query: When was Karl Dietrich Bracher born?

title: Karl Dietrich Bracher

text: Karl Dietrich Bracher (13 March 1922 – 19 September 2016) was a German political scientist and historian of the Weimar Republic and Nazi Germany. Born in Stuttgart, Bracher was awarded a Ph.D. in the classics by the University of Tübingen in 1948 and subsequently studied at Harvard University from 1949 to 1950. During World War II, he served in the Wehrmacht and was captured by the Americans while serving in Tunisia in 1943. He was then held as a POW in Camp Concordia, Kansas. Bracher taught at the Free University of Berlin from 1950 to 1958 and at the University of Bonn since 1959. In 1951 Bracher married Dorothee Schleicher, the niece of Dietrich Bonhoeffer. They had two children.[1]

title: Karl Dietrich Bracher

text: It should be noted that Bracher in writing of a "loss of power" and a "power vacuum" was referring to the decay of the democratic system, not a weakening of the state.[6] Kolb noted in the years 1930-33, the Reichswehr, the bureaucracy, the police and above all President von Hindenburg all saw a dramatic increase in their power, and what was happening in Germany in that period was the gradual collapse of the democratic system with policy decisions increasingly being made by the Reichswehr and the Kamarilla of President Hindenburg instead of the Reichstag.[6]

title: Karl Dietrich Bracher

text: Interview with Bracher in German.

title: Karl Dietrich Bracher

text: Bracher argued that the "one basic principle to which Hitler subscribed deeply, blindly and ruthlessly" was anti-Semitism.[30] Bracher noted that the Shoah was so important to Hitler that during World War II, resources that might from a purely military point of view be better devoted to the war were instead turned towards genocide.[48] In 1981, the British Marxist historian Timothy Mason in his essay 'Intention and explanation: A Current controversy about the interpretation of National Socialism' from the book The "Fuehrer State": Myth and reality coined the term "Intentionist" as part of an attack against Bracher and Klaus Hildebrand, both of whom Mason accused of focusing too much on Hitler as an explanation for the Holocaust.

title: Karl Dietrich Bracher

text: In the 1990s, Bracher argued that through the prospects of democracy against totalitarianism had much improved, he warned that this was no time for triumphalism.[1] In 1992, Bracher wrote that democracy is a state "of self-limitation and insight into the imperfection of man, just as dictatorship is the rule of man's ideological arrogance."[1] Bracher contended that through there were better chances for democracy in the post-1989 world then was in the "short 20th century" of 1914-89, there only was the hard work of building and maintaining a civil society ahead for the world, and this task could never be completed.[1] In his 1992 book Turning Points in Modern Times Bracher attacked Nolte for his claims that German National Socialism was merely a “mirror image” of the Soviet Union.[71] Bracher wrote that Nolte's work “trivializes” the vicious racism that Bracher stated was at the heart of National Socialism by suggesting that it was just a "copy" of Soviet Communism and thus not as evil as the Soviet original.[72] In a 2003 interview with the Der Spiegel newsmagazine, Bracher was highly critical of Chancellor Gerhard Schröder’s opposition to the Iraq war, and warned against using anti-Americanism to win elections as potentially damaging Germany’s relations with the United States, a development that Bracher much deplored”.[73] He died on 19 September 2016 at the age of 94.[74] The American historian Jeffrey Herf wrote in an obituary:

title: Karl Dietrich Bracher

text: Bracher advocated the view that Nazi Germany was a totalitarian regime, through Bracher maintained that the "totalitarian typology" as developed by Carl Joachim Friedrich and Zbigniew Brzezinski was too rigid, and that totalitarian models needed to be based upon careful empirical research.[21] In Bracher's view, Friedrich's and Brzezinski's work failed to take into account the "revolutionary dynamic", which Bracher argued was the "core principle" of totalitarism.[21] For Bracher, the essence of totalitarism was the total claim to control and remake all aspects of society together with an all-embracing ideology, the value on authoritarian leadership, and the pretence of the common identity of state and society, which distinguished the totatitarian "closed" understanding of politics from the "open" democratic understanding.[21] In Bracher's view, "politics is the struggle for the power of the state", and in his opinion, the traditional methods of the historian have to be supplemented by the methods of political science to properly understand political history.[22] Speaking of historical work in his own area of speciality, namely the Weimar-Nazi periods, Bracher stated:

title: Karl Dietrich Bracher

text: Bracher sharply criticized the Social Democrats for not resisting the Preußenschlag launched by Franz von Papen that saw the Reichswehr oust the Social Democratic government of Otto Braun.[13] Bracher wrote through the Reichswehr would had probably crushed any resistance, but:

title: Karl Dietrich Bracher

text: In a 1971 essay to mark the 100th anniversary of German unification, Bracher rejected the claim that Otto von Bismarck was the "grandfather" of the present-day Federal Republic, and argued that those historians who claimed that there was a line of continuity between Bismarck's Second Reich and the Federal Republic were entirely mistaken. Bracher maintained that the founding of the Federal Republic in 1949 was a decisive break with everything had happened before in German history.[34] Bracher stated that the Federal Republic with its democracy, respect for the individual, equality of all citizens, rule of the law and its pluralist, tolerant society owned nothing to Bismarck's vision of a rigidly hierarchical society dominated by a militaristic, authoritarian state that existed to uphold the power of the Junkers.[35] Bracher wrote that the success of the modern Federal Republic had nothing to do with the "Bismarckian tradition" and stated that the "destruction of the state of 1871" was "the premiss and starting point for a new German state altogether".[35] Bracher maintained that "the second, finally successful democracy in Germany is unimaginable, impossible without the ultimate failure of the Reich of 1871".[35]

title: Karl Dietrich Bracher

text: In Bracher's opinion, through it was human choices that led to the collapse of the Weimar Republic and the National Socialist period, the roots of National Socialism can be traced back towards the völkisch ideology of 19th century Germany and Austria-Hungary, which found their fullest expression in the personality of Adolf Hitler.[16] Likewise, Bracher complained that too many Germans were willing during the Weimar-Nazi time periods to subscribe to a "readiness for acclamatory agreement and pseudo-military obedience to a strong authoritarian state".[17] Through Bracher was opposed to the Sonderweg interpretation of German history, he did believe in a special German mentality (Sonderbewusstsein) that made the Third Reich possible.[18] Bracher wrote that:

title: Karl Dietrich Bracher

text: In the 1960s, Bracher was a leading critic of the theory of generic fascism presented by Ernst Nolte. Bracher criticized the entire notion of generic fascism as intellectually invalid and argued that it was individual choice on the part of Germans as opposed to Nolte's philosophical view of the "metapolitical" that produced National Socialism.[26] Bracher's magnum opus, his 1969 book Die deutsche Diktatur (The German Dictatorship) was partly written to rebut Nolte's theory of generic fascism, and instead presented a picture of the National Socialist dictatorship as a totalitarian regime created and sustained by human actions.[27] In Die deutsche Diktatur, Bracher rejected theories of generic fascism, and instead used totalitarianism theory and the methods of the social sciences to explain Nazi Germany.[28] As an advocate of history as a social science, Bracher took a strong dislike to Nolte's philosophical theories of generic fascism.[29] In a 1971 review, the American historian Lucy Dawidowicz called The German Dictatorship "...a work of unparalleled distinction, combing the most scrupulous objectivity with a passionate commitment to the democratic ethos".[30] In 1989, the British historian Richard J. Evans called The German Dictatorship a "valuable" book[31]

title: Karl Dietrich Bracher

text: Through Bracher argued that the work of Ralf Dahrendorf, David Schoenbaum, and Henry Ashby Turner about National Socialism in pursuit of anti-modern goals leading to an unintentional modernization of German society had merit, Bracher felt the question of modernization was too removed from the essence of National Socialism, which Bracher argued were the total revolutionary remodeling of the world along savagely racist and Social Darwinist lines.[44] In Bracher's opinion, the revolution Hitler sought to unleash was besides being one of racism gone mad, was also a moral revolution.[45] Bracher argued that the Nazi revolution sought to destroy traditional values that society had valued such as friendship, kindness, and so forth, and replace them with values such as cruelty, brutality, and destruction.[46] Bracher argued that because Anti-Semitism was so crucial to Hitler's weltanschauung (worldview) and its consequences in the form of genocide for the Jews of Europe were such that this disapproves any notion of generic fascism because Bracher believes that theories of fascism cannot account for the Shoah.[47] Bracher argued that generic fascism theorists were guilty of indiscriminately lumping in too many disparate phenomena for the concept of fascism to be of any intellectual use, and of using the term fascist as a catch-all insult for anyone the left disliked.[47] With respect to the genesis of The Holocaust, he is a confirmed Intentionalist. It is his position that the entire project of the genocide of European Jewry resulted from Adolf Hitler's anti-Semitic hatred.[47]

