title: New Woman

text: Writer Henry James was among the authors who popularized the term "New Woman," a figure who was represented in the heroines of his novels—among them the title character of the novella "Daisy Miller" (serialized 1878) and Isabel Archer in "Portrait of a Lady" (serialized 1880–81). According to historian Ruth Bordin, the term New Woman was:


title: New Woman

text: The "New Woman" was also a nickname given to Ella Hepworth Dixon, the English author of the novel "The Story of a Modern Woman".


title: New Woman

text: Although the New Woman was becoming a more active participant in life as a member of society and the workforce, she was most often depicted exerting her autonomy in the domestic and private spheres in literature, theatre, and other artistic representations. The 19th-century suffragette movement to gain women's democratic rights was the most significant influence on the New Woman. Education and employment opportunities for women were increasing as western countries became more urban and industrialized. The "pink-collar" workforce gave women a foothold in the business and institutional sphere. In 1870, women in the professions comprised only 6.4 percent of the United States' non-agricultural workforce; by 1910, that figure had risen to 10 percent, then to 13.3 percent in 1920.


title: New Woman

text: More women were winning the right to attend university or college. Some were obtaining a professional education and becoming lawyers, doctors, journalists, and professors, often at prestigious all-female colleges such as the Seven Sisters schools: Barnard, Bryn Mawr, Mount Holyoke, Radcliffe, Smith, Vassar, and Wellesley. The New Woman in the United States was participating in post-secondary education in larger numbers by the turn of the 20th century.


title: New Woman

text: Autonomy was a radical goal for women at the end of the 19th century. It was historically a truism that women were always legally and economically dependent on their husbands, male relatives, or social and charitable institutions. The emergence of education and career opportunities for women in the late 19th century, as well as new legal rights to property (although not yet the vote), meant that they stepped into a new position of freedom and choice when it came to marital and sexual partners. The New Woman placed great importance on her sexual autonomy, but that was difficult to put into practice as society still voiced loud disapproval of any sign of female licentiousness. For women in the Victorian era, any sexual activity outside of marriage was judged to be immoral. Divorce law changes during the late 19th century gave rise to a New Woman who could survive a divorce with her economic independence intact, and an increasing number of divorced women remarried. Maintaining social respectability while exercising legal rights still judged to be immoral by many was a challenge for the New Woman:


title: New Woman

text: It was clear in the novels of Henry James that however free his heroines felt to exercise their intellectual and sexual autonomy, they ultimately paid a price for their choices.


title: New Woman

text: Some admirers of the New Woman trend found freedom to engage in lesbian relationships through their networking in women's groups. It has been said that for some of them, "loving other women became a way to escape what they saw as the probabilities of male domination inherent in a heterosexual relationship". For others, it may have been the case that economic independence meant that they were not answerable to a guardian for their sexual or other relationship choices, and they exercised that new freedom.


title: New Woman

text: The New Woman was a result of the growing respectability of postsecondary education and employment for women who belonged to the privileged upper classes of society. University education itself was still a badge of affluence for men at the turn of the 20th century, and fewer than 10 percent of people in the United States had a post-secondary education during the era.


title: New Woman

text: The women entering universities generally belonged to the white middle class. Consequentially, the working class, people of color, and immigrants were often left behind in the race to achieve this new feminist model. Woman writers belonging to these marginalized communities often critiqued the way in which their newfound freedom regarding their gender came at the expense of their race, ethnicity, or class. Although they acknowledged and respected the independence of the New Woman, they could not ignore the issue that the standards for a New Woman of the Progressive Era could, for the most part, only be attained by white middle-class women.


title: New Woman

text: The bicycle had a significant impact on the lives of women in a variety of areas, not least in the area of Victorian dress reform, also known as the "rational dress movement". The greatest impact it had on the societal role of women occurred in the 1890s during the bicycle craze that swept American and European society. The bicycle gave women a greater amount of social mobility. The feminist Annie Londonderry accomplished her around-the-globe bicycle trip as the first woman in this time. Elizabeth Robins Pennell, who started her writing career with a biography of Mary Wollstonecraft, pioneered bicycle touring with her travelogues around England and Europe in the late nineteenth century.


title: New Woman

text: Due to the price and the various payment plans offered by American bicycle companies, the bicycle was affordable to the majority of people. However, the bicycle impacted upper and middle class white women the most. This transformed their role in society from remaining in the private or domestic sphere as caregivers, wives, and mothers to one of greater public appearance and involvement in the community.


title: New Woman

text: Literary discussions of the expanding potential for women in English society date back at least to Maria Edgeworth's "Belinda" (1801) and Elizabeth Barrett's "Aurora Leigh" (1856), which explored a woman's plight between conventional marriage and the radical possibility that a woman could become an independent artist. In drama, the late nineteenth century saw such "New Woman" plays as Henrik Ibsen's "A Doll's House" (1879) and "Hedda Gabler" (1890), Henry Arthur Jones's play "The Case of Rebellious Susan" (1894) and George Bernard Shaw's controversial "Mrs. Warren's Profession" (1893) and "Candida" (1898).


title: New Woman

text: According to a joke by Max Beerbohm (1872–1956), "The New Woman sprang fully armed from Ibsen's brain" (an allusion to the birth of Athena).


title: New Woman

text: Bram Stoker's "Dracula" makes prominent mention of the New Woman in its pages, with its two main female characters discussing the changing roles of women and the New Woman in particular. Lucy Westenra laments she can not marry several men at once, after she has been proposed to by three different men. Her friend, Mina, later writes in her diary that the New Woman would do the proposing herself. Feminist analyses of "Dracula" regard male anxiety about the Woman Question and female sexuality as central to the book.


title: New Woman

text: The term was used by writer Charles Reade in his novel "A Woman Hater", originally published serially in "Blackwood's Magazine" and in three volumes in 1877. Of particular interest in the context are Chapters XIV and XV in volume two, which made the case for the equal treatment of women.


title: New Woman

text: In fiction, New Woman writers included Olive Schreiner, Annie Sophie Cory (Victoria Cross), Sarah Grand, Mona Caird, George Egerton, Ella D'Arcy and Ella Hepworth Dixon. Some examples of New Woman literature are Victoria Cross's "Anna Lombard" (1901), Dixon's "The Story of a Modern Woman" and H. G. Wells's "Ann Veronica" (1909). Kate Chopin's "The Awakening" (1899) also deserves mention, especially within the context of narratives derived from Flaubert's "Madame Bovary" (1856), both of which chronicle a woman's doomed search for independence and self-realization through sexual experimentation.


title: New Woman

text: The emergence of the fashion-oriented and party-going flapper in the 1920s marked the end of the New Woman era (now also known as First-wave feminism).


title: New Woman

text: By the late 19th century, art schools and academies had begun to offer more opportunities for artistic instruction to women. The Union of Women Painters & Sculptors, founded in 1881, supported women artists and offered exhibition opportunities. Women artists became "increasingly vocal and confident" in promoting women's work, and thus became part of the emerging image of the educated, modern and freer "New Woman".


title: New Woman

text: In the late 19th century, Charles Dana Gibson depicted the "New Woman" in his painting, "The Reason Dinner was Late", which shows a woman painting a policeman.


title: New Woman

text: Artists "played crucial roles in representing the New Woman, both by drawing images of the icon and exemplifying this emerging type through their own lives". In the late 19th and early 20th centuries about 88% of the subscribers of 11,000 magazines and periodicals were women. As women entered the artist community, publishers hired women to create illustrations that depicted the world through a woman's perspective. Successful illustrators included Jennie Augusta Brownscombe, Jessie Wilcox Smith, Rose O'Neill, Elizabeth Shippen Green, and Violet Oakley.


title: New Woman

text: In the early 1890s, daughters of middle class Catholics expressed a desire to attend institution of higher education. Catholic leaders expressed their concern as studying at these "Protestant" schools, as the Church described it, might threaten the women's Catholic faith. The Church also viewed the New Woman as a threat to traditional womanhood and the social order. The Church cited past accomplished Catholic women, including saints, to critique the New Woman. By citing those women, the Church also argued that it was the Church, not the New Woman movement, that offered women the best opportunities. Others also critiqued the New Woman for her implied sexual freedom and for her desire to participate in matters that are best left to men's judgment. As Cummings writes, the New Woman was accused of being "essentially uncatholic and anti-catholic".


title: New Woman

text: The New Woman of China began to emerge off of the pages of Chinese literature beginning mostly in the 1920s. However, ideas surrounding feminism, gender equality, and modernization began in China long before the 1920s New Woman emerged from its context. The New Woman of China and the movement itself went through various incarnations, changing with the social and political landscape it emerged from.


title: New Woman

text: It was during the early years of the New Culture Movement and pre-May Fourth era that the term "New Woman" first emerged in China. This term, used by Hu Shi (1891-1962) during a 1918 lecture, suggested that women were more than just "good wives and wise mothers" and instead pushed for women's freedom and individuality in the larger national framework. However, Hu Shi along with a handful of other male intellectuals, were the minority pushing for women’s involvement in society.


title: New Woman

text: Influenced heavily by the New Culture movement, which emphasised condemning the “slavish Confucian tradition which was known to sacrifice the individual for conformity and force rigid notions of subservience, loyalty, and female chastity," the New Woman who emerged in the 1910s were far less progressive than their later 1920s counterparts. New Women during the early Republican period had to contend heavily with the ‘woman question’ a question regarding how to "address issues of modernity and the nation" and women's role in both. During this period, women's education was promoted, but as a tool to create women who would be equipped to “raise healthy and morally sound sons”, who would then help build a new China. So even though education was encouraged for women, it was not for their personal benefit but instead for the state and nation. Early New Women such as Hu Binxia, an early editor for "The Ladies Journal", promoted in her articles the ideas of education to learn how to support a family and participate in the cult of domesticity.


title: New Woman

text: However, like minded male reformers to Hu Shi, Chen Duxiu promoted a very different kind of women for China’s changing political, social, and economic landscape pre-May Fourth era. Founder of the "New Youth" journal, Chen Duxiu called for gender and family reforms and pushed for the emancipation of women and the dismantling of the restrictive Confucian family system. Chen, like other radical-minded male intellectuals of his time, believed “women’s equality to be the hallmark of a modern civilization” and the strength behind a nation. Thus “customs of concubinage, foot binding, widow chastity, and female seclusion”, from these male intellectual's view points, needed to be eliminated to allow women to freely participate in the nation's rebuilding.


