option for a seventh at $17 million) by Red Sox general manager Dan Duquette, at the time the largest ever awarded to a pitcher. Martínez paid immediate dividends in 1998, with a 19–7 record, and finishing second in the American League in ERA, WHIP, strikeouts, and the Cy Young voting.


title: Pedro Martínez

text: In 1999, Martínez finished 23–4 with a 2.07 ERA and 313 strikeouts (earning the pitching Triple Crown) in 31 games (29 starts), pitching innings. He led the entire major leagues with K/9 and K/BB ratios of 13.20 and 8.46 and his Fielding Independent Pitching (FIP) (a defense independent pitching statistic measuring a pitchers effectiveness to limit walks, homers and hits and accumulate strikeouts) of 1.39 was the lowest in modern major league history and the third lowest in history behind Christy Mathewson in 1908 and Walter Johnson in 1910 (by comparison the next best FIP in baseball was Randy Johnson's 2.76 and no one else in the American League had an FIP below 3.25). unanimously winning his second Cy Young Award (this time in the American League), and coming in second in the Most Valuable Player (MVP) ballot. The MVP result was controversial, as Martínez received the most first-place votes of any player (8 of 28), but was omitted from the ballot of two sportswriters, New York's George King and Minneapolis' LaVelle Neal. The two writers argued that pitchers were not sufficiently all-around players to be considered. (However, George King had given MVP votes to two pitchers just the season before: Rick Helling and David Wells; King was the only writer to cast a vote for Helling, who had gone 20–7 with a 4.41 ERA and 164 strikeouts.) MVP ballots have ten ranked slots, and sportswriters are traditionally asked to recuse themselves if they feel they cannot vote for a pitcher. "It really made us all look very dumb", said Buster Olney, then a sportswriter for "The New York Times". "People were operating under different rules. The question of eligibility is a very basic thing. People were determining eligibility for themselves." "The Times" does not permit its writers to participate in award voting. Martínez finished second to Texas Rangers catcher Iván Rodríguez, by a margin of 252 points to 239. Rodríguez had been included on all 28 ballots. When asked about the result by WEEI-FM radio in January 2012, Martínez said, "I'm not afraid to say that the way that George King and Mr. LaVelle Neal III went about it was unprofessional."


title: Pedro Martínez

text: In 1999, Martínez became just the 9th modern pitcher to have a second 300-strikeout season, along with Nolan Ryan (6 times), Randy Johnson (third time in 1999, and three more times since), Sandy Koufax (3 times), Rube Waddell, Walter Johnson, Sam McDowell, J. R. Richard, Steve Carlton, and Curt Schilling; Schilling would later add a third 300-K season. An anomaly in power pitching annals, Martínez is the only 20th-century pitcher to notch 300 strikeouts in a season without being at least six feet tall. He was not afraid to pitch inside. On May 1, 1999, against Oakland, he came inside to Olmedo Saenz, hitting him. Previously, Saenez had hit a three-run homer off him. Questioned after the game he said ``I have no reason to hit [Saenz], But believe me ... if you get fresh with me or do something to show me up, I'll drill your ass."


title: Pedro Martínez

text: Between August 1999 and April 2000, Martínez had ten consecutive starts with 10 or more strikeouts. Only three pitchers have had as many as seven such starts in a row, and one of those was Martínez himself, in April–May 1999. He averaged more than 15 strikeouts per nine innings during his record 10-game streak. During the 1999 season, he set the record for most consecutive innings pitched with a strikeout, with 40. For his career, Martínez has compiled 15 or more strikeouts in a game ten times, which is tied with Roger Clemens for the third-most 15-K games in history. (Nolan Ryan had 27, and Randy Johnson had 29.)


title: Pedro Martínez

text: Martínez was named the AL Pitcher of the Month in April, May, June and September 1999—four times in a single season. Martínez punctuated his dominance in the 1999 All-Star Game start at Fenway Park, when he struck out Barry Larkin, Larry Walker, Sammy Sosa, Mark McGwire and Jeff Bagwell in two innings. It was the first time any pitcher struck out the side to start an All-Star Game, and the performance earned Martínez the All-Star Game MVP award. Martínez later said that the 1999 All-Star break was especially memorable for him because he was able to meet the members of the MLB All-Century Team and get an autograph from Ted Williams.


