title: MV Agusta

text: Motorcycles MV Agusta became more advanced, with modern electrical equipment and improved suspensions. At the same time MV Agusta kept the look of its motorcycles almost unchanged. Meanwhile, the 1960s became a turning point in motorcycle design world, and other Italian companies set new design excellence standards not supported by MV Agusta with its motorcycles' look "from the 1950s". The first significant design improvement became only in 1970, however it was not well accepted by customers and the second change became in 1971. The changes included elongated gas tanks, front forks without covers, low handlebars, saddles with a "hump".


title: MV Agusta

text: The new MV Agusta 125 Sport entered the market in 1974. Now, the design was one step ahead! The straightened lines that were just coming into fashion reflected the trend set a year earlier by the prototype MV Agusta 350 Ipotesi. Even the fins and the crankcase got square-shape. Some of the motorcycles were equipped with a Grand Prix type fairing. Technical advantages included fully enclosed, fully tubular duplex frame, front disc brake and electronic ignition system.


title: MV Agusta

text: Alas, it was the last development of one- and two-cylinder motorcycles. The heirs of Domenico Agusta did not have passion to the motorcycle business and it declined soon. The last MV motorcycle manufactured in the company's old factory was 125 Sport in 1977.


title: MV Agusta

text: Count Agusta had plans to expand the MV Agusta brand internationally. In post-Civil War Spain, the Franco regime banned the import of motorcycles and also forbade foreign nationals from settling in Spain, or starting a business there. Brothers Mario and Natale Corando and financiers Enrique Favier and Antonio Sommariva wanted to set up manufacture of MV machines under licence by a local factory, which had licenses and manufacturing permits and therefore had access to raw materials. A deal was struck with Nilo Masó of Alpha in Barcelona and MV Alpha was formed in 1948.


title: MV Agusta

text: Sales were good, but because of the limited facilities of Alpha, production could not be increased. The licence to produce MV motorcycles was transferred to the larger and better equipped Avello factory in the Natahoyo neighbourhood of Gijón in Asturias in 1951, creating the MV Avello brand. Production in Spain continued until 1972.


title: MV Agusta

text: Inline 4-cylinder engines have been a modern characteristic feature of MV Agusta. For the first time this type of engine designed by Pierro Remor was used in the 1950 Grand Prix season. In the mid-1960s, when the demand for large engine capacity motorcycles grew, there was born an idea to apply it on a road bike (the first prototype MV Agusta 500 Grand Turismo R19 was built in 1951). It was rumored that preventing any competition Count Agusta ordered to build the road vehicle with no possibility of converting it into a racing one. Therefore, the MV Agusta 600 debuted at the Milan Trade Fair in 1965 was deliberately distinguished by the massive parts of the 592-cc engine, final shaft drive and weighed 221 kg. It became the world's first production motorcycle with a transverse 4-cylinder engine. Firms such as Henderson had produced motorcycles with longitudinal inline 4 engines since 1912.


title: MV Agusta

text: It was followed by models with engines with a displacement of 743, 790, 837 and 862 cm³, including the legendary 750 Sport and 750 Sport America. Even when the company canceled motorcycle production in 1977, Arturo Magni was authorized to produce and sell motorcycles under the MV Agusta brand on its own. The most advanced model, the 1978 Grand Prix 1100, developed 119 hp, weighed only 202 kg and accelerated from 0–100 km/h in 3.9 sec.


title: MV Agusta

text: The history of the 750 S America model began when Chris Garville and Jim Cotherman of Commerce Overseas Corporation, the US MV importers, got the idea that with a few modifications, the MV 750 S had great potential in the United States. In the autumn of 1974, they travelled to Italy to discuss these upgrades which were rather well received by Cascina Costa. Result-oriented, the two American businessmen called for an improved design and performance ("style and speed") and announced that they could sell hundreds of this new machine.


title: MV Agusta

text: In terms of style, the 750 Sport America features a sporty look reminiscent of a "Luxury Café Racer". It was equipped with a 19-litre fuel tank, a small racing mudguard, a single-seater covered in black alcantara fabric and four exhausts. In terms of performance, the engine's displacement was increased to 790 cc and is now powered by four 26 mm Dell'Orto concentric-shaft carburettors (smaller than those of the 750 S, they have the added advantage of remaining stable on bumpy roads). The buyer could either choose four chrome-plated megaphones or else, exhausts with a matt black finish producing a more acceptable noise level.


title: MV Agusta

text: With a compression ratio of 9.5:1, the four-cylinder produced 75 hp and could take the 750 America to nearly 210 km/h at 8,500 rpm. The America was equipped with a 38 mm Ceriani front fork and a double disc at the front similar to that of the last 750 S.


title: MV Agusta

text: However, the dealers' hopes did not materialize: there were few customers ready to pay $6,500 for 750 Sport America (for comparison, the Honda CB750 cost $2,190) and only 540 units were produced.


title: MV Agusta

text: MV Agusta 350 S Ipotesi was an example of a car designer's experience in a motorcycle world. It was in production for only two years, and 1,991 units were made. But this happened most probably due to the change of business focuses of the company after Count Domenico Agusta's death. Anyway the design of the MV Agusta 350 S has become decisive in the industry for the next 15 years. While almost all motorcycle designers were focused on round shapes, MV Agusta presented at 1973 Milan Motorcycle Show a prototype 350 Ipotesi that was characterised by horizontal lines and sharp angles. It was designed by Giorgetto Giugiaro, founder of Italdesign. The bike used cast alloy wheels and triple disc brakes which were a significant innovation for that time.


title: MV Agusta

text: Two years later this model named 350 S went into production. It kept even the squared external cases of the engine, despite the fact that the basic motor internals were identical to the previous 350 twin model. Output was increased from 27 hp at 7800 rpm to 34 hp at 8500 rpm claimed.


title: MV Agusta

text: MV Agusta is famous by its experiments and expands of the range. In 1949, the company launched production of scooters. From 1955 till 1969, MV produced mopeds. In 1975, the company presented the Mini Moto 4 V that looked like MV racing bikes (including even four exhausts and "Grand Prix" front fairing) but it had a 50-cc engine with 1.5 hp only.


title: MV Agusta

text: The two seater car Vetturetta 350 (English: microcar), presented in 1953, was designed by Pierro Remor to demonstrate the potential of the young company. Of course it has never been brought to market. Now it's part of a motoring exhibition at the MV Agusta Museum.


title: MV Agusta

text: The first production three-wheeled delivery truck (Italian: motocarro) appeared in 1947 and had the same 98-cc single-cylinder two-stroke engine as that used in MV 98. It was an odd-looking vehicle with a wooden front-loading bed and a steering wheel. In 1948, several commercial MVs came with a 125-cc two-stroke single-cylinder engine with a three-speed gearbox. In 1949, this engine was replaced with the new four-speed 125 cc.


title: MV Agusta

text: The second edition of the MV Agusta's commercial three-wheeler – the 175 Motocarro – was presented in 1954. There were several advancements compared to the 98. The steering wheel was replaced by a handlebar. The engine was a 172.3-cc four-stroke derived from the 175 CST (1954) with a single overhead cam. The load bay was at the rear and was made of metal. The wheels were much larger in diameter (17") and the load capacity was of 350 kg.


title: MV Agusta

text: In 1958, the company unveiled the 150 Centauro RF model. It was the third ‘transport’ vehicle from MV Agusta, and the first with a cab. The 150 cc four-stroke engine was based on the 125 cc unit found in the Turismo Rapido (1954), though this also got a cooling fan. All that yielded 7 hp through a four-speed (plus reverse) gearbox, good for a top speed of about 60 km/h. In 1961, the 150 Centauro RF was replaced by the modernized 150 Centauro RBF with an engine that was derived from the 150 Centomila.


title: MV Agusta

text: There was the "big brother" of the Centauro which was called the Trasporto Tevere (TT) with the load capacity increased from 350 to 520 kg. The engine was a 235 cc four-stroke with 10 hp and a forced cooling. Further versions were the "MV TTB" (1961) and the "MV TTC" (1965).


title: MV Agusta

text: However, the real car appeared in the MV Agusta's range in 1956. The 1100 / D2 model was powered by a 1,079 cc twin-cylinder diesel with a four-speed gearbox. Producing 27 hp, it was able to carry a ton. It was offered as a pick-up truck, a delivery van and a pure chassis. The latest modification was the 1101 / D2L with a load capacity of 1200 kg.


title: MV Agusta

text: MV Agusta also created a single-passenger hovercraft with a 300 cc two-stroke twin (1959), a compact tractor 185 Trattore (1962) and a tracked articulated, all-terrain carrier created by request of  the Italian Ministry of Defense (1969).


title: MV Agusta

text: With the death of Count Domenico Agusta in 1971, the company lost its guiding force. The company won their last Grand Prix in 1976 and by the end of the season they were out of racing.


title: MV Agusta

text: The company's precarious economic position forced MV Agusta to seek out a new financial partner. A solution was found in the form of public financing giant EFIM ("Ente Partecipazioni e Finanziamento Industria Manifatturiera"), which demanded that MV Agusta exit the motorcycle industry if were to have any chance of straightening its finances. However, they continued to sell bikes until 1980, when the last machine in the Cascina Costa warehouses was bought up.


title: MV Agusta

text: The MV Agusta brand survived thanks to Castiglioni family. In 1960 Italian industrial entrepreneur Giovanni Castiglioni founded a metal fittings plant to produce buttons and rivets for jeans, locks and loops for suitcases, and similar fittings. This business was successful and soon two of Giovanni's sons – Gianfranco and Claudio – joined the company. They both had a passion for motorcycles, probably caused by the proximity of Aermacchi (the European subsidiary of AMF-Harley-Davidson since 1960) factory in Varese. At the end of 1976, when MV announced its withdrawal from motorcycle racing, Castiglioni brothers tried to buy the MV racing team, but Corrado Agusta did not approve the deal. Then Castiglioni bought a Suzuki RG500, painted it in traditional MV Agusta colours – red and silver – and provided it to the racers Gianfranco Bonera and Marco Lucchinelli in the 1978 racing season. In the same year, they bought the Aermacchi factory in Varese and renaming it Cagiva (CAstiglioni + GIovanni + VArese). Brothers were focused on more on racing rather than on serial production and they launched the new project Cagiva GP500 lead by Ezio Mascheroni, former head of the AMF-Harley-Davidson racing division.


title: MV Agusta

text: Soon Cagiva became the largest Italian motorcycle manufacturer with annual production of 40,000 units. Things move slowly in Italy and, in the spring of 1992, the Castiglioni family finally managed to acquire MV Agusta. At the time, the Castiglionis owned Cagiva, Ducati, Moto Morini and Husqvarna, and operated out of the old Harley-Davidson Aermacchi premises at Schiranna on the shores of Lake Varese.