title: New Woman

text: While Chinese men at this time backed the idea of the dismantling the Confucian system, they did not do so solely for women to be freed from it. Chinese male intellectuals backed women's emancipation from the system, but not their emancipation as individuals. The hope was that women could be freed from Confucianism's confines and then mobilized for the cause of nationalism. This can be seen by such reformers as Liang Qichao who believed that the "future strength of the nation was the ultimate goal, and that women's rights were only a means" to meet that goal, not the end of it.


title: New Woman

text: Furthermore, the New Women of China during this time drew heavily on American and European literature, feminist movements, and female missionaries along with Japanese feminists and New Women too. Both Chinese men and women looked to the United States, which was believed to be the most advanced in regards to women's rights, as a source of inspiration. Education and economic opportunities, such as those that Chinese male intellectuals of the time promoted for women, were considered to be the hallmark of a free and independent women. These ideas of economic independence and educational opportunities were promoted by both the male and female intellectuals of the time, but both promoted them for different reasons as noted above.


title: New Woman

text: Changes to the New Woman and their ideals began after the May Fourth Movement. While the movement emerged from the context of World War I (Treaty of Versailles), its new ideas regarding the economy, education, politics, and gender roles had a profound effect on the New Women in China and the direction of the movement. Where previous New Women during the early twentieth century had been influenced by women in the United States, Europe, and Japan, the New Women of China began during the 1920s to using their own stories and ideas as their inspiration. In this, while Western literary figures and writers such as Nora in Hendrik Ibsen's "A Doll's House (1879)" still had massive popularity and influence, male and female writers of the time used these writings as templates but applied Chinese societal problems and themes to the storylines and characters. So while they had a connection to these original works, they featured both larger global struggles of women, such as free love relationships, and more individual problems for Chinese women, such as dealing with the Confucian family system and filial piety.


title: New Woman

text: The New Women in China, both as women living in China and literary figures in books, still faced pressures in the 1920s and 1930s to "exemplify familial and national devotion" however. With that said though, not everyone shared this sentiment. For example, during the late 1910s and early 1920s, the "Ladies' Journal" promoted ideas of individualism and romantic love relationships and marriages instead of arranged. Other writers believed a strong Chinese nation would arise only when "education, suffrage, social freedoms, and economic independence" were granted to women. Thus, while women seemed to gain more freedom in their choice or marriage partner and the possibility of working outside of the domestic realm, the rhetoric and meaning behind these new choices for women, hidden behind modernist vocabulary, remained the same: establishing a family or devoting oneself to the nation.


title: New Woman

text: An important lecture, "What Happens After Nora Leaves Home", was given at Beijing Women's Normal College in 1923 which discussed women in Chinese society and their inability to become truly independent from both the family and from their male partners. This talk given by Lu Xun, a revolutionary writer concerned with women’s issues amongst many other things, cautioned women against idealizing Western female literary figures such as Hendrik Ibsen's Nora in "A Doll's House (1879)" . Lu Xun noted that while her actions were bold, Nora did not have any means to support herself once she left home, leaving her with limited options of survival. Lu Xun was not against women seeking independence, he was however, pointing out the limited access women had to economic self-sufficiency and social welfare.


title: New Woman

text: Regardless of Lu Xun's warning, Western literary figures, like Nora in "A Doll's House" (1879), came to be seen as great examples of New Women to female and male readers of the time. Nora, the heroine of A "Doll's House", who leaves her patriarchal marriage and ventures out into the world alone, was used as an ideal archetype by female and male Chinese writers in their own stories and essays.


title: New Woman

text: When looking at female Chinese writers of the time, Ding Ling and Chen Xuezhao were both heavily influenced by the New Women and their message. Chen Xuezhao, a Chinese feminist of her time, advocated for women to be liberated from the patriarchal system allowing them the ability to contribute more wholeheartedly to society. Her 1927 essay published in the "New Woman" magazine, noted how women wished to remain single and thus able to “pursue their own personal fulfilment and livelihood”, becoming “active participants in civic life”.


title: New Woman

text: Another New Woman writer, Ding Ling, by using fiction, wrote about the lives of women, their sexuality, and the “complications they faced making a life for themselves in a modernizing society”. Influenced by her single-mother, Ding Ling presented herself as the epitome of a New Woman as she was starkly against foot-binding, chopped her hair into a short bob cut, went to male and female schools, and refused an arranged marriage. Her most influential work, "Miss Sophia’s Diary", inspired by Ibsen’s "A Doll’s House", details a New Woman’s journey with “sexual and emotional frustrations of romantic love as a ‘liberated’ women in a patriarchal society”. Ding Ling's writing focused on criticizing the patriarchal family, the marriage system, concepts of female chastity, and the double standards women faced.


title: New Woman

text: Male writers of the time too, used Ibsen's story as inspiration for their own versions to the Nora tale. For example, Hu Shi's play "Zhongshen dashi" (The greatest event in life; 1917), stars a Nora-influenced character whose story highlights the idea of free love relationships for both men and women, moving away from the idea of arranged, loveless marriages.


title: New Woman

text: Lu Xun was another male writer of the time who created literature using these New Women characters. As mentioned above, Lu Xun gave a speech in 1923 noting how Nora had no economic means to turn to when she left home. His talk and subsequent story on the topic, demonstrated that in Chinese society, women lacked the economic funds needed to be able to survive outside of her family and husband. As Nora did not have any means to generate an income for herself once she left, and because she lacked an education, she was left with few options of survival. His story, "New Year's Sacrifice" (1924), while not explicitly about the New Women of China, went on to criticize the idea of monitoring women's chastity and virtue. However, his story "Regret for the Past," whose female protagonist is modelled after Nora, shows his female lead leaving her family home to be with her lover, only to eventually return to her family home in the end due to a lack of economic independence. Demonstrating Lu Xun's belief that China had not created ways for women to survive outside of their family or husband's homes.


title: New Woman

text: While not from the 1920s and 1930s, an incredibly early example of the archetype of the Chinese New Woman was Ida Kahn/Kang Aide/Kang Cheng (December 6, 1873—November 9, 1931). An early New Woman in the context of the Chinese New Woman movement, Ida Kahn, born in China, was adopted by an American female missionary who took her in 1892 to the United States to receive a college education in medicine. There are a few reasons Kahn stands out as an early archetype of the eventual 1920s New Woman. The first is the education she received. Kahn received two degrees. The degree she received was in medicine, which she put to work back in China when she became a doctor in the early nineteen hundreds. The second degree Kahn received was a bachelor's degree in English literature in 1911. What is unique about this, other than the fact that she received a degree in medicine in the first place, was that this second degree was done solely out of personal interest for the topic. While later New Women were encouraged to receive an education, it was not for one's personal benefit but instead to become better wives and mothers, so this early example of a Chinese woman receiving an education out of interest is an anomaly of the time. The second is marital status. Kahn never married and instead devoted her life to the cause of medicine and healing others. Kahn remained single her whole life, breaking away from the tradition of marrying and establishing a family. Lastly, Kahn worked as a physician for the majority of her life. Kahn devoted her life to the Chinese state and its people. Kahn was later turned into a symbol of national reform by Liang Qichao who, noting the anomaly she posed as a female figure in China, morphed Kahn into a "central image of modernity".


title: New Woman

text: The 1920s to 1930s New Woman in China from the page to real life shared similarities and differences both with each other and with the early New Woman, Ida Kahn. For example, Ding Ling, the female writer, exemplified the ultimate New Woman both in her visual appearance and in her ideas and stories. As noted earlier, Ding Ling's physical appearance aligned with other New Women as she "had her long, braided hair cut short", a typical style of the New Woman. Her ideas and literature also aligned with 1920s New Woman as her stories depicted female sexual desires and women's liberation from the patriarchal family.


title: New Woman

text: New Women, according to Barbara Molony, emerged in the late 1920s, out of the New Culture Movement and were viewed as the "educated, patriotic embodiment of a new gender order working to overcome the oppressions of the Confucian family system and traditional society". New Women were usually female students who in appearance wore eyeglasses, had short bobbed hair, and unbound feet, and in practice usually lived on their own, had open, casual relationships, and aimed to be economically independent from their family.


title: New Woman

text: However, the Modern Girl, who also emerged in the late 1920s and early 1930s, came to signify "commodified, glamorous, and individualist women". Each of these two types of women in China came to exemplify very different styles and beliefs. The New Woman both in literature and in real life were "associated with leftist and progressive intellectuals, equated with positive aspects of modernity" and seen as educated, political and nationalistic in her view points. The New Woman was all things positive in relation to modernity and "symbolized the vision of a future strong nation" but with aspects of modernity and revolution. So while the New Woman expressed the positive changes that came with modernity, the Modern Girl "expressed men's disillusionment with modernity and their fears of female subjectivity". While neither of these two women were necessarily beloved by males wishing to keep the status quo, the New Woman was more accepted as she was believed by men, even though she advocated for free love and economic independence, to still uphold family and national values.


title: New Woman

text: Even with these apparent newfound freedoms (ability to work outside the domestic domain, economic stability, and choice in marriage partners), some New Women still felt constricted by the system and thus, unheard. To make their opinions about this system heard, some New Women followed the old Confucian tradition of female suicide as a means to get their message across to the general populace.


title: New Woman

text: According to Margery Wolf, women's suicide in China was less about “Why?” and more about “Who? Who drove her to this? Who is responsible?”. This can be seen with the case of Xi Shangzhen, an office employee who in 1922 committed suicide for reasons that are still contested. Xi was an unmarried office employee who, disgruntled at her boss hung herself in her place of work. There are two possible reasons for her decision that are known. The first is that her boss lost her money on the stock market causing her to be put in a hard financial situation. The second reason, which Bryna Goodman believes to be most likely was that Xi's boss, whom she was having an affair with, asked her to be his concubine.


title: New Woman

text: As Margery Wolf points out, “suicide was considered a proper response for women whose honour had been tampered with”. This also relates to virtue, chastity, or rumours about either. In this case, Xi who was an educated woman working a job, felt her virtue had been infringed upon and insulted, and thus made a bold decision to make her case of insult known to the general public. The death of Xi was shocking as it showed a conflict between the modern and Confucian value systems. As noted by Barbara Molony, Xi embodied the typical New Woman as she was an "educated, unmarried woman and supporting herself with an independent career". Xi was viewed as a New Woman who through her job, was able to obtain economic independence but through her actions of suicide, demonstrated a very long tradition in Chinese history of female suicide for the sake of virtue.