title: Pedro Martínez

text: Martínez was a focal point of the 1999 playoffs against the Cleveland Indians. Starting the series opener, he was forced out of the game after four shutout innings due to a strained back with the Red Sox up 2–0. The Red Sox, however, lost the game 3–2. Boston won the next two games to tie the series, but Martínez was still too injured to start the fifth and final game. However, neither team's starters were effective, and the game became a slugfest, tied at 8–8 at the end of three innings. Martínez entered the game as an emergency relief option. Unexpectedly, Martínez neutralized the Cleveland lineup with six no-hit innings for the win. He struck out eight and walked three, despite not being able to throw either his fastball or changeup with any command. Relying totally on his curve, Martínez and the Red Sox won the deciding game 12–8.


title: Pedro Martínez

text: In the American League Championship Series, Martínez pitched seven shutout innings to beat Red Sox nemesis Roger Clemens and the New York Yankees in Game 3, handing the World Champions their only loss of the 1999 postseason.


title: Pedro Martínez

text: Following up 1999, Martínez had perhaps his best year in 2000. Martínez posted an exceptional 1.74 ERA, the AL's lowest since 1978, while winning his third Cy Young Award. His ERA was about a third of the park-adjusted league ERA (4.97). No other single season by a starting pitcher has had such a large differential. Roger Clemens' 3.70 was the second-lowest ERA in the AL, but was still more than double that of Martínez. Martínez also set a record in the lesser-known sabermetric statistic of Weighted Runs allowed per nine innings pitched (Wtd. RA/9), posting a remarkably low 1.55 Wtd. RA/9. He gave up only 128 hits in 217 innings, for an average of just 5.31 hits allowed per nine innings pitched: the third-lowest mark on record.


title: Pedro Martínez

text: Martínez's record was 18–6, but could have been even better. In his six losses, Martínez had 60 strikeouts, eight walks, and 30 hits allowed in 48 innings, with a 2.44 ERA and an 0.79 WHIP, while averaging eight innings per start. Martínez's ERA in his losing games was less than the leading ERA total in the lower-scoring National League (Kevin Brown's 2.58). The Yankees' Andy Pettitte outdueled Martínez twice; Martínez's other four losses were each by one run. Martínez's first loss of the year was a 1–0 complete game in which he had 17 strikeouts and one walk. All of Martínez's losses were quality starts, and he pitched eight or more innings in all but one of his losses. Martínez received two runs or fewer of run support in 10 of his starts (over one-third of his starts), in which his ERA was a minuscule 1.25 with 4 complete games and 2 shutouts, but his win–loss record was 4–5.


title: Pedro Martínez

text: Martínez's WHIP in 2000 was 0.74, breaking both the 87-year-old modern Major League record set by Walter Johnson, as well as Guy Hecker's mark of 0.77 in 1882. The American League slugged just .259 against him. Hitters also had a .167 batting average and .213 on-base percentage, setting two more modern era records. In the 2000 season, Martínez became the first starting pitcher in MLB history to have more than twice as many strikeouts in a season (284) as hits allowed (128) (later, also accomplished by Randy Johnson in 2001 with 372 strikeouts and 181 hits as well as Max Scherzer in 2017, and both Gerrit Cole and Justin Verlander in 2019). Martínez also set an American League record in K/BB, with a ratio of 8.88, surpassing the previous record set by Martínez in 1999 of 8.46.


title: Pedro Martínez

text: When opposing teams had runners in scoring position, however, Martínez was even stingier. There were 138 such plate appearances against Martínez in 2000, in which opponents batted .133 with a .188 on-base percentage. Martínez struck out 58 while walking six, and allowed 17 hits.


title: Pedro Martínez

text: On May 6 of that 2000 season, Martínez struck out 17 Tampa Bay Devil Rays in a 1–0 loss. In his next start six days later, he struck out 15 Baltimore Orioles in a 9–0, two-hit victory. The 32 strikeouts tied Luis Tiant's 32-year American League record for most strikeouts over two games.


title: Pedro Martínez

text: In the span of 1999 and 2000, Martínez allowed 288 hits and 69 walks in 430 innings, with 597 strikeouts, an 0.83 WHIP, and a 1.90 ERA. Some statisticians believe that in the circumstances—with lefty-friendly Fenway Park as his home field, in a league with a designated hitter, during the peak era of steroid usage in the MLB—this performance represents the peak for any pitcher in baseball history.


title: Pedro Martínez

text: Though he continued his dominance when healthy, carrying a sub-2.00 ERA to the midpoint of the following season, Martínez spent much of 2001 on the disabled list with a rotator cuff injury as the Red Sox slumped to a poor finish. Martínez finished with a 7–3 record, a 2.39 ERA, and 163 strikeouts, but only threw 116 innings.