title: MV Agusta

text: Massimo Tamburini ran Cagiva's design department, CRC (that time this abbreviation stood for "Cagiva Research Centre"), in San Marino. Tamburini came to Cagiva from Bimota (the ‘Ta’ in Bimota), and by late 1992 was in the final stages of finishing the Ducati 916. But after the 916 was finished, Tamburini was ill with a stomach tumour and it wasn't until 1995 that he could embark on the next production bike project: the four-cylinder F4.


title: MV Agusta

text: The first prototype was completed on the eve of the 1997 Trade Fair in Milan and exhibited to the press for the first time on September 16 of that year. But this presentation became a big surprise because this bike bore the MV Agusta logo.


title: MV Agusta

text: The genesis for a new four-cylinder motorcycle went back to September, 1989 when Claudio Castiglioni and Tamburini discussed creating a high-performance 750cc four-cylinder all-Italian motorcycle.


title: MV Agusta

text: As CRC was heavily involved in Cagiva's 500cc Grand Prix racing program, resources to develop the F4 were limited so Ferrari Engineering in Modena was engaged to develop the prototype. The four-cylinder engine was initially similar to half a Ferrari V8. The choice of radial valves was also Ferrari Formula 1-inspired.


title: MV Agusta

text: Engine development was problematic and in 1991 the F4 project was moved to the Ducati factory at Borgo Panigale in Bologna. Here two of Ducati's most eminent engineers, Massimo Bordi and Fabio Taglioni were engaged to help facilitate development.


title: MV Agusta

text: By 1994 the Cagiva Group was under considerable financial pressure and, at the end of the year, the Cagiva Racing Department closed. Department head Riccardo Rosa then assumed control of the F4 project, which moved back to Schrianna. Andrea Goggi, an engineer with Cagiva since 1988, was entrusted with redesigning the engine.


title: MV Agusta

text: Massimo Tamburini was given the task of finalising the chassis and styling. By now it was decided the F4 would be an MV Agusta and Tamburini was given a blank sheet of paper with the freedom to design what he wanted. When Cagiva sold Ducati to the Texas Pacific Group in 1996, Tamburini elected to stay with Cagiva, citing as his reason, "Cagiva is my family".


title: MV Agusta

text: The F4 was equipped with an inline four cylinder 749.5 cc engine with radial valves. It produced 126 hp at 12,500 rpm and 72 Nm at 10,500 rpm. The maximum speed was 275 km/h. But probably the most unique feature was the design: the F4 was even exhibited in the Guggenheim Museum in New York during the Art of the Motorcycle exhibition from June 26 to September 20, 1998. The exhibit list included 95 of the most outstanding motorcycles of all ages. And four of them are MV Agusta brands. The fifties and sixties of the 20th century were represented by two grand prix 500 cc prototypes of the MV Agusta (1956 and 1968 seasons), the first half of the 1970s – by the MV Agusta 750 S (1973), and the late 1990s – the MV Agusta F4 750 (1998). The success of the exhibition was so significant that the museum repeated it twice more: in its branches in Bilbao and Las Vegas.


title: MV Agusta

text: The subsequent process of industrialisation was divided into two distinct stages: the first with production of a limited run of 300 F4 Serie Oro (English: Gold Series) bikes, with carbon fibre bodywork, magnesium parts and an engine with sand cast crankcases anticipating the construction of the S model, destined for a broader range of users thanks to its price, cut by half over that of the previous version.


title: MV Agusta

text: With just minor improvements the F4 750 was in production until 2004, when it was replaced by the F4 1000. At the same time, in addition to the regular versions of the 750 cc sports bike (S, S 1 + 1, S EVO2 and S EVO3), number of special editions were also produced: 140 hp Senna in 2002 (in memory of the legendary Brazilian racer Ayrton Senna) and 146 hp SPR / SR in 2003 (with improved cylinder head, intake and exhaust). Each special edition was limited by 300 units.


title: MV Agusta

text: In December 2004, in spite of the fact that MV Agusta became the main brand of Cagiva group, due to cashflow problems Claudio Castiglioni was forced to sell a bigger part of his stake in MV Agusta (65% of the share capital) to Malaysian car maker Proton for 70 million euros. One year later Proton sold its shares to the Italian financial holding GEVI S.p.A. for 1 euro only.


title: MV Agusta

text: In the meantime, Castiglioni obtained from the North American financier Oliver Curme, a general partner with Battery Ventures, who owned the Norton brand, license for production of a new generation of Norton motorcycles (designed by Tamburini) in Italy. However the deal was not approved by GEVI S.p.A. which proceed with another deal and sold Husqvarna to BMW Motorrad in July 2007.


title: MV Agusta

text: Being disappointed by these decisions, Castiglioni found a new opportunity for MV Agusta: on July 11, 2008, Harley-Davidson announced they had signed a definitive agreement to acquire the MV Agusta Group for 109 million US dollars (about 70 million euros), completing the acquisition on August 8, 2008. Castiglioni remained its president. Harley-Davidson invested 40 million euros into debts pay-off, production upgrade and the new model launches – a completely new three-cylinder F3 designed by the Ezio Mascheroni (who developed also Cagiva GP500 in the past).


title: MV Agusta

text: However due to its own problems Harley-Davidson decided to sell MV Agusta in October 2009. On August 6, 2010, Castiglioni family repurchased the new MV Agusta company, financially healthy and seriously refreshed, for just 1 euro. At EICMA 2010, MV Agusta unveiled the next generation of the extreme F4 sports bike with the new Corsa Corta engine with a capacity of 998 cc and 201 hp. It was the first new four-cylinder engine MV Agusta since 2005. At the same time, the Brutale naked line was updated, getting new model names 990 R (998 cc, 139 hp) and 1090 R (1078 cc, 142 hp). As a result, sales were increased for 50% in Q1 2010 and by the end of the year they achieved 3650 units.


title: MV Agusta

text: However, on August 17, 2011, after a long illness at the age of 64, died. Giovanni Castiglioni, the son of Claudio, became the head of the company, and Massimo Bordi, who returned to the motorcycle industry, became vice-president.


title: MV Agusta

text: "F3 is our future," – Claudio Castiglioni said at the presentation of the three-cylinder F3 model – in fact, he shared the company strategy for the coming years. Production of the "supersport" F3 675 and its naked version Brutale 675 began at the Varese factory in 2012. A year later they were supplemented by 798 cc F3 800 and also by Rivale 800 hypermotard. Then the range of three-cylinder models was expanded with Brutale 800 and the Brutale 800 Dragster, as well as the Turismo Veloce 800 and Stradale 800 sport tourers.


title: MV Agusta

text: During the next years MV Agusta demonstrated significant sales growth:  3,687 units in 2011 (+1% vs prior year), 6557 in 2012 (+70%), 7488 in 2013 (+14%), 9200 in 2014 (+23%). However the company was not able to manage such explosive growth situation from processes and financials side and finally MV Agusta increased its debt again. In addition to this MV experienced its traditional problems with dealer network and spare parts delivery. Therefore, the announced partnership with Mercedes-AMG looked like a good deal for MV Agusta .


title: MV Agusta

text: The motivation of Mercedes-AMG acquisition of 25% of MV (rumored for 30 millions euros of injections into the company plus support in sales & marketing operations) remains unclear. But this followed similar acquisition strategy by rival Ducati, now in partnership with Audi. Anyway this deal helped MV Agusta with getting back lenders' confidence and in February 2015, Banca Popolare di Milano (BPM) with the guarantees of the Italian export credit agency SACE loaned to MV Agusta 15 million euros to implement a new business plan. In addition, suppliers opened a new €25 million credit line for MV.


title: MV Agusta

text: According to the press Giovani Castiglioni expected more investments from Mercedes-AMG which didn't hurry with it. To the beginning of 2016, Mercedes-AMG became ready to sell non-core asset with debts of over 40 million euros. However, taking into account the clause in the loan agreement with BPM that allows the bank to demand early repayment of debt, if Mercedes-AMG participation in the authorized capital of MV Agusta falls below 20%, the situation became difficult. Due to debts grow, suppliers began to refuse massively shipments of the components. Finally MV Agusta was forced to call for a judge protection to avoid bankruptcy.


title: MV Agusta

text: In March 2016, municipal court of Varese approved the protective act ""Concordato di continuità"" (English: sequence agreement), putting a moratorium on creditors' requirements for the period of a new investor search. MV Agusta from its side was obliged to reduce production from 9,000 motorcycles per year to 6,000-7,000, to reduce R&D costs from 15 million euros to 7 million, to reduce expenses for the racing division Reparto Corse from 4 million euros to 600 thousand. In addition MV had to fire at least 200 employees. This was followed in early April by reports that MV was negotiating the repurchase of AMG's 25% stake in the company and looking for a new major investor, whilst retaining the majority shareholding of the Castiglioni family. Even of greater concern, were reports that MV were not delivering any spare parts and that the factory might have ceased production. However, the final debt restructuring plan was approved by the court only in December 2017 when a new investor came.


title: MV Agusta

text: In November 2016, Giovanni Castiglioni and the UK-Russian fund COMSAR Invest (part of the Black Ocean Group, managed by the Sardarov family) agreed to conclude an investment agreement. The new debt restructuring plan for MV Agusta Motor S.p.A. was approved by the court in March 2017. At the same time the protective act ""Concordato di continuità"" (English: sequence agreement) was extended. To the mid of 2017 Black Ocean Group acquired 49% of the shares of MV Agusta Holding (parent company of MV Agusta Motor S.p.A.) and Giovanni Castiglioni kept 51%.


title: MV Agusta

text: In March 2018, Giovanni Castiglioni, the CEO of MV Agusta, announced that the company was working on three new motorcycles based on a new 1,000 cc engine. The bikes would consist of a naked roadster, a café style roadster, and a replacement of the F4 superbike that will cease production in December 2018. The F4 replacement could be electric/gas hybrid, reportedly making more than 300 horsepower, and potentially would not be ready for production until 2021.


title: MV Agusta

text: At the EICMA 2018 MV Agusta announced the a new family of 1,000 cc in-line "fours" created by MV technical director Brian Gillen and chief designer Adrian Morton. Brutale 1000 Serie Oro with 208 hp (or 212 hp with full exhaust system) and 115 Nm allowed to achieve a maximum of 312 km/h, was introduced as the world's most powerful and fastest naked bike. It was also won a title of  the most beautiful bike of EICMA 2018 (35% of visitors' votes ahead of 19% for Ducati Hypermotard SP and 9% for Aprilia RSV4 1100 Factory).