title: New Woman

text: After women gained the right to vote and be elected in the wake of World War I in Germany, the "Neue Frau" became a trope in German popular culture, representing new discourses about sexuality, reproduction and urban mass society. This German New Woman was portrayed by authors such as Elsa Herrmann ("So ist die neue Frau", 1929) and Irmgard Keun ("Das kunstseidene Mädchen", 1932, translated as "The Artificial Silk Girl", 1933). These urbane, sexually liberated working women wore androgynous clothes, cut their hair short, and were widely seen as apolitical. The New Women in Germany was closely connected to the lesbian subculture in Weimar Republic.


title: New Woman

text: In Korea in the 1920s, the New Woman's Movement arose among educated Korean women who protested the Confucian patriarchal tradition. During a period of Japanese imperialism, Christianity was seen as an impetus for Korean nationalism and had been involved in events such as the March 1st Movement of 1919 for independence. Hence, in contrast to many Western contexts, Christianity informed the ideals of Western feminism and women's education, especially through the Ewha Womans University. The New Woman's Movement is often seen to be connected with the Korean magazine "New Women" (), founded in 1920 by Kim Iryŏp, which included other key figures such as Na Hye-sŏk.


title: New Woman

text: Originally, the term ‘New Woman’ was associated with education, enlightenment, and social consciousness, while the term ‘Modern Girl’ carried connotations of frivolity and excess. While these terms continue to carry some of these original meanings, they eventually came to be used interchangeably. New Women included female students and workers, and as women started working, they formed a new urban working class, endowing them with economic power, the ability to participate in modern consumerism, independence from their families, and the opportunity to engage in more social contact with men. While these changes led to greater female freedom, Modern Girls and New Women drew severe criticism from male intellectuals who argued that these modern women were consumed with Western capitalism, were consumer-oriented and hypersensitive to trends and fads, morally depraved, and sexually promiscuous. However, more moderate authors like Yu Kwang-Yol and Song So-In described the Modern Girl as an embodiment of the transition from old traditions to new practices and recognized that, while the trend could focus on material consumption, New Women and Modern Girls also strove to cultivate a moral vision and higher knowledge. Nonetheless, the majority of representations of New Women and Modern Girls in mass media reduced them to caricatures with short hair, make-up, and Western clothing, while ignoring their strides in knowledge, skill, and identity.


title: New Woman

text: According to a study by Na Kyong-Hui, more than 230 editorials on the “women question” appeared in the Choson Ilbo and the Tonga Ilbo, two of the most widely circulated newspapers during the colonial period, from 1920-1940. One of the main characteristics of Modern Girls criticized in these newspapers was New Women’s trend towards consumerism. Who who, unable to prioritize necessary items and exercise self-control in their shopping, wore expensive clothing beyond their means, perhaps to the detriment to their families were ridiculed. Modern Girls were also seem as being hypersensitivity to fashion trends, and there was a shift in the power dynamic between husbands and wives, with men now groveling to meet their wives’ demands. However, this condemnation of consumerism went beyond gender: it was rooted in Korea’s relationship with Japan. Consuming Japanese goods was believed to inadvertently contribute to Korea’s colonial subordination to Japan while framing Japanese oppressors as progressive and Korea as a remote, pre-industrial land. Authors like Yu Kwang-Yeoul argued that the Korean masses were so “blinded by the glittering, seductive products” of Japan that they failed to recognize Japan’s “assault on Korea’s economy.” Criticisms of female consumerism also reveal men’s underlying fear of losing their status and social position, for women’s economic involvement challenged traditional gender roles and centuries of Confucian practice.


title: New Woman

text: This exploration of changing gender roles was further debated in cartoons, particularly around the departure from the hyeonmo yangcheo (wise mother and good wife) rhetoric and women’s increased participation in public life. It was believed that as women became educated and entered the workforce, they also became masculinized while men became feminized, leading to ambiguity between the sexes. Women's bobbed hair and short skirts also represent another form of rebellion against cultural norms and traditional gender roles. Despite male opposition to the new fashion styles, modern women held their own ideas of what was attractive, comfortable, and functional, particularly in the work setting, and defined their beauty, sexuality, and identity for themselves. It was also thought that women could not simultaneously be New Women and good mothers and wives.


title: New Woman

text: The final topic frequently represented in the Modern Girl debate was the issue of female sexuality. In contrast to women in the Joseon dynasty who covered their heads and could not go outside without a male chaperone, changes in fashion and ideology led to more exposed female bodies. New Women argued that the new trends were stylish and comfortable, but male intellectuals criticized Modern Girls for being unvirtuous and bringing inappropriate attention to their sexuality. Furthermore, during the Joseon dynasty, men were the pursuers. However, New Women were shown to be proactive and aggressive in their quest for a husband.


title: New Woman

text: New Women and Modern Girls were depicted in art in many different ways. Kim Eun-Ho’s "The Gaze" features a beautiful woman standing in a field of wildflowers under a weeping willow. She holds a bouquet in her hands and wears Western clothing including a short skirt, long jacket, high heels, and shawl around her shoulders. Kim Eun-Ho’s representation of the New Woman using warm, soft colors and sloping lines portrays her in a romantic light, where she is the passive female being caught unexpectedly in a private moment. This strongly contrasts Na Hye-Seok’s representation of herself in Self-Portrait, which conveys her identity as an artist, a New Woman, and an intellectual. Her facial features, clothing, and Cubism-inspired painting style are also distinctly Western, and her expression is mask-like and masculine. The dark colors and solid representation of her body challenge the stereotypical representation of women in Korean art, for instead of being delicate and submissive, she is serious and powerful.


title: New Woman

text: In the early 1900s, the Western concept of the New Woman began to circulate in Japan. The term for New Woman, "Atarashii Onna", was first formally used in July 1910 during a lecture by Tokyo Imperial University professor Tsubouchi Shoyo. "Atarashii Onna" was used with derision by critics to denote a woman who was promiscuous, shallow, and unfilial, the opposite of Meiji Japan's ideals of "ryōsai kenbo". Despite this members of "Seitō", a woman's magazine which became a symbol of Japan's New Women, such as Hiratsuka Raichō and Itō Noe proudly embraced the term. Educated women who functioned as both literary and political figures embodied the concept of Japan's New Women in the 1910s, using literary platforms such as "Seitō" to circulate their ideas amongst the public.


title: New Woman

text: "Seitō" was first published in September 1911 and featured many prominent female writers, such as Hiratsuka Raichō, who herself lived an untraditional life as a woman who pursued a love affair with a young male writer. As the founder and editor of "Seitō", Hiratsuka Raichō had this to say about being a new woman: "I am a New Woman. As New Women, we have always insisted that women are also human beings. It is common knowledge that we have opposed the existing morality, and have maintained that women have the right to express themselves as individuals and to be respected as individuals." Another revolutionary female writer, Yosano Akiko, wrote a poem celebrating the women's movement in "Seitō"'s inaugural issue, entitled "The Day the Mountains Move". What made "Seitō" simultaneously controversial and powerful was how it rallied against Japan's existing family system based on patriarchy, instead championing romantic love and a woman's independence. Like Hiratsuka Raichō, "Seitō" writer Ito Noe similarly practiced the ideals she preached in writing in her own life, leaving an unsatisfactory marriage to study in Tokyo and marrying twice more. In her essay "The Path of the New Woman", published in the January 1913 issue of "Seitō", Itō Noe proclaimed her commitment to pursuing the path of a New Woman and urged others to do the same despite societal backlash: "How could anyone imagine that the way of the New Woman, the way of this pioneer, be anything less than one continuous, torturous struggle?"


title: New Woman

text: "Seitō"'s transgressive content and style fueled numerous attacks. Multiple newspapers and academic circles who advocated for Japan's traditional family system attacked Hiratsuka Raichō and the other women of "Seitō". People worried that the concept of the New Woman being promulgated in "Seitō" would disrupt the existing order and social stability.


title: New Woman

text: One essential distinction between the iteration of the New Woman that emerged in Japan and that which emerged in many Western countries is that the Japanese New Woman was not directly connected to the national suffrage movement. As Japanese men were not granted universal male suffrage until 1925, women's suffrage in Japan became an issue of political leverage more than a decade later than conversations about the New Woman were occurring. By the mid-1920s, Japan’s "New Woman" had been replaced by the idea of the "Modern Girl" or "Modan Gāru". While separate entities, both New Women and Modern Girls reflected modernity, embodied Western influence, and were labelled by the press as too transgressive.


title: Racha (film)

text: Racha (), also spelt Rachcha, is a 2012 Indian Telugu-language masala film directed by Sampath Nandi and co-written by the Paruchuri Brothers. Produced by R. B. Choudary in association with N. V. Prasad and Paras Jain under their banner Megaa Super Good Films, it stars Ram Charan and Tamannaah, with Mukesh Rishi, Dev Gill and Kota Srinivasa Rao. The film marks the Telugu debut of Ajmal Ameer and R. Parthiepan who makes a cameo appearance.


title: Racha (film)

text: The film was edited by Gautham Raju; Sameer Reddy provided the cinematography; Mani Sharma composed the film's score and soundtrack. Principal photography commenced in June 2011 and was shot in various locations throughout Asia, mainly in Telangana, Andhra Pradesh, Tamil Nadu of India apart from Sri Lanka and Bangkok. It was also shot in the Anji County of China making it the first Telugu film to do so.


title: Racha (film)

text: The film was released worldwide on 5 April 2012. The film received four nominations at the 60th Filmfare Awards South where it won the award for best choreography. It also received five nominations at 2nd South Indian International Movie Awards but did not win any.