title: Pedro Martínez

text: Healthy in 2002, he rebounded to lead the league with a 2.26 ERA, 0.923 WHIP and 239 strikeouts, while going 20–4. However, that season's American League Cy Young Award narrowly went to 23-game winner Barry Zito of the Oakland A's, despite Zito's higher ERA, higher WHIP, fewer strikeouts, and lower winning percentage. Martínez became the first pitcher since the introduction of the Cy Young Award to lead his league in each of those four statistics, yet not win the award.


title: Pedro Martínez

text: Martínez's record was 14–4 in 2003. He led the league in ERA for the fifth time with 2.22, also led in WHIP for the fifth time at 1.04, and finished second to league leader Esteban Loaiza by a single strikeout. Martínez came in third for the 2003 Cy Young Award, which went to Toronto's Roy Halladay.


title: Pedro Martínez

text: Martínez went 16–9 in 2004, despite an uncharacteristic 3.90 ERA, as the Red Sox won the American League wild-card berth. He pitched effectively in the playoffs, contributing to the team's first World Series win in 86 years. He earned the win in game 2 of the ALDS against Anaheim, in the ALCS he recorded his only loss of the postseason as well as a no-decision. In game 3 of the World Series he carried a shutout into the 8th inning and retired the last fourteen batters he faced. Martínez again finished second in AL strikeouts, and was fourth in that winter's Cy Young voting.


title: Pedro Martínez

text: The seven-year contract he received from the Red Sox had been considered a huge risk in the 1997 off-season, but Martínez had rewarded the team's hopes with two Cy Young Awards, and six Top-4 finishes. Martínez finished his Red Sox career with a 117–37 record, the highest winning percentage any pitcher has had with any team in baseball history.


title: Pedro Martínez

text: After Boston's World Series triumph in 2004, Martínez became a free agent and signed a four-year, $53 million contract with the New York Mets. In 2005, his first season as a Met, Martínez posted a 15–8 record with a 2.82 ERA, 208 strikeouts, and a league-leading 0.95 WHIP. It was his sixth league WHIP title, and the fifth time that he led the Major Leagues in the category. Opponents batted .204 against him.


title: Pedro Martínez

text: Martínez started the 2006 season at the top of his game. At the end of May, he was 5–1 with a 2.50 ERA, with 88 strikeouts and 17 walks and 44 hits allowed in 76 innings; Martínez's record was worse than it could have been, with the Mets bullpen costing him two victories. However, during his May 26 start against the Florida Marlins, Martínez was instructed by the umpires to change his undershirt. He slipped in the corridor, injuring his hip, and his promising season curdled. The effect was not immediately apparent; although Martínez lost the Marlins game, his following start was a scintillating 0–0 duel with Arizona's Brandon Webb. But after that, beginning on June 6, Martínez went 4–7 with a 7.10 ERA in a series of spotty starts interrupted twice by stays on the disabled list. A right calf injury plagued him for the last two months of the season. After Martínez was removed from an ineffective September 15 outing, television cameras found him in the Mets dugout, apparently crying. Subsequent MRI exams revealed a torn muscle in Martínez's left calf, and a torn rotator cuff. Martínez underwent surgery which sidelined him for most of the 2007 season.


title: Pedro Martínez

text: On November 3, 2006, Martínez stated that if he could not return to full strength, he might end up retiring after the 2007 season. "It's getting better, and progress is above all what is hoped for", Martínez told the Associated Press. "To go back, I have to recover, I have to be healthy. But if God doesn't want that, then I would have to think about giving it all up." Martínez added, "It's going to be a bitter winter because I am going to have to do a lot of work. The pain I feel was one of the worst I have felt with any injury in my career." But by December 30, 2006, Martínez was more optimistic: "The progress has been excellent. I don't have problems anymore with my reach or flexibility, and so far everything is going very well. The problem has to do with the calcification of the bone that was broken with the tear, and that had to be operated on. You have to let it run its course." Martínez also reported bulking up as part of his recuperative regimen: "I've put on about 10 pounds of muscle, because that's one of our strategies."


title: Pedro Martínez

text: On September 3, 2007, Martínez returned from the disabled list with his 207th career win, allowing two earned runs in five efficient innings and collecting his 3000th career strikeout, becoming the 15th pitcher to do so. "I thought I was going to have butterflies and like that", said Martínez, "but I guess I'm too old." Martínez's comeback was considered a great success, as the right-hander went 3–1 in five starts with a 2.57 ERA. But his last start was a crucial 3–0 loss to St. Louis in the final week of the 2007 Mets' historic collapse; Martínez provided a good pitching performance (7 IP, 2 ER, 7 H, 1 BB, 8 K) but his teammates failed to score.