title: MV Agusta

text: At EICMA 2018 MV Agusta also introduced two new models.The first was the world's first neo-classic racer Superveloce 800 Serie Oro, built on the platform of the F3 800 (148 hp) with the design inspired by Italian sports cars of the 1960s and 1970s. The second one was the F4 Claudio – the last and the greatest model in the F4 history that paid tribute to Claudio Castiglioni. Superveloce 800 Serie Oro was limited by 300 units and F4 Claudio – by 100 units.


title: MV Agusta

text: At the end of 2018 MV Agusta was recapitalized by extra 40 million euros. In the same year, Timur Sardarov was appointed the CEO of MV Agusta.


title: MV Agusta

text: In October 2019, MV presented a new five-year business plan, promising annual production growth up to 25,000 units in 5 years. Massimo Bordi, was appointed deputy general director, and Paolo Bettin was appointed financial director. Former president of the company Giovanni Castiglioni kept the role of a consultant.


title: MV Agusta

text: In 2020 MV Agusta produced the MV Agusta Superveloce, a retro racer styled motorcycle based on the F3 800 Supersport. It is described by MV Agusta as ""a modern interpretation of the iconic stylistic concept of the MV Agusta. A fusion of vintage and contemporary ensures that the future incorporates the memories of good times gone by""


title: MV Agusta

text: In November 2022, Pierer Mobility (KTM) acquired a 25.1 % stake in MV Agusta by way of a capital increase. Pierer Mobility, will provide MV Agusta with supply chain support and take over the purchasing.


title: MV Agusta

text: The name of MV Agusta became popular in 1948 when Franco Bertoni won the 125 cc in the Italian Grand Prix. By that time MV Agusta adopted the commercial slogan: "Racing experience at the service of mass production".


title: MV Agusta

text: The manufacturer won its first world championship in with Cecil Sandford in the 125 cc class. Starting a domination in all classes, MV Agusta won the 125 cc, 250 cc, 350 cc and 500 cc titles simultaneously in , and . The Italian manufacturer made an impressive streak conquering all 500 cc class riders' championships between 1958 and 1974.


title: MV Agusta

text: MV Agusta retired from Grand Prix racing at the end of the season, having won 270 Grand Prix motorcycle races, 38 World Riders' Championships and 37 World Constructors' Championships with legendary riders such as Giacomo Agostini, Mike Hailwood, Phil Read, Carlo Ubbiali, Gary Hocking and John Surtees.


title: MV Agusta

text: MV Agusta also won races in the famous Tourist Trophy. Giacomo Agostini made his Tourist Trophy debut in 1965 in the junior class on an MV 350 three-cylinder and finish third. He participated in 16 TT races, all on MV Agustas, he won the race 10 times, retired three times and was on the podium in the other races. He completed a senior-junior double in 1968, 1969, 1970 and 1972. Mike Hailwood won the Tourist Trophy on an MV Agusta four times, three in senior class and one in junior class. John Surtees turned to MV Agusta in 1956 and won the senior class. In 1958, he finished the junior and senior classes in first position, a feat he repeated in 1959. He also won the 1960 edition. MV Agusta won the Tourist Trophy 34 times.


title: MV Agusta

text: Although there were no factory racing efforts, independent ("privateer") teams were racing the F4 750. In 2003 Big Show Racing of Chicago, Illinois, USA, fielded an F4 750 in the Formula USA, Daytona International Speedway 200 Mile Team Challenge. The team placed second overall with riders Larry Denning and Aaron Risinger piloting the bike.


title: MV Agusta

text: In 2004 the company made a semi-official return to racing, backing the "MV Agusta Deutschland" team in the IDM German Superbike championship: Jörg Teuchert claimed two wins riding a F4 1000S, marking the company's return to a victory since Agostini's 1976 German Grand Prix win.


title: MV Agusta

text: In 2005 the racing activities were expanded to the FIM Superstock 1000 Cup with Italian teams "EVR Corse" and "Gimotorsports".


title: MV Agusta

text: MV Agusta won the Italian Superstock Championship in 2006 with Luca Scassa, 30 years after its last title (Agostini's 1976 500cc Italian Championship). In 2008 Scassa won the Italian Superbike Championship on a factory-backed machine from the racing department in Schiranna, Varese Italy.


title: MV Agusta

text: Team Fast by Ferracci entered two F4s for Luca Scassa and Matt Lynn in the 2007 AMA Superbike Championship season.


title: MV Agusta

text: The company planned its return to racing for the 2008 Superbike World Championship season: Carl Fogarty's English-based Team Foggy Racing was going to run the team; However the project was aborted due to a lack of sponsorship.


title: MV Agusta

text: The MV Agusta F3 675 competed in the 2013 Supersport World Championship season with two bikes managed by Team ParkinGO; Roberto Rolfo and Christian Iddon rode the bikes achieving three podiums.


title: MV Agusta

text: In 2014 MV Agusta made the official return to racing establishing the MV Agusta Reparto Corse works team, managing both World Superbike and Supersport activities.


title: MV Agusta

text: In 2018 it was announced that MV Agusta would return to Grand Prix racing as well with Forward Racing in Moto2. The new bike will begin testing in July for a return to racing in the 2019 season. It will be the first time since 1976 that MV Agusta will have an entry on the grand prix entry list when it dropped out due to financial difficulties.


title: MV Agusta

text: In November 2018, Stefano Manzi and Dominique Aegerter were announced as the team's two riders in the manufacturer's return to Grand Prix racing.


title: MV Agusta

text: The new bike also features a new engine package built for it. The aging Honda CBR600RR inline-4 engine – which had been used since the inaugural Moto2 season back in 2010 – was replaced by a 765 cc (46.7 cu in) triple cylinder engine developed by Triumph Motorcycles based on the Street Triple RS 765.


title: Anatomical plane

text: An anatomical plane is a hypothetical plane used to transect the body, in order to describe the location of structures or the direction of movements. In human and animal anatomy, three principal planes are used:


title: Anatomical plane

text: There could be any number of sagittal planes; however, there is only one cardinal sagittal plane. The term "cardinal" refers to the one plane that divides the body into equal segments, with exactly one half of the body on either side of the cardinal plane. The term "cardinal plane" appears in some texts as the "principal plane". The terms are interchangeable.


title: Anatomical plane

text: In human anatomy, the anatomical planes are defined in reference to the anatomical model being in the upright, or standing, orientation.


title: Anatomical plane

text: The axes and sagittal plane are the same for bipeds and quadrupeds, but the orientation of the coronal and transverse planes switch. The axes on particular pieces of equipment may or may not correspond to axes of the body, especially since the body and the equipment may be in different relative orientations.


title: Anatomical plane

text: When describing anatomical motion, these planes describe the axis along which an action is performed. So by moving through the transverse plane, movement travels from head to toe. For example, if a person jumped directly up and then down, their body would be moving through the transverse plane in the coronal and sagittal planes.


title: Anatomical plane

text: A "longitudinal plane" is any plane perpendicular to the transverse plane. The coronal plane and the sagittal plane are examples of longitudinal planes.


title: Anatomical plane

text: Sometimes the orientation of certain planes needs to be distinguished, for instance in medical imaging techniques such as sonography, CT scans, MRI scans, or PET scans. There are a variety of different standardized coordinate systems. For the DICOM format, the one imagines a human in the anatomical position, and an X-Y-Z coordinate system with the x-axis going from front to back, the y-axis going from right to left, and the z-axis going from toe to head. The right-hand rule applies.


title: Anatomical plane

text: In humans, reference may take origin from superficial anatomy, made to anatomical landmarks that are on the skin or visible underneath. As with planes, lines and points are imaginary. Examples include:


title: Anatomical plane

text: In addition, reference may be made to structures at specific levels of the spine (e.g. the 4th cervical vertebra, abbreviated "C4"), or the rib cage (e.g., the 5th intercostal space).


title: Anatomical plane

text: Occasionally, in medicine, abdominal organs may be described with reference to the trans-pyloric plane, which is a transverse plane passing through the pylorus.


title: Anatomical plane

text: In discussing the neuroanatomy of animals, particularly rodents used in neuroscience research, a simplistic convention has been to name the sections of the brain according to the homologous human sections. Hence, what is technically a "transverse" (orthogonal) section with respect to the body length axis of a rat (dividing anterior from posterior) may often be referred to in rat neuroanatomical coordinates as a "coronal" section, and likewise a "coronal" section with respect to the body (i.e. dividing ventral from dorsal) in a rat brain is referred to as "transverse". This preserves the comparison with the human brain, whose length axis in rough approximation is rotated with respect to the body axis by 90 degrees in the ventral direction. It implies that the planes of the brain are not necessarily the same as those of the body.


title: Anatomical plane

text: However, the situation is more complex, since comparative embryology shows that the length axis of the neural tube (the primordium of the brain) has three internal bending points, namely two ventral bendings at the cervical and cephalic flexures (cervical flexure roughly between the medulla oblongata and the spinal cord, and cephalic flexure between the diencephalon and the midbrain), and a dorsal (pontine or rhombic flexure) at the midst of the hindbrain, behind the cerebellum. The latter flexure mainly appears in mammals and sauropsids (reptiles and birds), whereas the other two, and principally the cephalic flexure, appear in all vertebrates (the sum of the cervical and cephalic ventral flexures is the cause of the 90 degree angle mentioned above in humans between body axis and brain axis). This more realistic concept of the longitudinal structure of vertebrate brains implies that any section plane, except the sagittal plane, will intersect variably different parts of the same brain as the section series proceeds across it (relativity of actual sections with regard to topological morphological status in the ideal unbent neural tube). Any precise description of a brain section plane therefore has to make reference to the anteroposterior part of the brain to which the description refers (e.g., transverse to the midbrain, or horizontal to the diencephalon). A necessary note of caution is that modern embryologic orthodoxy indicates that the brain's true length axis finishes rostrally somewhere in the hypothalamus where basal and alar zones interconnect from left to right across the median line; therefore, the axis does not enter the telencephalic area, although various authors, both recent and classic, have assumed a telencephalic end of the axis. The causal argument for this lies in the end of the axial mesoderm -mainly the notochord, but also the prechordal plate- under the hypothalamus. Early inductive effects of the axial mesoderm upon the overlying neural ectoderm is the mechanism that establishes the length dimension upon the brain primordium, jointly with establishing what is ventral in the brain (close to the axial mesoderm) in contrast with what is dorsal (distant from the axial mesoderm). Apart from the lack of a causal argument for introducing the axis in the telencephalon, there is the obvious difficulty that there is a pair of telencephalic vesicles, so that a bifid axis is actually implied in these outdated versions.


title: Anatomical plane

text: Some of these terms come from Latin. "Sagittal" means "like an arrow", a reference to the position of the spine that naturally divides the body into right and left equal halves, the exact meaning of the term "midsagittal", or to the shape of the sagittal suture, which defines the sagittal plane and is shaped like an arrow.