title: Racha (film)

text: Raj is a Hyderabad-based gambler living with his adopted parents who support his means of living. Tragedy strikes the family when his adopted father is diagnosed with cirrhosis as a result of alcoholism. Raj needs 20 lakhs for his father's liver transplantation, which must be done within a month. As he is on the lookout for money, he is approached by James, his rival in betting, with a betting challenge. James dares Raj to make Chaitra, a dental student and the daughter of a dreaded and influential businessman Bellary, fall in love with him. If he is able to complete the task before 31 December 2011, James will give him the money needed for his father's operation; if not, he has to give up betting forever. Desperate for the money, Raj takes up the challenge and begins wooing Chaitra. Chaitra soon reciprocates his advances. Bellary finds out about their relationship and sends his henchmen to kill the couple on the night of 31 December. Raj and Chaitra successfully dodge the henchmen and escape to Srisailam. Bellary, with the help of his corrupt minister-friend Baireddanna and the latter's Dubai-based son, begins a search for them. At Srisailam, James rescues the couple from Bellary's henchmen but gets stabbed by Baireddanna's son who also kidnaps Chaitra. An injured James reveals that he was sent by his father to protect them and reveals about Raj's past.


title: Racha (film)

text: Raj's father Suryanarayana was a respected man in Rayadurga and his best friend, a rich man named Raghupathy was Chaitra's father. Chaitra and Raj were childhood friends. Bellary, who is Raghypathy's brother-in-law, found out about the presence of iron ore under Raghupathy's land, and along with Baireddanna, decided to exploit the ore for their own benefit. When Suryanarayana and Raghupathy objected, they and their families, except Raj and Chaitra, were killed by Bellary and Baireddanna. Chaitra was adopted by Bellary, who planned to kill her when she becomes an adult so he could acquire Raghupathy's land. James's father (Bellary's PA) had revealed her past to Chitra, who decide to avenge her father's death had learnt about Raj and his love for making bets from James. She and James's father tells him to trap Raj by placing the bet so that Bellary and Baireddanna can be destroyed using him. Raj decides to avenge his father's death and kills Bellary, Baireddanna and his son at Rayadurg. He rescues Chaitra (who would have died if not rescued in 10 minutes) and they distributes Raghupathy's and Suryanarayana's land to the villagers


title: Racha (film)

text: R. B. Choudary, in association with N. V. Prasad and Paras Jain, produced a film titled "Merupu" directed by Dharani starring Ram Charan and Kajal Aggarwal whose production began on 30 April 2010. There was no proper script except a vague one-line for the film then and a song was shot on Charan. After the release of "Orange" (2010), Charan and the producers asked Dharani to come up with its bound script. He narrated it to both Charan and his father Chiranjeevi. When Dharani quoted a high budget, Chiranjeevi and the producers suggested a reduction.


title: Racha (film)

text: After completing a schedule, "Merupu" was shelved and later, N. V. Prasad approved a script narrated by Sampath Nandi and announced in late February 2011. The film's official launch ceremony was conducted on 12 June 2011 at Ramanaidu Studios in Hyderabad where the film's working title was announced as "Racha". Mani Sharma was signed to compose the film's music. Sameer Reddy was recruited as the film's cinematographer while Raju Sundaram and Shobi choreographed the songs along with Prem Rakshith. The film's Telugu logo was unveiled on 14 February 2012 and the title was confirmed as "Racha" where the first two letters were taken from Ram and the other three letters were taken from Charan. The first look poster featuring Charan was unveiled on 18 February 2012.


title: Racha (film)

text: Charan left for an abroad trip for a complete make-over of his attire and practised different dancing steps as part of his homework for the film. He also underwent training in strict physical exercise for about 45 days in David Barton's gym. Reports in early March 2011 suggested that Tamannaah would be signed in as the female lead, who was finalised for the same in mid May 2011. She was confirmed to play the role of a rich woman who falls in love with a poor man. She later revealed in an interview that her character is integral to the film's main plot and its layers get revealed as the film progresses.


title: Racha (film)

text: R. Parthiepan made a cameo appearance as Charan's father in the film marking his Telugu debut who accepted it after Nandi explained the role's importance. Ajmal Ameer's inclusion in the film's cast was confirmed in late July 2011. He revealed later that every character in the film would be introduced through his role which would be a cameo appearance, adding that it would be an impactful one bringing twists in the story. He could not dub for his role since he was shooting for a Tamil film in France. Brahmanandam and Krishna Bhagavaan were included in the film's cast in early October 2011. Dev Gill was signed to play one of the antagonists. He revealed that all his action sequences will be with Charan only. Lisa Haydon performed an item number in the film.


title: Racha (film)

text: Principal photography commenced in June 2011 at Hyderabad. The next schedule began at Sri Lanka in early July 2011. Tamannaah joined the film's sets on 7 July 2011 and she revealed that the film would be shot in the jungles of Sri Lanka in a long schedule. A song featuring Charan and Tamannaah was shot in Sri Lanka in late July 2011 on whose completion the schedule was wrapped up. Filming continued at Bangkok till 15 August 2011. Later, a dance academy set was erected in the outskirts of Hyderabad where few comedy scenes were shot.


title: Racha (film)

text: Few scenes were shot in a set erected near the Aluminium factory at Gachibowli. Tamannaah and Brahmanandam participated in the film's shoot at Hyderabad till 6 October 2011 after which the makers planned to shoot the film in China. After much silent shoot in Hyderabad, filming continued at Goa. During the shoot of Charan's introduction scene, the cables fixed to the train failed and Charan, who was sitting in a car on the railway track, jumped from the car and was injured. After the schedule's completion, Charan visited Sabarimala to end his Aiyyappa Deeksha.


title: Racha (film)

text: The song "Vaana Vaana Velluvaye" was shot on Charan and Tamannaah in early November 2011. A special set in Annapurna Studios was erected where the song was shot for four days after which the film's China schedule commenced from 12 November 2011. A song and a fight sequence was shot at a Bamboo forest in Anji County of Zhejiang province till the end of November 2011. "Racha" became the first Telugu film to be shot in the dense forest of interior China. On its completion, Charan took a break for ten days. The film's shoot resumed at Rayalacheruvu near Tirupathi in December 2011. After a brief shoot at Ramoji Film City, the last schedule began in Chennai on 17 January 2012. The shooting of the title song choreographed by Prem Rakshith was wrapped up at Buddha Statue of Hyderabad on 23 January 2012.


title: Racha (film)

text: The film's shoot continued at Periyar National Park of Kerala in February 2012. Charan and Tamannaah were filming for a song sequence on a boat when the park's deputy director Sanjay Kumar insisted that the duo should use life jackets as they were entering a risky spot. After few disagreements, the film's shoot was temporarily halted and some long shots were shot when the duo used the jackets. The forest officials also restricted the entry of about 20 vehicles and 100 members into the park due to which the shoot was limited to a small portion of a song.


title: Racha (film)

text: After spraining his leg during the song shoot at Annapurna Studios, Charan was advised to take a bed rest for three to four weeks. He rejoined the shoot on 25 March 2012 to complete the remaining two songs. After completing the shoot for the song "Dillaku Dillaku" at Annapurna Studios in Hyderabad, the last song "Singarenundi" was shot at Anaimalai Hills and Siruvani Waterfalls near Pollachi on Charan and Tamannaah. On its completion, the film's team returned to Hyderabad and the principal photography came to an end on 1 April 2012.


title: Racha (film)

text: Mani Sharma composed the film's soundtrack and background score. The soundtrack consists of 5 songs. The song "Vaana Vaana Velluvaye" from the film "Gang Leader" was remixed for this film. Aditya Music and Star Music marketed the soundtrack albums of the Telugu and Tamil versions respectively. The soundtrack was released by hosting a promotional event at People's Plaza near Necklace road on 20 February 2012.


title: Racha (film)

text: The film was initially scheduled for a release in March 2012. After Charan suffered a muscle tear in his leg, the film's shoot was delayed due to which the film's release was postponed to 5 April 2012. The film's Tamil dubbed version titled "Ragalai" was announced in mid March 2012 after the release of "Maaveeran". "Racha" was awarded an 'U/A' certificate by Central Board of Film Certification on 3 April 2012.


title: Racha (film)

text: After Competition Commission of India imposed a fine on Karnataka Film Chamber of Commerce for restricting free trade, Racha released in Karnataka in more than 120 screens. "Ragalai" was released on 6 April 2012. The Malayalam dubbed version "Raksha" released on 13 April 2012 though it was planned for a simultaneous release with "Ragalai". "Racha" Television broadcasting rights were sold to Gemini TV. Both the Indian and overseas DVDs and Blu-rays of the Telugu version were marketed by Aditya Videos.


title: Racha (film)

text: "Racha" was dubbed into Tamil as "Ragalai" and into Malayalam as "Raksha". The former was released on 6 April 2012 while the latter was released a week later. The film was dubbed into Hindi as "Betting Raja" in 2014 and this film was remade in Bangladesh as "Honeymoon" starring Bappy Chowdhury and Mahiya Mahi.


title: Racha (film)

text: "Sify" called the film a "paisa vasool" one and stated "Both, actor Ram Charan and his director Sampath Nandi play a safe game by following the same pattern of earlier mass-masala movies. Rachcha offers nothing new but has enough elements that entertain the mass audiences and mega fans." Sangeetha Devi Dundoo of "The Hindu" stated "Within the framework of pleasing the actor's fan clubs, the film works. But the sense of déjà vu in the tale of revenge is palpable. Even when you tune yourself into watching a mass entertainer and don't expect anything intellectually stimulating, you do miss the ingenuity and spark that were the hallmark of mass entertainer blockbusters like "Singam", "Pokiri" or "Kick". Go without expectations and you will be entertained."


title: Racha (film)

text: Karthik Pasupulate of "The Times of India" gave the film 3 out of 5 stars and felt that the film is designed for the "hardcore Mega Fans and it makes no bones about it". He added "Clearly there are a lot of prospective hooting opportunities for the die hard Ram Charan fans. As for the other kind of audience, well, you'll have to ask them. We suspect they might just be feeling a little unattended". Praising the screenplay written by Sampath Nandi, Ramchander of "Oneindia Entertainment" stated "Finally, Sampath Nandi has come out with a good film. Though, the story is not that great and is quite predictable one, the ability of the director made it quite interesting."


title: Racha (film)

text: Rating the film 2.5 out of 5 stars, "CNN-IBN" felt that the film was technically brilliant but lacked a credible storyline. They termed the film's presentation as a "lacklustre and ordinary" one. Radhika Rajamani of "Rediff.com" gave 2 out of 5 stars and criticised the film for its predictability and stereotypical pattern and stated that "Racha" is a potboiler meant for the masses and not for a discerning audience. Praising the lead pair's performances by calling them as one of the reasons to watch this film, "IndiaGlitz" opined that at the end, "Racha" means "telling an old story with lot's [sic] of bells and whistles — over the top dialogues, destructive fights, falling back on the poor, etc."