title: Karl Dietrich Bracher

text: "The complaints about democracy and liberalism that Bracher examined in The German Dictatorship find echoes in our own time. Our institutions are far more stable than those of the Weimar Republic, but the appeal of authoritarianism and conspiracy-theorizing is growing in Western politics. Therefore Bracher’s work on how democracy was destroyed in Germany in the 1930s remains uncomfortably relevant. Moreover, the era of totalitarian ideology and politics did not end with the collapse of Communism in Europe. Using Bracher’s criteria, it continues, most importantly in the Islamist movements that have fueled the terrorism of recent decades. Totalitarianism has changed both its geographical location and its cultural coordinates, but in its inhumanity and irrationality it merits comparison with its 20th-century predecessors. Here, too, Karl Bracher’s work will remain important for years to come both for historians of the Nazi and Communist dictatorships and for advocates of liberal democracy in a world that faces multiple illiberal challenges."[75]

title: Ludger Kühnhardt

text: After studies of history, philosophy and political science at Bonn, Geneva, Tokyo and Harvard, Kühnhardt wrote a dissertation on the world refugee problem (1983) and a second thesis (Habilitation) on the universality of human rights (1986). He was a student of Karl Dietrich Bracher.

title: Karl Dietrich Bracher

text: Bracher often criticized the functionist-structuralist interpretation of the Third Reich championed by such scholars such as Martin Broszat and Hans Mommsen, and decried their view of Hitler as a “weak dictator”. In Bracher's view, Hitler was the “Master of the Third Reich”.[32] However, though Bracher argues that the Führer was the driving force behind the Third Reich, he was one of the first historians to argue that Nazi Germany was less well organized than the Nazis liked to pretend.[32] In a 1956 essay, Bracher noted "the antagonism between rival agencies was resolved solely in the omnipotent key position of the Führer", which was the result of "...the complex coexistence and opposition of the power groups and from conflicting personal ties".[32] Unlike the functionists, Bracher saw this disorganization as part of a conscious “divide and rule” strategy on the part of Hitler, and argued at no point was Hitler ever driven by pressure from below or had his power limited in any way.[32] One area where Bracher is in agreement with the functionists concerns the highly ad hoc nature of decision-making in the Third Reich. Bracher commented that the Nazi regime "remained in a state of permanent improvisation".[33]

title: Karl Dietrich Bracher

text: The Sonderbewusstsein Bracher referred to was the original theory of the Sonderweg, namely the idea of the Prussian-German state as the great Central European power neither of the West nor of the East, but rather was something special and unique; this ideology emphasised opposition to democracy as part of its opposition to "Western civilization".

title: Karl Dietrich Bracher

text: List of Adolf Hitler books

title: Karl Dietrich Bracher

text: Bracher was highly critical of the Marxist view of the Third Reich, which sees the Nazi leadership as puppets of Big Business.[24] In Bracher's opinion, the exact opposite was the case with a "primacy of politics" being exercised with business subordinate to the Nazi regime rather than a "primacy of economics" as maintained by Marxist historians.[24] Bracher argued that Nazi actions were dictated by Nazi ideological theory, that business interests were just as much subordinate to the dictatorship as any other section of society, and that since Nazi actions were often irrational from a purely economic point of view, a "primacy of politics" prevailed.[24]

title: Christoph Werner Konrad

text: Born in Bochum, Northrhine-Westphalia, Konrad attended the University of Bonn on a political science and legal studies major, earning his Ph.D. under supervision of Karl Dietrich Bracher in 1990.

title: Karl Dietrich Bracher

text: Against the functionalist view of the Third Reich mostly associated with left-wing historians, Bracher was to write that it was an attempt to:

title: National Socialist Program

text: Historian Karl Dietrich Bracher writes that,

title: Karl Dietrich Bracher

text: Later in the 1980s, Bracher defined totalitarianism as any state system that featured absolute ideology that allowed no rivals; a mass movement that was hierarchically organized and under state control; control of the media; and state control of the economy.[65] Moreover, Bracher contended that totalitarianism was not just a product of the interwar period, but instead very much a product of modern times with modern technology allowing for greater possibilities for totalitarian control of society than what existed in the 1920s, 30s and 40s.[66] Bracher argued that the essential divining line in the world today was not between left and right or between socialism and capitalism, but between dictatorship and democracy.[66] Bracher criticized those left-wing intellectuals who damned democracies like the United States as for being capitalist while praising those dictatorships that were “progressive” like Communist Cuba as holding morally dishonest values.[66]

title: Karl Dietrich Bracher

text: Another well-known book associated with Bracher was the 1960 monograph co-written with Wolfgang Sauer and Gerhard Schulz Die nationalsozialistische Machtergreifung (The National Socialist Seizure of Power), which described in considerable detail the Gleichschaltung of German life in 1933–1934. In a review of Die nationalsozialistische Machtergreifung, the American historian Walter Laqueur praised Bracher, Sauer and Schulz for their refusal to engage in apologetics, and willingness to ask tough questions about the conduct of Germans under the Nazi regime.[19] In the same review, Laqueur expressed regret that books like William L. Shirer's The Rise and Fall of the Third Reich were best-sellers, while a book like Die nationalsozialistische Machtergreifung, which Laqueur regarded as infinitely better work of scholarship then Shirer's book was unlikely ever to be translated into English, let alone become a bestseller.[20]

title: Karl Dietrich Bracher

text: In the introduction to his 1982 book Zeit der Ideologien (Age of Ideologies), Bracher wrote: "When the realization of high-pitched political expectations was found to come up against certain limits, there was a revival of the confrontation, especially painful in Germany and one that was generally believed to have been overcome".[1] Bracher attacked Communism under the grounds that its claim to have "scientifically" worked out the laws of history was the source of "its great strength vis-à-vis supporters and sympathizers but also its extremely intolerant and coercive character.”[60] Bracher wrote: “Communist policies are something mystical, something surpassing the rational capability of the individual, something fully accessible only to the collective and its leadership,” which promoted itself as “an exclusively informed elite.”[61] As part of his critique of Communism, Bracher wrote:

title: Karl Dietrich Bracher

text: Bracher wrote that up until July 1932, those Germans who believed in democracy had high spirits and were full of fighting determination to take a stand, and after the Preußenschlag, the same people became demoralized and passive, feeling that they were playing in a game whose rules were rigged against them, losing their fighting spirit.[14] Bracher's views about the "Rape of Prussia" as Papen's coup was also known involved him in heated debate with Arnold Brecht, who maintained that nothing could be done to oppose the Preußenschlag as that would mean breaking the law.[15] Bracher in his turn argued that Papen's reasons for his coup-namely the Social Democrats and the Communists were about to merge into a "united left" to start a Marxist revolution in Germany-were patently absurd, and given that Papen's intention was to dissolve democracy, that there are times when it is acceptable to break the law.[15] Bracher argued that Brecht's thesis that resistance to Papen's coup was impossible because it would have meant breaking the law was just an excuse for passivity.[14] Historians have generally agreed with Bracher's thesis that there are times when in the face of injustice committed by those who hold power that it is acceptable to break the law, and that the Preußenschlag was one of those times when illegality in defense of democracy would have been justified.[14]

title: Ernst Nolte

text: In a letter to the editor of "Frankfurter Allgemeine Zeitung" published on September 6, 1986 Karl Dietrich Bracher accused both Habermas and Nolte of both "...tabooing the concept of totalitarianism and inflating the formula of fascism".