title: Brahui language

text: Brahui (; ; also known as Brahvi or Brohi) is a Dravidian language spoken by some of the Brahui people. The language is spoken primarily in the central part of the Balochistan Province of Pakistan, with smaller communities of speakers scattered in parts of Iran, Afghanistan and Turkmenistan and by expatriate Brahui communities in Iraq, Qatar and United Arab Emirates. It is isolated from the nearest Dravidian-speaking neighbour population of South India by a distance of more than . The Kalat, Khuzdar, Mastung, Quetta, Bolan, Nasirabad, Nushki, and Kharan districts of Balochistan Province are predominantly Brahui-speaking.


title: Brahui language

text: Brahui is spoken in the central part of Pakistani Balochistan, mainly in Kalat, Khuzdar and Mastung districts, but also in smaller numbers in neighboring districts, as well as in Afghanistan which borders Pakistani Balochistan; however, many members of the ethnic group no longer speak Brahui. There are also a very small unknown number of expatriate Brahuis in the Arab States of the Persian Gulf, and Turkmenistan.


title: Brahui language

text: There is no consensus as to whether Brahui is a relatively recent language introduced into Balochistan or the remnant of a formerly more widespread Dravidian language family. According to Josef Elfenbein (1989), the most common theory is that the Brahui were part of a Dravidian migration into north-western India in the 3rd millennium BC, but unlike other Dravidians who migrated to the south, they remained in Sarawan and Jahlawan since before 2000 BC. However, some other scholars see it as a recent migrant language to its present region. They postulate that Brahui could only have migrated to Balochistan from central India after 1000 AD. This is contradicted by genetic evidence that shows the Brahui population to be indistinguishable from neighbouring Balochi speakers, and genetically distant from central Dravidian speakers. The main Iranian contributor to Brahui vocabulary, Balochi, is a Northwestern Iranian language, and moved to the area from the west only around 1000 AD. One scholar places the migration as late as the 13th or 14th century. The Brahui lexicon is believed to be of: 35% Perso-Arabic origin, 20% Balochi origin, 20% other Indo-Aryan origin, 15% Dravidian origin, and 10% unknown origin.


title: Brahui language

text: Franklin Southworth (2012) proposes that Brahui is not a Dravidian language, but can be linked with the remaining Dravidian languages and Elamite to form the "Zagrosian family," which originated in Southwest Asia (southern Iran) and was widely distributed in South Asia and parts of eastern West Asia before the Indo-Aryan migration.


title: Brahui language

text: There are no important dialectal differences. Jhalawani (southern, centered on Khuzdar) and Sarawani (northern, centered on Kalat) dialects are distinguished by the pronunciation of *h, which is retained only in the north (Elfenbein 1997).


title: Brahui language

text: Brahui has been influenced by the Iranian languages spoken in the area, including Persian, Balochi and Pashto.


title: Brahui language

text: Brahui vowels show a partial length distinction between long and diphthongs and short . Brahui does not have short /e, o/ due to influence from neighbouring Indo-Aryan and Iranic languages, the PD short *e was replaced by a, ē and i, and ∗o by ō, u and a in root syllables.


title: Brahui language

text: Brahui consonants show patterns of retroflexion but lack the aspiration distinctions found in surrounding languages and include several fricatives such as the voiceless lateral fricative , a sound not otherwise found in the region.


title: Brahui language

text: Consonants are also very similar to those of Balochi, but Brahui has more fricatives and nasals (Elfenbein 1993).


title: Brahui language

text: Stress in Brahui follows a quantity-based pattern, occurring either on the first long vowel or diphthong, or on the first syllable if all vowels are short.


title: Brahui language

text: Brahui is the only Dravidian language which is not known to have been written in a Brahmi-based script; instead, it has been written in the Arabic script since the second half of the 20th century.


title: Brahui language

text: More recently, a Roman-based orthography named Brolikva (an abbreviation of "Brahui Roman Likvar") was developed by the Brahui Language Board of the University of Balochistan in Quetta and adopted by the newspaper Talár.


title: Brahui language

text: The letters with diacritics are the long vowels, post-alveolar and retroflex consonants, the voiced velar fricative and the voiceless lateral fricative.


title: Brahui language

text: All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.


title: Brahui language

text: مُچَّا اِنسَاںک آجو او اِزَّت نَا رِد اَٹ بَرےبَر وَدِى مَسُّنو. اوفتے پُهِى او دَلِىل رَسےںگَانے. اَندَادے وفتے اَسِ اےلو تون اِىلُمِى اے وَدِّفوئِى اے.


title: Brahui language

text: Muccá insáńk ájo o izzat ná rid aŧ barebar vadí massuno. Ofte puhí o dalíl raseńgáne. andáde ofte asi elo ton ílumí e vaddifoí e.


title: Brahui language

text: According to a 2009 UNESCO report, Brahui is one of the 27 languages of Pakistan that are facing the danger of extinction. It was classified as "unsafe", the least endangered level out of the five levels of concern (Unsafe, Definitely Endangered, Severely Endangered, Critically Endangered and Extinct). This status has since been renamed to "vulnerable".


title: Brahui language

text: Talár is the first daily newspaper in the Brahui language. It uses the new Roman orthography and is "an attempt to standardize and develop [the] Brahui language to meet the requirements of modern political, social and scientific discourse."


title: Nisio Isin

text: , stylized as NISIOISIN to emphasize the palindrome, is a pseudonymous Japanese novelist, manga author, and screenplay writer.


title: Nisio Isin

text: Nisio debuted in 2002 with the novel "The Beheading Cycle" (the first in his "Zaregoto" series), which earned him the 23rd Mephisto Prize at twenty years of age. In 2005, he began his long-running "Monogatari" novel series, which was published in 28 volumes as of 2021, and was later adapted as a highly-successful animated series of the same name, produced by Shaft. His "Katanagatari" novels, "Medaka Box" manga series, "" novel, and "The Beheading Cycle" have also been adapted as anime. He has also collaborated with "Death Note" writer Tsugumi Ohba and illustrator Takeshi Obata to write the light novel "". Between 2009 to 2016, he ranked among the top 10 best-selling authors in Japan, ranking as the best-selling in 2012 and 2014. As of November 2022, his novels and manga had over 36 million copies in circulation.


title: Nisio Isin

text: Nisio's works frequently feature lengthy and witty dialogues. He is viewed as an author that blends regular novels and light novels, going through the genres of mystery, "sekaikei", and "shindenki", with frequent references to other manga and anime.


title: Nisio Isin

text: Nisio Isin was a manga enthusiast since childhood and wanted to become a mangaka. However, seeing a lack of improvement in his drawing ability, he decided to become a novelist, mentioning that it didn't matter if his handwriting was subpar. He attended the Ritsumeikan University College of Policy Science and left the university without graduating.


title: Nisio Isin

text: During his early career when he submitted work for magazines, Nisio's writing speed was a selling point, and he once submitted two or three works to a single Mephisto Prize. In 2002, Nisio debuted with the first novel of the "Zaregoto" series, "Kubikiri Cycle: The Blue Savant and the Nonsense User", earning him the 23rd Mephisto Prize. He was twenty years of age at the time, and his slogan was "Nisio Isin, the 20-year-old from Kyoto". Afterward, he proceeded to write the second title in the series, "Strangulation Romanticist", in three days.


title: Nisio Isin

text: He still works with the "Mephisto" magazine, and worked with Kodansha on the literary magazines "Faust", and "Pandora." He also published his "Katanagatari" series as twelve volumes over twelve months for the "Kodansha Box" line in 2007; Ryūsui Seiryōin was matching this output, and the "Kodansha Box" website stated that it was the first time in the world two authors had done twelve-volume monthly novel series simultaneously.


title: Nisio Isin

text: Nisio Isin is best known for the "Monogatari" series, which began as a trilogy of short stories on the "Mephisto" magazine in 2005, and developed into a series with 28 volumes. It has been adapted as anime up to "Zoku Owarimonogatari", and it has also been adapted as manga. The series has consistently achieved a high number of sales, with the anime's first two seasons alone, "Bakemonogatari" and "Nisemonogatari", selling over one million DVDs and Blu-rays combined as of September 2012.


title: Nisio Isin

text: The first volume of "Zaregoto", his "Katanagatari" and "Medaka Box" series, his "" novel, and the "Pretty Boy Detective Club" series have all been adapted into anime as well. "Juni Taisen" was also adapted as a Stage Play in Japan in 2018. His "Bōkyaku Tantei" series was adapted as a Japanese Drama in 2015. Several of his series have been adapted as manga.


title: Nisio Isin

text: In February 2008, his novel "", based on the "Death Note" manga, was released in English by Viz Media. Del Rey Manga released the first and second volume in his "Zaregoto" series, which were revised for a rerelease by Vertical and followed by a translation of the third volume. Vertical is translating other titles and series by Nisio Isin, including "Monogatari", "Katanagatari", "Pretty Boy Detective Club", and "Imperfect Girl".


title: Nisio Isin

text: From 2009 to 2016, Nisio Isin was one of the top 10 best-selling authors in Japan, achieving a place in the top 3 for three years and, in 2012 and 2014, ranking first place as the best-selling author in the country. In those years, he sold 1,408,319 copies and 997,211 copies, respectively. As of November 2022, his novels and manga had over 36 million copies in circulation. The "Publishers Weekly"'s Translation Database reported that from 2008 to 2018, 19 of Nisio's novels were translated into English, putting him as the second author with the most English translations of that period in the U.S.


title: Nisio Isin

text: Since Nisio's debut, wordplay and tongue-in-cheek dialogue have been characteristic of his works. When asked if his use of manzai comedy was related to the fact he is from the Kansai region, he replied "I think it's certainly because I'm a Kansai person." He feels that "dialogue is the character" and focuses more on dialogue than appearance. Nisio features many women in his works because "it is easier for them to express their individuality" explaining that "women are much more adorned as characters (e.g. fashion) than men".


title: Nisio Isin

text: His greatest influence comes from such things as "Shōnen Jump" manga and shōjo manga en masse. About manga, he is a passionate fan of "JoJo's Bizarre Adventure"; in a dialogue with Hirohiko Araki, the author of the manga, he commented this is "a manga he would like all humanity to read." Among his references, references to JoJo are particularly common and in a novelization project of the series called "VS JOJO", together with Kouhei Kadono and Ōtarō Maijō, he wrote one of the novels that were published, called "JoJo's Bizarre Adventure Over Heaven".