title: Racha (film)

text: "Racha" debuted with an average occupancy of 90% and collected at the AP/Nizam box office setting first day record. The film collected a total of by the end of its first weekend and by then, "Ragalai" had a successful theatrical run. In its first week, the film collected at AP/Nizam box office out of which was from Nizam region. The film collected in Karnataka, taking its first week Indian box office total to . By late April 2012, the film collected nett in Karnataka.


title: Racha (film)

text: In four weeks, "Racha" grossed at the global box office including the collections of the dubbed versions with a distributor share of at the AP/Nizam box office. The film completed a 50-day run in 127 direct centres across the AP/Nizam region out of which 38 screens were from Ceded region and 16 screens were from Nizam region. By then, the film was declared a blockbuster. The film completed a 100-day run in 38 centres across Andhra Pradesh on 13 July 2012. "Racha"s final share for its distributors was


title: Racha (film)

text: The specially designed axe used by Ram Charan in the film's climax was auctioned by Movie Artist Association. In a press meet, Tammanaah showcased the axe to the media and the proceeds of its sale were announced to be used to educate poor children in Telugu cinema. In "Aagadu" (2014), Brahmanandam performed a spoof on this film along with two other 2014 Telugu films "Legend" and "Race Gurram".


title: J.I the Prince of N.Y

text: Justin Irvin Rivera (born September 23, 2001), better known by his stage name J.I the Prince of N.Y or more recently simply J.I., is an American rapper, singer, and songwriter. He is best known for his 2019 breakout single "Need Me", which has over 100 million streams on Spotify.


title: J.I the Prince of N.Y

text: Rivera grew up in Crown Heights, Brooklyn and is of Puerto Rican descent. At a young age he was introduced by his parents to music like old-school hip hop and reggaeton, and would make rudimentary beats on a miniature keyboard. In school, English was his favorite subject and he would write short stories. He began writing raps and freestyling with his brothers in middle school, influenced by New York City rappers like Biggie, Nas, DMX, Jay-Z and Big Pun.


title: J.I the Prince of N.Y

text: In 2016 he appeared on the second season of "The Rap Game", a reality show competition hosted by Jermaine Dupri on Lifetime. The then fifteen-year-old secured his place on the show after Dupri found his freestyles on Instagram. In one of the challenges, Rivera placed in first, earning a spot on the cover of "Hip Hop Weekly" magazine. Although he did not win the overall competition, his impressive performance gained him a substantial following, and he released his debut single "No Static" soon thereafter. By the end of the year he had received more than 500,000 views on his YouTube channel.


title: J.I the Prince of N.Y

text: He released his first project in 2017, a three-track extended play called "Barely Famous". After his clout from the show died down, he went through a period where he admits he lost his motivation and stopped focusing on his music. He blew all of his money from "The Rap Game" on marijuana and was considering a job in construction. After getting kicked out of his mom's house he made the decision to give music one last try and connected with his future manager Gabi Acevedo to restart his career.


title: J.I the Prince of N.Y

text: In October 2019 he released his mixtape "Hood Life Krisis, Vol. 1", which included his breakout single "Need Me", a "melodic, punch-line laden" track sampling the 2000 song "Best of Me, Part 2" by Mýa featuring Jay-Z. In November, with the song at over 3 million streams on Spotify, it was announced he had signed a deal with Interscope Records via G*Starr Entertainment. He also put out his fifth and final music video for the album, this time for "Love Won't Change". As of 2022, "Need Me" remains his most-viewed with over 115 million YouTube views.


title: J.I the Prince of N.Y

text: He released "Hood Life Krisis, Vol. 2" that December and embarked on his first headlining national tour the following month. Holding the final shows in his hometown of New York, he became the first artist in history to sell out the legendary SOB's venue on three consecutive nights. Notably, in April, Drake paid him homage by playing and singing along to his songs "Used To" and "On Me" during an Instagram Live session with OVO Mark. A week later he released a new single, "Proud of Me", along with an accompanying music video. After appearing on Lil Tjay's "State of Emergency" EP, he further collaborated with him in June on the single "Hood Scars 2", which served as a followup to J.I.'s original song which had by then amassed 15 million streams across all platforms.


title: J.I the Prince of N.Y

text: In July 2020 he came out with the single "Spanglish" with Puerto Rican rapper Myke Towers, with both artists mixing English and Spanish in their verses. It served as the lead single to his next EP, "Welcome to GStarr Vol. 1", which he released on July 17 and also featured Lil Durk. In the first 20 minutes, it garnered 1.3 million streams on Spotify. A few days prior, Spotify announced a partnership with J.I. as a part of its recently launched RADAR program meant to promote "world-class talent through [their] global marketing and editorial teams" with placement in their official playlists, a mini-documentary, third-party partnerships, a Spotify Singles recording and support on the EP release.


title: J.I the Prince of N.Y

text: On December 18, 2020, J.I released "Hood Life Krisis, Vol. 3", the third installment in his "Hood Life Krisis" series. The EP includes a sole guest appearance from A Boogie wit da Hoodie on the track "R&B Shit".


title: J.I the Prince of N.Y

text: He has been described as having a "penchant for syrupy melodies." His melodic rap-sung style and distinctive New York accent have resulted in comparisons to A Boogie wit da Hoodie and Lil Tjay.


title: Kerry Earnhardt

text: Kerry Dale Earnhardt (born December 8, 1969) is a former NASCAR driver and the eldest son of seven-time NASCAR Cup Series champion Dale Earnhardt. He is the half-brother of former NASCAR Cup Series driver Dale Earnhardt Jr. He was employed by Dale Earnhardt, Inc. as a consultant specializing in driver development until 2011. His younger son, Jeffrey Earnhardt, began racing for DEI in 2007 and currently competes in the NASCAR Xfinity Series. Kerry Earnhardt is known for his physical similarity to his father.


title: Kerry Earnhardt

text: Kerry Earnhardt's mother, Latane Brown, was Dale Earnhardt's first wife. Dale Earnhardt was 18 years old and a local North Carolina dirt racer at the time of Kerry's birth. The couple divorced when Kerry was one year old. Brown eventually married Jack Key, who adopted Kerry; Kerry used his stepfather's surname for much of his life. Until he was 16, he saw little of his biological father.


title: Kerry Earnhardt

text: Prior to his racing career, Earnhardt dropped out of high school and worked several odd jobs to support his family. This included working at a Pizza Hut and in the Cannon Mills in Kannapolis, North Carolina, where his grandfather, Ralph Earnhardt, also worked.


title: Kerry Earnhardt

text: Earnhardt began racing in 1992 driving street stocks. That same season, he raced in the NASCAR Goody's Dash Series. He raced at various tracks in 1993, including the East Carolina Motor Speedway near Robersonville, North Carolina and Langley Speedway in Hampton, Virginia. He scored two top fives and eight top 10s in 11 races and was the 1992 Rookie of the Year.


title: Kerry Earnhardt

text: Earnhardt won a pole position and recorded eight top 5s and 40 top 10s as well as 1994 Rookie of the Year honors at his local track, Hickory Motor Speedway, in the NASCAR Dodge Weekly Racing Series. His first NASCAR start came in the Busch Series at Myrtle Beach in 1998. After select Busch races in 1998 and 1999, he raced in the Automobile Racing Club of America's ARCA Racing Series in 2000 and 2001 for Dale Earnhardt, Inc. (DEI) using DEI NASCAR Cup Series (known as the Winston Cup Series to 2003) equipment formerly used by Steve Park. During this stint, he won four of his 11 starts, with seven top fives and eight top 10s.


title: Kerry Earnhardt

text: In 2000, Earnhardt made his Winston Cup debut at Michigan driving for Marcis Auto Racing, racing against both his father and his half-brother, Dale Earnhardt Jr. He wrecked out of the race on lap five. It was the first of his seven Winston Cup starts. In 2001, the same year his father was killed at Daytona, Earnhardt was involved in a massive crash on October 4 in an ARCA race at Charlotte Motor Speedway. On lap 63 of 67, Earnhardt had to dodge a lapped car by hitting his brakes, which caused Blaise Alexander's No. 75 car to catch up to Earnhardt. Alexander began to inch into the lead when Earnhardt's car made contact with Alexander's, sending Alexander's car head-on into the wall and back into Earnhardt's car, causing Earnhardt to flip over onto his roof and slide into the grass. Earnhardt managed to climb out by himself. Alexander was given a red flag and the race director called it official, which gave Earnhardt the victory. Alexander was pronounced dead in the infield care center at 10:20 p.m.


title: Kerry Earnhardt

text: In late November 2001, it was announced that Earnhardt would run the full 2002 Busch Series for FitzBradshaw Racing, owned by Armando Fitz and Terry Bradshaw. The entry was sponsored by Supercuts and 10-10-220, with a technical alliance with DEI. The car was initially numbered 8, but later numbered 12. He finished 22nd in points, scoring three top fives and six top 10s. This was one of his two full seasons in any of NASCAR's top three series (Cup, Busch, and Truck). He also attempted to make several Winston Cup races in 2002 and 2003 in the No. 83 Aaron's, Inc./Hot Tamales Chevrolet for FitzBradshaw, but failed to qualify for every race he attempted. Midway through the 2003 season, Earnhardt was released by FitzBradshaw, replaced by Tim Fedewa.


title: Kerry Earnhardt

text: In 2004 and 2005, Earnhardt raced in six Cup Series races for Richard Childress Racing in the No. 33 car. All six starts were restrictor plate races (Daytona and Talladega). His highest finish was a 17th-place run at Talladega in the 2005 Aaron's 499. Also in 2004, Earnhardt made eight starts in the K&N Pro Series West for Bill McAnally Racing, scoring two top fives and five top 10s.


title: Kerry Earnhardt

text: In 2005, Earnhardt joined Billy Ballew Motorsports in the Craftsman Truck Series, replacing Shane Hmiel. Earnhardt won the pole position for the season opening Florida Dodge Dealers 250, but he lost his ride after two races due to lack of sponsorship, with Hmiel returning. For the 2006 season, he signed with ThorSport Racing and drove the No. 13 Chevrolet the full season with occasional sponsorship from the National Pork Board. His best finish of the season was 11th place at Nashville and Las Vegas. At the conclusion of the season, he and ThorSport Racing went their separate ways.