title: Karl Dietrich Bracher

text: During the Historikerstreit (Historians' Dispute) of the 1986–88, Bracher argued in a letter to the editor of Frankfurter Allgemeine Zeitung published on 6 September 1986 that nothing new was being presented by either side.[63] Bracher wrote that he approved of Joachim Fest's essay “Encumbered Remembrance“ about the moral equivalence of Nazi and Communist crimes, through he remained pointly silent about Fest's support for the theory of Ernst Nolte of a “casual nexus” with German National Socialism as an extreme, but understandable response to Soviet Communism.[63] Bracher argued that "...the "totalitarian" force of these two ideologies [Communism and National Socialism] seized the whole human and seduced and enslaved him".[63] Bracher accused both Jürgen Habermas and Ernst Nolte of both "...tabooing the concept of totalitarianism and inflating the formula of fascism".[63] Bracher complained about the "politically polarized" dispute that was blinding historians to the "comparability" of Communism and National Socialism[63] Bracher ended his letter by writing that neither National Socialism nor Communism lost none of "...their respective "singular" inhumanity by comparisons. Neither a national nor a socialist apologetic can be supported on that basis".[63]

title: Totalitarianism

text: The German historian Karl Dietrich Bracher, whose work is primarily concerned with Nazi Germany, argues that the "totalitarian typology" as developed by Friedrich and Brzezinski is an excessively inflexible model and failed to consider the "revolutionary dynamic" that Bracher asserts is at the heart of totalitarianism. Bracher maintains that the essence of totalitarianism is the total claim to control and remake all aspects of society combined with an all-embracing ideology, the value on authoritarian leadership and the pretence of the common identity of state and society, which distinguished the totalitarian "closed" understanding of politics from the "open" democratic understanding. Unlike the Friedrich-Brzezinski definition, Bracher argued that totalitarian regimes did not require a single leader and could function with a collective leadership, which led the American historian Walter Laqueur to argue that Bracher's definition seemed to fit reality better than the Friedrich-Brzezinski definition.

title: Karl Dietrich Bracher

text: Bracher argued the beginning of the end of the Weimar Republic was the coming of "presidential government" in 1930 as starting with government of Heinrich Brüning, Chancellors not sought to govern via the Reichstag, instead using the "25/48/53 formula", which was legal, but violated the spirit of the constitution as Article 54 had explicitly stated the Chancellor and his cabinet were responsible to the Reichstag.[2] Bracher maintained that the end of German democracy was not inevitable, but instead was due to conscious choices coupled with "momentous errors and failures" made by Germany's leaders, especially President Paul von Hindenburg.[2] In Die Auflösung der Weimarer Republik, Bracher argued the "collapse" of the republic went through several stages:

title: Karl Dietrich Bracher

text: In the Historikerstreit, Bracher mostly stayed on the sidelines, and took a pox-on-both-houses approach.[64] Writing on 14 March 1987, Bracher stated he regarded the Historikerstreit as typical of the Doppelbödigkeit (ambiguities) that Germans felt towards their recent history.[64] Bracher argued that the Federal Republic was one of two rival German states competing for the loyalty of the German people, the successor state to two regimes that failed, and inhabited by two generations with different memories of the past.[64] Bracher wrote that for Germans: "The present dispute concerns not only the orientation and the meaning of a totalitarian "past", which is not easy to historicize, but does not simply pass away despite temporal distance".[64] Bracher argued that given the "burden of the past", West Germany could all too easily slide into dictatorship[64] Bracher saw the major threat to West German democracy as coming from the left.[64] Bracher accused the peace and Green movements as hovering "in the borderline between democracy and dictatorship", and warned that the radical left-peace-Green movements could easily become the instruments of a "pseudo-religious concepts of salvation" that would lead to a return to totalitarianism in West Germany.[64] Bracher claimed that the situation in the late 1980s was the same as in the late 1960s "when we critics of an all-too-general concept of fascism were opposed by a front from Nolte via Habermas to the extraparliamentary opposition".[64]

title: Karl Dietrich Bracher

text: In an essay published in 1976 entitled "The Role of Hitler: Perspectives of Interpretation", Bracher argued that Hitler was too often underrated in his own time, and that those historians who rejected the totalitarian paradigm in favor of the fascist paradigm were in danger of making the same mistake.[32] In Bracher's opinion, Hitler was a "world-historical" figure who served as the embodiment of the most radical type of German nationalism and a revolutionary of the most destructive kind, and that such was the force of Hitler's personality that it is correct to speak of National Socialism as "Hitlerism".[32] In his essay, Bracher maintained that Hitler himself was in many ways something of an "unperson" devoid of any real interest for the biographer, but argued that these pedestrian qualities of Hitler led to him being underestimated first by rivals and allies in the Weimar Republic, and then on the international stage in the 1930s.[36] At the same time, Bracher warned of the apologetic tendencies of the “demonizaton" of Hitler which he accused historians like Gerhard Ritter of engaging in, which Bracher maintained allowed too many Germans to place the blame for Nazi crimes solely on the "demon" Hitler.[37] Through Bracher criticized the Great man theory of history as an inadequate historical explanation, Bracher argued that social historians who claim that social developments were more important than the role of individuals were mistaken.[38]


query: Who introduced the concept of complex numbers?

title: Complex number

text: The solution in radicals (without trigonometric functions) of a general cubic equation contains the square roots of negative numbers when all three roots are real numbers, a situation that cannot be rectified by factoring aided by the rational root test if the cubic is irreducible (the so-called casus irreducibilis). This conundrum led Italian mathematician Gerolamo Cardano to conceive of complex numbers in around 1545,[16] though his understanding was rudimentary.

title: The Silkie (novel)

text: As with other Van Vogt works, the novel introduces a psychological element similar to general semantics. Here the Silkies use the so-called "Logic of Levels". Instead of the symbol/reality dichotomy of General Semantics, the Logic of Levels substitutes the concept of behaviors and instincts as complex neurological structures and feedback loops, simpler levels being built on more complex ones. By manipulating these complexes with their powers the Silkies can defeat adversaries, who find themselves caught in self-amplifying feedback from their own instincts and desires.

title: Quasi-bipartite graph

text:
This concept was introduced by Rajagopalan and Vazirani who used it to provide a (3/2 + ε) approximation algorithm for the Steiner tree problem on such instances. Subsequently the ε factor was removed by Rizzi and a 4/3 approximation algorithm was obtained by Chakrabarty et al.
The same concept has been used by subsequent authors on the Steiner tree problem, e.g. Robins and Zelikovsky
proposed an approximation algorithm for Steiner tree problem which on quasi-bipartite graphs has approximation ratio 1.28. The complexity of Robins and Zelikovsky's algorithm is "O("m" "n")", where "m" and "n" are the numbers of terminals and non-terminals in the graph, respectively. Furthermore, Gröpl et al. gave a 1.217-approximation algorithm for the special case of "uniformly quasi-bipartite" instances.

title: Mechanical filter

text: Once the basics of electrical network analysis began to be established, it was not long before the ideas of complex impedance and filter design theories were carried over into mechanics by analogy. Kennelly, who was also responsible for introducing complex impedance, and Webster were the first to extend the concept of impedance into mechanical systems in 1920. Mechanical admittance and the associated mobility analogy came much later and are due to Firestone in 1932.

title: Number

text: In 1850 Victor Alexandre Puiseux took the key step of distinguishing between poles and branch points, and introduced the concept of essential singular points. This eventually led to the concept of the extended complex plane.

title: Split-complex number

text: Split-complex numbers "z" and "w" are said to be hyperbolic-orthogonal if . While analogous to ordinary orthogonality, particularly as it is known with ordinary complex number arithmetic, this condition is more subtle. It forms the basis for the simultaneous hyperplane concept in spacetime.

title: Elementary algebra

text: Elementary algebra encompasses some of the basic concepts of algebra, one of the main branches of mathematics. It is typically taught to secondary school students and builds on their understanding of arithmetic. Whereas arithmetic deals with specified numbers, algebra introduces quantities without fixed values, known as variables. This use of variables entails a use of algebraic notation and an understanding of the general rules of the operators introduced in arithmetic. Unlike abstract algebra, elementary algebra is not concerned with algebraic structures outside the realm of real and complex numbers.

title: Lincos (artificial language)

text: The third section is perhaps the most complex, and attempts to convey the concepts and language necessary to describe behavior and conversation between individuals. It uses examples to introduce actors speaking to each other, asking questions, disapproving, quoting other people, knowing and wanting things, promising, and playing. The first steps (since he has introduced sets of numbers and questions) are to introduce some new symbols (distinctive patterns of pulses), say they are NOT numbers, and transmit sequences showing two of these new symbols separated by the word "Inq," and followed by a question about an equation, then the symbols reversed, followed by the answer (example below). He expects that after many repetitions, the recipient will decide these new symbols are entities asking and answering the questions, rather than some other context for the questions.

title: Complex plane

text: The concept of the complex plane allows a geometric interpretation of complex numbers. Under addition, they add like vectors. The multiplication of two complex numbers can be expressed most easily in polar coordinates—the magnitude or "modulus" of the product is the product of the two absolute values, or moduli, and the angle or "argument" of the product is the sum of the two angles, or arguments. In particular, multiplication by a complex number of modulus 1 acts as a rotation.