title: Nisio Isin

text: His works are characterized by a sense of literature that is amid the so-called "Shindenki" () mystery-light novel genre, in which insane characters attempt to solve a mystery in a situation that would be impossible or unlikely in reality; and inexhaustible quotations of anime and manga from the past. He is well regarded as an author who has blended the conventions of mystery novels and character-driven light novels. Tsunehiro Uno describes Nisio Isin as the only writer who has made a smooth transition from "Sekaikei" () to "Shindenki".


title: Nisio Isin

text: He has made no secret of his policy of not doing crossover or linking in his "Zaregoto" series. This is because crossover and linking was a technique Kouhei Kadono, whom he admires, excelled at, and so he decided to stick with the opposite style, but he replied he made an exception for the "Ningen" series because he began writing it as an homage to the relationship between the Kouhei Kadono's "Boogiepop" series and "Beat's Discipline". He still maintains a steady writing pace and develops several series at the same time, but until "Mazemonogatari", he did not link his works to each other. After fifteen years of non-crossover writing, he decided it was time to try a new pattern.


title: Nisio Isin

text: He has a unique way of naming his characters. He seeks to define his characters by their names, and he does not simply give them unusual names, but instead establishes some rules for them, although he will occasionally deviate from these rules. When it comes to naming, he has been described as "bizarre" and "extremely strange". Examples are Namanie Nienami, Kiki Kikitsu, Shibuki Shibushi, Mukae Emukae, Momo Momozono, Kajiki Kurokami, Kariteru Kanaino, Sukinasaki Saki, Shikigishi Kishiki, Kiss-shot Acerola-orion Heart-under-blade, Backyard Bottomslash, Quarter Queen, Sagano Usagi, Byōinzaka Kuroneko (which translates roughly as "Black Cat of Hospital Hill") and Shikizaki Kiki.


title: Nisio Isin

text: He said he learned much from the novels of Kiyoshi Kasai (the author of "Vampire Wars"), Hiroshi Mori, Natsuhiko Kyogoku, Ryūsui Seiryōin and Kouhei Kadono. He has also stated the five writers were, metaphorically speaking, God-like beings, who had shaped and molded his writing style.


title: Nisio Isin

text: Most of Nisio's works are published by "Kodansha Novels", a general literature imprint, but are sometimes classified as light novels. In a conversation with Tow Ubukata, Otsuichi said of Nisio, "I think he falls into the light novel category in a broad sense." The January 2005 issue of "Nikkei Characters!" introduces Nisio as "a new generation of writers who are breaking down the barriers between general literature and light novels." The "Nisio Isin Chronicle" describes his "Zaregoto" series as "often regarded as a light novel". Kiyoshi Kasai talking about light novels in the 2004 special edition of "Eureka", commented that, although having the "Zaregoto" series ranked in a guide for light novels could be out of place, the influences Nisio had in his writing are easy to see, such as "Kimi to Boku no Kowareta Sekai"'s academy romance, fighting pretty girls, moe characters, and Sekaikei-like settings, so it is not strange to see his works through the lenses of light novels.


title: Nisio Isin

text: In the 2004 edition of the light novel guide book "This Light Novel is Amazing! 2005", the "Zaregoto" series ranked as the second most popular light novel series, but the authors wrote: "There are different opinions on whether the "Zaregoto" series is a light novel or not." Taking into account various opinions on "bunko is the light novel", "packaging", "age of the characters", and other factors, the book's "Genre Guide" refers to the "Zaregoto" series and "Kimi to Boku no Kowareta Sekai" as "borders" outside of the bunko. In the following year's "This Light Novel Is Amazing! 2006", the "Zaregoto" series ranked first, and in an interview held to commemorate this, Nisio said, "I'm unsure if it's a light novel" commenting that "it's not a light novel in the sense that it's 'not a light novel label,' but it's part of a light novel in the sense that 'it's a collaboration between an illustration and a novel,'" and he also said that he has no qualms about his work being identified as a light novel.


title: Nisio Isin

text: The is written by Nisio Isin and illustrated by Take. The series was published between February 2002, and November 2005. It was followed by a spin-off series "Ningen" series starring the Zerozaki clan. A second spin-off series titled "Saikyō" series focusing on the character Jun Aikawa was also released. All books were released in Japan by "Kodansha Novels".


title: Nisio Isin

text: Spin-off of the "Zaregoto" series, it is also known as the "Zerozaki Ichizoku" series. The illustrations are provided by Take. Published by Kodansha.


title: Nisio Isin

text: Spin-off of the "Zaregoto" series telling the story of "Overkill Red" Jun Aikawa. It was first serialized in the "Mephisto" magazine. Published by Kodansha. Take handled the illustrations for the series again.


title: Nisio Isin

text: The "Japan Detectives Club" was created by Ryūsui Seiryōin, and Nisio Isin is one of several authors to write novels using that setting. The third book is a compilation of the first two.


title: Nisio Isin

text: Interlinked mystery series with a different narrator telling the story each time. Published by Kodansha. Illustrated by Tagro.


title: Nisio Isin

text: First serialized in Faust magazine with illustrations by Capcom's Kinu Nishimura. It was later published by Kodansha.


title: Nisio Isin

text: The series was first created by Nisio Isin as a series of short stories for the "Mephisto" magazine. While his previous series, "Zaregoto", featured large casts of characters, each "Bakemonogatari" story tends to introduce only one new character. The previously published stories, and some new ones, were eventually collected in two volumes as part of the "Kodansha Box" launch titles on November 2, 2006, and December 5, 2006, and it continued its 28-volumes publication until August 19, 2021. Vofan handled the illustrations for the series. The series is divided into five parts: "First Season", "Second Season", "Final Season", "Off Season", and "Monster Season".


title: Nisio Isin

text: In Koyomi Araragi meets various heroines from other series written by Nisio Isin. This crossover stories were first distributed in sessions for the Kizumonogatari movies between 2016-17. Kodansha collected those stories, with 3 new ones, and published in 2019.


title: Nisio Isin

text: This twelve volume samurai epic with illustrations by Take was released one volume a month throughout 2007.


title: Nisio Isin

text: Maniwagatari takes place 200 years before Katanagatari, when the first Kyotōryū head, Kazune Yasuri, met Kiki Shikizaki.


title: Nisio Isin

text: A complete series with 10 volumes published by Kodansha. The first volume was published as the "Nisio's longest book" at the time of its publication. The cover of the final volume was illustrated by Fuu Midori.


title: Nisio Isin

text: After the one-shot publication in the one-shot series "manga" Ōgiri, the story told one day before those events was published in one volume by Shueisha on May 19, 2015, with the illustrations provided by Hikaru Nakamura. A sequel was released in 2017.


title: Nisio Isin

text: The "Pretty Boy Detective Club" was originally intended to be a group that would appear in the "Bōkyaku Tantei" series, but during the story's development, Nisio Isin decided it could be published as an independent title. Illustrated by Kinako. Twelve volumes were published by the Kodansha Taiga label.


title: Nisio Isin

text: For the 20th anniversary of Nisio's debut in 2022, a new series was announced. The next two books were announced in the afterword of "Phantom Thief Flâneur's Patrol", with the series titled as . The series was later retitled as . Illustrated by Takolegs.


title: Nisio Isin

text: Nisio Isin has also published several single-volume works, with some of them receiving manga adaptations. All of them deal with different themes from the usual. "Ningyō ga Ningyō" is a novel that invokes the style of old Japanese nonsense horror novels; "Nanmin Tantei" is a detective novel, a style always present in Nisio Isin's writing, but much more prominent in this title; "Shōjo Fujūbun" is a suspense novel, and "Ripogura!" is a novel that highlights Nisio Isin's love for constrained writing, based on three short stories rewritten three times each following restrained writing rules. "The Veiled Man Hypothesis" was Nisio's 100th book.


title: Nisio Isin

text: "Nakoto" or Pnakotic Manuscript, referencing the grimoires H. P. Lovecraft created, has been releasing since 2004.


title: Nisio Isin

text: Since the release of the "Bakemonogatari Anime Complete Guidebook" on October 28, 2010, Nisio Isin has written more than 60 short stories related to the anime or manga adaptation. The stories happens throughout all the timeline of the story featuring different narrators. They usually are brief stories talking about a specific topic, commentaries on literature, etc. Only the short stories in "Mazemonogatari" were collected in a book.


title: Nisio Isin

text: Since the publication of the "Hōkago, Nanajikan-me." one-shot in Comic Faust, Nisio Isin has been writing several original scripts for manga.


title: Nisio Isin

text: Based on 9 themes suggested by his editor, Nisio Isin wrote 9 one-shots with various artists that were released on Shueisha's magazines between 2014 and 2015 in a period of four months. The collection of stories were published by Shueisha on April 3, 2015 ().


title: Nisio Isin

text: "Medaka Box" is a Japanese "shōnen" manga written by Nisio Isin and drawn by Akira Akatsuki. It was serialized in the Japanese magazine "Weekly Shōnen Jump" from May 11, 2009, to April 27, 2013. It was published by Shueisha in 22 volumes.


title: Nisio Isin

text: "Kimi to Nadekko!" is a Japanese "shōjo" manga written by Nisio Isin and drawn by Ema Tōyama. It's an in-universe "shōjo" manga written and drawn by Nadeko Sengoku, a female character from the "Monogatari" series. The 3 chapters were released in various ways in 2014. All three chapters were collected as an extra in the Koimonogatari Vol.2 BD set.


title: Nisio Isin

text: "Shōnen Shōjo" is a Japanese "shōnen" manga written by Nisio Isin and drawn by Akira Akatsuki. "Shōnen Shōjo" began serialization on January 4, 2016, and was published in Jump Square until April 4, 2017, with a total of 16 chapters. Compiled by Shueisha into 3 volumes.


title: Nisio Isin

text: "Legend of Eccentric Youth! Nishio Academy" (青春奇人伝！240学園, "240" is a pun with "Nishio") is a Japanese "shōnen" manga drafted by Nisio Isin and drawn by Shiba Mochi. It was done in commemoration of the 15th year of Nisio Isin writing career and it features various characters from his other series. It began serialization on February 9, 2017, in Bessatsu Shōnen Magazine until November 9, 2018. Compiled by Kodansha into 3 volumes.


title: Nisio Isin

text: is a Japanese "shōnen" manga written by Nisio Isin and drawn by Iwasaki Yūji. It started serializing in the Japanese magazine "Weekly Shōnen Jump" on November 21, 2022.


title: Nisio Isin

text: Nisio Isin has several adaptations of his novels for manga and since most of his novels are published by Kodansha, most of them comes out in magazines of the publisher.


title: Nisio Isin

text: First serialized in Pandora Vol. 2 Side-A, it was later transferred to the Japanese magazine Monthly Afternoon. It's an adaptation of the first volume of the "Ningen" series and it was drawn by Iruka Shiomiya. It was serialized from December 20, 2008, to August 2013. Compiled by Kodansha in 5 volumes.