title: Kerry Earnhardt

text: In December 2007, Earnhardt announced his retirement as a competitive driver in a letter to fans on his website.


title: Kerry Earnhardt

text: Earnhardt is still an active test driver for DEI and occasionally drove in the Nationwide Series (NNS). His last appearance in a national touring series was the NNS' Subway Jalapeño 250 on July 3, 2009 at Daytona International Speedway driving the No. 31 car for Rick Ware Racing. In 2016, he drove one of his father's original race cars, a No. 3 1995 Chevrolet Monte Carlo, at the Goodwood Festival of Speed in England.


title: Kerry Earnhardt

text: He and wife, René, married in 1999. They have a daughter, Kayla. From their previous marriages, Kerry has two sons, Bobby and Jeffrey, and René has a daughter, Blade. In 2017, Bobby Earnhardt raced part-time in the ARCA Racing Series, driving the number 3 Chevrolet for Hixson Motorsports and the number 96 Ford for Brian Kaltreider Racing. He made his NASCAR debut in the Xfinity Series driving the No. 40 Chevy Camaro for MBM Motorsports at Richmond in 2017. As of 2022, Jeffrey Earnhardt races in the NASCAR Xfinity Series for Sam Hunt Racing and Richard Childress Racing, and has previously raced in the NASCAR Cup Series. Bobby and Jeffrey are the fourth generation of Earnhardts in professional motorsports.


title: Kerry Earnhardt

text: In May 2016, Earnhardt's stepmother, Teresa Earnhardt, sued him for using the Earnhardt name when he and his wife were planning to market a line of homes and furniture under the name "The Earnhardt Collection". On July 27, 2017, Teresa Earnhardt won an appeal which required the U.S. Trademark Trial and Appeal Board to clarify its decision to allow him to use the name "Earnhardt Collection" in his business.


title: Mil Moscow Helicopter Plant

text: Mil Moscow Helicopter Plant () is a Soviet, and later a Russian designer and producer of helicopters headquartered in Tomilino. It is a subsidiary of Russian Helicopters.


title: Mil Moscow Helicopter Plant

text: The Moscow Mil Helicopter Plant includes a design bureau and an experimental production plant. The Mil Design Bureau is one of the world's leading developers of helicopters, with particular expertise in heavy-lift helicopters. It has developed both civil and military versions in a wide range of payload capacities, including the world's largest in serial production, the Mi-26.


title: Mil Moscow Helicopter Plant

text: Ninety-five percent of the helicopters in the former Soviet Union were built to Mil designs. Series production facilities for Mil-designed helicopters include Rostvertol in Rostov-on-Don, the Kazan Helicopter Production Association, and the Ulan-Ude Aviation Plant. Mil participates in the Euromil joint venture with Eurocopter.


title: Mil Moscow Helicopter Plant

text: Mil was established in 1947 under the guidance of Mikhail Mil as the helicopter laboratory of the Central Aerohydrodynamic Institute in Zhukovsky, Moscow Oblast.


title: Mil Moscow Helicopter Plant

text: The Mil Mi-1 became the first mass-produced Soviet helicopter. The Mi-8 helicopter, designed in the early 1960s, was a successful design in both military and civil applications, with over 12,000 units being produced.


title: Mil Moscow Helicopter Plant

text: Mil merged with Kamov and Rostvertol to form Russian Helicopters in 2006. The Mil brand name has been retained, although the new company eliminated overlapping product lines.


title: Hans-Georg Gadamer

text: Hans-Georg Gadamer (; ; February 11, 1900 – March 13, 2002) was a German philosopher of the continental tradition, best known for his 1960 "magnum opus", "Truth and Method" ("Wahrheit und Methode"), on hermeneutics.


title: Hans-Georg Gadamer

text: Gadamer was born in Marburg, Germany, the son of Johannes Gadamer (1867–1928), a pharmaceutical chemistry professor who later also served as the rector of the University of Marburg. He was raised a Protestant Christian. Gadamer resisted his father's urging to take up the natural sciences and became more and more interested in the humanities. His mother, Emma Karoline Johanna Geiese (1869–1904) died of diabetes while Hans-Georg was four years old, and he later noted that this may have had an effect on his decision to not pursue scientific studies. Jean Grondin describes Gadamer as finding in his mother "a poetic and almost religious counterpart to the iron fist of his father". Gadamer did not serve during World War I for reasons of ill health and similarly was exempted from serving during World War II due to polio.


title: Hans-Georg Gadamer

text: He later studied classics and philosophy in the University of Breslau under Richard Hönigswald, but soon moved back to the University of Marburg to study with the Neo-Kantian philosophers Paul Natorp (his doctoral thesis advisor) and Nicolai Hartmann. He defended his dissertation "The Essence of Pleasure in Plato's Dialogues" () in 1922.


title: Hans-Georg Gadamer

text: Shortly thereafter, Gadamer moved to Freiburg University and began studying with Martin Heidegger, who was then a promising young scholar who had not yet received a professorship. He became close to Heidegger, and when Heidegger received a position at Marburg, Gadamer followed him there, where he became one of a group of students such as Leo Strauss, Karl Löwith, and Hannah Arendt. It was Heidegger's influence that gave Gadamer's thought its distinctive cast and led him away from the earlier neo-Kantian influences of Natorp and Hartmann. Gadamer studied Aristotle both under Edmund Husserl and under Heidegger.


title: Hans-Georg Gadamer

text: Gadamer habilitated in 1929 and spent most of the early 1930s lecturing in Marburg. Unlike Heidegger, who joined the Nazi Party in May 1933 and continued as a member until the party was dissolved following World War II, Gadamer was silent on Nazism, and he was not politically active during Nazi rule. Gadamer did not join the Nazis, and he did not serve in the army because of the polio he had contracted in 1922. He joined the National Socialist Teachers League in August 1933.


title: Hans-Georg Gadamer

text: In 1933 Gadamer signed the "Vow of allegiance of the Professors of the German Universities and High-Schools to Adolf Hitler and the National Socialistic State".


title: Hans-Georg Gadamer

text: In April 1937 he became a temporary professor at Marburg, then in 1938 he received a professorship at Leipzig University. From an "SS"-point of view Gadamer was classified as neither supportive nor disapproving in the ""SD-Dossiers über Philosophie-Professoren"" (i.e. SD-files concerning philosophy professors) that were set up by the "SS"-Security-Service (SD). In 1946, he was found by the American occupation forces to be untainted by Nazism and named rector of the university.


title: Hans-Georg Gadamer

text: The level of Gadamer's involvement with the Nazis has been disputed in the works of Richard Wolin and Teresa Orozco. Orozco alleges, with reference to Gadamer's published works, that Gadamer had supported the Nazis more than scholars had supposed. Gadamer scholars have rejected these assertions: Jean Grondin has said that Orozco is engaged in a "witch-hunt" while Donatella Di Cesare said that "the archival material on which Orozco bases her argument is actually quite negligible". Cesare and Grondin have argued that there is no trace of antisemitism in Gadamer's work, and that Gadamer maintained friendships with Jews and provided shelter for nearly two years for the philosopher Jacob Klein in 1933 and 1934. Gadamer also reduced his contact with Heidegger during the Nazi era.


title: Hans-Georg Gadamer

text: Communist East Germany was no more to Gadamer's liking than Nazi Germany, and he left for West Germany, accepting first a position in Goethe University Frankfurt and then the succession of Karl Jaspers in the University of Heidelberg in 1949. He remained in this position, as emeritus, until his death in 2002 at the age of 102. He was also an Editorial Advisor of the journal Dionysius. It was during this time that he completed his "magnum opus", "Truth and Method" (1960), and engaged in his famous debate with Jürgen Habermas over the possibility of transcending history and culture in order to find a truly objective position from which to critique society. The debate was inconclusive, but marked the beginning of warm relations between the two men. It was Gadamer who secured Habermas's first professorship in the University of Heidelberg.


title: Hans-Georg Gadamer

text: In 1968, Gadamer invited Tomonobu Imamichi for lectures at Heidelberg, but their relationship became very cool after Imamichi alleged that Heidegger had taken his concept of "Dasein" out of Okakura Kakuzo's concept of "das in-der-Welt-sein" (to be in the being in the world) expressed in "The Book of Tea", which Imamichi's teacher had offered to Heidegger in 1919, after having followed lessons with him the year before. Imamichi and Gadamer renewed contact four years later during an international congress.


title: Hans-Georg Gadamer

text: In 1981, Gadamer attempted to engage with Jacques Derrida at a conference in Paris but it proved less enlightening because the two thinkers had little in common. A last meeting between Gadamer and Derrida was held at the Stift of Heidelberg in July 2001, coordinated by Derrida's students Joseph Cohen and Raphael Zagury-Orly. This meeting marked, in many ways, a turn in their philosophical encounter. After Gadamer's death, Derrida called their failure to find common ground one of the worst debacles of his life and expressed, in the main obituary for Gadamer, his great personal and philosophical respect. Richard J. Bernstein said that "[a] genuine dialogue between Gadamer and Derrida has never taken place. This is a shame because there are crucial and consequential issues that arise between hermeneutics and deconstruction".


title: Hans-Georg Gadamer

text: Gadamer received honorary doctorates from the University of Bamberg, the University of Wrocław, Boston College, Charles University in Prague, Hamilton College, the University of Leipzig, the University of Marburg (1999) the University of Ottawa, Saint Petersburg State University (2001), the University of Tübingen and University of Washington.


title: Hans-Georg Gadamer

text: On February 11, 2000, the University of Heidelberg celebrated Gadamer's one hundredth birthday with a ceremony and conference. Gadamer's last academic engagement was in the summer of 2001 at an annual symposium on hermeneutics that two of Gadamer's American students had organised. On March 13, 2002, Gadamer died at Heidelberg's University Clinic at the age of 102. He is buried in the Köpfel cemetery in Ziegelhausen.