title: Hypercomplex number

text: In the nineteenth century number systems called quaternions, tessarines, coquaternions, biquaternions, and octonions became established concepts in mathematical literature, added to the real and complex numbers. The concept of a hypercomplex number covered them all, and called for a discipline to explain and classify them.

title: Enhanced entity–relationship model

text: The EER model includes all of the concepts introduced by the ER model. Additionally it includes the concepts of a subclass and superclass (Is-a), along with the concepts of specialization and generalization. Furthermore, it introduces the concept of a union type or category, which is used to represent a collection of objects that is the union of objects of different entity types. EER model also includes EER diagrams that are conceptual models that accurately represent the requirements of complex databases.

title: Complex number

text: Based on the concept of real numbers, a complex number is a number of the form a + bi, where a and b are real numbers and i is an indeterminate satisfying i2 = −1. For example, 2 + 3<i>i is a complex number.[5]

title: Georgii Polozii

text: The basic concepts of complex analysis are often introduced by extending the elementary real functions (e.g., exponential functions, logarithmic functions, and trigonometric functions) into a complex domain and the corresponding complex range.

title: Charles Musès

text: Muses also envisioned a mathematical number concept, Musean hypernumbers, that includes hypercomplex number algebras such as complex numbers and split-complex numbers as primitive types. He assigned them levels based on certain arithmetical properties they may possess. While many open questions remain, in particular about defining relations of these levels, Muses pictured a wide range of applicability for this concept. Some of these are based on properties of magic squares, and even related to religious belief. He believed that these hypernumbers were central to issues of consciousness.

title: Fashionable Nonsense

text: However, with regard to the second sense, which Plotnisky describes by stating that "all imaginary and complex numbers are, by definition, irrational," mathematicians agree with Sokal and Bricmont in not taking complex numbers as irrational. Indeed, the concept of rational numbers has been extended into the complex domain to include Gaussian integers and Gaussian rationals.

title: Universal Decimal Classification

text: "Common auxiliaries" are aspect-free concepts that can be used in combination with any other UDC code from the main classes or with other common auxiliaries. They have unique notational representations that makes them stand out in complex expressions. Common auxiliary numbers always begin with a certain symbol known as a facet indicator, e.g. = (equal sign) always introduces concepts representing the language of a document; (0...) numbers enclosed in parentheses starting with zero always represent a concept designating document form. Thus (075) Textbook and =111 English can be combined to express, e.g.(075)=111 Textbooks in English, and when combined with numbers from the main UDC tables they can be used as follows: 2(075)=111 Religion textbooks in English, 51(075)=111 Mathematics textbooks in English etc.In order to preserve the precise meaning and enable accurate parsing of complex UDC expressions, a number of connecting symbols are made available to relate and extend UDC numbers. These are:

title: Sample complexity

text: The latter approach leads to concepts such as VC dimension and Rademacher complexity which control the complexity of the space formula_8. A smaller hypothesis space introduces more bias into the inference process, meaning that formula_55 may be greater than the best possible risk in a larger space. However, by restricting the complexity of the hypothesis space it becomes possible for an algorithm to produce more uniformly consistent functions. This trade-off leads to the concept of regularization.

title: Complex number

text: Geometrically, complex numbers extend the concept of the one-dimensional number line to the two-dimensional complex plane by using the horizontal axis for the real part and the vertical axis for the imaginary part. The complex number a + bi can be identified with the point (a, b) in the complex plane. A complex number whose real part is zero is said to be purely imaginary; the points for these numbers lie on the vertical axis of the complex plane. A complex number whose imaginary part is zero can be viewed as a real number; its point lies on the horizontal axis of the complex plane. Complex numbers can also be represented in polar form, which associates each complex number with its distance from the origin (its magnitude) and with a particular angle known as the argument of this complex number.

title: Incidence coloring

text: The concept of incidence coloring was introduced by Brualdi and Massey in 1993. They bounded it in terms of "Δ(G)", the maximum degree of a graph "G". Initially, the incidence chromatic number of trees, complete bipartite graphs and complete graphs was found out. They also conjectured that all graphs can have an incidence coloring using "Δ(G) + 2" colors (Incidence coloring conjecture - ICC). This conjecture was disproved by Guiduli, who showed that incidence coloring concept is a directed star arboricity case, introduced by Alon and Algor. His counter example showed that incidence chromatic number is at most "Δ(G) + O(log Δ(G))".

title: Mathematical diagram

text: The concept of the complex plane allows a geometric interpretation of complex numbers. Under addition, they add like vectors. The multiplication of two complex numbers can be expressed most easily in polar coordinates — the magnitude or "modulus" of the product is the product of the two absolute values, or moduli, and the angle or "argument" of the product is the sum of the two angles, or arguments. In particular, multiplication by a complex number of modulus 1 acts as a rotation.

title: Split-complex number

text: The use of split-complex numbers dates back to 1848 when James Cockle revealed his tessarines. William Kingdon Clifford used split-complex numbers to represent sums of spins. Clifford introduced the use of split-complex numbers as coefficients in a quaternion algebra now called split-biquaternions. He called its elements "motors", a term in parallel with the "rotor" action of an ordinary complex number taken from the circle group. Extending the analogy, functions of a motor variable contrast to functions of an ordinary complex variable.

title: Sexual minorities in Sri Lanka

text: A number of reports state that the concept of third gender has escaped the island, nevertheless binary concepts are found that are similar to third gender. But recent political activity in India has brought the topic more attention in mainstream media. The recognition of third gender in Sri Lanka is surprisingly prevented by attitudes within the LGBT community. A number of LGBT communities fear that introducing the concept to the LGBT rights movement and lobbying on their behalf would open them to further harassment from the wider society and may impede efforts to advance their own rights .A majority of people surveyed who identified as LGBT did not feel comfortable introducing the concept into mainstream LGBT rights lobbying.

title: Ate complex

text: An ate complex in chemistry is a salt formed by the reaction of a Lewis acid with a Lewis base whereby the central atom (from the Lewis acid) increases its valence and gains a negative formal charge. (Note that in this definition the meaning of valence is equivalent to coordination number). Often in chemical nomenclature the phrase "ate" is suffixed to the element in question. For example, the ate complex of a boron compound is called a borate. Thus trimethylborane and methyllithium react to form the ate compound MeBLi, lithium tetramethylborate(1-). This concept was introduced by Georg Wittig in 1958. The term is usually reserved for the complexes of metals in groups 2, 11 and 12.

title: Circuit rank

text: The circuit rank can be explained in terms of algebraic graph theory as the dimension of the cycle space of a graph, in terms of matroid theory as the corank of a graphic matroid, and in terms of topology as one of the Betti numbers of a topological space derived from the graph. It counts the ears in an ear decomposition of the graph, forms the basis of parameterized complexity on almost-trees, and has been applied in software metrics as part of the definition of cyclomatic complexity of a piece of code. Under the name of cyclomatic number, the concept was introduced by Gustav Kirchhoff.

title: Armen Avanessian

text: Avanessian’s work has come to be situated primarily outside the academy. It includes widely discussed statements on current affairs such as the refugee crisis, numerous lectures in the international art and culture scene, as well as a large number of interviews and intellectual portraits. Beyond the classical academic mainstream, Avanessian has repeatedly managed to introduce new concepts and theoretical constellations into public discourse. These consist partly of neologisms, partly of concepts used in smaller circles, which Avanessian’s work as editor re-produces for the German-language context. Examples include “speculative realism,” “acceleration,” “Xenofeminism,” “hyperstition,” and, most recently, the concept of the “time complex: postcontemporary.” Hyperstition, moreover, is not just another concept, it also designates a method, namely the actualization in the present, from out of the future, of ideas or fictions.

title: Complexity economics

text: MIT physicist César Hidalgo and Harvard economist Ricardo Hausmann introduced a spectral method to measure the complexity of a country's economy by inferring it from the structure of the network connecting countries to the products that they export. The measure combines information of a country's diversity, which is positively correlated with a country's productive knowledge, with measures of a product ubiquity (number of countries that produce or export the product). This concept, known as the "Product Space", has been further developed by MIT's Observatory of Economic Complexity, and in The Atlas of Economic Complexity in 2011.