title: Nisio Isin

text: It was serialized in the Japanese magazine Monthly Afternoon from August 25, 2014, to September 24, 2016. It's an adaptation of the second volume of the "Ningen" series and it was drawn by Chomoran. Compiled by Kodansha in 4 volumes.


title: Nisio Isin

text: It was serialized in the Japanese magazine Monthly Shonen Magazine from August 6, 2015, to March 6, 2017. It partially adapts volumes 1 to 8 of the "Bōkyaku Tantei" series and it was drawn by Yō Asami. Compiled by Kodansha in 5 volumes.


title: Nisio Isin

text: "Shōjo Fujūbun" is an adaptation of the novel with the same name and was drawn by Mitsuru Hattori. Mitsuri wanted to adapt the novel after reading it. It was serialized between November 30, 2015 and August 29, 2016, in the Japanese magazine Weekly Young Magazine. It was compiled by Kodansha in 3 volumes.


title: Nisio Isin

text: It was serialized in the Japanese magazine "Young Magazine Third" from December 4, 2015 to December 6, 2017. It's an adaptation of the first volume of the "Densetsu" series and it was drawn by Mitsutani Osamu. Compiled by Kodansha in 4 volumes.


title: Nisio Isin

text: It was serialized in the Japanese magazine Aria from June 2016 until June 2018 because of Aria's termination. It was transferred to Shonen Magazine Edge on October 17, 2018 and the rest of the chapters were released until July 17, 2019. It's an adaptation of the first four volumes of the "Bishōnen" series, and it was drawn by Oda Suzuka. Compiled by Kodansha in 5 volumes.


title: Nisio Isin

text: It was serialized in the Japanese magazine Shonen Jump+ from September 23, 2017, to May 12, 2018. It's an adaptation of the "Jūni Taisen" novel and it was drawn by Akira Akatsuki. Compiled by Shueisha in 4 volumes.


title: Nisio Isin

text: "Bakemonogatari" is an adaptation of the "Monogatari series" novels and is drawn by Oh! great. It began its serialization on March 14, 2018, and has been published in Weekly Shōnen Magazine. It has been compiled by Kodansha. A special edition for the "Kodansha Box" label is also published.


title: Nisio Isin

text: Japanese drama. It adapted the first four volumes of the "Bōkyaku Tantei" series. Starring Yui Aragaki.


title: Namoo Actors

text: Namoo Actors Co. Ltd. (), founded in 2004, is a talent management agency based in Seoul, South Korea. The founder and president of the company is Kim Jong-do.


title: Namoo Actors

text: In 2004, Namoo Actors was established under the name "Namoo Actors Co. Ltd.". The company signed Song Ji-hyo, Kim Kang-woo, Kim Tae-hee and Kim Hye-na in 2005. Namoo celebrated their 10th anniversary party at CGV Cine City in Seoul on 10 January 2014. On February 21, Namoo Actors (Kim Jong-do and actors), family members, and fans held a memorial service for actress Lee Eun-ju, who died on 22 February 2005, in Seoul.


title: Namoo Actors

text: In 2006, Kim Jong-do and actors attended the Busan International Film Festival and in 2007, signed a joint-network deal with China's Chengtian.


title: Hell Freezes Over

text: Hell Freezes Over is the second live album by the Eagles, released in 1994. The album is the first to be released after the Eagles had reformed following a fourteen-year-long break up. The band's lineup was that of the "Long Run" era: Glenn Frey, Don Henley, Don Felder, Joe Walsh, and Timothy B. Schmit. It contains four new studio tracks and eleven tracks recorded live in April 1994 for an MTV special. Two Top 40 Mainstream singles, "Get Over It" and "Love Will Keep Us Alive", were released from the album. It also features an acoustic version of "Hotel California". The four new studio recordings are the last to feature Don Felder, who was fired from the band in 2001.


title: Hell Freezes Over

text: The album went to No. 1 on the "Billboard" album chart upon its release where it stayed for two weeks. The album has sold over 9 million copies in the United States.


title: Hell Freezes Over

text: "Hell Freezes Over" was also released in video form on VHS, LaserDisc and DVD. Before the album was released, the Eagles also started a tour, which would last from 1994 to 1996 and became one of the most successful tours in music history.


title: Hell Freezes Over

text: The album name is in reference to a quote by Don Henley after the band's breakup in 1980. Henley was asked in an interview about when the band would play together again, to which he responded "when Hell freezes over". Glenn Frey also said in 1982 on the break-up: "I just rule out the possibility of putting the Eagles back together for a Lost Youth and Greed tour."


title: Hell Freezes Over

text: In 1993, an Eagles tribute album, "", was recorded by several country artists. Travis Tritt, who covered "Take It Easy" in the album, asked the band to appear in his video for the song. The former Eagles band members agreed, and it would be the first time the group had appeared together in 13 years. Two months later, Glenn Frey and Henley had lunch with their management and decided to reunite.


title: Hell Freezes Over

text: The band members performed live for the first time in April 1994 at Warner Bros. Studios in Burbank, California for an MTV special. The recording sessions produced 11 tracks for the "Hell Freezes Over" album, including a new arrangement of "Hotel California" that features an extended acoustic guitar and percussion opening. At the beginning of the concert, Frey joked to the audience: "For the record, we never broke up; we just took a 14-year vacation". The tour began on May 27, and the "Hell Freezes Over" album was released on November 8, 1994. The album is the band's second live album, after their live album in 1980.


title: Hell Freezes Over

text: A new song "Get Over It" became a modest hit and another new song, "Love Will Keep Us Alive", reached No. 1 on the "Billboard" Adult Contemporary chart.


title: Hell Freezes Over

text: The DVD is one of the first music releases to feature a DTS format soundtrack in addition to a PCM stereo soundtrack. The DVD also featured the song "Seven Bridges Road" in DTS audio only. The DVD has since been re-released with an additional Dolby Digital soundtrack. The album was also released as a DTS CD in 1997.


title: 2003 European heat wave

text: The 2003 European heat wave saw the hottest summer recorded in Europe since at least 1540. France was hit especially hard. The heat wave led to health crises in several countries and combined with drought to create a crop shortfall in parts of Southern Europe. The death toll has been estimated at more than 70,000.


title: 2003 European heat wave

text: The predominant heat was recorded in July and August, partly a result of the western European seasonal lag from the maritime influence of the Atlantic warm waters in combination with hot continental air and strong southerly winds.


title: 2003 European heat wave

text: In France, 14,802 heat-related deaths (mostly among the elderly) occurred during the heat wave, according to the French National Institute of Health. France does not commonly have very hot summers, particularly in the northern areas, but eight consecutive days with temperatures of more than were recorded in Auxerre, Yonne in early August 2003. Because of the usually relatively mild summers, most people did not know how to react to very high temperatures (for instance, with respect to rehydration). Most single-family homes and residential facilities were not equipped with central air conditioning. While contingency plans were made for a variety of natural and man-made catastrophes, high temperatures had rarely been considered a major hazard.


title: 2003 European heat wave

text: The catastrophe occurred in August, a month in which many people, including government ministers and physicians, are on holiday. Many bodies were not claimed for many weeks because relatives were on holiday. A refrigerated warehouse outside Paris was used by undertakers as they did not have enough space in their own facilities. On 3 September 2003, 57 bodies were still left unclaimed in the Paris area, and were buried.


title: 2003 European heat wave

text: The high number of deaths can be explained by the conjunction of seemingly unrelated events. Most nights in France are cool, even in summer. As a consequence, houses (usually of stone, concrete, or brick construction) do not warm too much during the daytime and radiate minimal heat at night, and air conditioning is usually unnecessary. During the heat wave, temperatures remained at record highs even at night, breaking the usual cooling cycle.


title: 2003 European heat wave

text: Elderly people living by themselves had never faced such extreme heat before and did not know how to react or were too mentally or physically impaired by the heat to make the necessary adaptations themselves. Elderly people with family support or those residing in nursing homes were more likely to have others who could make the adjustments for them. This led to unexpected survival rates with the weakest group having fewer deaths than the more physically fit; most of the heat victims came from the group of elderly not requiring constant medical care, or those living alone, without frequent contact with immediate family.


title: 2003 European heat wave

text: That shortcomings of the nation's health system could allow such a death toll is a controversy in France. The administration of President Jacques Chirac and Prime Minister Jean-Pierre Raffarin laid the blame on families who had left their elderly behind without caring for them, the 35-hour workweek, which affected the amount of time doctors could work, and family practitioners vacationing in August. Many companies traditionally closed in August, so people had no choice about when to vacation. Family doctors were still in the habit of vacationing at the same time. It is not clear that more physicians would have helped, as the main limitation was not the health system, but locating old people needing assistance.


title: 2003 European heat wave

text: The opposition, as well as many of the editorials of the French local press, blamed the administration. Many blamed Health Minister Jean-François Mattei for failing to return from his vacation when the heat wave became serious, and his aides for blocking emergency measures in public hospitals (such as the recalling of physicians). A particularly vocal critic was Dr. Patrick Pelloux, head of the union of emergency physicians, who blamed the Raffarin administration for ignoring warnings from health and emergency professionals and trying to minimize the crisis. Mattei lost his ministerial post in a cabinet reshuffle on 31 March 2004.


title: 2003 European heat wave

text: Not everyone blamed the government. "The French family structure is more dislocated than elsewhere in Europe, and prevailing social attitudes hold that once older people are closed behind their apartment doors or in nursing homes, they are someone else's problem", said Stéphane Mantion, an official with the French Red Cross. "These thousands of elderly victims didn't die from a heat wave as such, but from the isolation and insufficient assistance they lived with day in and out, and which almost any crisis situation could render fatal."


title: 2003 European heat wave

text: Moreover, the French episode of heat wave in 2003 shows how heat wave dangers result from the intricate association of natural and social factors. Although research established that heat waves represent a major threat for public health, France had no policy in place. Until the 2003 event, heat waves were a strongly underestimated risk in the French context, which partly explains the high number of victims.


title: 2003 European heat wave

text: The 2003 heatwave served as a wake-up call for many cities to take action on reducing climate risks in urban areas. The following year, the country drew up the National Heat Wave Plan built on national forecasting and alert systems. Despite hotter summers since, the death toll has been significantly lowered. In addition to a major effort to issue warning messages in time, the plan includes measures such as cooling rooms at senior centers, replacing tarmac at playgrounds with more heat reflective materials, and mandatory insulation in construction regulation. This reflects a growing awareness of the benefit of an integrated response to risks like heatwaves, compared to stand-alone technologies and projects and greater attention paid to green and blue infrastructure in city planning. Since 2012, French construction standards for new buildings and, to a lesser extent for existing buildings, have included requirements regarding comfort during heatwaves. In Paris, adding parks and green spaces has been another key solution to heatwaves. Urban greening is most effective when green spaces are watered during a heatwave. Doing so increases the cooling effect from evapotranspiration.