title: Hans-Georg Gadamer

text: Gadamer's philosophical project, as explained in "Truth and Method", was to elaborate on the concept of "philosophical hermeneutics", which Heidegger initiated but never dealt with at length. Gadamer's goal was to uncover the nature of human understanding. In "Truth and Method", Gadamer argued that "truth" and "method" were at odds with one another. For Gadamer, "the experience of art is exemplary in its provision of truths that are inaccessible by scientific methods, and this experience is projected to the whole domain of human sciences." He was critical of two approaches to the human sciences ("Geisteswissenschaften"). On the one hand, he was critical of modern approaches to humanities that modeled themselves on the natural sciences, which simply sought to “objectively” observe and analyze texts and art. On the other hand, he took issue with the traditional German approaches to the humanities, represented for instance by Friedrich Schleiermacher and Wilhelm Dilthey, who believed that meaning, as an object, could be found within a text through a particular process that allowed for a connection with the author's thoughts that led to the creation of a text (Schleiermacher), or the situation that led to an expression of human inner life (Dilthey).


title: Hans-Georg Gadamer

text: However, Gadamer argued meaning and understanding are not objects to be found through certain methods, but are inevitable phenomena. Hermeneutics is not a process in which an interpreter finds a particular meaning, but “a philosophical effort to account for understanding as an ontological—the ontological—process of man.” Thus, Gadamer is not giving a prescriptive method on how to understand, but rather he is working to examine how understanding, whether of texts, artwork, or experience, is possible at all. Gadamer intended "Truth and Method" to be a description of what we always do when we interpret things (even if we do not know it): "My real concern was and is philosophic: not what we do or what we ought to do, but what happens to us over and above our wanting and doing".


title: Hans-Georg Gadamer

text: As a result of Martin Heidegger’s temporal analysis of human existence, Gadamer argued that people have a so-called historically-effected consciousness ("wirkungsgeschichtliches Bewußtsein"), and that they are embedded in the particular history and culture that shaped them. However the historical consciousness is not an object over and against our existence, but “a stream in which we move and participate, in every act of understanding.” Therefore, people do not come to any given thing without some form of preunderstanding established by this historical stream. The tradition in which an interpreter stands establishes "prejudices" that affect how he or she will make interpretations. For Gadamer, these prejudices are not something that hinders our ability to make interpretations, but are both integral to the reality of being, and “are the basis of our being able to understand history at all.” Gadamer criticized Enlightenment thinkers for harboring a "prejudice against prejudices".


title: Hans-Georg Gadamer

text: For Gadamer, interpreting a text involves a fusion of horizons ("Horizontverschmelzung"). Both the text and the interpreter find themselves within a particular historical tradition, or “horizon.” Each horizon is expressed through the medium of language, and both text and interpreter belong to and participate in history and language. This “belongingness” to language is the common ground between interpreter and text that makes understanding possible. As an interpreter seeks to understand a text, a common horizon emerges. This fusion of horizons does not mean the interpreter now fully understands some kind of objective meaning, but is “an event in which a world opens itself to him.” The result is a deeper understanding of the subject matter.


title: Hans-Georg Gadamer

text: Gadamer further explains the hermeneutical experience as a dialogue. To justify this, he uses Plato's dialogues as a model for how we are to engage with written texts. To be in conversation, one must take seriously “the truth claim of the person with whom one is conversing.” Further, each participant in the conversation relates to one another insofar as they belong to the common goal of understanding one another. Ultimately, for Gadamer, the most important dynamic of conversation as a model for the interpretation of a text is “the give-and-take of question and answer.” In other words, the interpretation of a given text will change depending on the questions the interpreter asks of the


title: Hans-Georg Gadamer

text: text. The "meaning" emerges not as an object that lies in the text or in the interpreter, but rather an event that results from the interaction of the two.


title: Hans-Georg Gadamer

text: "Truth and Method" was published twice in English, and the revised edition is now considered authoritative. The German-language edition of Gadamer's Collected Works includes a volume in which Gadamer elaborates his argument and discusses the critical response to the book. Finally, Gadamer's essay on Celan (entitled "Who Am I and Who Are You?") has been considered by many—including Heidegger and Gadamer himself—as a "second volume" or continuation of the argument in "Truth and Method".


title: Hans-Georg Gadamer

text: Gadamer's "Truth and Method" has become an authoritative work in the communication ethics field, spawning several prominent ethics theories and guidelines. The most profound of these is the formulation of the dialogic coordinates, a standard set of prerequisite communication elements necessary for inciting dialogue. Adhering to Gadamer's theories regarding bias, communicators can better initiate dialogic transaction, allowing biases to merge and promote mutual understanding and learning.


title: Hans-Georg Gadamer

text: Gadamer also added philosophical substance to the notion of human health. In "The Enigma of Health", Gadamer explored what it means to heal, as a patient and a provider. In this work the practice and art of medicine are thoroughly examined, as is the inevitability of any cure.


title: Hans-Georg Gadamer

text: In addition to his work in hermeneutics, Gadamer is also well known for a long list of publications on Greek philosophy. Indeed, while "Truth and Method" became central to his later career, much of Gadamer's early life centered on studying Greek thinkers, Plato and Aristotle specifically. In the Italian introduction to "Truth and Method", Gadamer said that his work on Greek philosophy was "the best and most original part" of his career. His book "Plato's Dialectical Ethics" looks at the "Philebus" dialogue through the lens of phenomenology and the philosophy of Martin Heidegger.


title: 180-degree rule

text: In filmmaking, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. The rule states that the camera should be kept on one side of an imaginary axis between two characters, so that the first character is always frame right of the second character. Moving the camera over the axis is called "jumping the line" or "crossing the line"; breaking the 180-degree rule by shooting on all sides is known as shooting in the round.


title: 180-degree rule

text: The 180-degree rule enables the audience to visually connect with unseen movement happening around and behind the immediate subject and is particularly important in the narration of battle scenes.


title: 180-degree rule

text: In a dialogue scene between two characters, a straight line can be imagined running through the two characters. If the camera remains on one side of this line, the spatial relationship between the two characters will be consistent from shot to shot. Shifting to the other side of the characters on a cut will reverse the order of the characters from left to right and may disorient the audience.


title: 180-degree rule

text: The rule also applies to the movement of a character as the "line" created by the path of the character. For example, if a character is walking in a leftward direction and is to be picked up by another camera, the character must exit the first shot on frame left and enter the next shot frame right.


title: 180-degree rule

text: A jump cut can be utilized to denote time. If a character leaves the frame on the left side and enters the frame on the left in a different location, it can give the illusion of an extended amount of time passing.


title: 180-degree rule

text: Another example could be a car chase: If a vehicle leaves the right side of the frame in one shot, it should enter from the left side of the frame in the next shot. Leaving from the right and entering from the right creates a similar sense of disorientation as in the dialogue example.


title: 180-degree rule

text: The imaginary line allows viewers to orient themselves with the position and direction of action in a scene. If a shot following an earlier shot in a sequence is located on the opposite side of the 180-degree line, then it is called a "reverse cut". Reverse cuts disorient the viewer by presenting an opposing viewpoint of the action in a scene and consequently altering the perspective of the action and the spatial orientation established in the original shot.


title: 180-degree rule

text: There are a variety of ways to avoid confusion related to crossing the line due to particular situations caused by actions or situations in a scene that would necessitate breaking the 180-degree line. The movement in the scene can be altered, or cameras set up on one side of the scene so that all the shots reflect the view from that side of the 180-degree line.


title: 180-degree rule

text: Another way to allow for crossing the line is to have several shots with the camera arching from one side of the line to the other during the scene. That shot can be used to orient the audience to the fact that they are looking at the scene from another angle. In the case of movement, if a character is seen walking into frame from behind on the left side walking towards a building corner on the right, as they walk around the corner of the building, the camera can catch them coming towards the camera on the other side of the building entering the frame from the left side and then walk straight at the camera and then exit the left side of the frame.


title: 180-degree rule

text: To minimize the "jolt" between shots in a sequence on either sides of the 180-degree line, a buffer shot can be included along the 180-degree line separating each side. This lets the viewer visually comprehend the change in viewpoint expressed in the sequence.


title: 180-degree rule

text: In professional productions, the applied 180-degree rule is an essential element for a style of film editing called continuity editing. The rule is not always obeyed. Sometimes a filmmaker purposely breaks the line of action to create disorientation. Carl Theodor Dreyer did this in "The Passion of Joan of Arc"; Stanley Kubrick also did this, for example, in the bathroom scene in "The Shining". Directors Jacques Demy, Tinto Brass, Yasujirō Ozu, Wong Kar-wai, and Jacques Tati have also ignored this rule sometimes, as has Lars von Trier in "Antichrist". In the seminal French New Wave film "À bout de souffle" ("Breathless"), Jean-Luc Godard breaks the rule in the first five minutes in a car scene which jumps between the front and back seats, improvising an "aesthetic rebellion" for which the New Wave would become known. When the rule is broken accidentally, or for a technical reason (such as the inability to place a camera physically in the correct position), there are techniques which may be employed to attempt to hide the mistake. For example, the editor may pre-lap a word or two of dialog prior to the cut, so that the viewer will concentrate on what is being said as a distraction from the breaking of cinematic convention.


title: 180-degree rule

text: Some styles used with the 180-degree rule can elicit an emotion or create a visual rhythm. By moving the camera closer to the axis for a close-up shot, it can amp up the intensity of a scene when paired with a long shot. When the camera is moved further away from the axis for a long shot after a close-up shot, it may provide a break in the action of the scene.


title: 180-degree rule

text: In the Japanese anime feature "Paprika", two of the main characters discuss, and demonstrate, the disorientating effect of crossing the line.


title: 180-degree rule

text: Empirical evidence exploring the importance of maintaining the 180-degree rule is limited. The basic premise is that abiding by the rule helps keep characters on the correct side of the screen. Thus, it is assumed that if the rule is violated, it can lead to distraction, and disrupt the flow of the moment. This is then extrapolated to affect the rhythm, or emotions of the scene. However, these notions are rooted in filmmakers' subjective reports, rather than empirical evidence.


title: 180-degree rule

text: There has been research that demonstrated crossing the line can negatively affect the accuracy of spatial representation of the scene. Furthermore, flipping the characters' positions can disrupt the audience's understanding of the relative orientations on screen. Violations appear to also affect spatial memory for the location of objects in a scene, but does not affect memory for the narrative, the order of unfolding events, nor the understanding of narrative flow.


title: 180-degree rule

text: Broadly speaking, empirical research indicates that abiding by the 180-degree rule is not important in a practical sense. Accurate spatial representations are not important for the scene, nor is it remembered across the longer duration of a movie. Furthermore, more recent research demonstrated that while viewers can spot violations, the presence of these violations have no effect on the enjoyment of the scene nor movie, when compared to not having violations.