title: Complex number

text: The complex numbers give rise to the fundamental theorem of algebra: every non-constant polynomial equation with complex coefficients has a complex solution. This property is true of the complex numbers, but not the reals. The 16th century Italian mathematician Gerolamo Cardano is credited with introducing complex numbers in his attempts to find solutions to cubic equations.[4]

title: Ontogenetic depth

text: Biologist PZ Myers, who works in the field of evolutionary developmental biology, dismissed the concept, stating in 2010 that "Nelson is a creationist who made up this wacky claim of "ontogenetic depth", saying he had a way of objectively measuring the complexity of the developmental process in organisms with a number that described the distance from egg to adult. Unfortunately, he forgot to tell us how one calculated this number, or how it actually accounted for the complexity of a network, or even how we'd get a number that was different for a sponge and a cat. But he did say he'd get back to us with the details tomorrow...six years ago." Myers concludes that "ontogenetic depth is a sloppily-defined concept with no theoretical support for its validity and no apparent operational utility."

title: Self-complexity

text: Self-complexity is a person’s perceived knowledge of herself or himself, based upon the number of distinct cognitive structures, or self-aspects, they believe themselves to possess. These self-aspects can include context-dependent social roles, relationships, activities, superordinate traits, and goals of the individual, which combine to form the larger, associative network of their self-concept. According to self-complexity theory, an individual who has a number of self-aspects that are unique in their attributes will have greater self-complexity than one who has only a few self-aspects, or whose self-aspects are closely associated to one another. In other words, self-complexity may invoke the question, “How full is the self-concept”?

title: Oedipus complex

text: The Oedipus complex (also spelled Œdipus complex) is a concept of psychoanalytic theory. Sigmund Freud introduced the concept in his "Interpretation of Dreams" (1899) and coined the expression in his "A Special Type of Choice of Object made by Men" (1910). The positive Oedipus complex refers to a child's unconscious sexual desire for the opposite-sex parent and hatred for the same-sex parent. The negative Oedipus complex refers to a child's unconscious sexual desire for the same-sex parent and hatred for the opposite-sex parent. Freud considered that the child's identification with the same-sex parent is the successful outcome of the complex and that unsuccessful outcome of the complex might lead to neurosis, pedophilia, and homosexuality.

title: Complex number

text: A gentle introduction to the history of complex numbers and the beginnings of complex analysis. An advanced perspective on the historical development of the concept of number.


query: Which country is the largest producer of wine?

title: List of wine-producing regions

text: In 2014, the five largest producers of wine in the world were, in order, Italy, Spain, and France. (see list of wine-producing countries for a complete rank).

title: Philippine wine

text: Philippine wine or Filipino wine is wine produced in the Philippines. Most of the wines produced in the country are based on locally produced crops such as mangoes and rice with grape-based wines mostly imported from Australia and European countries. In 2012, it was reported that previous attempts to produce grapes which are suitable enough for wine making in northern Philippines failed due to unsuitable soil conditions and high temperatures.

title: Chilean wine

text: A large number of French people immigrated to Chile during the late 20th century, bringing more vinicultural knowledge to the country. Chile is now the fifth largest exporter of wines in the world, and the seventh largest producer. The climate has been described as midway between that of California and France. The most common grapes are Cabernet Sauvignon, Merlot and Carmenère. So far Chile has remained free of the phylloxera louse, which means that the country's grapevines do not need to be grafted with phylloxera-resistant rootstocks.

title: Argentina Wine Route

text: The Argentina Wine Route (Spanish: Ruta del Vino) is an enotourism belt in Argentina that covers approximately and traverses several provinces and wine producing regions of varying altitudes and geographical features. Argentina has an estimated 2,000 wineries, many of which now offer vineyard and winery tours, as well as hospitality accommodations for the country's growing number of wine related tourists. Argentina is the largest producer of wine in South America, and the 5th largest producer of wine in the world.

title: Agriculture in Serbia

text: Serbia is the 19th largest producer of wine in the world. The country has one of Europe's longest history of viticulture and belongs chronologically to the Old World wine producing countries.

title: Romanian wine

text: Romania has about 187,000 hectares of vine plantations; that ranks it on sixth place between the European wine-producing countries. With a wine production of about 4.5 million hl/year, Romania is the thirteenth largest wine-producing country in the world.

title: German wine

text: German wine is primarily produced in the west of Germany, along the river Rhine and its tributaries, with the oldest plantations going back to the Roman era. Approximately 60 percent of the German wine production is situated in the federal state of Rhineland-Palatinate, where 6 of the 13 regions ("Anbaugebiete") for quality wine are situated. Germany has about 102,000 hectares (252,000 acres or 1,020 square kilometers) of vineyard, which is around one tenth of the vineyard surface in Spain, France or Italy. The total wine production is usually around 9 million hectoliters annually, corresponding to 1.2 billion bottles, which places Germany as the eighth largest wine-producing country in the world. White wine accounts for almost two thirds of the total production.

title: Azerbaijani wine

text:
Currently, there are nearly 10 wineries and vineyards producing wine in the country. The largest one is "Vinagro", created in 2006. It uses the Goygol Wine Plant near Ganja founded in 1860 by German immigrants. Exports to other countries are steadily growing due to good quality of Azerbaijani wine products. Most of produce is currently being targeted for Russian and European markets as well as new growing markets for Azerbaijani wine such as China. Due to growing demand, new grape plantations have been set up over 100 hectares in Shamkir region of Azerbaijan. Since restoration of independence of Azerbaijan in 1991, the Azerbaijani wines won 27 prizes at international competitions.
Azerbaijan has been increasing its wine production for the last several years. In 2003, it produced 3,790, in 2005 - 4,005 and in 2007 - 7,200 tons of wine.
Moreover, Azerbaijan is one of the main wine producers in the territory of the Caspian Sea. Despite vodka was considered as a part of “drinking culture” during the USSR, Azerbaijani wine was one of the favorites in Russia even before the Gorbachev purge.
According to the prohibition law by the Soviet Union in 1985 on vine production totally prevented a growing industry in Azerbaijan. Before this law, the production of grapes was equal to two tons per year, which meant provision of 40-45% of Azerbaijan’s SSR GDP.
Azerbaijan is aimed to gain more reputation in the world’s vine market. It is a result of joining the International Organization of Vine and Wine (OIV).

title: Maule Region

text: Forestry and agriculture, led by wine grape plantations, are the main economic activities. The Maule region is Chile’s leading wine-making region, producing 50% of all the country’s fine export wines, and a number of the largest vineyards are located here. Owing to its high concentration of vineyards, the Curicó valley, which means "black water" in Mapudungun – is considered the core of Chile’s wine industry. Wine-making is a traditional activity, some vineyards dating back to 1830. The increased wine-growing area is matched by the development of the industry’s infrastructure, technology, and equipment.

title: Stargarder Land (wine region)

text: In two respects, Stargarder Land is different from all other wine regions in Germany. First, the 13 well-established German wine regions (usually referred to as "Anbaugebiete") are all allowed to produce wine of all quality levels of the German wine classification, while Stargarder Land is only allowed to produce wines belonging to the lower part – "Tafelwein" (table wine) and "Landwein" (country wine) – and not the higher "quality wine" categories "Qualitätswein bestimmter Anbaugebiete" (QbA) and "Prädikatswein". Since the name of the wine region is always displayed prominently on the labels of German quality wines, but not the lesser categories, this is a significant difference. Second, Stargarder Land is only in size, which would be small even for a single vineyard site in other regions. The smallest of the 13 regions for quality wine is Saxony, which in 2006 had of vineyards, and the largest was Rheinhessen with . Thus, Stargarder Land is something of a newly created oddity in the German wine regulations, and the region is generally not considered as Germany's 14th "Anbaugebiet", but rather as a smaller district which leads its own existence outside the regions.

title: White wine

text: The Americas have developed both white and red wines, some of which are now recognized worldwide. White wines have to conquer hostile territories where red wine dominates, such as the Rocky Mountains or Canada. In Canada, the technique of ice wine can produce exceptional wines in a climate which is apparently unfavourable. Canada is the largest producer of ice wine in the world.

title: Côte Chalonnaise

text: The wine-producing communes of the Côte Chalonnaise are, from the north: Bouzeron, the only communal AOC for Aligoté still wine; Rully, which has 23 premier cru vineyards and is known for its white wines as well as being a center for "Crémant" sparkling wines production; Mercurey, which with 30 premier cru vineyards is the largest volume producer of the region, its wines being nearly all red; Givry, with 17 premier cru vineyards producing mostly red wines; and Montagny, which produces only white wines in its 49 premier cru vineyards.

title: Indiana wine

text: Indiana wine refers to wine made from grapes grown in the U.S. state of Indiana. Wine has been produced in the area since the early days of European colonization in the 18th century. In the mid-19th century, Indiana was the tenth-largest winegrape producing state in the country.