title: 2003 European heat wave

text: In Portugal, there were an estimated 1,953 excess deaths (data corrected, range 1,866 to 2,039); 43% higher than the expected number for that year. 1 August 2003 was the hottest day in centuries, with night temperatures well above . At dawn that same day, a freak storm developed in the southern region of the country. Over the next week, a hot, strong "sirocco" wind contributed to the spread of extensive forest-fires.


title: 2003 European heat wave

text: Five percent of Portugal's countryside and 10% of the forests (215,000 hectares or an estimated ), were destroyed, and 18 people died in the flames. In Amareleja, one of the hottest cities in Europe, temperatures reached as high as .


title: 2003 European heat wave

text: In Findel, Luxembourg, the temperature reached between 8 and 12 August, making it the country's highest temperature since records began in 1947.


title: 2003 European heat wave

text: About 1,500 heat-related deaths occurred in the Netherlands, again largely the elderly. The heat wave broke no records, although four tropical weather-designated days in mid-July, preceding the official wave, are not counted due to a cool day in between and the nature of the Netherlands specification/definition of a heat wave.


title: 2003 European heat wave

text: The highest temperature recorded this heatwave was on 7 August, when in Arcen, in Limburg, a temperature of was reached, 0.8 °C below the national record (since 1904). A higher temperature had only been recorded twice before. On 8 August, a temperature of was recorded, and 12 August had a temperature of .


title: 2003 European heat wave

text: Initially, 141 deaths were attributed to the heat wave in Spain. A further research of INE estimated a 12,963 excess of deaths during summer of 2003. Temperature records were broken in various cities, with the heat wave being more felt in typically cooler northern Spain.


title: 2003 European heat wave

text: The summer of 2003 was among the warmest in the preceding three centuries. The weather station of Catenanuova, in Sicily, had a monthly mean of in July 2003, with an absolute maximum of on 17 July, with monthly mean maximum temperatures of , and in June, July, and August, respectively.


title: 2003 European heat wave

text: On some days, the increase in power consumption, paired with a 800MW reduction of the electricity imported from France, itself coping with the heat wave, compelled the Italian power companies to set up rolling blackouts. Italy estimated that the number of heat wave related deaths was approximately 20,000.


title: 2003 European heat wave

text: In Germany, shipping could not navigate the Elbe or Danube, as a result of low water levels. Around 300 people — mostly elderly — died during the heatwave.


title: 2003 European heat wave

text: Melting glaciers in the Alps caused avalanches and flash floods in Switzerland. A new nationwide record temperature of was recorded in Grono, Graubünden.


title: 2003 European heat wave

text: The United Kingdom experienced one of its hottest summers on record with temperatures well above average. Atlantic cyclones brought cool and wet weather for a short while at the end of July and beginning of August before the temperatures started to increase substantially on 3 August. Several weather records were broken in the United Kingdom, including a new record for the country's highest ever recorded temperature of at Faversham in Kent on 10 August, which remained the highest recorded temperature in the UK until the heatwave in July 2019.


title: 2003 European heat wave

text: This was the first occasion on which temperatures exceeding had ever been officially recorded in the UK. Scotland broke its highest temperature record with recorded in Greycrook in the Scottish borders on 9 August.


title: 2003 European heat wave

text: Due to a number of deaths, the UK government released its Heat Health Watch system, issuing warnings if temperatures rise above 30 °C in the day and 15 °C at night. According to the BBC, over 2,000 more people than usual may have died in the United Kingdom during the 2003 heatwave.


title: 2003 European heat wave

text: The tarmac melted on part of the M25 between Junctions 26 and 27, and rails buckled from expansion on the hottest day in England in 13 years, while two teenaged boys drowned while trying to escape the excessive heat.


title: 2003 European heat wave

text: The summer of 2003 was warmer than average in Ireland, but the heat was far less pronounced there than in the rest of Europe. August was by far the warmest, sunniest, and driest month, with temperatures roughly 2 °C above average. The highest temperature recorded was at Belderrig, County Mayo on 8 August.


title: 2003 European heat wave

text: Many other countries had shortfalls of 5–10%, and the EU total production was down by 10 million tonnes, or 10%.


title: 2003 European heat wave

text: The heatwave greatly accelerated the ripening of grapes; also, the heat dehydrated the grapes, making for more concentrated juice. By mid-August, the grapes in certain vineyards had already reached their optimal sugar content, possibly resulting in 12.0°–12.5° wines (see alcoholic degree). Because of that, and also of the impending change to rainy weather, the harvest was started much earlier than usual (e.g. in mid-August for areas that are normally harvested in September).


title: 2003 European heat wave

text: The wines from 2003, although in scarce quantity, were predicted to have exceptional quality, especially in France. The heatwave made Hungary fare extremely well in the Vinalies 2003 International wine contest: a total of nine gold and nine silver medals were awarded to Hungarian winemakers.


title: 2003 European heat wave

text: The anomalous overheating affecting the atmosphere also created anomalies on sea surface stratification in the Mediterranean Sea and on the surface currents, as well. A seasonal current of the central Mediterranean Sea, the Atlantic Ionian Stream (AIS), was affected by the warm temperatures, resulting in modifications in its path and intensity. The AIS is important for the reproduction biology of important pelagic commercial fish species, so the heatwave may have influenced indirectly the stocks of these species.


title: 2003 European heat wave

text: Extreme heat undermines the working capacity of individuals, resulting in lower productivity, and thus economic output. In 2003, economic losses attributed to excessive heat amounted to 0.5% of European Gross Domestic Product (GDP).


title: 2003 European heat wave

text: This is 2.5 times higher than the losses experienced during an average year over the historical period 1981–2010. Losses of over 1% of GDP were recorded in areas with high exposure to heat and showing a large share of outdoor work.


title: Bomfunk MC's

text: The Bomfunk MC's is a Finnish hip hop group that was active between 1998 and 2005, before reuniting in 2018. The group's frontman is the rapper B.O. Dubb (born Raymond Ebanks, and formerly known as "B.O.W."), and the main producer is Jaakko Salovaara, known as "JS16".


title: Bomfunk MC's

text: The band's debut release was the 1999 album "In Stereo" (Sony Music), which contained the singles "Freestyler", "Uprocking Beats", and "B-Boys & Flygirls", all of which were popular in the United Kingdom. "Uprocking Beats" reached the number one position on the Finnish Dance charts. "In Stereo" sold over 600,000 units.


title: Bomfunk MC's

text: The album's success led to the release of "Freestyler" in Scandinavia and Germany; by 2000, "Freestyler" was popular throughout Europe, becoming the region's highest-selling single of the year. The single also reached the number one position in Australia, New Zealand, Denmark, Norway, Sweden, the Netherlands, Italy, and Germany, and was number 2 in the United Kingdom. However, the single led to a minor controversy: the line, "Who the fuck is Alice, is she from Buckingham Palace?", was censored for the UK radio version, and the video featured intensive Sony product placement.


title: Bomfunk MC's

text: In 2002, the group released their second album "Burnin' Sneakers", spawning the singles "Super Electric", "Live Your Life", featuring Max'C, and "(Crack it!) Something Goin' On" with Jessica Folcker. This album gained less attention internationally, though it sold well in Finland. "Something Goin' On" reached the German top 10.


title: Bomfunk MC's

text: In September 2002, DJ Gismo decided to leave the band (shortly afterwards joining the band Stonedeep), and was promptly replaced by Riku Pentti (DJ), Troni Mcburger (synths and programming) and Okke Komulainen (keyboards). After they joined, Bomfunk MC's released a special remix of "Back to Back".


title: Bomfunk MC's

text: In 2004, their third and last album "Reverse Psychology" was released by Universal Music, preceded by the single "No Way in Hell". In the autumn of that year, they released another single from that album, "Hypnotic", featuring Elena Mady. Half of the album was produced by JS16, and the other half by Pentti, Komulainen, and Mäkinen, who called themselves The Skillsters Plus One.


title: Bomfunk MC's

text: "Reverse Psychology" and its singles did not garner much attention outside the Nordic countries. Both of the singles reached the German top 100 but did not chart elsewhere in Western Europe. Fan reception was mixed. A lot of fans still saw DJ Gismo as one half of the face of the band, despite DJ Gismo not being involved in the production of the band's music, except for providing scratches; the remixes of Bomfunk tracks carrying his name were produced by the band's producer, JS16.


title: Bomfunk MC's

text: In 2005, Bomfunk MC's toured New Zealand during university orientation playing dates in Dunedin, Christchurch, Wellington, Hamilton and Auckland in support of their album "Reverse Psychology".


title: Bomfunk MC's

text: Many of the band's collaborators dedicated themselves to other musical projects or activities or faded into obscurity. The band's main producer and mentor, JS16, remained musically active as a solo artist; 2007 saw the release of his first solo track in over half a decade, "Rosegarden" (which achieved significant club play). He is also a successful remixer and forms half of the successful dance act Dallas Superstars.


title: Bomfunk MC's

text: In the summer of 2019 the band made their comeback with the classic line-up. They played at several festivals, introducing two new tracks, "Can't Runaway" and "Mic Drop". B.O. Dubb and DJ Gismo took part along with their producer JS16 who became an official member of the group.


title: Bomfunk MC's

text: In February 2019, the video for "Freestyler" was reshot as a tribute for the 20th anniversary of its release. The new version features the original band members and re-enacts scenes from the original but with a modern twist. This includes replacing the Sony mini-disk player that controlled the music with a smart phone, changing the main character from male to female, and introducing some modern dance styles. The video was shot in Belgrade, Serbia.


title: Bomfunk MC's

text: Two of Bomfunk MC's songs have been featured in the PlayStation racing game "Firebugs". They were "We R Atomic", and "Put Ya Hands Up". Both songs are from the album "Burnin' Sneakers".


title: Leap of faith

text: A leap of faith, in its most commonly used meaning, is the act of believing in or accepting something outside the boundaries of reason.