title: Internshala

text: Internshala is an internship and online training platform, based in Gurgaon, India. Founded by Sarvesh Agrawal, an IIT Madras alumnus, in 2011, the website helps students find internships with organisations in India.


title: Internshala

text: The platform, which was founded in 2010, started out as a WordPress blog that aggregated internships across India and articles on education, technology and skill gap. Internshala launched its online trainings in 2014. As of 2018, the platform had 3.5 million students and 80,000 companies.


title: Internshala

text: In August 2016, Telangana's not-for-profit organisation, Telangana Academy for Skill and Knowledge (TASK) partnered with Internshala to help students with internship resources and career services.


title: Internshala

text: In September 2016, Team Indus, Google XPRIZE shortlisted entity has partnered with Internshala for college outreach for its initiative, Lab2Moon.


title: Internshala

text: In 2011, the website became a part of NASSCOM 10K Startups. In 2015, Internshala was a finalist in People Matters TechHR 2015 Spotlight Awards under 'Futurism in Recruitment' category.


title: Rayman Origins

text: Rayman Origins is a 2011 platform video game developed and published by Ubisoft. It is the fourth main installment in the "Rayman" series and the first main installment since "" (2003). The game was released for the PlayStation 3, Xbox 360, and Wii platforms worldwide, with PlayStation Vita, Nintendo 3DS, and Microsoft Windows versions being released the following year. The OS X version of the game was released on 12 December 2013 by Feral Interactive. The story follows Rayman, his friend Globox and two Teensies as they fight Darktoons and other evil creatures that have infected the Glade of Dreams.


title: Rayman Origins

text: "Rayman Origins" has received critical acclaim, being highly praised for its graphical style, level design, and sense of humor. Despite its critical reception, the game experienced sluggish sales at the beginning of its release, but sold well in the end and contributed to the company's earnings. A mobile game based on "Origins", titled Rayman Jungle Run, was developed by Pastagames and released for iOS, Android, and for Windows Phone 8 on 29 May 2013. A sequel, "Rayman Legends", was released for Microsoft Windows, PlayStation 3, PlayStation Vita, Wii U and Xbox 360 in 2013 to similar critical acclaim.


title: Rayman Origins

text: "Rayman Origins" is a side-scrolling platformer, the same style as the original "Rayman" game. "Rayman Origins" is playable with up to four local players who may drop in or out at any time. Players can choose to control either Rayman, Globox or two Teensies, with additional costumes available as the game progresses.


title: Rayman Origins

text: Players travel through each level, fighting enemies and rescuing imprisoned Electoons. As the game progresses, players gain new abilities such as running up walls, gliding in midair, swimming and shrinking in size to reach new areas. Certain segments also see players riding a mosquito, where players can shoot enemies or inhale and fire them. If a character is hit by an enemy or hazard, they will "bubblize", or inflate into a ballooned state. To get out of this state, another player can slap, or jump on them, similar to "New Super Mario Bros. Wii". Players can also collect hearts that will protect them from one hit. However, if all players are bubblized simultaneously, or if a character is hit during single play, they will explode and the play will return to the last checkpoint, normally a Darkblocker where the player had go through before, or the last place where the player broke a cage. Throughout each level, players can collect yellow Lums, which they will need for Electoons. When a character collects a Lum King, it turns all Lums red for a short time. Red Lums are worth two yellow Lums. There are also Skull Coins placed in hidden or dangerous areas. They are worth 25 Lums if successfully collected. If the player gets harmed while collecting a Skull Coin, they will lose it. In this situation, the player must try again to get the coin.


title: Rayman Origins

text: In order to progress through certain parts of the story, players need to free Electoons. The most common way to get Electoons is to free them from cages; there is one at the end of each level, with more to be found in hidden areas and are guarded by several enemies that collectively use a forcefield to protect the cage, the team must defeat every single enemy that uses the forcefield, then the cage can be destroyed by attacking it. Most of the cages are hidden away in secret passages, so once the Electoons are free, they will create a portal which leads to the outside of these passages. Each level contains a medallion that shows how many Electoon challenges the players completed, such as break a single cage, collect a specific amount of Lums or beat the clock whilst the level has been completed. In every level there are hidden cages ranging from 1 to 3. More Electoons can be earned by collecting a certain amount of Lums within a level and clearing Time Trials that are unlocked after clearing a level once. Scoring high marks in either of these challenges can also earn medals and trophies. Players can also unlock special 'treasure chest' levels, in which they must chase a runaway treasure chest across a dangerous course in order to receive a skull tooth. Completing all of the teeth grants access to the bonus level, The Land of the Livid Dead.


title: Rayman Origins

text: While every version of the game is nearly identical due to the game engine's high versatility, there are some minor differences across platforms. The Wii version of the game takes advantage of the versatility (though not the motion controls) of the Wii Remote to provide three different control schemes, while the Nintendo 3DS version displays the player's current progress during a particular level on the touchscreen. The PlayStation Vita version has some additional unlockable content and players can use the touchscreen for some in-game actions. The PlayStation 3, PlayStation Vita, and Xbox 360 versions support online achievements.


title: Rayman Origins

text: At the beginning of the game, Bubble Dreamer, Rayman, his best friend Globox, and a couple of Teensies friends are chilling out at Bubble Dreamer's resting grounds, the Snoring Tree. However, their snoring, with the help of a strange microphone disguised to resemble a flower, disturbs an old granny from the Land of the Livid Dead, who retaliates by sending an evil army of horrendous creatures and the Darktoons across the world. The heroes, being woken up, attempt to fight back, but are defeated and captured. Rayman escapes and finds the Darktoons have captured the Electoons that inhabit the world, imprisoned Betilla the Nymph and her sisters and plunged the Glade of Dreams into chaos. This causes Bubble Dreamer to go crazy, and as a result, have nightmares. Rayman and his friends are then tasked by the Magician to gather enough Electoons to cure Bubble Dreamer and restore the Glade. Their efforts to locate the Electoons allow them to gain access to the various lands of the Glade, and rescue the Nymphs along the way.


title: Rayman Origins

text: Eventually, they make their way to a mysterious gate, which can only be opened by rescuing the Glade Kings, who have been turned into monsters as a result of Bubble Dreamer's nightmares. Upon freeing the Glade Kings, the Nymphs are able to open the stargate, granting Rayman access to a hideout in the land of Moody Clouds. There, they discover that their supposed friend, the Magician, is the one responsible for all the chaos. He secretly admires Mr. Dark, the villain of the original "Rayman", and was behind the events that caused the Land of the Livid Dead forces and Nightmares to attack, preoccupying the heroes and using the Lums they had given him to power and use his diabolical machines. The Magician then sends Rayman and his friends into a pit with his mechanical monsters, but they escape and return to his office. The Magician then begins to dance and sends them into a dancing funk, using this as a good time to escape. The heroes chase after and fight the Magician in his escape airship, sending it crashing into the power source of his hideout. The resulting chain of events causes the hideout to explode, while Rayman and his friends free-fall back to the Snoring Tree, where they proceed to resume their relaxation.


title: Rayman Origins

text: If players manage to collect the ten ruby teeth throughout the game, they can gain access to the Land of the Livid Dead, where another monster, Big Mama, awaits. Once defeated, it is revealed to be the nymph of the Land of the Livid Dead, turned into a Nightmare because of the Darktoons, and then she thanks her saviours for freeing her.


title: Rayman Origins

text: The game was officially announced at the end of Ubisoft's E3 2010 press conference as a downloadable episodic title for PlayStation Network and Xbox Live Arcade with release on PC, Nintendo 3DS, iPad, and iPhone "to be considered". The first episode was originally to be released by the end of 2010, but was delayed until 2011. Following a dearth of information in the new year, the project was confirmed as alive in April 2011. In May 2011, it was announced the title has been expanded to a full-retail title, with a tentative release of Q4 2011.


title: Rayman Origins

text: The game is the first title to use UbiArt Framework, an in-house graphics engine which allows artists to easily create content and then use it in an interactive environment. The artists only have to pose the model and edit the silhouette, as the software takes care of image distortion automatically. The main aim of this engine is to allow artists and designers focus on the art itself, without having to worry about technical aspects of game development. According to Yves Guillemot, only five people were working on the game when it was first announced. Ubisoft obtained a French government grant, dedicated to supporting the arts, for developing UbiArt tools. The engine is optimized for HD resolutions, allowing games to run in full 1080p HD at 60 frames per second, with the 3DS version running at 30 frames per second. The engine was further developed for "Rayman Legends" to include dynamic lighting and integration of 3D models.


title: Rayman Origins

text: "Rayman Origins" received widespread critical acclaim. Review aggregator website Metacritic gave the Wii version 92/100, the PlayStation Vita version 88/100, the Xbox 360 version 87/100 the PlayStation 3 version 87/100, the PC version 86/100, and the Nintendo 3DS version 71/100.


title: Rayman Origins

text: "1UP.com" gave the game an A− Rank, praising its varied level design, saying "Origins' brilliance is it keeps that simplicity on the surface, but ends up feeling incredibly varied thanks to its level design", and calling it "the best 2D platformer not called "Mario"."


title: Rayman Origins

text: "Eurogamer" rated the game 8/10, calling it "a delightful, playful, and occasionally exhilarating platformer" while opining that the level design was inferior to the "Mario" series in that "the same ideas are repeated too often." GameTrailers gave the game a score of 8.5/10.


title: Rayman Origins

text: IGN gave it a 9.5/10, saying that "Rayman Origins is the best looking platformer this generation and also the most fun. A truly realized vision at the top of its genre, Rayman Origins is an extravaganza with plenty of action to keep it fresh from start to finish and beyond,"


title: Rayman Origins

text: "Joystiq" gave the game 5 stars out of 5, saying it "embodies the kind of creativity and craftsmanship that have been largely missing in 2D platfomers since their heyday in the 16-bit era."


title: Rayman Origins

text: "Nintendo Life" awarded it a 10/10 and called it "The very pinnacle of 2D platforming and undoubtedly one of the Wii’s very best games". "Nintendo Power" gave the game a score of 9.5/10, calling it 'a platforming masterpiece.'


title: Rayman Origins

text: GameSpot named "Rayman Origins" "Best Platformer of 2011". IGN nominated "Rayman Origins" for "Game Of The Year". Giant Bomb named "Rayman Origins" the tenth best game of 2011.