title: Western Australian wine

text: Western Australian wine refers to wine produced in Australia's largest state, Western Australia. Although the state extends across the western third of the continent, its wine regions are almost entirely situated in the cooler climate of its south-western tip. Western Australia produces less than 5% of the country's wine output, but in quality terms it is very much near the top.

title: Comparative advantage

text: In the absence of trade, England requires 220 hours of work to both produce and consume one unit each of cloth and wine while Portugal requires 170 hours of work to produce and consume the same quantities. England is more efficient at producing cloth than wine, and Portugal is more efficient at producing wine than cloth. So, if each country specializes in the good for which it has a comparative advantage, then the global production of both goods increases, for England can spend 220 labor hours to produce 2.2 units of cloth while Portugal can spend 170 hours to produce 2.125 units of wine. Moreover, if both countries specialize in the above manner and England trades a unit of its cloth for to units of Portugal's wine, then both countries can consume at least a unit each of cloth and wine, with 0 to 0.2 units of cloth and 0 to 0.125 units of wine remaining in each respective country to be consumed or exported. Consequently, both England and Portugal can consume more wine and cloth under free trade than in autarky.

title: Texas wine

text:
There are more than 200 wineries in Texas, producing around 4,100 tons of wine, making it the fourth-largest wine producing state in the nation. That puts Texas behind California, New York, and Washington respectively. The University of Texas System is the largest wine producer in the state with over planted near Fort Stockton in West Texas. First established as an experimental vineyard in 1987, the university leases the land to a group of Bordeaux wine makers who produce two labels-Ste. Genevieve and Escondido Valley. The second largest winery is Llano Estacado Winery.
Many of the wineries offer tastings. The experience of having tastings is quite different to what one experiences in different European wine producing countries. This may have to do with culture and the relatively young age of the industry in Texas (noting the statement in the History section.

title: Romanian wine

text: Romania is one of the world's largest wine producers and sixth largest among European wine-producing countries. In 2015 it produced around 4.069 million hectolitres of wine. In recent years, Romania has attracted many European business people and wine buyers, due to the affordable prices of both vineyards and wines compared to other wine-producing nations such as France, Germany, and Italy.

title: Carmel Winery

text: Carmel Winery manufactures mainly wine, brandy and grape juice. It is the prime producer of wine in Israel, as it produces nearly half of the Israeli wine market, and one of the largest wine producers in the Eastern Mediterranean. It is the first and oldest exporter of wine, brandy and grape juice in the country, and also the largest producer of kosher wine in the world.

title: Israeli wine

text: Today, less than 15% of Israeli wine is produced for sacramental purposes. The three largest producers—Carmel Winery, Barkan Wine Cellars and Golan Heights Winery—account for more than 80% of the domestic market. The United States is the largest export destination. Even though it contains only around one-quarter of the planted acreage as Lebanon, Israel has emerged as a driving force for winemaking in the Eastern Mediterranean, due to its willingness to adopt new technology and its large export market. The country has also seen the emergence of a modern wine culture with upscale restaurants featuring international wines dedicated to an ever-increasing wine-conscious clientele.

title: Moldovan wine

text: In 2014, Moldova was the twentieth largest wine producing country in the world. Most of the country's commercial wine production is for export; 67 million bottles of wine are exported annually, including to Poland, Romania, Russia and United States.

title: Hunter Valley wine

text: While the Hunter Valley has been supplanted by the massive Riverina wine region as the largest producer of New South Wales wine, it still accounts for around 3% of Australia's total wine production and is one of the country's most recognisable regions. Today there are over 120 wineries in the Hunter, producing a wide range of wine.

title: Spanish wine

text: Spanish wines () are wines produced in Spain. Located on the Iberian Peninsula, Spain has over 2.9 million acres (over 1.17 million hectares) planted—making it the most widely planted wine-producing nation but it is the third largest producer of wine in the world, the largest being Italy followed by France. This is due, in part, to the very low yields and wide spacing of the old vines planted on the dry, infertile soil found in many Spanish wine regions. The country is ninth in worldwide consumptions with Spaniards drinking, on average, 21.6 litres (5.706 US gal) per person a year. The country has an abundance of native grape varieties, with over 400 varieties planted throughout Spain though 80 percent of the country's wine production is from only 20 grapes—including the reds Tempranillo, Garnacha, and Monastrell; the whites Albariño from Galicia, Palomino, Airen, and Macabeo; and the three cava grapes Parellada, Xarel·lo, and Macabeo.

title: Agriculture in Albania

text: Albania is the 42nd largest producer of wine in the world. The country has one of Europe`s longest history of viticulture and belongs chronologically to the old world of wine producing countries. The most important wine regions of the country are located in the center but also the mountainous areas in the north, east and south. Following the end of communism in the 20th century, the development and fortunes of the Albanian wine industry were deeply influenced by the economic influences of the country.

title: Zonin

text: The Zonin family has been making wine since 1821 and currently operates Italy's largest privately owned vineyard and winemaking complex. The house produces 25 million bottles and exports its wines to 69 countries. The company's headquarters are located in Gambellara in Vicenza province in northeastern Italy. The Zonin family owns of vineyards, divided among 11 estates in seven of the country's most highly regarded winemaking regions: Piedmont, Lombardy, Veneto, Friuli, Tuscany, Apulia and Sicily. It also owns the Barboursville Vineyards winery in Barboursville, Virginia. The house produces a wide range of wines, many of them from varieties native to the regions in which the grapes are grown.

title: American wine

text: American wine has been produced for over 300 years. Today, wine production is undertaken in all fifty states, with California producing 89 percent of all US wine. The United States is the fourth-largest wine producing country in the world, after Italy, Spain, and France.

title: San Luis Obispo County, California

text: The mainstays of the economy are California Polytechnic State University with its almost 20,000 students, tourism, and agriculture. San Luis Obispo County is the third largest producer of wine in California, surpassed only by Sonoma and Napa Counties. Wine grapes are the second largest agricultural crop in the county (after strawberries), and the wine production they support creates a direct economic impact and a growing wine country vacation industry.

title: Culture of Bulgaria

text: Exports of Bulgarian wine go worldwide; and until 1990 the country exported the world's second-largest total of bottled wine. The rich soil, perfect climate and the millennia-old tradition of wine-making, which dates back to the time of the Thracians, contribute to the wide variety of fine Bulgarian wines. As of 2007, Bulgaria produced 200,000 tonnes of wine annually, ranking 20th in the world.

title: California wine

text:
California wine is wine made in the U.S. state of California. Almost three quarters the size of France, California accounts for nearly 90 percent of American wine production.
The production of wine in California is one third larger than that of Australia. If California were a separate country, it would be the world's fourth largest wine producer.

title: Culture of California

text: With Napa Valley in the north, Santa Barbara, and the Temecula Valley in the southern part of the state, California is the world's fourth largest producer of wines, and accounts for 90 percent of the wine production in the United States. Originally started by Spanish settlers to create wine for Mass in the 18th century, the wine industry in California rivals other wine-producing countries of the world, such as France, Australia and Chile, even winning the Judgment of Paris wine competition.

title: Kosher wine

text: In recent times, there has been an increased demand for kosher wines and a number of wine producing countries now produce a wide variety of sophisticated kosher wines under strict rabbinical supervision, particularly in Israel, the United States, France, Germany, Italy, South Africa, Chile and Australia. Two of the world's largest producers and importers of kosher wines, Kedem and Manischewitz, are both based in the Northeastern United States.


query: How long was The Secret of Monkey Island in production?

title: The Secret of Monkey Island

text: The Secret of Monkey Island ultimately cost $200,000 to produce, and was developed over nine months.[33]

title: LeChuck

text: LeChuck is introduced in "The Secret of Monkey Island" as a ghost pirate captain of a ship of undead pirates. Prior to the events of the game, LeChuck had been in a brief but unsuccessful relationship with Elaine Marley, the governor of Mêlée Island. After Elaine spurns his advances, LeChuck makes an effort to impress the governor by sailing off in pursuit of the secret of Monkey Island. The exhibition ultimately costs LeChuck his life, but he returns as a ghost and begins to terrorise the Caribbean, operating out of Monkey Island. Having scared most of the pirates in the Caribbean into staying in port, LeChuck begins to plan kidnapping Elaine and forcing her to marry him. Upon learning of Guybrush Threepwood, a new pirate-in-training on Mêlée Island who could cause problems to his plan, LeChuck travels to Mêlée Island to personally dispose of Guybrush, disguising himself as the island's sheriff. LeChuck confronts Guybrush, ties him to a weight and pushes him into the harbour waters. Leaving Guybrush for dead, LeChuck and his crew raid the island and kidnap Elaine, taking her to their Monkey Island hideout. Guybrush survives, however, and having become smitten by the governor himself, mounts a rescue mission to Monkey Island. Guybrush is unable to reach Elaine in time, as LeChuck's ship returns to Mêlée Island for the wedding. Nevertheless, Guybrush gatecrashes the wedding, intent on killing LeChuck using an anti-ghost potion based on a voodoo root, only to find that Elaine had the same plan in mind. Infuriated, LeChuck attacks Guybrush, but his spirit form is destroyed when he is sprayed with root beer.