title: Leap of faith

text: The phrase is commonly attributed to Søren Kierkegaard; however, he never used the term, as he referred to a "qualitative leap". A leap of faith according to Kierkegaard involves circularity insofar as the leap is made "by" faith. In his book "Concluding Unscientific Postscript", he describes the core part of the leap of faith: the leap. “Thinking can turn toward itself in order to think about itself and skepticism can emerge. But this thinking about itself never accomplishes anything.” Kierkegaard says thinking should serve by thinking something. Kierkegaard wants to stop "thinking's self-reflection" and that is the movement that constitutes a leap. He is against people's thinking about religion all day without ever doing anything; but he is also against external shows and opinions about religion. Instead, Kierkegaard is in favor of the internal movement of faith. He says, "where Christianity wants to have inwardness, worldly Christendom wants outwardness, and where Christianity wants outwardness, worldly Christendom wants inwardness." But, on the other hand, he also says: "The less externality, the more inwardness if it is truly there; but it is also the case that the less externality, the greater the possibility that the inwardness will entirely fail to come. The externality is the watchman who awakens the sleeper; the externality is the solicitous mother who calls one; the externality is the roll call that brings the soldier to his feet; the externality is the reveille that helps one to make the great effort; but the absence of the externality can mean that the inwardness itself calls inwardly to a person - alas - but it can also mean that the inwardness will fail to come." The "most dreadful thing of all is a personal existence that cannot coalesce in a conclusion," according to Kierkegaard. He asked his contemporaries if any of them had reached a conclusion about anything or did every new premise change their convictions.


title: Leap of faith

text: David F. Swenson described the leap in his 1916 article The Anti-Intellectualism of Kierkegaard using some of Kierkegaard's ideas.


title: Leap of faith

text: Kierkegaard describes "the leap" using the famous story of Adam and Eve, particularly Adam's qualitative "leap" into sin. Adam's leap signifies a change from one quality to another, mainly the quality of possessing no sin to the quality of possessing sin. Kierkegaard maintains that the transition from one quality to another can take place only by a "leap". When the transition happens, one moves directly from one state to the other, never possessing both qualities. "The moment is related to the transition of the one to the many, of the many to the one, of likeness to unlikeness, and that it is the moment in which there is neither one nor many, neither a being determined nor a being combined." "In the Moment man becomes conscious that he is born; for his antecedent state, to which he may not cling, was one of non-being. In the Moment man also becomes conscious of the new birth, for his antecedent state was one of non-being."


title: Leap of faith

text: Kierkegaard felt that a leap of faith was vital in accepting Christianity due to the paradoxes that exist in Christianity. In his books, "Philosophical Fragments" and "Concluding Unscientific Postscript", Kierkegaard delves deeply into the paradoxes that Christianity presents. Moses Mendelssohn did the same thing when Johann Kaspar Lavater demanded he discuss why he didn't want to become a Christian. Both Kierkegaard and Mendelssohn knew the difficulties involved when discussing religious topics: "As I so sedulously sought to avoid an explanation in my own apartment amidst a small number of worthy men, of whose good intentions I had every reason to be persuaded, it might have been reasonably inferred that a public one would be extremely repugnant to my disposition; and that I must have inevitably become the more embarrassed when the voice demanding it happened to be entitled to an answer at any rate."


title: Leap of faith

text: Kierkegaard's use of the term "leap" was in response to "Lessing's Ditch" which was discussed by Gotthold Ephraim Lessing (1729–1781) in his theological writings. Kierkegaard was indebted to Lessing's writings in many ways. Lessing tried to battle rational Christianity directly and, when that failed, he battled it indirectly through, what Kierkegaard called, "imaginary constructions". Both may be indebted to Jean-Jacques Rousseau.


title: Leap of faith

text: Lessing said, "accidental truths of history can never become the proof of necessary truths of reason." Kierkegaard points out that he also said, "contingent truths of history can never become the demonstrations of necessary truths of reason." Kierkegaard liked Lessing because he "had a most uncommon gift of explaining what he himself had understood. With that he stopped; in our day people go further and explain more than they themselves have understood."


title: Leap of faith

text: Kierkegaard has Don Juan in "Either/Or" escort young girls "all in the dangerous age of being neither grown-up nor children" to "the other side of the ditch of life" as he, himself, "dances over the abyss" only to "instantly sink down into the depths." He has Don Juan "preach the gospel of pleasure" to Elvira and seduces her from the convent and wonders if there is a priest who can "preach the gospel of repentance and remorse" with the same power as Don Juan preached his gospel. Both Lessing and Kierkegaard are discussing the agency one might use to base one's faith upon. Does history provide all the proofs necessary to cross that "ugly, broad ditch"? Or is there "no direct and immediate transition to Christianity". Does one become a Christian "in the fulness of time" as Kierkegaard puts it or is "there only one proof of spirit and that is the spirit’s proof within oneself. Whoever demands something else may get proofs in superabundance, but he is already characterized at spiritless."


title: Leap of faith

text: The implication of taking a "leap of faith" can, depending on the context, carry positive or negative connotations, as some feel it is a virtue to be able to believe in something without evidence while others feel it is foolishness. It is a hotly contested theological and philosophical concept. For instance, the association between "blind faith" and religion is disputed by those with deistic principles who argue that reason and logic, rather than revelation or tradition, should be the basis of the belief "that God has existed in human form, was born and grew up". Jesus is the "paradox", the "absolute paradox". When Christianity becomes a scholarly enterprise one tends to "reflect oneself into Christianity" but Kierkegaard says, one should "reflect oneself out of something else and become, more and more simply, a Christian."


title: Leap of faith

text: Kierkegaard was concerned that individuals would spend all their lives trying to define Christianity, love, God, the Trinity, sin, et cetera, and never get to the business of "actually" making a decision in time to become a Christian who could then act on the basis of that decision. He discussed the inner and the outer relationship existing in belief. "Compared with the Hegelian notion that the outer is the inner and the inner the outer, it certainly is extremely original. But it would be even more original if the Hegelian axiom were not only admired by the present age but also had retroactive power to abolish, backward historically, the distinction between the visible and invisible Church. The invisible Church is not a historical phenomenon; as such it cannot be observed objectively at all, because it is only in subjectivity." There has to be a balance between objective and subjective knowledge. Hegel went to the extreme objective side so Kierkegaard decided to go to the extreme subjective side.


title: Leap of faith

text: Even some theistic realms of thought do not agree with the implications that this phrase carries. For instance, C. S. Lewis argues against the idea that Christianity requires a "leap of faith," (as the term is most commonly understood). One of Lewis' arguments is that supernaturalism, a basic tenet of Christianity, can be logically inferred based on a teleological argument regarding the source of human reason. Nonetheless, some Christians are less critical of the term and do accept that religion requires a "leap of faith".


title: Leap of faith

text: What is often missed is that Kierkegaard himself was an orthodox, Scandinavian Lutheran in conflict with the liberal theological establishment of his day. His works built on one another and culminated with the orthodox Lutheran conception of a God that unconditionally accepts man, faith itself being a gift from God, and that the highest moral position is reached when a person realizes this and, no longer depending upon her or himself, takes the leap of faith into the arms of a loving God. In a Lutheran context, the leap of faith becomes much clearer.


title: Leap of faith

text: Jacobi, Hegel, and C.S. Lewis wrote about Christianity in accordance with their understanding but Kierkegaard didn't want to do that. He felt that it was too dangerous to put in writing what was most holy to himself. He said, "Not even what I am writing here is my innermost meaning. I cannot entrust myself to paper in that way, even though I see it in what is written. Think what could happen! The paper could disappear; there could be a fire where I live and I could live in uncertainty about whether it was burned or still existed; I could die and thus leave it behind me; I could lose my mind and my innermost being could be in alien hands; I could go blind and not be able to find it myself, not know whether I stood with it in my hands without asking someone else, not know whether he lied, whether he was reading what was written there or something else in order to sound me out." Kierkegaard was of the opinion that faith is something different from other things: unexplainable and inexplicable. The more a person tries to explain personal faith to another, the more entangled that person becomes in language and semantics but "recollection" is ""das Zugleich", the all-at-once," that always brings him back to himself.


title: Leap of faith

text: Kierkegaard stuck to his concept of Christianity as an inner struggle where the single individual stands before God rather than before others. Because standing before God is where the decisive struggle occurs for each single individual. Each single individual who has an "interest" in becoming a Christian has a God-relationship which is different from any other individual. The more we look to "others" for our God-relationship, the more we have a simulated, mediated relationship with an idea. The idea, or ideal, isn't the highest. But getting the idea off the paper or the drawing board and putting it to use in life is the absolute for the Christian. In Works of Love (1847) he wrote, "Love for the neighbor does not want to be sung about, it wants to be accomplished." He put it this way in "Three Discourses on Imagined Occasions" (1845), in "Concluding Unscientific Postscript" (1846), in "Works of Love" (1847), and in "Sickness Unto Death" (1849).


title: Leap of faith

text: Kierkegaard questioned how a person changes. Some, like Hegel and Goethe, believed that an external event was required for a new epoch to begin. Kierkegaard disagreed because something might never happen in an external way that would cause a person to change and a possibility for a better life might be lost. Marx followed after Hegel and Goethe but Tolstoy agreed more with Kierkegaard in his "view of life".


title: Leap of faith

text: Goethe may have been mocking the idea that the birth of Christ was what made him important or he may have seriously thought that his, Goethe's, own birth made him important. Kierkegaard didn't believe that Christ had this "upside-downness that wanted to reap before it sowed or this kind of cowardliness that wanted to have certainty before it began." Goethe began his autobiography with the certainty that his life was going to have a great effect on the world stage.


title: Leap of faith

text: Within the first twenty pages of his autobiography Goethe had pointed to the 1755 Lisbon earthquake as another great life changing event in his life. Goethe's book was translated "Truth and Poetry" but was also translated "Truth and Fiction". Both authors seemed to be against having a fictional existence. Goethe believed the existence of Christ was being fictionalized while Kierkegaard believed the existence Goethe wrote about in his own autobiography was fictional – and much of it was.


title: Leap of faith

text: Count Leo Tolstoy said he found out "there was no God" in 1838 when he was 12 years old. He had to work through this idea for the next 38 years until he could come away with a method by which he could believe, not only in God but in Christ. Kierkegaard heard the same from Hegelian philosophers and worked through his doubt to belief but he opposed that method. His thought was to start with faith and proceed forward making positive steps rather than always falling back to start over after doubt had prevailed. He said, "False doubt doubts everything except itself; with the help of faith, the doubt that saves doubts only itself."


title: Leap of faith

text: Kierkegaard didn't want to argue about his faith any more than he wanted to argue about why he may or may not get married or become a professor. He just wanted to make the movement from "possibility to actuality" and knew that he would just be wasting time if he tried to explain himself.I think that, just as a Christian always ought to be able to explain his faith, so also a married man ought to be able to explain his marriage, not simply to anyone who deigns to ask, but to anyone he thinks worthy of it, or even if, as in this case, unworthy, he finds it propitious to do so.Tolstoy tried to explain the method he used to come to grips with the Christian religion. He acted on his beliefs by freeing his serfs, writing books to help them learn to read and giving them land to farm and live on. He didn't argue and reason with his neighbors; he just did what he set out to do.