title: Pedro Martínez

text: Martínez became just the fourth pitcher to reach 3,000 strikeouts with fewer than 1,000 walks (in Martínez's case, 701). Ferguson Jenkins, Greg Maddux and Curt Schilling had previously done likewise. Martínez also joined Nolan Ryan and Randy Johnson to become the third 3,000-strikeout pitcher to have more strikeouts than innings pitched, and is also the first Latin American pitcher to have 3,000 strikeouts.


title: Pedro Martínez

text: His unexpectedly strong finish in 2007 raised hopes, but 2008 was a lost season for Martínez. He was injured just four innings into his first game of the season, an April 1 no-decision against the Florida Marlins. He later told reporters he'd felt a "pop" in his left leg. Martínez was diagnosed with a strained hamstring and did not return to action for more than two months. Following his return, his fastball typically topped out in the 90–91 mph range, a lower velocity than he'd had during his prime but slightly higher than in recent seasons. Martínez finished the season on a low note, losing all three of his decisions in September en route to a 5–6 record, the first losing record of his career. (Martínez was 0–1 in two appearances in 1992.) His 5.61 ERA and 1.57 WHIP were also Martínez's worst ever, and for the first time in his career, he failed to strike out at least twice as many batters as he walked (87–44).


title: Pedro Martínez

text: A free agent, Martínez did not sign with a major league team during the winter. In March, he joined the Dominican Republic's squad for the 2009 World Baseball Classic, in an attempt to showcase his arm. Martínez pitched six scoreless innings with 6 strikeouts and no walks, but the team was quickly eliminated from the tournament and no MLB contract was forthcoming. In July 2009, Phillies scouts evaluated Martínez in two simulated games against the Phillies DSL team, leading to a one-year, $1-million contract. Martínez told reporters, "I would just like to be the backup. If I could be the backup, that would be a great thing to have—a healthy Pedro behind everybody else, in case something happens. That would be a great feeling to have on a team, eh?"


title: Pedro Martínez

text: Replacing Jamie Moyer as a starter in the Phillies rotation on August 12, Martínez won his 2009 debut. In his return to New York on August 23, Martínez's win against the Mets was preserved by a rare unassisted triple play by second baseman Eric Bruntlett in the bottom of the ninth inning. With his win on September 3—his third as a Philadelphia Phillie and his 100th as a National Leaguer—Martínez became the 10th pitcher in history to win at least 100 games in each league. On September 13, Martínez pitched eight innings to beat the Mets again, by a final score of 1–0. His 130 pitches were the most he had thrown in a game since the ALDS in October 2003. Philadelphia won each of Martínez's first seven starts, the first time in franchise history that this had occurred with any debuting Phillies pitcher. In the NLCS against the Los Angeles Dodgers, he pitched seven shutout innings while allowing just two hits, but the Philadelphia bullpen faltered in the following inning, costing Martínez the win.


title: Pedro Martínez

text: Intense media interest preceded Martínez's "return to Yankee Stadium" in Game 2 of the World Series. At the pre-game press conference, he seemed to relish the attention, telling reporters, "When you have 60,000 people chanting your name, waiting for you to throw the ball, you have to consider yourself someone special, someone that really has a purpose out there." Martínez pitched effectively in his second-ever World Series start, but left the game in the 7th inning trailing, 2–1, and wound up taking the loss. Before his second start of the Series, Martínez called himself and opposing pitcher Andy Pettitte "old goats", and acknowledged that Red Sox fans were rooting for him: "I know that they don't like the Yankees to win, not even in Nintendo games." However, Martínez allowed four runs in four innings, falling to 0–2 as the Phillies lost the sixth game and the 2009 World Series to the New York Yankees.


title: Pedro Martínez

text: Following the Series, Martínez announced that he had no intention of retiring, but the 2010 season came and went without his signing with a team. Media reports surfaced that the Phillies had been discussing a deal to bring Martínez back for another half-season, but Martínez's agent announced in July that he would not be pitching at all in 2010, while remaining interested in a 2011 return. In December 2010, Martínez told a reporter for "El Día" "I'm realizing what it is to be a normal person. ... It's most likely that I don't return to active baseball ... but honestly I don't know if I'll definitively announce my retirement." The pitcher received some initial inquiries during the winter, but did not sign with any team for 2011. On December 4, 2011, he officially announced his retirement.