title: Monkey Island (series)

text: None of the games explicitly reveal the "Secret of Monkey Island" (although creator Ron Gilbert has stated that the secret was not revealed in any of the games, and that the true secret would be revealed if he got to work on the fifth entry in the series). LeChuck himself, when asked in the second and third games, refuses to answer the question; Guybrush can eventually prod LeChuck to confess that he does not know what the secret is.

title: Monkey Island (series)

text: Gilbert stated that he never told anyone what the true secret of Monkey Island is. Gilbert stated in a 2004 interview that when the game was originally conceived it was considered "too big", so they split it into three parts. He added that he "knows what the third [part] is" and "how the story's supposed to end," indicating that he had a definite concept of the secret and a conclusive third game.

title: The Curse of Monkey Island

text: The Curse of Monkey Island is an adventure game developed and published by LucasArts, and the third game in the "Monkey Island" series. It was released in and followed the successful games "The Secret of Monkey Island" and "". The game is the twelfth and last LucasArts game to use the SCUMM engine, which was extensively upgraded for its last outing before being replaced by the GrimE engine for the next game in the series, "Escape from Monkey Island". "The Curse of Monkey Island" is the first "Monkey Island" game to include voice acting, and has a more cartoon-ish graphic style than the earlier games.

title: The Secret of Monkey Island

text: The Secret of Monkey Island spawned four sequels. The first, Monkey Island 2: LeChuck's Revenge, was released in 1991 and focuses on LeChuck's return.[73] Six years later, LucasArts released The Curse of Monkey Island, which features a new visual design.[74] In 2000, the company released Escape from Monkey Island, which uses the GrimE engine of Grim Fandango to produce 3D graphics.[75] The next title, Tales of Monkey Island released in 2009, is a series of five episodic chapters.[76]

title: The Secret of Monkey Island

text: Ron Gilbert conceived the idea of a pirate adventure game in 1988, after completing Zak McKracken and the Alien Mindbenders.[11] He first wrote story ideas about pirates while spending the weekend at a friend's house. Gilbert experimented with introductory paragraphs to find a satisfactory idea. His initial story featured unnamed villains that would eventually become LeChuck and Elaine; Guybrush was absent at this point.[12] He pitched it to Lucasfilm Games's staff as a series of short stories.[13] Gilbert's idea was warmly received, but production was postponed because Lucasfilm Games assigned its designers, including Gilbert, to Indiana Jones and the Last Crusade: The Graphic Adventure.[11] Development of The Last Crusade was finished in 1989, which allowed Gilbert to begin production of The Secret of Monkey Island, then known internally under the working title Mutiny on Monkey Island.[11][14]

title: The Secret of Monkey Island

text: at MobyGames : A 73-minute documentary with two parts: the history of text and graphic adventures leading to The Secret of Monkey Island, and on The Secret of Monkey Island itself.

title: Alexandra Boyd

text: On American TV Alexandra made appearances on "Party of Five", "Sabrina, the Teenage Witch" and "The Bernie Mac Show". She's performed voices for radio commercials & animated features such as "The Wild Thornberries". She is the voice of Elaine Marley in "The Curse of Monkey Island", "Tales of Monkey Island" and the special editions of "The Secret of Monkey Island" and "".

title: The Secret of Monkey Island

text: Guybrush also encounters the governor and is instantly smitten, and she soon reciprocates. However, as he completes the tasks set for him, the island is raided by LeChuck and his undead crew, who abduct Elaine and then retreat to their secret hideout on Monkey Island.[10] Guybrush takes it upon himself to rescue her, buying a ship and hiring Carla, Otis, and Meathook as crew before setting sail for the fabled island. When Guybrush reaches Monkey Island, he discovers a village of cannibals in a dispute with Herman Toothrot, a ragged castaway marooned there. He settles their quarrel, and then recovers a magical "voodoo root" from LeChuck's ship for the cannibals, who provide him with a seltzer bottle of "voodoo root elixir" that can destroy ghosts.[10]

title: Tales of Monkey Island

text: Players assume the role of pirate Guybrush Threepwood, who—while attempting to destroy his nemesis, the undead pirate LeChuck—accidentally releases a voodoo pox across the Gulf of Melange. With the assistance of his wife, Elaine, Guybrush seeks out a cure. The game was conceived in late 2008, due to renewed interest in adventure game development within LucasArts. It was developed concurrently with LucasArts' special edition of the 1990 title "The Secret of Monkey Island"; LucasArts oversaw production of "Tales of Monkey Island", and ensured that it matched the remake in certain areas, such as art direction. Production began in early 2009; franchise creator Ron Gilbert was involved in project planning, while development was led by Dave Grossman, who co-designed the first two "Monkey Island" games. The game's music was composed by Michael Land, and the core cast of "The Curse of Monkey Island" reprised their voice roles.

title: Ron Gilbert

text: Gilbert created a scripting language that was named after the project it had been written for, the Script Creation Utility for Maniac Mansion, better known as SCUMM. The technology was used in all subsequent LucasArts adventure games, with the exception of "Grim Fandango" and "Escape From Monkey Island". Despite being an internal production tool, the SCUMM acronym became well known to gamers since a location in "The Secret of Monkey Island", the SCUMM Bar, was named after it.

title: Elaine Marley

text: Elaine is usually depicted as a beautiful woman with long red hair and with green eyes. She wears a variety of pirate clothing consistent with the game's Golden Age of Piracy setting; her outfit usually consists of pantaloons, a blouse worn under a lightweight tunic, a sash, boots and a headscarf. Elaine usually wears gold earrings, though by "Tales of Monkey Island", she wears her diamond engagement ring as an earring until Chapter 2. Her appearances in "The Secret of Monkey Island" and "" are in the form of pixel art, with appearances slightly differing between the EGA, Amiga and VGA versions of the games. By "The Curse of Monkey Island", Elaine is rendered in a cartoon art style by LucasArts artists Larry Ahern and Bill Tiller, although the character's choice of clothing remains consistent. "Escape from Monkey Island" translated Ahern and Tiller's depiction into 3D graphics, while the later special editions and "Tales of Monkey Island" produced a more stylized art form for the character. While under LeChuck's influence as his demon bride in "Tales of Monkey Island", Elaine is dressed in a Gothic wedding dress and a tiara, her eyes are pupiless and her skin is given a green hue.

title: Monkey Island 2: LeChuck's Revenge

text: Monkey Island 2: LeChuck's Revenge (also known simply as Monkey Island 2) is an adventure game developed and published by LucasArts in 1991. It was the second game of the "Monkey Island" series, following "The Secret of Monkey Island", and the sixth LucasArts game to use the SCUMM engine. It was the first game to use the iMUSE sound system.

title: Monkey Island (series)

text: The team behind "Escape from Monkey Island" attempted to resolve the issue by showing that the Giant Monkey Head was actually the control room of a Giant Monkey Robot. The cut-scene in which the revelation was made is called "The Real Secret of Monkey Island".

title: Dominic Armato

text: Armato debuted as Guybrush Threepwood in "The Curse of Monkey Island", released in 1997. He returned for its 2000 sequel "Escape from Monkey Island". After 9 years, he reprised his role as Guybrush Threepwood again in the newest, 2009 episodic title of the series, "Tales of Monkey Island", developed by Telltale Games, as well as voicing the character in the remakes of the first two original games, "The Secret of Monkey Island: Special Edition", and "". With the release of the second remake, Armato has now provided voice work for a version of every "Monkey Island" game.

title: Monkey Island 2: LeChuck's Revenge

text: The development on "Monkey Island 2" began a month after "The Secret of Monkey Island" went to manufacturing without the knowledge of how well the first game did commercially. The project leader and designer was Ron Gilbert. The development team for the game was largely the same as for "The Secret of Monkey Island", and Gilbert was once more joined by Tim Schafer and Dave Grossman. Gilbert parted ways with LucasArts after "Monkey Island 2", while Grossman went on to co-design "Day of the Tentacle" with Schafer. Schafer's future projects for LucasArts included "Full Throttle" and "Grim Fandango".

title: The Secret of Monkey Island

text: The Secret of Monkey Island has featured regularly in lists of "top" games, such as Computer Gaming World's Hall of Fame[57] and IGN's Video Game Hall of Fame.[58] In 1991, PC Format placed The Secret of Monkey Island on its list of the 50 best computer games of all time, calling it "genuinely funny".[59] In 1996, Computer Gaming World ranked it as the 19th best game of all time, writing, "Who could ever forget the insult-driven duel system or the identity of the mysterious Swordmaster?".[60] In 2004, readers of Retro Gamer voted it as the 33rd top retro game.[61] IGN named The Secret of Monkey Island one of the ten best LucasArts adventure games in 2009,[62] and ranked the Xbox Live Arcade version as the 20th best title of all time for that platform in 2010.[63] In 2017, The Secret of Monkey Island ranked 78th in the "Scientifically Proven Best Video Games of All Time," a statistical meta-analysis compiled by Warp Zoned of 44 "top games" lists published between 1995 and 2016.[64]

title: The Secret of Monkey Island

text: The Secret of Monkey Island (alternatively known as Monkey Island I) is a point-and-click graphic adventure game developed and published by Lucasfilm Games. It takes place in a fantastic version of the Caribbean during the age of piracy. The player assumes the role of Guybrush Threepwood, a young man who dreams of becoming a pirate and explores fictional islands while solving puzzles.

title: Elaine Marley

text: Elaine Marley–Threepwood is a fictional character in the "Monkey Island" series of graphic adventure video games. Created by Ron Gilbert for LucasArts, the character first appears in "The Secret of Monkey Island" and is one of the core characters in the franchise. Originally conceived as a ruthless island governor, the character evolved during development into the protagonist's love interest. While the first two games in the series did not feature voice acting, Elaine was voiced by Alexandra Boyd in "The Curse of Monkey Island" and by Charity James in "Escape from Monkey Island"; Boyd would reprise the role for later entries in the franchise.

title: The Secret of Monkey Island

text: The Secret of Monkey Island received positive reviews from critics. According to Gilbert, it "sold well" but was "never a big hit"[52]. Grossman later summarized that the game's sales were "north of 100,000, far south of 1 million".[53] According to Next Generation, The Secret of Monkey Island was a "relatively minor hit" in the United States, but the game and its sequel became "blockbusters on the PC and the Amiga throughout Europe."[54]

title: Monkey Island (series)

text: The main setting of the "Monkey Island" games is the "Tri-Island Area", a fictional archipelago in the Caribbean. Since the first game in the series, "The Secret of Monkey Island", three of the games have visited the eponymous island of Monkey Island, while all have introduced their own set of islands to explore. "Monkey Island 2: LeChuck's Revenge" features four new islands, but does not return to Monkey Island until the final cutscene. "The Curse of Monkey Island" introduces three, and "Escape from Monkey Island", which revisits some of the older islands, features three new islands as well. As such, the "Tri-Island area" actually comprises a total of 13 visitable islands. "Tales of Monkey Island" takes place in a new area of the Caribbean called the "Gulf of Melange".

title: The Curse of Monkey Island

text: The game was later re-released on a CD-ROM compilation of "Monkey Island" games, bundled with "The Secret of Monkey Island" and "Monkey Island 2: LeChuck's Revenge" called the "Monkey Island Bounty Pack".

title: Monkey Island 2: LeChuck's Revenge

text: The game was released on floppy disks for the PC (with VGA graphics), Macintosh and Amiga (with standard 32-color graphics) in 1991, and was later included on a CD-ROM compilation of "Monkey Island" games called "The Monkey Island Bounty Pack". Plans to release "Monkey Island 2: LeChuck's Revenge" for the Sega CD were scrapped after the Sega CD edition of "The Secret of Monkey Island" did not sell well. In 1994, the game was released on the FM Towns, the last title LucasArts ever published on that system. The game's graphic interface was later adapted for the CD-ROM release of "The Secret of Monkey Island".

title: The Secret of Monkey Island

text: Critics praised The Secret of Monkey Island for its humor, audiovisuals, and gameplay. The game spawned a number of sequels, collectively known as the Monkey Island series. Gilbert, Schafer and Grossman also led the development of the sequel Monkey Island 2: LeChuck's Revenge.[5] LucasArts released a remake of the original in 2009, which was also well received by the gaming press.

title: The LucasArts Archives

text: The LucasArts Archives are a series of CD-ROM personal computer game re-releases and compilations from publisher LucasArts.Later games published under the "LucasArts Archives" brand were budget-priced reissues of individual games, with the exception of "Monkey Island Archives", which was a compilation of "The Secret of Monkey Island", "", and "The Curse of Monkey Island", released with "The Curse of Monkey Island"'s box art.

title: Tales of Monkey Island

text: Dominic Armato, the voice actor of Guybrush from "The Curse of Monkey Island" onward, reprises his role as that character. LucasArts encouraged Telltale to retain as much of the original cast as possible—particularly Armato, who was described by LucasArts' David Collins as "the ultimate "Monkey Island" fanboy". Armato enjoyed his opportunity to voice Guybrush again; he had believed that the series would never be continued, due to the length of time since "Escape from Monkey Island"s release. Armato voiced the character in both "Tales of Monkey Island" and the special edition of "The Secret of Monkey Island"; in the former game, he attempted to make Guybrush sound more mature and experienced than his younger incarnation in the latter. Because of Armato's understanding of the character, the voice directors gave him considerable flexibility in his performance.

title: Tales of Monkey Island

text: As with Telltale's other products, "Tales of Monkey Island" was developed and released in five episodic segments; Grossman explained that Telltale prefers to tell stories this way, rather than as continuous narratives that are too long for people to play comfortably. However, unlike their previous games, each episode is not a standalone tale; it is a single chapter in a larger plot. This allowed Telltale to advance the story like that of a television series, in which character relationships develop in the minds of the audience over several months. Each episode is designed to be gratifying on its own, with a satisfying conclusion; however, it then provides a cliffhanger to "tantalize the player a little more". According to Grossman, "Tales of Monkey Island" is set after an "imaginary" "Monkey Island 5", which he views as "a blockbuster, epic 40-hour gigantic experience like the earlier games". Its story would have followed Guybrush's actions in the time between "Escape from Monkey Island" and "Tales of Monkey Island"; the beginning of "Tales of Monkey Island" would have marked its conclusion. Grossman maintained that both the story and gameplay of "Tales of Monkey Island" were designed to be accessible for newcomers to the series, and commented that "knowledge of the characters and their history will add a nostalgic layer to the sly references, but is by no means necessary".

title: Hundredth monkey effect

text: Separate papers make mention that, from 1960 onward, similar sweet potato washing behaviours were noticed in other parts of the world, however this is not directly attributed to Koshima. Claims are made that a monkey swam from one island to another where he taught the resident monkeys how to wash sweet potatoes. No mention of the other behavioural improvements are made. No indication of how the monkey swam is made either - it must be noted that the Koshima monkeys cannot swim. Therefore, although the question must be asked how the swimming monkey learned the sweet potato washing behaviour if not from Koshima, no indication is made as to where the monkey learned the behaviour.

title: Tales of Monkey Island

text: Aside from providing the "Monkey Island" license to Telltale, LucasArts' role in the game's development involved collaboration and approval of the game's script, character concept art and puzzle design. As the remake of "The Secret of Monkey Island" had begun development before "Tales of Monkey Island", LucasArts shared their art style guide with Telltale, so that the two products' art direction would be similar. In particular, LucasArts wished that the character of Guybrush would be comparable to the appearance of the character in the special edition. LucasArts largely based their vision for Guybrush's new visuals in "Tales of Monkey Island" on how the character appeared in "The Curse of Monkey Island", integrating various aspects from "LeChuck's Revenge" that commonly resonated through fan art, such as the character's blue coat and beard, in addition to using their own stylized art direction. Telltale concept artist Ryan Jones worked closely with LucasArts' Jeff Sengalli on developing the appearance of Guybrush and other characters, Sengalli providing feedback and refinement in such areas as character silhouettes, facial features and clothing. Vanaman noted that LucasArts was open to Telltale's creative direction for the game, and did not "put their foot down" over any aspects of their vision.